The Best Book from Every Year of the 1990s
At any given moment, Scott Simone has at least three books jockeying for his attention. He’ll never turn down a campus novel with a literary bent, nor will he hesitate to add yet another mystery to his Leaning Tower of Pisa-inspired to-be-read pile — which is built upon the bedrocks of too many short story collections, how-are-these-real true crime books, and classics waiting to be cracked open again. Topics that have him ripping through pages the fastest include closed-circle murders, unhappy professors, life-questioning philosophical deep dives, so long as they feature sharp sentences, a dark sense of humor, and at least a little malice.
He’s spent so much time in book shops over the years he is, to his wife’s chagrin, continuing to build a library that doesn’t quite respect the dimensions of the apartment meant to contain it.
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There's nothing normal about the 1990s from a publishing standpoint. It was one of the most impressive decades. The books released during that 10-year stretch ran the gamut: There was no house style in terms of form, with stories playing out in footnotes. Books that appeared to be mere pamphlets packed generations’ worth of history. Academia became sexier, and mysteries were left unsolved to haunt you long after the final page.
Compared to preceding decades — and, perhaps more so, the following — these books have had the longest staying power of any. Each book seemed to be so singular that comparison proved moot, which is why the best of them continue to flood BookTok and top canonical lists of the most important books, and so many have tried but failed to emulate them. And why the '90s are so fun to return to again and again.
1 ‘Possession’ by A.S. Byatt (1990)
Possession is a strange beast. A.S. Byatt morphs literary research into a story rivaling the best Gothic romances. It shouldn't work, but it does. Byatt doesn't just invent poets; she writes their work. Possession is an amalgamation of journals and correspondence, long-lost fairy tales and careers'-worth of poetry. And the longer you spend in them, the realer they become — for the reader and the character.
It starts off with Roland Michell as he's researching Victorian poet Randolph Henry Ash. He stumbles upon drafts of a letter that was apparently meant for Christabel LaMotte, a fellow poet. He pockets the pages, the beginning of a literary manhunt of sorts that unfolds through a paper trail of letters, poems, and old family histories. It's one he marches on with friend Maud Bailey. Through it, they find their lives echoing the relationship that they’re trying to reconstruct. Possession starts as an academic comedy-turned-literary séance, with equal parts mystery and romance for good measure.
2 ‘American Psycho’ by Brett Easton Ellis (1991)
American Psycho is overstuffed. The pages are filled with brand names and trendy restaurants, clothes and bodies tailored to perfection — even obsessive attention paid to business cards — so that the excess becomes the point. Whole pages are dedicated to morning skin-care routines or music criticism. So much so that when the violence arrives, the reader buys it immediately because consumerism and murder seem to occupy the same space in Patrick Bateman’s head.
Bateman himself is a wealthy investment banker bouncing through late-’80s Manhattan with a group of equally wealthy men who spend their nights eating at impossible-to-book restaurants, comparing business cards, and regularly mistaking one another for somebody else. And then Bateman starts killing — or, at least, that's what he'd like us to believe. But the violence is beside the point; it's the way Brett Easton Ellis masterfully constructs certainty into a slippery slope, on which Bateman's downward trajectory disappears inside a world drunk on image and consumption. More than 30 years later, American Psycho somehow feels like a commentary on today.
3 ‘The Secret History’ by Donna Tartt (1992)
The Secret History is a murder mystery without the usual mystery. Donna Tartt is immediately forthcoming: she tells us who will die and who'll kill him from the jump. But that poke into the heart of the form doesn't drain the book of suspense. Because the question is never about who did it — it's a story about perceived intelligence and privilege, and a journey of discovery about how those aspects combine to shift college students into killers.
The book focuses on outsider Richard Papen, who, after transferring to a small Vermont college, falls into a tight-knit group. He's seduced by their Ancient Greek lessons and country weekends, intrigued by their expensive clothes and air of superiority. Richard sinks deeper as he gets more comfortable within the group. And as he does so, the stranger the rules become — but the easier they are for him to accept. That slow-moving shift is what drives the book. It's not about the tweed and sophistication — it's watching all of its trappings corrupt.
4 ‘The Shipping News’ by Annie Proulx (1993)
The Shipping News constructs mundanity with sublimity. It deals with a small-town newspaper assignment. There's a boat in the harbor. There's somebody fixing a house and somebody else showing up for dinner — no mystery nor intrigue. But Annie Proulx constructs all the boring details surrounding Quoyle, a deeply insecure man who moves with his daughters to Newfoundland after his wife dies, into a palace.
