100 Books Like The Guest

It is a fun Gothic novel.

In this magnificent genre, Diane Setterfield brings a lightness to the spells and spooks of generational trauma. I love how she gives homage to the need to write through her two main characters, both writers hiding personal truths and harboring demons that they express through their storytelling. 

Margaret, a young biographer, is beckoned by Vida Winters, a famous and reclusive author, to join her at her mysterious estate and begin to interview her, record, and write her life story. The two writers open doors, real and imagined, that blow out the cobwebs and ignite old, dangerous fires that belong to the past. 

It is written with such warmth, unsettling darkness, and generous color. I wanted to take days off to just sit and finish this book in a marathon read….it was so engaging, satisfying, and fluid. 

This list wouldn’t be complete without a story about a journalist in peril.

Reporter Camille Preaker returns to her hometown to cover the murder of teen girls after she’s been through a tough time herself. As she covers the story and meets some interesting characters, she begins piecing things together, never realizing how close she is to the true danger. 

Camille has had a rough past, which colors her worldview and her judgment. The book explores how grief and trauma aren’t easily overcome and can’t be shelved simply because time has passed and other people have told you to move on.

I love the notion that sometimes danger is much closer than you think. As readers, we care and worry about Camille as she attempts to not just report on this story but also crack the case.

The first line had me hooked: “It would be inaccurate to say that my childhood was normal before they came.”

That one sentence fired up my imagination, and the story kept me turning the pages late into the night. Libby, an adoptee, unexpectedly inherits a once-grand mansion in London’s Chelsea, only to discover it comes with a grim family history that’s nothing like the fanciful one she’d imagined.

I’m particularly drawn to novels like this one, with multiple narrators and intertwining timelines.

No one writes suspense like Ruth Ware! Her books are all compelling page-turners, and yes, she follows my magic formula. All of her heroines are young women who go from a stable existence to some sort of fish-out-of-water situation that creates suspense. In this book, the young narrator, down on her luck, decides to respond to a letter claiming she is an heiress. While she knows that the letter has been sent to her because she bears the same name as the real heiress, she decides to claim the family fortune, or whatever she can get, and then run away.

But when she is introduced to the mysterious family members and finds that there are skeletons in the ancestral closet, she starts to feel trapped. At this point, I am nestling in with the popcorn and Diet Coke because this is the evening’s entertainment. I love the way Ware pushes… show more.

I love a good look at class realities from nineteenth- and early twentieth-century America.

So I was eager to dive into a book about Trust’s central character, Ida Partenza, the daughter of an early twentieth-century anarchist, but also the secretary and ghostwriter for wealthy financier Andrew Bevel.

Part of what is so captivating (and mind-boggling) about Trust is its metafictional structure: Is it a novel? Wait, is it a memoir? Wait, is it Bevel’s story, or Ida’s, or Bevel’s wife’s?

To say more, I’m afraid, would ruin too many wonderful surprises, but I will say that some of the loveliest, most memorable writing in this book appears in the voice of Bevel’s wife, Mildred.

A character-driven novel with seemingly simple, captivating scenes that move at a thrilling clip. April and Frank, a married couple living in 1950s suburbia trying to survive their lives after WWII, are human and flawed.

At times, I despised and loved them simultaneously. It’s relationship at its ugliest and most passionate. The desperation they feel, their attempt at normalcy, and their desire to break away from it all, their angst and anguish, are timeless themes.

There’s a scene where they decide to give up their lives and move to Paris, and I thought, how many times I have done that? The novel, unlike its characters, is flawless.

Though it is set just after the war, the characters in this novel cannot escape from their memories of the Holocaust or guilt at having survived. Yet they are also stuck in a comic scenario—through a complex series of events, the Jewish protagonist Herman has wound up with three “wives,” his first wife from before the war who he mistakenly assumed dead, the Polish Catholic peasant who hid him from the Nazis and he married out of gratitude, and his mistress and fellow survivor he met upon relocating to New York. The novel is both hilarious and heart-breaking—a potent reminder of the impossibility of ever leaving behind the worst horrors of this war.   

Socialite Nora Charles helps guide her husband to discovering the truth about the eponymous “thin man” via artful suggestions, one-liner putdowns, and plenty of cocktails, and that’s why I love this book. Although Nick Charles is the main detective in this 1934 romp by Dashiell Hammett, Nora is instrumental in helping him make decisions of all sorts. The biting dialogue elevates this book above the genre norms of the time.

Nora’s comment on an impending Christmas gift from her husband:

“Whatever you’re giving me,” she said, “I hope I don’t like it.”

This one single novel sparked all those great movies with William Powell and Myrna Loy, in which Nora shines ever more brightly. The novel was a comedy of manners but, sadly, was also Hammett’s last.

When Bill (William John) Cunningham (1929-2016), son of an Irish Catholic family from Boston, moved to New York at the tender age of 19 in 1948, it became the life-defining step in his career as probably the most famous fashion photographer in the metropolis. He had been interested in fashion from an early age and sold his first hats. After returning from military service in Korea in 1953, he began photographing fashion and writing articles for Women's Wear Daily and the Chicago Tribune.

It is no exaggeration to say that Cunningham's fashion sense and photography quickly shaped a new style of fashion journalism. His "street style" brought fashion, no matter how expensive or luxurious, into the world of everyday life. Cunningham made fashion interesting again only through his point of view and photographs. The quiet, always curious and meticulous Cunningham also became known for his commitment to the gay… show more.

I can still remember so much from this book. A great stat Hawes included was that in the year 1870, 90 percent of upper-class New Yorkers lived in townhouses or other types of single-family homes. By 1930, 90 percent lived in apartment buildings or “French flats,” as they were sometimes called. Basically, almost alone among American cities, New York chose to emulate Paris in its model of urbanism rather than London.

New York developers built and sold “French flats” that were large and ostentatious, like the Ansonia and the Dakota, which are still there today. These iconic apartment buildings were built along the streetcar and subway lines. Hawes was a writer for The New Yorker, so this is very readable.