Here are 100 books that Nazi Literature in the Americas fans have personally recommended if you like
Nazi Literature in the Americas.
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As part of a multiethnic, multicultural family who has lived in multicultural and multiethnic cities on three continents, I am at ease in plural communities. It’s no surprise then that I’m fascinated by how different cultures intersect inside American communities. I’m especially drawn to novels that portray something broader: the shared civic spaces where immigrants from many backgrounds and longtime residents live side by side. As a novelist, I’m interested in how that chorus and multitude of voices intersect—sometimes clashing, sometimes connecting—and how ordinary encounters gradually shape a community. The books on this list stayed with me because they capture that living mosaic of cultures that continues to shape the American story.
I admire the quiet, contemplative intelligence of this novel.
Following the narrator, a psychiatrist, on his long walks through New York felt like wandering through a living archive of migration and memory. As he encounters strangers, fragments of stories surface from across the world.
What fascinated me most was how the novel reveals the invisible histories carried by people moving through the same city streets. Reading it reminded me that modern American life is shaped by countless journeys, each voice adding another layer to the cultural landscape.
The bestselling debut novel from a writer heralded as the twenty-first-century W. G. Sebald.
A haunting novel about national identity, race, liberty, loss and surrender, Open City follows a young Nigerian doctor as he wanders aimlessly along the streets of Manhattan. For Julius the walks are a release from the tight regulations of work, from the emotional fallout of a failed relationship, from lives past and present on either side of the Atlantic.
Isolated amid crowds of bustling strangers, Julius criss-crosses not just physical landscapes but social boundaries too, encountering people whose otherness sheds light on his own remarkable journey…
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…
I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
What a breathtaking scope Tokarczuk gives us! This Polish novelist was new to me when I first picked this book up, but even though she won a Nobel Prize, I think she will be new to most U.S. readers.
This book begins as a meditation on travel and human movement, moving episodically through different fictional and historical plots, investigating sexualities, artificial humans, geographies, and the human compulsion not to sit still. But this just scratches the surface, as she has a kind of Garcia Márquez touch for identifying stories where bodies (both real and fake) exert their magic, even as the stories she tells are purportedly historical.
Did an 18th-century noblewoman during wartime smuggle a jar that contained Chopin’s heart in her undergarments? Tokarczuk answers: Is this so unbelievable?
NATIONAL BOOK AWARD FINALIST FOR TRANSLATED LITERATURE
A visionary work of fiction by "A writer on the level of W. G. Sebald" (Annie Proulx)
"A magnificent writer." — Svetlana Alexievich, Nobel Prize-winning author of Secondhand Time
"A beautifully fragmented look at man's longing for permanence.... Ambitious and complex." — Washington Post
From the incomparably original Polish writer Olga Tokarczuk, Flights interweaves reflections on travel with an in-depth exploration of the human body, broaching life, death, motion, and migration. Chopin's heart is carried back to…
I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
I love experiments in the novel form, and this book by the Czech Ourednik startled me from the first words of its opening, a deadpan sentence telling us that the Americans who died at Normandy in 1944 were unusually tall. What follows is an accounting of important and trivial happenings of a hundred years of war-riddled world history in roughly the same number of pages.
Throughout, we read random details, skipping from how often people bathed to psychologists’ recommendations about venting aggression through competitive sports to the changes in human lives occasioned by contraceptives and tear-off toilet paper. Every page is always the tongue-in-cheek narration of absurdities I couldn’t help reading aloud to whoever was nearby. No book is like this one, and maybe no other so profound.
Tracing the Great War through the Millennium Bug, 1999 through 1900, Dadaism through Scientology through Sierra Leonean bicycle riding and back, award-winning Czech author Patrik Ourednik explores the horror and absurdity of the twentieth century in an explosive deconstruction of historical memory.
