Books like Alchemy — picked by fans

In this book, you meet a rare person–a female heroine from the Tudor Times. Based on a true story about a woman aboard the Golden Hind, you are taken into the dark world of medieval ships and meet Maria.

As the book unfolded, I was moved to tears by her courage, strength, and ability to navigate a terrible world. I was inspired by her. 

When you turn the pages of this book, you feel you can see, smell, and hear the dark streets and alleys of Tudor London. This book inspired me to place my books in Tudor England and start The Tudor Rose Murders Series.

It is Tudor Crime at its best. I was so captivated by the characters, the detail, the pace, and the plotting that I could not put it down and felt wretched when I turned the last page. 

I love this because Ken Follett is a master storyteller. It spans the Elizabethan era and captures the intrigue, international conspiracies, horrors of religious persecution, and the opening up of the world through trade and exploration.

Yet again, Follett takes you to the town of Kingsbridge and into the world and lives of the characters who live there. You are engaged and invested in them and even feel you know them. I loved the reality, the emotion, the highs of joy, and the lows of sadness. 

I love this book, which I’ve just finished reading for the second time, going through the series once again.

On my first reading of this book, I realised that here was a brilliant writer whom I’d never come across before. The descriptions of London and elsewhere in the late 16th century are stunning. I never tire of this writer’s frequent and quite poetic use of simile to illustrate the appearance and qualities of objects, buildings, etc. in the book.

I enjoyed the "whodunnit" theme of the book as well as the many references to medicinal plants. The inclusion in the book of real 16th-century characters and the way they come over as real people is Impressive. There is a hint of a romance yet to come to fruition, which is very appealing.

Ithell Colquhoun was a surrealist artist, writer, and an initiate of several magical orders. Her unique novel (first published in 1961) has a haunting and visionary quality in the way it blends surrealist imagery and occult symbolism. The hermetic plot symbolizes alchemical processes and transformations and reading it feels like being guided through an oneiric landscape, evoking myths tangled with bodily sensations and fragments of memories.

Not a novel in the usual sense of the word, but a philosophical and poetic meditation on dreams, desires, and the journey through life. This is a lovely edition, illustrated with a selection of Colquhoun’s watercolours which beautifully complement the text.

Lumley is steeped in both the occult detective and the Lovecraftian tradition, and it shows most clearly in this set of pulpy occult detective stories featuring his cerebral-yet-tough Titus Crow, and involving wild flights of fancy in time and space that also arguably show some influence from Doctor Who. We get a lovely creepy origin story here, and several vignettes, but the highlight is the longer tale of the mysteries of the wyrm, and festering, crawling things in an ancient manor house and its library. It fairly oozes supernatural evil and is one of my favorite things.

This book is, hands-down, one of my top “Stranded on a Desert Island” books. Why? Let me count the ways! For one, the author himself is a walking encyclopedia—trust me, I’ve spent time with him! John-Michael is also a practicing Druid and is a member of various occult orders and fraternal lodges. Basically, he’s a genius.

I adore this monumental book’s approachability and depth of knowledge. The information is academic but easy to read. Regardless of a person’s mystical, metaphysical, or occult leanings, there’s a rabbit hole of wisdom waiting to be uncovered. The investigation of one topic quickly leads to another. In fact, I’ve found myself (on numerous occasions) researching one occult term, only to realize that hours had passed; studying one fascinating entry led to another, and another, and another!

This is an indispensable book for spiritual seekers of all ages and all varieties. Without question, I’ll continue… show more.

This is an excellent, yet brief history of the Black Arts and the famous (or infamous) people who practiced them. It was while reading this book, particularly the chapter on LaVoisin, that inspired the story of Christina Lafage, the main character in Widdershins. The book also describes other interesting practitioners, such as Dr. John Dee, Eliphas Levi, Nostradamus, Aleister Crowley, and many more. The chapters on Black Magic and Sorcery and Raising the Dead also contributed to my ideas for my book. I often find myself referring to this book over and over again for great source material.

My favorite thing about magical realism is that it is often used to discuss social and cultural issues, colonialism, the powerful and elite, environmental issues, racism, war, homophobia, genocide, and more. It can also be used to talk about social issues that are equally as important but maybe not as heavy. That’s why I love Melmoth by Sarah Perry – because magical realism is used to cover a gambit of social and historical issues. 

In the novel, Perry focuses on a mythical figure called Melmoth the Witness who preys upon people in the darkest moments of their lives. Through this mythical figure, Perry discusses everything from Nazi Germany to fear, sins, loneliness, and self-loathing with a magical lens. I loved the grit and darkness of this magical realism story and I know you will too.

1987’s Communion made Whitley Strieber the world’s most famous alien abductee. Since then, many have derided him as a fantasist or even a charlatan.

Most attacks stem from his critics’ insistence on viewing Strieber’s experiences literally. Few stop to consider whether or not that approach may be misguided. In this collaboration with Rice University professor Dr. Jeffrey Kripal, Strieber’s firsthand accounts are placed in dialogue with religious scholarship, providing a useful framework for navigating the treacherous waters between the objective and subjective.

The Super Natural acknowledges that these things are—at least partially—"real" in a sense that modern culture would recognize. Their meaning, however, may well be something else entirely, best apprehended through our never-ending attempt to make sense of our place in the cosmos.