Books like Gods in the Time of Democracy — picked by fans

This book tells the story of when, why, and by whom Confederate monuments were erected in the United States.

I love its careful attention to race and class, which helps us to understand how this process consolidated white supremacy but also undermined a revolutionary working-class politics. There is a terrific chapter on Stone Mountain in Georgia, which has been described as "the largest shrine to white supremacy in the history of the world."

The historical context provided by the book helped me to make sense of what was at stake in the Black Lives Matter protests of 2020, and in the white supremacist backlash to it that we are currently living through. Most memorable sentence: "Shuffling statues around our cities is like moving an abusive priest to another parish."

This book is an intensive examination of "Rhodes Must Fall" – a student-led movement that erupted in South Africa in 2015 to protest the persistence of the legacies of apartheid more than two decades after its formal end.

The movement called for the removal of a statue of settler colonist Cecil Rhodes from the University of Cape Town as a metaphor for the dismantling of these legacies.

I love the book because while it is written in solidarity with the movement’s aim to dismantle white supremacy, it is also deeply attentive to how easily a politics of decolonisation can be misdirected at other marginalised groups – in this case, Black migrants from outside South Africa, who have frequently been at the receiving end of xenophobic violence.      

Written by a world-leading authority on iconoclasm, this book is a veritable encyclopedia!

I love its historical sweep, covering iconoclasm from ancient Rome to the present day. The book also ranges widely across geographies, including Europe, West Asia, South Africa, and the United States. In doing so, it makes clear how, rather than being characteristic of particular cultures, iconoclasm is rooted in the human psyche.

It helped me to understand how human beings can experience the inert matter of statues and images as coming alive, to the point where they are spooked enough to want to destroy them.  

From the title of this book about "so-called Australia," it’s clear that we are going to hear a deeply subversive account of the politics and history of that country from an Aboriginal perspective.

In addition to providing a powerful critique of colonial narratives about white settler "discovery" that remain dominant in Australian public culture, the authors curate a rich archive of Aboriginal disruption of those narratives.

These have taken the form of not only statue protests of the kind that we have seen in other parts of the world, but also art, music, films, mock ethnographic documentaries, counter-memorials, and more. The book shows how another history of the continent has always been narrated, even if settler audiences have lacked the literacy necessary to understand it.  

A relatively small, informal book filled with advice on how to keep having great ideas and how to survive in the creative business. Valuable even in you only pick up for a minute.

I first encountered this book many years before I began my own.

It accompanied a marvelous exhibit launched by the Philadelphia Museum of Art which, sadly, I did not see in person. Arranged by decade, the body of the book features individual products from the 1950s to the 1990s.

This reveals the overlap between different design disciplines and the cross-fertilization of ideas. I love the large photos which pull you in and make you want to read the texts. The supporting essays were contributed by many of the most important design luminaries at work in Japan.

By the time I was working on my book, many of them were already gone. 

James McMullan is one of America’s preeminent illustrators, working consistently from the 60s to today. He may be most familiar for his long series of posters for Broadway shows at Lincoln Center, but he has also done magazine illustrations, children's books, record covers, and animation. Running parallel to his illustration work has been a long career in teaching, principally at New York’s School of Visual Arts (for which he also has done a series of subway posters). I was privileged to take his SVA illustration course– which had a stringent portfolio review – for two years early in my career, about the time this book appeared. No collection of greatest hits, or even a guide to achieving McMullan’s juicy watercolor style, this is a thoroughly candid tour through an illustrator’s work process, including a generous selection of preliminary sketches and reference photos.

Like many of the students who passed through… show more.

For many years, Brower was the art director at PRINT magazine and before that at esteemed book publishing houses. He is a brilliant art director and book designer, and we were co-authors a while back. In this book, Brower explores what art directors do in a design studio vs. a corporation, how the role is different than being a graphic designer and much more. Great interviews with pros are included are well. I admire Brower's award-winning cover and interior design of his book.

Indian thinkers writing in Sanskrit spent 1500 years theorizing and debating the nature of emotions and aesthetic experience as we experience them in literature and the performing arts. Pollock assembles, translates, and helps us interpret many of these debates. While not about emotions as such, these texts get at the finer shades of feeling as they relate to ways we relish the romantic, the tragic, the comic, the macabre, and so on.

While I am inspired by contemporary writing on emotions, the core of my imagination and intellectual life has been built by ideas from ancient and classical India. Sheldon Pollock is second to none in bringing the world of Sanskrit knowledge systems to a modern audience. 

Beginning, middle, and an end—what writer doesn’t know about these three concepts? Well, Aristotle is the guy who wrote about these ideas in his book, and thousands of years later we’re still using them and thinking about them.

The foundations of modern literature and theater rest on this book and every writer should be familiar with its ideas and concepts. Story is story, and Aristotle started the ball rolling for everyone who is interested in storytelling.