Fans pick 100 books like Yiddish for Pirates

Speaking of authors who combine stylistic daring with profound emotion, I give you George Saunders. Saunders’s strange and funny stories prompted me to try my hand at writing fiction, and his first novel is one of my favorite books.

Inspired by the true story of Abraham Lincoln sneaking, on multiple occasions, into a Washington D.C. crypt to cradle the corpse of his young son, Willie, this book also breathes life into a sizeable cast of ghosts squatting in the “Bardo”—a liminal space between life and death. As the American Civil War rages, President Lincoln and the unwilling ghosts must all come to terms with the inevitability of death. This book is a great American novel, equally hilarious and heart-breaking.

This book gave me shivers, both from the monsters and the evil that humans are capable of.

This novella from P. Djeli Clark manages to be action-packed while still dealing with heavy topics like racism and slavery. It’s the 1920s, and Maryse Boudreaux is a Black woman living in the deep south of the United States. Maryse and her friends have formed a militia to fight the ‘Ku Kluxes,’ monsters who take the form of Ku Klux Klan members to spread hate further.

There are points in this book where it seems like all is lost, which makes it all the more satisfying when the heroes rally. 

The only reason I don’t list Love in the Ruins as my favorite novel is because the shadow of this book looms large over every speculative novel I read.

Both books are extraordinarily funny, but Love in the Ruins has become more of a comfy read, while I still find Gravity’s Rainbow complex and challenging. It’s a cross between slapstick and mind f*ck. I would issue a trigger alert for readers who find occasional perverse sex and violence uncomfortable, but I personally believe reading uncomfortable books can make us grow into better readers and better writers.

I am a historian by day. But I have always believed that artists—whether writers, painters, or musicians—capture the human experience of history and, moreover, convey it in an enduring form for future generations far more effectively than historians. 

Historians have to present a single line of analysis or argument, which inevitably and properly makes events of a particular historical period meaningful to the particular moment in time when they are writing. A true artist can transcend both of those times. In my view, Rushdie’s book achieves that for the period, or generation, after Indian independence in 1947.

I have lived in India and written a lot about Indian history myself, including a book about Bombay, where Rushdie was partly raised. So, I have enjoyed and admired many of his earlier books, but this one remains his great achievement as a work of historical art.

Among the wonders of medieval Spain is the appearance of the first Hebrew secular poetry since Biblical times. In this masterful and unparalleled set of translations by Peter Cole, we witness the profound, pious, chauvinistic, and indeed, sensual traditions of secular poetry over centuries. A fusion of Arabic and Hebrew traditions, in and of themselves, these poems stand as a metaphor for the Jewish community itself as well as its dynamism and endurance under Muslim and then, Christian rule. 

Krakowski's Coming of Age in Medieval Egypt offers not only offers a sophisticated critique of scholarship on medieval kinship arrangements, but also casts light on the social agency of young women during the few years between the age of their formal maturity and their matrimonial engagement.

Krakowski's wonderful achievement is made possible thanks to her exceptional familiarity with the documents of the Cairo Geniza and her ability to take a step back and observe the broad social picture they reflect.

A spirit of comédie humaine suffuses this collection of short stories set largely among Orthodox Jewish communities. Englander has an affectionate comic touch, and that’s obvious here.

Just as important is his gift for limning out the pain of people pulled between the comfort of belonging on the one hand and, on the other, the urge, perhaps the need to rebel.

This book reflects the author’s own experience as a child during the heyday of Yiddish theater. It’s an exciting story that will engage kids with a slice of history as they imagine themselves taking to the stage and enjoying the thrill of the limelight. So many Jewish-themed books focus on the holidays, so it’s refreshing to have others that just reflect Jewish life in the past or the present.

Michener’s fifty-year-old novel focuses on a natural spring that becomes a tell – one civilization stacked on top of another from the beginning of time. It is the spring that makes life. If it is life that creates civilization and then destroys it and then comes back to the water to create yet another. The eternal and lasting thing is the water. Michener makes a beautiful story of the civilizations that come and go and stack on top of one another. 

The town is a new civilization created, the founder believes, from wilderness. But it is not so. The spot he choose was previously occupied by indigenous natives and they took it from the natives there before them. How could I not love Michener’s story? It is the same as mine just 5,000 years earlier.

I came across this book while JT was still working on it in the early 2000s. I contacted him much much excitement because I had never met any other contemporary artists who were interested in translating traditional Jewish legends and midrash into a visual form. When it was finally published, I was blown away at how visually rich it was and how it incorporated the traditional Hebrew text of the Scroll of Esther. And it’s not for kids! A true telling of the story of Esther deserves an R-rating at least. And JT does not shy away from the grittier elements of the traditional story.