David Bowie’s favourite books

“Interviews With Francis Bacon” by David Sylvester and Billy Liar by Keith Waterhouse and “Room At The Top” by John Braine and “On Having No Head” by Douglass Harding and “Kafka Was The Rage” by Anatole Broyard and “A Clockwork Orange” by Anthony Burgess and “City Of Night” by John Rechy and “The Brief Wondrous Life Of Oscar Wao” by Junot Diaz and “Madame Bovary” by Gustave Flaubert and “Iliad” by Homer and “As I Lay Dying” by William Faulkner and “Tadanori Yokoo” by Tadanori Yokoo and “Berlin Alexanderplatz” by Alfred Döblin and “Inside The Whale And Other Essays” by George Orwell and “Mr. Norris Changes Trains” by Christopher Isherwood and “Halls Dictionary Of Subjects And Symbols” and “In Art” by James A. Hall and “David Bomberg” by Richard Cork and “Blast” by Wyndham Lewis and “Passing” by Nella Larson and “Beyond The Brillo Box” by Arthur C. Danto and “The Origin Of Consciousness In The Breakdown Of The Bicameral Mind” by Julian Jaynes and “In Bluebeard’s Castle” by George Steiner and “Hawksmoor” by Peter Ackroyd and “The Divided Self” by R. D. Laing and “The Stranger” by Albert Camus and “Infants Of The Spring” by Wallace Thurman and “The Quest For Christa T” by Christa Wolf and “The Songlines” by Bruce Chatwin and “Nights At The Circus” by Angela Carter and “The Master And Margarita” by Mikhail Bulgako and “The Prime Of Miss Jean Brodie” by Muriel Spark and “Lolita” by Vladimir Nabokov and “Herzog” by Saul Bellow and “Puckoon” by Spike Milligan and “Black Boy” by Richard Wright and “The Great Gatsby” by F. Scott Fitzgerald and “The Sailor Who Fell From Grace With The Sea” by Yukio Mishima and “Darkness At Noon” by Arthur Koestler and “The Waste Land” by T.S. Elliot and “McTeague” by Frank Norris and “Money” by Martin Amis and “The Outsider” by Colin Wilson and “Strange People” by Frank Edwards and “English Journey” by J.B. Priestley and “A Confederacy Of Dunces” by John Kennedy Toole and “The Day Of The Locust” by Nathanael West and “1984” by George Orwell and “The Life And Times Of Little Richard” by Charles White and “Awopbopaloobop Alopbamboom: The Golden Age of Rock” by Nik Cohn and  “Mystery Train” by Greil Marcus and “Beano” (comic, ’50s) and “Raw” (comic, ’80s) and “White Noise” by Don DeLillo and “Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom” by Peter Guralnick and “Silence: Lectures And Writing” by John Cage and “Writers At Work: The Paris Review Interviews” edited by Malcolm Cowley and “The Sound Of The City: The Rise Of Rock And Roll” by Charlie Gillete and “Octobriana And The Russian Underground” by Peter Sadecky and “The Street” by Ann Petry and “Wonder Boys” by Michael Chabon and “Last Exit To Brooklyn” by Hubert Selby, Jr. and “A People’s History Of The United States” by Howard Zinn and “The Age Of American Unreason” by Susan Jacoby and “Metropolitan Life” by Fran Lebowitz and “The Coast Of Utopia” by Tom Stoppard and “The Bridge” by Hart Crane and “All The Emperor’s Horses” by David Kidd and “Fingersmith” by Sarah Waters and “Earthly Powers” by Anthony Burgess and “The 42nd Parallel” by John Dos Passos and “Tales Of Beatnik Glory” by Ed Saunders and “The Bird Artist” by Howard Norman and “Nowhere To Run The Story Of Soul Music” by Gerri Hirshey and “Before The Deluge” by Otto Friedrich and “Sexual Personae: Art And Decadence From Nefertiti To Emily Dickinson” by Camille Paglia and “The American Way Of Death” by Jessica Mitford and “In Cold Blood” by Truman Capote and “Lady Chatterly’s Lover” by D.H. Lawrence and “Teenage” by Jon Savage and “Vile Bodies” by Evelyn Waugh and “The Hidden Persuaders” by Vance Packard and “The Fire Next Time” by James Baldwin and “Viz” (comic, early ’80s) and “Private Eye” (satirical magazine, ’60s – ’80s) and “Selected Poems” by Frank O’Hara and “The Trial Of Henry Kissinger” by Christopher Hitchens and “Flaubert’s Parrot” by Julian Barnes and “Maldodor” by Comte de Lautréamont and “On The Road” by Jack Kerouac and “Mr. Wilson’s Cabinet of Wonders” by Lawrence Weschler and “Zanoni” by Edward Bulwer-Lytton and “Transcendental Magic, Its Doctine and Ritual” by Eliphas Lévi and “The Gnostic Gospels” by Elaine Pagels and “The Leopard” by Giusseppe Di Lampedusa and “Inferno” by Dante Alighieri and “A Grave For A Dolphin” by Alberto Denti di Pirajno and “The Insult” by Rupert Thomson and “In Between The Sheets” by Ian McEwan and “A People’s Tragedy” by Orlando Figes and “Journey Into The Whirlwind” by Eugenia Ginzburg