60 Books Like The Selected Works of T. S. Spivet

W.E.B. Du Bois is widely acknowledged as the leading activist for racial equality of his generation. But until very recently little had been known of his deep commitment to the pursuit of equality within and through data technology. As Du Bois was preparing notes for his famous 1903 book The Souls of Black Folk, he was also preparing an exposition of what we would today call “infographics” (or what the editors of this volume aptly call “data portraits”) for exhibition at the 1900 Paris Exposition world’s fair. This volume handsomely reproduces for the first time a full-color complete set of Du Bois’s charts, graphs, maps, and ingenious spirals. A beautiful book to live with, it also subtly transforms one’s understanding of the history of racial progress and inequality in America.

I learned Tukey’s name about as soon as I learned that data visualization existed as more than a menu in Excel and a personal obsession. Tukey coined the term “exploratory data analysis,” and so tapped into a passion for swimming around in all the interesting rows and columns. Tukey was working before computers were widespread, and so I got a view of how he saw data: working against the constraints of pencil and paper; keeping your hand moving as fast as possible. While the explorations we can do with gigabytes of memory and powerful rendering are very different, the goal of getting information into your head as fast as possible is unchanged.

If you draw a map, you have many choices of symbols, colors, types of lines, sizes of characters, and so on. We may think these are just arbitrary choices perpetuated by tradition, but MacEachren successfully shows that we better conceive of those items as solutions to communication problems in a subtle dialogue with the Gestalt requirements of visual perception. Not any symbol will do. The symbols must be fit for minds like ours.

I learned a lot from this visual approach to maps.

A new edition of Bertin’s 1963 Semiology was released a few years ago, and my heart swelled with joy. For years, I’d worked off of bad photocopies of an inter-library loan book that had long since gone out of print. In this new edition, I could see how Bertin works through different dimensions and axes – when you want to plot two different quantitative axes over a map, what are your choices? What if you want to plot them over a graph, instead? What changes? I loved exploring these choices with Bertin, as he explores how different color mappings, iconic representations, and design choices change the way the reader interprets the graph.

McGuane sure kicked it off for me in terms of seeing a way to write new fiction. Story is not a priority in his world rather observation of characters battling the odds of surviving each day. The reader wants to be like some of the characters and run to the hills from others but the sense of humor, dirt under the fingernails of these singular people we’ll never meet, relationships we’ll never be in, and locations such as Livingston, Montana or Key West, Florida we won’t spend much time in, draws me to McGuane’s page. McGuane, who wrote scripts for Missouri Breaks and Rancho Deluxe, writes like a filmmaker – the smells, the weather, the alcohol, the drugs – the reader is in the scene, the sun on your neck, the dust in the air, the sound of the ice-cold creek. McGuane is a travel agent.

This book broke me! Eli, a big, silent cowboy, and Abigail, a determined ranch owner come together in this book in explosive ways. The steam knocked my socks off, and I could picture the dusty ranch and barn set in Deep River, Montana so easily from the author’s descriptions. The love story is intense, filled with angst and a little bit of kink. Breaking Him is a book I will remember for a long time to come.

I read the novel when I saw that Jane Campion had chosen to adapt the book for her latest film. I have nerves of cast iron. But I found this book truly terrifying. The subject is human evil – the sadistic, twisted cruelty of which men are capable, both to animals, and other human beings. The descriptive writing is extraordinary: the ranch, the mountains, and the wild lands of Montana appear before your eyes. The family is almost destroyed by the predatory, violent brother Phil. He is like a Shakespearean villain: magnetic, charismatic, spellbinding, brilliant, and vicious.

Campion softens the edges of the story at every step in her wonderful film. And I can understand why. Had she filmed the book the movie would be banned. Read the book. 

Allen Morris Jones writes with such grace, humility, and empathy that I just knew, from the earliest paragraphs, that I’d follow him wherever he wanted to go with this one.

I like stories, whether on the page, on film, or in the oral tradition, in which the answers aren’t easy, and Jones obliges. This story of a hardscrabble Montana poet who witnessed something horrible as a child and searches for a way to live with it as an adult moved me in a deep and still way.

It’s one of those books I finished, set quietly down, and thought about for days afterward. The thinking about it persists years later.

MacFarland Ranch has something for everyone. It’s a working cattle ranch, a breeding farm, and offers guest cabins in scenic Paradise Valley, Montana. At the lodge there are high-end cabins, though Wade’s fixer-upper would do me just fine, and plenty of options to keep guests busy all vacation. I wanted to work the cattle, wait for foals, and just sit on my porch and take in the beautiful vistas on a relaxing evening. You can really feel the love in the family-run business as each sibling has their part to do and Wade and his guest lodge is the perfect introduction to the ranch, taking the reader from guest to one of the family. I’ve got book two already and will be waiting for book 3 to arrive later this year.

I knew just about from the first page that ‘The Buckskin,’ as they call it, is a place I’d like to go. Just reminiscing about family vacations there had me wanting more. In book one, with Lucy, we get to see the ranch from her artist’s perspective and I could picture her sitting in the corner of the stall sketching the horses and I wanted to join her. The property is so well drawn out for the reader that it is easy to wander down the snow-line paths between the cabins and the dining hall, and sneak around to the bunkhouse for a bonfire. Even in the dead of winter, the atmosphere is so warm and inviting I’ve already signed up for another visit. Thank goodness there are ten books in this series!