100 books like The Year That Changed Our World

One of the first novels set in COVID times, The Fell, by British author Sarah Moss, is presented from the perspective of four neighbours living in an English village over the timespan of a single night in the winter of 2020. The narrative charts their experiences and reflections on life as they struggle with boredom, loss of employment, having to work and learn from home, and feelings of isolation and claustrophobia. One of the characters simply can’t take it anymore and leaves her home during a period of mandated quarantine. These people care about and watch over each other as best they can, but the feelings of being under surveillance are strong. A dark but compelling read, masterfully written.

This edited volume, by academics Irene Gammel and Jason Wang from Ryerson University, Canada, includes contributions from authors living across the world. The chapters focus on how the arts and culture can both express and document people’s thoughts, practices, and feelings about living through the COVID pandemic. There are discussions on the role of drawing, graphic fiction, cinema, diary writing, urban space, music, streaming services, film, and video conferencing platforms in helping people cope with COVID life. Reading the book provides insights into the different social, cultural, and geographical contexts in which the pandemic has been experienced and how people adjusted to the often very stressful conditions of lockdown, restrictions on movements, fear about their health and grief.

Life Without Children is a collection of ten short stories by Irish author Roddy Doyle. Nearly all the stories are set in Dublin and feature characters who are middle-aged or older men who are struggling to find a sense of purpose in their lives while confined to their homes during lockdowns. Some men lash out in anger at their partners. Others make the best of things, finding moments of intimacy and connection and forging stronger relationships with their adult children and wives. One of the few stories to be written from the perspective of a woman features a nurse who is shattered by the deaths from COVID of her patients. The stories in this collection are often bleak, but there are many poignant and even droll moments.

The COVID Chronicles is an anthology of graphic fiction about COVID life. The dozens of contributors are mostly based in the US but also come from Australia, Canada, the UK, Europe, and Asia. There are a dizzying array of art styles and tones across the collection, from humorous to darkly grim. Together, all the graphic narratives reveal the ups and downs of pandemic life in the early months of COVID: from dealing with loneliness, unemployment, illness, and death, transitioning to working from home, racism, and the Black Lives Matter protests to seeking opportunities to show love, care, connection, and hope.

There’s an image of a large white horse standing above a man who’s kneeling in front of him, gesturing toward the horse’s face with one hand. He is having a conversation with this horse, trying to convince him of something. It’s one of the most beautiful photographs ever! On another page is a fully feathered chicken being dried out, hanging upside down from a clothesline in what appears to be a field of wheat.  It’s astonishing how beautiful this image is. Josef Koudelka is one of the great masters of photography who has taught us all how to see the mystery and awe in places we walk by every day. Through his work, Koudelka has shown me the breadth and depth that photography embraces.

Even the most perfect pictures simply cannot do the canyon justice—none of mine ever have. But the photographic montages of Klett and Wolfe come close; fusing historical shots with contemporary ones they took at the same location, from the same angle, they manage to show what impresses me most in the grand gorge: its timelessness, how little the geology and even the vegetation changes over decades.

This really puts human life into perspective. The images in this coffee table book for the discerning are daring, whimsical, playful, and experimental, all of which are qualities that the best guides and canyoneers display.

Women photographers have all too often been overlooked or forgotten. (This happened to the subject of my own book choice, Helen Post.) But Helen Levitt – who really flourished from the 1940s through the 1960s and is now undergoing something of a renaissance – has always had devotees. Steichen invited her to contribute to The Family of Man and one of her most notable admirers, James Agee, the novelist, poet, film critic, and documentarian, was pleased to write the insightful essay to A Way of Seeing. Levitt’s quirky pictures of street life – especially those featuring children, often at play – document quite ordinary customs at a particular moment. Despite never seeming intrusive, they get up close, reveal the photographer’s rapport with her subjects, and present them, so to speak, on the level. Ultimately, these images are so expressive that they become universal, transcending the period in which they… show more.

As a photography critic for The New York Times, Grundberg was present when a generation of artists began to take apart the photographic image and transform its meaning in society. He wrote about post-modern practice in the present tense, as it was happening. This book is a collection of his reviews and essays from the 1980s when the medium was at a crossroads; the factual veracity of photography was enduring challenges at every turn and the valuation of the photograph as an art object was under critical scrutiny.

Legendary travel photog Steve McCurry has developed a bad reputation over the decades for reportedly mistreating his subjects (notably “Afghan Girl” Sharbat Gula), for allegedly staging and digitally manipulating images (as opposed to the candid shots he claims they are), and for profiting handsomely from it all. But gosh dang if his photographs aren’t gorgeous! In light of his purported misdeeds, I do not intend on dropping any more money on his newest retrospective books, but 2000’s South Southeast – based on his early work in Asia – will always remain on my bookshelf.

Quirky, outrageous, magnificent, shocking, mysterious.

Crewdson’s huge imagery (and huge book) is extreme storytelling, a life history of the characters who people his cinematic productions. From concept to final image requires a full movie set production. The result is a vision of a strange, enigmatic event or situation, like a window suddenly opened to an alternative life.

I find that each image requires many minutes of concentration to see details and allow one’s imagination to work, unwinding the mystery to which we are unexpectedly privy.