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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 Good Bones

anchored on:literary & generalgender and societyour worldcontemporaryshort story cyclemythic fantasy+1 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 Great Apes
                  Great Apes

                  Will Self · standalone novel · 1997

                  similar bygender and societychallengingour worldcontemporaryliterary & generaldark

                  Great Apes is a 1997 novel by Will Self.

                • Cover of Crash
                  Crash

                  J. G. Ballard · standalone novel · 1973

                  similar bychallengingcontemporaryliterary & generalour worlddark

                  Crash is a novel by J. G. Ballard, first published in 1973 with a cover designed by Bill Botten. It follows a group of car-crash fetishists who, inspired by the famous crashes of celebrities, become sexually aroused by staging and participating in car accidents.

                • Cover of The Natural Way of Things
                  The Natural Way of Things

                  Charlotte Wood · standalone novel · 2016

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                  The Natural Way of Things (2015) is a novel by Australian writer Charlotte Wood. It won the Stella Prize, for writing by Australian women, in 2016.

                • Cover of Kingdom Come
                  Kingdom Come

                  J. G. Ballard · standalone novel · 2006

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                  In contemporary Britain, the suburban population falls prey to a combination of boredom, consumerism, xenophobia, sports hooliganism, and resentment of authority leading to the rise of a new fascism centered around a giant enclosed shopping mall.

                • 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 Concrete Island
                  Concrete Island

                  J. G. Ballard · standalone novel · 1974

                  similar bychallengingour worldcontemporaryliterary & general

                  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 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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                • Cover of The Power
                  The Power

                  Naomi Alderman · standalone novel · 2016

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                  The Power is a 2016 science fiction novel by the British writer Naomi Alderman. Its central premise is of women developing the ability to release electrical jolts from their fingers, which allows them to become the dominant sex. In 2017, it won the Baileys Women's Prize for Fiction.

                • Cover of The Gargoyle
                  The Gargoyle

                  Andrew Davidson · standalone novel · 2008

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                  The Gargoyle is the debut novel by Andrew Davidson. It was published in 2008.

                • Cover of The Cleft
                  The Cleft

                  Doris Lessing · standalone novel · 2007

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                  The Cleft (2007) is a novel by Doris Lessing.

                • 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 Consumed
                  Consumed

                  David Cronenberg · standalone novel · 2014

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                  Consumed is the first novel by the Canadian filmmaker, screenwriter and actor David Cronenberg.

                • Cover of The Good Man Jesus and the Scoundrel Christ
                  The Good Man Jesus and the Scoundrel Christ

                  Philip Pullman · standalone novel · 2009

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                  Philip Pullman retells the gospel story with one change: Mary gives birth to twin sons, not one. Jesus grows into the moral teacher and healer familiar from scripture, while his brother, given the name Christ, watches from the sidelines, recording and reshaping his brother's story with an eye toward the institution he believes should be built on it. As Jesus preaches humility and doubt, Christ is drawn into a bargain with a mysterious stranger who wants his account shaped into something more useful for the church that will one day claim to speak for both of them. Part of Canongate's Myth series, Pullman's short, provocative reworking of the New Testament.

                • 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 Devil's Own Work
                  The Devil's Own Work

                  Alan Judd · standalone novel · 1991

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                  The Devil's Own Work is a 1991 novella by Alan Judd which won the Guardian Fiction Award. A modern version of the Faust legend, it was inspired by a dinner with Graham Greene, and tells of a pact an author makes with the devil as told by his lifelong friend. In style the work was compared by Publishers Weekly with that of Henry James.

                • Cover of Messiah
                  Messiah

                  Gore Vidal · standalone novel · 1954

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                  Messiah is a satirical novel by Gore Vidal, first published in 1954 in the United States by E.P. Dutton. It is the story of the creation of a new religion, Cavism, which quickly comes to replace the established but failing Christian religion.

                • Cover of Girl Meets Boy: The Myth of Iphis
                  Girl Meets Boy: The Myth of Iphis

                  Ali Smith · standalone novel · 2007

                  similar bygender and societyour worldcontemporaryliterary & generalmythic fantasy

                  "A cheerful, sexy, disorienting take on the gender-shifting myths of Iphis (as told in Ovid's Metamorphoses)". (Publisher's Weekly) No speculative content, other than it being a retelling of the myth of Iphis.

                • Cover of The Wanting Seed
                  The Wanting Seed

                  Anthony Burgess · standalone novel · 1962

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                  The Wanting Seed is a dystopian novel by the English author Anthony Burgess, written in 1962.

                • Cover of Woman on the Edge of Time
                  Woman on the Edge of Time

                  Marge Piercy · standalone novel · 1976

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                  Woman on the Edge of Time is a 1976 feminist science fiction novel by American writer Marge Piercy. The novel was originally published by Alfred A. Knopf. Piercy draws on several inspirations to write this novel such as utopian studies, technoscience, socialization, and female fantasies. One of Piercy's main inspirations for her utopian novels is Plato's Republic. Piercy describes the novel as, "if only…"

                • Cover of Herland
                  Herland

                  series · 2 books · 1915

                  completed

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                • Cover of God Is Dead
                  God Is Dead

                  Ron Currie & Jr. · standalone novel · 2007

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                  God is Dead (2007) is the debut novel of American author Ron Currie Jr. The book is a collection of related shorter stories about a world where God has come to earth and died.

                • Cover of Nova Trilogy
                  Nova Trilogy

                  series · 3 books · 1961

                  completed

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                  William S. Burroughs's Nova Trilogy -- The Soft Machine, The Ticket That Exploded, and Nova Express -- extends the fragmented cut-up and fold-in techniques he developed with Brion Gysin into a paranoid, hallucinatory sequence about control itself. Across the three books, the shadowy Nova Mob, personified as viral, parasitic forces of language and image, is opposed by an equally strange Nova Police, in an allegory for how societies are manipulated through media and addiction. It continues directly from the world and method of Naked Lunch rather than telling a conventional linear story.

                • Cover of The Disappearance
                  The Disappearance

                  Philip Wylie · standalone novel · 1951

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                  One ordinary moment, the world splits in two: every man on Earth finds every woman gone without a trace, and at the same instant every woman finds herself in a world emptied of men -- two parallel realities on the same planet, each population convinced the other has vanished. Philip Wylie follows both worlds afterward, one sliding into authoritarian collapse without women to share or restrain power, the other building something more equal and freer, using the split to interrogate mid-century assumptions about sex, marriage and the double standards separating what men and women were each allowed to be. A speculative novel years ahead of the feminist movement it anticipates.

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

                  series · 2 books · 2011

                  completed

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