Here are 100 books that The Writer's Voice fans have personally recommended if you like
The Writer's Voice.
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I have been a reader and writer for most of my life. From the moment I could spell a handful of words, my mum encouraged me to write stories. With a few prompt terms, I’d be off. As a writer, I spend countless hours editing and refining my work because it makes me better and because I love it. My favourite part of a book is often a single, beautifully structured sentence. This passion has led me to wonder what other people have to say about writing and language. The more I hear about the practice of writing, the more I fall in love with it.
What I love most about Bird by Bird is the way that Anne Lamott characterises writing as a gift, a giving over to someone else in a manner akin only to being a parent.
While I am not a parent, I am inspired by this idea that the written word can make a person braver and better by virtue of opening them up to the world and people in new ways. Despite the hurdles and difficulties of the practice, which Lamott deftly outlines, she ultimately decides that a writer is pursuing an act of generosity and openness. I really love this idea.
There is a real lack of pretentiousness to Lamott’s writing, which allows you to take these nuggets and accept what otherwise might be sentimental claims that “writing is life” as simple truths.
NEW YORK TIMES BESTSELLER • An essential volume for generations of writers young and old. The twenty-fifth anniversary edition of this modern classic will continue to spark creative minds for years to come. Anne Lamott is "a warm, generous, and hilarious guide through the writer’s world and its treacherous swamps" (Los Angeles Times).
“Superb writing advice…. Hilarious, helpful, and provocative.” —The New York Times Book Review
For a quarter century, more than a million readers—scribes and scribblers of all ages and abilities—have been inspired by Anne Lamott’s hilarious, big-hearted, homespun advice. Advice that begins with the simple words of wisdom…
The Victorian mansion, Evenmere, is the mechanism that runs the universe.
The lamps must be lit, or the stars die. The clocks must be wound, or Time ceases. The Balance between Order and Chaos must be preserved, or Existence crumbles.
Appointed the Steward of Evenmere, Carter Anderson must learn the…
I have been a reader and writer for most of my life. From the moment I could spell a handful of words, my mum encouraged me to write stories. With a few prompt terms, I’d be off. As a writer, I spend countless hours editing and refining my work because it makes me better and because I love it. My favourite part of a book is often a single, beautifully structured sentence. This passion has led me to wonder what other people have to say about writing and language. The more I hear about the practice of writing, the more I fall in love with it.
Before reading On Writing and Writers by Margaret Atwood, I naively believed that writing about writing was necessarily boring. Like a textbook, full of cold, mechanical steps to improve. Atwood’s book proved me incredibly wrong.
I was mesmerised by Atwood’s self-deprecating charm and disarming wit, and saw myself in her initial query about whether she has the right to write – namely, the right to make grand claims about her practice.
Perhaps what I loved most was her reluctance to offer anything concrete. She dances near a decision, a position, an answer, and then just as quickly, she turns away again. Self-indulgently, I enjoy the idea that writing is a mystery that doesn’t have one answer and that can’t be pinned down. For me, Atwood’s book confirmed this fanciful notion.
By the author of THE HANDMAID'S TALE and ALIAS GRACE
What is the role of the writer? Prophet? High Priest of Art? Court Jester? Or witness to the real world? Looking back on her own childhood and the development of her writing career, Margaret Atwood examines the metaphors which writers of fiction and poetry have used to explain - or excuse! - their activities, looking at what costumes they have seen fit to assume, what roles they have chosen to play. In her final chapter she takes up the challenge of the book's title: if a writer is to be…
Where do writers go for distraction? For me it’s usually into the work of other writers and, when I’m done escaping into fiction, I turn to nonfiction and particularly those writers who write about writing. Why? Because it helps refresh my own writing to read those writing with clarity, insight, and coherence when my own process is in danger of fragmenting. What’s more, many writers write so well about the components of writing - voice, structure, narrative or even something as prosaic as getting started - that I am reassured about what I’m trying to do with my own writing.
“It sounds like a simple thing, to say what you see.” So begins the poet Doty’s short book on the art of description. The art of something implies subtlety and skill, and Doty explores ideas around uncertainty, figuration, attentiveness, and those habits of conscious observation and specificity that improve description. If this sounds dull it is not, because there’s a subjectivity about Doty’s own prose that draws you in. What’s more (and I’m going to cheat a little here) if it turns out that you love Doty’s prose as I do, there’s another book by him, Still Life With Oysters and Lemon about the painting by Jan Davidz de Heem on view at New York’s Metropolitan Museum of Art, that will enchant you further.
How a writer moves perception to image to written world is at the heart of any literary work. Here, celebrated writer and poet Mark Doty closely examines this essential literary technique and how it varies from writer to writer. Drawing on the sensory experience found in the poems of Blake, Whitman, Bishop and others, Doty gives an insight into this essential craft. Written in clear chapter essays, his book is an invaluable resource for writers, students, critics and anyone with an interest in the art of literature.
The Guardian of the Palace is the first novel in a modern fantasy series set in a New York City where magic is real—but hidden, suppressed, and dangerous when exposed.
