100 books like The Strange Case of Mr Pelham

A little confession: fighting awakens a beast inside of me.

Sometimes when I’m in a crowded place, I walk by someone, usually a bigger person, and wonder: “Can I take him down?” Other times, especially in situations of conflict and mostly in the business world, I catch myself looking at my opposition and think “I can totally crush you if I want.” 

I’m not sure Palahniuk has ever traded punches with another human being. But one thing he got right: learning to fight, especially at a place that makes you spar at every session, often creates this maddening sense of power, that can be dangerous, but is a little fun too.

I’m not going to lie. I find the life of Houdini fascinating. It would be easy to focus on the magician/escape artist parts of his persona. However, the book details his drive and intentions from a young age to absorb information and develop his craft are inspiring. Before he was even a teenager, Houdini was walking 20+ miles (one way) to the neighboring town to find work and develop his craft.

As he became the worldwide phenomenon he is known for today, Houdini used his talents and never abused his notoriety. Houdini was very intentional in how he wanted to entertain the masses. But when other groups (alleged psychics and spiritual mediums) started to abuse the power of (dis)belief, Houdini took it upon himself to discredit the practice of these scam artists based on his sense of social awareness.

I instinctively gravitate toward characters stricken with identity issues. It's one of the reasons I've spent years specialising in writing comics, where alternate personae and false realities are fundamental storytelling tools. Growing up, I first read the story of Robinson in a conjuring book, and it caught my imagination fiercely. Like Houdini, Robinson's commitment to maintaining his performance identity was full-blooded—to the point that the myths surrounding his death have virtually swallowed the story of his life. Steinmeyer navigates a complex tale of dual identities with the ease of a seasoned magician. Chung Ling Soo, one of the world's greatest vaudeville stars, died on stage in 1918 when a bullet catch trick went tragically wrong. William Robinson, however, had been fading away for many years by then.

As a model unreliable narrator, you couldn't pick a more disarming armed robber than Mark "Chopper" Read. He described his pseudo-autobiographical book series as "the truth, the half-truth and nothing like the truth," which may be the most honest statement he ever made. None of this is to suggest that Read wasn't every inch the ultra-violent toecutter he sketches out in his writing. It's just that every word in Chopper is working toward the same goal: building a larger-than-life self-caricature to outshine and outlast the man himself. The cover quote boldly declares, "I regret nothing." The final line of the book admits, "I regret everything." Chopper Read lived and died within that contradiction, and his story's all the more mesmerising for its gunsmoke and mirrors.

The prose of this classic novel can be a little sticky to our 21st-century sensibilities, but in all other ways, Scott is a modern writer, addressing the issues of anti-Semitism and the corruption of the Church at a time when those things weren’t cool. Plus, we have another awesome warrior-hero in Sir Wilfred of Ivanhoe and jousting to boot. Who doesn’t love a good tourney? My daughter and I hit the Renaissance Faires every year just to see men pretend to stab each other from horseback with long sticks. The plotting of this book is simply perfection—they just don’t write them like this anymore. It’s a hero’s tale with a big dollop of romance—my favorite.

These stories were picked out by the master of suspense, himself, Alfred Hitchcock. These stories are both horrific and suspenseful. With tales involving a flesh-eating troll, something creepy lurking about in the woods that kills anything that comes into its path, and an uninvited odd boy that comes to a party with evil intentions, one will not be able to put this book down. It might even make you want to leave the lights on during the night.

No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.

I believe that the best haunted house books are ones in which it’s the characters who are haunted. In this book by Daphne du Maurier, I’m not sure if the house is haunted by the specter of Rebecca, but I know the narrator certainly is.

I love how the author creates an atmosphere filled with dread as the new wife imagines her predecessor, tries to live up to her reputation, and finally learns who she really was. 

With the exception of the prefatory material, which one can skip, this is one of the very best books on Hitchcock.

It is beautifully written and attentive to cinematic details and larger themes. It offers rich interpretations of several central films, with the first half focused on close interpretation and the second half, written later in Wood’s career, more orientated toward Marx, Freud, and gay studies.

Though the book is uneven, it contains some of the best analyses one will ever read of Hitchcock’s major films.

Sheila Kohler, a mentor of mine whose work is featured in this thrilling collection, is fond of saying that suspense arises from putting a vulnerable character in a dangerous situation. A literary writer of the highest caliber, Sheila knows how to generate the suspense that keeps the page turning. Crime fiction has a long history going back to Dostoevsky and beyond, to the great tragedians—the commission of a crime entails motive, means, and is inherently dramatic. This eclectic selection of mystery and female noir, edited by Joyce Carol Oates, features superstar writers like Edwidge Danticat, Margaret Atwood, Sheila Kohler, Elizabeth McCracken, and Joyce Carol Oates herself. The writing is luminous, the themes are varied—from domestic horror to the erotic to dark fairy tales—and the tales keep the reader turning the page.