Wednesday, March 25, 2026

D.W. Buffa

The Dark Backward is among D.W. Buffa's more recent novels to be released. The story revolves around not just the strangest case William Darnell had ever tried;
it was the strangest case ever tried by any lawyer anywhere. It was impossible to explain; or rather, impossible to believe. The defendant, who did not speak English or any other language anyone could identify, had been found on an island no one knew existed, and charged with murder, rape and incest. He was given the name Adam, and Adam, as Darnell comes to learn, is more intelligent, quicker to learn, than anyone he has ever met. Adam, he learns to his astonishment, is a member of an ancient civilization that has remained undiscovered for more than three thousand years.
Buffa is also the author of ten legal thrillers involving the defense attorney Joseph Antonelli. He has also published a series that attempts to trace the movement of western thought from ancient Athens, in Helen; the end of the Roman Empire, in Julian's Laughter; the Renaissance, in The Autobiography of Niccolo Machiavelli; and America in the twentieth century, in Neumann's Last Concert.

Here is Buffa's take on Herodotus’s Histories:
Homer, the epic poet who wrote the story of the Trojan War, lived some four hundred years before Herodotus, who wrote the history of the Persian War. Thucydides, who lived just a generation after Herodotus, wrote the history of the Peloponnesian War, a war, he insisted, that was the greatest war that had ever happened, a war that lasted twenty-seven years and ended with Athens defeated and its empire destroyed. The defeat of Athens, and the long decline that, some believe, still continues, gives some reason to think Thucydides was right, that the war between Athens and Sparta was the most important war that had taken place, but there never would not have been a war had Athens not become an empire which seemed to threaten the freedom, if not the very existence, of Sparta and its allies. And Athens would not have become an empire if the Athenians had not had the courage, and the foresight, to stand against the attempt of Xerxes and the Persians to make, as Xerxes promised, “a Persian empire that has the same limit as Zeus’s sky. For the sun will look upon no country that has a border with ours, but I shall make them all one country, once I have passed in my progress through all Europe.” Why this did not happen, how Xerxes and the Persians were defeated, is what Herodotus wants to understand.

Herodotus will tell the story of the war, and will tell it better than the story Homer told of Troy. He will investigate, and uncover, the real causes, and not, like Homer, invent a more entertaining story. In Homer’s story Helen - Helen who launched, as they still say, a thousand ships - was the reason Troy was attacked, the reason why Hector and Achilles and all the others fought their battles and died their deaths. Homer’s story had been told a thousand times. Every man and woman, every child, in Athens, and not just Athens, had listened as a rhapsode, one of those dull-minded men who can only memorize someone else’s words, recited every line with all the exaggerated enthusiasm of a poorly paid actor in a play on stage. Everyone knew the story, and everyone was wrong. Helen never got to Troy. She was not there. The ship that had taken her had sailed to Egypt. While the Greeks and the Trojans were shedding blood at Troy, Helen was safe in a city somewhere near the Nile. Herodotus distinguishes Homer’s story from what “my eyes, my judgment and my searching” have revealed and what he has heard from, among others, the Egyptians. Helen was brought to Egypt. The Trojans did not have her. It was not that Homer had been deceived; it was that Homer was deceptive. “And I think Homer knew the tale; but inasmuch as it was not so suitable for epic poetry as the other, he used the latter and consciously abandoned the one here told.”

We hear about other places and other times, the stories, the histories we are told, but this is not the same; it is not as trustworthy, as what we are able to see for ourselves. Herodotus shows us this by telling us, that is to say, by letting us hear from him, the story of how a king lost his kingdom by insisting that the truth be seen and not heard. Candaules, the ruler of Lydia, tells Gyges, his trusted bodyguard and confidante, that his wife, the queen, is the most beautiful of women. Gyges believes what he is told, but that is not enough for Candaules: Gyges will not really believe what he tells him unless he sees for himself how beautiful she is. Gyges is made to hide in the bedroom when the queen comes in and removes her clothes, but he does not go undetected. When the queen discovers that Candaules has let her be seen by someone who has no right to see, she tells Gyges that he must either kill the king and take his place, or be killed himself.

What exactly does this mean? Why does Herodotus tell this story at the very beginning of what is supposed to be his history of the Persian War, the war in which, to everyone’s astonishment, the Greeks, led by Themistocles and the Athenians, defeat a Persian army so large that when Xerxes crossed into Europe it took seven days and seven nights to make the crossings, a war that made it possible for Athens to create an empire of its own? Is it only to establish a rivalry to Homer that Herodotus begins his history with a story of a woman who, like Helen, was so beautiful, and so desirable, that kings were killed and kingdoms shaken to their foundations? Or is Herodotus teaching a deeper lesson?

The story of Gyges is told again, a generation later, when Plato tells it with reference to a ring, the ring of Gyges, that allowed whoever wore it to become invisible and in that way, free from observation, do whatever he wants to do without fear of getting caught. He can take what belongs to others, including not just their lives, but even the kingdom of a king. Everything depends on what is seen. What cannot be seen, what remains invisible, can only be explained by words, which are themselves invisible until someone writes them down. The most important words, the authoritative writings, are the laws, the rules, the customs and beliefs by which the citizens of the city, whether Athens or Sparta; the citizens of any country, any nation, whether Egypt or Persia, live together. The laws, to be obeyed, must not to be questioned. Socrates, we all remember, was put on trial and condemned to death on the accusation that he did not believe in the gods of Athens, that he did not believe what the city believed.

Gyges, according to Herodotus, was more than willing to believe what he had been told but, compelled to see the truth, could only live if he became himself the one who decided what everyone else would be told to believe. By telling us this, Herodotus forces us to at least begin to doubt what we have been told before, including, most importantly, what we thought about our own laws, our own way of life. Every nation, Herodotus tells us, thinks its customs best. Darius, at the time he ruled Persia, called together some Greeks to ask what they would take to eat their dead fathers. No price in the world, they replied. Then he asked some people who did eat their fathers what price to burn their dead fathers with fire. They were horror stricken. Herodotus does not make comparisons simply to demonstrate the difference in customs between nations; he makes them to compel us to take up the question of better and worse, a question that leads of necessity to the question of what is best, what is the standard by which to judge what is better and what is worse. Though it is not generally noted, Herodotus was a very careful writer, not just in what he wrote, but how he makes the reader forget while he is reading his own beliefs. He makes what is foreign seem familiar, and yet, at the same time, safe from view. He describes what he calls the “very wisest” custom of the Babylonians as if he were doing nothing more than what any playwright, any storyteller, might do, and in that way hide a profound critique of any city, any nation, that permits itself to become divided against itself, two cities instead of one, a city of the rich and a city of the poor.

