40 books like New York Trilogy

This is post-modern crime fiction thematically linked and all with increasingly unreliable characters—because they’re each going insane.

In City of Glass private investigator, Daniel Quinn, goes mad sinking deeper into an investigation about identity. Who is telling his story and can they be relied on? Is it any of these characters who appear: ‘the author,’ ‘Paul Auster the writer,’ ‘Paul Auster the detective’?  Whoosh.

I love this stuff but understand it’s an acquired taste!

Ideally, the style of art in a graphic novel should reflect the story being told. Yvain does a beautiful job of capturing this Arthurian myth set in the 12th century with drawings that feel appropriately medieval while the sketchy and gestural line art keep it from feeling heavy. I’m a bit obsessed with the idea of the style matching the story—I developed a whole new style and learned watercolor for The Great Gatsby—which is probably why I appreciate it so much in Yvain.

The Iliad is not a book on strategy. Nor on tactics, nor on logistics, nor on command and control, nor on any other individual aspect of warfare about which any number of lesser authors have written. An epic poem, it provides an unparalleled panorama of men (and, playing a secondary yet crucially important role, a few women) at war: the hope, the despair, the fear, the elation, the kindness, the rage, the horror, the love and the sex (which both increases the horror and to some extent makes up for it). All intertwined, and all pulsating along with the human heart. Probably written down around 750 BCE, but making use of much older material, for almost three millennia now it has been regarded not just as a classic but as the greatest classic of all. Unquestionably it will continue doing so for millennia more. 

I’m always a fan of graphic novels that capture the mood of the book, rather than trying to make everything perfectly accurate to the original. Mariah Marsden’s adaptation of Anne of Green Gables perfectly captures the magic and beauty of one of my favorite childhood books.

I mentioned how much I enjoyed this adaptation to a friend who’s also a fan of L.M. Montgomery. However, my friend hated this adaptation (especially how Anne’s nose is drawn!) which I actually found very liberating as I considered adapting The Great Gatsby. I’d been concerned about how people who loved Gatsby would view my adaptation, but this made me realize that some people would love my book and some people wouldn’t—and that was okay!

Snow, Glass, Apples is my all-time favourite Gaiman story, which is quite staggering given how much of his work I adore, but I'd only seen it in short story form before, in Smoke and Mirrors. Then I was given a copy of just Snow Glass, Apples, illustrated by Colleen Doran. The artwork is stunning, beautifully dark with a tight palette and rich, intricate detailing. Every page is a work of art, allowing you to linger and slowly digest the tale as it unfolds. This story is a huge influence for me, in particular for my collection Once Upon A Twisted Fairytale, because it flips the story of Snow White on its head. All of the elements of the traditional tale - the huntsman, the stepmother queen, the dwarves, the glass coffin - are there, but put together from the perspective of the queen, totally changing the story. I love… show more.

This is Auster exploring all the themes he’s well known for now, and crafting them into a beautifully absurd almost surreal tale. Not strictly a noir book this has a protagonist struggling with his place in the world and his identity, whilst getting drawn into situations out of their control—all tropes which are seminal to the genre. 

Auster’s first book released under the pseudonym Paul Benjamin, called Squeeze Play, is a more typical crime, or pulp noir. And it's easy to see his blend into literary fiction whilst holding the noir handles close for The Music of Chance.

Often writers start out literary then a genre attaches itself. Here, Auster appears to have hit big by penning a commercially aimed work, then shifting back to where his core themes ring out.

I’m a huge fan of these themes he’s so good at; stories within stories, back-tales of characters,… show more.

For me, Bernard Stiegler was one of the most influential thinkers of technology of the modern age. I like books that bring my own thinking into question. His book does this for me by providing an interesting and unfamiliar way of understanding the relation between technology and consumerism.

He describes consumerism as damaging our psychic sphere and destroying our desires–replacing them with ones formed and met by marketed commodities. What I found insightful was how he showed “reason” being transformed by philosophy into an object of faith.

The result: reason now travels with the unreason of an unchecked rationalization of power of technological creation, but with little sense of the consequences, over time, of what has been created (think AI!).

As one of my favorite novels, I find something unexpected every time I read this book. It takes you to a dystopic world, not so much as what it would look like, but how it would feel. I find it affirmative in its negativity. It takes me to what I value and wants to protect, cherish, and continue to experience. It has been part of a lesson I learned long ago and have lived by.

If you want things to be better, what is bad has to be confronted without turning away and surmounted by overcoming, adaptation, or acceptance.

Two important messages underscoring this fascinating anarchist history of Southeast Asia's uplands are coming from the past and arriving from an uncertain future. The first message began 12,000 years ago when human settlements were established.

Slowly, friction emerged between lowlands people, who settled and started to acquire property, and nomadic people of the highlands. The more settlements developed, the more nomads were deemed a threat and destroyed. These conflicts are elemental to the history of war.

The current data on climate impacts I’ve read indicate that a significant percentage of the global population will be displaced in the coming decades. By becoming nomadic, they will again be deemed a threat to urban dwellers–hence the message: there’s another danger of war to avoid!

In what I do and how I feel, I cannot avoid confronting the times we all live, called the “end times.” What they name is the end of an epoch of total planetary domination by Homo sapiens.

A moment of nemesis has arrived. What has been discovered, if unevenly, is that our collective world-making has revealed itself to be an unmaking. The history and the future of climate change, literally and metaphorically, stand for this moment.

The Brazilian anthropologists Deborah and Eduardo Viveiros de Castro powerfully capture not just the causes of this planetary crisis but, in my view, present ways of thinking and working toward affirmative futures.