Here are 100 books that The Day of the Locust fans have personally recommended if you like
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Like some other things I’ve been lucky enough to have published, The Flying Dutchman is a short work I chiseled out of a longer one. An updating of the classic romantic legend, it’s the story of a young woman visited by a time-traveling pop star seeking the one woman he can love. The novella form—not novel, not short story—seemed to work best for it. It’s been the right shape for some of the most famous stories of all time, from Heart of Darkness to To Kill a Mockingbird and beyond.
I’ve traveled through time myself to choose some other favorite novellas that meaningfully capture a period and place.
The Scottish author Muriel Spark’s specialty was short, mordant, corrosive novels, the best known being, of course, The Prime of Miss Jean Brodie. This one, published in 1970, was among her most striking.
A repressed woman’s vacation during the free-loving sixties turns out to be a date with death she may have initiated: the question lingers after you finish.
It became a flawed yet fascinating 1974 film with Elizabeth Taylor at her most—literally and figuratively—exposed.
Driven mad by an office job, Lise flies south on holiday - in search of passionate adventure and sex. In this metaphysical shocker, infinity and eternity attend Lise's last terrible day in the unnamed southern city that is her final destination.
The Victorian mansion, Evenmere, is the mechanism that runs the universe.
The lamps must be lit, or the stars die. The clocks must be wound, or Time ceases. The Balance between Order and Chaos must be preserved, or Existence crumbles.
Appointed the Steward of Evenmere, Carter Anderson must learn the…
I've been hooked on the magic of storytelling since childhood, always eager to go wherever imagination can take me. I think that early fascination led me to become a costume designer – because costume design is about using clothing to help tell a story. I spent 27 years working on the costume design teams for films like Forrest Gump, Apollo 13, Angels & Demons, and The Curious Case of Benjamin Button. When I decided to take what felt like a logical creative step, to write my own stories, I knew I wanted to write murder mysteries. And I thought the world behind the scenes of a movie would make the perfect setting.
Elmore Leonard knew the vagaries of the movie business back to front, and he serves them up on a platter of delicious satire in this story about an East Coast loan shark, Chili Palmer, who comes to Los Angeles chasing a deadbeat debtor and winds up in his own fractured fairy tale version of the Hollywood dream.
Chili’s an endearing character, street smart with a unique blend of humility and self-confidence. When his collection job throws him into company with a group of movie people, he sees them and their milieu with clear-eyed objectivity.
Talking to an underworld associate, he says, “The movie business, you can do anything you want because there’s nobody in charge.” Leonard’s mastery of dialogue and character, along with his wit and sly affection for the industry he’s skewering combine to make this book a complete delight.
A thriller filled with Leonard's signatures - scathing wit, crackling dialogue, twisted plot, mad scams - and set in the drug sodden world of Hollywood.
Like many novelists – all the way back to F. Scott Fitzgerald -- writing for film and television has been my day job. The pay is obscenely good, and it leaves you time to write what you really love – fiction. Most writers in Hollywood have a love/hate relationship with the movie business – described by some wit as “a crapshoot masquerading as a business masquerading as an art form.” And the books I am recommending express this mixture of scorn and reverence with humor and compassion. In my book The Deal I am clearly biting the hand that fed me over the years – but why not? As that old humorist Albert Camus said, “There is no fate that cannot be surmounted by scorn.”
This poorly known novel by a television writer deserves more attention. It concerns a writer on a TV sitcom that is plagued by an impossible actress/star who makes everybody’s lives miserable by her egotistical behavior. The revenge that the writer, Jimmy Hoy, contrives for her is both funny and appropriate. There are laugh-out-loud moments in this book that will make you roar.
When the disarmingly charming and ruthlessly domineering Geneva Holloway lets her star temperament get out of hand, Jimmy Hoy, a writer for the "Geneva Holloway Show," joins with the show's other writers in plotting the perfect revenge
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
I’ve made my way in the world as a writer, mostly of TV and movies, mostly of comedy of one stripe or another. As a consumer, though, I’ve always been more drawn to cops and robbers than to material designed primarily to make me laugh. Then, in my 50s, I made an unexpected turn to detective fiction, with a series shaped like traditional, serious mysteries but with satirical undertones and, hopefully, plenty of smiles along the way. My new career made me start thinking more attentively about how comedy and crime worked together, how my work built on what came before, and how it differed from it.
