Here are 100 books that You Don't Have to Say You Love Me fans have personally recommended if you like
You Don't Have to Say You Love Me.
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Out of all the flattering reviews of my books, my favourite is of a reader choking on her lunch. My book was about death. The reader, who survived, said it made her laugh so hard. I write about tough times by bringing out the it’s okay to smile now bits. The Midnight Years is about teen mental health, Happily Never After is about loneliness, and Flyaway Boy is about stereotyping. Making people laugh through tears is a tough task. Here are some books that cracked it.
Fun home is what the author and her family call the funeral home they were raised in. I was drawn into this graphic memoir of the author’s relationship with her father, with disturbing themes of suicide, unaccepted gender identities, and domestic abuse.
The story manages to stay buoyant despite it all, and the observations are funny. The author’s ability to capture her most painful memories in bright light and intricate detail catapulted this read to the top for me.
DISCOVER the BESTSELLING GRAPHIC MEMOIR behind the Olivier Award nominated musical.
'A sapphic graphic treat' The Times
A moving and darkly humorous family tale, pitch-perfectly illustrated with Alison Bechdel's gothic drawings. If you liked Marjane Satrapi's Persepolis you'll love this.
Meet Alison's father, a historic preservation expert and obsessive restorer of the family's Victorian home, a third-generation funeral home director, a high-school English teacher, an icily distant parent, and a closeted homosexual who, as it turns out, is involved with his male students and the family babysitter. When Alison comes out as homosexual herself in late adolescence, the denouement is…
As I child I wanted to know the information that was withheld from me. What were the adults whispering about? What were they hiding? Secrets, things that are hidden, have a way of shaping the lives around them, a dark space that exerts a presence, even though it isn’t seen. I thought if I found out the secret, maybe my family, and the world, would make sense. Breaking Out of Bedlam is my version of my grandmother’s story, based on the whispers I heard and a few faint clues—a newspaper clipping, a Bible, and a baby’s sock. More than that, it’s an explanation for the silence in my family, for my grandmother’s bitterness, her drug abuse, and depression.
This haunting novel has stuck with me so vividly and in so many ways. Set in 1968, in a tiny village on the Labrador coast, it is the story of a baby born with both male and female genitalia to a hardscrabble couple barely eking out a living. They decide to raise the child as a boy, whom they name Wayne. Wayne’s parents keep the secret, even from him, and as he struggles to adopt the manly attributes expected of him, he can’t suppress his other self, a girl he calls Annabel, who insistently speaks from his innermost self. His journey to discovering who he truly is, and finding a way to express that self in a harsh and narrow environment is both painful and liberating.
In 1968, into the beautiful, spare environment of remote coastal Labrador in the far north-east of Canada, a mysterious child is born: a baby who appears to be neither fully boy nor girl, but both at once. Only three people share the secret - the baby's parents, Jacinta and Treadway, and a trusted neighbour, Thomasina. Together the adults make a difficult decision: to go through surgery and raise the child as a boy named Wayne. But as Wayne grows up within the hyper-male hunting culture of his father, his shadow-self - a girl he thinks of as 'Annabel' - is…
As I child I wanted to know the information that was withheld from me. What were the adults whispering about? What were they hiding? Secrets, things that are hidden, have a way of shaping the lives around them, a dark space that exerts a presence, even though it isn’t seen. I thought if I found out the secret, maybe my family, and the world, would make sense. Breaking Out of Bedlam is my version of my grandmother’s story, based on the whispers I heard and a few faint clues—a newspaper clipping, a Bible, and a baby’s sock. More than that, it’s an explanation for the silence in my family, for my grandmother’s bitterness, her drug abuse, and depression.
Caramelo explores the places where lies end and stories begin, how family histories are built and shaped by each generation that adds its own versions of the “truth” to family lore. Lala, the narrator, is consumed by rumors of the daughter her father had with a washerwoman, a half-sister whom she imagines and seeks, a truth which she struggles to extract from a family known for its storytelling, its “healthy lies,” as her grandmother calls them. “You’re not supposed to ask about such things. There are stories no one is willing to tell you,” Cisneros writes. I love Cisneros’s amazing symphony of details—colors, smells, noises—the way she weaves so many stories together, her hilarious eye for human quirks, and her sparkling prose.
