Here are 100 books that Hurricane Season fans have personally recommended if you like
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I’ve been deeply struck by the rise in violence occurring in Mexico because I have seen it evolve before my eyes while living in and out of the Mexican countryside, places where the wealth and power of drug cartels and their collusion with the state and its institutions, can be seen first-hand. I have come to realize that literature has been the most accurate means of capturing this phenomenon, which has become the zeitgeist of the country, an issue that has bicultural and cross-border connotations because the main consumer is the United States of America, while the ravages of violence are felt in Mexico daily
This comprehensive nonfiction book takes on a century-long analysis of the root causes of drug distribution in Mexico, ranging from the mass migration of Chinese people and the importation of poppies to the establishment of opium dens along the US-Mexico border, from the medicinal uses of healers and farmers to the rise of kingpins and drug-lords.
This book also maps the issue of drug consumption in the United States of America and the inherent violence it causes south of its border with the rise of cartels that cause the current sadistic state of violence in Mexico. This book is a historical journey that marks the spiraling, out-of-control story of drugs in Mexico.
The Mexican drug trade has inspired prejudiced narratives of a war between north and south, white and brown; between noble cops and vicious kingpins, corrupt politicians and powerful cartels. In this first comprehensive history of the trade, historian Benjamin T. Smith tells the real story of how and why this one-peaceful industry turned violent. He uncovers its origins and explains how this illicit business essentially built modern Mexico, affecting everything from agriculture to medicine to economics-and the country's all-important relationship with the United States.
Drawing on unprecedented archival research; leaked DEA, Mexican law enforcement, and cartel documents; and dozens of…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
I’ve been deeply struck by the rise in violence occurring in Mexico because I have seen it evolve before my eyes while living in and out of the Mexican countryside, places where the wealth and power of drug cartels and their collusion with the state and its institutions, can be seen first-hand. I have come to realize that literature has been the most accurate means of capturing this phenomenon, which has become the zeitgeist of the country, an issue that has bicultural and cross-border connotations because the main consumer is the United States of America, while the ravages of violence are felt in Mexico daily
This novel explores one of the many subplots and dynamics occurring around popular culture and cartel expansion in Mexico.
Following the life of a composer and performer of narco-corridos—a musical genre that sings praises to drug lords and kingpins—, this novel delves into the peripheries of violence and the adulation of drug cartel personalities in mainstream culture while at the same time offering a glimpse at the dangers posed to artists delving into such themes.
Having a composer and musician as the central figure of the narrative makes this novel one of the most lyrical texts exploring subjects of violence.
In the court of the King, everyone knows their place. But as the Artist wins hearts and egos with his ballads, uncomfortable truths emerge that shake the Kingdom to its core. Part surreal fable and part noir romance, this prize-winning novel from Yuri Herrera questions the price of keeping your integrity in a world ruled by patronage and power.
I’ve been deeply struck by the rise in violence occurring in Mexico because I have seen it evolve before my eyes while living in and out of the Mexican countryside, places where the wealth and power of drug cartels and their collusion with the state and its institutions, can be seen first-hand. I have come to realize that literature has been the most accurate means of capturing this phenomenon, which has become the zeitgeist of the country, an issue that has bicultural and cross-border connotations because the main consumer is the United States of America, while the ravages of violence are felt in Mexico daily
Utilizing appropriation and real testimonies of people who have suffered the forced disappearance of their relatives as a result of cartel violence, Sara Uribe weaves together a lyrical palimpsest by combining the voices and tropes of Greek mythology and the all-too-real suffering of the Mexican present.
Antigona Gonzalez, the main subject in this book, echoes the myth of Antigone as well as the struggles of all those who search for their missing kin in Mexico, those who have gone missing at the hands of narco-violence. This book is a telling use of previously existing texts to describe a crisis of the present accurately.
Poetry. Latino/Latina Studies. Translated from the Spanish by John Pluecker.
What is a body when it's lost?
ANTÍGONA GONZÁLEZ is the story of the search for a body, a specific body, one of the thousands of bodies lost in the war against drug trafficking that began more than a decade ago in Mexico. A woman, Antígona González, attempts to narrate the disappearance of Tadeo, her elder brother. She searches for her brother among the dead. San Fernando, Tamaulipas, appears to be the end of her search.
But Sara Uribe's book is also a palimpsest that rewrites and cowrites the juxtapositions…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I’ve been deeply struck by the rise in violence occurring in Mexico because I have seen it evolve before my eyes while living in and out of the Mexican countryside, places where the wealth and power of drug cartels and their collusion with the state and its institutions, can be seen first-hand. I have come to realize that literature has been the most accurate means of capturing this phenomenon, which has become the zeitgeist of the country, an issue that has bicultural and cross-border connotations because the main consumer is the United States of America, while the ravages of violence are felt in Mexico daily
This brave thriller set in Mexico follows a reporter covering the grand schemes of collusion between government officials, government institutions, police and military forces, as well as United States agencies and foreign militias involved in the Mexican drug trade and the various levels of riches it has to offer.
