As a woman who came of age during the explosion of feminism in the 1960s; who entered law school the year law schools nationwide made a much-trumpeted effort to raise the percentage of female students from 5% to 20% (they are now the majority); whose first legal job was with the only woman in practice in my western Massachusetts county; and who proudly conducted cross-examinations in 3-inch heels so that, at 5’ 9” in stockinged feet, I’d be as tall, or taller, than most of my male opponents—it’s been something of an embarrassment when, at book talks, my answer to the frequently posed question about authors I loved while growing up includes– take a gulp!—no women.
How can this be? I’ve searched my soul and psyche and find no latent misogyny, no self-hatred, no oxygen-starved upbringing where the only fare was The Hardy Boys and White Fang. The answer, it seems, from the vantage point of 50+ years, has more to do with the expectations of life subtly but powerfully put across in the bookish options available to me in my girlhood than any literary merit. Little Women may have been a great novel, but the girls seemed to mainly stick around the house. (Plus they were “little.” See above.) Jane Austen, perennially loved, terrified me with her message—already so suffocating in real life—that the only route to happiness and respectability was through marriage and, God help us, social climbing. Ditto just about every other female author of the 19th and early 20th century who crossed my albeit very limited radar. Read more
2011 at 5am Posted by Rebecca Schinsky
The Bare Necessities is a series in which authors and book industry professionals share annotated reading lists of books they love.
Matthew F. Jones is the author of several acclaimed novels and screenplays. His new novel A Single Shot is out now from Mulholland Books and is slated for a film production starring William H. Macy and Forest Whitaker (!). He lives near my neck of the woods in Charlottesville, VA.

Art that inspires me most – through whatever medium, literature, the visual arts, music, etc. – creates for me characters or scenes so affecting I’m drawn to know more about them the way I’m drawn to know more about a new person I meet – or stranger I encounter – who in some way (often indefinable to me) sparks my interest. In the visual arts I find this most in certain photographs (often black-and-white) of people in their everyday surroundings or in the best impressionist paintings that magically ignite my imagination to see a world and story well beyond what is on the canvas. The best blues and bluegrass music (from its pioneers up through today’s masters) moves me in the same way. And though I’m an eclectic reader, the novels I admire most have two common elements; indelible characters whose stories are compelling because of who they are; and a rich evocation of the particular world they live in.
Growing up I loved the fiction of Steinbeck, Hemingway, Flannery O’Connor, Graham Greene, Dostoyevsky, Bellow among many others. The unifying elements of these authors for me was their ability to drive a story with great characterizations and the way in which their writing didn’t get in the way of itself. Every word in their books was meaningful to the worlds they were creating. They never used words as simple adornment or to demonstrate their own intelligence or adeptness. All these authors had the unique ability to draw me so completely into their fictional worlds that the authors themselves were invisible to me. Reading them I was never aware of them plying their craft. In their outwardly simple writing styles (though each owned his/her own unique voice) they drew rich, complex pictures that flowed as images rather than as mere words. And, first and foremost, all were great storytellers, not philosophers or belly-button gazers intent on wrapping their stories around particular agendas. Here are four of my favorite authors and/or books, then and now:
Steinbeck, Of Mice and Men, The Grapes of Wrath, The Winter Of Our Discontent
Steinbeck was the first author to really turn me on to the world of books. In his simple, unadorned style, he created worlds at once foreign and knowable to me, worlds populated by people who (though they were from places and a time foreign to me) felt as real to me as the people I encountered in my everyday life growing up on a farm in upstate, New York; people who defied simple categorizations; people who weren’t all good or all bad, all noble or all dastardly, all strong or all weak; people whose motives were sometimes pure and sometimes not; people who sometimes fell prey to their own weaknesses and sometimes managed to rise above them; interesting people who you felt you could never quite entirely know but wanted badly too and thus, like a small child in pursuit of a butterfly to find its home, were compelled to follow, to watch, to listen to. And somewhere in the process of following, watching and listening to them (to George and Lennie in Of Mice and Men, to Tom Joad in The Grapes Of Wrath) you realized you were watching a great story unfold that would define them to you more than the mere fact of your knowing them ever could.
Harper Lee, To Kill A Mockingbird
Some contemporary critics have found fault with this novel, condemning it as a children’s book with inconsistent narration that vacillates between a child’s and an adult’s voice. Others have mocked the ethical purity and exaggerated idealism of Atticus Finch. I can only say I first read the book as a child and, with its simplistic but no less powerful lessons about inequality, injustice and the nature of humanity, it had on me a tremendous affect that remains with me to this day. Not too long ago, with some trepidation for fear it wouldn’t hold up in my somewhat more (unfortunately) jaded adult mind, I reread To Kill A Mockingbird. Even recognizing in it a few flaws I hadn’t as a kid recognized – and certainly wouldn’t have been at all troubled by if I had – I found the novel as compelling now as I did initially. And that to me marks it a great book. It’s probably the best child narrator’s point of view novel I’ve ever read, yet is no more simply a child’s book than is, say, Portnoy’s Complaint or The Bell Jar. And it is the one book I can think of that specifically influenced me in any way. Reading it as a kid had a lot to do with convincing me I wanted to be a small town lawyer servicing the needs of the people in the town I grew up in. Years later I followed that goal to its fruition. It took a few more years for me to recognize it was the storytelling more than the lawyering in To Kill A Mockingbird I was most drawn to. Read more
2011 at 5am Posted by Rebecca Schinsky
The Bare Necessities is a series in which authors share annotated reading lists of books they love.