Once a year in Babylon the girls who were ready for marriage were brought for auction, an auction that begins with the best-looking girl, the girl who will bring a “great price.” And then, following her, the next good-looking girl. “All the rich men of Babylon who were disposed to marriage outbid one another in buying beauties.” But what of those of “the lower classes who wanted to marry,” but could not afford to bid? The money collected from the auction of the desirable women was used to provide dowries for the girls no one wanted to take on her own. The poor took the “uglier girls, with money to boot.” With the cry of the auctioneer, “Who will take the least money to live with this one?” every man who wanted to marry found himself a bride. The rich got the women they wanted, and the poor got their money. Instead of two cities, Babylon stayed one. Until, that is, Babylon was conquered and in the “general ruin” the poor had no choice but to prostitute their daughters.

If it is always better that the city, the nation, remain one instead of two, the question is who should rule: what form of government has the best chance to keep the city, the nation, united. Herodotus reports a debate among the Persians in which Darius insisted that monarchy, the rule of the one best man, is always better. Oligarchy, or even aristocracy, the better kind of government by a few, always leads to faction, and faction always leads to murder, because everyone always wants to rule by himself alone. Athens, in its experience, gave a different answer. Under the rule of princes, that is to say, of tyrants, it was not better in war than any of her neighbors, but “rid of those princes, was far the first of all.” Herodotus explains: “When held in subjection they would not do their best, for they were working for a taskmaster, but, when freed, they sought to win, because each was trying to achieve for his very self.”

More than the question of monarchy or democracy, tyranny or freedom, it is the question of what we look up to, what give our lives meaning, how we understand the best way to live. There is for Herodotus a reason in things, a logos, that explains the movement in human history. “The Persian War will prove to be a surface phenomenon that has its basis in the principles and elements he discovered in the first few books,” explains Seth Benardete in his remarkable and too little read study, Herodotean Inquiries. The Egyptians and the Persians believed in different gods, and those beliefs determined who they were. “Hesiod and Homer, in giving the Greek gods their human shape, did more than just duplicate human beings. They radically separated human beings from all other living things and stamped them with a specific excellence. The gods thus imposed a standard which the Greeks could look up to, so that they could judge whether to respect or despise themselves. … The Egyptians…gave their gods, in so far as they had one, an animal shape. They made men look down rather than up, to reverence the subhuman rather than the human, only to despise and never to respect themselves.” The “gods of the Persians represent a more natural theology. The very supra-humanity of the Persian gods might have been that which proved fatal to the Persians.”

Xerxes crossed into Europe and “watched his army crossing under the lash. Seven days and seven nights did his army cross, and never a moment’s break.” He brought with him 1207 ships with 200 men per ship, or 241,400 men. The navy and the army together numbered 2,317610. Add to this the forces of some allies and the service train that went with them and the number totals 5,283,200. To feed them took no less than 1,100,340 bushels of wheat every day. And yet, despite all this, the war was lost at the sea battle of Salamis in which Athens “supplied by far the most ships and those that had the greatest speed.” Xerxes, as he promised, got to Athens, but he found nothing there. Themistocles and the Athenians had abandoned the land and the buldings and, in effect, taken the city to the sea. Afraid the Greeks would sail to the Hellespont and break down the bridge over which his army had crossed into Europe and which supplies the only return to Persia, Xerxes had no choice but to run away. The Athenians announced to the Spartans, when they were still afraid of what the Persians might do, that, “So you know now, if not before, that while a single Athenians survives we will not make terms with Xerxes.”

The Athenians were the saviors of Greece. “They chose that Greece should remain free…they stood their ground and withstood the invader when he came against their own country.” Themistocles, more than anyone, was responsible. While others thought only of their own, private, wealth, he had persuaded his fellow citizens that instead of distributing among themselves the money that came from the silver mines the city owned, they should spend the money to build 200 ships for war. Like that “very wisest” custom of the Babylonians, the Athenians understood that the city, the nation, has to act as one.

How much of what Herodotus has told us is true is for each of us to discover by a careful reading of a careful writer who after all that he has written leaves us with the reminder that, “I must tell what is said, but I am not at all bound to believe it, and this comment of mine holds about my whole History.” It is worth the effort to see for ourselves whether what we hear from Herodotus over the centuries is true.
Visit D.W. Buffa's website.

Buffa's previous third reading essays: The Great Gatsby; Brave New World; Lord Jim; Death in the Afternoon; Parade's End; The Idiot; The Decline and Fall of the Roman Empire; The Scarlet Letter; Justine; Patriotic GoreAnna Karenina; The Charterhouse of Parma; Emile; War and Peace; The Sorrows of Young Werther; Bread and Wine; “The Crisis of the Mind” and A Man Without Qualities; Eugene Onegin; The Collected Works of Thomas Babington Macaulay; The Europeans; The House of Mirth and The Writing of Fiction; Doctor Faustus; the reading list of John F. Kennedy; Jorge Luis Borges; History of the Peloponnesian War; Mansfield Park; To Each His Own; A Passage To India; Seven Pillars of Wisdom; The Letters of T.E. Lawrence; All The King’s Men; The Roman History of Ammianus Marcellinus; Naguib Mahfouz’s novels of ancient Egypt; Main Street; Theodore H. White's The Making of the President series, part I; Theodore H. White's The Making of the President series, part II; Thus Spoke Zarathustra; Fiction's Failure; Hermann Hesse's Demian; Frederick Douglass, Slavery, and The Fourth of July; Caesar’s Ghost; The American Constitution; A Tale of Two Cities; The Leopard; Madame Bovary; The Sheltering Sky; Tocqueville’s America and Ours; American Statesmen; Ancient and Modern Writers Reconsidered; Père Goriot; The Remarkable Edmund Burke; The Novels of W.H. Hudson; America Revised; The City And Man; "The Use And Abuse Of History"; I, Claudius; The Closing of The American Mind; History of Rome; Before The Deluge.

--Marshal Zeringue

Monday, March 23, 2026

Andrew Reid

Born in Scotland, Andrew Reid worked as a research scientist for almost a decade on projects including DNA synthesis, forensics, and drug development. He now teaches Science and lives in Stockholm with his wife, three children, and two cats.

Reid's new novel is The Survivor.

