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Built on ISFDB, Wikipedia, Wikidata and Open Library. Curated reading orders carry their reasoning on the page; the rest follow publication order. Data sources & licenses

© Loreful · data: ISFDB · CC BY

More like Artificial Fire

anchored on:literary & generalour worldcontemporaryshort story cyclemagical realismidentity+2 more

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Mood

The mood the book leaves you in.

  • The reading experience is propelled by journeys, exploration, and physical risk; excitement and forward momentum dominate over dread or introspection.
  • Joy and loss are deliberately mixed; the resolution grants characters something real while taking something else away, leaving warmth and sorrow together.
  • The book demands work from the reader — dense prose, difficult structure, unfamiliar ideas, or morally uncomfortable material — as part of its intended effect.
  • Grim events, cruelty, or despair dominate the atmosphere, and the book does not soften them with comfort or comic relief.
  • The atmosphere is quietly unsettling — wrongness, unease, and the uncanny pervade the book without necessarily escalating into overt horror.
  • The book is built to move the reader; character feeling is foregrounded and major scenes aim at a strong emotional response.
  • Humor is a primary aim and the prose plays for laughs — comic situations, wit, or dialogue produce sustained comedy, not occasional levity.
  • The book insists that things can improve; effort and decency are shown to matter, and the arc bends toward better outcomes even through hardship.
  • The book teaches as it goes — real facts, history, science, or craft are conveyed in enough depth that learning is part of the reading experience.
  • The book is designed to uplift and motivate, presenting perseverance or achievement in a way that invites the reader to aspire or act.
  • The overall register is cheerful and easygoing; stakes are kept gentle and the book avoids dwelling on pain or dread.
  • Withheld information drives the experience; the book sustains enigmas and secrets the reader wants resolved, whatever its genre.
  • The book is contemplative and inward-looking, giving more weight to thought, memory, and meaning than to external events.
  • The book works as comfort reading — low tension, a soothing pace, and an atmosphere the reader can unwind in.
  • Grief, loss, or melancholy set the dominant register, and the book lets sorrow stand rather than resolving it into comfort.
  • Sustained suspense is the point; the book keeps the reader braced for what happens next through danger, pressure, or impending revelation.
  • Playful invention and charm define the register — fanciful conceits, light absurdity, and a narration that delights in its own oddity.

About

What the story runs on.

  • Stories in which extraterrestrial beings are central — as characters, cultures, or the object of the plot.
  • Stories structured as a quest — a journey undertaken to find, deliver, or destroy something of great import.
  • Stories in which staying alive against nature, catastrophe, or scarcity is the central problem.
  • Stories of lovers kept apart by law, family, faith, or station, where the obstacle to love is the plot.
  • Stories in which a friendship — its making, testing, or loss — is the emotional center.
  • Stories of growing up — a young protagonist crossing from childhood into adult knowledge and responsibility.
  • Stories about who a character truly is — self-discovery, doubled lives, and the search for a self.
  • Stories about mourning — living through the death of a loved one and what loss does to the survivors.
  • Stories in which a buried family truth — hidden parentage, crimes, or shames — surfaces and reorders the present.
  • Stories driven by maneuvering for power — factions, conspiracies, and statecraft conducted in shadow.
  • Stories in which war itself is the subject — combat, occupation, and what warfare does to soldiers and civilians.
  • Stories organized around investigating a killing — the case, the clues, and the pursuit of the killer, in any genre's clothing.

Shelf

Where it sits in the library.