Lenore Zion is a therapist, a writer, and the author of My Dead Pets Are Interesting, an irresistible collection of personal essays that range from the profound to the ridiculous, the “that’s so insightful” to the “Ohmigod, I feel so validated by the knowledge that someone else is just as secretly weird as I am.” Zion is about my age, and I’ve overcome my extreme jealousy of her talent (not to mention that the folks behind The Nervous Breakdown, one of my favorite websites, published her book) to bring her here today for this guest post about her the books that make her feel equally validated and understood.

A good book should, in my mind, do two things above all else: it should educate, and it should make you feel personally understood. By “educate,” I mean you should walk away from the book able to speak effectively on a new avoiding-the-awkward-silence topic with all the people around whom you are socially inept. By “make you feel personally understood,” I mean that a book should be your best friend, make you feel better about yourself, help temper your insecurities. Of course, what is true of human best friends is also true of literary best friends – you have to get each other. Which is why I’m calling attention to some books for misfits and freaks.
Ender’s Game by Orson Scott Card
One of the recurrent themes of misfititude is oppression. Society is oppressive. Your parents are oppressive. Your peers are oppressive. Misfits are expected to respond to the pressures to either conform, if the misfit appears to be unexceptional, or perform, if the misfit appears to be exceptional. Ender, the protagonist of Ender’s Game, is expected to do both. He’s got it worse than your average freak – he represents something so many standard deviations away from the mean that he cannot even remain on Earth. This six-year-old boy has to go to space and spend his entire childhood and adolescence at battle school, where he must conform to the culture of kiddie violence and war while his commanders, sadistic as they are, design a social structure intended to isolate the poor kid even in the face of the demanded conformity. This is because he is, apparently, humankind’s only hope in defeating a terrifying race of insect-aliens that intend to totally f**k us up. Talk about pressure. This is way worse than getting teased in the lunchroom because your pants have pleats. Thank goodness they sent the kid to space – if they didn’t, he’d be an easy recruit to the Trench Coat Mafia.
The Breast by Philip Roth
Acne is an embarrassing condition. People judge you as unclean and unhealthy, even though you totally shower at least once a week and smear creams formulated to dissolve industrial metals on your face three times a day. The zits serve as the tattoos of the freak tribe, and some days it’s so bad you don’t even want to leave the house. You know what’s worse? When you turn into a giant tit. That’s what happens to David Kepesh, the protagonist of The Breast. Not only does the process of metamorphosing into a massive breast leave you feeling a little like the weirdo in the room, but once you’ve completed your transformation, you don’t even have the option to leave that room! Your only respite from your existence as a bona fide freak are your sexual fantasies, which are, frankly, confusing as hell now that you’re a big boob and you’re unfamiliar with what might serve as your erogenous zones. Admit it, you choose acne.
Psychopathia Sexualis by Dr. Richard von Krafft-Ebbing
Do you remember the one boy who got caught masturbating into a sock and got called “Fruit of the Loom” for the rest of his teenage years? Those were rough times for that kid. The 238 case studies detailed in Krafft-Ebbing’s Psychopathia Sexualis, however, reveal what might have been a touch more humiliating. I’m certain most of you fellas can freely admit to some silly sexually-motivated acts in adolescence, and ladies, you’re not the conventional little flowers you pretend to be, either. This is not to say that there aren’t some behaviors best kept private – admitting to whatever fringe fantasies you have is wholly unnecessary. My only point is, most of you haven’t met the requirements needed to earn a spot in this collection of the sexually bizarre. And if you read Krafft-Ebbing’s case studies, you’ll be glad for that. You’ll be shouting confessions of your inoffensive abnormalities from the rooftop.
Geek Love by Katherine Dunn
Your mom is super embarrassing, isn’t she? She’s always just inviting herself right on into the television room when you’re playing Call of Duty: Black Ops with your friends and asking if you guys want sandwiches and lemonade. Well, at least she didn’t purposely manufacture you and your siblings as cash-cow mutants for the traveling freak show she and your dad run. Come to think of it, just as you’re very happy not to be a gigantic breast, you’re also thankful not to have flippers! And look, if you have flippers, you’re still sitting pretty compared to the family around which Dunn’s Geek Love is centered. Because chances are, you’re not also coping with the added element of incest.
Read these books, misfits. And then get together with your weirdo friends and celebrate your good fortune with a burger and a milkshake.