Here are 89 books that The Village of Bones fans have personally recommended if you like
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I played rugby union for Durham University and at Rosslyn Park FC in London. Then I became a reporter and editor, for Rugby News magazine and on Fleet Street sports desks. In March 2002, six months after 9/11 and a year before the invasion of Iraq, my Park team played against the cadets of the United States Military Academy. Years later, settled in New York, I decided to find out what happened to those West Point rugby players in the 9/11 wars, and what their experiences might tell us about sports, war, brotherhood, loss, and remembrance.
Finkel, of The Washington Post, surpassed most Iraq reportage with his account of his time in Baghdad in 2007 with 2nd Battalion, 16th Infantry Regiment, 4th Infantry Brigade Combat Team, 1st Infantry Division – the 2-16 Rangers for short.
Embedded with soldiers on the shifting front lines of a savage war, what he showed was neither good nor bad: it just was.
Finkel’s title echoes The Good Soldier Svejk, Jaroslav Hašek’s first world war satire. There’s satire in Finkel, about American notions of Iraq and war that deepened with a home-front sequel, Thank You For Your Service. But there is also simple acceptance of these soldiers as human beings, placed in savage extremis. I carried Finkel’s example into every conversation about the West Point players’ experiences, losses, and lives.
In January 2007, the young and optimistic soldiers of the 2-16, the American infantry battalion known as the Rangers, were sent to Iraq as part of the surge. Their job would be to patrol one of the most dangerous areas of Baghdad.
For fifteen months, Pulitzer Prize-winning reporter David Finkel was with them, following them almost every grueling step of the way. The resulting account of that time, The Good Soldiers, is a searing, shattering portrait of the face of modern war. In telling the story of these soldiers, both the heroes and the ruined, David Finkel has also written…
I am an academic at the University of Queensland whose research areas include horror films, screen trauma theory, the cinematic representation of urban spaces, and the collision of romanticism and postmodernism in fantasy literature. My first book, POV Horror: The Trauma Aesthetic of the Found Footage Subgenre, was adapted from my PhD thesis. I am an avid member of the A Song of Ice and Fire fandom, and my second book represents over a decade of talking and writing about George R. R. Martin’s epic fantasy series, having grown out of conversations in forums, podcasts, symposiums, and fan conventions, as well as my own background in literary analysis and research.
The first installment in Erikson’s magnum opus introduces readers to the voracious Malazan Empire and focuses on a military, political, and supernatural battle for the free city of Darujhistan.
It boasts a vast, strange cast of characters and an even vaster, stranger world. However, Erikson demonstrates how every element, from the lowest trader to the mightiest god, can shape the outcomes of events. The free will of each character is shown to be in constant tension with the free wills of others, as well as the wrenching currents of history.
The antagonist of Erikson’s story is not a dark lord, but nihilism—the prospect that there is no moral order or higher meaning to existence—and every one of his characters must face this threat and figure out how to survive it.
When the last of the free cities of the Malazan Empire is targeted by the forces of the Empress Laseen, Bridgeburner squad leader Sergeant Whiskeyjack and the mage Tattersall confront dark gods to protect the citadel of Darujhistan.
I must be something of a specialist on the impact of conventional and guerrilla warfare on the civilian population. Truth is, leaving school, I never intended to have anything to do with war beyond the books I enjoyed reading. On leaving the military in my 30s I employed the only skills I had and managed organisations and mostly news teams operating in conflict zones all over the world. I matured into a crisis manager, responding and consulting to crisis situations such as kidnap & ransoms, and evacuations from conflict zones. Most of the characters in my books are real, good and bad, taken from the vast theatre of my own experiences.
I read this book when I was 16 years old. It was my first military history book and I could not put it down. Up until then I had only read military fiction: War and Peace, Ben Hur – the bigger the books the better. What captivated me most about Fuller's 2 volumes was the battles he chose to describe, starting with Salamis in 480BC, had the outcomes been different the course of world history would have changed significantly. The world in which we live in today would not be the same. This only served to intensify my interest in the detailed descriptions and at the end of each battle I'd try and imagine how history might have been impacted had the outcomes been reversed.
