Here are 72 books that Gilead fans have personally recommended once you finish the Gilead series.
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I’ve always been preoccupied with how personal tragedy, loss, and grief can ultimately teach us truths about existence and our own strength that we might never have learned otherwise. As a child, I was confounded by the fact of death and the transience of life, and as an adult, I’ve spent much time contemplating how literature is able to testify to the magnitude of these things in ways that ordinary language cannot. This interest led me to complete a PhD on the topic of elegiac literature and has also influenced the themes of my own fiction. I hope you find connection and inspiration in the books on this list!
The atmosphere and voice created by Robinson in this timeless and widely beloved novel, which is potent in a way that’s difficult to quantify, has endured in my memory since I first read it as a teenager. In prose rich with imagery and allusion, narrator Ruth tells the story of how she and her sister, Lucille—orphaned after their mother’s suicide—came to be cared for by their aunt, Sylvie, an eccentric drifter, who moves into their rural Idaho home and alters the tenor of their lives.
This is written with the precision of poetry, containing such sentences as, “When she had been married a little while, she concluded that love was half a longing of a kind that possession did nothing to mitigate.” A novel to re-read and savor.
A modern classic, Marilynne Robinson's Housekeeping is the story of Ruth and her younger sister, Lucille, who grow up haphazardly, first under the care of their competent grandmother, then of two comically bumbling great-aunts, and finally of Sylvie, the eccentric and remote sister of their dead mother.
The family house is in the small town of Fingerbone on a glacial lake in the Far West, the same lake where their grandfather died in a spectacular train wreck and their mother drove off a cliff to her death. It is a town "chastened by an outsized…
In my stories and novels, in my reading, and in my life, I'm inspired and captivated by what I call resonant places, places with deep connections to the past as well as the present moment. I grew up in a mid-century modern house my parents built. Although no other family had lived in it before, our own family—like all families—was haunted by ghosts of our past. My childhood home was bulldozed by the next owners; the house has become a ghost itself. But memories remain long after a family or a home is gone. As a writer, a reader, and a psychotherapist, I believe that memories are the seeds for both remembering and imagining.
InSo Long, See You Tomorrow, an adult narrator looks back at childhood and the lingering effects of childhood loss and displacement. He recalls his mother’s death, his father’s remarriage, and moving from a beloved home. The author also tells a parallel story of the scandal that befell his friend Cletus: his father shot his mother’s lover, and then drowned himself. For the narrator, his lost boyhood home is recalled like a dream of paradise lost, a mirage of another life: “I dream about it, the proportions are so satisfying to the eye and the rooms so bright, so charming and full of character that I feel I must somehow give up my present life and go live in that house: that nothing else will make me happy.” This novel about haunting memories of a lost place and past will haunt the reader. This was one of my father’s…
A novel which charts the lives of two former friends until the father of one was responsible for the murder of the father of the other. They do not speak following the tragedy, but the victims son realises fifty years later that he has failed in a fundamental act of friendship.
I started my academic life with two passions: listening to those I was researching and writing in ways that were accessible to all readers. I wasn’t willing to bow down to orthodoxies that would stifle my capacity to think and to write and make my way into new and emergent ideas and practices. Questions of ethics threaded their way through it all, not the kind of rule-based nonsense of university ethics committees, but ethics that enabled me to consider how matter matters and to re-think what we are in relation to each other and to the Earth.
I come back to Karen Barad again and again for the theoretical clarity she offers. Her book is like the Holy Bible is to some Christians. I can dip into it again and again and discover new insights. Barad, too, has experienced resistance to her take on quantum physics. But I believe her writing to be essential to the development of a new ethics, that is vital if the Earth is to survive.
Her ethics is based on an understanding that we are not simply, or solely, the ego-driven and greedy individuals of neoliberalism. We are beings in relation with each other and in relation with the more-than-human world. Not just in relation with, but emergent with the world, in our intra-actions with it.
Meeting the Universe Halfway is an ambitious book with far-reaching implications for numerous fields in the natural sciences, social sciences, and humanities. In this volume, Karen Barad, theoretical physicist and feminist theorist, elaborates her theory of agential realism. Offering an account of the world as a whole rather than as composed of separate natural and social realms, agential realism is at once a new epistemology, ontology, and ethics. The starting point for Barad's analysis is the philosophical framework of quantum physicist Niels Bohr. Barad extends and partially revises Bohr's philosophical views in light of current scholarship in physics, science studies,…
I started my academic life with two passions: listening to those I was researching and writing in ways that were accessible to all readers. I wasn’t willing to bow down to orthodoxies that would stifle my capacity to think and to write and make my way into new and emergent ideas and practices. Questions of ethics threaded their way through it all, not the kind of rule-based nonsense of university ethics committees, but ethics that enabled me to consider how matter matters and to re-think what we are in relation to each other and to the Earth.