Recently I asked the author about what he was reading. Reid's reply:
Virtual Light, by William Gibson

The first book in Gibson’s Bridge Trilogy, Virtual Light is - at its heart - exactly the kind of plot you would anticipate in an early-90s thriller: a piece of extremely sophisticated technology falls into the hands of a humble but extremely hip bicycle courier. With her on the run, it’s up to a down-on-his luck detective to find her before a more powerful and distinctly less merciful rogue’s gallery of villains do. The meat of it, however, is so much more.

Gibson earned his place in the modern cultural canon with his 1984 debut, Neuromancer. A science fiction heist novel about an augmented-human hacker strong-armed into hacking an AI so powerful that just interfacing with it can kill you, the book remains a cornerstone of the cyberpunk genre. The Bridge Trilogy, which Virtual Light opens, feels like an attempt to shed some of the weight of expectation that might have come with that accolade. The scope is less broad; instead of a globe-trotting romp that showcases the glittering peaks, it is set in a shanty town district that has sprung up in the aftermath of an earthquake that devastates San Francisco.

I have been working through Gibson’s backlist over the past year or so, and I am always struck by how real his science fiction feels. He once professed in an interview that he was not interested in “capital-F future”, and there is always a sense that no matter how wild the concept or the technology might be, the shine has already worn off. The future is shabby, lipped with peeling electrical tape, the previous iterations already crumbling under the pressure of weeds reclaiming the land, benign folded down into the strata of the past.

Trickster Makes the World, by Lewis Hyde

For nonfiction, I have been reading Lewis Hyde’s work of comparative mythology focusing on the Trickster archetype across multiple cultures including stories from the Winnebago, Yoruba, Greek, and Norse legends. I picked the book up because it was in the recommended reading list of Chuck Palahniuk’s Consider This - which I enjoyed a great deal - and the phenomena of recurring motifs in folklore appeals to me. It’s tempting to believe that there is something primal at work beneath the parallel of foolish Coyote breaking the bones of his ever-renewing cow and Loki snapping the leg of one of Thor’s goats, but Hyde arms the reader against it by threading a healthy dose of scepticism throughout. He is careful and thorough in accounting for how myths have been recorded, and have been changed with each recording, across generations. He makes no accusations, but it is easy to imagine how it would be tempting for a translator educated enough to have a passing knowledge of European mythology to use that as a framework to commit an oral tradition to a written record.

Mort Cinder, written by Héctor Germán Oesterheld, illustrated by Alberto Breccia

Frieren: Beyond Journey's End, written by Kanehito Yamada, illustrated by Tsukasa Abe

Mort Cinder is an Argentinian comic published between 1962 and 1964 about an immortal man who, whenever he dies, comes back to life; he has lived and witnessed a host of historical events - from the toppling of the Tower of Babel to the Battle of Thermopylae - and through the comic he recounts them to an antiques dealer he has met. Frieren: Beyond Journey’s End is an ongoing manga that follows a functionally immortal Elf who is retracing the path she took as part of a hero’s party, decades after the death of one of that party’s members.

Both the graphic novel and manga tread the same conceptual ground - interrogating the consequences of immortality - but move in opposite directions.

Mort Cinder as a character and a complete work reaches constantly for death; the art is stark, the panels filled with long slashes and pools of black ink that drag the eye relentlessly downwards. Living flesh is left white on the page, and Mort Cinder himself is gaunt, as though the endless cycle of rebirth has been nothing more than a curse. Death has refused him, so Mort stalks Death in turn. Untethered from time and humanity, the turn of the world seems insubstantial to him, and he becomes nothing more than a shade, waiting to be released.

Frieren, by comparison, is a celebration of life. Frieren, so long-lived that she exists in a state of ageless adolescence, is forced to mature by her interactions with the hero Himmel and his party, and - decades after Himmel’s death - must reckon with the realisation that she loved him. Bittersweet, certainly, but there is genuine joy to be found in Frieren’s nostalgic retreading of her hero’s journey: that to live in each moment, no matter how few or how many of them there are left, is what really matters.
Follow Andrew Reid on Instagram and Threads.

--Marshal Zeringue

Saturday, March 21, 2026

Willie Edward Taylor Carver Jr.

Willie Edward Taylor Carver, Jr. is an advocate, educator, author, and Kentucky Teacher of the Year. His work is focused on advocating for LGBTQ+ rights and creating inclusive spaces for students, especially within the context of Appalachia. He is the author of Tore All to Pieces, a fragmented novel about a small town in Appalachia and the interconnectedness of our identities, as well as Gay Poems for Red States, a bestselling collection of narrative poetry about his childhood growing up queer in Appalachia.

Recently I asked the author about what he was reading. Carver's reply:
I was asked what I am reading. An easier question might be what I'm not reading, since I have a propensity for reading dozens of books at a time.

I just finished Needlework by Julia Watts. A gorgeous novel set in east Tennessee. What I love the most is that she doesn't shy away from the ugly and painful; in fact, she takes a second look. She allows ethics to articulate itself where things feel hopeless. She flings something nostalgic into the future.

Yesterday, I finished Mickie Kennedy's Worth Burning, a stunning poetry collection. That's another book unwilling to look away. But here, the focus isn't nostalgia or hope. It's the courage of witness.

I am halfway through Joshua Whitehead's Jonny Appleseed. It centers an indigenous two-spirit person who navigates a life following trauma, and there is a haunting that I recognize in it. A haunting in bodies.

I am also halfway through Bearwallow by Jeremy Jones. He traces a lot of things—story, place, ancestry. But he never gets lost in the past. He anchors us in the moment, but softly. Lets us see the shape he's feeling.

Lastly, I am finishing Dear Mothman by Robin Gow. What a tender collection! It centers the diary of a 6th grader with autism who has lost his best friend, a diary written to Mothman. Written for children, it reminds us that we all know the feeling of being someone's monster.
Visit Willie Edward Taylor Carver, Jr.'s website.

Q&A with Willie Edward Taylor Carver, Jr.

My Book, The Movie: Tore All to Pieces.

The Page 69 Test: Tore All to Pieces.

--Marshal Zeringue

Thursday, March 19, 2026

Ava Morgyn

Ava Morgyn is the USA Today bestselling author of The Bane Witch and The Witches of Bone Hill. She grew up falling in love with all the wrong characters in all the wrong stories, then studied English Writing & Rhetoric at St. Edward’s University. She is a lover of witchcraft, tarot, and powerful women with bad reputations, and she currently resides in Houston surrounded by antiques and dog hair. When not at her laptop spinning darkly hypnotic tales, Morgyn writes for her blog on child loss (forloveofevelyn.com), hunts for vintage treasures, and reads the darkest books she can find.