For thirty-one years a member of the History Department of the University of Liverpool prior to his retirement in 2020, Charles J. Esdaile has written a host of books on the Napoleonic era, but is particularly knowledgeable in respect of the Peninsular War of 1808-1814, a subject to whose historiography he has made an extraordinary contribution. Thus, setting aside a host of articles and conference papers, he has published eight books on the subject.
A study of the mechanics of combat in the Napoleonic era, this work is billed As covering the whole gamut of the Napoleonic Wars, but the bulk of the material on which it is based is drawn from the Peninsular War, and so it may be viewed as primarily belonging to the historiography of that conflict. As such, it is excellent, however: if anyone is looking for something that will give them an insight into what the officers and men of the British and French armies went through on the battlefields of Spain and Portugal, this is very much the place to go.
What was it like to be a soldier on a Napoleonic battlefield? What happened when cavalry regiments charged directly at one another? What did the generals do during battle? Drawing on memoirs, diaries, and letters of the time, this dramatic book explores what actually happened in battle and how the participants' feelings and reactions influenced the outcome. Rory Muir focuses on the dynamics of combat in the age of Napoleon, enhancing his analysis with vivid accounts of those who were there-the frightened foot soldier, the general in command, the young cavalry officer whose boils made it impossible to ride, and…
Research Professor of Psychology at Bryn Mawr College. Since the 9/11 attacks I have tried to understand how normal individuals, people like you and me, can move to terrorism in particular and political violence more generally. I retired from teaching in 2015 to have more time to write. I’ve written about genocide (Why Not Kill Them All? The Logic and Prevention of Mass Political Murder), about self-sacrifice (The Marvel of Martyrdom: The Power of Self Sacrifice in a Selfish World), and about terrorism (Friction: How Conflict Radicalizes Them and Us).
Keegan popularized a new kind of military history, history focused on the experience of those “at the sharp end” of battle. Generals may as individuals have the most influence on the course of battle, but Keegan argues that, taken together, the men doing the fighting have more influence than the generals. He describes the experiences of men in three famous battles, and shows how tactics evolved but the demands of facing death remained all too familiar. I love this book for using history to find the psychology of men in combat.
John Keegan's groundbreaking portrayal of the common soldier in the heat of battle -- a masterpiece that explores the physical and mental aspects of warfare
The Face of Battle is military history from the battlefield: a look at the direct experience of individuals at the "point of maximum danger." Without the myth-making elements of rhetoric and xenophobia, and breaking away from the stylized format of battle descriptions, John Keegan has written what is probably the definitive model for military historians. And in his scrupulous reassessment of three battles representative of three different time periods, he manages to convey what the…
My passion for Chinese history took root when I began reading Jin Yong’s wuxia novels, which are all steeped in Chinese historical background. My fiction writing career began with historical fiction based on Chinese history. Through my earlier research work, I discovered that Chinese historians have always given short shrift to the influence of women on cultural, political, and social developments throughout the ages. That led me to decide to center my writing around inspiring Chinese female historical figures. After publishing The Green Phoenix and Tales of Ming Courtesans, I branched out to write wuxia fantasy novels, but with the same objective of featuring admirable female historical/fictional characters.
The carefree Lotus Huang comes into her own in this volume as she charms her way with wiles through problems and obstacles she and Guo Jing encounter as a couple, including two girls to whom Guo Jing is betrothed against his will. She is not as frivolous as she appears, and she always watches bumbling Guo Jing’s back.
This is the second English volume in Legends of the Condor Heroes, which is a popular novel by Jin Yong that I had read in Chinese as a child and which I recently re-read and still loved. I picked out this volume mainly because I adored the translation of one poetic passage describing the hallucinating “Ode to the Billowing Tide” flute melody played by Apothecary Huang.
A Bond Undone is the second book in Jin Yong's epic Chinese classic and phenomenon Legends of Condor Heroes, published in the US for the first time!
In the Jin capital of Zhongdu, Guo Jing learns the truth of his father’s death and finds he is now betrothed, against his will, to two women. Neither of them is his sweetheart Lotus Huang.
Torn between following his heart and fulfilling his filial duty, Guo Jing journeys through the country of his parents with Lotus, encountering mysterious martial heroes and becoming drawn into the struggle for the supreme martial text, the Nine…
The writer part should be obvious. I write books under my own name and as a ghostwriter. But also, like any good writer, I am a reader. The earliest books I recall reading, after Dick and Jane, were books on American history, in particular the American Civil War. When I looked to write on my own, this was the first area I looked into. Write what you know. Write what you like to read.
