100 Books Like Smoke Signals

At age 15, I was captivated by Ernest Hemingway and his depiction of Paris in the 1920s. This book today reignites the enchantment of those years. Hemingway's profound influence shaped my aspirations as a writer. Through his eyes, I can vividly see Paris's cafés, salons, and vibrant social scenes, which ultimately became the backdrop of my dreams.

This book, rich with lovemaking, drinking, writing, betting at the track, and the bohemian lifestyle of so many young artists in Paris, reawakens my desire to immerse myself in that world. Hemingway's narrative voice and his novels continue to speak to me in a language that feels intimately mine, reminding me of the undying impact of his work on my life and aspirations.

Everybody loves this book because it, of course, has become an international classic of literature and one of the best works F. Scott Fitzgerald wrote, which takes the reader on a time-traveling secretive world of the upper-class set in New England life in the 1920s.

In F. Scott's work, we are casually and comfortably introduced to an America where new money met old money, and the tender tightrope one had to walk in order to vie for position, marriage, and peer acceptance in a world founded on wealth and prestige.    

Acid Dreams: The Complete Social History of LSD, the CIA, the Sixties and Beyond is one of the best books I’ve ever read. Even though I worked in Naval intelligence while I was on active duty in Germany, during the Cold War, I was still surprised at what Acid Dreams revealed about the US government and how for example, government officials were actively searching for a drug that would make American soldiers more amenable to killing. The book details how the government set out to destroy the black culture and imprison young black leaders for mostly minor drug offenses. It further explores the ways the government secretly studied the effects of LSD on its citizens. I loved this book because it opens the reader's eyes to the radical ways some government factions tried to manipulate the masses and deceive them, using the guise of the greater good as justification.

White Crow is a story that takes place in the early 1800s in California when it was still a territory, a part of Mexico, and before it became a state. The book details the story of a white boy, raised by Indians because his parents were killed. He becomes an Indian warrior whom they call White Crow and accept into their tribe. The book is like a western story, but much more complex. It shares the struggles of the lead character, Isaiah Crow, and how he becomes a part of the tribe. He marries an Indian woman and they have a child. Their son, Jedadiah grows up and carries on many of the traditions and customs he learns from the tribe but in a more modern California. I enjoyed this story because it's such a gripping story and Wood does an outstanding job of character development in this book.… show more.

I love anything written by Katherine Paterson. This book introduces Giladriel Hopkins (Gilly), a young girl waiting for her mom to come and rescue her from foster care.

Gilly’s horrendously disrespectful behavior is hard to take sometimes, and yet because we know her living situation, we quietly read along, offering her our sympathy. Paterson highlights a child’s ability to mentally clean up their parents and offer them undeserved trust, despite the fact they have neglected or abandoned their children.

Gilly’s plight increased my awareness about the constant pains some kids live with daily. Her longing for a mother’s love would resonate even with adults who longed for their own mother’s love.

Dazed and Confused, Richard Linklater’s plot-light, pot-heavy 1993 film about Texas teens hanging out on the last day of school in 1976, is perhaps my favorite movie ever, so I was already inclined to love this oral history about the film’s creation and legacy. Maerz expertly weaves the voices of almost everyone involved in the project — from breakout star Matthew McConaughey to members of the crew — to create a highly entertaining, super-compelling look at a stoner cinema classic.

If I had to pick the two most basic, and most enthralling, essays for understanding American movies, they would be Warshow’s "The Westerner" and "The Gangster," both included in this book. Warshow, who died tragically young, also gives us the two finest pieces ever written about Chaplin, in which he argues that the flaws and stresses in Chaplin’s film art somehow make it more, not less, impressive. Add Warshow’s properly skeptical account of Soviet cinema—he is appreciative, but also aware of how Communist ideology distorted Soviet film—and you have the very best from a star among the New York intellectuals.

This short but very informative and stimulating book in the BFI Film Classics series was first published in 2009, with a new edition coming out in 2020.

Brilliantly illustrated with screenshots from Star Wars and some of the films George Lucas’s most famous production was influenced by, Will Brooker combines a meticulous analysis of the style, story, and themes of Star Wars with important details about the film’s production history and illuminating references to Lucas’s previous films and to the Star Wars saga as a whole.

Another book focusing on the medium of film, but again the lessons to be learned about good storytelling are universal. Alexander ‘Sandy’ Mackendrick directed such classic Ealing comedies as The Man in the White Suit and The Ladykillers, also the Hollywood masterpiece, Sweet Smell of Success. After retiring from filmmaking in 1969, he spent nearly 25 years as a professor at CalArts in Los Angeles where he helped students to write better stories and communicate them effectively through the craft of filmmaking.

This book is compiled from Mackendrick's legacy of masterly handouts and lectures. One section I found incredibly insightful is his comparison of two versions of a key scene from the script of Sweet Smell of Success (initially written by Ernest Lehman and subsequently rewritten by Clifford Odets), seeing how increased tension between the characters is achieved.

Harris focuses on Oscar night 1968 as four of the five films nominated for Best Picture evinced Hollywood’s reluctant affirmation of the American counterculture. These “pictures at a revolution,” as he terms them—Bonnie and Clyde, The Graduate, Guess Who’s Coming to Dinner, and the Oscar winner In the Heat of the Night—signaled a necessary industry re-think, away from bloated old-Hollywood blockbusters (like Dr. Dolittle, the fifth nominee) and towards something more politically savvy and more hip. Harris does well to chronicle the backstage/behind-the-scenes histories of all five of these films.