100 Books Like A House in the Mountains

I became very interested in this topic when I moved to Italy and met and married Andrea Meloni. I had never been particularly interested in wars and battles but, when he began to tell me about his very personal experience growing up in Mussolini’s Fascist Italy, I was captivated and felt that his unique story was important. I, therefore, encouraged him to write his memoirs. My book is based on them, and so it is more his book than mine. However, I did extensive research to set his story in a coherent historical context. 

Doing the research for The Italian Party meant submerging myself in the Cold War Italy of the 1950s. But I found I couldn't understand that period without a better understanding of World War II and Italian Fascism. Cue an avalanche of books from which this list is culled, and the new novel I have just finished. I am drawn to first-hand accounts of women’s lives in wartime because I wonder how I would react and survive such challenges. Recent events in Europe have revived the nightmare of life under an occupying army. These stories are back at my bedside right now because I need their humor and wisdom.

While I was child growing up in London, the war was a powerful presence in my life. It was there in the films we watched, in the comics my brothers read, and in my vague understanding of what it meant to be British. It was not a subject we ever studied at school and as an adult I’ve always felt frustrated by my inadequate knowledge of this world-changing conflict. When I first had the idea of writing about the six remarkable women who pioneered the way for female war journalists, it wasn’t just their personal stories that drew me in but the chance to learn more about WW2 itself.

Doing the research for The Italian Party meant submerging myself in the Cold War Italy of the 1950s. But I found I couldn't understand that period without a better understanding of World War II and Italian Fascism. Cue an avalanche of books from which this list is culled, and the new novel I have just finished. I am drawn to first-hand accounts of women’s lives in wartime because I wonder how I would react and survive such challenges. Recent events in Europe have revived the nightmare of life under an occupying army. These stories are back at my bedside right now because I need their humor and wisdom.

My first novel Five Rivers Met On A Wooded Plain was a collage novel; an interweaving of several voices in order to create a composite portrait of the city of Salisbury, which told several stories as a way of revealing more of the life of that place. Since then I’ve written three more novels, all of them interested in the effects of using different voices to tell different parts of the story. I think that polyphony makes for great books, and these are four examples of that—different ways of weaving multiple tales together.

I started writing military history out of anger—a national newspaper had published an obituary of one of our SAS heroes, and it had wrongly defamed a deceased Italian partisan as a traitor. The newspaper published my letter of correction, but only on its website. It mattered to me that the record should be put straight, and therefore I wrote my first book. In researching that book, I discovered links that led me to Operation Postmaster, and after that, I caught the researcher's bug. As an experienced criminal lawyer, evaluating evidence has always been one of my skills, and sometimes "building" a book is very similar to building a case for the defence or prosecution.  

I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.

I've found the creep of authoritarianism to be very disquieting. One would have to be willfully blind to not see its manifestations both here and abroad. I wanted to better understand how this phenomenon cast its shadow over the world and I found the '33 Chicago World's Fair an ideal lens to view this through. I've been fascinated by world's fairs since I was a child and the '33 Fair was the first to consciously feature the future. I'm also strangely drawn to this period – if I believed in reincarnation it might provide answers, but I don't. The Zeitgeist just before the full, brutal ugliness of fascism broke over the world, fascinates me.

I am Professor of Classics at George Mason University. I learned about ancient Romans and Greeks in my native Germany, when I attended a humanist high school, possibly the oldest in the country. (It was founded during the reign of Charlemagne, as the eastern half of the Roman Empire was still flourishing.) My mother once informed me that I betrayed my passion for stories long before I could read because I enthusiastically used to tear pages out of books. In my teens I became fascinated with stories told in moving images. I have been a bibliophile and, em, cinemaniac ever since and have pursued both my obsessions in my publications.

I’m a professor of Classics at Rutgers University, where I’ve taught since 2000; before that, I spent a decade on the faculty of Bryn Mawr College. For three years I served on the staff of the American Academy in Rome, a somewhat frenetic experience that prompted me to shift my focus from ancient Roman history to the history of the city of Rome. Since 2010 I’ve been managing a private family archive in Rome, that of the papal Boncompagni Ludovisi, which covers the period from the early 1400s to the 1940s. Now completely digitized, the archive has much new material to offer, not least on the era of Mussolini, including resistance to his regime.