100 Books Like Drive Your Plow Over the Bones of the Dead

This book helped me release shame after a colleague of mine told me my work wasn’t “science.”

Here’s the truth: to create a healing platform, I needed to tap into ways of thinking that academia sees as “woo woo” and “savage.” I looked to the stars. I meditated. I did rituals and read myths.

Dr. Kimmerer, trained as a traditional botanist, realized that the Indigenous myths and stories she was told as a child contained scientific knowledge passed down for generations by her tribe.

She realized there were scientific truths her community knew for millennia that traditional scientists only discovered within the last 100 years. This is the power of Ancestral Intelligence, disregarded by the same science that ultimately created AI.

What stories, fables, and myths have taught you valuable lessons about the world?

This contemporary, quirky tale centers around the life of Keiko, a young woman who has never done anything in a conventional way and has her mother very worried that her daughter will never find a man and settle down into a conventional life. No, Keiko’s ways of thinking are startling and odd in ways that are both amusing and somewhat horrifying, as she really does fall outside the realm of conventional thinking and socially rewarded behavior. The reader comes to love her as she grows into womanhood (and personhood) as a worker in a fast-paced convenience store, where she memorizes hundreds of products and practices behaving more “normally” by mimicking the actions and words of her co-workers. Then a man named Shiraha enters the picture, for a new twist.

This literary rendering of Dublin at the beginning of the 20th century comprises fifteen stories. Whenever I read them, I can feel Joyce’s adoration for this city—and the last story, "The Dead," is glorious.

The final line always slays me: “His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead”

I was about thirteen years old when I picked up Charles Portis’ book, and from the very first line, I wanted to be Mattie Ross. The novel was the first Western I remember reading and remains imprinted on my brain as a first to mash up the traditional themes of the righteous Code of the West and the hopelessness of a world awash in lawlessness and violence, all the while eliciting whoops of laughter.

Mattie was the first female protagonist I remember encountering with pluck and impertinence to match the infamous U.S. Marshal Rooster Cogburn and inspire my own.

This novel about a fifteen-year-old girl’s affair with an older, wealthy man is a provocative exploration of memory. The novel’s language is arch and lyric, always making me feel as if I’ve been hypnotized.

The book is a love story, but in this story, love doesn’t lead to salvation. Still, the splendid, haunting language lifts the tale into the realm of the mythic.

A controversial play because of its end. Nora Helmer is the main character, a Norwegian married woman, wife of a bank manager, and a mother of three. Her life elapses day after day without opportunities for self-fulfillment in the last decades of the 19th century. I can’t say this female character is a feminist for its time, because she lives in a world full of laws made by men; so, in this sense she is like a doll, a superficial and wasteful person, and she changes slowly from act to act; she feels empty, she contemplates killing herself and at the end of the play Nora leaves her husband and family trying to escape from a stifling male-dominated society. Although this play was not intended written as a feminist, it has a great historical value in this field. If after reading you try to imagine what kind of life… show more.

Elfriede Jelinek has many anti-heroines in novels and plays, but I pick Erika Kohut, a repressed Austrian piano teacher who in her late thirties is still living under the power of her stifling elderly mother. Vienna, the city of music and great composers like Franz Schubert, is seen not only through the Vienna Conservatory but inside peep-shops that Erika frequently visits to escape from her mother. Although she is a masochist and self-mutilates, she begins a relationship with Walter, a new student, and gives him the instructions through an atypical letter. Jelinek's work makes me feel many things, not only due to her stories and characters but also the depth of her writing! The importance of her voices in novels and plays is extraordinary, her prose is satirical and very critical. She looks at their characters psychologically, from the deep of human behavior.

There’s a driving intensity to this book's narrative and atmosphere, which remains as compelling and fresh today as when I first read it years ago. Part of its power derives from Eugenides’ use of first-person plural narration through the collective voice of a group of neighborhood boys still haunted, years later in adulthood, by the untimely deaths of five adolescent sisters in 1970s suburban Michigan.

Part-detectives, part-elegists, they piece together their memories of not only the girls but of a particular place and time now vanished. I’m always struck by the book’s deft melding of pathos and humor and by the way that what is essentially a personal suburban tragedy gradually begins to speak to a wider malaise that calls into question the American dream itself.

The Tourist Trail is an eco-thriller featuring an unlikely but thoroughly entertaining cast of characters—among them a whale rescuer, a penguin researcher, an FBI agent, a computer tech, and an animal-rights activist—whose lives come together in the wild and dangerous waters of the Southern Ocean. All of these characters have secrets that are slowly revealed, and the alternating points of view pull readers toward a cinematic ending. The Tourist Trail is about endangered species and oceans at risk, but most of all, it’s about animals and the human heroes who devote their lives toward saving them—it’s not only an unputdownable mystery but a compassionate and heartfelt ode to our oceanic animals who need saving.

Billed as YA lit, don’t let that stop you. It is an auto-fictional account of a young boy refugee from Iran who suddenly finds himself in the middle of Oklahoma: malls and milkshakes. I was in fits of laughter throughout because the narrator's voice is so unique and charming, a much more optimistic Holden Caulfield. But the themes can also be hard, and therein lies the magic.

I loved the unique story structure of telling his stories in the format of 1001 Nights. This validated my own choice to structure my book in the format of The Little Match Girl, striking matches in a snowstorm. I loved this book for its swirl of myth, magical realism, and family stories that weave seamlessly through a modern-day exploration of refugee identity and belonging.