I’m a science fiction writer who loves my chosen genre for the promises it makes for the worlds that we can have—and the warnings that it offers for the worlds that might be ours if we don’t take care. I’ve picked books for people who like their thinking to be challenged, and who also long for the world to be a much better place. These are the kinds of books I love to read—and the kinds of books I try to write.
England, in the near future, walking blindly into totalitarianism, everything falling apart. Eve has grown up in a happy family, with loving parents, but not even they can protect her from the world collapsing around them. Eve sets out on a journey, alone, across the wild Yorkshire moors, in search of new ways of living. This is a powerful, beautiful graphic novel from Una.
A powerful novel of mothers and daughters, and how we imagine our future, from acclaimed author of BECOMING UNBECOMING
'A disturbing and necessary book for our times ... Una has held up a chilling mirror for us, and leaves us with a choice - what kind of world will we make for ourselves?' JACKY FLEMING
In the near future, in a world that seems just like our own, Eve grows up in a loving family that is increasingly threatened by a society which seems to be sleepwalking into totalitarianism. After a catastrophe that changes everything, Eve must set off on…
It wasn’t just the cities that felt the hard hand of self-imposed totalitarianism in the UK during World War II. Oh, no, the farms as well were brought into line, as they really had to be, to enable the British to eat without having reliable supplies coming by sea.
This book, which was also a BBC television series, involves three moderns, two men and a woman, all historians or archeologists, taking over an old and somewhat run-down farm and trying to run it using what was available, and enduring what was imposed, during the Second World War.
It is a fascinating story of making do, making it yourself, or doing without, not just applicable to my own writing projects, but to the broader human condition under hardship.
During World War Two Britain had to look to the land to provide the produce it had previously shipped in from abroad, meaning huge changes on both the agricultural and domestic scenes. Accompanying an 8-part BBC series and written by the three presenters who spend a year living on a reconstructed farm from the era, Wartime Farm sets these changes within a historical context and looks at the day-to-day life of that time. Exploring a fascinating chapter in Britain's recent history, we see how our predecessors lived and thrived in difficult conditions with extreme frugality and ingenuity. From growing your…
Throughout the forty-one years (thirty-four of them at Oxford) I spent as a university teacher, I taught a course on Communist government and politics (latterly ‘Communist and post-Communist government’). Communist-ruled systems were never less than highly authoritarian (when they became politically pluralist, they were, by definition, no longer Communist), and in some countries at particular times they were better described as totalitarian. That was notably true of Stalin’s Soviet Union, especially from the early 1930s to the dictator’s death in 1953. The books I’ve written prior to The Human Factor include The Rise and Fall of Communism and The Myth of the Strong Leader: Political Leadership in the Modern Age.
Fascism and Communism purported to explain all social and political phenomena and, on that basis, justified their authoritarian or totalitarian rule. The term ‘fascist’ tends to be loosely applied to intolerant and autocratic political behaviour, but the outstandingly lucid, and highly readable, book by Robert Paxton not only surveys fascism in practice – in Mussolini’s Italy, Hitler’s Germany and in fascist movements and parties in many different countries – it also shows what its distinctive components are. What he calls the ‘mobilizing passions’ of fascism include the glorification of war and violence, expansionism, racism, a fixation on national solidarity, rejection of the legitimacy of diverse interests and values within a society, and, not least, a cult of the heroic leader, with the leader’s instincts counting for more than reasoned, evidence-based argument.
Fascism was the major political invention of the twentieth century and the source of much of its pain. How can we try to comprehend its allure and its horror? Is it a philosophy, a movement, an aesthetic experience? What makes states and nations become fascist?
Acclaimed historian Robert O. Paxton shows that in order to understand fascism we must look at it in action - at what it did, as much as what it said it was about. He explores its falsehoods and common threads; the social and political base that allowed it to prosper; its leaders and internal struggles;…
When I published Orphan, Agent, Prima, Pawn, in which Soviet-era psychological warfare plays a heavy role, I happily washed my hands of Russian intrigue and turned to more benign, pastoral inspirations – my life-long relationship with an idyllic cathedral town in Wiltshire, for example. Just days later, the world learned that a certain Ruslan Boshirov and Alexander Petrov shared my fondness for Salisbury’s “world-famous 123-metre spire,” the glories of which prompted their 72-hour visit from Moscow (and overlapped with the botched poisoning of a KGB defector living down the road). Since then, I find myself drawn to works that explore the interstices of morality, criminality, and great construction projects.
