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Science fiction is rightly famous for experimenting with new and strange social worlds, but fantasy tends to fall back on the usual feudal tropes: the whims of kings, the valor of knights, the always-temporary powerlessness of farm boys, the technicalities of succession. Which is a shame, because fantasy provides just as much opportunity to reimagine what society could look like. That’s what I try to do in my books, and at my job, where I’m working to bring 21st-century data literacy and quantitative reasoning to a state government stuck resolutely in the ’90s. When I think of books that have done what I’m trying to do, these five are at the front of my mind.
In Dragaera, the fortunes of the seventeen Great Houses are determined by the Cycle, which elevates royalty, merchants, artisans, wizards, the mob, and even peasants as it turns.
The Cycle takes thousands of years to turn… but Dragaerans live thousands of years. Easterners, like Vlad Taltos, are lucky to see a hundred, and they can’t be members of the Great Houses. Except the House of the Jhereg, which sells titles.
They’re the mob; and Vlad, Baronet of Taltos, is an assassin. JHEREG and its many sequels are constantly exploring the social dynamics underlying this situation; as an Easterner with a bought title, Vlad doesn’t fit in with either Easterners or Dragaeran nobles, and choosing sides can mean destroying relationships or putting his life on the line.
The first three fantastical adventures of assassin Vlad Taltos—now in one volume.
A welcome addition to any fantasy fan's library, The Book of Jhereg follows the antics of the wise-cracking Vlad Taltos and his dragon-like companion through their first three adventures—Jhereg, Yendi, and Teckla.
There are many ways for a young man with quick wits and a quick sword to advance in the world. Vlad Taltos chose the route of assassin. From his rookie days to his selfless feats of heroism, the dauntless Vlad will hold readers spellbound—and The Book of Jhereg will take its place among the classic compilations…
Science fiction is rightly famous for experimenting with new and strange social worlds, but fantasy tends to fall back on the usual feudal tropes: the whims of kings, the valor of knights, the always-temporary powerlessness of farm boys, the technicalities of succession. Which is a shame, because fantasy provides just as much opportunity to reimagine what society could look like. That’s what I try to do in my books, and at my job, where I’m working to bring 21st-century data literacy and quantitative reasoning to a state government stuck resolutely in the ’90s. When I think of books that have done what I’m trying to do, these five are at the front of my mind.
This book is about how trauma can force you to choose between memory and sanity… and how this problem gets worse when you live in a society of telepaths.
Said telepaths are the mer-person descendants of enslaved Africans who threw themselves off the boats from Africa to the Americas, but the emotional core of the book makes the deep weirdness of the premise pretty much an afterthought.
WINNER OF THE LAMBDA LITERARY LGBTQ SCIENCE FICTION/FANTASY/HORROR AWARD
The water-breathing descendants of African slave women tossed overboard have built their own underwater society-and must reclaim the memories of their past to shape their future in this brilliantly imaginative novella inspired by the Hugo Award-nominated song "The Deep" from Daveed Diggs's rap group clipping.
Yetu holds the memories for her people-water-dwelling descendants of pregnant African slave women thrown overboard by slave owners-who live idyllic lives in the deep. Their past, too traumatic to be remembered regularly, is forgotten by everyone, save one-the historian. This demanding role has been bestowed on…
I’m a Canadian science fiction writer who writes very, very slowly. I’m interested in experimental fiction and books that are unique, both thematically and stylistically. I’d like to think my books fall into this category, or at least that’s what I aspire to. I used to read science fiction exclusively, and the five books I’ve listed here were all read during those formative years; they were fundamental stepping-stones for me, as a writer, and each of them left a profound mark on my idea of how good, or effective, novels can be.
Attanasio can run hot and cold, but when he’s hot he’s on fire! This book may have the most ambitious plot of any novel I’ve ever read and is almost impossible to describe. It spans galaxies, has a truly bizarre vibe, and yet rings true, with a love story thrown in.
Seven billion years from now, long after the Sun has died and human life has become extinct, alien beings reconstruct homo sapiens from our fossilized DNA drifting as debris in deep space. We are reborn to serve as bait in a battle to the death between the Rimstalker, humankind's re-animator, and the zōtl, horrific creatures who feed vampire-like on the suffering of intelligent lifeforms.
The resurrected children of Earth are told: "You owe no debt to the being that roused you to this second life. Neither must you expect it to guide you or benefit you in any way." Yet,…
I’m a writer of epic fantasy and paranormal romance, and my obsession is writing about the fashion, food, language, and social politics of the worlds I create. World building is vital if you intend to create a lived-in backdrop for your story, but intricate, elaborate world building will only take you so far. You (the author) must have a cast of characters equally well developed. I’ve tried to take lessons away from every book I’ve read and every author I’ve interviewed and worked to balance characters to fall in love with against places that feel absolutely alive. Their joy/terror/love/hate/experience becomes the readers. It’s that combination that makes a book unforgettable.