The subtitle of this book is A Microhistory of the Final Attack at Gettysburg, July 3, 1863. This puts it well. This is virtually a “real-time” history of one of the most significant battles in American History. It is well documented and the book is very well written. It places the reader in the battle as the fate of the United States hangs in the balance.
I have always been interested in cultural history. In my early 30s, I realized that Greek mythology was a late, patriarchal revision of the earlier Goddess-centric myths. After much research, I reconstructed several pre-Olympian myths in my book Lost Goddesses of Early Greece. This was one of the first books of the Women’s Spirituality movement, which began in the 1970s and is still going strong. A few years later, I edited an anthology of 50 voices, The Politics of Women’s Spirituality. Thus I am a foremother of that movement, which is a bountiful exploration of authentic spiritual experience in women’s lives.
There are hundreds of good books on Goddess spirituality. This one presents a heart-centered approach that blends beautiful color plates of historical Goddess art and artifacts from around the world with an accessible explication of each Goddess’s mythology and cultural significance—as well as Hallie Iglehart Austen’s invitation to join her in a brief guided mediation for each Goddess. Her stated goal is that readers might “come into balance, reclaiming the lost feminine deep within ourselves and sharing that wisdom and power with the world.” Here’s the opening to a preface entitled “A Millennial’s Initiation”: “Every book is a teacher, yet some books reveal truths that flow into your deepest roots and stay with you forever. Reading The Heart of the Goddess was, truly, a rite of passage for me.”
When my Mexican maternal grandmother died the month before I was born, she left the door between the worlds ajar. Conversations with my nana’s spirit instilled faith that I could converse with all spirits, from the consciousness of land to trees, herbs, and even ideas. Being raised a Christian Scientist taught me the power of mind over matter and instilled the authority and responsibility for my own wellness through my Divine essence. This upbringing prepared me for my Witchcraft path that considers self-care as tending of my Divine spirit, illuminates the Divine light in all of Life, and teaches how to manifest Magick through our relationships, self-love, and personal healing.
I admire and deeply respect Vicki Noble, a wild, witchy woman whose legacy and ongoing activity paved the path for reviving the Goddess. Her book, Shakti Woman, was bequeathed to me from my best friend’s magickal collection after she crossed to the Other Side. This book is a fierce reclamation of the Divine Feminine within each of us and a rallying cry for equalizing the imbalance of energy that has caused so much mental, physical and spiritual instability, and pain. When the female is left out of the divine, we all suffer, and our Magick and Witchcraft are covered up. Shakti Woman brings us to wholeness because when we see ourselves as equally God and Goddess then we come to know that self-care is how we tend the Divine within.
I've been fascinated by psychedelics since I was a teenager, and along with my book I’ve written a number of academic papers and book chapters on the subject. It intrigues me how subtle changes in the brain’s chemistry leads to such profound changes in perception, cognition, and feeling, including religious feeling. I want to know what those experiences mean, and what they can tell us about the world. For if all they are is some derangement of the senses, why is it that so many writers, thinkers, philosophers and artists return to the experience, again and again? There is a riddle here, a mystery, and I love that I’m able to devote my research time to trying to answer it.
Psychedelic literature is unquestionably dominated by the white, male author. If, like me, you yearn to hear other voices and other perspectives, then this collection of essays couldn’t be more timely. The twenty-three chapters, from academic and non-academic authors, cover a range of perspectives, and while you may not agree with all of them, they’re refreshing nonetheless. It’s hard to single out any particular essay, but it’s always a pleasure to read Kathleen Harrison. Harrison, who was once married to Terence McKenna, spent years living with the Mazatec people, and treats us to her animistic vision of the world as something that’s alive and communicative. But the whole book contains riches and paves the way to a more diverse psychedelic literature.
An exploration of the connections between feminine consciousness and altered states from ancient times to present day
Women have been shamans since time immemorial, not only because women have innate intuitive gifts, but also because the female body is wired to more easily experience altered states, such as during the process of birth. Whether female or male, the altered states produced by psychedelics and ecstatic trance expand our minds to tap into and enhance our feminine states of consciousness as well as reconnect us to the web of life.
In this book, we discover the transformative powers of feminine consciousness…