When an ancient magic begins to leak into the world, a small group of unlikely allies is forced to act…
Where do writers go for distraction? For me it’s usually into the work of other writers and, when I’m done escaping into fiction, I turn to nonfiction and particularly those writers who write about writing. Why? Because it helps refresh my own writing to read those writing with clarity, insight, and coherence when my own process is in danger of fragmenting. What’s more, many writers write so well about the components of writing - voice, structure, narrative or even something as prosaic as getting started - that I am reassured about what I’m trying to do with my own writing.
Even if you don’t want to be a poet, there’s something about playing with poetic form that I think is useful to any writer because it enables you to explore the use of rhythm, metaphor, simile and other ways of honing your consciousness into literary and written form. It demands specificity of description and uniqueness of voice, and Kate Clanchy’s book - she is herself a published poet, writer but also a teacher - gets to the nub of it through examples and exercise, to emerge a more fluent and confident writer, and in whichever form you choose.
Do you want to write a poem? This book will show you 'how to grow your own poem' . . .
Kate Clanchy has been teaching people to write poetry for more than twenty years. Some were old, some were young; some were fluent English speakers, some were not. None of them were confident to start with, but a surprising number went to win prizes and every one finished up with a poem they were proud of, a poem that only they could have written - their own poem.
Kate's big secret is a simple one: is to share other…
I lived in the former Soviet Union for ten years, primarily in Moscow, the home of many a brutal tyrant. My obsession with dictator literature began after I discovered that Saddam Hussein had written a romance novel, following which I spent many years reading the literary output of all of the 20th century’s most terrible tyrants, from Mussolini to Stalin to the Ayatollah Khomeini. This monumental act of self-torture resulted in my critically acclaimed book The Infernal Library: On Dictators, the Books They Wrote, And Other Catastrophes of Literacy.
Don’t be fooled by the title: this is no how-to guide for budding sociopaths who want to force the masses to bend to their every whim. Rather, it is a study of eight dictators with a special emphasis on how each one used his personality cult “to claw his way to power and get rid of his rivals”. Dikotter fits an impressive amount of information into this concise book and does a great job of comparing and contrasting such tyrants as Stalin, Mao, Hitler and Mussolini. But what I especially appreciate are the “deep cuts” — Dikotter includes chapters on dictators you don’t often hear about these days, such the Ethiopian tyrant, Mengistu Haile Mariam and Haiti’s Voodoo-obsessed Francois “Papa Doc” Duvalier, who declared himself the “personification of God” and liked to strut around in top hat and tails.
'Brilliant' NEW STATESMAN, BOOKS OF THE YEAR
'Enlightening and a good read' SPECTATOR
'Moving and perceptive' NEW STATESMAN
Mussolini, Hitler, Stalin, Mao Zedong, Kim Il-sung, Ceausescu, Mengistu of Ethiopia and Duvalier of Haiti.
No dictator can rule through fear and violence alone. Naked power can be grabbed and held temporarily, but it never suffices in the long term. A tyrant who can compel his own people to acclaim him will last longer. The paradox of the modern dictator is that he must create the illusion of popular support. Throughout the twentieth century, hundreds of millions of people were condemned to…
Why did I end up spending almost a third of my life researching Nazi boarding schools, and childhood under the Third Reich more generally? I sometimes wonder if it was because I myself was sent to boarding school at the age of nine – somehow, I can sympathise with what these children had to endure, as well as knowing full well from a historian’s perspective which hardships were truly unique to a National Socialist elite education, and which were simply the kind of heart-ache that’s common to any institution which takes children away from their parents at a young age…
Written during the Third Reich itself, this is the hard-hitting book that told the world just how heinous Nazi education policy was – although it was only heeded by a prescient few at the time. Anyone who is worried about how easily schooling can become subject to ideology should definitely read this book!
Published in 1938, when Nazi power was approaching its zenith, this well-documented indictment reveals the systematic brainwashing of Germany's youth. The Nazi program prepared for its future with a fanatical focus on national preeminence and warlike readiness that dominated every department and phase of education. Methods included alienating children from their parents, promoting notions of racial superiority instead of science, and developing a cult of personality centered on Hitler. Erika Mann, a member of the World War II generation of German youth, observed firsthand the Third Reich's perversion of a once-proud school system and the systematic poisoning of family life.…
Aury and Scott travel to the Finger Lakes in New York’s wine country to get to the bottom of the mysterious happenings at the Songscape Winery. Disturbed furniture and curious noises are one thing, but when a customer winds up dead, it’s time to dig into the details and see…
As a child I grew up around blue-collar type men and women, and as I became an adult I grew to learn that these are the sorts of people who pioneer civilizations, who keep them running once they are built, and who are the ones to brave high-risk labor to bring us the food, shelter, and comforts we often take for granted. Adding a fictional element in the form of aliens, monsters, or the supernatural can put a fine and dynamic point on the life & struggles of such people. I strive for this in much of my military science fiction work and enjoy reading it as an audience member.