I discovered Wohlleben’s book when I was writing about my own emergent relationship with trees. I was learning to think with quantum field theory and new materialism, and very conscious of the way some of my writing was sounding like I was teetering on the edge of madness.
Wohlleben offered me insights into my own relations with trees, and he enabled me to articulate not only my love of trees but the Earth’s dependence on them as they grow together in old-growth forests. At the same time, Wohlleben makes horribly clear the motivation of politicians globally to destroy old-growth forests out of their own ignorance and greed, intensified by the loggers who lie to them and hide the truth from them.
"Another love letter from Wohlleben to the green world... makes the case for how we should allow forests throughout the world to regrow and in the process help heal not only the climate but us, as well."-Lydia Millet, Oprah Daily
An illuminating manifesto on ancient forests: how they adapt to climate change by passing their wisdom through generations, and why our future lies in protecting them.
In his beloved book The Hidden Life of Trees, Peter Wohlleben revealed astonishing discoveries about the social networks of trees and how they communicate. Now, in The Power of Trees, he turns to their…
I started my academic life with two passions: listening to those I was researching and writing in ways that were accessible to all readers. I wasn’t willing to bow down to orthodoxies that would stifle my capacity to think and to write and make my way into new and emergent ideas and practices. Questions of ethics threaded their way through it all, not the kind of rule-based nonsense of university ethics committees, but ethics that enabled me to consider how matter matters and to re-think what we are in relation to each other and to the Earth.
I could not bear to put this book down. Each time I reached the end, I started again from the beginning. It lived on my bedside table for months. It was only after three readings that I could let it go.
Gregory Day had drawn me right into the places and times of early settler colonialism; his characters formed, against the odds, a way of life that was creative—poetic, musical, sensual, and, above all, ecological. They listened to the earth and found their place as part of it, belonging to it and belonging to the Earth.
When a troubled Sarah Hutchinson returns to Australia from boarding school in England and time spent in Europe, she is sent to live with her eccentric Uncle Ferny on the family property, Ngangahook. With the sound of the ocean surrounding everything they do on the farm, Sarah and her uncle form an inspired bond hosting visiting field naturalists and holding soirees in which Sarah performs on a piano whose sound she has altered with items and objects from the bush and shore.
As Sarah’s world is nourished by music and poetry, Ferny’s life is marked by Such is Life, a…
I believe that we betray the past when we treat it as the past, and we abandon our ancestors, actual and spiritual, when we dehumanize them as denizens of history, as fundamentally different from us in terms of their lusts and appetites and political nuances and strange senses of humor and nose picking and dance moves and love. Novels, I think, are a powerful mode for understanding and perhaps even undoing the cultural patterns that would have us believe that history is behind us and that the past is not part of the forever dance of the present.
This novel is haunting, poetic, dense, and exquisite. It is centered around a small town in New England and wends and weaves through the strange and terrible things that happen there. Allio's writing is exquisite and melodic, and while this book nominally takes place a century ago, in so many ways, it frighteningly and fluently depicts today's world.
"An elegant, luminous, moving work of lyric prose. Every page shimmers."-Carole Maso
"Fiercely imagined, alive with incandescent imagery, Kirstin Allio's Garner is a memorable debut."-John Burnham Schwartz
Landlocked, sail-shaped Garner, New Hampshire, is a town delineated by its Puritan ethics and its "Live Free or Die" mentality. Like the forbidding landscape of Wharton's Ethan Frome, this New England outpost keeps its secrets and shapes its inhabitants. Frances Giddens, a spirited, elusive girl born at the dawn of the twentieth century and now approaching womanhood, moves through the forests and rivers that mark Garner's borders as easily as she befriends its…
I have lived primarily in Vermont, but my relationship to a remote portion of Maine wilderness is the one geographical consistency in my 81 years. Trained as an academic, I did have literary influences, but my chief influences derived from my early decades among men and women whose arduous existences in the great North Woods preceded electricity, power tools, and modern household conveniences. These men and women had to make their own entertainment, and they did so by way of storytelling, and their stories became a kind of community property. Whatever the genres of my 24 books, I have sought to emulate the timing and precision that these masters commanded.
This book contains a pair of novellas, Reading Turgenev and My House in Umbria. While William Trevor has never to my mind written so much as a clause that’s not worth reading, Reading Turgenev is my preferred fiction here. It is a triumph of Irish realism, lyrical without any straining for effect, a heartbreaking reflection on frustrated love, and a sort of elegy for people who suffer because of that frustration. I read it for the first time in one sitting, so gripped was I by the various, quiet but soul-wrenching emotional dramas occurring, especially between the main character and her male cousin. I have gone back to it twice since and will again, I’m sure.
