100 Books Like King John (Mis)Remembered

I was always interested in how the emperor Nero was associated from antiquity onwards with the Antichrist: the world-destroying and tyrannical son of Satan who would prevail until the final victory of God. Only Judas matched him as a villain in the Christian imagination. Malik traces the Nero-Antichrist “paradigm” across centuries, exploring the ways in which Christians viewed Nero as an arch-fiend, the beast in the Book of Revelation, and a figure of evil who tested their mettle and faith. While recent scholars have softened the traditional picture of Nero, his afterlife continues to wield its menacing power, based in no small part on these Christian traditions.

The extent of an evil leader’s influence can be measured in terms of whether he or she enters popular folklore. In the case of Ivan the Terrible, the Russian “grozny” in “Ivan Grozny” is actually translated as “awe-inspiring,” though the “terrible” tag has ensured that the czar would be remembered for his paranoia, brutality, and alleged insanity.

In folklore it was different: as Perrie’s book demonstrates, Ivan was a sympathetic figure through the twentieth century, in tales that recounted his triumphs in war or his repenting after an act of cruelty. Perrie attributes the favorable views of Ivan to “popular monarchism,” but he was also a figure whose image could be grafted onto existing folkloric archetypes to powerful effect.

The 1840 burial of Napoleon’s remains in the Invalides coincided with the psychiatric admission of fourteen men who claimed they were the real Napoleon, and he lived on yet. A number of Napoleons—or those claiming to be Napoleon’s son—had also emerged during the emperor’s own lifetime, suffering from the recently identified “delusions of grandeur” diagnosis.

Murat offers a larger study of madness and asylums in nineteenth-century France, and the impact of political events, including the French Revolution and the Terror, on psychiatric patients and doctors. Her chapter on “madhouse Napoleons” is particularly intriguing, as it reveals how the ghosts of powerful historical leaders can infiltrate the minds of the disturbed. For me, the book also raises questions about memory and psychology more generally, about why the mad latched onto Napoleon specifically, and how history or historical figures can live on in surprising places.

The American Civil War would produce a number of legendary figures, but William Tecumseh Sherman has long interested me for the extreme reactions he continues to provoke. Northerners would view him as a heroic if ruthless conqueror, while Southerners attributed the Confederacy’s destruction and humiliation to this uncavalier “Yankee.”

Sherman’s March in Myth and History traces the mythmaking of Sherman by historians, poets, novelists, and filmmakers, but it also goes deeper in its exploration of how myths and memories about Sherman served to bolster present-day interests. The vilification of Sherman helped to boost the Old South aristocracy and the idea of the "Lost Cause," while northerners viewed Sherman’s march as positive evidence of a superior industrialism. Sherman himself attempted to shape his legacy through lectures and a memoir. Even so, his legacy remains deeply divisive even now, with the authors writing that “there is no conciliation in sight for the… show more.

In the wake of Knutson’s work, a number of seminal studies of individual playing companies from Shakespeare’s London have appeared, but I particularly value Manley and MacLean’s for the prominence they give to the role of lost plays in the repertory of Lord Strange’s Men. This book normalised the understanding that if one is to study a company—its patron, its players, its performance venues (including touring), and its style—then one cannot do so without attending to the plays once performed by the company but which have since been lost.

Bernard Lewis was, in many ways, the founder of modern Middle East studies in the United States. I was fortunate to share a breakfast with him several years ago at a conference, and was so impressed of course by his knowledge, but even more by his graciousness, good humor, and indulgence of younger colleagues, including me. This book is a monumental view not only of the development of Western views of the Middle East, but the development of the academic profession, the relationship of the US to the region, and his progress as a scholar. It’s that rare memoir that diverts attention from the author to broader subjects, while nonetheless allowing readers to identify this historian’s richness of perspective and dramatic lived experiences. 

Imagine being in a tour group with the most annoying person in the world, Susan. Every tour group has that one person who talks non-stop about things that don’t matter. The difference here is that the tour guide Rowan Rover is an inept hitman who can’t seem to bump Susan off. An added element of fun is that the group is touring England’s most famous murder sites. When I was learning to write mysteries, I had two prominent influences, Sue Grafton and Sharyn McCrumb. Both taught me how to construct a solid mystery. Sue Grafton opened my eyes to the power of connection created by writing in first person. And Sharyn McCrumb showed me the importance of using humor even when talking about dark subjects like murder. 

Threat of exposure of a scandalous affair takes Lynley and his sidekick Havers from London into the countryside, where they reveal how a hidden past and the mistaken identity of a father by his son, led to murder. I love it for the writing style – George's later books became too big for me – the characters she creates with such clarity and passion, who are put into situations that threaten their lives, reputation, and ideals.

In 1940 London, Maggie Hope, a brilliant mind who graduated top of her class, is recruited by Number 10 Downing Street to be…a typist. Of course. She’s a woman. She’s also a crackerjack code breaker. I think you know where this is going. The character is wonderful, the writing strong, the story tight. A highlight for me was when Maggie –a young, virginal, cerebral type—pulls off a daring motorcycle jump with a man on the back because she has to. I don’t know, I think there’s a life lesson somewhere in there.

I was living in Madrid, Spain, when one of my friends and fellow English-language teachers, Heather, nudged me and said, “James, you have to read this.”

I was in my “James only reads highbrow literature” era, so I told her that the cover looked too pulpy (yes, I was guilty of judging a book by its cover). Thankfully, my respect for Heather forced me to overlook my biases and give Pillars a shot. I’m so glad I did.

The prose style is simple and accessible (obeying Animal Farm author George Orwell’s advice to write prose as transparent as a “windowpane”). And that’s good, because the content draws you in completely.

A village in Medieval England decides to build a cathedral. The characters range from evil knights to noble monks to savvy businesswomen to scheming clerics. The world is rich with detail and the pages are addicting, almost turning themselves. It’s… show more.