Another parable, another legend, another work of manual labour turned mystical. In this tale of a bridge-building gone wrong, Albanian novelist Ismail Kadare considers the harms and inevitabilities that come from spanning disparate cultures. This book features a human sacrifice at the altar of erection; it feels antique and yet timeless; it explores the boundaries of human endeavor. Notes the narrator, a silenced sceptic, “all great building works resemble crimes.” It is a recognisable concern from Kadare, an exile of Hoxha’s totalitarian regime.
In the Balkan Peninsula, history’s long-disputed bridge between Asia and Europe, the receding Byzantine empire has left behind a patchwork of warring peoples who fight over everything, from their pastures of sheep to the authorship of their countless legends.
One such gruesome tale declares that a castle under construction cannot be finished until a young mason’s bride has been walled up alive, one breast left exposed to suckle her growing infant even after her death. Myth becomes perverse reality when a mason is plastered into a bridge over a strategically important river, where his will not be the last human…
In The Ministry of Truth, I wanted to bring together two longstanding interests: dystopian fiction and the history of totalitarianism. Nineteen Eighty-Four is of course a landmark work in both categories. In trying to explain how and why Orwell came to write his masterpiece, and its subsequent influence on fiction and political thought, I read a huge range of books that wrestled with the horrors of Nazism and Stalinism and asked how they were able to hold sway, physically and mentally, over tens of millions of people. Many of them are gripping and valuable but these five in particular make for great companions to 1984.
The identity of “Murray Constantine” wasn’t uncovered until the 1980s, long after Burdekin’s death, but only a woman could have created such a persuasive patriarchal dystopia, half a century before The Handmaid’s Tale. Burdekin’s futuristic Nazi empire, a brutally misogynist quasi-religion, is dying slowly from within and an English airman named Alfred has been given explosive proof that Hitler was not in fact a Thor-like deity. Though the plot fizzles out, the ideas are extraordinarily ahead of their time.
Published in 1937, twelve years before Orwell's 1984, Swastika Night projects a totally male-controlled fascist world that has eliminated women as we know them. Women are breeders, kept as cattle, while men in this post-Hitlerian world are embittered automatons, fearful of all feelings, having abolished all history, education, creativity, books, and art. The plot centers on a “misfit” who asks, “How could this have happened?”
I write about aloneness and individuals, what it takes to connect to family and community, and how to hang on to the people we hold dear. This means I think a lot about points of view and personal perception. We often wonder: Have I got this right? Did they get my meaning? Does everybody feel this? And more often than not, everybody does. These interpretations are both personal and universal at the same time. We all fear loss; we all have to be brave to hold onto people we love and principles we value.
Book 1 in a 4-book series, and our hero is Kaidance Monroe. I love the world the author hascreated and I really connected with Kaidance and the challenges she faces. This story is amodern-day take on the ancient Greek myth about The Fates who control our lives, and I lovethis retelling because the core message holds true for each and every one of us, that we canonly control so much of our lives, that there are forces bigger than us that we have to deal with,but it's how we cope that's important. I’ve read the entire series. The author doesn’t drop thepace. I loved experiencing this fantastical world on a rollercoaster ride, clinging on until the end.
My name is Kaidance Monroe, and sometimes when I touch people, I see how they die.
"Love, betrayal, mythology, mystery, you name it this has it! Hold onto your horses and Minotaurs people as this ride is definitely going to get bumpy." ★★★★★
After I saw my little brother's death but failed to stop it, my parents abandoned me to a juvenile detention facility. I don't let people touch me anymore. Not my fingertips, not my skin, not my heart. Just before I turned 18, I got a visit from a cute guy, who tricked me into giving up my…
I have been trying to understand revolutionary violence my whole life, in the classroom and through scholarship. I am fundamentally interested in questions of “how” and “so what” because even the best, most heavily evidenced historical reconstructions of collective decisions rely heavily on conjecture, especially when it comes to something as complex and controversial as revolutionary violence. My biography of Alexandre Rousselin, an eyewitness and participant in French politics across the Revolutionary era, brings to life the choices and pressures that influenced his actions without minimizing the price he paid for those choices. Rousselin’s extraordinary life story contextualizes and engages understandings of the Terror in the French Revolution like those reviewed below.
Divided into “The Poetics of Power” and “The Sociology of Politics,” the better known first half explores rhetoric, symbolic forms of political practice, and imagery in novel ways that have influenced both my scholarship and my teaching.
But I was even more struck by the second part where Hunt considered the backgrounds, age, occupations, and experience of Revolutionary political actors in four French cities as a way to understand the political geography of the Revolution, networks, culture brokers, and the emergence of a new political class.
