100 Books Like Nocturnes

I love this book because it is not afraid to look at deep sadness and disappointment in an honest and complex way. This novel is a collection of short stories that all take place in a coastal Main town and are connected by the large presence of Olive.

Olive is intelligent, acerbic, and abrasive. She is anything but easy. I appreciate the compassion Strout gives her imperfect characters as they struggle with their messy lives. I grew to care more for Olive as I traveled her rocky path with her, even as she was often the one to throw down the rocks before her.

This is a quiet book, which I read in a quiet way. It brought me comfort in its illumination of uncomfortable things. 

I love this book for its Matroyska doll-style structure: The first five sections tell stories in different periods— from the mid-19th century to the 22nd—loosely connected by repeating characters and media, each ending abruptly and without resolution. The sixth section, set in the 24th century, is the spine of the novel, told in its entirety. Then Mitchell revisits the time periods in reverse chronological order, resolving each story, ending where we began in the mid-19th century.

It was a highly satisfying experience that changed my view of how a story could be told. It is widely considered one of the finest novels of the 21st century. It covers ideas I would normally balk at, like reincarnation and the existence of eternal consciousness. Still, the storytelling is so powerful that it all came across as believable to me. I loved the way Mitchell demonstrated how an idea in one time period… show more.

I loved this book because it’s the best illustration of the stepmother-stepdaughter relationship that I’ve ever read. Flo and Rose’s conflicts over work, sex, and a woman’s place in the world made me remember exactly what it was like to be a teenager struggling to relate to older women in my life.

Like many of Alice Munro’s celebrated short stories, it’s about a young woman growing up in rural Ontario who strains against the prejudices of her small town, especially about girls’ education and ambition. “Who do you think you are?” is the question that comes up again and again in this novel-in-stories. Used as an insult, it challenges Rose to make a different life for herself without forgetting the women who came before her. 

This book is a collection of the author’s memoirs, set in a fictional village in England’s leafy countryside. Each story stands alone and yet they build a picture of a time and place that is now lost.

There is humour and tragedy in these stories. A disastrous dinner party ends up with the guests having to go to the hospital to have their stomachs pumped. An elderly lady who cares more for her animals than she does for herself is discovered to be starving. The mysterious ‘hedging and ditching man’ evades identification although there is a suggestion that this disreputable-looking old tramp is in fact the local squire. A happenstance meeting at the scene of an accident results in a fledgling music group being started up in the village.

All these anecdotes are narrated from the confused, curious, only partly-understanding point of view of a young boy. There is nostalgia… show more.

How is a person like a novel? Both, at their core, are made of stories. Both, at their core, are the way in which various stories are imagined to hang together. But the nexus of stories at the core of a person is written in the brain (wordlessness), which is always in flux, changeable, and incomplete, forever before words and on the verge of being totally lost.

The nexus of stories at the core of a novel, on the other hand, is written in nothing other than words; as such, it makes manifest a disembodied, complete (i.e., fictive) person—a person invulnerable to death. A novel is what a person is forever wanting to turn into.  

Suspicious of biography, Malcolm dissects various myths about Chekhov’s death in this engaging book that mixes travel writing with acute readings of Chekhov’s stories and plays. As Malcolm visits some of the places crucial to Chekhov’s life and work (the scenes in Ukraine are of course poignant), she moves seamlessly between her own everyday experiences and the predicaments of Chekhov’s characters. In amongst the despair, disappointment, and absurdity she discovers beauty, humor, and occasional visions of hope.

I am always grateful for guidance on how to look at paintings: Matar’s exploration of Siena and the paintings of the Sienese school offers that and much more. Color reproductions of the paintings are accompanied by Matar’s insights into the works and the companionship they have provided in the years that have elapsed since his father, an opponent of the Gaddafi regime, was kidnapped. The author’s recognition that he will never see his father again underlies this beautiful meditation on art and loss.

The novel tells the story of a group of friends who have taken it upon themselves to carry out the “last orders” of their drinking partner, Jack Dodds, to deliver his ashes to the grey seas of Margate. As they drive to the coast, their errand becomes a poignant journey into their collective pasts.

Swift described it as an homage to William Faulkner’s As I Lay Dying, and it follows a similar narrative structure, with chapters titled with the names of the seven key characters, with a shifting narrative perspective to follow the story from each of their eyes.

As a reader, you naturally find your favourite narrative viewpoint. For me, it was Ray, “Lucky Ray,” the obsessive gambler, which for me was the real centre of the novel.

I came across this book when I decided to focus my graduate study on the history of jazz and was reading everything I could find. It’s a short book, full of incredible vintage photographs, and it taught me so much about what swing is, how music and dance are joined at the hip. How it’s all rooted in the blues. And about the link between the “Saturday Night Function” of celebrating life with music and dance, followed a few hours later by the “Sunday Morning Function,” singing and celebrating God and community in church. The two are not all that far apart. Along with Ralph Ellison, Albert Murray was probably the first author to write about jazz with a real sense of lyricism and poetry. In this book, the writing itself carries the energy and exuberance of jazz.

This book was actually written before Baraka’s turn to Marxism, but as a social history of African American music, it is more than exemplary of a style of writing that takes the relationship of cultural form to its conditions seriously.

How Baraka moves between the music and the social conditions of Black musicians changed what I thought engaged musical analysis could be.