She is the author of YA novels Resurrection Girls and The Salt in Our Blood.

Morgyn's new novel is Only Spell Deep.

Recently I asked the author about what she was reading. Her reply:
I’m very much a mood reader, which means I don’t like to keep a towering TBR and tend to jump around a lot between genres. Though I pretty consistently read books with darker themes—so horror, Gothic literature, dark fantasy, thrillers, and the like.

I just finished books by two of my favorite authors. I devoured Play Nice by Rachel Harrison, a contemporary horror about an influencer who inherits her late mother’s old haunted house and tries to remodel it for views. It was a dark, winding adventure through childhood trauma, unreliable memories, attempts to control the narrative, grief, and the phenomenon of women not being believed. Highly recommend!

I also just turned the last page on Eve Chase’s The Midnight Hour—a beautiful mystery set in London’s Notting Hill that jumps between time periods and points of view as it unravels the secrets at the heart of one family’s legacy of love, betrayal, loss, and second chances. Eve’s prose is stunning and her stories are like intricate knots waiting to be untied. I treasure them.
Visit Ava Morgyn's website.

The Page 69 Test: The Bane Witch.

Q&A with Ava Morgyn.

The Page 69 Test: Only Spell Deep.

--Marshal Zeringue

Monday, March 16, 2026

Lyla Lane

Sonia Hartl (AKA Lyla Lane) is the author of YA, romance, and cozy mysteries. Her books have received starred reviews from BookPage and Booklist, and earned nominations for the Georgia Peach Book Award, YALSA’s Quick Picks for Reluctant Readers, Bank Street College of Education’s Best Children’s Books of the Year, ALA’s Rise: A Feminist Book Project List, and ALA’s Rainbow Booklist, and was named an Amazon Editors’ Pick for Best Young Adult. When she’s not writing she enjoys board games with her family, attempting to keep her garden alive, or looking up craft projects she’ll never get around to completing on Pinterest.

Hartl/Lane's new novel is The Best Little Motel in Texas.

Recently I asked the author about what she was reading. Her reply:
I just finished Murder Bimbo by Rebecca Novack, and I can say with certainty that this is going to be one of my favorite reads of the year. It was an epistolary novel about a sex worker who assassinates a right-wing politician known as Meat Neck. With one story told three different ways, depending on who the unreliable narrator was trying to persuade, this absolutely unhinged book was a delight from start to finish.
Visit Lyla Lane's website.

My Book, The Movie: The Best Little Motel in Texas.

Q&A with Lyla Lane.

The Page 69 Test: The Best Little Motel in Texas.

--Marshal Zeringue

Friday, March 13, 2026

Kelsey Day

Kelsey Day is a young adult author and queer Appalachian poet. Their writing has appeared in The Atlantic, Orion Magazine, Freeman’s and more.

The Spiral Key is their first novel for young readers.

I recently asked Day about what they were reading. Their reply:
Right now I’m midway through a book called I Keep My Exoskeletons to Myself by Marisa Crane. It’s a literary speculative novel in which wrongdoers are marked for their crimes with extra shadows. Every character’s interaction(s) with the “justice” system physically marksthem with a new shadow, and each shadow further ostracizes them from the privileged class.

The book is about surveillance and the justice system, but even more it’s about grief and motherhood. The narrator’s wife died in childbirth, and their kid was born with two shadows. The reader follows the narrator through spirals of grief and rage, with the tense hum of dystopia in the background.

I love books like this, that place us in a speculative environment while focusing on the ordinary ache of human life. There’s a YA book called The Rest of Us Just Live Here by Patrick Ness that does something similar. It’s set in a world full of supernatural disasters and “chosen ones” who valiantly fight off the threats—but those heroic stories operate in the background of the story. The main characters of the book are ordinary teenagers who live in the heroes’ wake.

This style of dystopia writing is super inspiring to my own work. My debut novel, The Spiral Key, is about a teenage girl getting locked into a virtual reality that’s controlled by her ex-best friend—and though it’s a techno-thriller about the dangers of VR and AI, it’s also ultimately focused on the relationship between these two girls.
Visit Kelsey Day's website.

Q&A with Kelsey Day.

--Marshal Zeringue

Tuesday, March 10, 2026

Isabel Booth

Isabel Booth is the pen name of Karen Jewell, a former trial attorney and now a writer. She holds an undergraduate degree in English, a Master’s in Business Administration, and a Juris Doctorate degree. When she’s not writing she loves to read, travel, and cook dinner for friends. She lives in Houston, Texas, with her husband.

Booth's new novel is Then He Was Gone.

Recently I asked the author about what she was reading. Booth's reply:
I belong to two neighborhood book clubs. Both meet this week and I’ve been reading like mad the past few days to be prepared. When you see the first selection, you’ll understand why.

All the Colors of the Dark, by Chris Whitaker

595 pages! I found it engrossing to the end. This is a missing person mystery, a serial killer thriller, and a love story. Set in the small town of Monta Clare, Missouri, the novel centers around Joseph “Patch” Macauley and his friend Saint. Thirteen-year-old Patch, born with one eye and fancying himself a pirate, saves a girl from being kidnapped and he is taken instead. This sets off a complex, decades-long story of trauma and obsession, loss, hope, lasting friendships, and love. The ending is a treasure because it has twists and turns that I didn’t see coming but don’t feel contrived.

The Correspondent, by Virginia Evans

Sybil Van Antwerp is 72 when this novel begins, outspoken, intelligent, and set in her ways. She is a retired attorney, divorced and living alone, and has recently discovered that she is going blind. The story of her life is told through letters and emails she sends to, and the replies she receives from, family, friends, former colleagues, and literary icons. The correspondence explores themes of loss and regret, estrangement and forgiveness, and a lifetime of grief and guilt over the death of one of her sons at the age of eight. Those are always powerful themes, but what really made the novel work for me was its look at the possibility of change late in life, and the exchanges that reveal her prickly character that are sometimes laugh-out-loud funny.
Visit Isabel Booth's website.

My Book, The Movie: Then He Was Gone.

Q&A with Isabel Booth.

The Page 69 Test: Then He Was Gone.

--Marshal Zeringue

Saturday, March 7, 2026

Danielle Girard

Danielle Girard is the USA Today and Amazon #1 bestselling author of sixteen novels, including the Annabelle Schwartzman Series, Chasing Darkness, and The Rookie Club series. Her books have won the Barry Award, the Romantic Times Reviewers’ Choice Award, and White Out was in the top 100 bestselling e-books of 2020. In addition, two of her titles have been optioned for screen.

