Here are 98 books that High Society fans have personally recommended if you like
High Society.
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My life and work have been profoundly affected by the central circumstance of my existence: I was born into a very large military Catholic family in the United States of America. As a child surrounded by many others in the 60s, I wrote, performed, and directed family plays with my numerous brothers and sisters. Although I fell in love with a Canadian and moved to Canada, my family of origin still exerts considerable personal influence. My central struggle, coming from that place of chaos, order, and conformity, is to have the courage to live an authentic life based on my own experience of connectedness and individuality, to speak and be heard.
Frank McCourt's classic book, the memoir of his childhood, is proof in the pudding that the origin of humor is the suffering of the low-status character. And that’s only one reason why I love it.
He had me at “Above all -- we were wet.” His descriptions of the impossible and undignified conditions of his childhood, where children had absolutely no control over anything and adults were at the mercy of life itself, brought me so close to him that I think I started believing we were actually related and scribbled him into the family tree as a long-lost uncle.
McCourt captures the hapless quality of gullible, unsupervised children let loose on an unforgiving world with a buoyancy that comes through every sentence and rises above the brutal conditions of his childhood.
And the truth he finds in the details, from the brutality of religious authority figures to the abject…
The author recounts his childhood in Depression-era Brooklyn as the child of Irish immigrants who decide to return to worse poverty in Ireland when his infant sister dies.
These are eight among the friends of Jackie Kennedy Onassis. She went to grade school with one, another was a member of her extended family, and others were people she worked with when she was an editor at Doubleday.
I interviewed all of them for a previous book, Reading Jackie…
I first became aware of the 1920s through movies such as Some Like it Hot and Thoroughly Modern Millie. I was immediately attracted to what I call the “Booze, beads, and boas.” I felt a kinship with the flappers who were experiencing freedom from the restrictions of the Victorian Era and living their best lives. They were making their own rules and doing it with style! As professor of library science, I researched the history of the American public library and of women in the 1850s-1920s. Today, I write historical cozy mysteries to live out my own glamorous flapper dreams.
I love the absolutely authentic atmosphere of this book – the clothes, the music, the booze -- and the exploration of the dark side of the 1920s.
I find some of the characters sympathetic, some repellent, and some impossible to understand, just as in real life. Regardless, I feel that I really get to know them by the end of the book, even if I still don’t understand them. I can’t help but make comparisons with that time period and now, a century later. So much has changed, yet so much remains the same.
I’ll be honest that it can be a depressing read, so I have to be in the right mood for it, but when I am, nothing else will satisfy.
As the summer unfolds, Nick is drawn into Gatsby's world of luxury cars, speedboats and extravagant parties. But the more he hears about Gatsby - even from what Gatsby himself tells him - the less he seems to believe. Did he really go to Oxford University? Was Gatsby a hero in the war? Did he once kill a man? Nick recalls how he comes to know Gatsby and how he also enters the world of his cousin Daisy and her wealthy husband Tom. Does their money make them any happier? Do the stories all connect? Shall we come to know…
I'm a scholar of Irish and Irish-American culture and identities who teaches at the University of Connecticut. After I left Ireland to take up that position, I initially taught only Irish material. However, soon after my arrival, Obama, a Black president of white Protestant Irish maternal ancestry, was elected. This alerted me to the complexity of Irish identities and histories in the Americas. I also began to perceive traces of Irish memory and history in American writers and public figures whose diverse Irish roots are underexamined. The long and varied Irish presence in America and the overlooked concerns with Irish identity and history of many creatives and public figures inspired my new cultural history.
I first encountered Noel Ignatiev’s ground-breaking and hugely influential book, How the Irish Became White, after I moved from Ireland to America to work at UConn.
I was electrified by its thesis and found it very helpful in thinking critically about Irish-American identity and history. After all, that had become my heritage too once I crossed the Atlantic.
Ignatiev opens by outlining how the Irish fled to America from a motherland under British occupation and a colonial caste system that dehumanized them.
He argues that in America the new immigrants embraced a hierarchy based on race, as a result of which the oppressed became the oppressors: for Ignatiev, the Irish assimilated by becoming more brutal in their oppression of African Americans than the nativists, gaining “whiteness” by refusing to make common cause with Black fellow workers.
How the Irish Became White challenges the dominant story of how the Irish…
'...from time to time a study comes along that truly can be called 'path breaking,' 'seminal,' 'essential,' a 'must read.' How the Irish Became White is such a study.' John Bracey, W.E.B. Du Bois Department of Afro-American Studies, University of Massachussetts, Amherst
The Irish came to America in the eighteenth century, fleeing a homeland under foreign occupation and a caste system that regarded them as the lowest form of humanity. In the new country - a land of opportunity - they found a very different form of social hierarchy, one that was based on the color of a person's skin.…
These are eight among the friends of Jackie Kennedy Onassis. She went to grade school with one, another was a member of her extended family, and others were people she worked with when she was an editor at Doubleday.
