10 books like Winter's Bone

Nothing about the art of writing is more interesting to me—as both reader and writer—than the power of language to open, or to enhance, or to teach, our perceptions about life and about living in the richest emotional and thoughtful ways possible. My own Sweetbitter is my major effort at imagining in language or with language as a kind of perception. Our intuitions are immensely valuable, when we can catch hold of them; for the writer, the process of imagining and articulating is a kind of method of deepening our perceptiveness and our intuitions. My books of poems, also, are a necessary—for me—practice of the art of writing.

The United States Old West is a legend, a myth, a land of contradictions. I grew up and have never left this vast land of scorching deserts, soaring peaks, misty coasts, and redwoods that touch the heavens. I grew up on the myths – Tombstone, Billy the Kid, Calamity Jane, Pearl Hart. What I love most are the stories of the women of the West, who survive with grit, wiles, and no small amount of courage. I love finding the lesser known women through novels and research and seeing their lives bloom before my eyes. Cowgirls, sufragettes, doctors, ex-slaves, Cheyenne, Arapahoe, cattle rustlers, homesteaders, dancehall girls.

I grew up in Chicago in the waning days of Mayor Richard J. Daley’s machine, which politicized everything from schools to loading zones. Everyone—whether they were civil servants or small business owners—had to pledge loyalty to Da Boss, Hizzoner, or suffer the consequences. As a result, I’ve always gravitated to crime stories with a political element, one showing the effects of big conflicts on regular people. And I’ve written about the same. 

I've often lived around the fringes of nature, from late-night cross-country road trips through forested backwoods, to living off-grid in New Mexico's high desert. As much as I've lived in the shadow of mountains and extreme environments, I've never dared to venture up into them – and I'm endlessly fascinated by the people who do. What is it that drives people toward extreme sports and outdoor challenges, even understanding the risks? Why do people risk life and limb to venture into places where man isn't meant to be? It's a question I don't think I'll ever stop finding fascinating. 

I started out as a technical writer for computer magazines and my specialty was explaining complex subjects in language the average person could understand. I got tired of that and began writing for general interest magazines, then wrote a couple of thrillers, then plays. For years, I’d been hearing the story of a gentleman farmer who was murdered in 1918, toward the end of WWI, not far from where I live. The murder was never solved and was rumored to involve German espionage. I decided to tackle the story, which involved a mountain of research into historical documents and uncovered a case that was as compelling as any fictional mystery.

As a teenager, I “discovered” the poetry of Emily Dickinson and put her verse to music. Later, at Yale University I delved deeper into the power of rhythms, the beauty of images, the clarity of insights—how they combine to create a genuine poetic voice that reveals an interior world. Politics, of course, define our interactions in the exterior world, and great novels meld these two elements—poetry and politics—into a seamless union. I’ve been inspired to write novels about two poets—Emily Dickinson and John Keats—to bring the reader into the intense, poetic world of their blazing interiors and their unique outward politics.

Since I was a girl, I’ve had an enduring sense that women must work harder, be cleverer, think more creatively than men, both at work and sometimes at home. So I love a woman who stands up for herself, who doesn’t suffer fools gladly. At one time, when the series Spooks was popular on TV, I wanted to be Ros, the operator who, when a dodgy guy followed her, hid around a corner. She flattened him with some nifty moves, stole his car keys and said: “Never follow me again.” Brilliant! I hope you enjoy all the feisty females on my book list. 

I’ve been a traditionally published author of thrillers and mysteries for nearly 20 years. I grew up in rural southern California (yes, it was rural then) surrounded by open spaces, riding horseback through the rolling cattle pastures of San Juan Capistrano. My recollections of those experiences, and the culture shift that inevitably arises out of every generation is a deep and fascinating well from which to draw stories and the characters who flesh them out. My thrillers have won a number of literary awards, and have been bestsellers—for which I am profoundly grateful. I hope you’ll join to relive the ethos, the passion, and the challenges faced when the Old West meets the New.

I'm a recently retired Professor of French literature and cinema studies at Dartmouth College. Because I love both books and movies, I developed a course on adaptation, which I taught with pleasure for many years. I wanted to give students the opportunity to learn how to analyze literary texts and films, separately and in juxtaposition, and they especially enjoyed discovering how the “same” story works quite differently in different media. In addition to the two volumes on Tavernier, my published books include New Novel, New Wave, New Politics: Fiction and the Representation of History in Postwar France; Parables of Theory: Jean Ricardou’s Metafiction; and Rape and Representation (co-edited with Brenda Silver).

I’m a veteran journalist and a long-time lover of mysteries and crime fiction. My new novel, The End of The Road ties together my experience over many years covering true crime and my love of the Classics—my college major—and in particular Homer’s Odyssey. In later years, reading Margaret Atwood’s The Penelopiad, in which she recasts the return of Odysseus from the Trojan War as the story of his long-suffering wife Penelope, inspired me to tell my own tale of an arduous journey from Penelope’s perspective. Being a crime reporter and mystery aficionado helped me spin Penny’s story from a procedural and plotting standpoint; reading Homer helped me explore the literary side of her adventure.