Girard's new novel is Pinky Swear.

Recently I asked the author about what she reading. Her reply:
My Friends by Fredrik Backman.

I’m in awe with the way Backman portrays friendship and emotion with such remarkable tenderness and authenticity. His characters reveal love, loyalty, guilt, and forgiveness through subtle gestures and shared silences. Backman captures the fragility of human connection, showing how friendships endure through vulnerability, miscommunication, and unwavering compassion. When I’m working on my own books, I like to read Backman and remind myself how much power there is in what isn’t said and how much depth can be accomplished with such economy.
Visit Danielle Girard's website.

Writers Read: Danielle Girard (August 2018).

My Book, The Movie: Expose.

The Page 69 Test: Expose.

The Page 69 Test: White Out.

Q&A with Danielle Girard.

--Marshal Zeringue

Thursday, March 5, 2026

Karen E. Olson

Karen E. Olson, author of An Inconvenient Wife, is the winner of the Sara Ann Freed Memorial Award and a Shamus Award finalist. She is the author of the Annie Seymour mysteries, the Tattoo Shop mysteries, and the Black Hat thrillers. Olson was a longtime editor, both in newspapers and at Yale. She lives in North Haven, Connecticut.

Olson's new novel is A Defiant Woman.

Recently I asked the author about what she was reading. Her reply:
The Tudors are clearly top my non-fiction subjects—and while my new novels are re- tellings, I like to loosely base my plots on actual Tudor history. It was for this reason that I recently picked up Nicola Tallis’s Crown of Blood: The Deadly Inheritance of Lady Jane Grey. Tallis’s easy narrative is more novel-like than a dry biography of the young woman who was officially queen for nine days after Edward VI died, casting aside his half-sisters Mary and Elizabeth in the line of succession in favor of his cousin—who did have a direct line to the throne as her grandmother was Henry VIII’s youngest sister Mary. Jane, who was a scholar and a linguist rivaling her cousin Elizabeth, was first a reluctant bride when her father conspired with the Duke of Northumberland to marry her to his son—and then was a reluctant queen in the plot that would put both her and her husband on the throne. But no matter how reluctant she was, Jane did attempt to rise to the occasion only to be struck down by her much more powerful and popular cousin Mary Tudor. Tallis’s recounting of Jane’s upbringing through to her fate on the block is a worthy read for anyone interested in the Tudors.

As for fiction, I balanced out my Tudor obsession with a remarkable crime novel called The Impossible Thing by Belinda Bauer. I had absolutely no idea what to expect from this book, as I stumbled across it and thought it might be interesting. Who knew there was an illegal egg trade in the UK? Two braided timelines, one set in the 1920s and one today, tell the story of the mysterious and rare Metland egg, coveted by collectors—enough so that murder is not a step too far to obtain it. The author’s note at the end of the book is just as fascinating as her fictional story, because she explains that it is based on a real one. Two months after finishing this book, I find myself still thinking about it and the incredibly well drawn characters who inhabit it.
Visit Karen E. Olson's website.

The Page 69 Test: An Inconvenient Wife.

Q&A with Karen E. Olson.

The Page 69 Test: A Defiant Woman.

--Marshal Zeringue

Tuesday, March 3, 2026

Marina Evans

Marina Evans is a former Dallas Cowboys Cheerleader who graduated from Southern Methodist University with degrees in English Literature and Creative Writing. During her time with the Cowboys, she cheered under her maiden name/nickname, Rena Morelli. She lives in Arizona now but thinks about her days in short-shorts often.

Death of a Cheerleader (UK title) and The Cheerleader (U.S. title) is her debut thriller.

Recently I asked Evans about what she was reading. Her reply:
I’m so happy to answer this question; I love talking up other authors!

First on my list is Saltwater by Katy Hays. I’m half-Italian and love everything Italian, so when I read the book blurb I was sold. It’s a sultry, seductive mystery set on the cliffs of Capri involving three key things: a valuable necklace that’s been passed down for generations, dishy family drama, and a decades’ old crime. Think Succession on a stunning Mediterranean island!

Next on my TBR list is The Burning Library by Gilly Macmillan. I adore all of Macmillan’s books; she has a distinctively sinister writing style. In this story set on Scotland’s frigid Western Isles, a body of woman is discovered on the shore. From there, the cast of characters get tangled in a complicated web that quickly spins out of control. There’s a deadly rivalry. A chilling secret. And only one woman who can decipher the truth. A brilliant premise!
Visit Marina Evans's website.

My Book, The Movie: The Cheerleader.

Q&A with Marina Evans.

--Marshal Zeringue

Sunday, March 1, 2026

Ahmad Saber

Ahmad Saber is a young adult author who grew up on an all-girls college campus next to a massive fort in Pakistan. He now lives in Canada, and loves Broadway (favorite show = Phantom), travel (favorite place = 4-way tie between NYC, Seoul, Paris, and Melbourne), and Taylor Swift (favorite album = folklore) He's also a self-professed Chocolate Chip Cookie Connoisseur and has crowned New York's Culture Espresso’s as the best in the world.

Ramin Abbas has MAJOR Questions is his debut novel and is based in part on his own lived experience, exploring the inherent challenges of being queer and Muslim, and the struggle to reconcile faith with sexuality.

Saber is also a medical doctor specializing in rheumatology.

Recently I asked the author about what he was reading. Saber's reply:
I must admit I am a relatively new reader, and I know this is not typical for many writers. After all, we know that in order to be a writer, you have to be a reader first. However growing up, I never had the chance to explore the reader within me, so now I have a huge backlog of classics to catch up on! I am overjoyed to have discovered the world of books (and not so overjoyed that I’m a “slow” reader.)

Nevertheless, as I gradually form my reading tastes, I already know I like YA literature (Hello, John Green!) and horror (hello, Stephen King!) the best, so I will give examples from each for my recent/current reads.

For YA, I recently read Emiko Jean’s Tokyo Ever After and as a lover of all things Japan, I loved this book. It hit the spot between a feel-good coming-of-age with romance, and a fun exploration of Japanese culture from an “outsider’s” point of view.

I also read Crystal Maldonado’s The Fall of Whit Rivera and had simply picked it up for wanting fall vibes in book form. I really enjoyed the sweet romance in the book, and Whit’s battle with self-acceptance including her polycystic ovary syndrome. And then there’s Crystal’s beautiful writing, which I’ve been a fan of since Fat Chance, Charlie Vega.

