Loreful
HomeDiscover
Search series, authors…⌘K
Loreful

Reading orders for SF/F series and shared universes — with your place kept in every one.

Explore

UniversesSeriesWorksAuthorsAtlas

Help

FAQAboutSite map

Account & legal

Sign inCreate accountPrivacyTerms

Data

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 Riddance

anchored on:literary & generalcontemporary

but

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 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 mental unraveling — descent into madness, delusion, and minds at war with themselves.
  • 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 Crash
                  Crash

                  J. G. Ballard · standalone novel · 1973

                  similar bymadnessliterary & generalour worldcontemporarychallenging+1 more

                  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 Consumed
                  Consumed

                  David Cronenberg · standalone novel · 2014

                  similar bymadnessliterary & generalour worldcontemporaryeerie+2 more

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

                • Cover of Dhalgren
                  Dhalgren

                  Samuel R. Delany · standalone novel · 1975

                  similar bymadnessliterary & generalcontemporarychallengingeerieidentity

                  Dhalgren is a 1975 science fiction novel by American writer Samuel R. Delany. It features an extended trip to and through Bellona, a fictional city in the American Midwest cut off from the rest of the world by an unknown catastrophe. It is number 33 on the 20th Century's Greatest Hits: 100 English-Language Books of Fiction list.

                • Cover of HARM
                  HARM

                  Brian W. Aldiss · standalone novel · 2007

                  similar bymadnessliterary & generalour worldcontemporarychallengingeerieidentity

                  "... a young writer of light fiction with a Muslim heritage has been arrested for no compelling reason. He is held as Prisoner B, in HARM ... and isolated. To evade this misery Prisoner B escapes - through his split personality - to a science fiction-like planet ruled by insects. But gradually the two worlds start to converge ..."

                • Cover of VALIS
                  VALIS

                  series · 4 books · 1981

                  completed

                  similar bychallengingidentity+4 more

                  The VALIS trilogy is a set of science fiction/philosophical novels by author Philip K. Dick which include VALIS (1981), The Divine Invasion (1981), and The Transmigration of Timothy Archer (1982). Dick's first novel about the VALIS concept originally titled "VALISystem A", was published as Radio Free Albemuth after Dick's death in 1985.

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

                  Doris Lessing · standalone novel · 1971

                  similar bymadnessliterary & generalour worldcontemporarychallengingidentity

                  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 Death in Her Hands
                  Death in Her Hands

                  Ottessa Moshfegh · standalone novel · 2020

                  similar bymadnessliterary & generalour worldcontemporaryeerieidentity

                  Death in Her Hands is a 2020 novel by Ottessa Moshfegh.

                • Cover of Great Apes
                  Great Apes

                  Will Self · standalone novel · 1997

                  similar byliterary & generalour worldcontemporarychallengingidentity+1 more

                  Great Apes is a 1997 novel by Will Self.

                • Cover of Our Ecstatic Days
                  Our Ecstatic Days

                  Steve Erickson · standalone novel · 2005

                  similar byliterary & generalcontemporary+3 more

                • Cover of We Spread
                  We Spread

                  Iain Reid · standalone novel · 2022

                  similar bymadnessliterary & generalour worldcontemporaryeerieidentity

                  We Spread is a 2022 literary novel by Canadian writer Iain Reid. It was published in the United States on September 27, 2022, by Scout Press, and in the United Kingdom on September 29, 2022, by Scribner UK, both imprints of Simon & Schuster. The book has been described as a psychological thriller and horror fiction, and is about an elderly woman living in an assisted living facility where all is not as it appears.

                • Cover of The Edible Woman
                  The Edible Woman

                  Margaret Atwood · standalone novel · 1969

                  similar byliterary & generalour worldidentity+2 more

                  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 Breakfast of Champions
                  Breakfast of Champions

                  Kurt Vonnegut & Jr. · standalone novel · 1973

                  similar bymadnessliterary & generalcontemporarychallengingidentity

                  The author decides to liberate the characters he created, including an author who decides to try to help a mentally ill reader who was driven over the edge by the book's assertion that he was the only creature with free will in a universe of preprogrammed automatons.

                • Cover of Beyond Black
                  Beyond Black

                  Hilary Mantel · standalone novel · 2005

                  similar bymadnessliterary & generalour worldcontemporaryeerieidentity

                  Beyond Black is a 2005 novel by English writer Hilary Mantel. It was shortlisted for the 2006 Orange Prize for Fiction.

                • Cover of Wittgenstein's Mistress
                  Wittgenstein's Mistress

                  David Markson · standalone novel · 1988

                  similar bymadnessliterary & generalour worldcontemporarychallengingidentity

                  Wittgenstein's Mistress is a 1988 experimental novel written by David Markson. A highly stylized work in the tradition of Samuel Beckett, the novel is mainly a series of statements made in the first person. The protagonist is a woman named Kate who believes herself to be the last human on earth; though her statements shift quickly from topic to topic, the topics often recur, and often refer to Western cultural icons, ranging from Zeno to Beethoven to Willem de Kooning. Readers familiar with Ludwig Wittgenstein's Tractatus Logico-Philosophicus will recognize stylistic similarities to that work.

