Here are 100 books that Upstream fans have personally recommended if you like
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I’m a storyteller. I studied graphic design, animation, and film and became the title designer of Yorkshire Television’s game show 3*2*1 and directed an art-directed film and animation for British television and cinema. I was the Project Designer of the original Jorvik Viking Centre (1984). By 2008 I designed and built 25 award-winning cultural heritage centres and completed 150 international consultancies, producing and directing my exhibition documentaries. I learned how important writingwas to my work. When it came down to it, whatever technique I used in the telling, there was always the storybehind it as the way to transport the audience into a mentally immersive experience.
I love Cape Cod and I was fortunate to live on the edge of the sea between 1997-2003. Skillfully written by one of America’s greatest writers of the natural habitat, it transports you to a place. It reminds me of what it felt like to live far out in Cape Cod on the North Atlantic at its furthest reach on the east coast of the United States. Living there for several years and spending time in nature with the sea, beach, dunes, and my bicycle, I learned to love its moods, wildlife, and great sense of mystery. I totally identified with this man’s extraordinary experience and how it was years ago. A wonderfully descriptive book that helps you experience with all your senses what it’s like to live next to the sea alone.
The seventy-fifth anniversary edition of the classic book about Cape Cod, "written with simplicity, sympathy, and beauty" (New York Herald Tribune)
A chronicle of a solitary year spent on a Cape Cod beach, The Outermost House has long been recognized as a classic of American nature writing. Henry Beston had originally planned to spend just two weeks in his seaside home, but was so possessed by the mysterious beauty of his surroundings that he found he "could not go."
Instead, he sat down to try and capture in words the wonders of the magical landscape he found himself in thrall…
I am a winegrower, farmer, writer, photographer, and pop-upeuse. I fell in love with food and wine while living and working in Italy, then returned stateside to create an homage to the people and place that embraced us and taught us so much. That endeavor--the restaurant osteria pane e salute opened with my chef husband Caleb Barber—was where I curated the wine program and became passionate about wines farmed artfully. I began working as a winegrower in 2007, a personal landscape experiment that led me down the rabbit hole of growing and making wine from hybrid varieties focused on regenerative viticulture and low intervention winemaking.
The Orchard is a mesmerizing story of one woman’s efforts to save her family farm in Depression-era Massachusetts. It is a glimmering and moving memoir of “Kitty” Robertson’s determination to save the small orchard she inherited from her father, the last thing that linked her family to their history. It is a story of struggle and determination, and she is a heroine who didn’t receive medals or accolades or fortune for accepting the bone-cold physical labor in winters, inherited debt, broken dreams. Somehow she is able to still see the beauty in the grit of farm life in a grim period, spring blossoms in the orchard, the green of summer, the kindness of neighbors as they help each other through challenge after challenge.
In the end, it is a narrative of redemption and victory and reminds me that the life of farming and writing is hard scrapple, but it is…
The Orchard is an exquisitely beautiful and poignant memoir of a young woman's single-handed struggle to save her New England farm in the depths of the Great Depression. Recently discovered by the author's daughter, it tells the story of Adele "Kitty" Robertson, young and energetic, but unprepared by her Radcliffe education for the rigors of apple farming in those bitter times. Alone at the end of a country road, with only a Great Dane for company, plagued by debts, broken machinery, and killing frosts, Kitty revives the old orchard after years of neglect. Every day is a struggle, but every…
Not only am I the author of seven women’s fiction novels, I’m a voracious reader who believes she was raised by Judy Blume and Sidney Sheldon. In our broken home, reading was an escape, a salve for the wound, a place where I felt heard and understood. My novels touch on deep emotions—real and relatable. If I don’t capture thatfeeling when I’m reading through my drafts, I dig deeper. And that’s the thing about a great book, that gut punch, that slide under my skin, I get you. There’s no better read than the one that pulls the heartstrings and gives you all the feels.
Every page ofThe Paper Palace is moving and evocative—the quintessential love triangle that had me torn between young, innocent love and mature, adult love. I’m a sucker for these tropes, so I sunk inside this story of then and now, shuffling through a range of emotions, just like the protagonist, Elle. That’s the best kind of book. When you feel alongside the characters. And the secret longing kept me turning pages until the climactic, tender ending. And that ending. It will keep you guessing. And discussing. And thinking about it. I still think about it.