    • Fiction built on magic or other supernatural elements that have no scientific explanation.
    • Secondary-world fantasy at large scale, where the fate of nations or the world turns on the protagonists' struggle.
    • Fantasy set in a recognizably modern city or contemporary world where the supernatural intrudes on everyday life.
    • Fantasy that blends in horror's atmosphere and imagery, keeping a fantastical frame around grim or frightening material.
    • Action-driven fantasy following warriors or rogues with personal stakes against sorcerous threats, rather than world-spanning conflicts.
    • Fantasy set in a real historical period or a close analogue of one, with magic woven into the era.
    • Fantasy in which protagonists cross from the ordinary world into another world through a portal or similar passage.
    • Fiction that retells or reworks a traditional fairy tale in a new form or setting.
    • Fantasy drawing directly on myths, legends, and folklore, retelling them or building on their figures and logic.
    • Fantasy of ghosts, vampires, shapeshifters, psychics, and similar phenomena, usually set in an otherwise ordinary world.
    • Fiction mixing science-fictional trappings with overtly magical or impossible elements in one setting.
    • Low-stakes fantasy emphasizing comfort, community, and everyday pleasures over conflict and peril.
    • Speculative fiction of pervasive moral ambiguity, violence, and cynicism that rejects heroic conventions — fantasy and SF alike.
      • Fiction that extrapolates from science and technology — future societies, space travel, or speculative inventions — within at least nominally natural laws.
      • Science fiction of interstellar scope — starships, galactic polities, and adventure across star systems.
      • Science fiction committed to scientific rigor, where technical plausibility constrains the story.
      • Science fiction centered on armed forces and warfare, told largely from a military point of view.
      • Science fiction of networked, corporate-dominated near futures, pairing high technology with social decay.
      • Science fiction styled on nineteenth-century steam-powered technology, often in a Victorian or pseudo-Victorian setting.
      • Fiction depicting an oppressive or catastrophic society, presented as a warning.
      • Fiction set after civilization's collapse, following survivors in the ruins of the old world.
      • Fiction in which characters move between past and future, and the mechanics or consequences of that travel drive the plot.
      • Fiction exploring a world where a historical event went differently and history diverged from ours.
      • Science fiction about humanity's first encounter and communication with an alien intelligence.
      • Science fiction in which extraterrestrial forces attack or occupy Earth and humanity resists.
      • Fiction whose primary aim is to frighten or unsettle the reader through dread, menace, or the monstrous.
      • Horror of vast, indifferent, incomprehensible entities before which humanity is insignificant, in the Lovecraft tradition.
      • Horror of decaying houses, buried family secrets, and oppressive atmosphere in the Gothic literary tradition.
      • Horror centered on hauntings and the returning dead.
      • Horror located in the mind — paranoia, obsession, and unreliable perception rather than external monsters.
      • Horror built around the reanimated dead and survival amid their outbreaks.
      • Horror defined by explicit, transgressive gore that refuses to cut away from violence.
      • Speculative fiction of the strange and uncanny that resists both natural explanation and standard genre categories.
      • Fiction organized around solving a crime or puzzle, typically following an investigator toward the identification of a culprit.
      • A puzzle-first mystery that lays out clues so the culprit's identity can be deduced before the reveal.
      • Crime fiction of moral ambiguity, fatalism, and hard-edged style, set among the corrupt and the doomed.
      • A mystery following the realistic routines of police work — forensics, interviews, and case-building.
      • A gentle mystery with an amateur sleuth, a small community, and violence kept off the page.
      • A mystery set in a past era, where the investigation works within that period's methods and society.
      • Fast-paced fiction driven by imminent danger, pursuit, or high-stakes conspiracy, built to sustain tension.
      • A thriller of espionage — agents, tradecraft, and intelligence services in conflict.
      • A thriller centered on lawyers and the courtroom, where litigation carries the suspense.
      • A thriller driven by detailed contemporary or near-future technology, often military or scientific.
      • A thriller whose tension comes from mental states and manipulation between characters rather than external action.
      • Fiction whose central plot is a romantic relationship and its development toward an emotionally satisfying resolution.
      • Romance in which one or both partners are supernatural beings, blending fantasy elements into the love story.
      • A fantasy-romance hybrid in which the romantic arc and the fantasy plot carry equal weight.
      • Romance set in a past era, with courtship shaped by the period's society and manners.
      • Romance set in the present day, without supernatural or historical elements.
      • Fiction set in a real past period, where the historical setting materially shapes characters and events.
        • General and literary fiction emphasizing prose style, character interiority, or formal ambition over genre plot conventions.
        • Fiction in a realistic world where magical events occur and are treated as ordinary, in the tradition of Latin American literature.
        • Fiction that ridicules people, institutions, or society in order to criticize them.
        • Fiction of dreamlike, irrational imagery and logic that breaks from realistic representation.
        • Fiction that plays with narrative convention through metafiction, fragmentation, and self-reference.
        • Fiction propelled by journeys, exploration, and physical peril, where action and survival carry the plot.
        • Adventure fiction of ships and seafaring — naval engagements, voyages, and life at sea.
        • Fiction of the American frontier West — gunmen, ranchers, and lawmen, typically in the late nineteenth century.
        • Fiction centered on soldiers, campaigns, and the experience of warfare, historical or imagined.
          • Fiction written primarily to amuse, using comedic situations, wit, or parody as its organizing principle.
            • Multi-generational fiction following a family or dynasty across decades, with inheritance and kinship as the through-line.
              • Fiction whose world runs on explicit game mechanics — levels, stats, and skills that characters can see and exploit.
                • Fiction about costumed or superpowered heroes and their conflicts with comparable villains.

                Practical

                How long a commitment, whether it stands alone, and whether it has finished.

                Tap a chip to ask for it · tap again to rule it out · once more to clear. Numbers show what would be left.