It paints a realistic journalistic picture of the conflict and guides us with the pace of a crime novel into the very real dangers faced by journalists throughout a Mexican social landscape of violence.
'A wild ride' Ian Rankin 'Tough and uncompromising: you'll be glad you read it' Lee Child 'Hilarious, gripping, poetic. I loved it' Adrian McKinty, author of The Chain 'Gripping from beginning to end' Independent 'Intoxicating and chilling' Observer 'Pacy and exciting' Daily Telegraph 'Vivid and lyrical' Guardian 'MacGabhann paints an extraordinarily vivid picture of Mexico, in all its seething, sweltering madness and beauty' Irish Independent
Nobody asked us to look. Every day, every since, I still wish we hadn't. Jaded reporter Andrew and his photographer boyfriend, Carlos, are sick of sifting the dregs of…
Claudia Keenan is a historian of education whose interest in American culture was awakened during her doctoral studies, when she researched the lives of mid-twentieth-century educators. Growing up in Mount Vernon, N.Y., she developed a strong affinity with place and time among the beautiful old homes and avenues lined with elms, set against a backdrop of racial strife and ethnic politics. She continues to reconstruct and interpret American lives on her blog, and has recently finished a book about Henry Collins Brown, founder of the Museum of the City of New York. Claudia received a BA from the University of Chicago and a PhD from New York University.
This unlikely thriller of a book explores a seemingly bland subject: the network of interstate highways built by the Federal Government after World War II. In fact, these highways transformed American culture, not only spelling the demise of many country roads and small towns but replacing the friendly hitchhiker with the terrifying “killer on the road.” Further, the highways led to the creation of rest stops and shadowy neighborhoods that came to harbor predators, while the interstates aided the criminals’ flight. Killer on the Roadkeeps you on the edge of your seat, unfolding into horror, mystery, and victimization.
Starting in the 1950s, Americans eagerly built the planet's largest public work: the 42,795-mile National System of Interstate and Defense Highways. Before the concrete was dry on the new roads, however, a specter began haunting them-the highway killer. He went by many names: the "Hitcher," the "Freeway Killer," the "Killer on the Road," the "I-5 Strangler," and the "Beltway Sniper." Some of these criminals were imagined, but many were real. The nation's murder rate shot up as its expressways were built. America became more violent and more mobile at the same time.
When my late wife Margo Wilson suggested, over 40 years ago, that we should study homicides for what they might reveal about human motives and emotions, her idea seemed zany. But when we plunged into police investigative files and homicide databases, we quickly realized that we had struck gold, and homicide research became our passion. Our innovation was to approach the topic like epidemiologists, asking who is likely to kill whom and identifying the risk factors that are peculiar to particular victim-killer relationships. What do people reallycare about? Surveys and interviews elicit cheap talk; killing someone is drastic action.
Rebecca and Russell Dobash had studied men's violence against their female partners for decades and were already heroes of the women's movement when they began interviewing incarcerated killers in Britain. Two fine books have resulted, one focused on men who killed women, the other on men who killed men. It is the former, especially the section on intimate partner homicide, that I find most captivating. The Dobashes skilfully blend national statistics with the self-serving testimony of their interviewees, who minimize their lethal acts as things that "happened" rather than things that they did, and apparently believe themselves to be the victims. These insights are essential.
In the United States and Great Britain, 20-30% of all homicides involve the killing of a woman by a man, and it is far rarer when a woman is killed by another woman. Unfortunately, this is not a very well understood phenomenon. Most books on the topic discuss serial killings, but those only make up 2% of sexual murder-a sensationalist subset of a subset. There has never before been a comprehensive book that has covered the entire scope of homicide cases in which men murder women.
Dobash and Dobash, two seasoned researchers and longtime collaborators in the study of violence…
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man she…
My writing background started in the newsroom where, as a reporter, my job was to interview and tell the stories of others. At one point in my career, my editors assigned me a bi-monthly column, and while I used this space to write about a variety of issues happening in the community, I also used it occasionally to write personal essays. I love this form because the personal story helps us drill down on an issue and, in essence, make deeper connections with the collective. When I left the newsroom, I continued to study and write in essay and memoir form. In my MFA program, I was able to focus on this form exclusively for two years, and I have spent many years crafting my first book-length memoir into form.
I have not read a book like Melissa Valentine's The Names of All the Flowers, which is a beautiful, painful, and exquisitely written narrative about her brother Junior, who was gunned down on the streets of Oakland when he was 19. "Say his name, say her name," we chant when yet another one of our brothers or sisters is killed. In this memoir, Valentine gives us not only Junior's name but an intimate look into his head, his heart, his fears, his dreams, his joy.
Set in rapidly gentrifying 1990s Oakland, this memoir—"poignant, painful, and gorgeous" (Alicia Garza)—explores siblinghood, adolescence, and grief in a family shattered by loss.