Europeana: A Brief History of the Twentieth Century opens on the beaches of Normandy in 1944, comparing the heights of different forces' soldiers and considering how tall, long, or good at fertilizing fields the men's bodies will be. Probing the depths of humanity and inhumanity, this is an account of history as it has never been told: "engaging,…
A poisonous maiden, a Daoist sex cult, and a violent insurgency.
The polyandrous Yan family in China's rural Shaanxi Province takes in two carpenter brothers. When one brother is convicted of murder after killing their neighbor in a dispute, a constable threatens to expose the family's rumored polyandry and extorts…
I am a professor of American literary history. Still, as an undergraduate, I studied with a charismatic, postmodern French-American fiction writer, Raymond Federman, who, in a theatrical accent, called me by my last name, “Pel-tone.” Atop the Kurt Vonnegut I’d read in high school that gave me my taste for crazy, socially-conscious novels that I have tried myself also to write, I imbibed the books Federman sent my way: Gabriel Garcia Marquez, Italo Calvino, Samuel Beckett. In years since, I’ve championed innovative novels through my own small press, Starcherone Books. I am an artist whose greatest passion is discovering writing that makes me see in new ways.
I loved the brash daring of this novel by an unknown writer of my own generation that I first read in the manuscript. I don’t believe it has yet gotten its due. Sarah Falkner has taken the near-familiar twentieth-century mise en scène of the Alfred Hitchcock-ish animal thriller movie and created characters in starlet Kitty Dawson and her son Rory who create their own inventions with this space.
Kitty founds a big cat sanctuary, and Rory trains as a lion tamer and turns this into performance art. Throughout, I felt like I was in a live-action museum of Post-War American Psycho-Cinema, powered by Falkner’s mimicry of discourses–interviews, publicity releases, film theory, and memoir–and the blend of excitement for film, language, and compassion for animals and their magnificence.
Booklist review: In a stealthily affecting reportorial voice, debut novelist Falkner tells the story of tepidly successful 1960s movie actress Kitty Dawson via interviews, critiques, press coverage, and plot summaries of her movies (one involves packs of rampaging dogs, another giant mutant rabbits). Kitty's intensifying affinity for animals inspires her and her husband to open a California sanctuary for abused and neglected "exotic big cats." We're also granted glimpses into the lives of Kitty's body double, a college student searching for a missing friend while on location in Africa; director Albert Wickwood, a clever and cutting variation of Alfred Hitchcock;…
I have been a writer for more than twenty years and have favored pursuing “truth in fiction” rather than “money in formula.” As author Edward St. Aubyn quotes: “Money has value because it can be exchanged for something else. Art only has value because it can’t.” I find books about writers are closer to my lived experience and connect me intimately with both the characters and their author.
A story about a biographer who pokes into the corners of a Nobel-winning author’s salacious life to write an exposé is juicy enough, but what happens when the latter uses the opportunity to write a counter-exposé on the former? Unstructured in plot and other novel-craft, this book is laden with pithy quotes on the writing life. The biographer and his subject are libidinous, adulterous, and self-absorbed, a testament to the fact that a writer has to be appreciated separately from their work. Also on display are the strategies employed by the publishing industry to keep the reputation and marketability of a once best-selling author alive, long after their effective shelf-life.
Mamoon is an eminent Indian-born writer who has made a career in England -- but now, in his early seventies, his reputation is fading, his book sales have dried up and his new wife has expensive tastes. Harry, a young writer, is commissioned to write a biography to revitalise Mamoon's career. He greatly admires Mamoon's work and wants to uncover the truth of the artist's life, but Harry's publisher seeks a more salacious tale of sex and scandal to generate headlines. Meanwhile, Mamoon himself is mining a different truth altogether -- but which one of them will have the last…
I’ve always been fascinated by the 1930s. In Britain, the decade was haunted by troubling memories of the Great War and growing fears of a more terrible conflict to come. In other words, it was a decade dominated by geopolitics. After more than 30 years as a journalist for the Reuters news agency, I’ve learned that geopolitics will never leave us alone. My novel is the first in a series of stories examining what geopolitics does to ordinary people caught in its grip. This selection of fiction and nonfiction titles is a fascinating introduction to what the poet WH Auden called ‘a low dishonest decade’.
