Fans pick 100 books like Watching Dallas

I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.

I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.

I was living one of the darkest periods of my life when a friend took me to a Louise Bourgeois show. I wandered among her pieces feeling numb. Then I entered a large room filled with Passage Dangereux from 1997. A most depressing art piece that put me into contact with the restrictions in a family, the limitations we set for each other, and the unhappiness everywhere. When I left the room, I felt a lift in my spirits. I’m a writer to try to put more precise words to what goes on inside ourselves when we are alone and when we fall in love and enter into a relationship with another person. 

I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.

I’ve always wanted to write. It took years to get started, and after working in the library and information technology fields for over thirty-five years, I quit the day job routine in 2011 to write full time. I've learned two valuable lessons since I started writing which have been of immense help. The first is a quote from writer and activist Mary Heaton Vorse, who said, "The art of writing is the art of applying the seat of the pants to the seat of the chair." The second is from novelist Rachel Basch, who told me that "the story has to move down, as well as forward." Both sound simple. Neither is.

Hi, my name is Laurie Buchanan, and I'm addicted to dogs. I was nicknamed "Dr. Doolittle" at seven, and the moniker has stuck. Why? Because I have a way with all animals, but dogs in particular. I've been owned by dogs (not the other way around) since elementary school—from Irish wolfhounds to Scottish Terriers and everything in between—Poodles, Collies, Dalmatians, and mixed breeds. Not only do I enjoy reading books that feature K9 characters, but I also write them—The Sean McPherson crime thriller series. I do my best plotting during my daily six-mile walk with my four-legged companion, Henry, a not-so-standard Standard Poodle.

I grew up poor. At 6 years old, I was homeless. My parents had a messy divorce, and I was bounced around a lot as a child. As a result, I grew up with many limiting beliefs; about myself and about money. By age 13, I heard about the stock market and the ability to turn a little into a lot. By the time I graduated high school, I had saved up some money and placed my first trade… I then struggled for more than a decade. After learning the hard way, I finally turned the corner in 2011. My dream is to help others do the same.

I am committed to creative work. All of my adult life has been shaped by that commitment. And while I don’t directly recommend it (unconventional routes are unpaved, and, of course, there be dragons), I know it is the route to beauty and making the most out of the world as we live it. We’re lucky to make music, show love, and hand it down to our kids, but we need to tell stories, and we must have stories to tell. All of this arises from your creative power. I know a lot more than I can say with words, but the languages of sharing emerge from venturing into the unknown. 

I have always been fascinated by human behaviour since going to a school where we were told there was a right and a wrong way to do everything. That never felt right to me – human beings are much bigger than that! I studied Counselling and Therapy at Norwich City College in the 1990s and later specific courses on Transactional Analysis. Many years on, I am still learning…

I became interested in the relationship between the mind and the brain around the age of 8. It was at this age that I decided to become a neuroscientist. Years later, I completed a bachelor's degree in psychology and then a doctorate in neuroscience. I’ve spent part of my research career in neuroscience at the University of Montreal. I have also been affiliated with the University of Arizona (Tucson). My groundbreaking work on the neurobiology of emotional self-regulation, consciousness, and spiritual experiences has received extensive international media coverage and numerous awards. I am one of the main proponents of a postmaterialist paradigm for the new science of mind/consciousness.