Here are 94 books that Country Girl fans have personally recommended if you like
Country Girl.
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When I covered the White House as a young reporter I was always more interested in understanding what was happening in the upstairs residence than in what briefings we were getting from the president’s advisers in the Roosevelt Room. I was raised with the understanding that in the end everyone is equal and that no one, no matter how powerful they are, gets out of the human experience. I think that’s what makes me interested in iconic women, from Elizabeth Taylor to Betty Ford. There’s nothing I like better than reading their letters and trying to understand what made them tick, and how they navigated their complicated and very public lives.
My friend Denise Kiernan shines a light on the thousands of women who worked on the Manhattan Project.
If you’ve seen Oppenheimer and you’re interested in the story behind the development of the atomic bomb, then this book will help you understand the hidden figures behind its creation. What I love the most about Denise’s writing is the way that she brings the mysterious origins of Oak Ridge, a Tennessee town created to house the people working on the bomb, to life.
At a time when the stakes couldn’t have been higher, women were at the center of the story.
The New York Times bestseller, now available in paperback—an incredible true story of the top-secret World War II town of Oak Ridge, Tennessee, and the young women brought there unknowingly to help build the atomic bomb.
“The best kind of nonfiction: marvelously reported, fluidly written, and a remarkable story...As meticulous and brilliant as it is compulsively readable.” —Karen Abbott, author of Sin in the Second City
At the height of World War II, Oak Ridge, Tennessee, was home to 75,000 residents, and consumed more electricity than New York City, yet it was shrouded in such secrecy that it did not…
Brings together Maggie Humm's pioneering work on feminist literary criticism, Virginia Woolf, film and visual cultures. Explores a range of critical approaches to Woolf’s writings including modernism, psychoanalysis, French feminist theory, and postmodernism.
A survey and analysis of feminist criticism from the 1970s.
I write because I want to tell stories–and I also want to share great stories with others. An avid reader and writer of fantasy and speculative fiction, I have a love of the fantastic, the remarkable and the supernatural, which I have managed to sustain and develop alongside a successful working life in government and social administration. If you want to know about power–and what you need to wield it and control it, just give me a call. Great fantasy should tell universal truths, and sometimes, more difficult messages can be told more effectively using a supernatural metaphor. Telling those stories is what I do.
I first read Virginia Woolf’s book when I was in my late teens—and I was absolutely captivated by the idea of this incredible person who lives for hundreds of years, changes their gender, and gets to meet some of the most remarkable people in history. There is no explanation given as to why all this happens—and that really doesn’t matter; it just does, simply and beautifully.
It is a very playful book, which is one of the reasons I have always loved it so much. However, it is also an exceptional work of fantasy, doing what I believe a fantasy writer is best placed to do—shining a light on the everyday world and showing us hidden truths.
HarperCollins is proud to present its new range of best-loved, essential classics.
'The flower bloomed and faded. The sun rose and sank. The lover loved and went. And what the poets said in rhyme, the young translated into practice.'
Written for her lover Vita Sackville-West, 'Orlando' is Woolf's playfully subversive take on a biography, here tracing the fantastical life of Orlando. As the novel spans centuries and continents, gender and identity, we follow Orlando's adventures in love - from being a lord in the Elizabethan court to a lady in 1920s London.
I was raised to believe that I could do everything a man could do, just as Ginger Rodgers did, “backwards and in high heels.” My discovery that social expectations and boundaries for women were vastly different than those for men came as an enormous shock, and struck me as deeply, tragically unfair. I take strength from women in history, as well as from fictional female characters, who passionately pursue roles in a man’s world that are considered transgressive or forbidden. As a glass-ceiling-shattering female film and television director I take inspiration from women who have the gritty determination to live on their own terms. And then tell it as they lived it.
This novel’s power remains intact every time I read it, even as the nature of the tragedy seems to shift – from the perils of living by one’s looks (my teenage reading) to the cruelty of the world towards women (my young adult reading) to the struggle for personal freedom in a money-obsessed culture (my more recent readings).
