Here are 100 books that Madness, Rack, and Honey fans have personally recommended if you like
Madness, Rack, and Honey.
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I am a fourth-generation Asian New Zealander who always felt ‘other’ growing up. When I was little, I hated being asked ‘where are you from?’ because I wanted to be seen as ‘just’ a New Zealander. This frustration shaped a lot of my race and identity journey, and I started reading books about other people’s personal experiences because it made me feel seen. These books also helped me recognize the richness and humanity behind my family’s story. I hope this beautiful list of books will resonate with your experiences or give you insight into a new corner of the world.
Ocean Vuong writes in a poetic prose that transforms memories into fragments that linger in your mind. His choice to write this book as fictionalized letters to his mother was deeply beautiful and heart-wrenching. This is a book that took me on a journey through the Vietnam War, my first queer experiences, and the journey of finding out what it means to become American.
Longlisted for the 2019 National Book Award for Fiction, the Carnegie Medal in Fiction, the 2019 Aspen Words Literacy Prize, and the PEN/Hemingway Debut Novel Award
Shortlisted for the 2019 Center for Fiction First Novel Prize
Winner of the 2019 New England Book Award for Fiction!
Named one of the most anticipated books of 2019 by Vulture, Entertainment Weekly, Buzzfeed, Los Angeles Times, Boston Globe, Oprah.com, Huffington Post, The A.V. Club, Nylon, The Week, The Rumpus, The Millions, The Guardian, Publishers Weekly, and more.
"A lyrical work of self-discovery that's shockingly intimate and insistently…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
Awe can make me feel simultaneously insignificant and fully, freshly alive. Witnessing a total solar eclipse or reading a story of remarkable human endurance, it’s easy to feel awestruck. It takes more patience and practice to experience awe in the subtle and ordinary, but it’s there too, in abundance, if I can see the mystery in the familiar. As a writer, longtime meditator, and lover of the natural world, I believe we can’t live meaningfully without wonder. We’re meant to be lit up, humbled, and curious about this life. To me, the world is magic, and we’ve been called on stage to participate in the trick.
When I want to be astonished by the fierce and tender realities of the natural world—which is pretty much always—I read the late poet Mary Oliver. These are immersive essays by a writer who infused the very act of observation with a sacred energy—in her own words, “attention is the beginning of devotion.”
The essays are alive with animal life and soar with Oliver’s signature, forthright voice. In one essay, she rescues an injured gull. In another, she forages the eggs of a snapping turtle for dinner. Oliver humbly witnesses and partakes of the mystery and turns companionably to her reader with stirring questions: “Do you think there is anything not attached by its unbreakable cord to everything else?”
One of O, The Oprah Magazine's Ten Best Books of the Year
The New York Times bestselling collection of essays from beloved poet, Mary Oliver.
"There's hardly a page in my copy of Upstream that isn't folded down or underlined and scribbled on, so charged is Oliver's language . . ." -Maureen Corrigan, NPR's Fresh Air
"Uniting essays from Oliver's previous books and elsewhere, this gem of a collection offers a compelling synthesis of the poet's thoughts on the natural, spiritual and artistic worlds . . ." -The New York Times
I am drawn to what happens when writers skilled in one form of expression explore their ideas in another. Poets write with a sense of distillation. Prose allows for something different, the essay form bringing to the surface something more expansive, less concentrated. Clarity is constant, but it takes on a different rhythm, a spaciousness, a sense of one thing leading to another and another.
Wiman writes about human suffering, pain, poetry, and faith, subjects that do not often and ordinarily coalesce. He is familiar with and eloquent about the mutability of belief, about knowledge, and contingency. “Experience lives in the transitions,” he states. If there is a sense of urgency in his thinking here, there is also a sense of lightness, nuance, conjecture, and intimacy too, all of which are suited to the gravity of his subjects.
Eight years ago, Christian Wiman, a well-known poet and the editor of Poetry magazine, wrote a now-famous essay about having faith in the face of death. My Bright Abyss, composed in the difficult years since and completed in the wake of a bone marrow transplant, is a moving meditation on what a viable contemporary faith―responsive not only to modern thought and science but also to religious tradition―might look like. Joyful, sorrowful, and beautifully written, My Bright Abyss is destined to become a spiritual classic, useful not only to believers but to anyone whose experience of life and art seems at…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I am drawn to what happens when writers skilled in one form of expression explore their ideas in another. Poets write with a sense of distillation. Prose allows for something different, the essay form bringing to the surface something more expansive, less concentrated. Clarity is constant, but it takes on a different rhythm, a spaciousness, a sense of one thing leading to another and another.
