100 Books Like Lincoln in the Bardo

Alongside writing, I’ve been running workshops, teaching and mentoring writers for nearly twenty years, helping people get unstuck and keep going. So I spend most of my working life thinking about creativity and writing—then suddenly I, too, couldn’t write the book I needed to write. Every book in this list is about not-writing for different reasons, in different circumstances, but between them they tell us so much about how we write, why we write, how we get writing to happen—and what’s happening when we can’t. These very different stories resonate with each other, and I hope some of them resonate with you.

I am passionate about little-told stories of women’s lives. Too often, women have been either minimized or silenced, and in so doing, we have ignored the experience of half of humanity. I grew up in the 1950s and ’60s in the South, where girls and women were not listened to. For this reason, among others, it was hard for me to speak up for myself, hard for me to write. I found the stories of strong, courageous women—bad-ass women—whether fictional or real, to be life-affirming and inspirational in my own journey as a writer. These stories have helped me to say, “It’s my turn. I’m talking now.”

Maitreyabandhu started attending classes at the London Buddhist Centre (LBC) in 1986. He was ordained into the Triratna Buddhist Order in 1990 and given the name Maitreyabandhu. Since then he has lived and worked at the LBC, teaching Buddhism and meditation, and leading retreats. He has written three books on Buddhism, Thicker than Blood: Friendship on the Buddhist Path, Life with Full Attention: A Practical Course in Mindfulness, and The Journey and the Guide: A Practical Guide in Enlightenment. Maitreyabandhu is also a prize-winning poet having written three poetry collections with Bloodaxe Books. Maitreyabandhu founded PoetryEast in 2010 where he interviews well-known artists and writers, including Antony Gormley, Wendy Cope, and Colm Tóibín. He is the co-founder, with Dr. Paramabandhu Groves, of Breathing Space, the LBC’s health and wellbeing project.

Maitreyabandhu started attending classes at the London Buddhist Centre (LBC) in 1986. He was ordained into the Triratna Buddhist Order in 1990 and given the name Maitreyabandhu. Since then he has lived and worked at the LBC, teaching Buddhism and meditation, and leading retreats. He has written three books on Buddhism, Thicker than Blood: Friendship on the Buddhist Path, Life with Full Attention: A Practical Course in Mindfulness, and The Journey and the Guide: A Practical Guide in Enlightenment. Maitreyabandhu is also a prize-winning poet having written three poetry collections with Bloodaxe Books. Maitreyabandhu founded PoetryEast in 2010 where he interviews well-known artists and writers, including Antony Gormley, Wendy Cope, and Colm Tóibín. He is the co-founder, with Dr. Paramabandhu Groves, of Breathing Space, the LBC’s health and wellbeing project.

I’ve always had equally balanced interests in the arts/humanities and the natural sciences. I like to think that I inherited much of this from my analytical “algebraic” mother, who was a nurse and tended to our family finances, and my holistic “geometrical” father, who was a carpenter. It’s probably no accident that my double major in college was in physics and philosophy...and, down the line, that I should develop a focused interest in human brain laterality, where the division between analysis and holism is so prominent.

Maitreyabandhu started attending classes at the London Buddhist Centre (LBC) in 1986. He was ordained into the Triratna Buddhist Order in 1990 and given the name Maitreyabandhu. Since then he has lived and worked at the LBC, teaching Buddhism and meditation, and leading retreats. He has written three books on Buddhism, Thicker than Blood: Friendship on the Buddhist Path, Life with Full Attention: A Practical Course in Mindfulness, and The Journey and the Guide: A Practical Guide in Enlightenment. Maitreyabandhu is also a prize-winning poet having written three poetry collections with Bloodaxe Books. Maitreyabandhu founded PoetryEast in 2010 where he interviews well-known artists and writers, including Antony Gormley, Wendy Cope, and Colm Tóibín. He is the co-founder, with Dr. Paramabandhu Groves, of Breathing Space, the LBC’s health and wellbeing project.

Ever since spending a year on a Fulbright teaching grant on the island of Cyprus, where Aphrodite arose from the seafoam, I’ve been enticed by the Greek mythic world, a fascination that began much earlier with reading Edith Hamilton’s Mythology. Subsequent trips to Greek islands, museums, and archeological sites enhanced those ancient resonances, as did Mother Goddess studies and Ovid’s Metamorphoses. Recent writing residencies at Cyprus College of Art and on Evia island immersed me in the Greek atmosphere and mythos as I edited Serpent Visions. My career was spent as a community college teacher, where my courses included ‘World Literature, Homer to Dante,’ and Shakespeare, another keen interest.

I’ve always been interested in history. I grew up in London, where there's a lot of it. But what made me want to write fiction about the past was experiences of imaginative affinity for certain other times and places. My first book is set during World War One. I've always felt connected to the change in sensibility that many people went through then, from an optimistic, moralistic, Victorian outlook, in which, to quote Paul Fussell from The Great War and Modern Memory, people “believed in Progress and Art and in no way doubted the benignity even of technology” to an understanding that human beings and our societies contained deeper, more persistent shadows. 

I am a lifelong lover of books. As a child, one of my most prized possessions was my library card. It gave me entrance to a world of untold wonders from the past, present, and future. My love of reading sparked my imagination and led me to my own fledgling writing efforts. I come from a family of storytellers, my mother being the chief example. She delighted us with stories from her childhood and her maturation in the rural South. She was an excellent mimic, which added realism and humor to every tale. 

I am passionate about this topic for two main reasons. The first is the narrative skill required to write a story with or from the perspective of a fully-formed, believable child character. I admire this skill, and I think it is deeply important, which leads me to my second reason. Stories about children in need, danger, and overwhelming burden are deeply moving and are a quick way into another person’s perspective. While one may be able to brush away the experiences of adults, and, importantly, justify this dismissal, the child begins in a position of sympathy and vulnerability, which automatically triggers a reader’s care.