Edith Wharton’s novel is a masterpiece, both electrifying and relevant, and worth re-reading as often as possible.
Once you finish the book, watch the Terence Davies-directed film, starring the luminous Gillian Anderson as Lily Bart.
A bestseller when it was published nearly a century ago, this literary classic established Edith Wharton as one of the most important American writers in the twentieth century-now with a new introduction from Pulitzer Prize-winning author Jennifer Egan.
Wharton's first literary success-a devastatingly accurate portrait of New York's aristocracy at the turn of the century-is considered by many to be her most important novel, and Lily Bart, her most unforgettable character. Impoverished but well-born, the beautiful and beguiling Lily realizes a secure future depends on her acquiring a wealthy husband. But with her romantic indiscretion, gambling debts, and a maelstrom…
Brings together Maggie Humm's pioneering work on feminist literary criticism, Virginia Woolf, film and visual cultures. Explores a range of critical approaches to Woolf’s writings including modernism, psychoanalysis, French feminist theory, and postmodernism.
A survey and analysis of feminist criticism from the 1970s.
A New York Times bestselling author, I love excavating the lives of eccentric, strong-willed women. There’s the thrill of the chase—holding handwritten letters and diaries and uncovering, bit by bit, the story of each woman—and the adventure of encountering the unexpected: Wandering through a rattlesnake-infested Montana cabin (Photographing Montana 1894-1928: The Life and Work of Evelyn Cameron); being woken by a ghost while staying at a decaying Astor mansion in the Hudson Valley (Archie and Amélie: Love and Madness in the Gilded Age); climbing 200 stone steps to reach the Royal Archives in Windsor Castle, while the recently-departed Queen Elizabeth was in the courtyard below (Victoria’s Island, in process). Such fun.
I adore eccentric, talented women—and Julia Margaret Cameron was surely that—and I love nineteenth-century photography. When nearly 50 years old, Cameron took up photography and created her signature art of soft-focus, emotive portraiture. She was living on Britain’s Isle of Wight, surrounded by a who’s who of Victorian England: Tennyson, Lewis Carroll, Dickens, Charles Darwin, and Queen Victoria herself who summered in a nearby palace. Cameron photographed the humblest islanders as well as some of the greatest personages of the day, and her work has inspired modern artists such as Robert Mapplethorpe and Patti Smith.
Acknowledged as the outstanding portrait photographer of her generation, Julia Margaret Cameron was a very late starter. She was born to English and French parents in Calcutta in 1815, five days before the Battle of Waterloo. Her father was a high-ranking civil servant in the British East India Company, and it was expected that Julia would follow the example of her sisters by connecting herself to an established Anglo-Indian professional. She did exactly that in 1838 when she married Charles Hay Cameron, a legal scholar, and settled down to the quiet life of a typical Victorian colonial matron. But beneath…
As an experienced teacher I was fascinated by how writing personal stories helped to develop confidence as well as oral and written self-expression at different levels of complexity in children across the primary school age range. This encouraged me to embark on a MA in creative writing where I wrote an extended autobiographical piece that focused on how the relationship between my father and myself affected my childhood. I continued this research into my doctoral studies in Irish autobiography. I explored the history of Irish autobiography, memory, and identity formation. This research provided the context to write my own childhood memoir I Am Patrick.
In 1899, the Irish novelist, Hannah Lynch wrote her memoir Autobiography of a Child. She caused controversy in Ireland and abroad by attempting to represent her childhood up to the age of twelve narrated through the child’s voice, a strategy I adopted but from the ageing child’s point of view where the language and thought process become more complex as I grow older. Her use of adult reflection upon the child’s unstable memory demonstrates an original understanding of the child’s point of view and its representation. Hannah uncovered the inescapable cycle of harsh treatment by her parents within a large family and the physical abuse by nuns at school. Her book reinforces the unreliability of memory for autobiography and helped me to accept that total veracity is not possible.
