73 Books Like Mike Nichols

During the mid-1960s, Sandy Koufax was a dominant baseball pitcher and was destined to be the youngest player to be inducted into the Baseball Hall of Fame.

For Jewish fans however, of my generation and beyond, he was an iconic Jewish hero most notably for his determination in 1965 to sit out a World Series game in deference to Yom Kippur, the holiest day on the Jewish calendar. Leavy, an extraordinarily talented writer, tells this sports and Jewish story with keen insights into Koufax’s personality.

The most famous chapter of the renowned book on New York history, Robert Caro’s The Power Broker, outlines how the Cross-Bronx Expressway gutted once thriving Bronx neighborhoods. Can’t Stop Won’t Stop shows how the global cultural phenomenon of hip-hop arose in the same borough two decades later.

Chang takes readers through public housing recreation rooms, South Bronx streets, and elevated subway lines where a group of musicians, visual artists, and dancers changed world culture. I especially love how the book illuminates how a specific place and time period made possible the development of this now ubiquitous artistic genre.

Note-perfect 200-page tent flap pullback of the gloriously flawed Henry Chinaski, the poster manchild for living life on your own terms. But you already knew that. Gambling, drinking, aimlessness, and all the stuff we love to get neck deep in. And by “we,”  I mean me. And maybe the greatest opening line in the history of literature: “It began as a mistake.” Here’s why I am a fraud: I didn’t know about this book until four years ago.

My favorite novelist. Laureate of Broken People. Criminally underappreciated. In 1987, 15 years before I was lucky enough to be published, I wrote to Yates after I got his address from his daughter Monica, who was dating my fellow stand-up comic friend, some unknown guy named Larry David. In the letter, I revealed that I had just stolen his out-of-print 1969 novel about a post-WWII mother and homecoming son from the NYC Public Library and that it would always be my favorite book of his because it was the only one I had not yet read. He wrote back that it was his favorite work as well, then added, “I admire comics because it is much easier to break people’s hearts than to make them laugh.” (Spoiler alert: Larry David turns out okay…)

A memoir of his mother and his life in Glovershville, New York from the Pulitzer Prize-winning novelist. It is utterly unfair that such a singular writer of fiction can be this deft at non-fiction. The best piece of advice I ever got as a writer was “Make your characters complicated…” Some characters, like Jean Russo, come complicated out of the factory. (By the way, Russo is a friend, and once told me at a book event in his honor that he felt like a fraud. So, I am in fine company). 

Writer William Goldman, most popular for penning The Princess Bride, Butch Cassidy and the Sundance Kid, and All the President’s Men, embeds himself in the Broadway world, seeing every show in the 1967-1968 season; to quote the This Had Oscar Buzz podcast, this book is the autopsy. It’s an enormously accessible book about American theatre, with a murderers’ row of interview subjects at Goldman’s disposal and the author’s ability to translate gossip into hard journalistic data. Even the more economics-based chapters, such as a fascinating one on how most plays live or die on presales to well-connected women’s social groups (a.k.a. “Theatre-Party Ladies”), are as breezy as Goldman’s Oscar-winning screenplays. (Content Warning: The book contains some unfortunate and dated language.)

To quote New York Times critic Sam Anderson, “the sitcom is arguably the defining commercial art form of the American 20th century,” and this book gives that hypothesis weight. Over 24 chapters (starting in 1951 with I Love Lucy, the Rosetta Stone of the genre, and ending in 2014 with Dan Harmon’s cult hit Community), Austerlitz uses the television comedy format to discuss joke structure, technological advancements in the arts, and the evolution of American social and political consciousness over the previous half-century. Sitcoms are by their nature the tension between two opposing forces, centering on characters who strive to change their lot in life only to have everything reset by episode’s end, just in time to do it all again next week. There’s something both beautiful and menacing about that.

Tom Shales and James Andrew Miller’s oral history Live From New York (published in 2002, updated and expanded a decade later) is probably the most popular book on sketch comedy giant Saturday Night Live, but I’m more partial to Doug Hill and Jeff Weingrad’s 1986 record of the show’s historic but tumultuous first ten years on the air. Unlike Live From New York, the vibe is less “hanging out with comedy giants” and more “I can’t believe these coked-out maniacs were able to stay alive, let alone create something that’s still going strong.” As SNL approaches its 50th anniversary, see the near-impossible alchemy that changed network television forever.

I dare you to read this book and not belly laugh at least a half dozen times.

I love that Jenny Lawson can poke fun at herself and her relationships and do so in a way that you can’t help but cheer for her. This book may have the highest laughs per page ratio I’ve ever read.

I am a secular Jew and Anne Lamott is a church-going Christian, but I feel she is my soulmate.

She is so honest, and vulnerable, and hysterically funny that reading her work feels like listening to a good friend sharing her innermost thoughts. I gave this book to someone whose mother was dying, and she claimed that reading it helped get through that dark period.

I would love to have that kind of power as a writer: the power to change people’s lives for the better. I have secretly always wanted to run the world. After all, I couldn’t do a worse job than the jerks that are running things now.