Quoyle undergoes no grand reinvention. He gets a job and slowly finds his place in a new locale, all the while feeling less uncomfortable in life. And that’s basically the plot. But Proulx gives Newfoundland — its weather, the down gossip, old family stories, strange local rituals — such personality that the landscape almost steals the story. It's a marvel how The Shipping News takes a life so unremarkable, but paints it in a way that, by the end, you can barely come to grips with living outside it.
Collider Exclusive · Universe Personality Quiz Which Iconic Universe Do You Belong in the Most? Star Wars · Lord of the Rings · Harry Potter · Game of Thrones · Star Trek
Five legendary universes. Five completely different visions of what the world could be — or already was. One of them is the world your instincts, your values, and your particular way of existing were built for. Eight questions will tell you which one.
🚀Star Wars
💍Lord of the Rings
🧙Harry Potter
👑Game of Thrones
🖖Star Trek
01
What gives your life its deepest sense of meaning? Every universe is built around a different answer to this question.
02
Which kind of world do you most want to inhabit? The environment shapes who you become. Choose carefully.
03
How do you prefer your conflicts resolved? The shape of a world's conflicts tells you everything about its soul.
04
Who do you want beside you when things get difficult? Your ideal companions reveal the world you were made for.
05
What is your relationship with power? How you seek, wield, or resist power is the map of who you are.
06
How does your universe treat good and evil? A world's moral architecture tells you more about it than any map.
07
What role would you naturally fall into? Every universe has archetypes. Which one fits you without trying?
08
What do you ultimately believe about the future? The answer to this is the clearest window into which universe already lives inside you.
Your Universe Has Been Chosen You Belong In…
Your answers point to the iconic universe your values, your instincts, and your particular way of seeing the world were built for. This is where you would find your people — and your purpose.
Star Wars
You believe in the cause — in the idea that freedom is worth fighting for even when the odds are impossible and the empire is vast.
- You are drawn to the moral clarity of a universe where hope itself is a form of resistance.
- You'd find your people in the Rebellion — a ragtag coalition of true believers held together by conviction more than resources.
- Star Wars is fundamentally a story about ordinary people choosing to matter in an extraordinary conflict — and that is exactly your kind of story.
- The Force may or may not be with you. But the will to use it for something larger than yourself certainly is.
Lord of the Rings
You understand, in the deepest part of yourself, that the journey matters as much as the destination — and that the world's beauty is worth protecting even at great cost.
- Middle-earth is a world of ancient wonder, deep friendship, and a darkness that only retreats when enough small acts of courage accumulate.
- You would thrive here because you value the fellowship more than the glory — the road more than the arrival.
- Tolkien's universe rewards patience, loyalty, and the willingness to carry something heavy across a very long distance.
- Those are not burdens to you. They are simply how you move through the world.
Harry Potter
You believe that love, loyalty, and doing what's right are not naive sentiments — they are the most powerful forces in any world, magical or otherwise.
- The Wizarding World is a place of wonder hidden in plain sight, where learning is transformative and the bonds you form at school follow you into every battle.
- You would flourish here because you take both the magic and the friendships seriously — and you understand that one without the other is incomplete.
- Harry Potter's universe ultimately rewards those who choose to stand for something even when standing is terrifying.
- That choice — made quietly, without guarantee — is something you understand completely.
Game of Thrones
You see the world clearly — its power structures, its hypocrisies, its brutal arithmetic — and you are not paralysed by that clarity. You use it.
- Westeros is a world that rewards intelligence, adaptability, and the willingness to understand that every alliance is also a negotiation.
- You would survive here — possibly thrive here — because you don't confuse the world as it is with the world as you'd like it to be.
- Game of Thrones is a story about what happens when the idealists and the realists collide. You are sharp enough to know which one lasts longer.
- Winter always comes. You are already prepared.
Star Trek
You believe the future is worth building — that curiosity, cooperation, and the expansion of understanding are not just ideals but the most practical path forward for any civilisation.
- Star Trek is a universe where the questions matter as much as the answers, and where encountering something utterly alien is cause for wonder rather than fear.
- You would belong here because you are fundamentally optimistic about what intelligence and decency can achieve — while being honest about how hard that achievement is.
- The Federation is the universe's most ambitious thought experiment: what if we actually got better?
- You don't just hope that's possible. You think it's the only thing worth working toward.