George Orwell is rightly famous for 1984 and Animal Farm. But I heartily recommend this book for its witty, gritty trudge through the social treacle of 1930s Britain. Orwell’s tale of Gordon Comstock, a young writer who embraces poverty in order to defeat the ‘money-god’, also foreshadows key themes of his later work.
Comstock has chucked in a well-paid job as a copywriter so he can write poetry. His disdain for the copywriter’s art allows Orwell to explore the emptiness of words yoked to advertising. ‘Vitamalt’, ‘Truweet’ and ‘Bovex’ are my favourites! Orwell, the journalist-novelist, is reliably strong on those under-the-skin details, from cheap cigarettes to the cost of lodgings in seedier parts of London.
A pre-cursor to his more famous works of Animal Farm and 1984, Keep the Aspidistra Flying is Orwell's social commentary on capitalism's constraints. Orwell captures the struggles of an aspiring writer with almost pitch-perfect attention to psychological detail, exploring the gulf between art and life. Gordon Comstock is a poor young man who works in a grubby London bookstore and spends his evenings shivering in a rented room, trying to write. He is determined to stay free of the "money world" of lucrative jobs, family responsibilities, and the kind of security symbolized by the homely aspidistra plant that sits in…
A wind sorcerer. A dark spirit. An unsolved murder.
On the haunted Draakensky Windmill Estate, sketch artist Charlotte Knight arrives to live on the property, hired to illustrate the poetry of Rainer Maria Rilke—a bright and lucrative opportunity to boost her struggling art career.
I am a joker at heart and was always the class clown. I currently write on my own humor website, A Man Eating Chicken. I started drawing comics in grade school and grew into writing comedic prose in high school. There was never a goal for any of this; it was all pre-internet, so I didn’t realize that humor could be published anywhere. As I got older, I was able to find some books that really spoke to my sensibilities. The books on this list really showed me the power and possibilities of humor and influenced my own writing.
While I grew up at the tail end of the Cold War, there was something in The Mouse that Roared that really spoke to me. The way that it takes an already absurd reality to an extreme really spoke to my own sensibilities and humor. History books tell the facts, but stories like this reflect how absurd the geopolitical culture must have felt to most people. It’s akin to Dr. Strangelove, not only in being a Cold War satire, but in the absurd and extreme nature of the farce. It influenced my own political satire heavily.
In Leonard Wibberley's classic political satire, a tiny backwards country decides the only way to survive a sudden economic downturn is to declare war on the United States and lose to get foreign aid - but things don't go according to plan.
The Mouse That Roared was made into a successful feature film starring Peter Sellers.
Books in The Grand Fenwick Series:
Books 2 through 5 are best read after The Mouse That Roared, but all of the books can be read and enjoyed at any point in the series.
While doing a college humor column I was hoping to be the next Art Buchwald, but instead ended up first as a lawyer, then a film critic and college professor. When I finally got around to writing fiction, the blending of science fiction and comedy was a natural fit (with occasional forays into horror and fantasy). I’ve done four novels and a couple of dozen published stories to date and when readers tell me they’ve enjoyed them I answer, “If it made you laugh, I did my job.” When I came up with the mashup title of “Father of the Bride of Frankenstein” I said, “I have to write this.”
Oy, forget the mediocre movie. George Burns was perfectly cast but the reason God appears as a little old Jewish man is that he’s granting an interview to a Jewish freelance journalist, not a white bread grocery store clerk played by John Denver. This book taught me that a writer could be laugh out loud funny and still have something serious to say, something I’ve aspired to in my own fiction.
