88 Books Like Hamilton

This book gripped me with a host of difficult questions and sorrowful insights into women’s health, racism, science, and medical systems in the USA. It reveals the impact of a previously unknown woman, Henrietta Lacks, who died in 1951, and whose cervical cancer cells were taken without her consent, and then, without any acknowledgement, used by researchers and laboratories to develop numerous treatments, drugs, and experiments.

It made me confront hard questions about class, race, gender, medical ethics, profit, and confidentiality. It is a brutal and detailed read, enhanced by the involvement of her family story, as they later discovered the theft and were to confront her immortality. A must-read by a plucky author. 

I abhorred Robert Moses from the first time I opened this book 20 years ago.

This power-grabbing bureaucratic functionary made me ill on some level, mad as hell on another, and want to take a shower after each time I opened the book.

In the end, I still hated Moses for his gall and immoral audacity, but you could not deny his accomplishments, as he saw them. Nevertheless, I had to love a book that could take such a scoundrel whom I grew to loathe and make me glad I read it.

In 1988, a book on film history became an unexpected cultural classic. This book tells how a handful of Jewish immigrants from a very small area of central Europe became Hollywood moguls, effectively creating the screen imagery depicting the American dream.

The moguls’ identity as migrants and marginalized people was crucial to their success. As Gabler writes, precisely because of their striving and desire to belong, a former peddler, cobbler, junk seller, and other impoverished transplants concocted the gilded fantasies of Hollywood’s Golden Age. As a group biography and industrial history of Hollywood illusion, An Empire of Their Own is not usually considered in the same vein as The Power Broker’s bricks-and-mortar history.

Yet, in today’s screen-driven world, the legacy of these early media titans is more obvious than ever. The movie moguls’ quintessentially American story of immigration, success, and reinvention is also a prescient, more fully inclusive history of… show more.

Among U.S. immigrants and racially and culturally marginalized peoples, Asian Americans have a particularly complicated history in our national culture. Chinese and other ethnic Asians are still less than 7% percent of the U.S., a modicum at least partly conditioned by Chinese Exclusion, a federal law that for more than sixty years (from 1882-1943) severely restricted ethnic Asians from immigrating to and settling within the U.S.

But just as Neil Gabler and Lin-Manuel Miranda emphasize the migrants and racial-ethnic minorities at the core of America’s founding myths, novelist Lisa See details an eclectic group of artists, movie stars, and other creatives who gathered in Los Angeles Chinatown since the 1930s. This multimedia, multicultural milieu included both whites and ethnic Asians and spanned Hollywood, fine art, and commercial design.

Now a classic Asian American history, See's bestselling 1995 family history documents the enduring impact of the Chinatown residents and creatives who… show more.

If you are looking for a highly opinionated and passionate account of the Broadway musical and the changes it has undergone over the decades, this book is for you. Grant does not pull his punches and the general tone is one of despair at the decline in the quality of musicals. But the book is well researched and offers many provocative ideas which the die-hard musical fan will find fascinating. It's the kind of work that you want to read after you have a solid knowledge of American musical theatre and you want to have your traditional ideas challenged.

When I was kid, it was a rite of passage to watch the movie version of this musical with my parents on TV during Fourth of July week in the U.S.. I’ve since seen regional theater productions as well.

Yes, the play is fun and funny, but what did not sink in until I’d done my own research into the lives of the signers was how marvelously the words and lyrics lay out the history. When one of the flashy South Carolina delegates sings “Molasses to Rum,” you understand the underlying economics of the slave trade. The songs still hold up and advance the plot, as all great Broadway songs must do.

But if you miss the words in the 1972 film or modern staged versions, the only way to absorb it all is to dip into the official libretto itself.

Now look, Stephen hardly needs the bump in sales but I do love this book.

I read it in one sitting one night as a kid and was engrossed. I read it for too young for the adult themes, but I feel like that is an official stage of most peoples’ adolescence and should be in textbooks. 

A steamy billionaire romance novel, this book kept me sitting at a hotel bar late into the night. It was one of the first indie romance novels I read and made me consider a world where writing romance could be my reality. A secretary and her boss decide on a marriage of convenience in exchange for two million dollars. It is an easy read that features everything we love about contemporary love stories.

Break of Day is a uniquely beautiful book, short and elegant. It's about the solace Colette's house and garden in the South of France provided her after a broken marriage. No truer book has been written about that part of France, and how that land can ravish a visitor. I thought of it often when I was writing my own book. Colette had a house in the hills above St.-Tropez, and she writes about gardening, the movements of the day, her animals, the people who come and go, and the delicious, sensual tastes of that part of the world. Break of Day is also an elegy to the memory of her mother, whose strength guides the writer through her exquisite melancholy. Colette writes with a pen dipped in sun, oil, sweat, and salt. 

As with Madeleine L’Engle, everything I’ve read by Ursula K. Le Guin—fiction as well as nonfiction—has radically influenced my writing and my teaching of writing. In fact, her impact on my creative awakening was so profound that I sent her a copy of my first book as a thank you! Steering the Craft is filled with wisdom and exercises for both new and seasoned writers, but perhaps the most liberating for blocked writers is her controversial view that “story” is defined by “change” not “conflict.” That’s especially welcoming for writers who feel hemmed in (and, perhaps, blocked) by the traditional definition.