                • Cover of Concrete Island
                  Concrete Island

                  J. G. Ballard · standalone novel · 1974

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                  Architect Robert Maitland crashes his car onto a stretch of wasteland trapped between three converging motorways -- visible from thousands of cars, reachable by none of them. Injured and unable to climb back to the road, Maitland adapts to life on what he starts calling the Island, scavenging food thrown from car windows, and discovers he isn't alone: a runaway sex worker hiding in a bunker, and a brain-damaged former circus acrobat, both long past expecting rescue. What begins as a survival story turns into a question of whether Maitland even wants to leave. A J. G. Ballard novel of urban isolation, grouped with Crash and High-Rise.

                • Cover of The Opposite House
                  The Opposite House

                  Helen Oyeyemi · standalone novel · 2007

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                  The Opposite House is a novel by British author Helen Oyeyemi first published by Bloomsbury Press in 2007.

                • Cover of The Edible Woman
                  The Edible Woman

                  Margaret Atwood · standalone novel · 1969

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                  The Edible Woman is the first published novel by Canadian writer Margaret Atwood, published in 1969. It is the story of a young woman, Marian, whose sane, structured, consumer-oriented world starts to slip out of focus. Following her engagement, Marian feels her body and her self are becoming separated. Marian begins endowing food with human qualities that cause her to identify with it, and finds herself unable to eat, repelled by metaphorical cannibalism. In a foreword written in 1979 for the Virago edition of the novel, Atwood described it as a protofeminist rather than feminist work.

                • Cover of Lost
                  Lost

                  Gregory Maguire · standalone novel · 2001

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                  Lost is a 2001 novel by American author Gregory Maguire. Unlike many of Maguire's other adult novels, Lost is set in the real world. The novel's concept is that the protagonist is a distant relative of the man who inspired Charles Dickens' character of Ebenezer Scrooge.

                • Cover of The Cemetery of Untold Stories
                  The Cemetery of Untold Stories

                  Julia Alvarez · standalone novel · 2024

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                  The Cemetery of Untold Stories: A Novel (2024) is a work of magical realism and the seventh novel by Dominican-American writer Julia Alvarez. The book follows Alma, a prolific author who, after retiring from her teaching job and writing career, inherits a plot of land in the Dominican Republic where she decides to create a cemetery for her unfinished manuscripts and notes.

                • Cover of The Satanic Verses
                  The Satanic Verses

                  Salman Rushdie · standalone novel · 1988

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                  The Satanic Verses is the fourth novel by British–Indian writer Salman Rushdie. First published in September 1988, the book was inspired by the life of the Islamic prophet Muhammad. As with his previous books, Rushdie used magical realism and relied on contemporary events and people to create his characters. The title refers to the Satanic Verses, a group of Quranic verses about three pagan Meccan goddesses: Allāt, Al-Uzza, and Manāt. The part of the story that deals with the satanic verses was based on accounts from the historians al-Waqidi and al-Tabari.

                • Cover of The Medusa Frequency
                  The Medusa Frequency

                  Russell Hoban · standalone novel · 1987

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                  The Medusa Frequency is a 1987 novel by Russell Hoban. Written in a lyrical, often magic realist style, it crosses a number of genres including comedy and fantasy. It uses the story of Orpheus to "meditate on art and reality and love and fear and fidelity and betrayal".

                • Cover of The Robber Bride
                  The Robber Bride

                  Margaret Atwood · standalone novel · 1993

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                  The Robber Bride is a novel by Canadian writer Margaret Atwood, first published by McClelland and Stewart in 1993.

                • Cover of Or What You Will
                  Or What You Will

                  Jo Walton · standalone novel · 2020

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                  Or What You Will is a 2020 metafictional fantasy novel by Jo Walton, about immortality and creativity. It was first published by Tor Books.

                • Cover of Briefing for a Descent Into Hell
                  Briefing for a Descent Into Hell

                  Doris Lessing · standalone novel · 1971

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                  Briefing for a Descent into Hell is a 1971 psychological novel by British novelist Doris Lessing. It was shortlisted for that the 1971 Booker Prize.

                • Cover of The Post-Birthday World
                  The Post-Birthday World

                  Lionel Shriver · standalone novel · 2007

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                  The Post-Birthday World is a novel by Lionel Shriver published in 2007, four years after her previous novel, We Need to Talk About Kevin.

                • Cover of Jonathan Livingston Seagull
                  Jonathan Livingston Seagull

                  Richard Bach · standalone novel · 1970

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                  Jonathan Livingston Seagull is an allegorical fable in novella form written by American author Richard Bach and illustrated with black-and-white photographs shot by Russell Munson. It is about a seagull who is trying to learn about flying, personal reflection, freedom, and self-realization. It was first published in book form in 1970 with little advertising or expectations; by the end of 1972, over a million copies were in print, the book having reached the number-one spot on bestseller lists mostly through word of mouth recommendations.