                • Cover of Father of Lies
                  Father of Lies

                  Brian Evenson · standalone novel · 1998

                  similar bymadnessliterary & generalour worldcontemporarychallengingidentity+1 more

                  Brian Evenson is an American academic and writer of both literary fiction and popular fiction, some of the latter being published under B. K. Evenson. His fiction is often described as literary minimalism, but who also draws inspiration from horror, weird fiction, detective fiction, science fiction and continental philosophy. Evenson makes frequent use of dark humor and often features characters struggling with the limits and consequences of knowledge. He has also written non-fiction, and translated several books by French-language writers into English.

                • Cover of Nova Trilogy
                  Nova Trilogy

                  series · 3 books · 1961

                  completed

                  similar byliterary & generalour worldchallenging+3 more

                  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 Cities of the Red Night
                  Cities of the Red Night

                  series · 3 books · 1981

                  completed

                  similar byliterary & generalchallenging+5 more

                  William S. Burroughs's Cities of the Red Night opens his final trilogy with two interwoven stories: a pirate utopia loosely modeled on the historical Captain Mission, and a present-day detective's investigation into a ritual killing, both shadowed by a plague spreading from a set of lost cities. The Place of Dead Roads and The Western Lands continue in the same fragmented, cut-up-influenced style rather than a conventional through-line. The three books are linked more by recurring imagery and obsessions, control, contagion, alternate history, than by a shared cast.

                • Cover of The Limits of Vision
                  The Limits of Vision

                  Robert Irwin · standalone novel · 1986

                  similar bymadnessliterary & generalour worldcontemporarychallengingidentity

                  The Limits of Vision is a novel by Robert Irwin published in 1986.

                • Cover of Fifth Child
                  Fifth Child

                  series · 2 books · 1988

                  completed

                  similar byliterary & generalcontemporary+3 more

                • Cover of The Unconsoled
                  The Unconsoled

                  Kazuo Ishiguro · standalone novel · 1995

                  similar byliterary & generalcontemporarychallengingeerieidentitysurrealism+1 more

                  The Unconsoled is a novel by Kazuo Ishiguro, first published in 1995 by Faber and Faber, and winner of the Cheltenham Prize that year.

                • Cover of Ice
                  Ice

                  Anna Kavan · standalone novel · 1967

                  similar bymadnessliterary & generalour worldeerie

                  Ice is a novel by British writer Anna Kavan, published in 1967. Ice was Kavan's last work to be published before her death, the first to land her mainstream success, and remains her best-known work. Generally regarded as genre-defying, it has been labelled a work of science fiction, Nouveau roman, and slipstream fiction.

                • Cover of The Misheard World
                  The Misheard World

                  Aliya Whiteley · standalone novel · 2026

                  similar byliterary & generalcontemporary+3 more

                • Cover of Naked Lunch
                  Naked Lunch

                  William S. Burroughs · standalone novel · 1959

                  similar bymadnessliterary & generalour worldchallengingsurrealism

                  Naked Lunch is a 1959 antinovel by American author William S. Burroughs. The novel does not follow a clear linear plot, but is instead structured as a series of non-chronological "routines". Many of these routines follow William Lee, an opioid addict who travels to the surreal city of Interzone and begins working for the organization "Islam Inc."

                • Cover of The Eater of Darkness
                  The Eater of Darkness

                  Robert M. Coates · standalone novel · 1926

                  similar bymadnessliterary & generalchallengingsurrealism+2 more

                  Robert Myron Coates was an American novelist, short story writer and art critic. He published five novels; one classic historical work, The Outlaw Years (1930) which deals with the history of the land pirates of the Natchez Trace; a book of memoirs, The View from Here (1960), and two travel books, Beyond the Alps (1962) and South of Rome (1965). During his unusually varied career, Coates explored many different genres and styles of writing and produced three experimental novels, The Eater of Darkness (1926), Yesterday’s Burdens (1933) and The Bitter Season (1946). Highly original, these novels draw upon expressionism, Dadaism and surrealism. His last two novels—Wisteria Cottage (1948) and The Farther Shore (1955)—are examples of crime fiction. Simultaneously to working as a novelist, Coates maintained a life-long career at the New Yorker, whose staff he joined in 1927. The magazine printed more than a hundred of his short stories many of which were collected in three anthologies; All the Year Round (1943), The Hour after Westerly (1957) and The Man Just ahead of You (1964). Also, from 1937 to 1967, Coates was the New Yorker’s art critic and coined the term “abstract expressionism” in 1946 in reference to the works of Hans Hofmann, Arshile Gorky, Jackson Pollock and Willem de Kooning and others. He was elected to the National Institute of Arts and Letters in 1958. Coates was married to sculptor Elsa Kirpal from 1927 to 1946. Their first and only child, Anthony Robertson Coates, was born on March 4, 1934. In 1946, they divorced and Coates married short story writer Astrid Meighan-Peters. He died of cancer of the throat in New York City on February 8, 1973.