This approach shaped my dissertation and first book, but, more importantly it made me think about the link among and between cultural influences, socio-economic backgrounds, and the lived experience to understand the French Revolution.
When this book was published in 1984, it reframed the debate on the French Revolution, shifting the discussion from the Revolution's role in wider, extrinsic processes (such as modernization, capitalist development, and the rise of twentieth-century totalitarian regimes) to its central political significance: the discovery of the potential of political action to consciously transform society by molding character, culture, and social relations. In a new preface to this twentieth-anniversary edition, Hunt reconsiders her work in the light of the past twenty years' scholarship.
This book is a primer on democracy for all of us who value a free society. Written in the brief style of political pamphlets of old, this short book shares a succinct view of what it means to live in a democratic society and how we can preserve ours. I especially appreciated that the author compared our society to other democracies that have fallen into dictatorship, such as Hitler's Germany, to show us exactly how it can happen, and more importantly, how we can fight back. This book is not simply philosophical musing, it is a call to action with twenty specific actions we can all take to preserve a free society.
'A sort of survival book, a sort of symptom-diagnosis manual in terms of losing your democracy and what tyranny and authoritarianism look like up close' Rachel Maddow
'These 128 pages are a brief primer in every important thing we might have learned from the history of the last century, and all that we appear to have forgotten' Observer
History does not repeat, but it does instruct.
In the twentieth century, European democracies collapsed into fascism, Nazism and communism. These were movements in which a leader or a party claimed to give voice to the people, promised…
I have studied nineteenth-century American literature and culture for more than thirty years. My friends roll their eyes when I excitedly share a passage from Charles Chesnutt, Henry James, Herman Melville, or Kate Chopin. I wrote this book because I realized that nineteenth-century thinkers and writers have a lot to teach us about tyranny, particularly the dangers it presents to our nation. I hope you’ll find the challenge of these books as important as I do!
This book imagines a world where the United States succumbs to authoritarianism. Subsequent writers have explored this theme, but I love Lewis’s novel because it captures a precarious historical moment (the 1930s) that has a lot in common with the present day.
“Buzz” Winthrop, the politician turned dictator, whips up fears about threats to America, stressing the need to get back to the nation’s “true” values. It’s a chilling portrait of a nation that loses its way.
“The novel that foreshadowed Donald Trump’s authoritarian appeal.”—Salon
It Can’t Happen Here is the only one of Sinclair Lewis’s later novels to match the power of Main Street, Babbitt, and Arrowsmith. A cautionary tale about the fragility of democracy, it is an alarming, eerily timeless look at how fascism could take hold in America.
Written during the Great Depression, when the country was largely oblivious to Hitler’s aggression, it juxtaposes sharp political satire with the chillingly realistic rise of a president who becomes a dictator to save the nation from welfare cheats, sex, crime, and a liberal press.
I’m a writer by profession, but until recently I was never in a book club. My wife was, briefly, and my friend Ben’s wife was (he’s also a writer). One day I said to Ben “why don’t we start a book club?”, and we did. Seven years later, the club is not only going strong, but it has assumed a central place in the lives of the seven of us who make it up. The book is the excuse to get together, to create and deepen friendships, to build a community around ideas. Start a book club. Choose some books. These are a good start. At least in my opinion.
I have always been fascinated with Russia, and love reading any book about Russia and Russians, whether the classic fiction of Dostoyevsky, or the absurdist work of Gary Shteyngart. But for insightful political analysis of Putin’s destruction of Russia’s democracy and society, written with a love for the people and country, and a keen eye toward their humanity, nothing beats this dead-eyed read from the great Masha Gessen. Her analysis of modern Russia under Putin’s grip came out a few years before the invasion of Ukraine, which is sort of a culmination of the ideas and stories here. This book is a portrait of individual tragedies woven together as a collective, where the historical resentments of one man (Putin) doom the future of an entire people. If you want to understand how Russia got here. Or what it might feel like to be a young Russian, caught up in this…
In The Future is History Masha Gessen follows the lives of four Russians, born as the Soviet Union crumbled, at what promised to be the dawn of democracy. Each came of age with unprecedented expectations, some as the children or grandchildren of the very architects of the new Russia, each with newfound aspirations of their own - as entrepreneurs, activists, thinkers and writers, sexual and social beings. Gessen charts their paths not only against the machinations of the regime that would seek to crush them all (censorship, intimidation, violence) but also against the war it waged on understanding itself, ensuring…