Although The Scar is the second book in the Bas Lag series, I prefer it to Perdido Street Station (which is also glorious.) The Scar takes to the seas, a place I always prefer to be, in the form of the floating, roving city of Armada.
We come aboard (as it were) and experience life on Armada—its precincts, villages, towns, secrets, and its people—swordsmen and librarians and vampires and the mysterious pair who run the place—The Lovers (that’s the only name we get) through the eyes of Bellis Coldwine, a prickly, difficult, but fascinating woman who would literally rather be anywhere else.
I get where she’s coming from but I would absolutely book a cruise on Armada!
A human cargo bound for servitude in exile... A pirate city hauled across the oceans... A hidden miracle about be revealed... This is the story of a prisoner's journey. The search for the island of a forgotten people, for the most astonishing beast in the seas, and ultimately for a fabled place - a massive wound in reality, a source of unthinkable power and danger.From the author of Perdido Street Station, another colossal fantasy of incredible diversity and spellbinding imagination, which was acclaimed in The Times Literary Supplement as: 'An astonishing novel, guaranteed to astound and enthral the most jaded…
As a former librarian I have long been fascinated with Borges’s view of books: their metaphysical shape and their tendency to open into the uncanny and the infinite. Illness early in life drove me to books, to their particular isolation. Since then, I’ve found that worlds can open almost anywhere in literature by way of a mood, a patina of language, a vision, a set of images completely beyond the control of the writer. Now, I read these books to remind me of what fiction can do, the places it can go, the worlds it will open.
Samuel R. Delaney’s masterpiece, Dhalgren, is set in a city in the Midwest that has been emptied by an unnamed catastrophe.
A sense of freedom, violence and disaster hang everywhere as the hero – Kidd, Kid, or the kid, a man with no memory and of ambiguous race (he remembers his mother was Native American) – gains entry into the subcultures that remain behind: parties, high-rise poetry readings with older white people, gun fights, gangs, graphic sex.
Time and perspective seem fluxive, inconstant, and looping.
This is beautiful, destabilized world building. Dhalgrenanswers no questions yet evokes a time, place, and milieu that shifts as you read.
I first found it when I was working as a librarian in a prison out on the plains. I didn’t last in prison.
Nebula Award Finalist: Reality unravels in a Midwestern town in this sci-fi epic by the acclaimed author of Babel-17. Includes a foreword by William Gibson.
A young half–Native American known as the Kid has hitchhiked from Mexico to the midwestern city Bellona—only something is wrong there . . . In Bellona, the shattered city, a nameless cataclysm has left reality unhinged. Into this desperate metropolis steps the Kid, his fist wrapped in razor-sharp knives, to write, to love, to wound.
So begins Dhalgren, Samuel R. Delany’s masterwork, which in 1975 opened a new door for what science fiction could mean.…
Two themes run through my book recommendations. First is the lone protagonist against impossible odds. Don’t we all feel this way from time to time in our lives? I’m no exception and still have the scars to prove it, which is why my first novel was intended to promote awareness and prevention of child abuse and domestic violence. Secondly, I’ve had an affinity for speculative fiction (science fiction, fantasy, and paranormal) since I was a child so it only stands to reason that I would be inspired by the likes of Harlan Ellison, Ray Bradbury, Philip José Farmer, Philip K. Dick, and other masters of these genres.
Following an attack by a jilted lover, renowned TV variety show host Jason Taverner awakens in a cheap motel and discovers that he’s unknown to the world. Neither his current girlfriend nor his lawyer recognizes him when he calls. Further, all records of his identity have been erased.
Flow My Tears, the Policeman Said is an exciting, fast-paced story with a protagonist both capable and mysterious. I’m a sucker for the theme of the “lone hero against impossible odds” and as usual with Philip K. Dick, the antagonist is not merely a single character, such as the unethical police general or his drug-dealing sibling/spouse. Rather, the enemy is the corrupt state, the totalitarian government, and the decaying society.
It’s easy to see why Flow My Tears, the Policeman Said earned the John W. Campbell award as well as nominations for a Hugo and Nebula.
Jason Taverner has a glittering TV career, millions of fans, great wealth and something close to eternal youth. He is one of a handful of brilliant, beautiful people, the product of top-secret government experiments forty years earlier. But suddenly, all records of him vanish. He becomes a man with no identity, in a police state where everyone us closely monitored. Can he ever be rich and famous again? Or was that life just an illusion?
I’m a Canadian science fiction writer who writes very, very slowly. I’m interested in experimental fiction and books that are unique, both thematically and stylistically. I’d like to think my books fall into this category, or at least that’s what I aspire to. I used to read science fiction exclusively, and the five books I’ve listed here were all read during those formative years; they were fundamental stepping-stones for me, as a writer, and each of them left a profound mark on my idea of how good, or effective, novels can be.
Hand’s sentences are always beautiful, and this novel, her first, is dense with new ideas and original imagery. She evokes a bizarre future in a post-apocalyptic city where twins go on a hallucinogenic quest. Reads like a somewhat disturbing mythology. Gods and talking animals, autistic prophets, feral children, and death is personified. Unforgettable.
