Here are 100 books that Up from the Depths fans have personally recommended if you like
Up from the Depths.
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Fiction has a way of capturing people, places, and phenomena that often elude source-bound historians. As I say in my book, you feel the weight of all the terrible things Colonel Kurtz has done in central Africa far more by his whispering “the horror, the horror” than I, as a historian, could possibly convey by listing them out and analyzing them. That feel–especially what contingency feels like–is something historians should seek out and try to pull into their craft of writing. Getting used to and using fiction to help historians see and feel the past is a worthwhile endeavor.
The idea to adapt Conrad’s Heart of Darkness came from my teaching of modern world history every semester. Later in that course, I would have students read Achebe’s novel as a foil or answer to Heart of Darkness. The Congolese in Heart are barely people: they have no names, and they are only really described by parts of their bodies.
This book presents the West African world–the communities, the customs, the emotions, the families–that colonialism destroys. While it is easy to be swept away by the story’s momentum in the last two dozen pages, take some time early in the novel to enjoy the world that Achebe lovingly paints. I think it is among the most human expressions of fiction you can read.
Fiction has a way of capturing people, places, and phenomena that often elude source-bound historians. As I say in my book, you feel the weight of all the terrible things Colonel Kurtz has done in central Africa far more by his whispering “the horror, the horror” than I, as a historian, could possibly convey by listing them out and analyzing them. That feel–especially what contingency feels like–is something historians should seek out and try to pull into their craft of writing. Getting used to and using fiction to help historians see and feel the past is a worthwhile endeavor.
Do you know how many gallons of blood are in a mature seal? That’s one of the many things you’ll find out in this gripping book about the true story that lies behind Herman Melville’s iconic short story, Benito Cereno.
It was the South Pacific in 1805, and a sealing vessel came upon a ship that they discovered was the result of an onboard slave insurrection. What happened, including the gushing of copious amounts of warm seal blood, is for you to discover. This is an amazing piece of history writing.
One morning in 1805, off a remote island in the South Pacific, Captain Amasa Delano, a New England seal hunter, climbed aboard a distressed Spanish ship carrying scores of West Africans he thought were slaves. They weren't. Having earlier seized control of the vessel and slaughtered most of the crew, they were staging an elaborate ruse, acting as if they were humble servants. When Delano, an idealistic, anti-slavery republican, finally realized the deception, he responded with explosive violence. Drawing on research on four continents, The Empire of Necessity explores the multiple forces that culminated in this extraordinary event-an event that…
Fiction has a way of capturing people, places, and phenomena that often elude source-bound historians. As I say in my book, you feel the weight of all the terrible things Colonel Kurtz has done in central Africa far more by his whispering “the horror, the horror” than I, as a historian, could possibly convey by listing them out and analyzing them. That feel–especially what contingency feels like–is something historians should seek out and try to pull into their craft of writing. Getting used to and using fiction to help historians see and feel the past is a worthwhile endeavor.
I am not the only one struck by Conrad’s depiction of imperial encounter at the dawn of the 20th century. This book contextualizes the real people and places that Conrad adapted for his fiction writing. Jasanoff, a historian, traveled the globe on a container ship for months to try to understand this fascination with maritime travel, far-flung places, and how imperialism and modern capitalism shaped our world.
It is an unusual book (a great thing!) and a meditation on the origins of the contemporary world.
CUNDILL PRIZE 2018 WINNER
SHORTLISTED FOR THE JAMES TAIT BLACK BIOGRAPHY PRIZE 2018
'Enlightening, compassionate, superb' John le Carre
A visionary life and times of Joseph Conrad, and of our global world, from one of the best historians writing today.
Migration, terrorism, the tensions between global capitalism and nationalism, the promise and peril of a technological and communications revolution: these forces shaped the life and work of Joseph Conrad at the dawn of the twentieth century. In this brilliant new interpretation of one of the great voices in modern literature, Maya Jasanoff reveals Conrad as a prophet of globalization as…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
Fiction has a way of capturing people, places, and phenomena that often elude source-bound historians. As I say in my book, you feel the weight of all the terrible things Colonel Kurtz has done in central Africa far more by his whispering “the horror, the horror” than I, as a historian, could possibly convey by listing them out and analyzing them. That feel–especially what contingency feels like–is something historians should seek out and try to pull into their craft of writing. Getting used to and using fiction to help historians see and feel the past is a worthwhile endeavor.
