34 Books Like Worlds Beyond Time

Reading this book reminded me that understanding another person is a continuous struggle, and that we lose the most when we mistake appearances for truth. Even for someone like Genly, an emissary whose role is to bridge cultures, truly understanding Estraven proves painfully difficult.

What stayed with me was the tragedy of that gap: how insight often arrives too late.

Estraven’s sacrifice, made so that Genly could reach safety, and Genly’s decision to visit Estraven’s family afterward, left me with a lingering sense that remembrance itself carries moral weight. Sometimes understanding cannot undo loss, but memory—how the living choose to carry it—can still salvage a trace of good from tragedy.

Le Guin’s novel taught me that empathy is not a destination, but an act that must be fought for, again and again.

Jo Walton is a wonderfully humanistic storyteller with a deep knowledge of history and art who excels at creating alternate societies, and I was fascinated to see her work on a deliberately smaller, more intimate scale in this novel. The text is made up of the diary entries of Morgana, a precocious teenager who is a voracious science fiction and fantasy reader, as is Jason Velez in my novel. Though published in 2011, the book begins at the end of the 70s and perfectly captures the period.

Among Others excels at character development. It feels like a literary mainstream novel about a young person–imagine, say, the best of Judy Blume–smartly mixed in with glimpses of the fantastic. It wears its love for 70s science fiction on its sleeve and won the Hugo and Nebula awards. 

The two main reasons I’m including 334 on this list are its structure and themes. This is an intricate mosaic novel built around a series of interconnected tales set in an apartment building, following characters through a four-year period.

It explores ideas like people inhabiting such subjectively different worlds that they can’t truly communicate with each other, the visibility or lack thereof of class lines, and the ultimate futility of crime, virtual reality, and cryonics to provide any true solution to life’s woes. Irony, art, and death are always a stone’s throw away.

Disch’s mastery of style and the rhythm of his prose are also on display in this book. Besides his brilliant fiction and poetry, he wrote several volumes with strong opinions about science fiction, reflecting his deep, if critical, engagement with the genre. My novel includes more than one reference to this complex and visionary artist.

When I discovered this book as a teenager, it exploded my understanding of what science fiction could do. After revisiting it recently, I found its absurdism, dark humor, and satire to be as fresh, funny, biting, and original as ever.

Voice is probably the most distinctive literary characteristic of Malzberg’s vast short fiction output, of which this collection contains a number of 70s gems. This work showcases some of Malzberg’s obsessive interests, like alienated astronauts, hallucinating patients, assassinations, and the deconstruction of genre tropes. Malzberg’s commentary on science fiction and fandom–the recursive strand in his work–links it directly to my novel, which mentions his work explicitly.

The stories in this collection are short but savage, genius, offensive, and maniacal. You’ve been warned! 

In researching Mary Edmonia Lewis, the nineteenth-century African-American sculptor I highlight in my book, I needed to understand Lewis as a person and as an artist.

Buick’s book explores Lewis’s art within the context of her life experiences and her passions, as well as how race and gender influenced her work. Although Lewis was our first African American and Native American sculptor, throughout her life Lewis was dismissed, praised, misunderstood, and eventually forgotten. Child of Fire gives voice to not only Lewis’ accomplishments, but explains the importance of her work to the canon of American art.

Most of the impressive artists in this exhibition catalogue did not call themselves Surrealists, but they all were engaged in the initial Surrealist project: to go beyond the tight constraints of Western “reason” to explore the subtle dynamics of the larger gestalt. Toward this end, many of them became interested in esoteric spirituality, portraying the female body as a site of creative energy as well as psychic and cosmological power. Some of them depicted shamanic initiation; some painted serenely detached goddess figures manifesting aspects of the physical world. More than 200 works were included in the exhibition. The featured artists include Leonora Carrington, Frida Kahlo, Remedios Varo, Maya Deren, Lee Miller, Yayoi Kusama, and Francesca Woodman. Capsule biographies with striking photographic portraits of these extraordinary women close the book.

Proust’s passion for the English writers George Eliot and John Ruskin is well known, as is his scrutiny of the Anglophilia of Parisians at the turn of the twentieth century, but his connection with American thinkers and painters has been less carefully scrutinized. ”It is strange," Proust wrote in 1909, "that, in the most widely different departments . . . there should be no other literature which exercises over me so powerful an influence as the English and American.” Ralph Waldo Emerson, Edgar Allen Poe, and James McNeill Whistler are examined as Proust's key American influences. Critic Michael Murphy also investigates the previously overlooked influence of the American neurologist George Beard, whose writings on neurasthenia and "American nervousness” helped contribute to the essential modernity of In Search of Lost Time.

Loren Coleman is one of the original researchers from the ’60s & ’70s. His knowledge of the subject is unparalleled, which makes Bigfoot! The True Story of Apes in America, one of the best books written on the subject. With his extensive experience, Coleman takes a historical, scientific, and personal approach in developing a valid argument for the existence of Bigfoot in North America.

Pyle is a leading butterfly expert and a brilliant natural history writer. And he happens to be bigfoot-curious. As am I. The past few years have seen Sasquatch—at least images of the mythical-or-not-mythical beast—cropping up widely in this region, usually to try to sell something. Pyle takes it more seriously, without being boring or sensationalist. In this telling, Pyle packs his rig with camping gear (and plenty of IPA) and—with his expansive knowledge of nature, his keen skills of observation (of all species, us included), and his humor—heads into southwest Washington’s Dark Divide to try to clear up what, exactly, he heard decades earlier on a camping trip in this remote corner of Cascadia. As to what he finds, you be the judge. 

Hunting Monsters zeroes in on some of the more mysterious creatures said to haunt our forests, lakes, and the deep ocean. Darren Naish brings his expertise in zoology and paleontology to the world of cryptids such as Bigfoot and the Loch Ness Monster. Naish, the scientific advisor for Prehistoric Planet, examines both the scientific credibility of creature sightings as well as the culture that influences our belief in mysterious animals. This well-written and fascinating book leaves readers not only with a better understanding of contemporary myths involving cryptids, but zoology as well.