Books like Reader, I Married Him — picked by fans

I recommend this book because of its evident understanding of the psychology of fear. 

From the very first, there is an ominous atmosphere—evil characters, and above all, misunderstanding. Everything in this novel is pointed toward a ambience of fright. The characters are, aside from Rebecca, who is quite innocent, mysterious and dark.

Everything in the novel, the house, the furnishings therein, the weather, everything is portrayed as sinister. This is a tour de force of maintaining a consistent and frightening atmosphere.

Another incredible rewriting of Wuthering Heights and one that’s as dark and Gothic as Emily’s momentous original. In Ill Will, Michael Stewart picks up Emily’s narrative at the point when Heathcliff, having heard Cathy declare that it would degrade her to marry him, departs the Heights. Stewart unravels the tale of where Heathcliff went during the three years that he was missing from Cathy’s world and imagines what happened to him to make him return in such a vengeful guise. Ill Will is also a rewriting that takes up the issue of race, for here, Heathcliff is a young black man and his departure from the Heights prompts him to trace Mr. Earnshaw’s walk to Liverpool in the hope of finding out who he is. 

This is probably the most powerful example of literary pastiche novels I’ve read, not just because it takes on one of the most beloved novels in English literature—Jane Eyre—but because it brutally turns that novel’s premises on their gentrified heads.

I am truly awed by how vibrantly Rhys inhabits Antoinette, Rochester’s doomed wife, weaving in themes of colonialism and gendered power into Charlotte Brontë’s Gothic romance and, in the process, making it a kind of subversive and gritty feminist and anti-colonial manifesto.

Rhys’s depiction of Antoinette’s descent into madness is so visceral and believable that you are (or at least I am) all but cheering as she literally burns the patriarchy to the ground. I also love that while it’s generally considered Rhys’s masterpiece, she wrote it in her seventies. 

Caryl Phillips’s The Lost Child is a poignant novel that brings together a rewriting of Emily Brontë’s Wuthering Heights with a reimagining of Jean Rhys’s Wide Sargasso Sea, as well as a quick visit to the Brontë Parsonage in Haworth. In a bookended narrative, Philips gives us the backstory of how Heathcliff came to be in Liverpool before being taken to Wuthering Heights by Mr. Earnshaw. In the centre, however, is the story of Monica Johnson, a young woman living in Windrush Britain whose marriage to Julius, an African-Caribbean graduate with whom she has two children, causes a fracture with her family. An outcast like Heathcliff, The Lost Child examines Monica’s struggle to raise her sons in the north of England, showing her family’s experience with racism, trauma, and mental ill-health. Philips’s storytelling gets to the heart of what it means to be an outcast in society.

I have a soft (tender, bruised) spot for stories exploring childhood bullying, and Susan Hill’s I’m the King of the Castle is one of the best. I also love big creaky old houses, and here we have Warings, a big creaky Victorian house inherited by Joseph Hooper, who moves in with his son, Edmund. Joseph, a widower, brings into the household a housekeeper-cum-companion and her son, Charles Kingshaw. Edmund does not want to share ‘his’ house and lets Charles know he’s unwelcome, but the grown-ups insist that the boys, both ten years old, will be friends, and go on insisting that they are friends even as Edmund is persecuting Charles, making his life a misery. It’s a claustrophobic and compelling novel and the final lines are brilliant and memorably harrowing.

Hill’s minimalist style, ability to evoke despair, and superb descriptions, combined with the most vivid of imaginations, make her a compelling writer of ghost stories. Hill generally includes all my favourite elements in her ghost stories, starting in familiar surroundings, then moving to more exotic locations, often delivering a shocking twist at the end. In The Man in the Picture, a story set in Venice during Carnival is told to the narrator by an aging professor in his Cambridge rooms on a winter’s night. You don’t read a Susan Hill book to come out feeling better afterwards, but… if you like to be left with a feeling of disquiet, even though you know it’s only a story you just read, The Man in the Picture’s definitely for you.

Edith Pearlman is a gem. These 20 beautifully written and fascinating short stories delve into the moments that matter most in everyday life. Read them one at a time or all together like a mosaic for modern women. Pearlman’s characters – men women and children – are all unique, and also extraordinary, in their way, and all mirror our own realities. Across the globe and across time, her tales are so true and so wise, I love reading them again and again, especially when I have little time and need a touch of literary magic.  

A chilling horror in a small fictional English village.

I love The Woman in Black because it’s more than a ghost story; it’s also a story about love and the connection between family. I’ve read it twice and what I love the most about it is the ambience Susan Hill creates with her well-crafted sentence structure.

There’s a lot of focus on Arthur Kipps, the protagonist, and his life before and after the haunting of Eel Marsh, but it’s not only him the story cares about. The Woman in Black herself is a mystery and has a tragic backstory that turns her from a full-on villain to a sympathetic one.

The shout line on the jacket is “This will overturn everything you thought you knew about…The First World War”, and it certainly delivers. No other conflict has been so misrepresented, and for most people, their idea of it comes straight from Blackadder Goes Forth. But men did not spend months at a time in the trenches; a whole generation did not die; the generals were not cowardly, incompetent fools.

When I first began to write about WW1 for my Morland Dynasty series, I knew as little as anyone, and what I thought I knew was all wrong! By the time I was researching for War At Home, I knew a lot more, but Corrigan opens my eyes to many more subjects. Informative, well-researched, but above all wonderfully readable, this book should be required reading for anyone who is interested in what really happened, not just the made-for-tv version.

Like Colville, Nicolson is not very important in himself (a backbench MP for most of the time) but one who matters because he knows so many greater figures and because he writes with such honesty – particularly interesting when his predictions turn out to be wrong. If you get hooked, you can read the earlier edition, which is in three volumes.