Here are 100 books that Information Desk fans have personally recommended if you like
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I’ve never felt that fiction was quite enough. Like a dream that someone tells you, it’s arbitrary and slightly meaningless to anyone but the dreamer. Nonfiction is nice, but because what is described did, in fact, actually happen, it can’t happen any other way. And where’s the fun (or art) in that? Autofiction, which tries to blur the line between the two, seems to draw attention to itself, making the author of the story more important than the actual story. So what’s the answer? There is no answer. But every now and then, a book seems not to care about the difference and, therefore, transcends it.
Framed by a scholarly appraisal of an actual archaic text, this novel, in verse, proceeds to tell a story of love, from boyhood to death.
It’s the story, amazingly, of a monster, a mythic creature with wings and red skin, but you forget about the myth when you’re reading. And you forget about poetry. Or you wonder, what’s the difference between poetry and a beautiful narrative of longing, of heartbreak, of hope and friendship and family ties, and when you get to the end of the life of this kid, which, like all our lives, is a story of love, you feel you understand a little more clearly what it is.
In this extraordinary epic poem, Anne Carson bridges the gap between classicism and the modern, poetry and prose, with a volcanic journey into the soul of a winged red monster named Geryon.
There is a strong mixture of whimsy and sadness in Geryon's story. He is tormented as a boy by his brother, escapes to a parallel world of photography, and falls in love with Herakles - a golden young man who leaves Geryon at the peak of infatuation. Geryon retreats ever further into the world created by his camera, until that glass house is suddenly and irrevocably shattered by…
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
I fell in love with reading and writing as a child, but it wasn’t until college that I discovered the magic of poetry and began writing it myself. I began to immerse myself in poetry and, in particular, the poetry of Pablo Neruda through a course on The Poet’s Voice in which we explored how the poet’s voice changes over a lifetime of writing. For many years, I thought of myself as a fiction writer, but gradually I turned to poetry, and poetry saved my life. I start each day with a poem or two, and much of my work is inspired by the poets and poems that I read.
I heard about this delightful book from a friend and knew I had to read it. It is a meditation on the color blue. Each of Nelson’s “propositions” explores blue metaphorically, literally, historically, emotionally.
Reading this book I immersed myself in blue and all its facets, and through doing so I discovered the worlds of other colors, so that when I step outside, I see not only green but all greens, not only brown but all browns, and blue, of course, everywhere.
Suppose I were to begin by saying that I had fallen in love with a color ...A lyrical, philosophical, and often explicit exploration of personal suffering and the limitations of vision and love, as refracted through the color blue. With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists. Maggie Nelson is the author of numerous books of poetry and nonfiction, including Something Bright, Then Holes (Soft Skull Press, 2007) and Women, the New York School, and Other True Abstractions (University of Iowa Press, 2007). She lives in Los Angeles and teaches at the California Institute of the…
I’ve never felt that fiction was quite enough. Like a dream that someone tells you, it’s arbitrary and slightly meaningless to anyone but the dreamer. Nonfiction is nice, but because what is described did, in fact, actually happen, it can’t happen any other way. And where’s the fun (or art) in that? Autofiction, which tries to blur the line between the two, seems to draw attention to itself, making the author of the story more important than the actual story. So what’s the answer? There is no answer. But every now and then, a book seems not to care about the difference and, therefore, transcends it.
Sometimes, I have so many ideas happening in my mind at the same time that it’s hard to keep up with myself. And I get lost. Here’s a book by a writer with a mind that’s bursting with ideas, about how we communicate with each other, about how the culture controls how we communicate. And about how culture works.
Ideas sprout in the author’s protean mind, twirling and spinning and evolving, pushing him toward a black comedy, forcing him to the edge of madness where his thoughts, heated, become something closer to emotion until, by the end of the book the abstract ideas come home, settling, becoming quiet, and personal, and the story connects us back to ourselves.
Written originally for a special issue of The New Yorker and reissued here with a new forward by the author, Within the Context of No Context is George W. S. Trow's brilliant exposition on the state of American culture and twentieth-century life. Published to widespread acclaim, Within the Context of No Context became an immediate classic and is, to this day, a favorite work of writers and critics alike. Both a chilling commentary on the times in which it was written and an eerie premonition of the future, Trow's work locates and traces, describes and analyzes the components of change…
The problem is not with the actions young women take but with the toxic, sexist conditions they are responding to.
Tanenbaum found, based on six years of interviews with young people ages 14-30, that young women are navigating a culture littered with gendered dress codes, revenge porn, and sexually explicit…
I’ve never felt that fiction was quite enough. Like a dream that someone tells you, it’s arbitrary and slightly meaningless to anyone but the dreamer. Nonfiction is nice, but because what is described did, in fact, actually happen, it can’t happen any other way. And where’s the fun (or art) in that? Autofiction, which tries to blur the line between the two, seems to draw attention to itself, making the author of the story more important than the actual story. So what’s the answer? There is no answer. But every now and then, a book seems not to care about the difference and, therefore, transcends it.