It is a powerful first-person narrative follows the story of a young Irish girl from her earliest memory to around twelve years of age, tracing the shaping of "the Dublin Angela" into "the English Angela" and ultimately Angela of Lysterby, "the Irish rebel." This tale is told from the perspective of her older self, now "a hopeless wanderer" with youth and optimism behind her. The narrative opens with a startling sketch of Angela's mother, "a handsome, cold-eyed woman, who did not love me," before relating fragmented memories of an idyllic time spent in rural Kildare while "put out to nurse"…
As an experienced teacher I was fascinated by how writing personal stories helped to develop confidence as well as oral and written self-expression at different levels of complexity in children across the primary school age range. This encouraged me to embark on a MA in creative writing where I wrote an extended autobiographical piece that focused on how the relationship between my father and myself affected my childhood. I continued this research into my doctoral studies in Irish autobiography. I explored the history of Irish autobiography, memory, and identity formation. This research provided the context to write my own childhood memoir I Am Patrick.
McGinley’s 2011 autobiography That Unearthly Valley: A Donegal Childhood is a carbon copy of my own upbringing in a small rural, Irish and narrow-minded community in County Donegal in the mid-twentieth century where the dominance and hypocrisy of the Catholic priest and school instilled fear and religious compliance in daily life.
McGinley’s clearly narrated memories reveal a young man’s frustration at the silent and secret practices of those in authority from which his only escape was education and by disowning his birthplace. His descriptions of feeling like an outcast hhelpme to question the traumatic impact of our childhoods upon our adult lives. Like myself, it was only by distancing himself from home that he was able to lay bare a disturbing existence of repression.
A canny, loving portrait of a 1940s and 50s rural Irish upbringing, a moving homage to the folk imagination, and a heartfelt valedictory for a traditional way of life 'subsistence farming, sheep-rearing, hand-weaving, fiddle-playing and story-telling' that has largely vanished from our shores. Born in Glencolmcille in 1937, McGinley tells of growing up in the back of beyond, an isolated, seaside village marked by a generosity of spirit and a true sense of community, wherein he first encountered such mysteries as crab toes, family, sex, death, and school, along with a larger-than-life local curate, Fr James McDyer, a radical socialist…
As an experienced teacher I was fascinated by how writing personal stories helped to develop confidence as well as oral and written self-expression at different levels of complexity in children across the primary school age range. This encouraged me to embark on a MA in creative writing where I wrote an extended autobiographical piece that focused on how the relationship between my father and myself affected my childhood. I continued this research into my doctoral studies in Irish autobiography. I explored the history of Irish autobiography, memory, and identity formation. This research provided the context to write my own childhood memoir I Am Patrick.
John McGahern’sMemoiris a chronological narrative of his experiences in County Leitrim Ireland from the age of three. His continuous prose of detailed descriptions of places, people, and incidents combined with the child’s voice create a brutal home and school environment from which his only escape is the beauty of the local landscape. His contrasting depiction of his brutal father and loving mother resurrects my parents’ behaviour. He uses the most effective order of words to create a gripping narrative to represent Irish family silence. John’s precise style creates an addictive tension hooking me to every word where I am left to ponder on what is not said. John’s narration of his experiences encouraged me to partially adopt his approach in my own memoir.
From award-winning author John McGahern, a memoir of his childhood in the Irish countryside and the beginnings of his life as a writer.
McGahern describes his early years as one of seven children growing up in rural County Leitrim, a childhood was marked by his father’s violent nature and the early death of his beloved mother. Tracing the memories of home through both people and place, McGahern details family life and the beginnings of a writing career that would take him far from home, and then back again. Haunting and illuminating, All Will Be Well is an unforgettable portrait of…
As an experienced teacher I was fascinated by how writing personal stories helped to develop confidence as well as oral and written self-expression at different levels of complexity in children across the primary school age range. This encouraged me to embark on a MA in creative writing where I wrote an extended autobiographical piece that focused on how the relationship between my father and myself affected my childhood. I continued this research into my doctoral studies in Irish autobiography. I explored the history of Irish autobiography, memory, and identity formation. This research provided the context to write my own childhood memoir I Am Patrick.
