65 Books Like When We Meet Again

I was twelve years old when I first read Jane Eyre, the beginning of my love for gothic fiction. Murder mysteries are fine, but add a remote location, a decaying old house, some tormented characters, ancient family secrets, and I’m all in. Traditional Gothic, American Gothic (love this painting), Australian Gothic, Mexican Gothic (perfect title by the way), I love them all. The setting in gothic fiction is like a character in itself, and wherever I travel, I’m drawn to these locations, all food for my own writing.

When I learned that a friend, at forty, discovered the father he thought was his dad wasn’t, I was both fascinated and devastated for him. It made me wonder why families kept secrets and believed it was the best choice. I became curious about how such news affected those lied to. Over time, I found others with similar revelations, sparking personal journeys of self-discovery. These stories, shared without me asking, led to my debut novel and shaped my writing. While my own family seems secret-free, I’m drawn to writing about characters burdened with hidden truths, exploring how these secrets affect identity, trust, and relationships.

When I learned that a friend, at forty, discovered the father he thought was his dad wasn’t, I was both fascinated and devastated for him. It made me wonder why families kept secrets and believed it was the best choice. I became curious about how such news affected those lied to. Over time, I found others with similar revelations, sparking personal journeys of self-discovery. These stories, shared without me asking, led to my debut novel and shaped my writing. While my own family seems secret-free, I’m drawn to writing about characters burdened with hidden truths, exploring how these secrets affect identity, trust, and relationships.

When I learned that a friend, at forty, discovered the father he thought was his dad wasn’t, I was both fascinated and devastated for him. It made me wonder why families kept secrets and believed it was the best choice. I became curious about how such news affected those lied to. Over time, I found others with similar revelations, sparking personal journeys of self-discovery. These stories, shared without me asking, led to my debut novel and shaped my writing. While my own family seems secret-free, I’m drawn to writing about characters burdened with hidden truths, exploring how these secrets affect identity, trust, and relationships.

While growing up in a Vermont town in the lower Champlain Valley, I became fascinated with the wealth of nearby historic sites dating from the French and Indian War and the American Revolution. Within easy reach of our family station wagon were Fort Ticonderoga and more. I became especially intrigued by German mercenaries hired by the British to fight the American colonists. My interest led me to become a history major at the University of Vermont, and eventually to Germany as a correspondent for The Associated Press. I worked and lived in Germany from 1987-1997, covering the toppling of Communism, the birth of a new Germany, the rise of neo-Nazi violence, and other themes.

I am mom to three daughters, grammy to seven grandchildren. I am a storyteller and a voracious reader. There’s nothing better than to immerse myself in books about history, espionage, and family sagas. Growing up in northeastern Pennsylvania, I never suspected that I would travel the world one day, although I always dreamed of writing novels. Living in India for a time, I developed a passion for international affairs. I try to make the settings and culture of my novels as authentic as possible. To research the background for The Expatriate, I traveled to England, Austria, Switzerland, Italy, and the Eastern Republics of the former Soviet Union. 

Angela Burke Kunkel is an author, school librarian, and former English Language Arts teacher. She has experience working with all types of young readers, from the reluctant to the voracious, and has taught in both alternative and public schools, including a New Mexico middle school with a nationally-recognized dual education program. She is passionate about ensuring equitable book access for all children, and has published articles and participated as a panelist on these issues.

After seventeen years of researching media use in the Soviet Union, I found I was hooked for life on the problems of totalitarianism. I went on reading about Stalinist Russia, Nazi Germany, and the East German Stasi and wrote several novels based on what I had read. In 2009, I saw an exhibition of paintings called “Looking for Owners.” Some of the pictures were extremely beautiful works by well-known artists which, I was surprised to learn, had been stolen by the Nazis during World War II. Their rightful owners had never been traced. I knew at once that there was a story in this.

I'm a retired diplomat and award-winning novelist with a PhD in history. I was drawn to the German Resistance because, unlike the other resistance movements across Europe, the German Resistance fought not a foreign invader but rather confronted the corruption and hijacking of their own state. Germans opposed to Hitler needed the moral fortitude to commit treason, and ultimately tyrannicide, not for the sake of the nation, but for humanity itself. I devoted ten years of my life to studying the German Resistance, first for my doctoral dissertation and then to write my novel. During that time, I was asked a thousand times why I was so fascinated and committed to the topic. The answer, tragically proven true over the last five years, is that the United States is not immune to fascism. The need to resist a racist and immoral demagogue has never been more relevant.

I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.