W. S. Merwin writes about place with both a sense of rich material texture and evanescence. Science and history may be referred to as well. Somehow these assorted sensibilities, or views, create a genuine and full sense of place that reflects what is both visible and invisible. For some reason I don’t quite understand, I would rather encounter a monk on a tractor in a Merwin essay than in a Merwin poem.
W. S. Merwin is widely acknowledged as one of the finest living poets in English. Less well known is the power and range of his work in prose. For his first new prose collection in more than ten years, The Ends of the Earth, Merwin has gathered eight essays that show the breadth of his imagination and sympathy. A memoir of George Kirstein, publisher of "The Nation," stands alongside one of Sydney Parkinson, explorer, naturalist and artist on Captain James Cook’s Endeavour. A wonderful portrait of the French explorer of Hawai’i, Jean-Francois Galaup de La Perouse is followed by a…
I’m an OB/GYN, passionate about adventuring beyond what’s expected. This has led me to pivot multiple times in my career, now focusing on writing. I’ve written a play, The Post-Roe Monologues, to elevate women’s stories. I cherish the curiosity that drives outer and inner exploration, and I love memoirs that skillfully weave the two. The books on this list feature extraordinary women who took risks, left comfort and safety, and battled vulnerability to step into the unknown. These authors moved beyond the stories they’d believed about themselves–or that others told about them. They invite you to think about living fuller and bigger lives.
This ode to losing yourself grabbed me by the hand and never let me go. I loved being invited into Solnit’s universe, which is so original and contemplative.
Her meandering associations about wandering and the importance of embracing the unknown are themes at the heart of what drives my passion for adventure and for pivoting to try new things. In this philosophical book of essays, Solnit explores why ramblings of the body incite musings of thought as she traverses landscape and life.
In this investigation into loss, losing and being lost, Rebecca Solnit explores the challenges of living with uncertainty. A Field Guide to Getting Lost takes in subjects as eclectic as memory and mapmaking, Hitchcock movies and Renaissance painting.
Beautifully written, this book combines memoir, history and philosophy, shedding glittering new light on the way we live now.
I am a recovering trial lawyer (after 35 years of law practice) who took up fiction writing in my late 50s and became so interested in learning what it’s like to be a writer – and how to write better – that I began a podcast designed to encourage authors to open up about their writing lives. After more than 500+ author interviews, I remain fascinated by the many different ways that writers approach their craft and how they turn their “what-ifs” into interesting stories. The writing books that I am recommending are books I used to guide me in my interviews. I hope they will provide insight and inspiration in your writing journey.
While some writing books offer nuts and bolts–the so-called rules of writing–this book from Pulitzer Prize winner Annie Dillard teases the writer with essays that make you think.
We are invited into the world of writing with metaphor and we learn by comparison. Like the story of the inchworm stuck in the long grasses, frozen to the tall blades. Perhaps you should just jump, Dillard quips, and put yourself “out of your misery.”
True, writing can be miserable at times, but also, it can be wonderful. I like this book because it is a way to experience what it feels like to be a writer through the craft of prose.
"For nonwriters, it is a glimpse into the trials and satisfactions of a life spent with words. For writers, it is a warm, rambling, conversation with a stimulating and extraordinarily talented colleague." — Chicago Tribune
From Pulitzer Prize-winning Annie Dillard, a collection that illuminates the dedication and daring that characterizes a writer's life.
In these short essays, Annie Dillard—the author of Pilgrim at Tinker Creek and An American Childhood—illuminates the dedication, absurdity, and daring that characterize the existence of a writer. A moving account of Dillard’s own experiences while writing her works, The Writing Life offers deep insight into one…
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man she…
People come to songwriting from all different directions. Some have wanted to do this since they were little kids. Some like to make their parents mad. Some are wildly talented but crippled with doubt. All I can say is that no matter which way you’re facing, I think I can help you. I say this because I’ve been teaching college-level songwriting for years now, and every semester I have students who want to meet with me for office hours. They’re all repeat customers and I’ve noticed that many of them ask repeat questions. The point of my book, Music, Lyrics, and Life, is to try to address those repeat questions because chances are good that you have them, too.
Do not come to this book in search of warm hugs about the beauty of the process. True to the title, Klinkenborg (best name ever?) offsets each of his sentences like an epic poem in verse. The epic he describes is how epically bad your writing is, and—hopefully—how to improve. He returns to the word "notice" over and over, and that's really it. You're blowing sentences by not noticing what the sentence itself is doing. You're over-emphasizing "meaning" at the expense of the vehicle that delivers it. I sense there's a kind man in there, somewhere, who's working a side of the street he feels has been neglected by years of misguided education. But here, he's dedicated to the larger cause of clean, clear sentences. Not hugs.
