96 books like The Thousand Crimes of Ming Tsu

This short novel is heaps of fun! It’s another take on the Tombstone story, told from Doc Holliday’s point of view with great wry wit. This Doc is an engaging and unexpectedly kind character, with little or no hint of his reputed “mean disposition”. Weird elements include steampunk – with Thomas Edison living in Tombstone and bringing not only electric light but cyborg sex workers – as well as an undead Johnny Ringo, and supernatural justice wielded by the Native American shamans. It’s delightful!

This anthology “blends western grit with the magical and mysterious unknown that waits beyond the next horizon” and includes both a great range of stories and some delightful illustrations. “Abishag Mary” by Frances Rowat brings sea-based imagery deep into the landlocked deserts. “Frank and Earnest” by Tonia Brown features some cracking dialogue, not to mention a villain who seems entirely out of place and mostly baffles the two heroes. Other stories venture beyond the Old West, including "Fifteen Seconds" by Scott Hungerford featuring an alien invasion of a different kind in a more recent West. An excellent collection!

This rollicking set of whip-smart short stories through a supernatural Wild West is guaranteed to engage readers, with tales ranging from uncannily magical cards to steampunk bordellos to undead outlaws.

Delivering chaotic gunslinger fun from start to finish, Dead Man's Hand explores the intersecting worlds of the living and undead in many delightful and unforeseen ways. As a supernatural storyteller myself, I couldn't stop turning the pages to see what new fantastical creature or magical spell the authors would envision next.

It was my faithful companion through many late nights crafting my own novel, inspiring me with its spirited inventiveness of mysterious beings and magical mayhem. 

These fourteen essays explore the hybrid “weird west” genre, examining a range of texts including some by Native American authors, as well as TV series, films, fiction, roleplaying games, and comic books. It makes for an interesting read – and is thought-provoking in its conclusion that despite weird westerns challenging and destabilizing many of the old cliches, they have yet to “imagine an existence outside of colonial frameworks”. This has given me much food for thought, as it seems to me that frontiers (wherever found) are an intrinsic part of the western genre, and frontiers tend to imply conflict between the inhabitants and the invaders, between the new and the established. Maybe I’m wrong! In any case, this proves that we still have a long way to go before we’re done exploring all the possibilities of this intriguing genre! 

This is a big book, more than 700 pages, but it is worth every word. Bain focuses not on the workers who built the railroads, but the machinations, corruption, and political hijinks of those who dreamed up, financed, and managed the companies of the Central Pacific and the Union Pacific. It’s hard to tell the good guys from the bad guys—or even if there are any good guys. Bain manages to make the multiple historical figures in his book memorable and easily identifiable, which not all historians achieve. He also infuses his telling with a sly humor that catches the reader off-guard and, at times, made me laugh aloud.

The Chinese American presence in the USA started with the gold rush and the building of the transcontinental railroad.

It was a blessing to find Chang’s non-fiction work because he utilized a tremendous about of research to accurately cover the book’s topic. I’m also grateful that his writing style is not dull.

Building a railroad trestle through the High Sierra mountains in winter implies work conditions that affect laborers as well as investors. Chang strings the human sentiments throughout the history of those who participated in noble fashion, Chinese and non-Chinese alike.

In portraying the Chinese experience, Chang’s book as underscores how vital the transcontinental railroad was to the development of America. 

If Howard is the father of the weird western, Joe Lansdale is the godfather. The trope of the wronged Native American shaman afflicting a frontier town with an undead plague has surely been used time and time again in the genre, but this is the original and best iteration. Joe’s Texas dialogue pops like a bullwhip cracking on a skeletal mule’s vertebrae and you can smell the iron and gunsmoke in his prose. He establishes his reputation with this book and in my opinion, cements it with the Jonah Hex weird western comics Two-Gun Mojo and Riders of The Worm and Such.

This book falls under the category “urban fiction” or “magical realism” or “western” or…something. At least, that’s what drew me to it in the first place. It takes place in America’s old west, features magic-using criminals leading a gang and draws on some Native American lore. The magic is terrifying, it’s a mix of environmental and mind-altering hoodoo. The most powerful antagonist is rugged, homosexual, unashamed, and a conflicted terror of a person. His partner in crime is simply terrifying. Together, they drive a trilogy that’s so well threaded through the old west you can taste the grit as you turn the page. Though the emphasis is on the pursuit of magic and the machinations it drives, the settings are a delight to experience. Files weaves a world in these novels that is equally fascinating and terrifying. Her prose and daring are an inspiration.

Sometimes I want a dense, fascinating world to unpack, and sometimes I want to open a book and have it punch me in the face with no-holds-barred action and adventure.

The main character of Let Sleeping Gods Lie is Porter Rockwell – a real person from the history of Utah Territory and the Old West. But this story takes place where, once again, legends of the area have come to life and evil has real, lethal fangs. It’s like a spaghetti western meets Die Hard meets a D&D campaign – which pushes every single one of my buttons.

This one has a hero that refuses to be stopped, action that isn’t afraid of pushing expectations, and an unabashed love of over-the-top set pieces that made me giggle in delight.

Best known for creating Conan The Barbarian, Howard fathered the weird western genre with his seminal 1932 short story "The Horror From The Mound," collected here along with "The Thunder-Rider" and "Old Garfield’s Heart." Reading these early genre mashup stories of conquistador vampires, reincarnation, and Native American magic in high school was like tasting peanut butter and chocolate for the first time. They made new notions bloom like a field in my mind. You could take the gritty frontier of Lonesome Dove and introduce an element of the magical fantastic, and if you respected both genres, come up with something entirely new. I especially appreciated the culture clash of the frontier.

It’s something I explore a lot in my own work; that disparate peoples meet, mix, and come away changed by the encounter. This is an idea that Howard, who adored research and folklore, represents pretty well in "Old Garfield’s… show more.