Every year the three Reyes sons and their families drive south from Chicago via Route 66 to the home of the Awful Grandmother and the Little Grandfather on Destiny Street in Mexico City. From the back seat of her father's red Chevy station-wagon, our storyteller Lala loves to witness the crossover from endless Texas to flamboyant Mexico, the switch from truck stop donuts to street vendors with corn on the cob, the smell of hot tortillas and the sting of roasting chillies in the throat and eyes. The youngest of many cousins, Lala is also the most curious. Did the…
As I child I wanted to know the information that was withheld from me. What were the adults whispering about? What were they hiding? Secrets, things that are hidden, have a way of shaping the lives around them, a dark space that exerts a presence, even though it isn’t seen. I thought if I found out the secret, maybe my family, and the world, would make sense. Breaking Out of Bedlam is my version of my grandmother’s story, based on the whispers I heard and a few faint clues—a newspaper clipping, a Bible, and a baby’s sock. More than that, it’s an explanation for the silence in my family, for my grandmother’s bitterness, her drug abuse, and depression.
One of the many things I like about this novel is the way the writing itself mimics the confusion of the protagonist, Jonah—the way Chaon allows us to completely inhabit his mind, down to the most telling details, his doubts, and precise but uncertain perceptions. We too search for the person whom Jonah intuits but doesn’t know, we grasp for the shape whose presence shadows his life. I was dazzled by the patchy way that Chaon builds the narrative, the intriguing overlaps, and surprising connections as he moves between past and present, allowing the secret at the heart of the story to float closer to the surface. I felt deep compassion for the pain and bewilderment of the characters, for the way they struggled forward, for the complexity of their feelings for each other.
Jonah Doyle is six years old. He lives with his mother, his grandfather and their dog Elizabeth in a yellow house in South Dakota. It is a house full of tensions, for Jonah's grandfather is old and tired, and his mother often doesn't want to talk at all. And then one sunny day in early spring, when the snow has mostly melted, a terrible accident occurs that will change the course of Jonah's life. That same spring, hundreds of miles away, Troy Timmens is growing up in a very different world. He spends his afternoons at his cousins' house, watching…
The inner world of people has always fascinated me, which is why I created the initiative “student for students” where people could just come and talk about what they are going through. In countless sensitive conversations, I got to know many people struggling with the question “to be or not to be”. Then, my sister took her life. I accepted her decision. However, many struggled to do the same. “How can she do this to us?”, “It was selfish of her”, “But she was intelligent.” etc. Countless statements showed that people could understand, but not comprehend what happened. Therefore, I want to create awareness for mental health topics.
This book by my author friend Marlene puts together the shards of colourful glass to reveal the beautiful mosaic of Tess, a self-made but shattered woman feeling closer to a stranger than to herself, recounting stories about Native Americans, Africans, and the farm life of the poor early settlers in Canada.
I like this book because it addresses multiple personality disorders. I think while it is easy for most to relate to physical illness, it can be tough to relate to mental illness. Speaking from experience, someone said uncomprehendingly after a suicide, “But she was intelligent,” as if mental disablement and mental illness were the same thing. We can also catch a cold without being physically disabled.
Growing up as a mixed kid (Mexican, African, Indigenous, and Eastern European) in a homogenous rural town, I relied on stories to offer a peek into different cultures. My love for storytelling strengthened during my studies at UCLA, leading to a career as an actress and author. In my debut children’s book, food is at the center of my mixed character’s journey because of its inviting, universal nature. I truly believe stories centered on food are a lovely way to introduce children to diverse cultures. I hope you enjoy my picks and feel inspired to share a meal with someone new.
I wish Fry Bread was around when I was growing up! This book is absolutely touching and spoke to me in such a personal way.
Having Native American ancestry, but not knowing a lot about my family’s history has left me feeling disconnected from that part of my heritage. However, this story is such an immersive way to learn and connect with modern Indigenous culture while also learning American history that is not widely shared.
Through the story and author’s note, I really appreciate how the book honors the significance of the pillowy bread in such a simple yet engaging way.
Fry bread is food. It is warm and delicious, piled high on a plate.
Fry bread is time. It brings families together for meals and new memories.
Fry bread is nation. It might look or taste different, but it is still shared by many, from coast to coast and beyond.
Fry bread is us. It is a celebration of old and new, traditional and modern, similarity and difference.
Fry Bread is a story told in lively and powerful verse by Seminole Nation member Kevin Noble Maillard, with vibrant art from Pura Belpre Award winner Juana Martinez-Neal.
I'm a storyteller whose daydreams begin with “once upon a time”. I worked as a corporate paralegal and always thought that legal pads could be put to better use by writing a novel. Someone said that women learn best by observing the lives of women. I'm inspired by women who have stepped off the path as well as by those who have maintained it. My learning began by observing the women in my family, African American women who walked their paths, chosen and unchosen, with grace, style, and courage, sometimes, in heels. The stories of women, fictional narratives as well as biographies, poetry, and historical accounts, illuminate these strong souls.
