Here are 64 books that The Thief's Journal fans have personally recommended if you like
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Each of these novels, in their own way, forces us to confront the realities of war and power, showing how fragile humanity truly is. They’ve inspired me to reflect on how interconnected we are, especially regarding the scars of conflict. I am reminded of the John Donne poem that inspired Hemingway’s title, For Whom the Bell Tolls (1940)–which begins: “No man is an island, intire of its selfe; every man is a piece of the continent, a part of the maine.” War doesn’t just affect the soldiers: war has its hooks in us all.
Vonnegut’s book is a unique combination of satire, science fiction, and raw war critique. Billy Pilgrim, the protagonist, lives out the trauma of surviving the Dresden bombing by becoming "unstuck in time," drifting through different moments of his life, from past to future. This strange, nonlinear structure mirrors how we process trauma in fragments and waves, never in a neat, chronological order. The randomness of death, the meaninglessness of war—all these themes come together in a way that’s both absurd and deeply moving. As we witness terror and violence continually unfold across the globe, the echoes of Slaughterhouse-Five feel ever-present.
The phrase “So it goes” serves as a refrain throughout the novel, after every death—reminding us of the inevitability of loss in wartime, no matter the scale. This book hit me hard with its dark humor and cynical commentary on the glorification of war. Vonnegut forces you to laugh in…
A special fiftieth anniversary edition of Kurt Vonnegut’s masterpiece, “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time), featuring a new introduction by Kevin Powers, author of the National Book Award finalist The Yellow Birds
Selected by the Modern Library as one of the 100 best novels of all time
Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had…
It’s no wonder South Brooklyn, in the latter half of the last century, is the setting for so many remarkable dramas for both page and screen. In fact, when legendary former NYPD Detective Thomas Dades offered to make introductions to a Colombo Crime Family associate who cooperated with the federal government, I leapt at the opportunity. I was born in Greenpoint in 1971 and grew up on 16th Avenue in the heart of Bensonhurst. It’s not just South Brooklyn’s raw, urban chaotic physical setting, but the sheer volatility of this period in time, where so many transformational trends of the larger culture were evident, and some even epi-centered.
Displaying the decaying carcass of post-war South Brooklyn, Hubert Selby Jr. mines a grim industrial wasteland, as bleak as his beleaguered characters imploding across six short stories, each prefaced by a Biblical passage.
A gang mauls a group of soldiers on leave. A transgender woman, abused by a homophobic brother, rejected by a drug dealer, overdoses. Facing a shotgun wedding, a young man abandons his pregnant girlfriend. A sex worker is gang raped to death. A corrupt, closeted union steward is severely beaten after sexually assaulting a boy.
This 1950s South Brooklyn, when the Brooklyn Army Terminal complex and waterfront docks were infested by racketeers and thugs, comes to brutal life because of Selby’s crude prose. That grammar-be-damned style vividly captures Brooklyn life on the docks, factories, and warehouses, as well as its diners, dive bars, and union locals.
Last Exit to Brooklyn remains undiminished in its awesome power and magnitude as the novel that first showed us the fierce, primal rage seething in America’s cities. Selby brings out the dope addicts, hoodlums, prostitutes, workers, and thieves brawling in the back alleys of Brooklyn. This explosive best-seller has come to be regarded as a classic of modern American writing.
Incarceration is a gigantic problem in the US, especially because of its connection to racial injustice. I have no firsthand experience with prison or the system, and yet it looms large in my imagination and my deepest fears. That should not be the case merely because I’m a Black gay American, but here we are. I feel that with the help of my mother and others, I have managed to sidestep a lot of the potential pitfalls of people’s misguided perception of my identity, but I have an active, paranoid imagination and profound survivor guilt, so I gravitate toward stories about people at who are odds with our society in ways that reflect that precarious status which allows me to explore a wide range of human experiences.
Tayari is one of the best writers in America—no qualifiers!—and she also has the advantage of a razor-sharp, accessible style.
This heartbreaking book about a couple torn apart and remade by the husband’s incarceration is gripping and sharply observed, and the characters, Celestial and Roy, are unforgettable. But don’t take my word for it—ask Oprah!
This delightful fable about the Golden Age of Broadway unfolds the warm story of Artie, a young rehearsal pianist, Joe, a visionary director, and Carrie, his crackerjack Girl Friday, as they shepherd a production of a musical version of A Midsummer Night's Dream towards opening night.
I've always been a writer. Most recently, though, I have completed a PhD in philosophy and I decided to write a book that deals with the issues that I wrestled with over the course of my studies in a way that can be appreciated by a popular audience. This Enchanted Realm is my first book—though I'm the author of a dissertation on Charles S. Peirce and two academic papers on Peirce and Arthur Schopenhauer. Like Franz Kafka before me, I was employed in a job unrelated to creative writing which is where I realized that good poetry is only the right words in the right order—I decided to move from writing technical protocols to writing—technically—stories.
