Books like The Last Samurai

Poetry is language at its most condensed and pure, potent and direct—the closest thing to thought. At its best, this mode and method is cinematic and penetrates like a powerful dream, and bringing it to narrative prose in a legend and key that can be woven together, like a tapestry, has been my lifework. Nothing in this list is ancient or even old, nor is any of it new—I've picked all books from the 20th century, because that was the world and writing that immediately influenced me, it's long enough past to be settled and safely buried, but still new enough to have some currency with the life and language of now.

I’m from North East England, an area of the UK under-represented in contemporary fiction. I love reading books from authors who grew up in the same area as me, and I enjoy stories that deal with issues relevant to our communities and capture the unique spirit of the people here. My writing is infused with social and political issues. I’m passionate about stories that explore the world around us and how it impacts people, and all these books do that in very different ways.

Although I can enjoy almost any kind of book that sparks my humor or imagination, the ones that do the best job are those that put familiar characters into unfamiliar situations, whether harrowing or hilarious and challenge my understanding of what I might do if put in a similar situation. When average people are called into extraordinary situations, if not also absurd or ridiculous, I want to see how they handle it, how they overcome obstacles when they have no tool in the toolbox that would simplify it, or when their adversaries try taking the tools they do have away from them. I think these five books provide that spark. 

I grew up in Spain, the U.S., and Germany, but no matter where we lived I always felt at home with a book in my hands. From a young age, I was drawn to stories with otherworldly content or told in dazzling ways. My curiosity about the workings of nature led me to a degree in Theoretical Physics, and later, I studied the history of science fiction and the craft of storytelling. Science fiction from the 60s and 70s, setting out to push the boundaries of the possible, hit me at exactly the right time in my development as a reader and changed me forever.

When I was a child, there was a wooded lot across from my house. All the neighborhood kids gathered there daily after school, running amongst the tall conifers, making forts, and climbing the smaller trees. I begged to be able to play there, but was never allowed. So sometimes, I’d sneak across the street and stand at the edge of the trees and desperately wonder what was within the gloriously dark shadows. There’s just something magical about kids spending time in secret places, away from the cares of the adult world. I'm a Pacific Northwest author, graphic designer, and coffee addict who lives for mysteries of any kind. I'm the author of two YA mystery fiction trilogies, two children's books, and one nonfiction history.

I teach and write about literature and disability at the University of Virginia. I’m also late deafened and have worked in the field of disability studies for over twenty years. In 2002, a scholar pointed out that literature from the former British colonies includes a lot of disabled characters. In 2006, the United Nations adopted the Convention on the Rights of Persons with Disabilities. I began to wonder if the two are related. In Elusive Kinship, I wound up arguing that they are. Not much work has been done on this. I tried to emphasize that I’m just advancing a critical conversation, not giving the final word at all.

I am less interested in what happens than in how and why—to me, that’s where the real suspense is. As a writer, I’m always bickering with traditional plot structures, which I love for their comfort and familiarity and then turn against when a story becomes too obedient to them. As a reader…well, sometimes I flip to the end to see where we’re going so I can slow down and enjoy the journey more. Anytime we think we know what’s going to happen is an opportunity for suspense, and challenges and rebellions to those familiar story arcs can be twists in their own right. 

I write speculative fiction books that feature hidden or secret locations. I enjoy writing about closed communities where different rules apply, and they are less susceptible to outside intervention. Places where those in power can ‘get away with things’. I base the topography on real locations and adapt them for my purposes. I can visualise the locations, which are an amalgam of the real and the imaginary. For consistency, I draw maps incorporating real physical landmarks.

When in unfamiliar settings, people often feel isolated. This makes it easier to portray them as exposed or insecure, creating an atmosphere of fear or suspicion and opening up plot possibilities.

I think all horror authors have at least one coming-of-age novel inside them. I suppose I have some expertise on the topic because I recently finished my first coming-of-age novel, The Dancing Plague. I’ve written stories from the perspectives of children before. One of the challenges I found is getting the voice right. Kids think and talk differently than adults, so it can be a bit tricky finding the right balance between credibility and readability. Nobody wants to read an adult novel that sounds as though it was written by a kid. Conversely, nobody wants to read a novel that’s narrated by a twelve-year-old that sounds as though it was written by an adult.

From books to television, one of my favorite qualities of good writing is a rich, inter-generational cast of characters, especially ones that feature significant roles for characters young and old. These stories do not span multiple generations; instead, they showcase characters of all ages interacting at one time, which makes for dynamic plots and relationships.