Books like The Oscar — picked by fans

Hardboiled specialist Horace McCoy made his mark as an unsparing chronicler of Depression-era despair with his 1935 masterpiece They Shoot Horses, Don’t They?. His 1938 novel isn't nearly as good, but it feels so lived-in and sordid that it tells major truths about the dreamers, users, and big talents who populated '30s Hollywood. In it, Ralph and Mona, two modestly talented beautiful losers, hit Tinseltown hungering for stardom. But Ralph, 18 years before the doomed screenwriter hero of Sunset Boulevard, winds up providing stud service to a wealthy older woman and Mona finds her own private hell. The novel is a bleak meditation on exploitation, failure, and corruption in a town where, as one character observes, “Morality never crosses the city limits.”

It lacks the film version’s famous, freakish appeal, including Bette Davis's wild, classic performance. Yet Henry Farrell’s horror novel about a weird, washed-up child star and her wheelchair-bound sister powerfully captures the lazy, languid midday atmosphere of Los Angeles, in which a person’s career and sanity can dry up in the sun.

This roman à clef about billionaire Howard Hughes has everything you covet in a great beach read: money, power, sex, betrayal.

The rugged tycoon Jonas Cord and the screen siren Rita Marlowe tussle, tangle, couple, uncouple, and everything in between over decades and continents, and Robbins’s talent for saucy dialogue and spicier plotlines furiously bubbles to the surface in perhaps the last great book he wrote before his own life—as dramatic as anything he penned—and his work both began to crumble.

It’s hardly short (the original hardback clocks in at a hefty 650-plus pages), but I could not get enough of its blazing, take-no-prisoners leads as they barreled through the worlds of show business, aviation, and business to conquer the world.   

Newbie novelist Jacqueline Susann created an iconic all-time bestseller with her tale of three young glamazons who vault to the show business heights, only to tumble into a pit of addictions, poor choices in men, and delightfully overripe dialogue. Susann made her sweeping, sexy soap opera shenanigans even more irresistible by patterning her characters on such 20th-century headline-makers as Marilyn Monroe, Judy Garland, Grace Kelly, Ethel Merman, and the Kennedys. Said publicity-savvy Susann, “They can keep calling it that ‘roman à clef'. It’ll only make my books sell.” They did. It did. Although the sanitized and critically bashed 1967 movie version toned down the à clef elements, it became a box-office smash that has gone on to become enshrined as a kitsch classic.

What I love about The Mandarins is that in describing the life of de Beauvoir, Sartre, Camus and their contemporaries in Paris at the end of the Second World War, it provided me with greater insight into how an existentialist approach to meaning in life can be put into practice.

I also really enjoyed the book for the quality of its writing and its interesting plot. It is fiction, but so close to what actually happened as to almost be history.  

This one is a bit of an obscurity. Another roman a clef from the 1980s, it’s a murder mystery set in Manhattan Society, only this time, it’s about the ways the high and mighty get down and dirty—and at the time, it was said to be based on several very real Upper East Side New York gentleman whose behavior was anything but gentle. At the time, many knew but no one talked about the sleaze and moral corruption that lurked in the dark corners of the world of wealth. I heard enough and saw enough to think that Stewart knew a lot.  

When I first read this book, I was somewhat mystified by what the fuss was all about. All I could see was a story of a group of dissolute and disillusioned expats living a pointless life of pettiness and drinking. However, as I separately learned more about Hemingway and his writing style, I was drawn back to the book, and on subsequent readings, I was able to discern more in the characters and the plot than was apparent in my first reading.

The protagonist Jake Barnes, impotent because his penis appears to have been shot off as a result of a wound in World War I, is further emotionally damaged, possibly with PTSD from his war experiences and with a cynicism and sadness that engage the reader’s attention. 

Homophobia appears to have been the least of Jack Charles’ worries. If it ever bothered him, he barely lets it register in this memoir of a creative life lived both on the fringes and in the spotlight. Perhaps that’s the point, that his eloquent, good-humoured approach always seemed to scotch the haters right from the get-go. In an unbendingly honest self-reflection, Charles also pulls off describing himself as a “poof”, a very Australian term of derision that has been reclaimed by many. His ‘born again’ tale similarly relates how he survived in the face of terrible prejudices endured by Aboriginal and Torres Strait Islanders—the First Nations people of Australia—and their vibrant, resilient spirit. An uplifting gem.

The novel has a remarkable twist on the traditional coming of age story; it’s also a novel about a straight guy coming to terms with his own homophobia. It’s not a novel about a gay boy, but more a novel about a sraight boy’s understanding of how deeply homophobia has infected his life. 

A page-turning journey through the motivations, passions, and secrets that led to a shocking crime; but also a long-overdue look at the elements of Brokeback Mountain that have always existed in Australia's rural heartlands. Assisted by a key survivor of the Wettenhall family drama—Bob Perry—Drinnan takes a very personalised look back at a rural dynasty’s fortunes, but also the social, legal, and cultural restrictions for same-sex-attracted men in Australia from the 1970s to the present day. Australia is a nation said to have been built on the sheep's back, yet the truth about gays in this nation's bush culture is only just emerging. Drinnan's book sharply spearheaded the discussion into the mainstream while documenting Perry’s journey from the closet to liberation.