Fans pick 100 books like The Sun Dog

Supernatural horror meets the industrial-age love affair with the automobile—a combination I found irresistible. The novel’s protagonist, a social outcast, finds purpose and connection in his purchase of a piece of modern technology—a 1958 Plymouth Fury—which then proves to be his undoing via supernatural agency: the car is cursed, a receptacle for evil influences.

This also lends the novel an element of pathos without being saccharine or emotionally manipulative. I found this book to be a darkly captivating read.

I found this novel conceptually fascinating, as it depicts the use of a common (at the time) entertainment technology—a videotape—as a means of attack by a terrifying supernatural menace.

I also enjoy cross-genre fiction, and while this is primarily a horror novel, it is also a mystery in which the protagonist must race against time for a solution to a deadly predicament. 

I am deeply interested in the heyday of spiritualism in Europe and America in the 19th and 20th centuries, so I wanted to read this book as soon as I saw the synopsis. I wasn’t disappointed. 

Set in Belfast in 1914, the novel is based upon the real-life attempts of engineering professor William Jackson Crawford to prove the existence of spirits by the use of technology. The intensity of this story, of Crawford’s unrelenting obsession to prove himself, grabbed me and wouldn’t let go. I took the book with me on the train every morning and found it hard to put down when I reached my stop. This is an amazing novel.

I’m a history buff, and I’ve long been interested in the purported “spirit photographs” that began proliferating almost as soon as photography became widespread in the 19th century and which were a key element of the spiritualist movement.

The author ties this trend into a beautifully written work of historical fiction, depicting spirit photography in the context of the social and political conditions of post-Civil War America.

At last, a book about photography! And one that is arguably the best from which to learn to see, Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why - as U.S. News & World Report put it in 1990 - his thinking about photography "has become our thinking about photography".

Look and look and look. Keep it on your bedside table. It will be your friend. Learn from it – about composition, about story, about the many ways that one can see. Whether you take a photograph or not, you will learn that ineffable thing that can’t be taught but which can be inspired: how to see. Enjoy!

If there were children in the world this peculiar, there’d need to be a system to deal with them. I hate it when we’re just expected to accept odd things in fiction without their logical consequences, but this book doesn’t do that. Yep, things would suck for kids like these…which is why they’d need a home and a caretaker as peculiar as they were. 

What I really liked about this book wasn’t the setup, though, so much as the part where we really figure out what’s protecting the Home and why it was created in the way it was. I can’t really say more without spoiling things, but it poses a very interesting dilemma: a choice as gray in scope as any real-world dilemma.  

I’ve always wished I could have gone to the moon with the Apollo astronauts. This book is the next best thing!

Image restoration specialist Andy Saunders was able to get access to new digital scans of the original Apollo images, which have been stored in a frozen vault for decades, and with the latest technology and incredibly pain-staking work, has created the highest quality Apollo photographs ever produced. Under-exposed or over-exposed shots are now crystal clear, revealing new details and incredible views of the astronauts, the spacecraft, and the lunar surface.

I love the large, coffee-table-sized book, and it is a must-have for any space enthusiast, historian, or photographer. Simply stunning.

In Flags of Our Fathers, James Bradley recounts a story not so unlike my own and many other sons born of this generation of leathernecks. James is the son of John Bradley, who served on Iwo Jima as a corpsman and was awarded the Navy Cross for his service. He also was one of the boys who raised the flag on Mount Suribachi.

Flags is the result of James Bradley’s research and interviews with survivors of the battle for Iwo Jima, after his father’s passing. At times Flags reads like an action thriller, its battle sequences authentic not only in their depiction of all the clichés Hollywood made famous in the 1950s but in its realism of the true horrors of war, and the impact it had on the survivors.

I have loved this book of black & white photographs for nearly 5 decades and still look at it often. It’s like a book of poetry, meant to be lived with rather than simply looked at one or twice. What I like is how quiet these images are while at the same time being incredibly compelling. I see something new in these images almost every time I look at them.  What could be better in a book of photographs? What I’ve learned is that photographs embrace poetry more naturally than narrative storytelling. Yes—it's a picture of a parsnip—but is that an eye in the middle of it looking back at me? 

Antarctica is the one continent I have never taken a photograph in. It has barely changed in the past 100 years, but Hurley’s images still take me to an unknown world and how people have struggled to survive there.

I love the way he can capture the majesty of a landscape that is mostly just one colour and how his photographs give a sense of the puny humans grappling with the harshness of the environment.