The American Civil War is everywhere, yet nowhere in William Faulkner’s fiction. This book explores the history of Yoknapatawpha County and the fiction of William Faulkner’s Civil War. It is a fascinating exploration of historical memory, race-making, narrative construction, and the South during and after Sherman.
Like The Dawn Watch, I especially loved it because it was neither a history book nor a work of literary analysis. If you have read Faulkner, this is an essential book that helps you understand how all of this is really about the Civil War, even though you’ll find very little gunfire in those pages. The pain is nowhere because it is everywhere.
Michael Gorra asks provocative questions in this historic portrait of William Faulkner and his world. He explores whether William Faulkner should still be read in this new century and asks what his works tell us about the legacy of slavery and the American Civil War, the central quarrel in America's history.
Born in 1897 in Mississippi, Faulkner wrote such iconic novels as Absalom, Absalom! and The Sound and the Fury, creating in Yoknapatawpha County the richest gallery of characters in American fiction, his achievements culminating in the 1949 Nobel Prize in Literature. But given his works' echo of "Lost Cause"…
From my first exposure to Elisabeth Elliot’s writing when I was a teenager, I was intrigued by her story: a missionary few had ever heard of who became an author with several books published by a Big Five publishing company. Over the years I both wrestled with and was encouraged by her work. I’ve now spent more than a decade conducting original research on Elliot’s life. I believe learning more about her and the influences that shaped her enriches our understanding of our past and, thus, of our present and offers us important tools for approaching the future.
Elisabeth Elliot considered Katherine Mansfield not only a literary role model, but a person with whom she had so much in common that reading Mansfield’s letters helped explain Elliot herself.
Thus, this moving collection of letters between Mansfield and her husband sheds important light on how Elliot saw herself, reflecting her challenges in her relationship with her parents, her deep connection with her brother Tom, her passionate love for her husband, her strong and deeply private emotions, her determination to face her own mortality, and her dedication to excellence in her work.
The correspondence of Katherine Mansfield and John Middleton Murry is a story in its own right, as compelling and poignant as any that Mansfield herself invented. Here, juxtaposed for the first time, are 300 letters exchanged between them during their extraordinary eleven-year relationship. The letters begin in January 1912, a month after their first meeting, when both were relative newcomers to the London literary scene; the last, a letter from Murry, was written four days before Katherine died, in Fontainebleau, in January 1923. The intervening years were ones of both feverish creativity and heartbreaking frustration; of intense closeness and unassailable…
I have been fascinated by women who are artists and activists, such as Ivy Bottini, Käthe Kollwitz and Peggy Guggenheim. (All subjects of plays I wrote). They are convicted, unique, champions of justice, diversity and inclusion.
An insightful examination of art collector Peggy Guggenheim, a fascinating character, Ms. Guggenheim was friends with a vast assortment of American and European writers and artists. The reader gets to see the contradictory sides of this brilliant and unconventional woman. As a result of reading this book, I wrote a play about her entitled The Collection.
"Mrs. Guggenheim, how many husbands have you had?" she was once asked. "D'you mean my own, or other people's?"
Peggy Guggenheim's tempestuous life (1898-1979) spanned the most exciting and volatile years of the twentieth century, and she lived it to the full. How she became one of the century's foremost collectors of modern art-and one of its most formidable lovers-is the subject of this lively and authoritative biography.
Her father, Benjamin Guggenheim, went down with the Titanic en route home from installing the elevator machinery in the Eiffel Tower, and it was in Paris in the 1930s that the young…
Benghazi: A New History is a look back at the enigmatic 2012 attack on the US mission in Benghazi, Libya, its long-tail causes, and devastating (and largely unexamined) consequences for US domestic politics and foreign policy. It contains information not found elsewhere, and is backed up by 40 pages of…
To call myself an expert on love would imply success in the field. You can think of me then as a passionate amateur. “Write what you know,” they always say, and there might be nothing I know better than the excitement and heartache of looking for, and finding, and losing, somebody in the world who’s unlike everybody else. Up until recently, I mostly wrote young adult mystery fiction, but my latest book, Words of Love, is evidence that “Will they or won’t they” is still the mystery, the central question, that I seek to resolve not just in my reading, or in my writing, but in my life.