For a God whom philosophers have proclaimed dead, it’s time for a little PR in this novel from the New York Times–bestselling author of Kramer vs. Kramer. “God grants you an interview. Go to 600 Madison Ave., room 3700, Monday, at 11 a.m.” When a struggling writer receives this typed note in the mail one morning, curiosity wins out and he finds himself keeping this mysterious appointment. Soon he’s in an ordinary conference room with an intercom on the floor, furiously scribbling shorthand notes as he interviews God, a deity who badly wants to improve His public profile. Sometimes God…
I confess I was a serious little boy and used to be an excessively serious writer. Stoning the Devil, which is about desperate Gulf Arab women, was longlisted for major prizes and hailed by the feminist press. Poignant, even heart-breaking, but hardly a barrel full of laughs—though even then I couldn’t resist some black humour. But when I became a professor of Creative Writing at an American university, I found I’d fallen into a world madder than Wonderland, and realised that the best way to tackle woke insanity was through humour—as the great comedians are doing. Nearly all the best British fiction is humorous, so I started letting out my own zany side.
One of the rare successful tragicomedies. Starting as a witty sendup of the decadent British upper classes, it turns deadly serious in the middle, when John, the young son of Brenda, has an accident while fox-hunting. Because her lover is also called John, she imagines, on being told, that it is her lover who is hurt—and thanks God when she discovers that it is her son. Brenda’s distraught husband Tony, the one noble character, mounts an expedition to South America, but instead of finding meaning and redemption, as the reader hopes, a nightmarish fate awaits him. With this novel, Waugh proved himself the greatest British novelist of the inter-war years—and inspired me, showing me how to mix elements of gravity and tragedy with comedy.
Evelyn Waugh's celebrated tale of decadence and social disintegration, now in a beautiful hardback edition with a new Introduction by Philip Eade
After seven years of marriage, the beautiful Lady Brenda Last is bored with life at Hetton Abbey, the Gothic mansion that is the pride and joy of her husband, Tony. She drifts into an affair with the shallow socialite John Beaver and forsakes Tony for the Belgravia set. Brilliantly combining tragedy, comedy and savage irony, A Handful of Dust captures the irresponsible mood of the 'crazy and sterile generation' between the wars. This breakdown of the Last marriage…
The epic saga continues. Jarnland is in a frenzy of excitement. After the eccentric demise of Old King Wyllard, his co-Majesty, young Queen Esmeralda, announces a Royal Tournament to celebrate the return of our heroes from their perilous quest. The Main Event will be a duel between the legendary warrior…
I am fascinated by work, especially women at work. I am an immigrant, a child of immigrants, a former scientist, and for most of life, have been conditioned to work because if I could not work, then why else was I here? Yet work is not strictly an emblem of immigrant grit or the model minority mindset. It can be made funny, surreal, existential, and it’s a rich subject to tackle. More often than not, work is treated as taboo. It’s ignored or deemed too prosaic to discuss. Who wants to see what goes on insidethe factory? I do. I’m obsessed with stories that showcase the factory.
Here is a dark comedy for the office worker. Office dysfunction is unique but also ubiquitous and lends itself well to, of course, Kafkaesque and Orwellian absurdity. One day, people just start getting fired, which leads to growing paranoia and more dysfunction. I like stories that don’t explain too much. Thanks to the pandemic, life, especially work life, has become increasingly amorphous and unreal. What is balance anymore? Where is the line? It’s refreshing to be immersed in a world even more bizarre than the one that workaholics now seem to be living in.
Ever wondered what your boss does all day?Or if there is a higher - perhaps an existential - significance to Microsoft Word malfunctions? This astonishing debut is a scathingly funny look at a group of office workers who have no idea what the unnamed corporation they work for actually does.When it looks like the company may be taken over, fear of redundancy unleashes a deliciously Kafkaesque plot full of the tedium and mistrust of corporate life and the backstabbing bitchiness of our survival-of-the-fittest instincts. We meet Pru, the ex-grad student-turned-spreadsheet drone; Laars, the hysteric whose work anxiety follows him into…