This is a cyberpunk novel, and while most books in that genre focus more on characters like criminals or rebels, this one narrows in on a former police detective and private security contractor. This is one of the few books in the genre that looks at the working stiffs of the cyberpunk future, instead of the punks with mohawks & machine guns or the corporate suits with their android bodyguards and elegant penthouses.
Hawai‘i author Chris McKinney’s first entry in a brilliant new sci-fi noir trilogy explores the sordid past of a murdered scientist, deified in death, through the eyes of a man who once committed unspeakable crimes for her.
Year 2142: Earth is forty years past a near-collision with the asteroid Sessho-seki. Akira Kimura, the scientist responsible for eliminating the threat, has reached heights of celebrity approaching deification. But now, Akira feels her safety is under threat, so after years without contact, she reaches out to her former head of security, who has since become a police detective.
I am a professor of philosophy and editor or author of 12 books. I started out in ‘Freud Studies’ in the 1990s with no agenda, just a deep interest in Freud’s ideas. Since then I’ve written quite a lot on it. Unfortunately, the field is so contentious, so overrun with books by former patients and analysts, that casual readers couldn’t possibly make heads or tails of it. Readers are best served by reading complete works of Freud and making their own assessments. After that, they can look at Freud’s voluminous and eye-opening correspondence with colleagues. Then they can consult good books, and lists of recommended works, that put them in the right direction.
This is a very good, fair, smart, early interpretation of Freudian psychoanalysis in general, and of its significance for culture and intellectual history in particular. It’s very well written, probably because Susan Sontag (Rieff’s wife at the time) is widely reported to have actually written the book, and in the 1960s the book became highly influential. It is easily Rieff’s best book.
Now a classic, this book was hailed upon its original publication in 1959 as "An event to be acclaimed . . . a book of genuine brilliance on Freud's cultural importance . . . a permanently valuable contribution to the human sciences."-Alastair MacIntyre, Manchester Guardian
"This remarkably subtle and substantial book, with its nicely ordered sequences of skilled dissections and refined appraisals, is one of those rare products of profound analytic thought. . . . The author weighs each major article of the psychoanalytic canon in the scales of his sensitive understanding, then gives a superbly balanced judgement."-Henry A. Murray,…
I am a professor of philosophy and editor or author of 12 books. I started out in ‘Freud Studies’ in the 1990s with no agenda, just a deep interest in Freud’s ideas. Since then I’ve written quite a lot on it. Unfortunately, the field is so contentious, so overrun with books by former patients and analysts, that casual readers couldn’t possibly make heads or tails of it. Readers are best served by reading complete works of Freud and making their own assessments. After that, they can look at Freud’s voluminous and eye-opening correspondence with colleagues. Then they can consult good books, and lists of recommended works, that put them in the right direction.
This well-written, tightly-argued little book of 1995 gathers together four feature articles from The New York Review of Booksthat together represent a watershed moment in ‘Freud Studies.’ For here was the NYRB, a long-standing bastion of psychoanalysis, publishing splashy articles that functioned like a Hollywood expose of Freud’s failings as a man, thinker, and therapist. In truth, Crews was simply giving voice to a ‘revisionist’ portrait of Freud that started in earnest in the wake of Jones’s three-volume ‘life and work’ of Freud (1953-57). Best of all: Crews connects it all to the ‘recovered memory’ movement of the 1980s and 90s, thereby drawing a disturbing portrait of Freud’s legacy.
The author's critique of Freudian psychoanalyis and the "recovered memory" movement, first published in 1993 in The New York Review of Books to a storm of controversy, is presented along with twenty-five responses. IP.
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
The older one gets, the more one gains in self-understanding–or so I’d like to believe about myself. One aspect of mature self-knowledge is recognizing how much energy we expend over the years in avoiding knowledge about ourselves and the world around us. It’s a moment of self-reckoning, one of many important ones we can have throughout our lives. But why does that happen at all? Why would anyone not want to have information, which can only help us make better decisions–right? Wrong–the truth can also threaten things dear to us. These are the questions that have occupied me for two decades now and which I address in my book.
No work of the great psychologist Sigmund Freud has been more maligned than this book. When the first edition was published in Germany, it was rightly hailed as a literary masterpiece. But Freud kept expanding it over the years, aiming to make it more “scientific,” but only managed to turn it into a turgid object of mockery.
My first attempts to read the final edition all failed. But when, a few decades ago, a fresh and highly accessible English translation of the first edition was published (by Oxford University Press) all my simple minded views about self-knowledge and self-deceit underwent a transformation. It was like growing a new set of eyes.
This groundbreaking new translation of The Interpretation of Dreams is the first to be based on the original text published in November 1899. It restores Freud's original argument, unmodified by revisions he made following the book's critical reception which included, under the influence of his associate Wilhelm Stekel, the theory of dream symbolism. Reading the first edition reveals Freud's original emphasis on the use of words in dreams and on the difficulty of deciphering them and Joyce Crick captures with far greater immediacy and accuracy than previous translations by Strachey's Freud's emphasis and terminology. An accessible introduction by Ritchie Robertson…