Whether you love him or hate him (as he was a tortured and unpleasant soul), Céline innovated the philosophical novel in the modern context and brought the genre to its pinnacle with Journey to the End of the Night.Reflecting on the horrors, absurdity, and stupidity of World War I, returning soldier Ferdinand Bardamu (a stand-in for Céline) finds himself equally miserable in “peacetime” serving as a doctor for the poor in Paris (Céline was trained as a doctor). Céline is occasionally compared to another French writer of philosophical novels: Jean-Paul Sartre. Journeyis not heavily allegorical like some of Sartre’s fiction works are (such as No Exit); Céline simply “shouts” at you, and sometimes you’re benefited in hearing the shouting. In Journey’s portrayal of inter-war urban decay, one gets the sense that Céline agrees…
Celine's masterpiece-colloquial, polemic, hyper realistic-boils over with bitter humor and revulsion at society's idiocy and hypocrisy: Journey to the End of the Night is a literary symphony of cruelty and violence that hurtles through the improbable travels of the petit bourgeois (and largely autobiographical) antihero, Bardamu: from the trenches of WWI, to the African jungle, to New York, to the Ford Factory in Detroit, and finally to life in Paris as a failed doctor. Ralph Manheim's pitch-perfect translation captures Celine's savage energy, and a dynamic afterword by William T. Vollmann presents a fresh, furiously alive take on this astonishing novel.
I was educated in the so-called ‘university of life’, before eventually going to a few proper universities, and returning to live in my old hometown in Essex—after spending far too long making loud music and a nuisance of myself in South London. My literary references are eclectic, but I thought I would focus my book recommendations on the anti-hero who comes from the world of French and American dirty realism. It should alert the reader to the kind of novels I write, although they're highly structured crime thrillers, with a heavy dose of very dry, sardonic sense of humor. Finally, the sequel to my latest novel should be ready for publication in 2023.
When I read Junky, I could hear the soundtrack of Low Reed’s Walk on the Wild Side, followed by the extended guitar solo on the live version of Heroin. This is Burroughs using a straightforward narrative before he decided to cut up everything and destroy the notion that there was any purpose to a beginning, middle, and end (see Naked Lunch and beyond!). Junkypulses with the desperation of an addict’s life in post-war New York and drifting down south to places like New Orleans and Mexico City. It’s a unique insight into a drug-infested lifestyle, before drugs became a fashionable accessory. It has authenticity dripping through it and is a testament to Burroughs own addiction, which at one point caused his father to collect him and move him back to live with his parents (just like Lou Reed did before he went on to ‘make…
'Junk is not, like alcohol or weed, a means to increased enjoyment of life. Junk is not a kick. It is a way of life.' Thus, one of the creative visionaries of the Beat movement recites the junk equation, the calculus by which heroin redefines the addict's world. Burroughs's quasi-autobiographical narrative makes for a raw, fragmented and disturbing account of hallucinations, ghostly nocturnal wanderings, strange sexual encounters and quests to ease the hunger of the needle. Read in the incantional tones of Burroughs himself, this legendary account is as shocking and powerful as it has ever been.
Incarceration is a gigantic problem in the US, especially because of its connection to racial injustice. I have no firsthand experience with prison or the system, and yet it looms large in my imagination and my deepest fears. That should not be the case merely because I’m a Black gay American, but here we are. I feel that with the help of my mother and others, I have managed to sidestep a lot of the potential pitfalls of people’s misguided perception of my identity, but I have an active, paranoid imagination and profound survivor guilt, so I gravitate toward stories about people at who are odds with our society in ways that reflect that precarious status which allows me to explore a wide range of human experiences.
This book is one of the most compassionate, no-nonsense,
and highly informative books about the system out there.
It’s intended as a
helpful guide for people who are about to leave prison, but if you’re on the
outside and curious about the largely hidden, unconsidered, and technical
aspects of incarceration in the USA, this book, like its earlier companion, Behind
Bars, will blow your mind and maybe save your life, especially if you’re
involved in the system.
As a young doctor, Carl Holman has experienced the horrors of World War I and the death of his lover, a fellow officer. Back home after the War, he befriends a young jazz musician who he hopes will become a companion he can share his life with. But this is…
Incarceration is a gigantic problem in the US, especially because of its connection to racial injustice. I have no firsthand experience with prison or the system, and yet it looms large in my imagination and my deepest fears. That should not be the case merely because I’m a Black gay American, but here we are. I feel that with the help of my mother and others, I have managed to sidestep a lot of the potential pitfalls of people’s misguided perception of my identity, but I have an active, paranoid imagination and profound survivor guilt, so I gravitate toward stories about people at who are odds with our society in ways that reflect that precarious status which allows me to explore a wide range of human experiences.
