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…
A moving story of love, betrayal, and the enduring power of hope in the face of darkness.
German pianist Hedda Schlagel's world collapsed when her fiancé, Fritz, vanished after being sent to an enemy alien camp in the United States during the Great War. Fifteen years later, in 1932, Hedda…
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…
Coyote weather is the feral, hungry season, drought-stricken, and ready to catch fire. It’s 1967, and the American culture is violently remaking itself while the country is forcibly sending its young men to fight in a deeply unpopular war.
Jerry has stubbornly made no plans for the future because he…
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…
Homeless following the death of his adoptive parents in a car crash and the subsequent loss of their farm tenancy, Seb decides to enrol as a residential student at the Asklepios Foundation, a College of Natural Medicine, boasting a sanctuary modelled on an ancient Greek healing temple. Spending a night…
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 developed a strong interest in current events, especially politics, in high school. What the government does, or does not do, struck me as a vital piece of the puzzle in trying to explain why things are the way they are. That soon led, however, to seeing how the past continues to influence the present. No decade is more important than the 1960s for understanding our current political climate.
On May 8, 1970, just days after the killing of four college students at Kent State University, construction workers in New York City violently attacked a group that had gathered to protest the Vietnam War.
Kuhn offers a riveting account of the events (dubbed the “Hardhat Riot” by some and “Workers’ Woodstock” by others), but he also situates them into a broader story of how the war and other developments of the 1960s exacerbated divisions within the Democratic Party between white, heavily unionized blue-collar workers in the urban North and an emerging class of college-educated professionals.
Nixon successfully courted many of the blue-collar workers on the way to his landslide victory in 1972. Kuhn is no apologist for the workers, but he also avoids facile stereotypes about the white working class, some of which persist to this day.
In May 1970, four days after Kent State, construction workers chased students through downtown Manhattan, beating scores of protestors bloody. As hardhats clashed with hippies, it soon became clear that something larger was happening; Democrats were at war with themselves. In The Hardhat Riot, David Paul Kuhn tells the fateful story-how chaotic it was, when it began, when the white working class first turned against liberalism, when Richard Nixon seized the breach, and America was forever changed. It was unthinkable one generation before: FDR's "forgotten man" siding with the party of Big Business and, ultimately, paving the way for presidencies…
Marriage and Fatherhood in the Nazi SS
by
Amy Carney,
When I was writing this book, several of my friends jokingly called it the Nazi baby book, with one insisting it would make a great title. Nazi Babies – admittedly, that is a catchy title, but that’s not exactly what my book is about. SS babies would be slightly more…
I’m a teacher, a student, and a reader by trade (that is, a university professor), and I spend most of my time trying to understand social and political power: why some people have it, and others don’t, how it circulates and changes (gradually or suddenly), why it sometimes oppresses us and sometimes liberates, how it can be created and destroyed. I mostly do this by reading and teaching the history of political theory, which I am lucky enough to do at McGill University, in conversation and cooperation with some wonderful colleagues.
I think this little book is invaluable for its portrayal of power, not as power over others or as power to do something but as power with other people.
It took me a long time to appreciate this insight, and I still think there is a lot to disagree with and dislike about Arendt’s work in general, but I am indebted to her argument that human power is rooted in solidarity.
Political theorist, philosopher, and feminist thinker Hannah Arendt's On Violence is an analysis of the nature, causes, and significance of violence in the second half of the twentieth century. The public revulsion against violence and nonviolent philosophies continues to diminish in the twenty-first century. In this classic and still all too resonant work, Hannah Arendt puts her theories about violence into historical perspective, examining the relationships between war and politics, violence and power. Questioning the nature of violent behavior, she reveals the causes of its many manifestations, and ulitmately argues against Mao Zedong's dictum "power grows out of the barrel…
