Here are 100 books that The Sunken Land Begins to Rise Again fans have personally recommended if you like
The Sunken Land Begins to Rise Again.
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I’ve always looked at the world with a sense of wonder. As a child, I was drawn to the magical and the fantastical, but a budding fascination with the scientific method eventually led me to discover the beauty and wonder of the natural world. I assumed science fiction would scratch that itch, but too many genre novels left me feeling empty, like they were missing something essential—what it feels like to be human. Novels that combine a wonder of the world with an intimate concern for character hit just the right spot for me. Maybe they will for you as well.
I love this book for its Matroyska doll-style structure: The first five sections tell stories in different periods— from the mid-19th century to the 22nd—loosely connected by repeating characters and media, each ending abruptly and without resolution. The sixth section, set in the 24th century, is the spine of the novel, told in its entirety. Then Mitchell revisits the time periods in reverse chronological order, resolving each story, ending where we began in the mid-19th century.
It was a highly satisfying experience that changed my view of how a story could be told. It is widely considered one of the finest novels of the 21st century. It covers ideas I would normally balk at, like reincarnation and the existence of eternal consciousness. Still, the storytelling is so powerful that it all came across as believable to me. I loved the way Mitchell demonstrated how an idea in one time period…
Six lives. One amazing adventure. The audio publication of one of the most highly acclaimed novels of 2004. 'Souls cross ages like clouds cross skies...' A reluctant voyager crossing the Pacific in 1850; a disinherited composer blagging a precarious livelihood in between-the-wars Belgium; a high-minded journalist in Governor Reagan's California; a vanity publisher fleeing his gangland creditors; a genetically modified 'dinery server' on death-row; and Zachry, a young Pacific Islander witnessing the nightfall of science and civilisation - the narrators of CLOUD ATLAS hear each other's echoes down the corridor of history, and their destinies are changed in ways great…
I grew up in an isolated rural pub in England. My love of folk horror was born of a strong nostalgia for that time and it has fed into both my writing and my reading. I understood isolation, small communities, the effect of strangers, as well as the sense of ‘otherness’ in the atmosphere of the countryside – the calm before the storm, the liminal twilight. It also meant that I could tell when a writer had captured the ‘essence’ of folk horror. When the author weaves a story between the landscape and man, blends traditions and mythology – they take me to that place I know.
I have a real thing about needing the setting to be pretty much a character in itself in the folk horror I read.
For me, it is that which brings out the atmosphere, the sense of otherworldliness, critical to such stories. Starve Acre, a haunting tragedy, set in bleak moorland offers no rural idyll. The desolate setting perfectly mirrors the disintegrating marriage of a couple who are trying come to terms with the loss of their young son.
Whilst the wife turns to the spirit world, the husband researches a legend, uncovering the sinister story of the demonic Jack Grey as he does so. Bringing the legend to life and turning it into delusion, culminates in one of the most disturbing final scenes I’ve come across, certainly gave me chills.
The worst thing possible has happened. Richard and Juliette Willoughby's son, Ewan, has died suddenly at the age of five. Starve Acre, their house by the moors, was to be full of life, but is now a haunted place.
Juliette, convinced Ewan still lives there in some form, seeks the help of the Beacons, a seemingly benevolent group of occultists. Richard, to try and keep the boy out of his mind, has turned his attention to the field opposite the house, where he patiently digs the barren dirt in search of a legendary oak tree.
An avid reader when young, I made the transition from reading to writing relatively late in life. It happened unexpectedly, but once I started writing I found it impossible to stop and have had twenty-eight novels published so far. Fortunately I found a publisher within weeks of completing my first novel, which was shortlisted for several major awards. Currently I am writing the 20th novel in my Geraldine Steel detective series, which has sold over a million copies in the UK alone. As well as writing detective novels, I also support up and coming crime writers as chair of judges for the Crime Writers Association’s Debut Dagger Award.
Mervyn Peake’s writing is unusual. In Gormenghast he creates a bizarre world of weird hierarchical rituals, peopled by eccentric characters, each one singular in a different way. What really brings this novel to life is Peake’s wonderfully rich prose, as he describes the destruction of an ancient social structure.
