100 Books Like The Best of Saki

When you turn the pages of this book, you feel you can see, smell, and hear the dark streets and alleys of Tudor London. This book inspired me to place my books in Tudor England and start The Tudor Rose Murders Series.

It is Tudor Crime at its best. I was so captivated by the characters, the detail, the pace, and the plotting that I could not put it down and felt wretched when I turned the last page. 

Part of Benson’s much-loved Lucia series. Gentler than Saki, this comedy of manners (also set in a bygone England) is deliciously entertaining, with its eccentric characters gleefully etched. Miss Mapp herself – prim and genteel but with lethal eyes – is a social snooper par excellence, and whose insidious wiles and steely shafts create havoc among the gossiping residents of sedate Tilling (firmly based on the ancient Sussex town of Rye, once home to Henry James.) As they negotiate the delicate snares of bridge, golf, and “charming” tea parties, cronies and quarries alike are pawns in her ruthless game of one-upmanship. It is a game she plays with relish and practised ease... that is until, elsewhere in the series, she is upstaged by the awesome Lucia. Hilarious.

Probably four of my writers would not have suffered the mortification described here, but the scenarios certainly resonated with this pen-pusher!

Seventy contemporary authors – novelists, poets, biographers – describe in wincing detail the embarrassment they had sometimes felt in the course of promotional appearances: book signings, talks, interviews, etc. Their anecdotes are at once funny and cringingly painful. Distinguished names as diverse as Margaret Attwood, Val McDermid, Michael Holroyd, Edna O’Brian, Colm Tóibín, Willian Boyd, poets Thom Gunn and Simon Armitage, and a host of other literary heroes, bravely and vividly recount their worst moments under the public gaze. In some ways the humorous revelations are reassuring – evidently the eminent can be as vulnerable as the lesser known. But in reading this book, comradely laughter is tinged with a frisson of fear!

Other than the odd dry chuckle, no major laughs here – but you certainly ponder. Slim and compact, this selection of four of Orwell’s most compelling essays is a fitting format for the prose within. Typically Orwellian, no word is wasted, none ill-used; statements are incisive, ideas sharply defined, and imagery spare yet vivid. Clarity is the keynote; probing entertainment the effect. The topics – his own literary motivation, the condition of twentieth-century England, a biting attack on sloppy verbiage and on rhetoric for political fudge, the stark yet witty vignette of a public hanging – all are lucid and provocative. His comments are as relevant today as they were in the 1940s. George Orwell and Graham Greene: what masterly writers!

In this baker’s dozen of stories, Jean McGarry reprises favorite topics—tight-knit families, fraying loves, intimations of mortality. A native Rhode Islander with ties to Providence’s blue-collar Irish community, McGarry paints the state and its inhabitants in shades as tender as they are unsparing. McGarry’s great theme is decline: Everything that starts out promising invariably goes bad. Steeped in this worldview, her characters are lively and quick with an insult—even when they’re confronted by experts who presume to know them better than they know themselves. One mordant example: A therapist finally gets a breakthrough with a tough-to-reach Rhode Islander. The patient feels relief, and the therapist urges him to attend sessions more regularly. “You’re at it again,” the patient remarks. “Save your advertisements for someone else.”

I knew Joel for over twenty years before his untimely death in 2013. He was a huge inspiration as a writer (and human being) to me. The narrator, Martin, has recently bought a house and found some old VHS cassettes, one of which has a copy of a French art film, L’eclipse des sens–the work of the director Jean Rien. Soon, despite Martin’s world coming apart, he becomes obsessed with the director’s work, and he embarks on a hallucinogenic odyssey of discovery into the underworld.

Lane was also an award-winning poet and it shows; his words are concise and beautifully chosen, his prose icy, mordant, political and desperately sad. His was a voice of the lost. Although Joel is gone, he left behind an incredible contribution to the genre of weird fiction.

All of these stories are superb but my favorite here is "The Last Garden," in which a woman with mother issues finds a surprising solution to them via hardware. Runnerup: "Arlington," with its brilliant use of time travel leavened by a nice dash of romance.

Jack Skillingstead is a cult writer who keeps a fine focus on the human condition, its pathos, comedy, kindness, and cruelty which he captures in surreal and satirical situations in the near and far future. I love his mordant humor, his playful imagination, and the crazy compounding situations he drops his characters into. Odd twists and unexpected endings. Very funny use of sentient hardware, 

Characters who are damaged and find healing in unexpected places, ways, and times. His notes on the background of these stories and generous essay about writing make this much more than a short story collection: the reader will gain insight into… show more.

The protagonist of this novel, Mia Fredricksen, experiences love, loss, and emotional breakdown. But what I love about this book is when Mia starts to rebuild herself and her sense of identity (her doctor tells her “tolerating cracks is part of being alive”) we move into a joyful narrative of female strength, power, and the solidarity of female friendship. And, as the title suggests, a summer without men. What I love about this novel is the message that even if you are badly betrayed, healing is possible. 

This short, dark novel hooked me from the beginning. Its beginning is, in fact, its ending when it is revealed that the protagonist, a young woman named Janet, has just been murdered. The story then jumps back in time to when Janet is born. I was drawn to the sharp, wry narrative voice and the gothic, stormy setting of northern mid-20th century Scottland.

The rest of the novel is an account of Janet’s coming-of-age instead of a typical and dull whodunit, which I loved because it felt fresh, true, and real to me—a revelation, in fact. I was so happy to encounter a young female protagonist who was odd, bookish, intelligent, grumpy, lonely, and highly unpopular.

I loved the television play based on this novel, and the novel itself is equally good as a sensitive but somewhat mordant commentary on marriage, widowerhood, wartime memories, and the English class system.

I found it amusing in parts but also quite sad, and empathized with both main characters—two men who had served in WW2 as squadron leader and sergeant, respectively. They meet fifty years later in the Tonbridge Wells hospital when both their wives are dying, and develop an unlikely friendship.