100 Books Like The Dance of Reality

I knew the film Blade Runner before I read this, the novel upon which it's based, but I was not prepared for the richer complexities of the novel.

My favorite parts of the novel, a bizarre new religion and the extinction of all but human and animal life, barely make it into the film. Even the androids, built to be slaves, are much more nuanced and complex than in the film. I loved the conclusion of the book, which affirms the beauty of life, both natural and mechanical.

I love stories that are many things at the same time. They can open a person up to a wider perspective, a greater awareness; that’s the kind of story I love to write. Kafka’s stories can be considered as absurd allegory, as surreal evocations of mystery and magic, as psychological study, as satire, as dark comedy… as all of these and more at once. Many of Kafka’s stories were considered by the author to be unfinished but to me they seem complete. Kafka famously tried to ‘finish’ all of his stories once and for all by instructing his friend to destroy them after his death. Thankfully, he was prevented from adding that final full stop.

Long ago, I watched a dream of a movie called Street of Crocodiles by the Quay Brothers. It was based on a story by someone called Bruno Schulz. I bought the book. Though there are only two Bruno Schulz books, it is as if there are a thousand Bruno Schulz books hidden between their words. His stories are often unable to contain themselves and his writing bursts out into reverie. Shot dead by a Nazi officer at the age of fifty, his writing displays a sensitivity that is the antithesis of something as brutal as firing a bullet into a human being. He creates a mood of receptivity. You may find the world more magical, wonderful, and deep after reading Bruno Schulz.

A short fantasy, utterly wild and utterly outrageous! It’s not a single coherent world like the others on this list, more a series of surreal scenes, each one a lightning raid into the depths of the human psyche.

The Freudian unconscious turned into real settings and characters! It’s also more cerebral than other books on this list—Carter is playing with ideas, but a kind of play that’s just so much fun. A workout for the imagination that also stretches the mind!

Traditional fantasy, it ain’t! An algorithm for turning up ‘More Books Like This’ doesn’t have a hope (though they’ll try). This book’s an algorithm buster! 

Okay, it’s more of an autobiography than a memoir, but Kazan’s 826-page volcano is the most explosive and mesmerizing show-business book I’ve ever plunged into. From his salad days as a struggling actor with New York’s Group Theatre to his conquest of Broadway as the hottest, most pugnacious stage director of the mid-20th century (Streetcar Named Desire, Death of a Salesman, Cat on a Hot Tin Roof), to his Oscar-winning films (Streetcar, Gentleman’s Agreement, On the Waterfront), Kazan vividly recounts his triumphs, missteps and misdeeds, his mistreatment of his wife and many lovers, and his betrayal of former friends and comrades, in a voice overflowing with self-laceration and self-justification. With a supporting cast that includes Tennessee Williams, Vivien Leigh, Arthur Miller, Marilyn Monroe, Marlon Brando, and James Dean.

The dutiful daughter of one studio mogul and devoted wife of another, Irene Selznick was Hollywood royalty throughout the 1920s to 40s, the Golden Age of American cinema. Her father, the tyrannical Louis B. Mayer, steered MGM, Hollywood’s most successful studio, discovered Greta Garbo and victimized Judy Garland. Her husband, David O. Selznick made the first A Star Is Born and Gone with the Wind before self-destructing from drugs and megalomania. Irene escaped the shadow of overpowering men to become the respected Broadway producer of A Streetcar Named Desire, a woman to be reckoned with and—in this powerful memoir—a first-class storyteller.

I’ll admit, the Russian villain in this thriller is a very bit part, but I can’t have a top 5 list of any thriller without including Elmore Leonard. I read one of Leonard’s first urban thrillers, Glitz, back in ‘80’s and was blown away with how gritty it was. I’d never heard dialogue coming out of character’s mouths like that before. He wrote dialogue like people actually spoke—not with perfect dialect, but street language. It’s the reason he was dubbed the Dickens of Detroit. If you’ve read Elmore Leonard and liked him, then pick this up and read it. It’s a quasi-sequel to Get Shorty with shylock Chili Palmer moving from the movie industry to the music business. 

If you’ve never read Leonard, then start with this one. My writing career would never have flourished like is has without reading Leonard, so this on is near to my heart. Enjoy.  

Until David wrote his book, there hadn’t been a biography of Kubrick in over twenty years. While his book is short, it is very readable, and I found it the most intriguing of the short biographies.

Mikics conducted new interviews and visited Kubrick’s archive in London. His readings of Kubrick’s films are precise and elegant.

Graphic novels are seeing a real boom, and Ira Marcks’ Spirit Week is the perfect scary graphic novel middle-grade for visual readers.

Inspired by The Shining (you know, that Stephen King book made into a horror movie with Jack Nicholson), this graphic novel manages to weave horror and cinematic elements to make for a great nod to the horror genre.

Our main kid character Suzy is an aspiring engineer, and she’s at the Underlook Hotel to tutor a famous filmmaker’s son named Danny. But the kids are quickly sucked into solving the mystery of the hotel, alongside a cast of colorful characters. Part mystery, part cinematic horror, Spirit Week will appeal to all readers. I read it in one sitting, it was that good. 

Apart from presenting George Lucas in his own words, this book offers a concise introduction to his career, including a chronology and a filmography.

The interviews collected herein go from a May 1971 article in the San Francisco Chronicle about the young filmmaker whose first feature, the rather abstract Science Fiction drama THX 1138, had just come out (and flopped!), all the way to a conversation with the Los Angeles Times in January 1999 about the forthcoming release of the first Star Wars prequel Star Wars: Episode I – The Phantom Menace.

Despite dramatic changes in Lucas’s status as a filmmaker (and businessman) across this period, the interviews reveal striking continuities, notably his striving for maximum control over his films and business affairs.