I was never much of a history student. Facts and figures rarely stick in my brain until I have a character—their feelings, hopes, fears, and dreams—to pair them with, so I rely a lot on historical fiction to understand different places and times. I’m also a believer that our culture too often serves up the impression that marginalized people have forever hopelessly struggled, held back by those in power. But there are so many true stories that reveal the opposite, in this case, women fighting for their dreams and winning! I aim to bring these stories to light in a way that keeps the pages turning.
Maria Mitchell, raised as a Nantucket Quaker, was the first woman to discover and name a new comet, no easy task in the 1840s when women were not meant to study astronomy, let alone when her only instrument was a small telescope on an island roof. Brill takes artistic license with Mitchell’s story, adding nuance and detail likely outside the scope of her research, and delivers a riveting tale of a woman determined to live her dreams, no matter how high the barriers to achieving them.
Amy Brill's The Movement of Stars tells a story of illicit love and extraordinary ambition.
It is 1845, and Hannah Gardner Price dreams of a world infinitely larger than the small Quaker community where she has lived all 25 years of her life - for, as an amateur astronomer, she secretly hopes to discover a comet and win the King of Denmark's prize for doing so.
But she can only indulge her passion for astronomy as long as the men in her life - her father, brother and family friends - are prepared to support it, and so she treads…
Weddings are stressful for even the most functional of families. I should know—it took me nearly two years to plan my own! The process of manufacturing the big day, and attending to all the trappings of the wedding industrial complex, really brings out our best and our worst. In my most recent novel, I found that a big, splashy wedding provided such a fun and fascinating way to explore the tensions and enduring love within families, friends, and couples. If done right, plots involving weddings can smash tired “bridezilla” and “monster-in-law” tropes. As we enter the summer wedding season, I hope this list of books keeps you laughing and loving!
No one does family dysfunction in beautiful places like Maggie Shipstead.
In this novel, she sweeps us to a fictional island in New England (I imagined Martha’s Vineyard), and into the Van Meter family who, for all their wealth, have the communication skills of elementary school kids at recess.
Part comedy of manners, part dramatic exploration of our very human obsessions and anxieties, you’ll want to read this book with a lobster roll and a gin and tonic nearby.
The New York Times bestselling author of Great Circle
'Joyously good' DAILY MAIL
'A ferociously clever comedy of manners' GUARDIAN
'A wise, sophisticated and funny novel about family, fidelity, class and crisis' MARIE CLAIRE
'A well-observed, hilarious, yet moving novel' WOMAN & HOME
New York Times bestseller and winner of the 2012 Dylan Thomas Prize and 2012 L.A. Times First Novel Prize
The Van Meters have gathered at their family retreat on the New England island of Waskeke to celebrate the marriage of daughter Daphne to an impeccably appropriate young man. The weekend is full of lobster and champagne, salt…
I am drawn to what happens when writers skilled in one form of expression explore their ideas in another. Poets write with a sense of distillation. Prose allows for something different, the essay form bringing to the surface something more expansive, less concentrated. Clarity is constant, but it takes on a different rhythm, a spaciousness, a sense of one thing leading to another and another.
Wiman writes about human suffering, pain, poetry, and faith, subjects that do not often and ordinarily coalesce. He is familiar with and eloquent about the mutability of belief, about knowledge, and contingency. “Experience lives in the transitions,” he states. If there is a sense of urgency in his thinking here, there is also a sense of lightness, nuance, conjecture, and intimacy too, all of which are suited to the gravity of his subjects.
Eight years ago, Christian Wiman, a well-known poet and the editor of Poetry magazine, wrote a now-famous essay about having faith in the face of death. My Bright Abyss, composed in the difficult years since and completed in the wake of a bone marrow transplant, is a moving meditation on what a viable contemporary faith―responsive not only to modern thought and science but also to religious tradition―might look like. Joyful, sorrowful, and beautifully written, My Bright Abyss is destined to become a spiritual classic, useful not only to believers but to anyone whose experience of life and art seems at…
I am drawn to what happens when writers skilled in one form of expression explore their ideas in another. Poets write with a sense of distillation. Prose allows for something different, the essay form bringing to the surface something more expansive, less concentrated. Clarity is constant, but it takes on a different rhythm, a spaciousness, a sense of one thing leading to another and another.
W. S. Merwin writes about place with both a sense of rich material texture and evanescence. Science and history may be referred to as well. Somehow these assorted sensibilities, or views, create a genuine and full sense of place that reflects what is both visible and invisible. For some reason I don’t quite understand, I would rather encounter a monk on a tractor in a Merwin essay than in a Merwin poem.