5 ‘In the Lake of the Woods’ by Tim O’Brien (1994)
In the Lake of the Woods doesn't neatly wrap up the central mystery it spends hundreds of pages teasing out, and that's the point — and the magic — of it. Tim O’Brien supplies all the evidence, reconstructs the memories. There's almost an endless amount of testimony, and entire chapters rehashing competing explanations. But O'Brien never supplies the truth of all truths. It's maddening. But in the best way possible, like watching a true-crime series that fades to black before the last episode, pushing you down a rabbit hole of intrigue.
The mystery revolves around Kathy Wade. She and her husband John, a floundering politician dealing with ugly revelations of his past, are staying in an isolated cabin when she disappears. And O’Brien keeps circling that absence, the meaning of which shifts with each pass. It's the lack of resolution that somehow makes the most sense in the end — and one that will haunt you long after you're done reading.
6 ‘A Fine Balance’ by Rohinton Mistry (1995)
A Fine Balance is a devastating read yet never becomes an exercise in misery. Rohinton Mistry highlights the ordinary — the humor and irritation of friendship — that bubbles under the surface of the grotesque. The caste violence, the poverty, and the political repression never become the sole focal point of the book. No, there are still people complaining about their food and annoying one another. And they laugh at stupid things. It's almost a trick Mistry plays to make everything else that comes hit harder.
The novel takes place during the 1970s in India. Widow Dina Dalal, student Maneck Kohlah, along with tailors Ishvar and Omprakash, are living together. The reader watches as the Emergency unfolds outside their tiny apartment. The country gets harsher as slums disappear, forced sterilizations spread, and the poor take the brunt. All the while, they go on living. Mistry brilliantly shows how history is never abstract.
7 ‘Infinite Jest’ by David Foster Wallace (1996)
Infinite Jest is almost aggressively overbuilt. David Foster Wallace takes the reader on a meandering journey through stories of addiction, tennis, politics, entertainment, and family dysfunction. There's so much that apparently 1,000-plus pages weren't enough to delve into it all, and so he built hundreds of endnotes into the novel.
But anchoring that sprawl: A film that is so addictive, anyone who watches it loses basically all interest in everything else. It's used as a weapon by a group of Quebec separatists, pulling a varied mix of souls — members of an elite tennis academy, those living in a recovery house, a damaged family — into its orbit. But the doorstop novel is less about plot than Wallace's central thesis: how people are so willing to hand themselves over to whatever makes life easier to bear. And that's why Infinite Jest almost makes more sense now than it did in 1996.
8 ‘American Pastoral’ by Philip Roth (1997)
American Pastoral is a novel about the failure of explanation. Philip Roth constructs a character who has every reason to believe his life is perfect. Seymour “Swede” Levov is admired and successful. He married a former beauty queen, and they live in a beautiful country house. All of it, seemingly, insulates him from the uglier parts of American life. Then — thanks to his daughter and a well-placed bomb — the ideal shatters.
We watch as Swede picks up those shattered pieces, constructing a window looking back on his life. He reflects on his marriage and how they parented. All of his previous assumptions don't appear as solid as they once did. What gives American Pastoral its weight is how Roth continues to build upon the idea that you can't continue turning a blind eye in the name of comfort.
9 ‘The Hours’ by Michael Cunningham (1998)
The Hours rewrites what historical fiction can be. Michael Cunningham doesn’t simply rewrite Mrs Dalloway. He morphs and transports the novel across time and space. Virginia Woolf is writing the book in 1920s England while Laura Brown reads it in postwar California. Then there's Clarissa Vaughan, moving through present-day New York as her day unfolds in ways she can't fully understand — because it's a little too close to Woolf’s book.
The connections come through tiny things: flowers, a cake, a kiss, somebody leaving a room. Depression, motherhood, sexuality, illness, and death all serve to further charge those moments. And that’s where The Hours shines: in the way Cunningham never treats Mrs Dalloway as sacred text, instead showing how literature shifts with time — and how history keeps rewriting the present.
10 ‘Disgrace’ by J.M. Coetzee (1999)
Disgrace is a morality tale that refuses the moral. J.M. Coetzee creates the irredeemable David Lurie. He's a Cape Town professor who sleeps with one of his students and loses his job. Somehow, those two acts add up to him being the injured party. He’s too proud, too self-involved, too committed to his own version of events to view any lesson waiting for him on the other side of his humiliation.
That's when David retreats to his daughter Lucy’s farm. A violent attack rearranges the duo's power balance, as David seeks answers, action, and some version of justice he can understand. But Lucy refuses him any of it. And that's the discomfort in which Coetzee settles the book — with race, sex, land, shame, ownership, all rubbing against one another without resolving cleanly.
- Release Date
- December 27, 2002
- Runtime
- 114 minutes
- Director
- Stephen Daldry
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