As weird and self-indulgent as an actual person, this “novel,” about a failed filmmaker who finds, in the failed life of Simone Weil, a worthy doppelganger, takes some getting used to. But the author’s honesty doesn’t let go, and pretty soon, I found myself wondering along with her, what is worthy? And who gets to decide what’s worthy? Who gets to decide anything in a world that seems to make no sense?
Weil, an ersatz saint who starved herself to death, is just one of the triggers raising the questions that are raised by a book that, appropriately, fails to answer them. But it does so with humor and an often exhilarating disrespect.
It's 1996, and Chris Kraus is in Berlin, seeking a distributor for her film Gravity & Grace, described alternately as 'an experimental 16mm film about hope, despair, religious feeling and conviction' and 'an amateur intellectual's home video expanded to bulimic lengths' ...
It's 1942 in Marseille, and Simone Weil is waiting for the US entry visa that will save her from the Holocaust, while writing work described alternately as a 'radical philosophy of sadness' and 'immoral, trite, irrelevant and paradoxical' ...
It's the late 90s, the millennium is approaching, and Chris Kraus is in Los Angeles, not eating, waiting for…
I'm an Emmy Award-winning writer, wife, and adoptive mother with an unapologetic passion for Black queer stories. I'm also an artist-activist who takes great pride in producing content that sparks honest dialogue and positive change. Life's complexities energize me, and, as a queer artist of color, I'm committed to reflecting these intricacies in my work. I write, produce video, and host allyship seminars as well as art as activism workshops for LGBTQ+ youth. If you're both inspired and entertained by layered depictions of BIPOC queer culture then please check out the recs in my Queer-tastic reading list. Enjoy!
I love pretty packaging, so it's no surprise that Mans' Black Girl, Call Home stopped me in my tracks. The cover art, an over-the-shoulder shot of a young Black girl, her head bedazzled in a rainbow assortment of brightly colored barrettes. For me and Black women across the globe, the image evokes instant nostalgia. Luther on the radio. Me between my mama's legs. And the smell of Blue Magic hair grease slathered on the back of her hand.
Both painful and empowering, Mans' candid approach to feminism, race, and LGBTQ+ identity is wrapped in undeniable realness. Whether readers identify as Black and queer or simply as women on the path to healing, Mans' rhythmic collection of truths inspires self-acceptance and sisterhood. Do yourself a favor — order the audiobook and be blown away by Mans' heartfelt spoken word!
A Most Anticipated Book of 2021 by Oprah Magazine • Time • Vogue • Vulture • Essence • Elle • Cosmopolitan • Real Simple • Marie Claire • Refinery 29 • Shondaland • Pop Sugar • Bustle • Reader's Digest
“Nothing short of sublime, and the territory [Mans'] explores...couldn’t be more necessary.”—Vogue
From spoken word poet Jasmine Mans comes an unforgettable poetry collection about race, feminism, and queer identity.
With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America—and the painful,…
When I was eighteen, I had an experience I call religious: I was sitting outside of an ivy-covered building at my undergraduate school and reading the opening words of Vergil’s Roman epic, The Aeneid (in Latin, but I didn’t know Latin yet). The sky became clearer; it shone with different light. It became clear to me at that moment that I was supposed to be a poet. So, yeah, I went on to learn lots of stuff, including languages, so that I could read poetry in them. I did all that to serve the greater goal of being a poet.
At an early age, I had a very intense relationship with this now 50-year-old book about the most famous Tang poets, Li Bai and Tu Fu. Arthur Cooper (1916-1988), a British WWII codebreaker and almost mad aficionado of Chinese Lit, was the translator and introducer.
One’s experience of the book is progressively mind-expanding. Cooper knew not only Chinese literature and culture inside and out but also how to convey his knowledge to Westerners in exciting ways.
Li Po (AD 701-62) and Tu Fu (AD 712-70) were devoted friends who are traditionally considered to be among China's greatest poets. Li Po, a legendary carouser, was an itinerant poet whose writing, often dream poems or spirit-journeys, soars to sublime heights in its descriptions of natural scenes and powerful emotions. His sheer escapism and joy is balanced by Tu Fu, who expresses the Confucian virtues of humanity and humility in more autobiographical works that are imbued with great compassion and earthy reality, and shot through with humour. Together these two poets of the T'ang dynasty complement each other so…
Crossing is a vividly human re-imagining of the love, sacrifices, and accomplishments that two Chinese brothers - American Immigrants - experience as they travel to California to build the Transcontinental Railroad.
I have lived in North Norfolk for more than thirty years and grown to love its creeks, dunes, crumbling cliffs, and atmospheric church towers. I’ve spent years working in a shed in the garden of my remote flint cottage (originally built as a hovel), writing features for national newspapers and magazines. I’ve visited grand old mansions with eccentric aristocratic owners; become familiar with the setting for L.P. Harley’s The Go-Between; been fascinated by the steam trains and railways that once linked ocean and fen; listened to skeins of geese flying overhead each winter; and been transported by the spiritual dimension in the vast horizontals of land, sea, and sky.