The current United States Poet Laureate. She is an artist and not just of words. Harjo plays a mean saxophone. And writes poetry to send the soul soaring. Reminding me of the sky, the soil, the roots. My roots. “Do you know how to make a peaceful road through human memory?” Harjo’s Muscogee roots have their beginnings in the soil that nurtured some of my Georgia-born ancestors. What can I say? I feel the words.
In the early 1800s, the Mvskoke people were forcibly removed from their original lands east of the Mississippi to Indian Territory, which is now part of Oklahoma. Two hundred years later, Joy Harjo returns to her family's lands and opens a dialogue with history. In An American Sunrise, Harjo finds blessings in the abundance of her homeland and confronts the site where her people, and other indigenous families, essentially disappeared. From her memory of her mother's death, to her beginnings in the native rights movement, to the fresh road with her beloved, Harjo's personal life intertwines with tribal histories to…
Stories help us understand ourselves, another culture, or a new student sitting alone at a nearby desk. While teaching, working side by side, and living on the Navajo Nation for nearly twenty years, I wanted to share some of the special and surprising aspects of their culture—especially the kindness, wisdom, and the laughter Navajo people shared with me. Laughter is a holy gift for the Navajo people. First Laugh shows the reader why this is true.
My books have been given a variety of national and international awards but the best reward is when a child looks up while reading one of my books, quietly grins, and then proudly says, “I am in this book.”
Josie wants to dance at next summer’s powwow. But she needs nearly everyone in her family to help make this possible. As Josie’s story unfolds we are introduced to the special people in her family. We learn of their love, their kindness, and their special talents. We are also introduced to the beautiful connections to many parts of our natural world.
Josie dreams of dancing at next summer's powwow. But first she needs many special things: a dress, a shawl, a cape, leggings, moccasins, and, perhaps most important of all, her spirit name. To gather all these essential pieces, she calls on her mom, her aunty, her kookum, and Grandma Greatwalker. They have the skills to prepare Josie for her powwow debut.
As the months go by, Josie practices her dance steps while Mom stitches, Aunty and Kookum bead, and Grandma Greatwalker dreams Josie's spirit name. Josie is nervous about her performance in the arena and about all the pieces falling…
Greg Shed is a self-taught California illustrator specializing in Americana. In addition to commercial work and portraits, he has illustrated more than a dozen children’s books—several of which are about American history. A dedicated researcher, Greg has traveled from the Plymouth colony to the American prairie in search of authenticity and details. He has consulted with Native American craftsmen on the manufacture of native period attire. He is known for capturing golden light in his paintings, which often depict Native American cultures, wildlife, and landscapes.
Creation’s Journey ties actual native stories and beliefs with genuine artifacts from the vast collections of the National Museum of the American Indian. It provides a refreshing approach to our understanding of indigenous people’s utilitarian objects and how important they are in their daily lives. The photos in this book show the care for detail and craftsmanship that was pervasive in everyday Native American objects and clothing. It inspired me to commission native Americans to hand make the various costumes shown in my book.
Drawing on the vast collections of the National Museum of the American Indian, Creation’s Journey retells the story of native life from the Arctic to the Tierra del Fuego, and from childhood to old age.
I have been a historian of the Indigenous world for more than two decades, but I have learnedso much since I expanded my perspective from Mesoamerica and the Aztec-Mexica into the wider history of Native peoples. There are literally hundreds of Indigenous communities across the world and so there is always more to learn. I have been incredibly privileged to learn by listening to Indigenous people – in person, in print, and on digital and social media. I hope these books can offer some starting points to set you on a similar journey of discovery, opening up some new ways of thinking and of seeing both the past and the present.
Andrés Reséndez estimates that between 2.4 and 4.9 million Indigenous Americans were enslaved between 1492 and 1900, a statistic that will shock many people, as the history of Native enslavement in the Americas barely seems to have touched the popular imagination.
This book, accessibly written but based on meticulous research, is absolutely essential reading, as it returns this ‘other slavery’ to its rightful place in our understandings of Indigenous, American, and global history.
Since the time of Columbus, Indian slavery was illegal in much of the American continent. Yet, as historian Andres Resendez illuminates in The Other Slavery, it was practiced for centuries as an open secret. There was no abolitionist movement to protect the tens of thousands of natives who were kidnapped and enslaved by the conquistadors and later forced to serve as domestics for Mormons and rich Anglos, or to descend into the "mouth of hell" of eighteenth-century silver mines, where, if they didn't die quickly from cave-ins, they would die slowly from silica in their lungs. Resendez builds the incisive,…
