100 Books Like The Embarrassment of Riches

Brook uses artifacts portrayed in six paintings by the Dutch Golden Age painter Johannes Vermeer to show how, several centuries before the World Wide Web, the local and the global were intimately connected. He surprises his readers by showing that people and goods and ideas moved around the 17th-century world in ways that – rather like us – their ancestors would have considered impossible. Perhaps because Brook is a Canadian historian of China who is familiar with Europe, he provides a truly global history and almost every page contains a “gee whiz” fact. I also love the idea that “Every picture tells a story.”

This short classic was one of the first books I read when I began studying China, and that drew me into the subject of rural life.

The story of the death of Woman Wang (nothing more is known of her name) is gripping and tragic, and it is beautifully written.

Between 1640 and 1660, England, Scotland, and Ireland experienced civil war, invasion, religious radicalism, parliamentary rule, and the restoration of the monarchy. None of that will surprise historians of Britain, but they may not realize the impact of these events on Britain’s new colonies across the Atlantic. Some of them remained loyal to the king until his victorious opponents sent the first major Transatlantic expeditionary force to subdue them. 

Pestana shows how war and rebellion in Britain increased both the proportion of unfree labourers and ethnic diversity in the colonies. Neglected by London, several of them developed trade networks; some entered the slave trade. By 1660, the English Atlantic had become religiously polarized, economically interconnected, socially exploitative, and ideologically unstable.

Good historical novels concentrate on gaps in the historical record, and use fiction to fill them – and in doing so, they illuminate the facts. Robinson Crusoe, the first historical novel in English (some claim the first English novel), used the story of a fictional sailor who left home in 1651 and returned in 1687 to show how the mental world in which his character grew up, riven by confessional conflict and civil war, differed from the mental world of his readers, in which colonies and capitalism had combined to produce great wealth. 

Among more recent works of fiction set in the 17th century, I particularly enjoyed Günther Grass, The meeting at Telgte (1981), set in Germany in 1647; and Iain Pears An instance of the fingerpost (1997), set in Oxford in 1663. Both include real historical figures.

Huizinga’s book was first published more than 100 years ago, in 1919, but it retains its value as a sparkling and original evocation of the world of late medieval Europe: its values, its thought, its violence, and – one of its great strengths - its visual arts. This last is not surprising, since the author’s main focus is on the Netherlands and northern France, where oil painting, the realistic portrait, and the landscape began in European art. The book has been translated into English more than once, with significantly different titles: in 1924 as The Waning of the Middle Ages, then – 72 years later! - as The Autumn of the Middle Ages. In 2020 there appeared yet another version - Autumntide of the Middle Ages. The book is ever young.

We live close to the Canal du Midi and regularly enjoy blissful dog walks on the towpath. Spotting this memoir about faring to France immediately piqued my interest. 

The author’s colourful descriptions gently transported me to her watery world. Through Val’s narrative, I admired the scenery, both industrial and pastoral, and I could almost hear the wavelets lapping against the bows of her beloved barge, the Hennie H. 

Throughout Val and her partner’s trip, the reader is given fascinating history snippets. And, as with all great writers, there’s drama and fun, too. Val made me giggle, especially with her vignettes about their simple living arrangements aboard.  

This book contains both humour and depth, it is a celebration of this author’s excellent writing.

I love this classic study in which Huizinga vividly portrays the colorful era in which my heroin, Christine de Pizan, lived. Huizinga shows that late medieval society was full of striking contradictions, among them chivalry vs cruelty, courtly love vs vengeance, blissful visions of heaven vs horrific visions of Hell. 

The prevailing narrative regarding adoption, at least in the U.S., is crafted by adoption professionals and adoptive parents and largely overlooks the experiences of the parties directly impacted—the adoptees themselves. As an adoptee—one who undertook a search for and was reunited with my first family, reassuming the name I was given at birth—I am always on the lookout for the work of other adoptees. Only we truly understand what it is like to be “split” between two families, to lose our roots and culture, and—perhaps most devastating—not to have our losses acknowledged. These stories, by Ethiopian adoptees, challenge traditional narratives that cast adoption as a benevolent practice, revealing the racist, classist, and colonialist roots that give rise to the modern institution. The stories speak to themes of displacement, bewilderment, and what it is like to grow up estranged from one’s culture, identity, and roots.

If you’re new to the history of Paris, this is an ideal book to start with. It’s a sweeping account of this fabled city’s story, from Roman times to the turn of the twenty-first century, but while lofty in aim it’s charmingly fun to read, the author being adept at packaging wide-ranging information into a fast-paced narrative. One neat feature is the way Jones highlights certain Parisians or Paris locations, giving them breakout sections that allow readers to delve deeper into the likes of Madame de Sévigné, Rose Bertin, and Josephine Baker. You realise that Paris is so much more than the sum of its stones. Yes, it’s about beautiful monuments, but just as much about the people who have breathed such life into Paris that their spirit lives on to this day.

The muse occupies a slightly different role in Deborah Moggach's novel in that she spends a large part of the book supposedly already dead. Muses often exerted a posthumous influence on their artists, usually reflecting a legacy of guilt on the artist's part for his mistreatment or neglect. (Rossetti is a case in point. He had all his poems buried with his muse Lizzie Siddal, only to request permission to exhume them years later.) The painter, in this case, Jan van Loos, remains true, spending his life painting portraits of his muse Sophia and their love. Perhaps to be a muse, even a dead one, wasn't all bad.