32 Books Like Paradoxia

This book is quietly hilarious. I loved being “inside” Patricia Lockwood’s mind. As a fellow lapsed Catholic, I resonated with her upbringing and living in the strange shadow of religion. Lockwood weaves a contradictory coming-of-age story with profound wit and lyricism.

She also explores the complexities of what she calls “The Portal”—the internet of things that boggle the mind even as they bring solace. I loved how Lockwood used “the portal” to understand her conservative upbringing and eventually find her own irreverent path in the world.

The book led me to follow her online presence too, and helped me learn new ways to “be” online. As Lockwood writes in Priestdaddy: “Part of what you have to figure out in this life is, who would I be if I hadn’t been frightened? What hurt me, and what would I be if it hadn’t?” 

Joshua Mohr should not be alive. Diagnosed young with a medical condition that could kill him any second, the author does what addicts do: continues grinding his own face in the dirt even as he struggles to keep his life together and stop. In vignettes of astonishing violence and poetry, Mohr careens from unspeakable despair to moments of fearless, weirdly laugh-out-loud intensity and beauty—sometimes in the same sentence. All that, and his portrait of San Francisco makes you want to show up, find a dive and bang your head off the floor until you’re healed. Mohr writes with everything on the line. Almost like he’s trying to save his own life as much as yours.

Two reasons I love Richard Pryor’s memoir—his failures and his successes. 1967, Richard Pryor flamed out in front of Dean Martin in Vegas, asking a sold-out crowd: “What the fuck am I doing here?” A year later, scheduled to open for Miles Davis at the Village Gate, a guy pops backstage to say Miles Davis would be opening for him. A gesture of ultimate respect. From boyhood brothel to Sunset Boulevard icon—there is so much heart in this book, so much raw honesty, so many crazy highs and unbelievable bottoms, I feel almost guilty marching out the killer anecdotes: Yes,  Pryor scored weed for Jackie Gleason. Yes, he smuggled dope into Arizona prisoners filming Stir Crazy. But what makes this memoir essential reading is Richard Pryor’s genius. “You all know how Black humor started? It started on slave ships. Cat was rowing and dude says,… show more.

Technically the reportage of a Rolling Stone writer embedded with Marines 2002, Evan Wright’s first-person account of young men at war is, in some ways, as much a story of the author’s experience of W’s nation building as it the story of the soldiers themselves. Wright earned the respect of the men he rolled with by riding on point, or in the lead vehicle, where he was sure to take enemy fire. It’s his description of what drove him to face such danger that makes the writer at once relatable and brave: “Partly it was about not losing face. I reverted to like, a twelve-year-old on the playground. I wouldn’t back down. And there were times when I knew we’d be shot at, and I’d fantasize about getting taken out of being embedded. But then I’d make it through and not be injured, and I’d be flooded with this deep… show more.

I am a movie, book, and culture fanatic, but the ultimate medium for me is music.

Hauntology and folk horror are both greatly informed by music and have subsequently resulted in music that is informed by the concepts of hauntology and folk horror. I focus a lot on this reciprocal relationship in my book, but no one has explored the connections between the music of the past and the music of the future in greater detail than Rob Young in Electric Eden.

Starting with the revival of folk music in England, this book ranges through psychedelic and acid folk, touching on rock, prog, classical, experimental, and electronic music in a dizzying but exhilarating tour of the weirdos, outcasts, and visionaries that ushered in a new age of music with one foot in rural heritage and the other in futuristic utopian dreams.

From The Incredible String Band to Current 93… show more.

Many children of my generation were turned to the dark side by their parents' collections of Dennis Wheatley's glamorously lurid Black Magic novels.

Key to their appeal was the author's assurance that the diabolical deeds described therein were actually being practised today – from the heart of power in London to the most remote village in the land. Phil Baker's enormously entertaining biography makes it clear that Dennis sincerely believed this, and consulted all the leading magicians of his age – including Aleister Crowley – to get the Goat-based goods from the gate.

Not only that, but his own life was steeped in just as much intrigue and danger as any of his novels, including stints as a WWI solider, peacetime purveyor of Napoleon's own brandy, and WWII member of Churchill's secret services.

No other book captures the darkness at the dawn of the Thatcher decade with such verisimilitude as David Peace's conjuring of its premier bogeyman, the Yorkshire Ripper, in the third of his Red Riding Quartet.

Perhaps that's because the author used his Goth record collection to transport him back to the places where these crimes were committed, at the time of his West Yorkshire youth. Songs like Siouxsie and the Banshees' 'Night Shift' and The Sisters of Mercy's 'Fix' summon back that fearful terrain, where 'cow' was a term of endearment for a woman and the use of hammers to the head a familiar sign of domestic abuse.

Detectives are revealed to be as deadly as their quarry, priests give benediction with nine-inch-nails and stone angels turn their heads away.

The Manchester evoked by Joy Division and Barry Adamson's first band, Magazine, also entered the Eighties a ravaged post-industrial city, strafed first by the Luftwaffe and then its own planners, who erected Brutalist estates over its Victorian past.

The son of a white Mancunian mother and black Jamaican father, Adamson grew up in some of the worst of the city's social housing in the Hulme of the Sixties. Another Selby aficionado, Barry recounts the story his challenging childhood with a picaresque, magical realist flair.

Music offers both salvation and damnation – as he progresses through Magazine and into Nick Cave's Bad Seeds, so too do all his most self-sabotaging addictions, until death brings a reckoning and a salvation in the first fruit of his solo career, the LP Moss Side Story. 

This book made me want to sing out loud. Here’s why…

I submit that the best way to see something or someone you think you know everything about is to listen to a genius talk about them. This book is filled with the geniuses I learn at the feet of. Taffy Brodesser-Akner (of Fleishman is in Trouble) on Taylor Swift, Novelist Kate Christensen (who could make laundry drying on a line seem fascinating) on Tina Turner, Susan Choi on Stevie Nicks, and Elissa Schappell on Kim Gordon, and so much of this sort of praise and generosity.

It makes you want to listen to everyone in here, read everyone in here, and hug them all first. I love music, great writing, and amazing women doing both. It’s all here and rolling out of the speakers with beauty. 

This comprehensive exploration of the women’s music movement in the 1970s and 80s looks at every angle of business and culture, from artists, companies, labels, distributors, publicity, session musicians, and more; the book includes over 100 interviews, and draws upon the author’s personal experience as a popular touring performer and recording artist.