Books like I Capture the Castle — picked by fans

Sometimes, I need reminding that the greatest discoveries can be close at hand and that simply living alertly is a sublime source of joy. When I read this book, which I have done again and again, I feel my perceptions sharpen, my sense of humor renew, and my hunger, both to read and to write, begin to stir.

As youth is sometimes wasted on the young, so is this book, which is too often assigned to people who aren’t ready for it. Thoreau’s mind is like a fire I never tire of sitting beside. He’s a rebel, a curmudgeon, a jokester, a poet, and the most down-to-earth philosopher our culture has seen. And he knows that wonder is a breakfast food, which he dishes out with utter nonchalance.

I loved this non-fiction book, and reading it, I often broke down in tears, realizing this personal and innocent true teenage story was all leading up to the tremendous death of millions of innocent people.

This is the only Anne Frank book that I recommend to everybody from a young age. It is THE introduction to the real events of World War 2.

When curating a list of whimsical book recommendations, one must surely start with the epitome of whimsy herself, Miss Anne Shirley!

With her big words, vast scope for imagination, and appreciation for nature's marvels, Anne with an E is one of my favorite fictional bosom friends. A true kindred spirit, I could visit daily without tiring of her poetical musings.

I love how Anne matures as a character while still maintaining her sense of wonder, and I love how her wonder—her whimsical ability to see a simple lake as an enchanting Lake of Shining Waters—inspires me to romance my own life and search for the wondrous cloaked in the familiar.  

I love character rich, slow-burn reads and Waters always delivers.

The Paying Guests is set in 1922 London and eloquently (with psychological twists) reveals the effects of post-WWI. During the war, the protagonist, 27-year-old Francis, had found her independence in many liberating ways, and Mrs. Wray, her mother, clung to her genteel social status. Now that her husband and sons are dead, they’re forced to scrub their own floors and take in boarders, i.e., “paying guests,” Leonard and Lillian, a modern lower-class couple, in order to keep their home.

I never suspected what would ensue—from clandestine lovers to empowered women, to murder. Waters paints the changing times, social constraints, and class distinctions with a fine-tipped pen.

In this book, Alison Bechdel is obsessed with the triangular relationship between one’s parents, oneself, and literature, and, in my poetry, so am I.

Our parents are either puzzles we can solve or mysteries we cannot, but still we have to try. And in this book, again and again, Bechdel takes those insights and moments of beauty that literature offers, investigates her father’s life and death, and in this book (as well as the follow-up, Are You My Mother?), the meaning of her mother’s choices as well.

Now that I think of it, Fun Home is the story of how literature is always the child of what an author experiences in their life and what they read, the two brimming over into the impulse to make more words, understand more life. 

It starts with arguably the most famous first line any novelist has ever written, and I certainly couldn’t stop reading once I had absorbed that.

Rebecca is a classic for all sorts of great reasons. For me, the house is a character here. Manderley is as Gothic as I could ever wish for (and I LOVE Gothic).

Mrs. Danvers, the housekeeper, is one of the most sinister characters ever written. When this novel was first published (1938), certain subjects were pretty much taboo. In the light of today's increased awareness of people’s differing sexualities, I think it’s probably easier to understand her motives – not that it makes her any less scary.

For me, this is a masterpiece of storytelling that defies genre categorization and puts du Maurier firmly in my top favourite authors list.

This is perhaps the best-known and most obvious choice illustrating Nature’s healing powers. Mary, an orphaned girl, moves in with an estranged, reclusive uncle on his isolated English estate. Lonely and bereaved, Mary spends her days exploring both the house and extensive gardens, when one day she discovers a secret garden, locked away behind a wall.

This garden, tucked away and neglected for many years, is the key to Mary’s healing. Through quiet deliberation, she begins to bring the garden back to life and, in turn, finds new life in herself. The healing of the uncle is perhaps the most mystical scene in the book for me, brought about by a quiet moment beside a trickling stream, where he has an epiphany of heart healing. I find the book’s mixture of nature and mystery beguiling.

This is a meta-fictional novel about the fragile state of memory and interpretation.

Stories can save us, and in the case of 13-year-old Briony Tallis, stories can ruin us. A single accusation is enough to destroy her sister, a young man’s life, and their future together. It shows us that the art of writing can be both sacred and profane.

It is a novel inhabited by ghosts, one that taught me the importance of absence in storytelling, of the silences and liminal spaces when writing about epic events. The style obfuscates the plot, then later renders it in vivid detail.

What lives between the lines is critical. It asks if forgiveness and acts of retribution can counter the death that eventually comes for all of us.

I first became acquainted with this 20th-century classic when it was turned into a popular miniseries, and I felt compelled to read the novel for myself.

Although the narrative traverses settings from London and a great English country house to Europe and even the Americas, the inception of the story is grounded in post-WWI Oxford, where the narrator introduces us to Waugh’s memorably charming but doomed character, Lord Sebastian Flyte.

Waugh’s portrayal of the exuberance of youthful college high-jinx juxtaposed against the perils of dissipation powerfully depicts the inner struggle of his narrator’s search for love, meaning, and ultimately faith.

I greatly admire Waugh’s hauntingly lyrical prose, which vividly captures the aching beauty and mystique of Oxford.

I have always loved the image of Jo March hiding up in the attic (she calls it a “garret” because it’s more romantic) of her family’s New England house, munching on russet apples and writing furiously away with her pet rat, Scrabble, as her muse, or curling up with Jane Eyre—it’s the only place she can be alone.

She’s one of the classic aspiring young writers of literature—a totally unconventional, headstrong girl with big ambitions who has provided inspiration for her real-life counterparts for generations, me included.