The most recommended Alfred Hitchcock books

Sweet Lina McLaidlaw loves charming Johnny Aysgarth, but Johnny Aysgarth marries her for her money and doesn’t change his gambling, seducing ways one bit once he’s done so. 

What makes the book so riveting is that Lina learns exactly what Johnny is like, yet she can’t bring herself to stop loving him. At one point she does leave him, but she voluntarily goes back. 

Lina knows Johnny will eventually kill her so he can have it all and, knowing this, she puts herself in the cruel position of waiting for that to happen. 

This book was made into a so-so Hitchcock film featuring Cary Grant and a memorable glass of milk, but the book is a riveting, breath-stealing masterpiece.

This book, for me, stands alongside The Strange Case of Dr. Jekyll and Mr. Hyde as a necessary stepping stone toward all modern 'dark double' fiction. I actually first encountered the book via one of its looser adaptations, The Man Who Haunted Himself, starring Roger Moore. I must have seen that some time in the 70s, and it stuck with me across five decades without losing its core power. The Armstrong original, written in 1940 then expanded later, is still a legitimately creepy tale, particularly in terms of the questions it refuses to answer. Watching Pelham's slow-motion collapse into paranoia and chaos is a genuinely uneasy experience, like seeing The Picture of Dorian Gray through the eyes of the portrait itself.

Buchan’s books are full of DIY heroes, men thrown into impossible situations but who manage to survive through their wits, a healthy dose of humor - and if necessary, with their fists. The book follows the hero Hannay, as he tries to escape German spies, first through England and then the wilderness of Scotland. The odds are stacked high against Hannay, but his bravura and strong will help him solve the mystery and dissolve the spy ring. Some of the views expressed in Buchan’s books are no longer politically correct and his works should always be understood in the context of his times, yet they make for very compelling reading.

In the mid-‘60s, acclaimed Irish-Canadian novelist Brian Moore unhappily spent time grappling with the script problems plaguing director Alfred Hitchcock’s 1966 spy thriller Torn Curtain. In this frankly autobiographical 1971 novel, a Hitchcock-esque producer comes in for knocks when a Moore-like novelist-screenwriter gets lured to Hollywood to work on the screenplay for a famous moviemaker’s next film. (Moore described his brush with Hitchcock as “awful, like washing floors.”) Waiting to learn whether he’s going to be forced to do another script rewrite, the novelist agonizes over his ongoing divorce and his relationship with his new girlfriend. Mostly, though, he’s confronted by the ghosts of friends and family members past, notably his father’s. So sharply funny, painfully honest a book that one almost wishes Hitchcock had filmed it instead of Torn Curtain.

With the exception of the prefatory material, which one can skip, this is one of the very best books on Hitchcock.

It is beautifully written and attentive to cinematic details and larger themes. It offers rich interpretations of several central films, with the first half focused on close interpretation and the second half, written later in Wood’s career, more orientated toward Marx, Freud, and gay studies.

Though the book is uneven, it contains some of the best analyses one will ever read of Hitchcock’s major films.

I had no idea what I was in for when I started to read Bird Box. I’d seen the movie, and it was good, but the sheer suspense of the book came as a complete surprise. From the very first page, Josh Malerman has created an atmosphere that balances on a very fine edge between dread and hope.

It’s been a long time since a book kept me turning the pages all night, needing to know what happens and getting completely invested in the characters—even after I’d seen the film version.

Bird Box pulled me straight in and didn’t let go, and I’ll be reading the sequel with the lights on.

No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.

I admire chutzpah. Of all the authors who channel Sir Arthur Conan Doyle, Jane Austen, and countless others, I admire Peter Heck the most. He takes on the Herculean task of matching historical humor with our national treasure Mark Twain. Oddly enough, his example gave me courage, or at least permission, to try something other than historical whodunits. I wrote book-length magic realism and am seeking a publisher.

My first experience reading a book with dual storylines, this novel held me spellbound cover to cover. McMahon has since become an auto-buy author for me, thanks to this fantastical story that puts a magnifying glass on the life of two sisters, a childhood friend, and an unexplained disappearance. The story moves between past and present and revolves around the Tower Motel in Vermont, now a ruined shell that refuses to yield its secrets. Secrets the girls discovered while playing games there as children. 

An unexpected splash of the paranormal and the use of letters from one sister to Mr. Hitchcock (yes, that Hitchcock) add the perfect touch to this disturbing gem.

Accomplished author Roger Zotti masterfully weaves subjects together like spices in a delectable recipe. From Hitchcock to hockey, the author spins a complex, yet entertaining, tale and makes it look easy. Placing you inside the mind of one of Hollywood’s greatest directors, Zotti uses it as a foundation to build an inventive narrative. And it works! Never far from the perfect boxing vignette, the author also provides a glimpse into the sweet science through some of the sport’s finest authors and their current work. Only Zotti can take Oscar winner Ingrid Bergman, who starred in three Hitchcock films, and put her alongside Harry Greb, one of the best pound-for-pound boxers of all time, and draw comparisons that not even Damon Runyon could rival.