94 Books Like God Is Dead

The book resonates with me on many levels. Firstly, of course, I’m a combat veteran, so the military and living through the hell of war are part of my identity. The author and I share an innate connection there.

But on a different level, it delves into the intangible burdens that resonate for years after the experience – the grief, the guilt, the terror, even the longing to return because it’s what you know.

The title is explicit, and I share the load with all my fellow veterans.

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.

What can you really say about this one—besides the obvious: it’s perfect. 

Chuck Palahniuk isn’t like the rest of us. He’s sharper, more cynical, funnier, more original. Calling myself a writer in his presence would be like hanging a finger-painting at the Louvre.

Fight Club digs straight into the restless undercurrent of modern life—that gnawing sense that comfort, convenience, and consumerism have carved a hollow right through your chest. We’re one Amazon delivery away from losing whatever’s left of our humanity. Or our masculinity. It reminds me of that line in Jurassic Park: “A T-rex doesn’t want to be fed, he wants to hunt.” More applicable to us now than we’d like to admit.

I love this book because it doesn’t let up where others might. It doesn’t edit its message to fit some form of Overton window. It laughs in your face while stripping everything down to bone. Less… show more.

Max Barry’s satirical science-fiction novel, Machine Man, is a dark and funny mediation on contemporary society’s compulsive over-reliance on technology. The narrator, Charles Neumann, is a mechanical engineer who, while obsessively searching for his phone, loses his leg in an industrial accident. After building himself a new machine leg, Charles purposely loses his other leg, so he can replace it with another machine leg. After seeing how great his new legs work, Charles wonders if maybe he should replace more of his body parts with machine parts, begging the question: Where does humanity end and technology begin?

Prolific author and intellectual Francis Mading Deng became South Sudan’s first ambassador to the United Nations. Meeting Dr. Deng in person was one of the highlights of my life. To read any of his 40-some books is a privilege. It is possible to read Dinka Folktales as astonishing anthropological events, but Francis Mading Deng provides an introduction that reveals the “truth” in storytelling. These folktales contain the philosophical, religious, and day-to-day practices of the Dinka, who are the largest ethnic tribe in South Sudan. Given the civil war with north Sudan and the south’s dramatic victory in establishing their own country, these extraordinary stories belong in the ranks of world literature. 

John Edgar Wideman is the first African-American writer I can clearly point to who took microfiction seriously enough to write an entire collection. His stories are filtered through the lens of Blackness, but that is not the major reason why I like this book. Wideman does things with language that force me to completely step back and rethink things. I find myself reading his words aloud, simply because they feel as though they transcend the page. If it were not for Wideman, I would not feel as comfortable revealing the authenticity of my experience in my work.

The Red Pencil is a beautifully written novel in verse that gives readers a heartbreaking view into the life of Amira, a twelve-year-old Sudanese girl whose life is turned upside down when her village is destroyed by the Janjaweed and she is forced into a refugee camp.

This story of trauma and loss also contains hope as Amira is given a pencil and notebook, which serve to remind her of dreams that extend beyond the grief and loss she is enduring. I believe novels in verse are a powerful vehicle for telling powerful, hard stories, and Pickney’s verse provides literal and figurative beauty while revealing the ugly reality of the Civil War in Darfur.

By a considerable distance, the most gripping novel I have devoured on gender roles in the long shadow of the loss of home. Several of the book’s characters and defining scenes in the refugee camp remain haunting years after I first encountered them.

Suleiman Addonia’s dissection of the entangled shocks wrought by cultural change, war, and displacement drips with emotional contrasts. This book feels, at times, unbearably intrusive, as the reader is exposed to the most privately held fears and embarrassments of its protagonists.

Simultaneously, the book beautifully underscores how valuable (at least some) intimacy remains for those who feel that the future has already bypassed them.

I planned to read this book for research but ended up so immersed in the story that I kept forgetting to take notes. The narrative, a “clever inversion of Conrad’s Heart of Darkness,” follows the travels and travails of a young protagonist tangled in the contradictions of his African childhood, his formal education in England, and his return home with what he sees as the boon of modern thought. Part mystery, part romance, part history, part monomyth, part psychological thriller, the novel is set in an “unsettled and violent no-man’s-land between…tradition and innovation, holiness and defilement...” This book fascinated and haunted me even as it informed me about the complexities, dichotomies, and dissonance of colonization. Shot through with “allusions to Arabic and European fiction, Islamic history, Shakespeare, Freud, and classical Arabic poetry,” Salih’s novel should first be read for what it is: a brilliant work of art.

Carol Berger is a Canadian journalist and anthropologist with decades of experience in Sudan/South Sudan. This book is a meticulously-documented dissection of one of the founding myths of South Sudan: the supposedly glorious deeds of the rebel SPLA’s Red Army (made up of child soldiers) and the associated romance of the phenomenon known as the Lost Boys, as featured by Hollywood (The Good Lie). The truth is that during the second Sudanese civil war (1985-2003) thousands of young boys were ruthlessly exploited and/or abandoned by warlords, many of whom now hold positions of power in South Sudan. A fascinating sidebar is the story of the Cuban Jubans: the young boys who made their way from displacement camps in Ethiopia, via a long sojourn in Cuba, eventually settling in Alberta, Canada. Some two dozen returned to South Sudan in 2011/12 to work as doctors, and I had the pleasure… show more.