A heroic poem woven around the tides and spires of North Norfolk.
Jess Streeting tells her own story of returning as an adult to Cawston in Norfolk and remembering fun-filled childhood days with her father, an inspirational vicar, in the mid-70s. One single terrible event ripped her father away from her, and only now is she confronting what happened. There are shy girls, smart lads, and a great hammer beam church roof with carved angels.
The foreword is by one of those smart boys, Sir Stephen Fry.
Jessica Streeting and her family - sister Alice, mother Judith and father Revered Paul Farnham - move east in their ancient London taxi to the deep countryside of Norfolk. It is 1975 and the rector has a new position at the church of St Agnes in the village of Cawston. Here they find a world populated by people who embody both the ancient and new of late 20th century rural life. Children of the soil, whose parents work it and depend on it, living a simple life as old as their church. The musical ones. The clever ones. The artists,…
Ever since my childhood on a farm poetry has helped me pay attention to the world around me. Like a naturalist’s field guide, nature poems name, depict, and explore what might otherwise pass unnoticed. Now in the midst of environmental crisis I believe poets have a role alongside ecologists, farmers, and foresters to protect and restore our threatened habitats and species. Writing nature poetry helps me face and express loss while celebrating what still survives. I value poetry that connects us to what we love and gives us courage to imagine different ways of living.
By showcasing the rich tradition of queer poets whose writing is inspired by nature, Queer Nature opens up the nature poetry genre.
It is the book I needed twenty years ago when I began writing poetry. In my search for queer role models I was happy to find Mary Oliver, Kay Ryan, and Elizabeth Bishop but little did I know how many others were hiding in plain sight. This expansive anthology presents up to 200 more poets from 150 years ago to the present day, with a moving introduction by editor Michael Walsh.
Funny, sad, complex, and direct; the poems explore exclusion and alienation as well as love and belonging. Above all else this anthology confirms that poetry is as boundless as nature and that together they belong to everyone.
An anthology of queer nature poetry spanning three centuries.
This anthology amplifies and centers LGBTQIA+ voices and perspectives in a collection of contemporary nature poetry. Showcasing over two hundred queer writers from the nineteenth to the twenty-first century, Queer Nature offers a new context for and expands upon the canon of nature poetry while also offering new lenses through which to view queerness and the natural world.
In the introduction, editor Michael Walsh writes that the anthology is "concerned with poems that speak to and about nature as the term is applied in everyday language to queer and…
Ever since I was a child and my father first pointed me to a few of his favorite poets (Wordsworth, Keats, Shelley), I have been passionate about poetry, particularly poems that speak plainly of the world in a very relatable way. I’ve found that I can learn something about myself and my humanity by reading my favorite poets who often teach me something new about the world. They are my guides and companions.
I love how crystalline and to the absolute point these poems are. “Where do I begin/being a minimalist?” the poet writes. These poems make me see the world in a fresh but very relatable way. “What would I/think, coming/up after/my world/had evaporated?/I’d wish/I were water."
So much said, so few words. The longing is implicit. This book is home to breathtaking lyricism–as well as narrative poems of mystery, loss, and wonder. It is a book I keep coming back to.
About Andrea Cohen’s poems, Christian Wiman has said: “One is caught off guard by their cumulative force. This is work of great and sustained attention, true intelligence, and soul.” In The Sorrow Apartments, Cohen’s eighth collection, those signature gifts are front and center, along with sly humor, relentless economy, and the hairpin curves of gut-punch wisdom. How quickly Cohen takes us so far:
Bunker
What would I think, coming
up after my world
had evaporated? I'd wish
I were water.
The Sorrow Apartments is home to spare and uncanny lyricism––as well as leaping narratives…
At five years old, Kasiel was found with the pointed ends of his ears cut off. Despite that brutal start, he’s lived twelve peaceful years with the man who took him in. Keeping his hair long over his mutilated ears helps him hide the fact that he is Vanrian, a…
As a person who reads solely for pleasure regardless of research, I make it a mission while writing to read books I actually enjoy on topics I wanna learn more about. I chose the books on this list because I’m also a person who reads multiple books at once in various genres, it keeps me honest; aware of holes and discrepancies in my own work and pushes me towards some semblance of completion. All the writers on this list do multiple things at once and I admire their skill and risk in coupling creativity with clarity.
Hanif Abdurraqib has a way of making you forget you’re reading poetry while also reminding you that nothing else could be as poetic as one of his poems. They always unravel in a way only his unique way of storytelling permits. It’s truly a skill that is mastered beautifully in this collection.
“When an author’s unmitigated brilliance shows up on every page, it’s tempting to skip a description and just say, Read this! Such is the case with this breathlessly powerful, deceptively breezy book of poetry.” ―Booklist, Starred Review
In his much-anticipated follow-up to The Crown Ain't Worth Much, poet, essayist, biographer, and music critic Hanif Abdurraqib has written a book of poems about how one rebuilds oneself after a heartbreak, the kind that renders them a different version of themselves than the one they knew. It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness,…