Brooklyn native Lerner’s lightly fictionalized memoir is a tightly wound, observant, and even funny account of his time in a Nevada prison for involuntary manslaughter, and also a detailed tour of the contemporary American prison system.
He’s determined to tell the reader how the entire thing works, not just the day-to-day minutiae of prison life but the bigger picture about the way power moves through the guards and the legal system. It drips with sardonic wit and defiance.
It’s horrifying to consider how little experience with prison a lot of people (teenagers, often) have in thinking about their situation. If they got a hold of this book, they might avoid a whole lot of trouble.
Incarceration is a gigantic problem in the US, especially because of its connection to racial injustice. I have no firsthand experience with prison or the system, and yet it looms large in my imagination and my deepest fears. That should not be the case merely because I’m a Black gay American, but here we are. I feel that with the help of my mother and others, I have managed to sidestep a lot of the potential pitfalls of people’s misguided perception of my identity, but I have an active, paranoid imagination and profound survivor guilt, so I gravitate toward stories about people at who are odds with our society in ways that reflect that precarious status which allows me to explore a wide range of human experiences.
This book has a provenance that’s almost like a prison
sentence: released in 1953 under the title Cast the First Stone, it
would have been Himes’ first novel, but its frankness about homosexual
relationships in prison and the fact that a Black writer had written white
main characters, made publishers shit their pants and doctor the life out of it
to make it conform to 50s market expectations. Of course, in the process, they
ruined it.
But in 1998, Old School Books released Himes’ "director’s cut,” a much different, more beautiful, raw, and thoughtful book that’s as much about prison life as it is about the prison of masculinity. Paradoxically, prison
seems to be a place where people indulge homosexual desires, though the
atmosphere somehow remains homophobic.
Reading this book could foster more
compassion for queer desires, whether those of prisoners who identify as
LGBTQIA+, or those who claim…
A classic restored-the complete and unexpurgated text of a great African-American writer's brutal and lyrical novel of prison life. First published in reduced and bowdlerized form in 1952 as Cast the First Stone, Yesterday Will Make You Cry was Chester Himes's first, most powerful, and autobiographical novel. This Old School Books edition presents it for the first time precisely as Himes wrote it, a sardonic masterpiece of debasement and transfiguration in an American penitentiary and one of his most enduring literary achievements.
Very little has been written in English about Sicilian women. Most of the studies written in English about the women of southern Italy are the work of foreigners who discovered our region in adulthood. While some non-Italian colleagues have produced fine work, my books reflect the perspective of a scholar who, being Sicilian, has been familiar with the region and its people all her life. This is seen in my knowledge of the Sicilian language, from which I've translated texts, and even the medieval cuisine mentioned in my books. Viva la Sicilia!
Here is the appeal of a different kind of story. This novella tells the story of an aristocratic Sicilian woman who, in the wake of the unification of 1860, becomes a brigand, which is to say, a partisan, fighting against the new regime.
The protagonist's unique experience is the key to this narrative, which translates into English very well.
This book is a literary historical novel. It is set in Britain immediately after World War II, when people – gay, straight, young, and old - are struggling to get back on track with their lives, including their love lives. Because of the turmoil of the times, the number of…
Because I grew up in the 1950s and ’60s, my supply of heroes was liberally doled out by the 130+ Western series that dominated nighttime televisions. My parents allowed me one program per week. It was a Western. I was soon interested in history, to know what really happened in the American West, and so I came to understand the great discrepancies between fact and TV. The truth, for me, is much more interesting than the myth. But that truth carries some heavy weight, which informs us of our national foibles, crimes, and embarrassments. As a Western historian, I've done my share of historical research, but I still gravitate toward historical fiction as a writer.
As it is often said, “history is written by the winners.”
The Hispanic population had very little voice in the outcome of the Lincoln County War, but it is they who had the deepest insight into who Billy was, for they were his friends and he their champion. Mills has mined that forgotten voice to publish a more thorough understanding of who the Kid was.
The result is a greater appreciation for Billy as a human being. This is a long overdue perspective that better defines Billy Bonney’s admirable traits.
In the annals of American western history, few people have left behind such lasting and far-reaching fame as Billy the Kid. Some have suggested that his legend began with his death at the end of Pat Garrett's revolver on the night of July 14, 1881, in Fort Sumner. Others believe that the legend began with his unforgettable jailbreak in Lincoln, New Mexico, several months prior on April 28, 1881. Others still insist his legend began with the publication in 1926 of Walter Noble Burns's book, The Saga of Billy the Kid.
