100 Books Like A Drop of Patience

As a creative writer, I think it is important for me to put myself into the bodies and minds of people, unlike myself, and imagine how they move about in the world. In my book, I write about Blind Tom, a person from the nineteenth century who has little in common with me. However, there are some affinities and connections between Tom and myself. Although I am not blind, I suffer from a disability. Also, I like writing about music and musicians. I chose to write about Tom in part because he was a great musician who has never received the proper credit he deserves from musicologists and historians.

As a creative writer, I think it is important for me to put myself into the bodies and minds of people, unlike myself, and imagine how they move about in the world. In my book, I write about Blind Tom, a person from the nineteenth century who has little in common with me. However, there are some affinities and connections between Tom and myself. Although I am not blind, I suffer from a disability. Also, I like writing about music and musicians. I chose to write about Tom in part because he was a great musician who has never received the proper credit he deserves from musicologists and historians.

As a creative writer, I think it is important for me to put myself into the bodies and minds of people, unlike myself, and imagine how they move about in the world. In my book, I write about Blind Tom, a person from the nineteenth century who has little in common with me. However, there are some affinities and connections between Tom and myself. Although I am not blind, I suffer from a disability. Also, I like writing about music and musicians. I chose to write about Tom in part because he was a great musician who has never received the proper credit he deserves from musicologists and historians.

As a creative writer, I think it is important for me to put myself into the bodies and minds of people, unlike myself, and imagine how they move about in the world. In my book, I write about Blind Tom, a person from the nineteenth century who has little in common with me. However, there are some affinities and connections between Tom and myself. Although I am not blind, I suffer from a disability. Also, I like writing about music and musicians. I chose to write about Tom in part because he was a great musician who has never received the proper credit he deserves from musicologists and historians.

I’ve become fascinated with the unconventional tumultuous world of the 1920s ever since I discovered my grandmother’s box of mementos that led to my debut historical fiction, Whistling Women and Crowing Hens. The lesser-known parts of our country’s history draw me in, and the potential for strong female characters keeps me writing. Before I fell down many research rabbit holes, I thought the 1920s were just speakeasies, fringed flappers, and bathtub gin—while entertaining, it’s only the “big city” side of this transformative decade. I’ve found I prefer reading what everyday townspeople experienced, or how “normal” women became unexpected heroes, or ways people persevered after the turmoil WWI caused. There are so many undiscovered stories to be told!

For the last 19 years, I have worked narcotics K-9s for a private company called Sherlock Hounds Detection Canines. I recently retired from the K-9 work, but over the years, I loved seeing how dogs solve crimes in real life. Not only do they help us solve crimes, but dogs have a way of reaching people and changing lives. Dogs are quite literally “man’s (or woman’s) best friend,” and because of that, they become the best partners for many characters in books. There’s nothing better than discovering a new K-9 series that depicts the real-life love and bond between K-9 and handler. 

I always want to be where I am not. This was why I read sci-fi and fantasy as a child. This was why I left the country of my birth and became a professional nomad. This is why I am spellbound by mountains I will never climb and oceans I will never dive into. Imagination can take you everywhere. It took me to the academy, where speculative literature became my scholarly field, and to the publishing world, where I am now getting ready for the launch of my eighth novel. When you are at home nowhere, you are at home everywhere–including on the summits of impossible mountains.

I first picked up a Clive Cussler book over ten years ago. I previously only ever read nonfiction. I was hooked. I always thought these action-adventure archeological-style novels would be toilet paper, but I was wrong. These books made me want to write them. For years before, I had studied the Egyptians, Sumerians, Incas, Mayans, and Templars. You name it and I knew about it, so I took my own experience and excitement and started creating my own books. The recommendations I have here are from some of the best of the best in the genre if you like sitting on the edge of your seat, twists and turns, and some really interesting history that most of us don’t know.

As a child, finding reality both overwhelming and boring, I was drawn to movies. My father, a New York City disc jockey also at odds with reality, had contacts at a sixteen-millimeter movie rental company. He often brought films home, shown in a makeshift screening room he set up in our basement. Singin’ in the Rain, the classic musical, made a great impression there. Its funny first scene at a movie premiere featured a pompous star’s ennobling account of his early days, comically contradicted by the tacky, scrounging, painfully undignified truth. What lay behind Hollywood's glamor, smiles, and success soon became as interesting to me as what was on the screen.

When I produced a recording of lost works by Alexander Zemlinsky with Riccardo Chailly for Decca Records in 1984, I soon realized that a wealth of music had been lost during the Nazi years that had never been recovered. After initiating and supervising the recording series Entartete Musik for Decca, the first retrospective of major works lost during the Nazi years, I headed research in this subject at London University’s Jewish Music Institute. I was a music curator at Vienna’s Jewish Museum. YUP published one of my books, and I am a co-founder of the Research Center and Archive “Exilarte” based at Vienna’s University of Music and Performing Arts.