Want to know what books Andrei Codrescu recommends on their reading list? We've researched interviews, social media posts, podcasts, and articles to build a comprehensive list of Andrei Codrescu's favorite book recommendations of all time.
1
Gustav Meyrink, Mike Mitchell | 4.29
First published in serial form as Der Golem in the periodical Die weissen Blätter in 1913–14, The Golem is a haunting Gothic tale of stolen identity and persecution, set in a strange underworld peopled by fantastical characters. The red-headed prostitute Rosina; the junk-dealer Aaron Wassertrum; puppeteers; street musicians; and a deaf-mute silhouette artist.
Lurking in its inhabitants’ subconscious is the Golem, a creature of rabbinical myth. Supposedly a manifestation of all the suffering of the ghetto, it comes to life every 33 years in a room without a... more First published in serial form as Der Golem in the periodical Die weissen Blätter in 1913–14, The Golem is a haunting Gothic tale of stolen identity and persecution, set in a strange underworld peopled by fantastical characters. The red-headed prostitute Rosina; the junk-dealer Aaron Wassertrum; puppeteers; street musicians; and a deaf-mute silhouette artist.
Lurking in its inhabitants’ subconscious is the Golem, a creature of rabbinical myth. Supposedly a manifestation of all the suffering of the ghetto, it comes to life every 33 years in a room without a door. When the jeweller Athanasius Pernath, suffering from broken dreams and amnesia, sees the Golem, he realises to his terror that the ghostly man of clay shares his own face...
The Golem, though rarely seen, is central to the novel as a representative of the ghetto's own spirit and consciousness, brought to life by the suffering and misery that its inhabitants have endured over the centuries. Perhaps the most memorable figure in the story is the city of Prague itself, recognisable through its landmarks such as the Street of the Alchemists and the Castle.
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Andrei CodrescuMeyrink’s novel is just one version of the Golem story, there are dozens. But I like it best because Meyrink was a mystic. (Source)
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2
Virginia Woolf, Brenda Lyons, Sandra M Gilbert | 4.23
Virginia Woolf's Orlando 'The longest and most charming love letter in literature', playfully constructs the figure of Orlando as the fictional embodiment of Woolf's close friend and lover, Vita Sackville-West. Spanning three centuries, the novel opens as Orlando, a young nobleman in Elizabeth's England, awaits a visit from the Queen and traces his experience with first love as England under James I lies locked in the embrace of the Great Frost. At the midpoint of the novel, Orlando, now an ambassador in Constantinople, awakes to find that he is now a woman, and the novel indulges in... more Virginia Woolf's Orlando 'The longest and most charming love letter in literature', playfully constructs the figure of Orlando as the fictional embodiment of Woolf's close friend and lover, Vita Sackville-West. Spanning three centuries, the novel opens as Orlando, a young nobleman in Elizabeth's England, awaits a visit from the Queen and traces his experience with first love as England under James I lies locked in the embrace of the Great Frost. At the midpoint of the novel, Orlando, now an ambassador in Constantinople, awakes to find that he is now a woman, and the novel indulges in farce and irony to consider the roles of women in the 18th and 19th centuries. As the novel ends in 1928, a year consonant with full suffrage for women. Orlando, now a wife and mother, stands poised at the brink of a future that holds new hope and promise for women. less Andrei CodrescuThis is Woolf’s mysterious and magical insight into the cyclical, sexual nature of time. It’s her most beautiful writing too, in my opinion. (Source)
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3
Thomas Bulfinch, Alberto Manguel | 4.15
For almost a century and a half, Bulfinch's Mythology has been the text by which the great tales of the gods and goddesses, Greek and Roman antiquity; Scandinavian, Celtic, and Oriental fables and myths; and the age of chivalry have been known.
The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch... more For almost a century and a half, Bulfinch's Mythology has been the text by which the great tales of the gods and goddesses, Greek and Roman antiquity; Scandinavian, Celtic, and Oriental fables and myths; and the age of chivalry have been known.
The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood.
The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."
Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch. less Andrei CodrescuI was amazed by the beauty of the language, and the storyteller’s unrelenting fascination with the stories he has collected. (Source)
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4
'The bride then came surrounded by her slave girls like the moon among stars or a matchless pearl set among others on a string.'
When the beautiful Shahrazad gives herself to the bloody-handed King Shahriyar, she is not expected to survive beyond dawn. But using her wit and guile, she begins a sequence of stories that will last 1001 nights: stories of 'ifrits and money-changers, prices and slave girls, fishermen and queens, and magical gardens of paradise. This volume also includes the well-known tale of 'Ali Baba and the Forty Thieves'.
Along with this landmark... more 'The bride then came surrounded by her slave girls like the moon among stars or a matchless pearl set among others on a string.'
When the beautiful Shahrazad gives herself to the bloody-handed King Shahriyar, she is not expected to survive beyond dawn. But using her wit and guile, she begins a sequence of stories that will last 1001 nights: stories of 'ifrits and money-changers, prices and slave girls, fishermen and queens, and magical gardens of paradise. This volume also includes the well-known tale of 'Ali Baba and the Forty Thieves'.
Along with this landmark new translation, Robert Irwin's introduction discusses the many cultures The Arabian Nights has drawn on and the elaborate structure of the story-within-a-story that defines the collection, as well as the importance to the Nights of locked doors, sex, and the recurring themes of money, merchants and debts. This edition also contains suggestions for further reading, a glossary, maps and a chronology. less 
Marina WarnerThe Arabian Nights was a collection of popular, vernacular tales that was actually rather despised by scholars – the Arabic apparently is quite rough, compared to the elegance of the Farsi used in the much better known, more established and highly valued Persian romances of the time. The Nights tales were considered trifles and not looked after – the same has happened with a lot of early... (Source)
Robert IrwinWhat’s wonderful about the Arabian Nights is that the tales are really rather stripped down and there’s not a lot of deep psychology. You’re not reading Middlemarch. There’s not all that much in the way of description. The palaces would be conventionally described, the beautiful woman would have eyebrows like this and lips like that, all conventional similes – they rush through it. What you’re... (Source)
Robert IrwinWhat’s wonderful about the Arabian Nights is that the tales are really rather stripped down and there’s not a lot of deep psychology. You’re not reading Middlemarch. There’s not all that much in the way of description. The palaces would be conventionally described, the beautiful woman would have eyebrows like this and lips like that, all conventional similes – they rush through it. What you’re... (Source)
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5
“Welcome to my house. Come freely. Go safely; and leave something of the happiness you bring.” more “Welcome to my house. Come freely. Go safely; and leave something of the happiness you bring.” less 
Becky Cloonan@Noise_Raptor Oh, thank you so much! This book was such a delight, and such a challenge! Dracula is one of my favorites- funny enough I'd jump at the chance to do this again XD (Source)
Douglas StarrWhen you read the physical description of Count Dracula, he does not resemble the handsome vampires we see on television; rather, he looks like a thug. He has one continuous eyebrow across his forehead, thick hands, pointy teeth and pointy ears. (Source)
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