Lastly, I just knocked off a classic on my YA TBR: Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz. And my gosh, what a read! Definitely pulled on all the heart strings, and I felt this was the YA equivalent of Call Me By Your Name. I could clearly see why the book is such a powerhouse in queer literature.

For horror, I’m about 30 to 40% of the way into Ascension by Nicholas Binge, and truly creeped out. The book is about a tall mountain that has appeared in the middle of the Pacific Ocean, and no one knows why. Throw in people developing schizophrenia-like syndromes by climbing it, and discovering RNA-based life forms, and you’re in for a thrilling read! I’m thoroughly enjoying it and can’t wait to finish reading it.

And that is just a snapshot from my TBR!

And if I can add a book to your TBR–not only because I’m the author and thus very biased–but because I truly believe this is a fun book that’ll also leave you thinking: Ramin Abbas Has MAJOR Questions.
Visit Ahmad Saber's website.

The Page 69 Test: Ramin Abbas Has MAJOR Questions.

My Book, The Movie: Ramin Abbas Has MAJOR Questions.

--Marshal Zeringue

Friday, February 27, 2026

Sherry Rankin

Sherry Rankin grew up in New Jersey where she became an early and avid reader of mystery fiction. She earned undergraduate and graduate degrees in English and currently lives in Abilene, Texas where she has taught writing and literature at a local university for twenty years.

Her novel, Strange Fire, was shortlisted for the 2017 Daniel Goldsmith First Novel Prize and won the 2017 CWA Debut Dagger Award.

Her debut thriller, The Killing Plains, was published by Thomas & Mercer as a super lead title in February 2025.

Rankin's new novel is The Dark Below.

Recently I asked the author about what she was reading. Her reply:
I tend to read less for information than for the emotions books evoke—which makes me a devoted re-reader. For every new book I read, I probably reread ten.

I’ve just finished rereading Jane Harper’s The Lost Man. I’m always struck by her ability to make landscape feel like a living presence, as well as by her spare, clean, understated style and her seamless weaving of past and present.

At the moment, I’m also rereading Tolkien’s The Lord of the Rings trilogy. It feels like returning to an old friend—comfortable and comforting, but intellectually and morally challenging, as well. It helps keep me grounded.
Visit Sherry Rankin's website.

My Book, The Movie: The Killing Plains.

The Page 69 Test: The Killing Plains.

Q&A with Sherry Rankin.

My Book, The Movie: The Dark Below.

The Page 69 Test: The Dark Below.

--Marshal Zeringue

Tuesday, February 24, 2026

Verlin Darrow

Verlin Darrow is a psychotherapist who lives with his psychotherapist wife in the woods near the Monterey Bay in northern California. They diagnose each other as necessary. Darrow is a former professional volleyball player (in Italy), unsuccessful country-western singer/songwriter, import store owner, and assistant guru in a small, benign spiritual organization.

His new novel is The Brighter the Light, the Darker the Shadow.

Recently I asked Darrow about what he was reading. The author's reply:
At the moment, I’m oscillating between several genres. (Can you oscillate between more than two things? I’m too lazy to look this up). I like humor mixed into what I read, so I seek out comic crime, quirky science fiction, and offbeat mystery novels. (I did manage to look up synonyms for humor).

Here are the three I’m currently (and concurrently) reading:

Fortunate Son by Caimh McDonell

This is the ninth and latest book in The Dublin Trilogy (Go figure.) I’m not a laugh out loud kind of guy, but in this case…. All the books in the series feature Bunny McGarry, an Irish policeman with a distinctly alternative perspective from any cop you’ve ever read about. The plots are wonderfully convoluted—more like mysteries than most crime novels. I can’t recommend this author more highly.

The Murderbot Diaries by Martha Wells

I wasn’t familiar with this author until I streamed a TV series by the same title. The inner monologue of the sentient, cynical, misanthropic android is consistently amusing, and other elements are wonderfully imaginative. I can’t say this author is a paradigm of great writing, but it doesn’t matter to me. Inspired by this book, I actually started writing a novel featuring a sentient android, but it didn’t have legs (the book, I mean, not the android), so now it’s just forty dormant pages.

The Fugitive Pigeon by Donald E. Westlake

Westlake is my favorite author—in all his incarnations and pseudonyms. Nobody can do either comic crime or hard-boiled caper novels with quite the same consistent level of professionalism. And his screenplays—such as Grifters—have won awards. That said, I’m rereading this older novel and may stop. I really want to like it, but I guess it’s not possible for an author’s vision to always match up to what suits me.
Visit Verlin Darrow's website.

Writers Read: Verlin Darrow (May 2023).

My Book, The Movie: Murder for Liar.

The Page 69 Test: Murder for Liar.

The Page 69 Test: The Not Quite Enlightened Sleuth.

Writers Read: Verlin Darrow (April 2024).

My Book, The Movie: The Not Quite Enlightened Sleuth.

My Book, The Movie: The Brighter the Light, the Darker the Shadow.

Q&A with Verlin Darrow.

--Marshal Zeringue

Monday, February 23, 2026

D.W. Buffa

The Dark Backward is among D.W. Buffa's more recent novels to be released. The story revolves around not just the strangest case William Darnell had ever tried;
it was the strangest case ever tried by any lawyer anywhere. It was impossible to explain; or rather, impossible to believe. The defendant, who did not speak English or any other language anyone could identify, had been found on an island no one knew existed, and charged with murder, rape and incest. He was given the name Adam, and Adam, as Darnell comes to learn, is more intelligent, quicker to learn, than anyone he has ever met. Adam, he learns to his astonishment, is a member of an ancient civilization that has remained undiscovered for more than three thousand years.
Buffa is also the author of ten legal thrillers involving the defense attorney Joseph Antonelli. He has also published a series that attempts to trace the movement of western thought from ancient Athens, in Helen; the end of the Roman Empire, in Julian's Laughter; the Renaissance, in The Autobiography of Niccolo Machiavelli; and America in the twentieth century, in Neumann's Last Concert.

