100 Books Like William S. Burroughs vs. the Qur'an

A hugely ambitious mix of text and graphic design, in which typography is used in bold and disarming ways. It is also a genuinely compelling sci-fi novel about very, very, big ideas. Filled with meta-narratives, in-jokes, artistic references, and mixed media, it’s an interesting alternative to that other oft-cited cult classic House of Leaves. As someone who has worked as both designer and editor, I was blown away by Hughes’s ability to combine a good story with such avant-garde design. The themes communicated will give you much to contemplate – or ramble on about to any friends you successfully corner. A staggering achievement destined to be a future cult classic.

The most “please don’t do it” I have felt in response to a story is as Gray’s protagonist Thaw empties his pockets and throws his life documents and identifying possessions from a moving train on his way to his moment of madness. This will transpose or transform or, I suppose we must, translate Thaw into Lanark.

Critics have noted the many madcap imaginative moments in Gray’s large (in every sense) debut novel. The sequencing of the parts alone (Part 3, Part 1, Part 2, and Part 4) is enough to signal we are in no realist story of a boy and man’s life in Glasgow – more, think surrealist – and yet the book is also just that, and Glasgow is a hell called Unthank in the imagination of an artist who lived all his life in Glasgow.

This is the first volume of a trilogy on psychoactive plants and synthetic drugs. While this is a well-worn path, I’ve never seen it traversed quite like this. Pendell weaves together science, alchemy, illustrations, poetry, and quotations to reveal the spirit behind each molecule he discusses. The sections on stimulants are the longest and most enthusiastic, while the hallucinogens are given the most whimsical prose. It’s a fascinating treatment of a fascinating subject. Some will hate it, but the right person will love it.

Carrington’s surrealist masterpiece is a bit lighter than her other well-known novel, Down Below.

She tells the tale of someone not often seen, much less celebrated, in literature - the crone. At age 92, Marion Leatherby is given the gift of a hearing trumpet by her dear friend Carmella. It is only then she can hear that her family is planning on sending her to an institution.

Carrington’s fondness for the tarot (she even painted her own deck) can be found in the archetypal characters Leatherby encounters at the institution including the Abbess, the Snow Queen, and the Queen Bee among others.     

Written for contemporary audiences by a living Sufi philosopher and world-renowned authority of comparative philosophy and mysticism, The Garden of Truth is a must-read for anyone who wants to have an understanding of, awaken to, and joyously live in the present moment. Unlike any book I’ve seen in English, this work explains how the Sufi path of liberation is all about realizing that one can only return to the present moment by proceeding from where we are in the here-and-now. Once we get There, we realize that Here is Now, since Now was always Here.

It may be odd of me to include a book of academic lectures in a list like this, but I think Calvino’s Six Memos are accessible and valuable to anyone who appreciates literature and its “family tree.”

Its forward-thinking nature is sourced from Calvino’s deep knowledge and love for literature’s history and growth over time.

He pulls on so many different threads throughout and I love it as a reminder, a memo, from a genius like Calvino that the fabric of future great works are woven from those long threads stretching back to great works of the past.

It showed me in very simple concepts in literature, such as Lightness, Exactitude, Quickness, Visibility, and Multiplicity, echoed with me also in visual art. It’s one of those books I keep re-reading…

Yes, it says for writers, but this book is a great resource for in-person storytelling. On these pages are thousands of ideas on how you can show, not tell.

Comb through ideas on how to express a character’s emotion with posture, tone, and mannerisms. Don’t just say, “he looked guilty.” Look up “guilt” and find ways to indicate guilt without telling people what to think. Have your guilty character “avert her eyes,” “shift her feet,” “pull at her collar,” or “suddenly lose her appetite.” I regularly flick through this book to train my imagination on the sensory cues that make a story come alive.

This clever and funny book explains that there are specific techniques that make good writing sound good, or a pithy phrase stick in the mind, and tells you the long and difficult Greek (or slightly easier Latin) names for all these rules you kind of knew without actually knowing.

I can hardly retain any of the Greek labels, but I do remember the fun little examples, like why Oscar Wilde’s epigrams are so striking (antithesis) and how Shakespeare totally lifted part of Julius Caesar from a historian, but polished it up (alliteration). And whenever you hear a memorable three-part phrase, it was probably longer but everyone forgot the other bits (tricolon). 

This is not one for fans of utilitarian writing, but as Forsyth says, “To write for mere utility is as foolish as to dress for mere utility.”

I first read this as a teenager, and its wise counsel has stayed with me ever since. Gowers’ book was originally written as a guide for British government workers, to help them avoid the perils of jargon and ‘officialese’ and write in a way that colleagues and (more importantly) the person in the street could actually understand. 

The fact that I could immediately apply the ideas to my school essays shows you why this book has been continuously in print since the 1950s, and why generations of writers have found it so useful in shaping their own style. 

Practicing exactly what he preaches, Gowers lays down the principles of plain English, in plain English. Read and see why this deserves to be called a classic.

Lincoln was a great communicator, whose greatest speeches deliver emotional power through unfussy language. Harriet Beecher Stowe, the author of the best-selling page-turner Uncle Tom’s Cabin, knew a thing or two about language. She said Lincoln’s compelling words had “the relish and smack of the soil.” Douglas Wilson’s study is an exercise in historical detection. Sleuth-like he uses the successive manuscript drafts of Lincoln’s speeches and public letters to show his care in choosing his words, and how alert he was to sense, sound, imagery, context, and clarity. Lincoln’s Sword is a masterpiece, a showcase of the literary and political sensibilities that made Wilson an acclaimed winner of the Lincoln Prize.