100 Books Like Church of Marvels

There’s a reason this book is a classic. I read it a number of years ago and reread it last year—it holds up exceedingly well.

The author’s depiction of the parents who take drugs with the intention of having malformed children they can showcase is a great setup, but it’s the character of Arturo the Aquaboy, in all his grandiosity, power, and neediness, that is compelling and resonates so today.

Part and parcel of being different and strange is perhaps being otherworldly. Emma Donaghue’s book, like her other books I’ve read, is a propulsive page-turner that also makes you think.

Is eleven-year-old Anna O’Donnell, who is said to have eaten nothing for months but appears to be thriving miraculously, a fraud? The question probes deep into our view of the miraculous, including religious conundrums that have always intrigued me: would there be Christ without miracles? Do we treasure and fear what we simply don’t understand?

Set in the author’s homeland of Ireland, this is a tale of two strangers who transform each other’s lives in a setting defined by a people intimate with hunger.

This book strikes that perfect tone that hits oddness and singularity on the head, with a bit of spirituality thrown in. When a genderless, racially ambiguous person is found on a church pew (and thus called “Pew” by the parishioners), what is one to think?

Lacey expertly leads us through others’ reactions to the stranger: at first, confiding and confessing their fears, then becoming more menacing. It’s the perfect juxtaposition of what so many of us tend to do when experiencing someone who is different: projecting ourselves and our dreams and fears onto her or him or them. 

This biography is a fascinating look at the guy who kept one sideshow or another going for some fifty years, weathering every kind of catastrophe imaginable and, in the process, meeting all sorts of people others might consider odd. Working with monkey girls, half-people, sword swallowers, and fire eaters, Ward was the talker who brought the crowds in, as well as the one who made the numbers work and ran the show.

Like life itself, Ward’s shows were full of fakery, illusion, and the real thing—dwarfs, bearded ladies, and others seen as human oddities. His take on entertaining the masses, and the humanity of the “freaks” by which he did this, is an interesting view of both our attraction to and revulsion by the different and the strange.               

Firstly the cover says it all. “The true story of how one baby found his home.” A baby abandoned in the subway is found by Danny, who falls in love with the little guy and convinces his partner to be a foster parent. The couple is broke, but the family rallies with diapers, a crib, etc. I love seeing a gay couple fully loved and supported by extended family and even the justice system. I read this book by myself and smile every time. This is the way the world should be. All accepted and loved. I wish I could have read a book like this to my kids 30 years ago. The book ends with a picture of a real grown-up Kevin and his dads which make the book even more special. The illustrations are fabulous.

What I like most about this book is its richly painted characters. The Hamlet parallel serves only as a well-crafted backdrop, and there are virtually zero instances of “clever, matchy-matchy” with Shakespeare’s text. (I hate that. Can you tell?) This book actually is clever (no quotes) in addressing themes of life, mortality, and love.

This story goes beyond Hamlet to enlist the services of other recognizable characters like Macbeth’s three witches. All of this is done with impressive craft and style. I didn’t even mind that it is, at its core, a love story, mainly because love is portrayed as a cog in a wheel that features other themes and how they are all interconnected. 

This charming parallel universe story is like two contemporary realistic novels in one. Fifteen-year-old Summer Everette makes a choice at the beginning of the book (no spoilers, here!) that will either take her to France or keep her in upstate New York for the summer. So why not see what would happen in both worlds?

This book has all the elements I love. A relatable protagonist, two adorable love interests, and tons of heart. Add the French countryside element and voila! Parfait!

Richard Price’s propulsive plots revolve around crime, but the novels are always about something much bigger, and Lush Life merges many of his favorite themes into one masterpiece: ambition and compromise, race and class, gentrification and crime, the push-and-pull of a city’s progressive leanings against reactionary forces for law and order and property values. Price’s city is constructed on a bedrock of conflict between those who’ve come to New York struggling to create art, those who were born here struggling to get by, and the cops struggling to hold the middle, in a spectacular kaleidoscope of a downtown scene at the turn of the millennium, of hipsters and gangsters, housing projects and trendy restaurants, all these subcultures clashing in one microcosm of urban life.

This collection of short stories is really about how sexual desire and social ambition can lead to all sorts of compromising and bizarre situations. I originally was drawn to it because I’d loved the film Secretary based on one of the short stories in the collection. I related to it because it is nearly all from a young female P.O.V – a kind of potpourri of trying to make it in NY in the 1980s. It's the perfect illustration of how powerful short story as a form can be in terms encapsulate an event, mood, and era – It also showed me how fictionalized memoir can be a good source of material and that if the book is really well-observed it never dates. 

Katya Apekina’s debut novel, The Deeper the Water the Uglier the Fish, compelled me to do something that I have not done in a very long time: read an entire book, cover to cover, in a single night.

There are certain writers who excel at meting out their prose with deceptive flatness, or muted lucidity (Raymond Carver and Marguerite Duras being two prime examples), and it is this “awesome simplicity,” of which the jazz musician Charles Mingus raved, which Apekina deftly demonstrates in her rendering of a searing family drama and modern American gothic.

Subtly weaving together a tapestry of voices and shifting perspectives, the novel centers on two teenage daughters—Edith, sixteen, and Mae, fourteen—who go to live with their dad in New York, after their mother has been hospitalized for a suicide attempt and breakdown.

Their dad, about whom Mae has no memories and Edith has a scattered scarcity… show more.