Here is Buffa's take on Otto Friedrich’s Before The Deluge: A Portrait of Berlin in the 1920s:
Otto Friedrich distinguishes himself from the typical historians who specialize, compartmentalize and would “mistrust any journalistic attempt to include movie stars and generals and bankers and poets in the same chronicle.” The story he wants to tell, “the story of Berlin in the 1920s permits no other approach.” What Friedrich calls his “journalistic attempt,” however, is precisely what a truly great historian tries to achieve. And that is what Otto Friedrich really was, a great historian, perhaps the greatest American writer of European history in the twentieth century. Like Jacob Burckhardt in his classic The Civilization of the Renaissance In Italy, Friedrich gives more than a chronology of interesting events and biographies of important people; he paints a portrait of a place and time, a work of art that, in a way nothing else can, shows what it was like to live in Berlin, a city that before we have read the first page we know is doomed to destruction, and something more than that in the memory of those who remember what the Third Reich did to the world.

Otto Friedrich was not a professional historian, but he majored in history at Harvard, where his father, Carl Friedrich taught government, and became one of the best read men of his generation, a generation that still took reading seriously. In one of his other works, City of Nets, which tells the story of Hollywood in the 1940s, he read five hundred books before he started to write; he read more than three hundred in preparation for Before The Deluge. This gave him the kind of familiarity with things - the different colors, and the different shades of colors - with which to paint the most vivid picture of Berlin in the 1920s we will ever have. It begins with the Russians.

After the Russian Revolution of 1917, the Russian contingent in Berlin grew to perhaps as many as 50,000. “Russian restaurants and cabarets…opened everywhere.” Karl Radek, Lenin’s personal envoy to Berlin, “sometimes exchanged barbed remarks with the former grand dukes who waited on tables.” A young playwright, Carl Zuckmayer, happened to be in one of the Russian restaurants one evening when the great Russian ballerina, Pavlova, entered. All the talking stopped. Everyone stared in silence. Pavlova, who knew what she was about, acknowledged what they wanted and danced for five minutes, “floated above that narrow space like a phantom, then with a deep bow of her whole body sank to the stone floor. The cheers that burst out seemed on the point of shattering the vaulted ceiling, but she silenced them with another gesture of her lovely arms, then returned to the small sofa and her companions. Thereafter no one looked in her direction.”

The Russians, unfortunately, brought more than the marvelous dancing of Pavlova. They brought their politics, which meant their ideas, and their violent disagreements, about revolution. Rosa Luxemburg attacked Karl Radek for the Bolshevik’s use of terror. “Radek had the standard answer - Lenin applied terror, he said, only against ‘classes whom history has sentenced to death.’” Vladimir Nabokov’s father, a former member of the Russian parliament and the editor of the leading Russian daily newspaper in Berlin, opposed any compromise with Lenin and was shot and killed when he threw himself in front of an assassin’s bullet meant for Peter Miliukov with whom he was having a public debate on this very question. Even more troubling than the terror that Lenin and the Bolsheviks were willing to use against classes history had sentenced to death was what some Russians thought should happen to a race that, in their judgement, had no right to live. Fyodor Vinberg, a former Czarist officer, founded a newspaper in Berlin in which “He argued, quite emphatically, that all Jews should be killed.” He brought to Germany the first copies “of a provocative Russian work called The Protocols of the Elders of Zion, a fraud concocted in 1895, apparently by the Czarist secret police,’ alleging that a Jewish conspiracy existed to take over the world. A new edition sold 100,000 copies in Germany.

It would have been easy to dismiss this as the ravings of a lunatic fringe. Jews were proud to be German and no one was more patriotic. One of every six Jews, including women and children, had served in the German armed forces in World War I. One hundred thousand had entered the army; 35,000 were decorated for bravery. Twelve thousand had been killed. After the war, Walter Rathenau became“one of the most nationalistic of Germany’s foreign ministers.” Rathenau was also anti-Semitic. “I am a German of Jewish descent,” he explained. “My people is the German people, my fatherland is Germany, my religion is that German faith which is above all religions.” The Jewish refugees that had arrived from Eastern Europe were to him “an alien organism,” a problem that should be dealt with, not by making them “imitation Germans, but Jews bred and educated as Germans.”

When Rathenau, who was enormously popular, was murdered, a million people marched in protest. At the trial of those who had conspired to kill him, one of the defendants testified that he had been told that Rathenau belonged to a Bolshevist movement that was attempting to bring the world under the rule of the Jews. Some years later, on the eve of the Nazi take over, one of the conspirators hit Goebbels on the side of the face and shouted: “It wasn’t for swine like you that we shot Rathenau.” This did not stop the Nazis using his death for their own purposes, declaring that the murder of Rathenau was all in the “spirit of the SS.”

More than anything, what happened in Berlin in the l920s was because of the insistence of the victorious allies that Germany pay for the war. The reparation issue, which Winston Churchill called “A sad story of complicated idiocy,” produced increasing inflation as the government printed money to pay its debt. The German mark fell from 4.2 to the dollar in l918 to thousands, then millions, then billions to the dollar, falling so far and so fast that Bruno Walter, the conductor of the Berlin philharmonic, would take a break during rehearsal so the orchestra’s musicians could use their paychecks to buy what they could before prices were higher an hour, or even a few minutes, later. By the middle of the 1920s, “the whole of Germany had become delirious.” The savings of the middle and the working class were wiped out. All values changed; everyone did what they had to do to survive. Morality could no longer afford to exist.

Life went on anyway it could. And, strangely enough - or perhaps not strangely at all - the arts and architecture took a new turn. Walter Gropius saw that the machines which seemed to produce nothing but ugliness could be used to make beautiful things, and with that insight he began the era of modern furniture and modern design. With the same reasoning, Gropius imagined glass and metal skyscrapers, buildings that “were to be giant crystals,” and would change forever the shape of cities and the way in which people lived and worked in them. Everywhere the traditional was rejected in favor of the new and innovative; nowhere was this passion to abandon the past taken to a greater extreme than in classical music.

It did not matter what Bach or Beethoven or Mozart had done; it was time to do something different, a “whole new language for modern music,” something Arnold Schoenberg was certain he could do. The twelve tones of the chromatic scale were to be equal in value. They could be played in any sequence, but - and this was crucial - “no note could be repeated until the other eleven had been stated.” Schoenberg did not care if an audience hated it. That only proved he was right: The “laws of nature manifested in a man of genius,” he explained, “are but the laws of the men of the future.”

The pianist, Rudolph Serkin, loved Schoenberg. “But I did not love his music. I told him so, and he never forgave me.” Thomas Mann and Schoenberg were good friends. Mann wrote Dr. Faustus in which Schoenberg’s music is made to be the work of the Devil. Schoenberg never spoke to him again. Whatever one thinks about Schoenberg and his music, it is impossible not to admire what he did when the Nazis came to power. While he was in Paris working on an opera, he was informed that he had been dismissed as a professor at the Berlin Academy of Music and should not come back to Germany. Without a job, and without a country, Arnold Schoenberg, a German Catholic, changed his religion and became a Jew.

