100 Books Like Love After the End

This is hands-down a standout for me in its unique portrayal of the Asian-American immigrant story. Set during the California Gold Rush, the novel tells the tale of Lucy, a young, orphaned Chinese-American woman, and the adventure she and her sister embark on to carve a new, secure future for themselves.

It is at once an unforgettable adventure and an unflinching exploration of sisterhood that made me consider how the female bildungsroman is often not so much about a woman growing up but rather growing into the self she wants to be, despite the confines of the society in which she lives. Plus, Zhang’s original, gleaming prose is just a delight to read.

An Unkindness of Ghosts opens with the dedication, “To my mother and her mother all the way back to Eve.” While the other four books on this list emphasize the queer and genderqueer people we might choose to recognize as ancestors, this book focuses on Aster’s relationship with her mother, revealing the way that biological family can, in certain instances, support and affirm genderqueer identity.

Jordy Rosenberg does something clever and innovative with the historical fiction genre and reimagines the historical figure of Jack Sheppard as a transgender man. This is a bit of a two-for-one as there’s also the metatextual story, told through footnotes, of a contemporary trans academic who comes across the ‘confessions’ of Jack. It’s playful, knowing, and slippery. It made me think a lot about the nature of history and what we project onto the people of the past. It pairs beautifully with the Bad Gays podcast. 

I’ve never been to the marsh and fenlands of East England, but the descriptions of them in this book have made me really want to visit them!

I read The Women’s House of Detention earlier this year and was introduced in its pages to a world of pre-Stonewall policing of queerness and transness. In our current moment, when state laws increasingly seek to restrict the lives of gender-expansive people, this book offers a window into both the origin of these laws and also, importantly, into the lives of queer and trans people who, in their resistance, created space for me to exist, and to name my own existence, today.

The future is Indigenous. Time is not linear. The scientific and the spiritual are not mutually exclusive. The apocalypse can be survived.

These are some of the many provocations explored in the stories, essays, and excerpts that make up Grace Dillon’s (Anishinaabe) groundbreaking anthology, Walking the Clouds. The voices that appear in this collection lay the foundations for indigenous futurism and challenge the ongoing colonial politics of science fiction (SF) as a genre. SF tropes like alien encounters, apocalypses, and interstellar voyages are realigned with the assimilationist and genocidal histories of colonialism that inspired them.

Walking the Clouds is a powerful intervention and a must-read for anyone seeking an introduction to indigenous futurisms and decolonial fiction. 

I can think of no other book that so exquisitely inhabits the tension between indigenous knowledge traditions and science than Rae Mariz’s (Indigenous Pacific) marvelous clifi novella, Weird Fishes.

Inspired by marine science and the storytelling traditions of Hawai'i, Mariz’s world is a feast of bubbling colors and more-than-human senses that inspire an extraordinary empathy for all the wondrous beings with whom we share this planet. Weird Fishes reads like a parable and an aquatic mystery, a magnificently crafted voyage that leads the novella’s cephalopod scientist protagonist (Ceph) to the startling discovery that humanity is behind the growing disruptions to marine ecology.

How do we thrive together? Or does the survival one society hinge on the extermination of the other? Is co-existence possible for beings with such radically different natures and senses? These are the questions that will linger in your gills well after the last pages are turned.

In Latin America, the long shadow of Iberian imperialism and the racist caste system it left behind continue to dampen or mute expressions of indigeneity in our communities.

Speculative Fiction for Dreamers is a welcome countermeasure against this suppression of indigenous languages, myths, and traditions in Latin American storytelling. The contributors weave a tapestry of more-than-indigenous futurity, that is chimeric and cyborgian, a meshwork of continents and cosmovisions that blueprint futures and alternate presents in communion with ancestral pasts.

From Samy Figaredo’s Taíno-inspired play, to Ernest Hogan’s short story set in new Aztlán, the stories, comics, and poems in this anthology provide a Latin American perspective on indigenous speculative fiction.

Not all indigenous languages have a corresponding alphabet or writing system. For example, many North American indigenous languages are now represented in a Romanized alphabet, but traditionally these languages were spoken and the stories they contained were transmitted by oral tradition.

In the case of my Taino ancestors, stories were also told with pictographs or petroglyphs. I conclude my list of indigenous futurist books with stories that are told graphically, in the form of Moonshot, a collection of comics edited, written, and illustrated by indigenous storytellers and artists.

Edited by Elizabeth LaPensée (Anishinaabe & Métis) and Michael Sheyahshe (Oklahoma Caddo Nation), the imagery is striking, conjuring colorful mythoscapes and slipstream futures with indigenous people at the forefront, redefining science and technology along the way. One story features a protagonist in a wheelchair, raising questions about ableism in SF and the possibility for “Crip” Futures and Indigenous Futurism to be… show more.

I love how this dazzling book reveals a deep truth that is known to so many women of color but obscured by the white feminist myth of individualism. There is no way we can be not related to each other, so the real question that matters for politics is not whether we will be related to each other; it is how we want to be.

Part excavation of settler colonialism—including its effects on Indigenous women—and part meditation on how to build solidarity without denying our complicity in oppressive structures, the book is visionary and even manages to be hopeful. It also draws attention to an issue that no 21st-century feminism can afford to ignore: our relationships with the land. I learned so much about what it means to show up for each other and about why we have to.

I read this book twice, cover-to-cover and back-to-back. First, to find out what happens to our feisty Métis hero, Joan of Arcand, and then again to savor Dimaline’s lyrical writing. When Mere (her grandmother) is murdered by a wolfish shape-shifting creature—a rogarou—we find ourselves trapped in a mythic Métis world. “A dog, a man, a wolf. He was clothed, he was naked in his fur, he wore moccasins to jig.” Carrying a ground-up salt bone for protection, Joan ventures into the Empire of Wild to slay the rogarou who killed Mere and reclaim her husband. Like her hero, Dimaline is brave and fearless, pouring history, politics, and religion into her cauldron, then stirring with a branch of magic realism and psychological terror. Dimaline is my hero.