Tolkin doesn’t hit you with belly laughs so much as tickle the upper corners of your mind with his knowing take on the mores and follies of the Hollywood of the late 1980s. (Of special interest to me, as that’s the moment I arrived there to begin my own TV and film career.) The trenchant satire is exemplified by the crime at its center: studio exec Griffin Mill, badgered by threats from some anonymous screenwriter he’s mistreated, focuses his attention on a different C-list scribe and winds up strangling him to death. Get it? In a business full of writer-killing executives, Tolkin’s big-wig antihero literally kills a writer.
Griffin Mill is senior vice president of production at a Hollywood studio. Obsessed with his career, dedicated to his success and riveted by paranoia, he is the ultimate player. But now he is in trouble. He has been getting postcards from a writer he rejected, who threatens to kill him.
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
This novel follows a famous Hollywood director called Boris Adrian but known as "King B" who is shooting a big-budget arthouse porn film.
The auteur was allegedly based on Kubrick, with whom Southern collaborated on Dr. Strangelove, and the book is dedicated to "the great Stanley K" whom Southern alleges wanted to make such a film. As Southern also had screenwriting credits for Easy Rider and Casino Royale, it offers a first-hand account, albeit fictionalized, of someone who worked with the director but also with others in Hollywood.
“Terry Southern writes a mean, coolly deliberate, and murderous prose.” ―Norman Mailer
King B., an Oscar-winning director, is now determined to shoot the dirtiest and most expensive X-rated movie ever made. Displaced to Liechtenstein (which, in order to boost tourism, has negotiated the exclusive rights to show the film for ten years) and fueled by suspiciously rejuvenating vitamin B-12 injections, the set of The Faces of Love is fraught with monstrous egos and enormous libidos ― the kind of situation that could only come from the imagination of the irrepressible Terry Southern.
I grew up hearing stories about my grandfather, who was the blacksmith in Saratoga, California, from the 1920s to the 1940s, and I wanted to write a novel about him. As I began to research his life, a world opened up to me. I learned how the suburbs I’d grown up in were built on one of the world’s greatest fruit-growing regions, and the story about my grandfather grew into a story about the profound changes we’ve wrought upon the land. That novel, The Blossom Festival, was the beginning of my lifelong engagement with the peoples and places of my home state that I’ve carried through in all the books I’ve written.
I love East of Eden because it shows California both as the promised land and the fallen world.
Adam Trask, who moves his family west after serving in the Indian wars, is one of so many Americans who sought the California dream and ended up with something different—understanding that we can not return to Eden, but have to find a way to live in the world as it is.
I also love Steinbeck’s rendering of the California landscape and climate. He describes them out of his deeply lived experience. Reading this book takes me home. The essential California novel.
California's fertile Salinas Valley is home to two families whose destinies are fruitfully, and fatally, intertwined. Over the generations, between the beginning of the twentieth century and the end of the First World War, the Trasks and the Hamiltons will helplessly replay the fall of Adam and Eve and the murderous rivalry of Cain and Abel.
East of Eden was considered by Steinbeck to be his magnum opus, and its epic scope and memorable characters, exploring universal themes of love and identity, ensure it remains one of America's most enduring novels. This edition features a stunning new cover by renowned…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
Growing up in theatre, I was completely immersed in plays, which tend to be deep dives of the human psyche, and I latched on to those examinations like a dog with a bone. I’ve always loved the complexities of the human mind, specifically how we so desperately want to believe that anything beautiful, expensive, or exclusive must mean that the person, place, or thing is of more value. But if we pull back the curtain, and really take a raw look, we see that nothing is exempt from smudges of ugliness. It’s the ugliness, especially in regard to human character, that I find most fascinating.
For me, insight into the extravagant celebrity status-like lives of the characters in this movie is akin to the guilty pleasure of watching reality TV. This book brings out the voyeur in me, giving me permission to explore a perfect example of rich kids gone wild and the horrific consequences of unchecked actions.
I grew up in a lower economic class family surrounded by very wealthy, undisciplined friends, and so many of the characters and decisions hit close to home. I won’t lie; I felt a little better about myself and my own life after I finished reading. Yet, I’ll also admit that I didn’t want the train wreck to end.
NEW YORK TIMES BESTSELLER • The timeless classic from the acclaimed author of American Psycho about the lost generation of 1980s Los Angeles who experienced sex, drugs, and disaffection at too early an age. • The basis for the cult-classic film "Possesses an unnerving air of documentary reality." —The New York Times They live in a world shaped by casual nihilism, passivity, and too much money in a place devoid of feeling or hope. When Clay comes home for Christmas vacation from his Eastern college, he re-enters a landscape of limitless privilege and absolute moral entropy, where everyone drives Porsches,…
As an undergraduate, I wanted to study the now defunct PPP (Philosophy, Psychology, and Physiology) degree at Oxford, but applicants needed a maths background for the statistics element, and I was a literature major, so I studied Philosophy & Theology instead. Soon after, I fell in love with the philosophy of action, which I discovered via Alan R. White’s marvelous introduction to criminal law, The Grounds of Liability. As a philosophy professor who has since written several books about action and its explanation, I find it hugely important to read as widely as possible so as to avoid the tunnel visions of specialized philosophical theories.
