100 Books Like The Baroque Cycle

I’m a historian of science fascinated by how scientists cope with uncertainty. I’m drawn to books that identify and try to explain the gaps in scientific knowledge and describe ways of knowing that might not be called scientific. I love to read stories about how ordinary people discover extraordinary things about their environments. I’m always curious about what happens when savvy locals are visited by scientific experts. Will they join forces? Admit what they don’t know? Or is a struggle brewing?

I’m a Scientist in Residence at Lux Capital, a venture capital firm that invests in startups at the frontiers of science and technology. I have a PhD in computational biology and focused my academic research on the nature of complex systems, but I soon became fascinated by the ways in which science grows and changes over time (itself a type of complex system!): what it is that scientists do, where scientific knowledge comes from, and even how the facts in our textbooks become out-of-date. As a result of this fascination, I ended up writing two books about scientific and technological change.

I’m a Scientist in Residence at Lux Capital, a venture capital firm that invests in startups at the frontiers of science and technology. I have a PhD in computational biology and focused my academic research on the nature of complex systems, but I soon became fascinated by the ways in which science grows and changes over time (itself a type of complex system!): what it is that scientists do, where scientific knowledge comes from, and even how the facts in our textbooks become out-of-date. As a result of this fascination, I ended up writing two books about scientific and technological change.

I’m a Scientist in Residence at Lux Capital, a venture capital firm that invests in startups at the frontiers of science and technology. I have a PhD in computational biology and focused my academic research on the nature of complex systems, but I soon became fascinated by the ways in which science grows and changes over time (itself a type of complex system!): what it is that scientists do, where scientific knowledge comes from, and even how the facts in our textbooks become out-of-date. As a result of this fascination, I ended up writing two books about scientific and technological change.

I became fascinated with 16th-century and 17th-century Europe after reading Don Quixote many years ago. Since then, every novel or nonfiction book about that era has felt both ancient and contemporary. I’m always struck by how much our environment has changed—transportation, communication, housing, government—but also how little we as people have changed when it comes to ambition, love, grief, and greed. I doubled down my reading on that time period when I researched my novel, Dulcinea. Many people read in the eras of the Renaissance, World War II, or ancient Greece, so I’m hoping to introduce them to the Baroque Age. 

As a child I read and experienced history books as adventures. Adventure drew me to Alaska after a hitch in the Navy. I wanted to write an accurate historical novel about Juneau and the Treadwell Mine and began my research. I knew the Alaska Historical Library was the perfect place to begin. When I discovered the extensive photo collections, I flashed back to my admiration of the historical novels that impressed me. I borrowed technique and structure from all and incorporated imagery in my manuscript. My main goal was to successfully immerse the reader in a good novel about 1915 in Alaska Territory.

Writers often get labeled as either nonfiction or fiction writers. In grad school, it was very difficult to study across genres, which I found very frustrating: To me, the most important thing about a book has always been the voice. A novel? A memoir? Essays? Stories? Don’t pin me down, just give me something with a voice that propels me forward, that is unique and sparkling and unputdownable. When I find books with voices so singular and propulsive, I return to them over and over. 

I’ve been fascinated by architecture and landscape architecture since discovering the work of Le Corbusier at the age of sixteen. Most of my life has been spent teaching and writing about it - fifteen books and numerous articles - with occasional forays into designing and building. I took early retirement as a Professor of  Architecture in 2013, the year after enjoying ‘Fifteen Minutes of Fame’ on a BBC TV series featuring the development of my ‘mineral scarves’ for Liberty of London. This led to a creative app and website for children called Molly’s World (to be launched in 2024) and on my seventieth birthday in 2023 I launched an architectural and garden design studio.

I first started art when I was nine years old, but my art journey really started after seeing the Sistine Chapel and Michelangelo’s work at age 14. This experience changed my life and from there, I continued on with fourteen years of formal art education. The book details my experience and journey as a student, instructor, and professional artist over a thirty-year time period across three continents. I wrote An Artist’s Odyssey to help young artists or artists transitioning into art as a profession to help them avoid the pitfalls of the art world and supplement the necessary business acumen required to make a sustainable career in the art world.

I am an independent scholar who read Mortal Lessons, Richard Selzer’s book of essays about our common human condition - mortality. I began writing the biography of this Yale surgeon who influenced the literature-and-medicine movement, ushering in patient-centered care. I read everything by and about him, gaining a background in the medical humanities. In the middle of this project, I was asked to write Bioethics and Medical Issues in Literature. The first edition came out in 2005; subsequently I updated and published a second paperback edition in 2013, accessible by the general public and used as a complete curriculum. Clearly, reading literature helps us explore what makes us human.