Books like The End of the Hunt — picked by fans

Over the course of my so-called career as a travel writer, the ‘I’ve-Got-A Big-One’ school favoured by the male of the species has ceded ground. Women, less interested in ‘conquering,’ have pioneered a kind of creative non-fiction that suits the travel genre. I prefer it to the blokeish business of seeing how dead you can get. It notices more. As the decades unfurled – Pole to Pole, via Poland – I realised, more and more, the debt I owe to the other women who not only set sail but also unsparingly observed the world that turns within each self. 

I am a writer based in Ireland. When I was fifteen, I read about the Battle of Verdun, and the horror and ineptitude of it led me into an obsession with World War I. Visiting the Imperial War Museum, I learned about the white feather of cowardice, bestowed by girls upon men out of uniform. Such a transformation of a symbol of peace to an instrument of stigma and shame made me think of Irish society as well as British. When White Feathers was published, its refusal to follow a sentimental “Tommy in the trenches” line angered some revisionist critics. But in the end, it is a passionate and intense love story with resistance.

So why have I chosen noir? I’m glad you asked. Ever since I picked up my first Raymond Chandler book—The Lady in the Lake—I have been a fan of the genre, so much so that I write in it almost exclusively. I watch all the old movies on Noir Alley every Saturday night—or whenever I can find one on TV. And while I tend to gravitate to the works of Raymond Chandler, Dashiell Hammet, and Erle Stanley Gardner, I'm always on the hunt for new authors. I also very much enjoy when someone takes the genre in a new direction, which is why I created this list.

I’m a British writer but I have lived in Norway for over twenty years. My yearning for history goes back as long as I can remember and I often feel trapped in the wrong time. Writing historical fiction is my way of delving into the past and bringing it back to life. I’ve always been creative and enjoyed arts and crafts and, as well as being a writer, I am also a creativity coach and have my own podcast, The Creatively You Show, which helps writers and artists deal with the emotional challenges of the creative process. My book choices reflect these interests and the broader themes of history and art.  

At a time when our news feeds are dominated by war and disease and brain-dead politicians I find my escape in the genre known as ‘uplit’ or ‘uplifing literature.’ These are feel-good stories that have a simple goal, to introduce us to characters like ourselves – human, fallible, unreasonable, and flawed – and take us on a journey with them through thick and thin. Not every story ends in the happiest of endings but the reader is always left with a sigh of satisfaction and a feeling of hope. And couldn’t we all do with a bit more of that?

I am an historian of urban crime and policing. I specialise in metropolitan forces, for example the Dublin Metropolitan Police, London Police, and their colonial counterparts. I am particularly interested in the transnational exchange of concepts and personnel. The latter decades of the nineteenth century saw a lively and consistent movement of police across countries and continents, cross-pollinating ideas and experiences, shaping the future of organised policing. I have traced Australian policing roots to the streets of Dublin and London, which are explored in To Preserve and Protect: Policing Colonial Brisbane (2020) through personal life stories of policemen and criminals alike.

I am Julia Buckley. I am an avid reader and writer of mysteries. This particular subgenre of mystery focuses on schools and academic settings. I love institutions of learning as settings for mysteries because the buildings can be spooky and oppressive, but also because the dialogue is always intelligent. There is great potential for conflict between students, faculty, and campus interlopers. All of it is intriguing, and it allows for a closed world with limited suspects! If you haven’t read an academic mystery, give it a try! It’s like going back to school, but as a detective.

I am a cultural historian, film critic, literary critic, editor, and essayist–and a closeted fiction writer–fascinated by ‘the fantastic’ in art or in life. And Christmas seems to me the perfect example of a time that unites realism and the strange–the time of ghost stories and nativities. I wrote a book on It’s a Wonderful Life (2023) because it triumphantly succeeds at bridging the connection between ordinary life and the marvelous. I have also edited anthologies of Victorian and Edwardian ghost stories, The Penguin Book of Ghost Stories: From Elizabeth Gaskell to Ambrose Bierce (Penguin, 2010), and Victorian Fairy Tales (Oxford World’s Classics, 2015), both of which include many seasonal classics.  

I am an author and a reader, and there is little I love more than falling deep into an atmospheric mystery. One that has the texture of dark velvet—something so rich, vivid, and experiential I can almost wrap it around me—and has just the right amount of suspense to keep me turning pages. As an author of historical fiction and mysteries, capturing that immersive, atmospheric sense of place is so important to me. When I see this done well, I want to savor it, study it—and try to get you to read it, too.

I was able to read before I went to school and have never been without a book since; frequenly having several novels on the go at one time. I started with adventures and classics, moved on to fantasy and later discovered crime fiction. Having been educated at an all-girls school where we assumed we could do everything, it was a shock to enter the world of science and engineering in the 1970s and find that women were not considered as strong and powerful as men, and certainly not as good. Even though times have changed somewhat, I still love finding books (especially series) where crime solving and sisterhood go hand-in-hand.