The novella is rife with social observation, and Trevor’s ear for telling dialect, the depiction of which never makes him sound the least condescending on the one hand or sentimental on the other,…
Two Lives: Reading Turgenev & My House in Umbria - two novels by William Trevor
'Evocative and haunting. Trevor writes like an angel, but is determined to wring your heart' Daily Mail
'Marvellous, superb. As rich and moving as anything I have read in years. When I reach the end . . . I wanted to start right again at the beginning' Guardian
In Reading Turgenev an Irish country girl is trapped in a loveless marriage with an older man, but finds release through secret meetings with a man who shares her passion for Russian novels.
I have lived primarily in Vermont, but my relationship to a remote portion of Maine wilderness is the one geographical consistency in my 81 years. Trained as an academic, I did have literary influences, but my chief influences derived from my early decades among men and women whose arduous existences in the great North Woods preceded electricity, power tools, and modern household conveniences. These men and women had to make their own entertainment, and they did so by way of storytelling, and their stories became a kind of community property. Whatever the genres of my 24 books, I have sought to emulate the timing and precision that these masters commanded.
In both my novels I explore the cultural, almost exclusively oral history of Maine woodsmen and -women. An old man now, I knew people who worked as loggers, river drivers, and so on before the advent of power tools, electricity, or motorized hauling.
A non-writer friend told me about this book, which is concerned with the same culture across the New Brunswick border, mere miles from where my novels are set. His evocation of that arduous, raconteur-populated, dangerous world bolstered my own seat-of-the-pants knowledge and offered a wealth of specific physical detail and a sense of storytelling’s central importance in the old logging communities.
The book, then, served as a model for my own explorations of a culture whose likes we will never see again and whose preservation in words is among my own most passionate aims.
In his major new novel, The Friends of Meager Fortune, Richards explores the dying days of the lumber industry in the mid-twentieth century. This is a transfixing love story of betrayal, envy, and sexual jealousy, which builds to a tragically inevitable climax. It is also a devastating portrait of a pre-mechanized time, and a brilliant commemoration of the passing of a world. Rich with all the passion, ambition and almost mythic vision that defines David Adams Richards' work, The Friends of Meager Fortune is a profound and important book about the hands and the heart; about true greatness and true…
I believe that we betray the past when we treat it as the past, and we abandon our ancestors, actual and spiritual, when we dehumanize them as denizens of history, as fundamentally different from us in terms of their lusts and appetites and political nuances and strange senses of humor and nose picking and dance moves and love. Novels, I think, are a powerful mode for understanding and perhaps even undoing the cultural patterns that would have us believe that history is behind us and that the past is not part of the forever dance of the present.
This book is, on its face, a sardonic, strange, delightful, and wild retelling of the story of John Brown from the perspective of a formerly enslaved teenager, who John Brown half rescues, half kidnaps, and who is bullied by the Old Man into pretending he is a girl. The story is phenomenally researched and brilliantly told, and the tone accomplishes the magnificent feat of being simultaneously iconoclastic and generous—perhaps even irreverent and reverent. This is a must-read.
Now a Showtime limited series starring Ethan Hawke and Daveed Diggs
Winner of the National Book Award for Fiction
From the bestselling author of The Heaven & Earth Grocery Store, Deacon King Kong (an Oprah Book Club pick) and The Color of Water comes the story of a young boy born a slave who joins John Brown’s antislavery crusade—and who must pass as a girl to survive.
Henry Shackleford is a young slave living in the Kansas Territory in 1856--a battleground between anti- and pro-slavery forces--when legendary abolitionist John Brown arrives. When an argument between Brown and Henry's master turns…
I’m a novelist, essayist, and journalist who’s written extensively about the problems and consolations of faith, about belonging in and out of faith, and about the tribes of what I think of as the In Between. When you’re in between, you’re neither in it nor out of it, whatever “it” might be for you. You bear an “infinity of traces,” as the writer Antonio Gramsci called these formative influences. My first novel looks at these influences directly, while my second one looks at them indirectly. I’m late in the game with a third novel now—a detective story that investigates a murder along with these same themes.
A bit of a curveball entry, but go with it. One of the subplots in Smith’s impressively sprawling historical novel involves do-gooder Baptists who really are doing good! They’re in Anglican England to agitate for the end of slavery in the British colonies—and they’re ahead of their time in other ways, too.
They help to platform the voices of freedmen and escaped slaves, acting as allies, essentially. It’s in the main character of Eliza that the larger novel takes up this search for a liberatory truth, nominally Christian but really entrusted to anyone who can see the suffering of others and refuse to look away.
From acclaimed and bestselling novelist Zadie Smith, a kaleidoscopic work of historical fiction set against the legal trial that divided Victorian England, about who gets to tell their story—and who gets to be believed
It is 1873. Mrs. Eliza Touchet is the Scottish housekeeper—and cousin by marriage—of a once-famous novelist, now in decline, William Ainsworth, with whom she has lived for thirty years.
Mrs. Touchet is a woman of many interests: literature, justice, abolitionism, class, her cousin, his wives, this life and the next. But she is also sceptical. She suspects her cousin of…
