Here are 100 books that Oroonoko fans have personally recommended if you like
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I have an annoying habit of figuring out why someone says or believes what they do—and think that is more interesting than their actual ‘truth’. I try to keep this in check during social events (it can make for painful dinner table conversations if I go too far). Still, it means the general take on the medical humanities (and I’d put all the books below in that wide category) is something I’m passionate about. Why do we believe what we do about health? About disease? About the body? And why do we think medical doctors have the truth for us?
I read this book 3 months into the COVID-19 pandemic and LOVED it—it totally made me realize that: 1. we’ve been here before; 2. our reactions and responses are all tried and true (and probably not that useful); and 3. we would survive this time, too—at least most of us.
This is Daniel Defoe (yes, you know him from Robinson Crusoe) explaining what it was like to live in London when the plague came. It wasn’t pretty. The most chilling moment in the book came at the end, when I googled facts about the plague, realized it went away, and then came back repeatedly for decades.
The haunting cry of "Bring out your dead!" by a bell-ringing collector of 17th-century plague victims has filled readers across the centuries with cold terror. The chilling cry survives in historical consciousness largely as a result of this classic 1722 account of the epidemic of bubonic plague — known as the Black Death — that ravaged England in 1664–1665. Actually written nearly 60 years later by Daniel Defoe, the Journal is narrated by a Londoner named "H. F.," who allegedly lived through the devastating effects of the pestilence and produced this eye witness account. Drawing on his considerable talents as…
The Victorian mansion, Evenmere, is the mechanism that runs the universe.
The lamps must be lit, or the stars die. The clocks must be wound, or Time ceases. The Balance between Order and Chaos must be preserved, or Existence crumbles.
Appointed the Steward of Evenmere, Carter Anderson must learn the…
I am a lover of romance. I feel love is one feeling that no one can get rid of; it is one of the elements that can patch up hurt, and it is also an element that can be expressed in many different forms. Having a wide imagination also adds to this passion. I grew up watching Disney movies such as Ariel and FairyTopia. Not only do I draw my inspiration from movies but also from books. I love reading romance books, the image we create in our mind can take us beyond some images created in movies. It takes us to a world we normally don't see in real life.
Jane Austin is a classical writer of romance and a perfect combination of well-written English. The love Mr Darcy had for Elizabeth was explained with passion through the English language.
It addressed issues within that time, and the beauty of a girl, as well as the strength of a man, was portrayed well. Jane Austin has other books, but my favorite was this one.
Jane Austen's best-loved novel is an unforgettable story about the inaccuracy of first impressions, the power of reason, and above all the strange dynamics of human relationships and emotions.
Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is illustrated by Hugh Thomson and features an afterword by author and critic, Henry Hitchings.
A tour de force of wit and sparkling dialogue, Pride and…
I’ve been researching and teaching the history of the novel since I was a graduate student in Cambridge in the late 1980s, and along the way, I’ve published trade editions of several classics beyond those recommended here, including Defoe’s Robinson Crusoe,Richardson’s Pamela, Fielding’s Tom Jones, and Beckford’s Vathek. It’s a great opportunity to take a break from specialist academia and reach a broader community of readers, as I’ve also tried to do in a recent introductory book about Jane Austen. I now teach at the University of Toronto, where I’m blessed with amazing students on two of my favourite undergraduate courses, “The Rise of the Novel” and “Austen and Her Contemporaries.”
The towering achievement of eighteenth-century fiction, but long, very long—and not because of the plot so much as the form. “There isno Story,” wrote Hester Thrale, an early admirer of Clarissa(1747-8): “A man gets a Girl from her Parents—violates her Free Will, & She dies of a broken heart.”Around this brutal, elemental tale of toxic courtship and finally rape, however, the novel uses competing, divergent points of view to problematize access to the action, its causes and effects, its rights and wrongs, its large implications for sexual politics and social class. With its multiple narrators, Clarissaprobes complex psychologies in startling new ways and throws the burden of interpretation and judgment on its readers. It’s not just a compelling story but a vast, endlessly troubling altercation about that story, with each narrator, one way or another, “throwing dust in the eyes of his judges.”
Pressured by her unscrupulous family to marry a wealthy man she detests, the young Clarissa Harlowe is tricked into fleeing with the witty and debonair Robert Lovelace and places herself under his protection. Lovelace, however, proves himself to be an untrustworthy rake whose vague promises of marriage are accompanied by unwelcome and increasingly brutal sexual advances. And yet, Clarissa finds his charm alluring, her scrupulous sense of virtue tinged with unconfessed desire. Told through a complex series of interweaving letters, Clarissa is a richly ambiguous study of a fatally attracted couple and a work of astonishing power and immediacy. A…
The Guardian of the Palace is the first novel in a modern fantasy series set in a New York City where magic is real—but hidden, suppressed, and dangerous when exposed.