While I had seen the film adaptation with Meryl Streep and Shirley MacClaine in my teens, I only came to read Carrie Fisher’s extremely funny autobiographical book at the recommendation of the writer Lou Sarabadzic, who rightly thought I’d be amused that the rehab clinic inhabitants are not so focused on not doing drugs as they are on doing not drugs.
Carrie and her friends spend thirty days talking and thinking of such things as quitting, stopping, committing to not doing drugs, not playing an instrument, giving it up, and ‘using up all the Not Cry.’ The whole thing made me re-think how human agency, willpower, and control work.
** THE NEW YORK TIMES-BESTSELLING CULT CLASSIC NOVEL ** ** In a new edition introduced by Stephen Fry **
'I don't think you can even call this a drug. This is just a response to the conditions we live in.'
Suzanne Vale, formerly acclaimed actress, is in rehab, feeling like 'something on the bottom of someone's shoe, and not even someone interesting'. Immersed in the sometimes harrowing, often hilarious goings-on of the drug hospital and wondering how she'll cope - and find work - back on the outside, she meets new patient Alex. Ambitious, good-looking in a Heathcliffish way and…
I'm a New Yorker with a background in the performing arts. Though a lifelong reader and bookstore loiterer, my early writing career was focused on the stage as well as the pursuit of a career in screenwriting. This led to many years writing and producing theatre as well as working in film and TV both as a writer and in production. The books I've chosen, I feel influenced the American language in the last century, an influence reflected in the tone of the novels and films from that period described by scholars as “Between the Wars.” It's a period that fascinates me for it exists now only in books and movies and is therein preserved.
As perfectly tragic as one of his Jazz Age characters, Fitzgerald drank himself to death before finishing this novel which in my opinion, could have been his best. Like Gatsby, Monroe Stahr is an eloquent, rich, and isolated character, pining for a mysterious woman. He is a hugely successful movie mogul in the golden age of Hollywood, and Fitzgerald’s contempt for the studio system’s treatment of writers is here on full satirical display. The sparse prose sparkles with diamond-like harshness and clarity as the doomed love affair plays out. I’m sure it's his least known novel since it is technically “unfinished,” but most editions publish Fitzgerald’s unfinished future chapters, his pass at the ending as well as his notes and outlines, making this a master class in novel writing.
F. Scott Fitzgerald died in 1940 before he finished this novel. This text purges the printers' errors and editorial interventions that have appeared in previous editions. The tragic centre of the book is film producer Monroe Stahr, who sees film as art, rather than a money-making device.
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
My obsession with reading began in third grade when I heard an audio version of The Secret Garden and described the plot to my mom, who told me I should bike to our public library and check the book out. Since then, I’ve written two novels, and I teach creative writing and literature classes at the University of Memphis. At the heart of everything I write is the relationship between women connected by blood. My own great-grandmother lived to be 104, and I have a weekly lunch with my own 94-year-old grandmother. There’s nothing like learning what your own mother was like, as told to you by her mother.
I was one of those women who was obsessed with Oprah’s Book Club. She started it in 1996, the same year I started my sophomore year of college. I can’t say that I read every book assigned to me in my classes, but I damn sure as hell read every book Oprah recommended.
White Oleander was picked in May 1999, just a few months before my wedding. I did zero wedding planning the week I read that book. I ignored my soon-to-be husband and called my sisters to demand that they read the book. The story, which follows Astrid (why did my parents name me such a terrible ugly name like Courtney when Astrid was right there?) as she navigates foster care following her mother’s conviction for murder, is compelling. However, I fell in love with the prose and the way Finch describes the people and places in the novel.…
White Oleander is a painfully beautiful first novel about a young girl growing up the hard way. It is a powerful story of mothers and daughters, their ambiguous alliances, their selfish love and cruel behaviour, and the search for love and identity.Astrid has been raised by her mother, a beautiful, headstrong poet. Astrid forgives her everything as her world revolves around this beautiful creature until Ingrid murders a former lover and is imprisoned for life. Astrid's fierce determination to survive and be loved makes her an unforgettable figure. 'Liquid poetry' - Oprah Winfrey 'Tangled, complex and extraordinarily moving' - Observer