I interviewed all of them for a previous book, Reading Jackie…
I'm a scholar of Irish and Irish-American culture and identities who teaches at the University of Connecticut. After I left Ireland to take up that position, I initially taught only Irish material. However, soon after my arrival, Obama, a Black president of white Protestant Irish maternal ancestry, was elected. This alerted me to the complexity of Irish identities and histories in the Americas. I also began to perceive traces of Irish memory and history in American writers and public figures whose diverse Irish roots are underexamined. The long and varied Irish presence in America and the overlooked concerns with Irish identity and history of many creatives and public figures inspired my new cultural history.
If, like me, you want to read an account of Irish America that is incisive but that also makes you laugh out loud, then I can highly recommend Irish America: Coming into Clover.
Written by former Boston Globe staff writer Maureen Dezell, this sharp portrait of contemporary Catholic Irish America from an insider to the culture explodes every cliché. Irish America: Coming into Clover is accessible history at its best, but it doesn’t just examine the past.
Dezell also considers the status of post-1845 famine Irishness in contemporary America, which she sees as being in deep contrast (both socially and racially) to its former status: in the nineteenth century, the Irish were only conditionally “white” and were initially subject to hostility from American nativists.
Dezell stresses that today, by contrast, the Irish are among the most educated and affluent Americans. This polish is on display in Dezell’s own creative…
A dazzling and bracingly honest look at a great people in a great land.
For many people in this country, Irish American culture conjures up thoughts of raucous pubs, St. Patrick's Day parades, memoirs peopled with an array of saints and sinners, and such quasi-Celtic extravaganzas as Riverdance. But there is much more to this rich and influential culture, as Maureen Dezell proves in this insightful, unsentimental reexamination of Irish American identity.
Skillfully weaving history and reporting, observation and opinion, Dezell traces the changing makeup of the Irish population in this country, from the early immigrants to today's affluent, educated…
As a film studies scholar from a working-class background (which is pretty rare in UK academia!), I’ve long been fascinated by the Hollywood Left and the prospect of what they could have achieved had they not been expunged from the scene. Many of the social justice causes they embraced—anti-fascism, anti-racism, workers’ rights, etc.—resonate very strongly with contemporary concerns. The persecution of these creative workers also serves as an ever-timely warning from history about the importance of maintaining vigilance in the face of totalitarian thinking and systems of oppression.
Rebecca Prime is one of the contributors to my book and her book is a fascinating sequel to that volume. It covers the careers of several blacklisted filmmakers who fled Hollywood and America, seeking to find new work and life opportunities in Europe. Impeccably researched and elegantly written, Prime’s study tells the story of a generation of creative workers that was lost to the USA but which made a vital contribution to European and British cinemas. As she details, many of the exiled filmmakers faced almighty personal and professional struggles to adjust to their new circumstances, and while a few (e.g. Joseph Losey and Jules Dassin) would eventually achieve fabulous success, many other exiles found it difficult to secure regular and fulfilling work opportunities or personal happiness.
Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood emigres directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the River Kwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director). At once a lively portrait of a lesser-known American "lost generation" and…
My dad instilled in me a love of, and respect for, history and an avid interest in golden-era Hollywood. In my adult life as a professional writer, that paternal guidance has translated into eight books about various aspects of old Hollywood, with a growing focus on the intersection of Hollywood and World War II. My career to date was punctuated by the international success of Dutch Girl: Audrey Hepburn and World War II, which detailed the future star’s very hard life in the Netherlands under Nazi occupation. Dad didn’t live long enough to know I’d written anything, let alone a number of books he would have enjoyed reading.
For those who don’t know, Errol Flynn was the “bad boy” of Hollywood’s golden era in addition to serving as the king of adventure pictures from 1935, when he appeared as Captain Blood, to 1953, when he made The Master of Ballantrae. In between, he starred in 40 other films, wrote two books, married three times, survived a spurious rape charge and trial, and debauched himself with booze and drugs.
Just a year before his death at age 50, Flynn sat down with a ghostwriter to create a memoir both candid and poignant. This book has gone on to sell millions of copies since its release in 1959 and remains in print today—a testament to the power of Flynn’s personal history and narrative.
As a child, I loved singing and acting and fantasized about what it might be like to be a famous movie star. Though the practical side of my brain led me to become a lawyer instead, my fascination with Hollywood never waned. When I set out to write my first novel, I finally had the opportunity to explore celebrity culture. But I'm just a regular person, living a very normal life. The books I’m recommending lift the curtain on fame and explore the ultimate fantasy: what if a beloved, uber-famous actor or actress actually fell in love with you?
To me, the star of this novel is the witty banter between the characters and the super sexy will-they-or-won’t-they tension.