When an ancient magic begins to leak into the world, a small group of unlikely allies is forced to act…
I’ve been researching and teaching the history of the novel since I was a graduate student in Cambridge in the late 1980s, and along the way, I’ve published trade editions of several classics beyond those recommended here, including Defoe’s Robinson Crusoe,Richardson’s Pamela, Fielding’s Tom Jones, and Beckford’s Vathek. It’s a great opportunity to take a break from specialist academia and reach a broader community of readers, as I’ve also tried to do in a recent introductory book about Jane Austen. I now teach at the University of Toronto, where I’m blessed with amazing students on two of my favourite undergraduate courses, “The Rise of the Novel” and “Austen and Her Contemporaries.”
Tobias Smollett, Scotland’s greatest novelist before Scott and Stevenson, was dying in a villa on the Ligurian coast when his masterpiece Humphry Clinkercame out in London in 1771. Yet every page is written with astounding verve, immersing readers in the vibrant chaos of eighteenth-century Britain, the sights and sounds of its teeming cities and health resorts—even, in several virtuoso passages of gross-out description, its nauseating smells and tastes. Like Richardson before him, Smollett gives his narrative over to multiple voices, this time to riotously comic effect. Five Anglo-Welsh tourists (splenetic Bramble, scathing Tabitha, witty Jery, romantic Lydia, their hilariously unpredictable servant Win) travel the length and breadth of a nation in the throes of urbanization and commercial modernity, by turns disgusted and enchanted, constantly failing to agree on what they see. Illicit romances play out in the background, but Smollett’s main interest is in the turbulent dynamism of four-nations…
William Thackeray called it "the most laughable story that has ever been written since the goodly art of novel-writing began." As a group of travellers visit places in England and Scotland, they provide through satire and wit a vivid and detailed picture of the contemporary social and political scene. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to…
Make-believe is my vocation, calling to me since earliest childhood. Not too surprising, for I was raised in a Southern Gothic household, simmering with mendacity and thwarted desires. Back then, I plotted stories for my dolls and scribbled plays of love and murder for backyard productions with the neighbor girls. Living and schooling were necessary preparation for the next story or play. To this day, while truly embracing my lived-life with passion and wonder, I still make sense of it, in part, through make-believe—an act that is both solitary and collaborative—writing dialogue for actors to interpret and novels for readers to perform in their own active imaginations.
Dickens created a panoply of over-the-top characters scripted for dramatic and comedic acting out in readers’ heads and in Victorian parlors where parents read his books aloud to their families. Dickens, too, could not resist acting his part as the famous author portraying his characters. With his vast talent and imagination and his theatrical inclinations, he toured himself to exhaustion performing his works before crowds of transfixed fans. This page-turner of a biography delves into a series of mysteries in the novelist’s life, including that of his public readings, which may have contributed to the curious circumstances of his death—all the while, revealing Dickens as a visionary artist as intriguing as any of his literary creations.
A Book of the Year in The Times & Sunday Times, Daily Mail, Spectator, Irish Times and TLS.
'Superb' Daily Mail, 'Book of the Week'
'Brilliant' The Times, 'Book of the Week'
'[A] vivid, detailed account' Guardian, 'Book of the Week'
'Hugely enjoyable' Daily Telegraph
'Fascinating' Spectator
Charles Dickens was a superb public performer, a great orator and one of the most famous of the Eminent Victorians. Slight of build, with a frenzied, hyper-energetic personality, Dickens looked much older than his fifty-eight years when he died. Although he specified an unpretentious funeral, it was inevitable that crowds flocked to his…
I didn’t enjoy my first degree in Modern History and Political Science and it took twenty-five years and another MA in Women’s History, Gender, and Society, before my enthusiasm was rekindled. I’ve always believed it’s important to know where we come from, as well as the history of our country, and I don’t just mean wars, laws, and politics – but the lives of ordinary people, men, women, and children, because finally, we discover that our hopes, aspirations, and challenges are not so very different to the people who lived 500 years ago. I’m also passionate about the reality of women’s lived experience in all periods of history.
I love this book despite feeling frustrated by the excessive detail. Turner brings Chaucer’s cosmopolitan world and diverse literary works to life by focusing on places and spaces significant to him. I especially enjoyed the chapter on Households, where Chaucer was sent to serve in his adolescence, like many of his contemporaries, as page-boy, valet, entertainer, general factotum. I also learnt about his international travels, as a diplomat, prisoner of war, member of Parliament, and the sadness of his unfulfilled private life.
The last two chapters recount Chaucer’s final year living in the precincts of Westminster Abbey, his sudden death, relatively obscure burial, subsequent reburial in Poet’s Corner, and elevation as Father of English Literature, which Turner controversially challenges, placing him in a European cultural background.
An acclaimed biography that recreates the cosmopolitan world in which a wine merchant's son became one of the most celebrated of all English writers
Geoffrey Chaucer is often called the father of English literature, but this acclaimed biography reveals him as a great European writer and thinker. Uncovering important new information about Chaucer's travels, private life, and the circulation of his writings, Marion Turner reconstructs in unprecedented detail the cosmopolitan world of Chaucer's adventurous life, focusing on the places and spaces that fired his imagination. From the wharves of London to the frescoed chapels of Florence, the book recounts Chaucer's…
Aury and Scott travel to the Finger Lakes in New York’s wine country to get to the bottom of the mysterious happenings at the Songscape Winery. Disturbed furniture and curious noises are one thing, but when a customer winds up dead, it’s time to dig into the details and see…
I am a British writer/producer with a 30-year interest in Richard III (1452-1485). A visit to Bosworth Field, the penultimate battle of the Wars of the Roses changed my life irrevocably. This haunting place captured my imagination and with it the story of the last Plantagenet monarch who died fighting in this small corner of Leicestershire for crown and country.