Melissa and her older brother Junior grow up running around the disparate neighborhoods of 1990s Oakland, two of six children to a white Quaker father and a black Southern mother. But as Junior approaches adolescence, a bullying incident and later a violent attack in school leave him searching for power and a sense of self in all the wrong places; he develops a hard front and falls into drug dealing. Right before Junior’s twentieth birthday, the family…
My PhD work focused on horror fiction and film, and I spent ten years teaching about horror (I even included two of my recommended books in courses). The academic stuff is more a symptom than a cause of my passion for the scary. I’ve been a horror freak forever, becoming interested in vampires by age four, reading Stephen King and writing stories to frighten classmates by age nine, and putting a poster of Freddy Krueger on my wall at age ten. Extremes of fiction take me away from extremes of real life, which are much harder to handle.
I’ve been blown away by the high quality in a lot of 21st-century splatterpunk/hardcore/extreme horror, but nobody’s extremes have impressed me quite like Wrath James White’s.
I love the insane magic he works with a deceptively simple premise: a young man can resurrect people who forget the circumstances of the deaths and return, but he’s a bad young man. The result is a blend of classic Gothic tropes related to a woman terrorized by a powerful man combined with just about every kind of physical violation imaginable.
I respect White’s gross-outs, but more than that, I respect the bleakness, the deep, deep horror of the premise taken so far in such a bad way.
Dale McCarthy has a unique and miraculous ability. He can bring the dead back to life, though the resurrected have no memory of their deaths. But not every miracle comes from God, and not every healer is a saint.
Ever since her new neighbor moved in, Sarah Lincoln has been having terrible nightmares. Last night she dreamed she and her husband were brutally murdered in their beds. This morning she found bloody sheets in the laundry and bloodstains on her mattress. And the nightmare is the same, night after night after night. With no one prepared…
I love psychological thrillers because I have firsthand dealt with OCD and gaslighting. Therefore, I find the human mind fascinating, and how the line between sanity and insanity is changeable. I think as humans we want to feel safe and hence, we box things into categories but all these thrillers I have recommended force you to look outside of the boxes and they can be chillingly thought-provoking. I am obsessed with writing that gives the reader such graphic insight into a character’s thoughts and actions. If you want unputdownable books, these are the ones for you!
This book personally resonates with me as I suffer with OCD.
The character must overcome countless mental challenges now that she thinks she has met the man of her dreams. It is a brilliant portrayal of gaslighting, so accurate and chillingly on point. If you like books that are emotionally immersive and you can almost touch and breathe the characters, this is superb.
Catherine Bailey has been enjoying the single life long enough to know a catch when she sees one. Gorgeous, charismatic and spontaneous, Lee seems almost too perfect to be true. And her friends clearly agree, as each in turn falls under his spell. But what begins as flattering attentiveness and passionate sex turns into raging jealousy, and Catherine soon learns there is a darker side to Lee. His increasingly erratic, controlling behaviour becomes frightening, but no one believes her when she shares her fears. Increasingly isolated and driven into the darkest corner of her world, a desperate Catherine plans a…
This book follows the journey of a writer in search of wisdom as he narrates encounters with 12 distinguished American men over 80, including Paul Volcker, the former head of the Federal Reserve, and Denton Cooley, the world’s most famous heart surgeon.
In these and other intimate conversations, the book…
I am a researcher and teacher who studies global security. I first thought this meant the study of various forms of violence: wars, terrorism, genocides. And, I still study all of that. But the events of the Arab Spring in particular led me to see the importance of nonviolent protest movements as an important form of global conflict. These movements, often called “civil resistance,” have proved surprisingly capable of toppling dictators and bringing about democratization. But the news is not all good: they also frequently spark mass repression, civil wars, and even wars between countries. Understanding contemporary global conflict requires understanding how nonviolent movements work.
Few conflicts have received more global attention than the struggle between Palestinians and Israelis. Media commenters frequently ask “Why has there been no Palestinian Gandhi?" Wendy Pearlman shows why this is the wrong question.
Despite difficult structural conditions, and in the face of heavy repression, she shows that there has been widespread use of nonviolent methods by Palestinians. When campaigns have turned violent, she shows that it is often the result of fragmentation within the movement that makes it difficult to ensure discipline and creates incentives to embrace more extreme tactics.
She provides a valuable lesson on the need to pay less attention to high-profile leaders and more attention to the organizations that underpin movements.
Why do some national movements use violent protest and others nonviolent protest? Wendy Pearlman shows that much of the answer lies inside movements themselves. Nonviolent protest requires coordination and restraint, which only a cohesive movement can provide. When, by contrast, a movement is fragmented, factional competition generates new incentives for violence and authority structures are too weak to constrain escalation. Pearlman reveals these patterns across one hundred years in the Palestinian national movement, with comparisons to South Africa and Northern Ireland. To those who ask why there is no Palestinian Gandhi, Pearlman demonstrates that nonviolence is not simply a matter…
