12 Books Like Why Surrealism Matters

Ibn Khaldun's book is a classic work of world history, written in the mid-1300s CE. It is part of a seven-volume work and the first volume (The Introduction, or Muqaddimah) is the best known and most read. Readers who wish to read an Islamic polymath may be pleasantly surprised by Ibn Khaldun's erudite mind and by how "modern" many of his discussions about politics, economy, and culture are. Several versions are available in translation. I read the Princeton University Press abridged version, 2015.

First published in 2014, Malik's book is an intellectual history of moral philosophy (ethics). It claims to be a global history but given the relative dearth of non-Western written material on which to draw, the "global" part inevitably is given short shrift and limited to a few chapters on Indian and Chinese thought. African and Latin American ethics are missing as well, as are the ethics of virtually all other "native" peoples. But this is a shortcoming less of Malik's book than that of the field of the history of ethics as a whole. That said, Malik provides a fairly lively and thoughtful romp through the history of thought in ethics. I particularly like his relatively frequent compare-and-contrast stops along the way so that readers are reminded from time to time of the way they already traveled as they progress through the book. Ample references provide opportunities to take this… show more.

First published in the 1980s, this is a classic in memory studies, tracing the evolution of public memory in France regarding the Vichy regime over a forty-year period. Rousso shows how the first narrative about “everyone resisted,” promoted by Charles de Gaulle, was gradually replaced by a more realistic version of the past, including recognition of Vichy’s collaboration with the Nazis in rounding up Jews and members of the Resistance.

Josef Roth is now recognized as one of the greatest German writers of the twentieth century. As a historian myself, I was entranced by reading it by the way in which the book catches the vast temporal arc of the transformation and then fall of a society that had for centuries been a major force in European history, the Austro-Hungarian Empire. Now forgotten, this was the world of Vienna’s great resplendence, then fall.

The story is told through the generational story of one family, the von Trottas. Impending loss is conveyed alongside great affection as a whole world is lost in the disasters of the First World War. The book was first published in English in 1933. In the words of another of Josef Roth’s books, “I was there,” which he was.

A perpetually useful and inspiring book. Shattuck’s study of modern art in France came out in 1955 and remains a lively source for understanding how key artists—Alfred Jarry, Henri Rousseau, Erik Satie, and Guillaume Apollinaire—absorbed and reshaped traditions in writing, painting, and music, and launched the ethos of avant-garde aesthetics in the 20th century. A master storyteller, Shattuck situates his artists in their time, place, and culture with novelistic flair.

One of the most moving accounts I know of how literary creation takes place. With extraordinary sensitivity, Steegmuller reveals the mind and soul of the perturbed young bourgeois, Gustave Flaubert, and shows him growing, bit by bit, page by page, into the writer who set new terms for the art of the novel for the next hundred years. Art remains a mystery, but Steegmuller brings us uncannily close to the heart of it.

Rimbaud is the inescapable, volcanically talented, revolutionary poet of late 19th century France, the boy who had mastered the classical idioms and forms of the art by the time he was fifteen, and by age eighteen was reinventing poetic language both in the prose poems of Illuminations and in visionary irregular lyrics. He stopped writing poetry at age twenty, but the poems he left behind helped to open the door to modern poetry around the world.

An expert in French fascism, Kaplan meticulously documents the career and the fate of the anti-Semitic, collaborationist novelist and journalist, Robert Brasillach. He was one of the few prominent intellectuals executed after the Liberation in France. His trial in late 1944 and execution in February 1945 put on the public stage the drama the country had just experienced: the Occupation, collaboration with the Nazis, the Resistance. As Kaplan presents it, Brasillach’s eloquent defense lawyer, the equally eloquent prosecutor, and Brasillach himself articulated the collision of visions of what it meant to be French and what it meant to be a patriot (or a traitor), arguments that still agitate France today. 

Norman Lewis was what is usually called a travel writer. Today’s travel writers, however, pale beside him.

I read this book when it first came out in 1984. It describes the three summers in the late 1940s when Lewis lived and worked in a very remote fishing village on what is now called the Costa Brava. He records with utmost sympathy and acuteness of observation the last days of the old world of Mediterranean Spain before it became completely obliterated by mass tourism.

The book touched me deeply, for I had seen the last vestiges of other parts of Spain only a decade or so after Lewis. The book is a kind of monument for all parts of the world submerged by mass tourism.

This is French peasant life in its last days, a life rendered from the outside by one who became an insider.

Berger went to live and work among the peasants of the French south in 1962. This world, like that of Spain at much the same time, saw the death of the old peasantry. It is not a work of observation like Norman Lewis’s book but a series of fictional stories. It treats peasants as human beings, on an equal standing with all others in society. They have depth and gravity. Just like us all.

How awful most writing about peasants is. This stands out proudly from that awfulness.