The incessant desire for change, the belief that everything is the creation of human genius, that the only rules are the rules we make and impose upon ourselves, found support, and had, as it were, its foundation, in what was happening in theoretical physics. Friedrich treats this with a clarity a specialist in science could never achieve. At the beginning of the twentieth century, Max Planck explained the Quantum Theory. “Light and energy, he said, do not move in continuous waves but in a flow of tiny particles.” Niels Bohr then applied Planck’s Quantum Theory to the problem of atomic structure, which in turn led to Werner Heisenberg’s Principle of Indeterminacy which “abolished, to state it simply, the whole idea of exact observation. There was no longer such a thing as a ‘scientific fact.’” The result was, that “If, basically, Einstein taught that all facts are relative, Heisenberg taught that all facts are purely momentary perceptions of possibilities.”

Everything is relative, there are no objective facts. Everything is subject to interpretation, and no interpretation is any better, any more true, than any other. As Nietzsche had foreseen, everything takes the shape of whoever has the power to enforce their belief on everyone else. It is the will to power that Nietzsche insisted gave meaning to the world; it is the will to power that, with the loss of belief in all objective standards, made Hitler so appealing. It was the reason that so many of the youth of Germany gave him such great support. Richard Lowenthal, who had studied at the University of Berlin in the twenties, told Friedrich that nearly two-thirds of the students “were already committed to the right.” Friedrich expressed astonishment. How could the Nazis “appeal so strongly to young students,” he asked, “when one usually thinks of young people as idealistic?” Lowenthal answered without hesitation. “Because the Nazis were idealistic, too.” They “promised national unity and national resurrection.” They “promised an alternative to what they called the corrupt plutocratic system.” But there was more involved than misguided idealism; there was a deep dislike of Jews. In l927, the Prussian Student Organization, Friedrich reports, was 77% against the admission of Jews. More than their parents, they were not just anti-Semitic, they were pro-Nazi, “60% by actual count - and ready for violence.”

None of this seemed to matter at the beginning of 1929. It was the year when Berlin, like much of Europe and America as well, basked in the glow of “euphoric prosperity.” The new technology, the speed of transport, the crossing of the Atlantic by air, seemed to mark the triumph of the machine age. Germany, finally, was on the road to recovery. Then, suddenly, on October 29, the stock market crashed and within weeks 750,000 of Berlin’s population of four million were out of work. Goebbels’ newspaper with its slogan, ‘For the Oppressed Against the Exploiters,’ had a new appeal. The National Socialist Party which had only 17,000 members in 1926, and 120,000 in the summer of l929, had at least a million members in 1930. In the election of that year, the Nazis, who had only twelve seats in the Reichstag before, won 107 and became Germany’s second largest party. More than the numbers changed inside the Reichstag. Enjoying parliamentary immunity, the Nazi members turned legislative debates into “a scene of shouted insults, loud singing, and threats of violence.” And then, in the next election, in 1932, the Nazis nearly doubled their vote, won a majority in the Prussian state election, forced Hindenburg to make Hitler chancellor and gave birth to the Third Reich.

The reaction in Germany was emphatic. Hans Gisevius, “who, as a young lawyer, shared in the national illusion,” explained years later that, “The glorious sensation of a new fraternity overwhelmed all groups and classes.” They had “suddenly learned what seemed to be the greatest discovery of the century - that they were comrades of one race…. Above all, youth, youth was getting its due.”

Goebbels was not surprised. He claimed to have helped the Nazi cause “in four essential ways: by introducing Socialism into a middle-class group, by ‘winning Berlin,’ by working out the style of the party’s public ceremonies, and by the ‘creation of the Fuhrer myth. Hitler had been given the halo of infallibility.” It was a myth Hitler himself believed. When one of his followers told him he was mistaken about something, he angrily replied, “I cannot be mistaken. What I do and say is historical.” There was never any doubt about what Hitler meant to do, and how he meant to do it. He understood what he was working with, and what had to be done to get what he wanted: “The receptivity of the masses is very limited, their intelligence is small, but their power of forgetting is enormous. In consequence of these facts, all effective propaganda must be repeated until every last member of the public understands what you want him to understand.”

Before The Deluge is an extraordinary book, a book that tells the story - the whole story - of what happened in Berlin a hundred years ago, and what happened to the rest of the world because of it. If that seems too far back in the past to have any relevance to the present situation, if it seems too far back in time to tell us anything about what our own future may hold, we would do well to remember that, as the author explained at the beginning, “people who forget the past are condemned to misunderstand it.” Anyone who does not see the parallels with what happened in Berlin in the l920s and what could happen here today has not read Otto Friedrich, and does not understand the past.
Visit D.W. Buffa's website.

Buffa's previous third reading essays: The Great Gatsby; Brave New World; Lord Jim; Death in the Afternoon; Parade's End; The Idiot; The Decline and Fall of the Roman Empire; The Scarlet Letter; Justine; Patriotic GoreAnna Karenina; The Charterhouse of Parma; Emile; War and Peace; The Sorrows of Young Werther; Bread and Wine; “The Crisis of the Mind” and A Man Without Qualities; Eugene Onegin; The Collected Works of Thomas Babington Macaulay; The Europeans; The House of Mirth and The Writing of Fiction; Doctor Faustus; the reading list of John F. Kennedy; Jorge Luis Borges; History of the Peloponnesian War; Mansfield Park; To Each His Own; A Passage To India; Seven Pillars of Wisdom; The Letters of T.E. Lawrence; All The King’s Men; The Roman History of Ammianus Marcellinus; Naguib Mahfouz’s novels of ancient Egypt; Main Street; Theodore H. White's The Making of the President series, part I; Theodore H. White's The Making of the President series, part II; Thus Spoke Zarathustra; Fiction's Failure; Hermann Hesse's Demian; Frederick Douglass, Slavery, and The Fourth of July; Caesar’s Ghost; The American Constitution; A Tale of Two Cities; The Leopard; Madame Bovary; The Sheltering Sky; Tocqueville’s America and Ours; American Statesmen; Ancient and Modern Writers Reconsidered; Père Goriot; The Remarkable Edmund Burke; The Novels of W.H. Hudson; America Revised; The City And Man; "The Use And Abuse Of History"; I, Claudius; The Closing of The American Mind; History of Rome.

--Marshal Zeringue