Enter the world of Gormenghast...the vast crumbling castle to which the seventy-seventh Earl, Titus Groan, is Lord and heir. Gothic labyrinth of roofs and turrets, cloisters and corridors, stairwells and dungeons, it is also the cobwebbed kingdom of Byzantine government and age-old rituals, a world primed to implode beneath the weight of centuries of intrigue, treachery, manipulation and murder.
Gormenghast is more than a sequel to Titus Groan - it is an enrichment and deepening of that book.The fertility of incident, character and rich atmosphere combine in a tour de force that ranks as one of the twentieth century's most…
I enjoy stories that bring together diverse themes, such as family life, myths and legends, quests, and cutting-edge science, in an uncomplicated way. I love hidden communities, where accepted rules do not apply, allowing the development of original storylines. The suggestion that there is something on the edge of the supernatural, yet grounded in reality, the weirdest of events retaining a rational explanation. My writing has been inspired by the films of David Lynch. I admire his ability to evoke a sense of menace and a fear that things are not as they seem, leaving much to the reader’s imagination.
One of the most daring and original voices I have read in recent years.
I admire Kirsty Logan’s boldness in imagining and describing personal viewpoints and her unique interpretation of possible alternate realities. She shows the courage to commit to ideas and storylines that are original, innovative, and beyond the imagination of most people.
The two darkest stories are "Watch the wall, my darling, while the Gentlemen go by", a menacing tale of abuse, kidnapping, and violence, and "Half Sick of Shadows". The latter is profoundly moving and disturbing and almost unbelievable in its callousness.
A writer whose progress I will follow with interest.
'Gripping . . . You won't put it down' Sunday Telegraph
A shocking collection of dark stories, ranging from chilling contemporary fairytales to disturbing supernatural fiction.
Alone in a remote house in Iceland a woman is unnerved by her isolation; another can only find respite from the clinging ghost that follows her by submerging herself in an overgrown pool. Couples wrestle with a lack of connection to their children; a schoolgirl becomes obsessed with the female anatomical models in a museum; and a cheery account of child's day out is undercut by chilling footnotes.
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This wonderful novel begins with the inheritance of an ancestral pile in rural England and slowly, by twists and turns, reveals the story of the once ornate house and gardens down the centuries. Ladies and lords of the manor, gardeners and servants, painters, photographers, and WWII land girls all flit fleetingly through its pages, but the novel’s heart is the mysterious walled garden whose secrets only a very few get to witness.
American owner of a failing gallery, Toni, is unexpectedly called to England when she inherits a manor house in Hertfordshire from a mysterious lost relative.
What she really needs is something valuable to sell, so she can save her business. But, leaving the New Mexico desert behind, all she finds is a crumbling building, overgrown gardens, and a wealth of historical paperwork that needs cataloguing.
Soon she is immersed in the history of the house, and all the people who tended the gardens over the centuries: the gardens that seem to change in the twilight; the ghost of a fighter…
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This thrilling novel explores what we would do in the face of eco-catastrophe in a really unique way. Two young women—one in Doggerland in 6200 BC and the other in London in 2156—find themselves fleeing to save themselves and their children as the world they’ve always known becomes uninhabitable. The trick of using the same landscape, separated by eight thousand years brings a wonderful sense of perspective to the story, and to our own place in the world.
Doggerland, 6200 BC. As rivers rise, young mother Shaye follows her family to a sacred oak grove, hoping that an ancient ritual will save their way of life.
London, AD 2156. In a city ravaged by the rising Thames, Shante hopes for a visa that will allow her to flee with her four-year-old son to the more prosperous north.
Two mothers, more than 8,000 years apart, struggle to save their children from a bleak future as the odds stack against them.
At the sacred oak grove, Shaye faces a revelation that cuts to the core of who she is; in…
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This stunning coming-of-age story is set in the rural Midlands in the 1960s. Fern is apprenticed to Mammy, the village wise woman, but the influence of modernity—medicines, the National Health Service, the increased connectivity afforded by motor car—spells the end for their traditional way of life. In a novel without any other overt fantastical elements, one magnificent scene where Fern, torn between loyalty to the past and the pull of the future, opens herself to the latent wonders of the woods and fields and hedgerows around her, is the key to understanding what the world loses with the passing of old knowledge.
