100 Books Like My Name Is Red

Although this is not Mary Renault’s first novel set in Bronze Age Greece, it’s a classic.

She retells the story of Theseus in his own words, but not as a simple hero tale. Set long before the Trojan War, much takes place in Minoan Crete where Theseus performs his first heroic act.

Renault depicts the advanced Minoan culture and Mother Goddess religion intriguingly and gives fresh interpretations, from the character of Theseus himself to the Minotaur in the Labyrinth and what follows.

First read while I was a college student (not for a class), this book inspired me to one day create my own mythic retelling.

While The Swerve is not exactly a book about posterity, it nonetheless provides a wonderful case study of a text that remained on the verge of destruction for centuries, before going on to play a tremendously influential role in shaping our modern world. This book is none other than On The Nature of Things by Lucretius –one of the foundational texts of Western culture, whose impact was postponed to the fifteenth century, as it would not have seen the light of day without its serendipitous rediscovery in a German monastery by Poggio Bracciolini (1380-1459). This gripping work offers a fascinating example of the delayed reception of a prominent cultural object, a proof of its extraordinary resilience, and, at the same time, an illustration of the role played by chance and accidents on the transmission of texts to posterity. 

Another perfectly realised novel, in which the ancient traditions of an isolated English village are lovingly resurrected and described – before being savagely undermined by enclosure. Harvest has both a murder and plenty of mystery but it’s really about desperation in the face of unstoppable, inhuman change. Crace writes prose as if it's poetry, most movingly about the villagers’ bewilderment and fury in the face of incomprehensible threats – and the sheer speed at which an entire way of life can disappear. It’s enough to make you wonder what, if anything, will remain of our most cherished traditions.

Ok, so it’s a trilogy rather than a single book – an epic retelling of the legend of King Arthur and his knights – but what a trilogy! No one who’s read these books will forget what it feels like to have the life squeezed out of them at the centre of a shield wall, with spear-blades edging inexorably closer...

Like The King Must Die, The Warlord Chronicles recount a legend with so much verve and detail you’re left thinking this must be the way it really happened. Above all, it’s a moving study of heroes at the end of an age of heroes. However much they might be willing to die trying, not even the greatest warriors – or the greatest magicians – can stand against the tide of history. 

This book is one of my favorite novels, featuring unforgettable descriptive passages. Its plot is simple, focused on the experiences of an art conservator traumatized by his experiences in World War I. During his brief stay in the Yorkshire village of Oxgodby, an ancient church is both his workplace and home.

The building becomes a potent, if mute, character in the story. The evocations of rural life are beautiful, though I was captivated by the gradual uncovering of the medieval fresco depicting the Last Judgement. These slow revelations seem to mirror the central character’s search for meaning as he rebuilds his own life. I have returned to this moving, poetic work again and again.

The themes of regret and the unstable nature of memory stayed with me long after I had finished the book. A renowned expert on the Arabian Nights, Irwin weaves stories within stories, leaving the reader unsure about what is real and what is the product of a character’s imagination.

The unreliable narrator is a mildly successful but ultimately second-rate twentieth-century British painter who refers to a creative practice employed by the surrealists. The book took me on a wonderful journey through the artistic culture of London. Edith Sitwell, Salvador Dalí, and André Breton are just a few of the famous names who populate this surprising story. 

Packed with funny, unexpected, and disturbing imagery, I read this book in one sitting. Art historians have discussed the agency possessed by material things, arguing that art and other manufactured objects can shape the actions and attitudes of individuals and groups. This has led to the creation of biographies of ancient objects, tracking their movements and transformations over time.

Fischer takes this one step further in his picaresque novel, told from the perspective of an ancient Sumerian bowl. As the title suggests, the bowl surreptitiously observes and records the lives of the collectors who have owned it over the course of millennia. I haven’t looked at old pots in my house in the same way again! 

I keep returning to this collection of essays because of the elegantly stark prose style and Berger’s willingness to go against popular opinion. Who else would choose to place modernist titans like Jackson Pollock, Naum Gabo, and Paul Klee in a chapter entitled “Artists defeated by the difficulties”?

My reason for including Permanent Red here is the first chapter, “To Be an Artist,” in which Berger asks the reader to imagine lying beneath a tree on a summer day. Describing the geometry of the leaves and branches and the play of form and space, he reflects on what it means to see the world as an artist. For me, it’s the most lyrical evocation of looking as a creative act. 

Have you ever read a book about a place which then allowed you to see that location in utterly new and thrilling ways?

As well as being a great study of a wonderful artistic culture, this is, for me, one of the greatest studies of a city and the place of its people, their beliefs, and their art in making it unique.

If that was not enough, it also constitutes one of the most important bodies of conceptual and theoretical thinking about the nature and character of Islamic art.

This is a book that changed my sense as to what we could know of the past. Its unlocking of the “secret” or lost religious codes of Persian miniature painting has proved utterly game-changing in the field of Islamic art.

I love it for the incredible beauty of its argumentation, as well as the gorgeousness of its close readings of medieval illuminated painting.