W. S. Merwin is widely acknowledged as one of the finest living poets in English. Less well known is the power and range of his work in prose. For his first new prose collection in more than ten years, The Ends of the Earth, Merwin has gathered eight essays that show the breadth of his imagination and sympathy. A memoir of George Kirstein, publisher of "The Nation," stands alongside one of Sydney Parkinson, explorer, naturalist and artist on Captain James Cook’s Endeavour. A wonderful portrait of the French explorer of Hawai’i, Jean-Francois Galaup de La Perouse is followed by a…
People come to songwriting from all different directions. Some have wanted to do this since they were little kids. Some like to make their parents mad. Some are wildly talented but crippled with doubt. All I can say is that no matter which way you’re facing, I think I can help you. I say this because I’ve been teaching college-level songwriting for years now, and every semester I have students who want to meet with me for office hours. They’re all repeat customers and I’ve noticed that many of them ask repeat questions. The point of my book, Music, Lyrics, and Life, is to try to address those repeat questions because chances are good that you have them, too.
A series of poetry lectures not intended for publication, they combine to form an astounding journey into language and art. You don’t need to be a poet to love the casual way she delivers bomb after bomb, and to wish you’d been her student. I guess this is as close as I’ll get, and it’s taken a long time (I’m still not done) because I can just sit on a phrase or a page for an entire subway ride. Definitely would have failed her class, but having the lectures written out is like getting an extension without needing to grovel for it.
This is one of the wisest books I've read in years...--New York Times Book Review No writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act--the fact that poetry must both guard and reveal, hint at and pull back...Also, and maybe most crucially, Ruefle's work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that's vital and welcome, that doesn't make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon…
I am drawn to what happens when writers skilled in one form of expression explore their ideas in another. Poets write with a sense of distillation. Prose allows for something different, the essay form bringing to the surface something more expansive, less concentrated. Clarity is constant, but it takes on a different rhythm, a spaciousness, a sense of one thing leading to another and another.
Because of the way she writes about the past and the way she writes about the present. Because she is at once straightforward and lyrical. Because she writes about places and people with the same acuity and insight. Because she writes with certainty about ambiguity.
Presented in two sections, "Memory: Persons and Places" and "Stories," this book offers the collected prose writings of Elizabeth Bishop (1911-79), one of America's most celebrated and admired poets. The selections are arranged not by date of compostion, but in biographical order, such that reading this volume greatly enriches one's understanding of Bishop's life--and thus her poetry as well. "Bishop's admirers will want to consult her Collected Prose for the light it sheds on her poetry," as David Lehman wrote in Newsweek. "They will discover, however, that it is more than just a handsome companion volume to [her] Complete Poems.…
I am a winegrower, farmer, writer, photographer, and pop-upeuse. I fell in love with food and wine while living and working in Italy, then returned stateside to create an homage to the people and place that embraced us and taught us so much. That endeavor--the restaurant osteria pane e salute opened with my chef husband Caleb Barber—was where I curated the wine program and became passionate about wines farmed artfully. I began working as a winegrower in 2007, a personal landscape experiment that led me down the rabbit hole of growing and making wine from hybrid varieties focused on regenerative viticulture and low intervention winemaking.
Wine writer, and now friend, Alice Feiring has often been controversial, but she has always been a champion of the kinds of wines I love, natural wines that are allowed to tell the story of where they are grown and the people who steward them. Her book Naked Wine came out in 2011, just a year after my first very small vintage of natural wines. In her own tale of making wine in Oregon and her journey tracing the roots of modern natural wine in France, Spain, and America rang so clearly for me from her stories of a wine made in a fixer-upper farmhouse in France replete with scorpions to a vineyard cum garden of Eden scented with mint and thyme in Spain, I realized I not only loved wines that told stories, but writers who tell the stories of wine and place.
Naked wine is wine stripped down to its basics,wine as it was meant to be: wholesome, exciting, provocative, living, sensual, and pure. Naked, or natural, wine is the opposite of most New World wines today Alice Feiring calls them overripe, over-manipulated, and overblown" and makes her case that good (and possibly great) wine can still be made, if only winemakers would listen more to nature and less to marketers, and stop using additives and chemicals. But letting wine make itself is harder than it seems. Three years ago, Feiring answered a dare to try her hand at natural winemaking. In…
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