Books like Children of Dune

I love the entire Dune series, but most readers don't get past the first book. The characters retained the growth and development from the first book and we see how they continue to deal with their differing struggles, like Chani who desperately wants children, while Paul knows that her desire will bring her death. Unable to marry Chani, Paul has taken a wife, in name only, but the woman loves him and desperately wants to be loved by him. I saw myself in these two women who wanted such simple things, but for reasons out of their control, were not able to have them. It made me realize that sometimes we have to let go of what we want and just be grateful for what we have, for as long as we may have it.

This is my favorite book in the Dune series because it feels like a monumental leap from the human frame to an almost godlike view.

And yet, Leto II remains deeply vulnerable in profoundly human ways: the need to love, the fear of solitude, the longing to be understood. What struck me most is how a character gifted with prescience willingly becomes an antagonist in order to save those who will hate him for it.

Leto’s repeated attempts to bring Duncan back felt less like control and more like longing for a companion, for memory, or for a link to a past only he remembers. He carries an entire history inside himself while the world around him distorts that past through its present suffering.

That Leto is misunderstood, despised, and yet fully aware that he will die for others makes the novel both tragic and unsettling.

When I decided to study Taiwan cinema more systematically, I tried to read as much on the subject as possible. I enjoyed this book because it offered me a broad overview of many kinds of questions that can be asked about and through Taiwan cinema.

For example, I realized that it is possible to try and understand Taiwanese domestic & international politics, cross-strait relations, colonial history, and the impact of globalization in a more relatable manner by reading films and documentaries as texts. It is also possible to analyze different festivals, genres, filmmakers, and individual films from the perspectives of the film industry and film artistry.

I was totally energized by the enormous potential the subject of Taiwan cinema can offer because of this book.     

A collection marking the fifty-year anniversary of the now famous Time magazine New Hollywood issue, published on December 8, 1967, featuring a gorgeous Robert Rauschenberg-designed, Bonnie and Clyde-inspired cover. The book, aptly subtitled, The New Hollywood Revisited, features essays by a who’s who of counterculture Hollywood’s most influential film reviewers, critics, and historians, including J. Hoberman, Molly Haskell, David Sterritt, and David Thomson.

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

John Cassavetes is a kind of saint in the world of independent films. With his spouse, Gena Rowlands, he made films—A Woman Under the Influence, Faces, The Killing of a Chinese Bookie—that launched a revolution in American filmmaking.

This collection of Cassavetes’ writings and conversations opened my understanding of art and life at the deepest level. This is the quote that I’ve kept with me always: “[When you compromise your vision, you create] a lack of confidence in your innermost thoughts… These innermost thoughts become less and less a part of you and once you lose them then you don’t have anything else.” 

Whoa, this book is a fun, chaotic dip into burnout. I had to just let go when I was reading, let the words crash over me like a wave, and get bashed around by the crazy stream-of-consciousness. The narrator's memories, fantasies, thoughts, delusions, worries, and everything else are all mixed up with crazy secondary characters and set in a realistically gritty and raw New York City. As a former resident of NYC, who has heard horror stories from lifelong residents, I could hear the desperate truth in every line. The narrator wants to quit—quit the trauma, the stress eating away at his nerves, but he keeps drinking, shooting up, and speeding to the next overdose, shooting, and heart attack. The narrator’s struggle between giving up on everything and trying one more time to find redemption in a broken city full of violence, sickness, and death took me one step closer… show more.

Chion’s book is seminal in the study of film sound (not just music). He challenges the orthodoxy of favoring the visual aspects of film when we talk about it, arguing that we need to consider the sound of a film as well as its images.

He says that we don’t just watch films; we “audio-view” them. Chion draws his examples from an extraordinarily wide range of films. On the same page he might go from Godard to Indiana Jones to Singin’ in the Rain.

He doesn’t judge: if a popular action film is the best example for a point about sound-image relationships, he uses it. Chion introduces a lot of new terminology, but it is all carefully explained and illustrated with examples.

I’ll admit that I picked up Tessa Bailey’s books strictly because of the reader raves all over TikTok. I read her It Happened One Summer first, and then immediately put Hook, Line, and Sinker on my wish list and I have to say, I loved the second book even more than the first, and that was a high bar to beat.

A riches-to-rags story about two sisters forced to move from their luxurious lives in LA to a much more sparce existence in a small fishing village populated with sexy crab fishermen, it’s part Schitt’s Creek and part Deadliest Catch—a testament to the fact this toe-tingling romance was conceived and written during the pandemic when the author was admittedly binging both shows on TV.

Using multiple helpful examples to illustrate her points, the author examines the various ways that films tell their stories visually through the use of cinematography.

Techniques of lighting, editing, movement, color, and camera placement are effectively discussed, making this a helpful and practical resource for film-making students as well as those who simply want to appreciate the art of filmmaking.