It might seem pompous and affected to recommend this masterpiece by one of the greatest deities in the literary pantheon (who’s no stranger to accusations of pompousness and affectation himself…)—especially when it’s not immediately clear who’s on the other side of Isabel Archer’s “will they or won’t they?” story. Is it the competent, hardworking Caspar Goodwood? The aristocratic, lovelorn Lord Warburton? Her kind, ailing benefactor Ralph Touchett? Or the uncaring art collector Gilbert Osmond? It is evidence of Henry James’ genius that I felt, at the end of the novel, that I had encountered every one of these characters at some point in my life (occasionally in myself)—and his brilliant heroine became the unhearing recipient of all the advice I’ve ever needed to give myself on how to choose a partner.
The talented and beautiful Isabel Archer, courted by several suitors and enriched by her dying uncle, chooses to marry the cold and ambitious Gilbert Osmond. The heroine soon discovers to her cost that freedom of choice is never what it seems.
I’ve been fascinated by color since childhood. I am not a very talkative person by nature and have always found that I communicate well through my illustrations. I have worked both as an illustrator and graphic designer. Through combining illustration with design, I learnt that I have the knack for distilling a complex idea into a simple image, or series of images. My illustrations combine visual trickery with simplicity, designed to make you think and smile. When my children were young, I decided to create picture books like this. The books in this list do the same. I hope you enjoy them!
As a young boy, I always loved Quentin Blake. Although Quentin Blake’s style is very different from mine, I have always admired how much expression and humor he can convey in so few marks.
This book taught me that you can learn to count in a fun way, with a story that is not ostensibly about counting, but actually, that is what you end up doing. I love the element of surprise on each page. I have always loved books that challenged me through pictures, making me spot differences or hidden elements on the page.
Professor Dupont is charming, dotty and intelligent, but perhaps not clever enough to handle his troupe of noisy cockatoos when they decide to play a very adventurous kind of hide and seek. As the Professor searches his house for the missing birds, the young reader is invited to play the game.
Steven G. Marks is a historian who has written extensively on Russian economic and cultural history, the global impact of Russian ideas, and the history of capitalism. He received his PhD from Harvard University and has spent more than 30 years teaching Russian and world history at Clemson University in South Carolina.
Fully abstract art was a Russian invention, but until this remarkable book by Aaron Cohen came out, there was no treatment of the subject that explained the historical context in which it emerged in the work of Kandinsky, Malevich, Tatlin, and others. Other art historians have traced the aesthetic process that led, seemingly ineluctably, toward abstraction, but Cohen shows us how closely linked it was to the despair felt during the First World War. In this short but accessible work that makes extensive use of previously untouched Russian sources, he brings to life the debates over the issue among Russian artists and critics and details the response of the art market to the turmoil of the period and the birth of avant-garde movements that revolutionized art worldwide.
As World War I shaped and molded European culture to an unprecedented degree, it also had a profound influence on the politics and aesthetics of early-twentieth-century Russian culture. In this provocative and fascinating work, Aaron J. Cohen shows how World War I changed Russian culture and especially Russian art. A wartime public culture destabilized conventional patterns in cultural politics and aesthetics and fostered a new artistic world by integrating the iconoclastic avant-garde into the art establishment and mass culture. This new wartime culture helped give birth to nonobjective abstraction (including Kazimir Malevich's famous Black Square), which revolutionized modern aesthetics. Of…
I grew up thinking that being adopted didn’t matter. I was wrong. This book is my journey uncovering the significance and true history of adoption practices in America. Now, in the wake of the U.S. Supreme Court’s overturning of Roe v. Wade, the renewed debate over women’s reproductive rights places…
Even the purest of artists thrive under tension. For some artists, politics has provided a crucial source of tension which has led to great achievement. Usually, it doesn’t. Why? Because artists, like critics, are often poor at gauging political realities. (Artists are usually better off not getting involved with “ideological confusion and violence,” as Greenberg put it.) Occasionally, though, problems become so acute that being unserious about the world is not an option—the 1930s was like this for some, and maybe a second Trump presidency will have a similar effect on artists and critics today, although there is real room for doubt.
I have to put Brecht on this list. Which Brecht? I don’t know, but I find myself coming back to the Journals more often than anything else. These record his responses to the world between 1934 and 1955, but the war years are the most gripping.
Once more, it is the seamlessness with which art and politics come together that characterizes Brecht’s achievement. Brecht is the touchstone, the rock, the ground to which I often return. Brecht’s prose—concrete, direct, transparent—has had more effect on me than any other author. I call it not just “getting to the point” but “getting it right.”
This book contains selected poems, plays, and prose by Bertolt Brecht taken from various points throughout his career. It includes translations of two prose works and provides some background information on Brecht's life and career.