Hugo Hamilton’s 2003 autobiography The Speckled Peoplerecounts his Dublinchildhood experiences of being brought up by a brutal, Gaelic-speaking and nationalist father who forbade him from speaking English and a German mother who escaped from Nazi Germany.
Hugo’s linguistic difficulties and cultural disparities restricted his personal development where confusion and frustration led to isolation. I am fascinated by his search for self-identity through his love of English resulting in a thought-provoking narrative that reflects the powerful role of language in the representation of the self and identity formation. I can vouch for this in my own memoir where the increasing complexity of language of the ageing child highlights the stages of my linguistic and cognitive development.
'This is the most gripping book I've read in ages ... It is beautifully written, fascinating, disturbing and often very funny.' Roddy Doyle
The childhood world of Hugo Hamilton, born and brought up in Dublin, is a confused place. His father, a sometimes brutal Irish nationalist, demands his children speak Gaelic, while his mother, a softly spoken German emigrant who has been marked by the Nazi past, speaks to them in German. He himself wants to speak English. English is, after all, what the other children in Dublin speak. English is what they use when they hunt him down…
As an independent traveller, and throughout a career supporting international nature conservation, I’ve been fortunate to see many far-flung places of the world. Over the years, technology (eg. smartphones, internet, social media) has radically changed the way we travel, and indeed our expectations. Nowadays we want instant access, instant answers, instant results; we hate waiting for anything. However, long-haul travel still demands us to wait... in airport lounges, at train stations, bus stops, and onboard our transport while we endure long hours before reaching our destination. While some aspects have changed, patience, humour, and a good book still remain the best companions for any long journey.
Bryson’s various travelogues give you such colourful views of the places he visits and, if you’re journeying to Australia, Down Underis a must-read. Expertly combining sharp observations, unusual factual snippets, and incisive wit, the pictures he paints will inspire you to travel and see it for yourself... or alternatively, persuade you to avoid it at all cost. Whichever the result, you will be amply entertained.
Every time Bill Bryson walks out the door memorable travel literature threatens to break out. His previous excursion up, down, and over the Appalachian Trail (well, most of it) resulted in the sublime national bestseller A Walk in the Woods. Now he has traveled across the world and all the way Down Under to Australia, a shockingly under-discovered country with the friendliest inhabitants, the hottest, driest weather, and the most peculiar and lethal wildlife to be found on the planet. In a Sunburned Country is his report on what he found there--a deliciously funny, fact-filled, and adventurous performance by a…
Lori Benton is an award-winning, multi-published author of historical novels set during the 18th century North America. Her literary passion is bringing little known historical events to life through the eyes of those who lived it, particularly those set along the Appalachian frontier, where European and Native American cultural and world views collided. Virginia Governor Lord Dunmore’s campaign against the Shawnee nation on the eve of the Revolutionary war, culminating in the Battle of Point Pleasant, is a fascinating, complex, and poignant example of the armies and individuals that planned, fought, and resisted the campaign.
A comprehensive examination of the Ohio Valley native nations during the decades leading up to Dunmore’s War. Though the covering of the actual campaign makes up a small portion of this book, any researcher desiring a balanced view of the conflict for land in the Ohio couldn’t ask for a better resource than A Country Between.
The Ohio Country in the eighteenth century was a zone of international strife, and the Delawares, Shawnees, Iroquois, and other natives who had taken refuge there were caught between the territorial ambitions of the French and British. A Country Between is unique in assuming the perspective of the Indians who struggled to maintain their autonomy in a geographical tinderbox.