An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg.
Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it…
I am drawn to what happens when writers skilled in one form of expression explore their ideas in another. Poets write with a sense of distillation. Prose allows for something different, the essay form bringing to the surface something more expansive, less concentrated. Clarity is constant, but it takes on a different rhythm, a spaciousness, a sense of one thing leading to another and another.
Because of the way she writes about the past and the way she writes about the present. Because she is at once straightforward and lyrical. Because she writes about places and people with the same acuity and insight. Because she writes with certainty about ambiguity.
Presented in two sections, "Memory: Persons and Places" and "Stories," this book offers the collected prose writings of Elizabeth Bishop (1911-79), one of America's most celebrated and admired poets. The selections are arranged not by date of compostion, but in biographical order, such that reading this volume greatly enriches one's understanding of Bishop's life--and thus her poetry as well. "Bishop's admirers will want to consult her Collected Prose for the light it sheds on her poetry," as David Lehman wrote in Newsweek. "They will discover, however, that it is more than just a handsome companion volume to [her] Complete Poems.…
I'm a writer and a late-life fine arts photographer. For eight years I had been writing a book set in the personal and historical past. I would sit at the computer, shut my eyes, and say to myself, “Go deeper.” Eventually, I was able to recall long-forgotten details. When I looked up from those years of writing, the memoir, entitled Phantom Limb, was finished and being published. However, I discovered that I could no longer see – really see – what was around me. Along the way, I had lost that alert attention to the way light falls, to colors that used to hit me between the eyes. I felt the loss deeply. I’ve always loved to look. I had to do something to summon it back.
In order to retrieve my sense of seeing in the present, I went to my second home in Mexico, read a little each morning, and then went walking without any destination. This is the book I was reading those mornings in Mexico, before my walks. It may seem odd to start with a book about poetry, but this one opened the gate to seeing and to taking my first
photograph.
A Gate Enables passage between what is inside and what is outside, and the connection poetry forges between inner and outer lives is the fundamental theme of these nine essays.
Nine Gates begins with a close examination of the roots of poetic craft in "the mind of concentration" and concludes by exploring the writer's role in creating a sense of community that is open, inclusive and able to bind the individual and the whole in a way that allows each full self-expression. in between, Nine Gates illumines the nature of originality, translation, the various strategies by which meaning unfolds itself…
This book follows the journey of a writer in search of wisdom as he narrates encounters with 12 distinguished American men over 80, including Paul Volcker, the former head of the Federal Reserve, and Denton Cooley, the world’s most famous heart surgeon.
In these and other intimate conversations, the book…
We are Witches. Real Witches, doing real magic, casting spells, and weaving webs. We are Amy Torok and Risa Dickens–the co-creators of the Missing Witches project, researching what it means to be a Witch. Together, we have put out almost 300 podcast episodes and published two books and an oracle deck of cards: Missing Witches: Recovering True Histories Of Feminist Magic, New Moon Magic: 13 Anti-capitalist Tools for Resistance and Re-enchantment, and The Missing Witches Deck of Oracles: Feminist Ancestor Magic for Meditations, Divination and Spellwork. Our first book appeared on VICE Magazine’s list: The Best Books for Starting an Occult Library.
We believe that words are spells and that writing down our thoughts, feelings, and ideas is a form of doing Magic. So we were thrilled to discover this book, co-edited by Tamiko Beyer, Destiny Hemphill, and Lisbeth White, a book that validates and reifies the magic of poetry.
This book opens a portal to discuss the ritual of writing, the radical imagination required for social justice, the alchemy of collaboration, and a slow revolution. We’re enamored with the collaborative nature of the book and how it illustrates that writing and poetry are not just kept for times of solitude but can be ritualized into a community-building praxis to change the world.
Poems, essays, and prompts to sing a new world into being--Queer & BIPOC perspectives on poetry as an insurgent ritual for manifesting liberation and reclaiming power.
Written for poets, spellcasters, and social justice witches, Poetry as Spellcasting reveals the ways poetry and ritual can, together, move us toward justice and transformation. It asks: If ritualized violence upholds white supremacy, what ritualized acts of liberation can be activated to subvert and reclaim power?
In essays from a diverse group of contributing poets, organizers, and ritual artists, Poetry as Spellcasting helps readers explore, play, and deepen their creativity and intuition as integral…