The story of a young woman in the midlands in 1966. A woman who may be a witch. She and her family live on the margins of society. Nevertheless her family life is stifling and she seeks freedom with more outsiders, a group of beatniks, but fights to find acceptance there also. And all the time she is struggling with her fey powers. Isabel Allende said of Joyce's previous novel, The Facts of Life: 'This is the kind of book I love to read! I have not been so charmed by a novel in a long time'.
I’m the sort of writer who constantly asks “what kind of story could I set here?” A quiet copse, a busy mall, a shabby wedding venue, all locations have their own stories to tell in addition to those of the characters who inhabit them. Stories work best when the location is the pivot around which everything else happens. This is doubly true for secondary world fantasy because, when you’re creatinga world, you don’t just tease the story out of its locations—you can weave it into the fabric of the place. Which is how I created the world of Queen Of Clouds, down to its very motes.
This novel tells the stories of the residents of an Edinburgh close across the span of the twentieth century. Fagan’s Edinburgh is wonderfully, atmospheric but it’s the close itself and the goings on in its cheek-by-jowl apartments following the arrival of Jessie, sold by her father (whom she has killed) into sexual slavery, and with revenge on her mind, that permeates this murderous, richly gothic story.
Featured in Damian Barr''s picks for 2021 Shortlisted for the Gordon Burn Prize 2021 Chosen as one of the Best Books of 2021 in the Telegraph
''If this addictive slice of Edinburgh Gothic isn''t on all prize lists, there is no justice.'' iNews
''Over time, 10 Luckenbooth Close sinks from grand residence to condemned squat with secrets seething in its walls ... Luckenbooth is a place of compacted time, where the past manifests as unquiet ghosts and the future bleeds into the present ... There''s a force in Luckenbooth''s bizarre assemblage.'' The Times
Although I’m from New Zealand, Europe has been home for a lot of my adult life, and that has included a lot of time in North Yorkshire. It always seems to me that there’s potential for magic around every corner, in the deep sinkholes and high fells of the Dales, or the cobbled charm of the York Shambles and the loom of the Abbey over Whitby harbour. So I do feel that the fact so many stories are set in London is a waste of so many delightfully different settings, and I make a point of hunting out as many alternatives as I can. I hope you enjoy this selection!
In the depths of the Cotswolds, Andy Caplet is a small-town journalist with a disastrous career (and life). Until, that is, the mysterious Inspector Hobbes offers him a spare room and the chance to follow along on some investigations. The only problem being, none of the cases are exactly the usual sort of crime, and Inspector Hobbes is not a usual inspector. Or a usual human. These stories are just fun, goofy escapism, caught somewhere between cosy mystery and urban fantasy, and they’re pure entertainment. Andy can be a bit annoying, but Inspector Hobbes is delightful.
A reporter with nothing to lose. An inspector with something to hide. The Cotswolds’ newest odd couple is on the case…
Of all the journalists at his small-town paper, Andy Caplet is far and away the worst. At least he has a job. But when his latest expose on the strange and scandalous Inspector Hobbes backfires, Andy is left broke and homeless. The inspector’s offer of a spare room for a few days (or months) seems like the only option…
Andy agrees to accompany the inspector to investigate a sudden surge in crime and soon finds himself immersed in a…
I didn’t know anything about Victorian history before I started writing the Arrowood books. The idea for the character of William Arrowood came as I was reading a Sherlock Holmes story. It occurred to me that if I was a private detective working in London at the same time, I’d probably be jealous, resentful, and perhaps a little bitter about his success and fame. That was the basis of Arrowood. I started to write a few pages and then realized I needed to learn a lot about the history. Since then, I’ve read hundreds of books on the topic, pored over newspapers in the British Library, and visited countless museums.
This is another book written by a journalist. The stories in it are about the working class and destitute life in London at the end of the nineteenth century. Not only do they portray intimate relationships, prostitution, crime, and alcohol abuse, but they also give a sense of the life stories of the people who lived in these communities.
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