This is a compelling and comprehensive study of Richard III’s reign. Annette Carson examines the events as they actually happened, based on the evidence of the original sources. In place of assumptions so beloved of traditional historians, she instead dissects motives and actions in light of the historical facts. Carson dares to investigate areas where historians fear to tread, raising many controversial questions and encouraging readers to think again.
In 2012 Annette Carson formed part of the team that discovered King Richard III's mortal remains, verified in 2013 by forensics including DNA matching. In response to the recent upsurge of interest, her 2009 paperback has been updated with details of the discovery plus new illustrations, and a larger typeface for easier readability. Carson's premise is that for centuries the vision of Richard III has been dominated by the fictional creations of Thomas More and Shakespeare. Many voices, some of them eminent and scholarly, have urged a more reasoned view to replace the traditional black portrait.
If I was asked to describe the central theme of my life's work in a phrase, it would be 'geometry in the arts'. I'm an architect originally, now a professor in London, and have always loved drawing and the art of perspective. In the 1990s I became fascinated with the idea that Johannes Vermeer used the camera obscura, an obsession that led to my book Vermeer's Camera. I'm now working on Canaletto's Camera. And I have ideas for yet another book, on perspective, to be called Points of View. I've chosen five books on these topics that I've found most thought-provoking and inspiring.
Robin Evans was a versatile architectural historian and theorist who died too young. This highly original and unusual book, published after his death, is about the relationship of geometry to architecture, and how methods of drawing, including perspective and orthographic projection, can influence what is conceived and built. I admire the way in which Evans, unlike many architectural historians, is able to combine deep scholarship with a working practical understanding of how buildings are made, and how they are used in practice. There has been no other recent writer on architecture with so subtle a mind.
Robin Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form.
Anyone reviewing the history of architectural theory, Robin Evans observes, would have to conclude that architects do not produce geometry, but rather consume it. In this long-awaited book, completed shortly before its author's death, Evans recasts the idea of the relationship between geometry and architecture, drawing on mathematics, engineering, art history, and aesthetics to uncover processes in the imagining and realizing of architectural form. He shows that geometry does…
I did a master's in Environmental Policy, and at the end of that year, I thought, "this is all very well, but there’s no point designing these policies if no one wants them." My response to the environmental crisis is to try to open people’s eyes to the beauty and wonder of Nature. If you pay close attention, you start to develop an expansive sense of the ordinary: Creation is stranger, more mysterious, and more wonderful than we can imagine. This in turn helps us to love the world more deeply, and we tend to look after things that we love.
This book was given to me by an Anglican priest in Valparaiso, and it’s probably been the single biggest influence on my thought of anything I have ever read. It is a series of letters from Mayne to his grandchildren, explaining his view of the world. It’s a bit quieter than Annie Dillard’s exuberant sense of enchantment, but no less filled with wonder. It’s packed full of quotations from other authors, gleaned from a lifetime’s reading. The title is a quote from GK Chesterton, "At the back of our brains, there is a forgotten blaze or burst of astonishment at our own existence. The object of the artistic and spiritual life is to dig for this sunrise of wonder."
Parson's Porch Books is excited to announce the publication of the new American edition of Michael Mayne's This Sunrise of Wonder. This Anglican classic will captivate readers with its warm humanity and endearing and pulsating spirituality. Michael Mayne, one of the greatest Anglican priest-writers, was Head of Religious Programmes, BBC Radio; Vicar of Great St. Mary's (the University Church), Cambridge; and Dean of Westminster Abbey. His last book, The Enduring Melody, was published a few days before his death in October 2006. He was also the author of A Year Lost and Found, Learning to Dance, and Pray, Love, Remember.
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
I have long been struck, as a learner of French at school and later a university professor of French, by how much English borrows from French language and culture. Imagine English without naïvetéand caprice. You might say it would lose its raison d’être…My first book was the history of a single French phrase, the je-ne-sais-quoi, which names a ‘certain something’ in people or things that we struggle to explain.Working on that phrase alerted me to the role that French words, and foreign words more generally, play in English. The books on this list helped me to explore this topic—and more besides—as I was writing Émigrés.
This is a sparklingly funny play. I love its contemporary freshness, its fleetness of foot, and its irreverence. It satirizes the fashion for all things French among London’s social climbers. It sugars the pill of all that satire by bringing a fast-paced plot to a comic ending of marriage and reconciliation. It taught me that writers in seventeenth-century England like the play’s author, John Dryden, were importing words and ideas from France as they sought to trace a middle way between a servile mimicry of French culture and an insular rejection of it.
Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues…
