100 books like Winterlong

Attanasio can run hot and cold, but when he’s hot he’s on fire! This book may have the most ambitious plot of any novel I’ve ever read and is almost impossible to describe. It spans galaxies, has a truly bizarre vibe, and yet rings true, with a love story thrown in.  

Samuel R. Delaney’s masterpiece, Dhalgren, is set in a city in the Midwest that has been emptied by an unnamed catastrophe.

A sense of freedom, violence and disaster hang everywhere as the hero – Kidd, Kid, or the kid, a man with no memory and of ambiguous race (he remembers his mother was Native American) – gains entry into the subcultures that remain behind: parties, high-rise poetry readings with older white people, gun fights, gangs, graphic sex.

Time and perspective seem fluxive, inconstant, and looping. 

This is beautiful, destabilized world building. Dhalgren answers no questions yet evokes a time, place, and milieu that shifts as you read.

I first found it when I was working as a librarian in a prison out on the plains. I didn’t last in prison.

From the strange title to the premise of a futuristic television star who suddenly no one remembers, this book, is the essence of why PKD remains one of my favorite authors: futurism, psychology, and existential angst distilled into a mind-bending cocktail whose characters somehow still feel perfectly grounded and believable. 

The action in this book begins when Severian, an apprentice in the Torturers’ Guild, gives a convict a weapon to kill herself rather than be tortured.

The reason there’s a Torturers’ Guild is, allegedly, that it beats prison: Better to deliver a punishment and then let the punished person return to their life, the thinking goes, than confine them to a useless existence as a ward of the state. Severian is expelled from the Guild, but not from the profession, and wanders the world plying his trade, at least until the plot can’t spare him.

It’s a constant dissonance, looking through the eyes of a character whose training and purpose is the infliction of pain, who seems so decent and forthright in the story he narrates. (But don’t be fooled.)

This fantastic desert world where fire magic is common, but taboo, sucked me in right from the start. Although the main character is a young adult, I connected with her right off the bat. Her struggles as a possessor of fire magic and learning to control it, are daunting, but I couldn’t help rooting for her. Then, there are many strange and dangerous creatures to boot. I was left guessing and worrying if she’d succeed right to the end.

The late great Alan Watts was the master of reminding us not to take reality – or ourselves – at face value. His prose manages to be simple and profound at the same time and he always has his feet on the earth. I could recommend any of his books but this is the one with which I began. No one else can ever tell me who or what I am. My experience of the world is always subjective, whatever science says; and the best way to see accurately is to get to know myself.

I loved the entire series for which this book is the fourth, but this book ensured that I can never go back and read the series again; it hurt that much. Still. I loved it. The characters in this series are family in the deepest, most loving and loyal sense of the word, and it is that sense of family that drives the storyline of this book. This series is sexy and taboo, and yet the biggest thing I took from it was the love and trust that pulsed between them. I wondered, often, if there could not have been a different way, if the author could not have chosen a different storyline, but it is in the difficulties that we sometimes find the stunning. And this story was stunningly beautiful.

For me, the power of both history and anthropology as disciplines of knowledge is their shared capacity for taking a thing you thought you knew and showing you that you didn’t actually know anything about it at all—in fact, you didn’t even know what questions to ask about it. I would be seriously remiss in a list like this if I did not mention the book that first fascinated me, as a historian, with the anthropologist’s way of posing questions. In this towering classic of British social anthropology, Professor Douglas forces us completely to rethink something we actually never think about at all: dirt. But trust me, once you pose the question, “what is dirt?” you can never think about filth (and its structural counterpart, purity) in the same way again.

I can totally relate to his non-conformist views on subjects that too many unthinking flocks of people religiously believe in. I absolutely love the way he fearlessly challenges societal norms and his generally humorous discussion of taboo subjects.

Released in the early ‘90s, Frisk was adapted into a film in the mid-90s by Todd Verow. Both received mixed reviews due its transgressive content about madness and bizarre sexual aesthetic. Frisk leaves little to the imagination as the narrator explores taboo photography and sexual deviance while traveling through Holland. Critics and fans found this breakthrough novel deeply polarizing because it involves a gay character obsessed with annihilation. Nevertheless, the overall theme is about victimization, and a culture obsessed with objectification. Despite the novel’s punk prose and hypnotic pacing, there’s something to be said when humanity has a tendency to destroy what society deems perfect. Cooper definitely explores how human desire can become just as fanatical as a religious zealot. A must read for fans of cinematic gore.