The main character is a divorced journalist who writes an in-depth profile about a very well-known actor. I particularly enjoyed how normal seeming the female main character was, and yet it was highly believable that the male actor would find her deeply attractive and interesting.
I am obsessed with personal development, having attended seminars to walk across hot coals and jump from crazy heights to test my limits, and I have read hundreds of books and watched hundreds of videos on self-improvement. But sometimes the best lessons come in fiction, and kid’s books do this so wonderfully. And they are a lot quicker to read and absorb! They also teach with humour, rhythm, and joy, and can change a child’s life simply by letting them escape into a world of laughter and joy, expanding their imaginations, and letting them absorb the lessons, sometimes without even realising it.
Okay, I am totally cheating here. Harpo Speaks! is not specifically a kid’s book at all (although it would be wonderful to read with and to upper primary and older), but it is my favourite book of all time, and I couldn’t not include it here. Harpo Speaks! is the autobiography of Harpo Marx. I have read it at least ten times, and every time I learn something new.
The Marx Brothers show how life can and should be fun, but that the fun comes after and while you are working incredibly hard towards a dream. And of all of them, Harpo’s attitude to and joy of life is a lesson to us all. I can’t recommend this highly enough.
Facsimile of 1961 Edition. “Adolph Marx [Harpo] squashed his formal education at the age of eight when he was dumped out of the 2nd grade window at P.S. 86 for the last time by two Irish classmates. He never went back. But his informal education blossomed on the streets of New York's Upper East Side; as a piano player in the Happy Times Tavern, on the vaudeville circuit of the early 1900's, at all-night poker games in the Algonquin Hotel. This is a racy autobiography by the mute Marx Brother with the rolling eyes, oversized pants and red wig who…
I grew up blocks from Hollywood Boulevard in the late ‘60s and early ‘70s and had something like a front-row seat to the greatest pop culture five-car pile-up in American history. At the Canteen on Hollywood and Vine, where my aunt would take me on summer weekdays for the “Extras for Extras Smorgasbord,” you’d rub shoulders with aging starlets, cowpokes, starry-eyed young hopefuls, and “leading men” in five-and-dime ascots who never had a leading role. Even Billy Barty, always of good cheer, would make the scene—he was so nice to me, and I had no idea he played my hero, Sigmund the Sea Monster!
If this beautifully illustrated collection of Hollywood tragedies were only kink, only lurid scandal like so many cheap TV potshots, it wouldn’t be the iconic masterpiece it has become. Kenneth Anger’s take on the faded and fallen Hollywood differs because he loves the place and its people with all his heart.
A child starling and renegade director in his own right (Scorpio Rising, Kustom Kar Kommandoes), he oozes child-like wonder and horror on every page. As he puts it in the book’s equally stark sequel, Hollywood Babylon II, the movies “promise immortality, but don’t really deliver.”
“Kenneth Anger has fashioned a delicious . . . box of poisoned bonbons. Picking through the slag heap of the Hollywood dream factory, [he] has put together a truly prodigious anthology of star-studded scandal.”—The New York Times
Kenneth Anger is a former child movie actor who grew up to become one of America’s leading underground filmmakers. Hollywood Babylon was originally published in Paris, and quickly became an underground legend. Not a word has been changed. Not a story omitted. Here is the hot, luscious plum of sizzling scandal that continues to shock the world.
As an editor, I worked with many authors before deciding to become one myself. Most of my twenty-five published books cover theatre and film, but I was especially excited to work on biographies of actors and try to get to the truth behind the public figures.
I wrote three books about my father, who became a star of the silent films during the 1920s and eventually appeared in 172 films over nearly six decades. In researching his life and work, I was astonished to find a very different man from the one I had lived with and known during my childhood and youth.
Michael Redgrave was a great actor who succeeded both in the classical theatre and as a popular film star. His son Corin, himself an actor, has written a deeply felt, tender, and sympathetic book about his father.
He is perceptive about his father's subtle skill as an actor and the basis of his lifelong socialism. But he struggled to understand his personal life, which was complicated by his bisexuality: although married for fifty years to the actress Rachel Kempson, he indulged in a series of affairs with men.
In later years, his acting career was cruelly cut short when he was struck by Parkinson’s disease. The illness brought the two of them closer, with Corin conveying movingly his love, respect, and admiration for his father.
Michael Redgrave was a great actor in an age of great acting. His contemporaries were Edith Evans and Laurence Olivier, Peggy Ashcroft and John Gielgud, Alec Guinness and Ralph Richardson. He shared seasons with them at the Old Vic, Stratford and the National Theatre. More than all his contemporaries except Olivier and Guinness he succeeded both in the classical theatre and as a popular leading actor, starring in such films as "The Lady Vanishes", "The Way To The Stars" and "The Browning Version". Corin Redgrave has written about a complicated life, using his actor's knowledge of his father's work and…