The “sensuous and evocative” debut of the Nebula Award–winning author of Waking the Moon: A dystopian journey through a world unburdened by moral taboos (Library Journal). Set in the surreal, post-apocalyptic City of Trees, Winterlong centers on Wendy Wanders, a girl who can tap into the dreams and emotions of the people around her, and her long-lost twin brother, Raphael, a seductive, sacred courtesan to the City’s decadent elite. During their voyage, they encounter man-made and godlike monstrosities—both hideous and gorgeous—in their effort to stop an ancient power from consuming all. Blending science fiction and fantasy, Winterlong is a dark…
Science fiction is rightly famous for experimenting with new and strange social worlds, but fantasy tends to fall back on the usual feudal tropes: the whims of kings, the valor of knights, the always-temporary powerlessness of farm boys, the technicalities of succession. Which is a shame, because fantasy provides just as much opportunity to reimagine what society could look like. That’s what I try to do in my books, and at my job, where I’m working to bring 21st-century data literacy and quantitative reasoning to a state government stuck resolutely in the ’90s. When I think of books that have done what I’m trying to do, these five are at the front of my mind.
Monstress is an awful lot of things: An epic fantasy that confronts the horrors of modern war; a work of fusion that marries Western and Eastern aesthetics and the epic scale of George R. R. Martin with the cosmic and body horror of Junji Ito; an incredible trove of beautiful visual art; a stage for women of all kinds, young and old, beautiful and monstrous, weak and powerful, with and without shark heads; and a story about a girl coming to grips with a dark family legacy and what it means for her place in a bloody, painful world.
More than anything else, it’s about what happens when people use each other. For my money, the best epic fantasy currently being published in any form.
2018 Eisner Award winner, Best
Writer 2018 Eisner Award winner, Best
Painter/Multimedia Artist 2018 Eisner
Award winner, Best Continuing Series 2018
Eisner Award winner, Best Publication for
Teens 2018 Eisner Award winner, Best Cover
Artist 2018 Harvey Award winner, Book of
the Year 2018 Hugo Award winner, Best
Graphic Story 2018 British Fantasy Award
winner, Best Comic/Graphic Novel 2018,
2016, 2015 Entertainment Weekly's The Best Comic Books of the
Year 2018, Newsweek's Best Comic
Books of the Year 2018, The Washington
Post's 10 Best Graphic Novels of the
Year 2018, Barnes & Noble's Best Books
of the Year 2018, YALSA's…
I have been fascinated by this topic ever since the first newspaper stories exposing American involvement in torture began to appear in the early years of the so-called War on Terror. This fascination has persisted up to the present, as it remains clear – given recent accounts of Ron DeSantis’ time at Guantanamo – that this story refuses to die. Equally fascinating to me have been accounts revealing the extent to which this story can be traced back to the origins of the Cold War, to the birth of the National Security State, and to the alliance between that state and the professions (psychology and behavioral science) that spawned “enhanced interrogation.”
One of the first accounts to connect the dots between the torture scandal that arose out the war on terror and the beginnings of the Cold War, when the United States first devised the interrogation techniques that became codified in the CIA’s interrogation manual KUBARK (1963), which provided the playbook for the “enhanced interrogation” of detainees in Guantanamo and elsewhere.
"An indispensable and riveting account" of the CIA's development and use of torture, from the cold war to Abu Ghraib and beyond (Naomi Klein, The Nation)
In this revelatory account of the CIA's fifty-year effort to develop new forms of torture, historian Alfred W. McCoy locates the deep roots of recent scandals at Abu Ghraib and Guantánamo in a long-standing, covert program of interrogation. A Question of Torture investigates the CIA's practice of "sensory deprivation" and "self-inflicted pain," in which techniques including isolation, hooding, hours of standing, and manipulation of time assault the victim's senses and destroy the basis of…
I have been an activist working on issues relating to human rights and youth protection for over fifteen years and during that time I worked as a lawyer and was lucky enough to make films and write two novels. Eventually, I would concentrate solely on activism and my reading would become very specific and as the focus of my activism changed and I directed my energies to corporate accountability my reading changed course again. The list I offer is from talented writers on important subjects, all write extremely well about things that matter to a human rights activist.
Many human rights activists have to be focused intensely on the events of today and the consequences for tomorrow, this often allows little time for broader reading. Lynn Hunt offers a detailed and very readable analysis and argument of the history and development of contemporary human rights. I found all of her book illuminating and the connections she described eye-opening.
How were human rights invented, and how does their tumultuous history influence their perception and our ability to protect them today? From Professor Lynn Hunt comes this extraordinary cultural and intellectual history, which traces the roots of human rights to the rejection of torture as a means for finding the truth. She demonstrates how ideas of human relationships portrayed in novels and art helped spread these new ideals and how human rights continue to be contested today.
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