We love lists, and so does The Guardian (UK), which named John Updike’s debut novel, The Poorhouse Fair, as his twelfth best, despite calling it “a curio.” Number 1 on their list—no surprise—is Rabbit Angstrom, the Everyman’s Library compilation of the author’s four “Rabbit” books, which they ranked (best to least) Rabbit at Rest (1990), Rabbit Is Rich (1981)—both Pulitzer Prize winners—followed by Rabbit, Run (1960) and Rabbit Redux (1972).
Roger’s Version (1986) placed No. 2 on their list, with Couples (1968), notorious as Updike’s raciest book, not far behind at No. 3. Then comes the Everyman’s Library compilation of Updike’s Henry Bech sagas, and Updike’s slender Of the Farm (1965) at No. 5, followed by The Witches of Eastwick (1984) at No. 6 and The Centaur (1963) at No. 7.
The biggest surprise is that Memories of the Ford Administration (1992)—generally dismissed by most readers, critics, and scholars—came in at No. 8, ahead of the much-acclaimed Gertrude and Claudius (2000) at No. 9, S. (1988)—Updike’s final volume in his Scarlet Letter trilogy—at No. 10, and the under-appreciated Seek My Face (2002) at No. 11.
Read what The Guardian had to say about each pick.
“John Updike’s 1960 novel introduced readers to Harry ‘Rabbit’ Angstrom, perhaps the most iconic character in suburban literature. Harry ‘Rabbit’ Angstrom is a middle-class man who feels there is something missing from his life. The novel follows Rabbit as he flees his suburban responsibilities—his pregnant wife, his job, his entire life—in a desperate attempt to recapture the vitality of his youth. Frank Wheeler, Piet Hanema, Frank Bascombe – these are a handful of the suburban men in the fiction of Richard Yates, John Updike, and Richard Ford. These writers all display certain characteristics of the suburban novel in the post-WWII era: the male experience placed at the forefront of narration, the importance of competition both socially and economically, contrasting feelings of desire and loathing for predictability, and the impact of an increasingly developed landscape upon the American psyche and the individual’s mind. Updike’s genius was in making Rabbit both sympathetic and infuriating—a man whose suburban malaise drives him to make increasingly destructive choices. The novel launched a series that would span four decades, chronicling the evolution of suburban America through one man’s journey.”
Writing for Festivaltopia, Fritz von Burkersroda recommends 
Coming in at #2 was Donald Sassoon’s Becoming Mona Lisa, which traces the path to superstardom of Leonardo da Vinci’s most famous subject/painting—a study that Brown said “suggests that, contrary to popular and scholarly belief, posterity is a peculiarly fickle thing.”
“The third installment of John Updike’s ‘Rabbit’ series finds Harry ‘Rabbit’ Angstrom finally comfortable—or at least financially secure—amid the tumultuous backdrop of 1979’s oil crisis and stagflation. ‘How can you respect the world when you see it’s being run by a bunch of kids turned old?’ the narrator observes, capturing the novel’s eerie contemporary resonance: interest rates and real-estate climbing skyward—and staying there—and a gnawing certainty that the next generation won’t have it quite so good. Updike’s prose transforms the mundane rhythms of middle-class life into something approaching poetry as he excavates middle-class anxiety and success. Rabbit’s car dealership is printing money thanks to the Japanese vehicles he sells, even as his own prejudices and racial anxieties bubble beneath the surface. His son Nelson is adrift, the world seems to be coming apart at the seams and Rabbit’s own biases reflect the tensions of a changing America. The novel won Updike both the Pulitzer Prize and the National Book Award for its devastating precision in capturing what it means to ‘make it’ while watching the ladder get pulled up behind you.”
Of Updike’s novel she writes, “Mining, as did [Dorothy] Dunnett, some of Shakespeare’s own sources, Updike relied partly on Saxo Grammaticus’ twelth-century saga of Amlothi for details about the characters on which his Danish king and queen are based.
Sixties’ icon Marianne Faithfull, a singer-songwriter who was considered a major figure in the so-called “British Invasion” of U.K. music to hit the U.S. during the turbulent decade,