100 Books Like The Culture of Make Believe

Years ago, I was a janitor. When I would take a shower, it was like I could never get the stench off my body. I like Susan Strasser’s book because it reminds me of the waste I use to clean up daily. She examines the most unprecedented commonplace act of throwing things out and how it has transformed American society.

Her classic book about trash world culture is fascinating to me because, in the last hundred years, the way of life has been replaced by mass consumption, disposable goods, and waste on an unimaginable scale. Her book could easily be used as a metaphor for the ‘homeless,’ whom some view as “disposable’ goods. Her book illustrates that what counts as trash depends on who counts it, and what we throw away defines us as much as we keep it.

Strasser argues that in Western society, popular understanding of cleanliness, gender,… show more.

When I was a homeless artist, I stumbled across this brilliant book, and it validated my belief that contrary to what global capitalists believe, free markets outside the West do not spread wealth in the hands of an ‘outsider’ minority but instead generate ethnic envy and hatred among the frustrated, impoverished majorities.

Amy Chua states that billions of poor, exploited, and powerful people around the world (homeless and displaced) watch as the wealthy minority in the United States continues to amass more control, prestige, and tax breaks.

Ironically, Chua points out, although America is viewed “as arrogant, hegemonic and vapidly materialistic, most of the downtrodden would rather be in the U. S. than anywhere else. In 2023, close to 10 million illegal migrants have entered the U.S. via the porous Texas border.

When I was a homeless artist living on Chicago’s cold streets for six months, it was hard for me to believe in a compassionate Judeo-Christian God. It was difficult for me to reconcile how a just and benevolent God would let African pregnant women be thrown into the Atlantic Ocean and perish with thousands of other slaves.

That is why I became agnostic and was attracted to Sartre’s belief in the essential freedom of individuals, and he also believed that as free beings, people are responsible for all elements of themselves, their consciousness, and their actions. It made me question why I was homeless. Was it because of bad choices in life? Or was it just the experience of being a black male in a racist capitalist society?

Sartre became an existentialist because of the war and an encounter with Merleav Ponty, who taught him the political dimension of human… show more.

All my life, I have felt like an "outsider." Wright’s book depicts American racism and its devastating consequences in raw and unflinching terms.

The main character Damon Cross, a Chicago negro, disillusioned with the futility of life and the mess he has made of it, reminds me of when I was homeless. The fossilized, decadent cultural barons of American art have always kept me at bay. My entire career has been as an outsider. Outcast. The invisible man. Interloper. Picasso had a blue period. I had a blues period.

All my life, I have used painting and writing as a means of exorcising demons from my being in the world. Art has saved me from dementia. If I didn’t have art to channel my creative impulses, I’m sure I would have become Wright’s Damon Cross.

In the novel, Damon Cross becomes homeless and loses his identity in a subway crash… show more.

Nothing much seems to happen in this remarkable novella, which describes a single lunch break of a man at work.

Actually, though, the reader gets to eavesdrop on the man’s ruminations about everyday things—shoelaces, bathroom blow dryers, vending machines, office supplies, and so much more.

These ruminations are practically Proustian; they start with something ordinary (a milk carton), followed by a digression (memories of having milk delivered to his home), interrupted by another digression (about his sister’s milk allergy), and veering into philosophical territory (pondering the nature of all childhood memories).

Reading this novella is both exhausting and exhilarating. It’s like wandering haphazardly through a maze of ideas and memories. Luckily, the novella is short enough that the reader never grows bored or tired.

I feel as though this book isn’t widely known. The plot is quite bizarre and surreal–a man falls in love with a woman who is growing a water lily in her lung.

The novel’s theme of grief stood out to me, and I feel it was perfectly illustrated by Collin’s desperate attempts to keep his wife alive. It is evident that Vian used Jean-Paul Sartre’s existentialist philosophy as inspiration for this novel.

After extensive research, this is the only book in existence that answers the question: What is existentialism? Existentialism may be understood as the correct point of departure for addressing the philosophy of being as it relates to the individual. In other words, existentialism provides the philosophical framework with which to answer the question: What does it mean to be?

Existentialism is the culmination of the philosophical tradition moving from Kant through the German Romantics to Heidegger and Sartre, among the other existentialists. In regard to Kant’s division, it differs from Deleuze’s choice to articulate transcendental philosophy with cosmology as the point of departure, in that it takes psychology as the point of departure. Yet, at the same time, just as understanding “the moment of vision” brings about a kind of gestalt shift in the reader’s perspective, so too though existentialism may be characterized as transcendental psychology, it has a higher… show more.

With Imperial Bedrooms, Bret Easton Ellis channels many of his career-long obsessions into a nihilistic work of Hollywood noir, written in a minimalist prose style that evokes both Raymond Chandler’s staccato brutalism and Joan Didion’s haunting lyricism. Imperial Bedrooms takes a razor to Hollywood’s beautiful surfaces while drawing the reader deeper and deeper into protagonist Clay’s misanthropic paranoia. The writing is masterful, existential horror frozen into sentences so spare and focused they often resemble haiku. It features what might be my favorite closing line in fiction: “The fades, the dissolves, the rewritten scenes, all the things you wipe away—I now want to explain all these things to her but I know I never will, the most important one being: I never liked anyone and I’m afraid of people.”

Elison is a master of her craft. With Number One Fan she constructs a multilayered horror story that has given me many sleepless nights. This book explores terror from every conceivable angle, from the physical to the existential, while delivering profound insight into the nature of creativity, fandom, and obsession. There’s a scene in this one that made me clench up into a ball and I’m not sure I’ll ever fully relax again. 

This is an amazing and brief explanation of what existentialism is and why it should matter to anyone looking for meaning in their life.

I love that Satre demystifies his philosophy, making it accessible and understandable to anyone. The book is actually the transcription of a lecture he gave, so it is wonderfully readable and full of examples and situations that I learned a lot from.

He also defends existentialism from some of its common critiques, which makes the book even more useful as an introduction. Many of my questions were answered here!