Books like The Demon — picked by fans

I first read Lolita when I was 14 and have read it every few decades since, learning something new each time.

I love the first-person immediacy of it and the way it is a crime novel in reverse: the narrator is already imprisoned but not for the crime he describes. It is a love story turned on its head: what the narrator says is love is in fact abuse.

It is a road trip across the vastness of the US, like one I took when I was a student.

This was one of the hardest books to "get into," but a friend of mine told me to stick with it because the rewards of getting through the first quarter would be so great. I'm glad I did. It is an astounding piece of work, quite different from anything I've ever read before or since, and remains one of my top five books.

The tangents the book takes, and the blasé attributes of the leading character are superbly crafted. It was suggested it was "unfilmable," and there's one scene in particular I thought they'd never get away with, but if you look at the movie version carefully, it's in there. 

This isn’t fantasy or supernatural, but the book really delves into the strangeness of people.

It starts as something mundane and ordinary until you scratch the surface. Full twists that genuinely caught me completely unaware, this book is a horror masterpiece that isn’t technically a horror.

And it has one scene that made me feel physically ill—that is amazing writing.

Like its classic predecessor, The Cipher, Kathe Koja’s second novel brilliantly navigates artistic and romantic movements between the somatic and the transcendent, the erotic and the morbid, and ultimately between creativity and destruction. The book centers on metal sculptor Tess’s burgeoning relationship with Bibi, a transgressive performance artist whose radical visions aspire to an extreme embodiment of posthuman aesthetics.

Incorporating Tess’s metal sculptures into her performances, Bibi explores increasingly intense modes of expression through self-mutilation, cutting, and scarification, and the book plunges fearlessly into the parallel arcs of an eroding love and an increasingly deadly obsession. Koja’s prose bristles with a violent passion channeled into hyperfocus, deftly bounding between her characters’ intense interiorities and vivid descriptions of environments and embodied experiences. 

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.”

Anna Kavan’s Asylum Piece presents exciting stylistic possibilities for the world of “personal fiction.” The book defies easy genre categorization, but one might describe it as an experimental, thematically connected collection of autofiction. Drawing on her own experiences in a Swiss sanitarium (from which she was dispatched in 1938), Kavan excavates her psychological traumas and filters them through sequences of vignettes and short stories, conveying states of extreme emotional distress through a restrained, intensely lucid form. An unblinking study of alienation, mental disarray, and feelings of helplessness under bureaucratic control, Asylum Piece takes up a lot of space in my mind.

In the comic books (and films) Batman and Joker are locked together in the eternal battle between good and evil. Except, as The Killing Joke so brilliantly explores, that’s not quite how Joker sees it. For Joker, they are both sides of the same coin. If Joker is seen as evil incarnate, then why, he asks, is Batman considered the opposite? The story has since been disowned by writer Moore, possibly because of the interminable number of nihilistic-styled super-hero stories that followed in its wake. But sometimes I think the writer’s dissonance from the subject matter adds to the sense of unease and chaos at play. And there is undeniable power at the root of the story, taken entirely from Joker’s impeccably flawed point of view. That it only takes ‘one bad day’ to turn an ordinary joe into one or the other, Joker or Batman.

I loved this book because it is an exploration of sexual temptation and religious faith.

One of the reasons I love gothic literature is that it is not horror in that it is not written solely to frighten. Instead, it is a vehicle to explore human psychology–the human condition–and so in addition to exploring things like fear of the unknown, it can delve into other areas like faith and temptation. That is exactly what this novel does and why I love it so much.

Remember Mia is dark, emotional, and twisty. What I liked most about this book is how much the main character riled me up!

She’s an unsympathetic and unreliable narrator, and it propels the story forward. As this story unravelled, I questioned everything: Is the mother’s postpartum psychosis to blame for the missing child? Why didn’t she report the baby missing? Is there even a missing baby in the first place?

I enjoy when a novel makes me question what I thought I knew.

Kit Quinn is a psychologist who is brutally attacked by a prisoner while working. The same prisoner is under suspicion of murder and Kit is called in.

She, however doesn’t think they have the culprit. So ensues a fast-paced race to solve the case. This was one of the first psychological thrillers I ever read and served as a fantastic intro to the genre. It probably pushes the boundaries of believability but it remains one of my favourite books