100 books like Trickster Drift

I am not the target audience for this book. But it had gotten some buzz, and it seemed interesting, so I read it. And it just blew me away. I’ve read so many articles that say that the more fiction you read, especially books about people and cultures unlike your own, the more empathetic you become. This book does this so well you can practically see it happen. I’ve seen this book on a lot of banned book lists, and for the life of me, I don’t understand why. 

When I first read it, my thought was, “Everyone should read this book. I understand so much better now.”  It’s about 16-year-old Starr Carter, who is smart and wise beyond her years. She witnesses a police officer shoot her childhood best friend, Khalil. This puts her in the middle of a maelstrom of opinion and gives her inside information on a… show more.

It might seem strange for me to recommend the Amber Fang series seeing as how the main character is a librarian/vampire/assassin. But remember, I am recommending teen books with snappy dialogue. Amber’s repartee with her victims—folks who generally deserve to be turned into Amber’s next meal—is witty and laced with librarianisms, like, “You’re so 900.” Arthur also knows how to walk that fine line between being gory enough for young horror fans and sedate enough for—you guessed it—high school librarians.

You Don’t Have to Die in the End is just the sort of book I’d hand to a student who struggled with finding anything relatable. Eugenia Grimm could be down to her last chance when she is sent to Reason’s Wait, a facility for troubled teens. Because of her troubled past, she has programmed herself to lock horns with any adult who tries to cross—or help—her. I cringed during her tempestuous exchanges with social workers, staff, and fellow “inmates”—hoping one of them would find a way to save this bitter, angry girl from herself. Spoiler alert: As Daher’s title suggests, Eugenia’s train wreck of a life is salvaged in the end.

Julia Vanishes, Book One in the Witch’s Child series, is fantasy sprinkled liberally with strong female characters. One of those characters is most certainly Julia. She is deeply flawed, has a mysterious past, and makes a living as a thief, so she’s a bit of an anti-hero. Julia also has a talent for making herself unseen—but this talent is evolving and expanding in ways that are quite frightening. Although Egan’s world-building and plotting are brilliant, what I love most are Julia’s interactions with characters like her lover Wyn (the ultimate bad boy), the mysterious Mrs. Och, and most especially Pia the assassin. Dialogue fraught with tension and humor hurtled me from one chapter to the next.

Paranormal literature contains both entry-level texts and advanced reading.

George P. Hansen’s The Trickster and the Paranormal firmly occupies the latter category; it is best digested a paragraph at a time. Anyone taking the plunge is rewarded with an erudite argument for understanding the paranormal, one yielding ever-increasing dividends the more it is applied: everything supernatural, from the phenomenon itself to those who study it, is subject to the influence of a subversive Jungian archetype known as The Trickster.

This is not an entity but rather a set of pervasive characteristics manifesting independently: transgressive, self-negating, liminal, playful, and, dare it be said, dangerous. Hansen’s speculation makes a little more sense of the insensible, including why irrefutable evidence of the paranormal yet eludes the scientific establishment.

I’m sneakily recommending a trilogy here, of which this is the first book. By turns funny, gritty, dark, difficult, and magical, this book by Eden Robinson, who is a member of the Haisla and Heiltsuk First Nations from the Pacific Northwest, is another coming-of-age novel that dives into the gritty realism of life on a reservation, as well as the deep, magical roots of Haisla mythology. 

Technically two books (Trickster’s Choice and Trickster’s Queen), this duet follows Alianne, daughter of the heroine Alanna and spymaster George, who is kidnapped by pirates and sold as a slave to an outcast royal family. The trickster god enlists/coerces her to aid the family’s plot to reseize their throne, which has Aly working as a spy against her homeland. All of Pierce’s books are fantastic, and the Tortall series shaped me as both a reader and writer of fantasy. It was interesting to move away from the heroism and adventure of the earlier books in this universe to a more morally gray protagonist with spy and assassin training who is secretly working for a god. Also, her love interest is a crow turned human, and it works surprisingly well.

This is one of my favorite picture books. To me, the main character is life itself. A mischievous, greedy, daring, vulnerable, colorful aliveness. The strong colors and the bold shapes of the illustrations demonstrate the raw intensity of life. And the theme of Grandmother loving Pig-Boy unconditionally is one mothers would resonate with. Such a treat!

A trickster god dies, leaving his two sons to squabble with each other and, in that process, identify. At once immersive, magical, and memorable, Gaiman took me through the problems and conflicts of his characters with a potpourri of gravitas, humour, and smartness that only he can conjure with such ease.

Despite the lack of profundity that he's known for amid the scribbled sorcery, I got a lukewarm feel at the end, an all's well that ends well moment that’s an underappreciated and recently overlooked ethic of good-ol’ fantasy.

You've probably heard of the Aesop fables, which were written so that slaves could speak the truth to their masters in disguised terms. The Life of Aesop is an ancient novel length version of the escapades of the slave. Potbellied, snub-nosed and bandy-legged, his openly sexual behaviour broke all the rules of ancient life, which generates much of the humour. He is a trickster who wins small, temporary victories based on an intimate knowledge of how the powerful operate. He works constantly to invert the social order and even though he loses in the end it is only to overwhelming odds. The translation can be found in Daly, L. W. (ed.), Aesop Without Morals: The Famous Fables and a Life of Aesop.