                • Cover of The Collected Stories of Carol Emshwiller
                  The Collected Stories of Carol Emshwiller

                  series · 2 books · 2011

                  completed

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                • Cover of Mother Night
                  Mother Night

                  Kurt Vonnegut & Jr. · standalone novel · 1962

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                  Howard W. Campbell Jr., an American playwright who grew up in Germany, writes his memoirs from an Israeli prison cell awaiting trial for war crimes. As the Nazis rose to power, Campbell stayed on, married a German actress, and was recruited by an American agent to serve as a double agent, broadcasting Nazi propaganda over the radio while secretly passing coded intelligence to the Allies. The catch, as Campbell tells it, is that he became one of the war's most effective propagandists in the process, whatever his loyalties. Kurt Vonnegut's darkest novel asks what a person becomes when the mask he wears for a cause is indistinguishable from his face.

                • Cover of Orlando: A Biography
                  Orlando: A Biography

                  Virginia Woolf · standalone novel · 1928

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                  Orlando: A Biography is a novel by Virginia Woolf, first published on 11 October 1928, inspired by the tumultuous family history of the aristocratic poet and novelist Vita Sackville-West, Woolf's lover and close friend. It is a history of English literature in satiric form. The book describes the adventures of a poet who changes from man to woman and lives for centuries, meeting the key figures of English literary history. Considered a feminist classic, the book has been written about extensively by scholars of women's writing and gender and transgender studies.

                • Cover of The Particular Sadness of Lemon Cake
                  The Particular Sadness of Lemon Cake

                  Aimee Bender · standalone novel · 2010

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                  The story follows a girl with a talent, from childhood to young adulthood. Rose has the ability to taste emotions in the food she eats, which she discovers on her ninth birthday, tasting in her birthday cake the emotions of her mother who baked it.

                • Cover of Speak
                  Speak

                  Louisa Hall · standalone novel · 2015

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                  Speak is a 2015 novel by Louisa Hall. It is her second novel, after The Carriage House. The novel was well received. The novel was inspired by a story in the New York Times.

                • Cover of Whileaway
                  Whileaway

                  series · 4 books · 1972

                  completed

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                  Joanna Russ's The Female Man (1975) is a single feminist science fiction novel, not a multi-book series, built around four women from parallel timelines with very different gender arrangements. One of them, Janet, comes from Whileaway, an all-female utopian Earth ten centuries in the future where men died out in a plague; the other three come from realities closer to Russ's own, and their collisions are used to interrogate what womanhood and equality could mean under different social rules.

                • Cover of Fifteen Dogs
                  Fifteen Dogs

                  André Alexis · standalone novel · 2015

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                  Fifteen Dogs: An Apologue is a novel by Canadian writer André Alexis. Published by Coach House Books in 2015, the novel was the winner of the 2015 Scotiabank Giller Prize and the 2015 Rogers Writers' Trust Fiction Prize, as well as the 2017 edition of Canada Reads.

                • Cover of Click
                  Click

                  Gregory Maguire, Tim Wynne-Jones, David Almond, Eoin Colfer, Margo Lanagan, Nick Hornby, Roddy Doyle, Deborah Ellis, Ruth Ozeki & Linda Sue Park · standalone novel · 2007

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                  A camera. Some photographs. A box with seven shells. And many mysteries. Those are the things that Maggie and Jason inherited from their grandfather, the famed photojournalist George "Gee" Keane. Gee traveled from Ireland to Russia, Japan to Australia, taking pictures of people at work, at war, in sports, and at play. Now Jason receives Gee's photographs and camera--though he has no idea what to do with them. And Gee leaves Maggie with the puzzle of the seven shells--one that might take her whole life to solve. As Maggie and Jason use these gifts, they will discover all the people their grandfather was...and all the people they might yet become. All royalties from the sale of this book will benefit Amnesty International.

                • Cover of Gods Without Men
                  Gods Without Men

                  Hari Kunzru · standalone novel · 2011

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                  Gods Without Men is Hari Kunzru's fourth novel, first published in 2011. The title is a quotation from Honoré de Balzac. The novel is set in the American southwest, and contains elements of magical realism.

                • Cover of Ghostwritten
                  Ghostwritten

                  David Mitchell · standalone novel · 1999

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                  Various individuals around the globe cross paths, while the complexities of modern societies lead to human civilization's inevitable end.

                • Cover of Melusine
                  Melusine

                  Lynne Reid Banks · standalone novel · 1988

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                  A teenaged boy becomes embroiled in the mysterious life of a farm girl while on vacation in the south of France.

                • Cover of The Unreal and the Real: Selected Stories of Ursula K. Le Guin
                  The Unreal and the Real: Selected Stories of Ursula K. Le Guin

                  series · 2 books · 2012

                  completed

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