If you loved the way The Master and Margarita seamlessly introduces the Devil and magic into 1930s Moscow, you'll be captivated by Márquez's One Hundred Years of Solitude, where ghosts dine with the living and alchemy shapes the fate of the Buendía family. The boundaries between the real and the magical are just as deliciously porous.

If you relished Woland's sardonic wit and the hilarious chaos that ensues in Moscow, Catch-22 will delight you with its irreverent humor. Heller’s portrayal of Major Major and Yossarian’s circular logic pokes fun at the madness of bureaucracy and war much like Bulgakov lampoons Soviet society.

If you appreciated how The Master and Margarita weaves existential questions with otherworldly events—Pilate’s moral dilemmas, Margarita’s pact with the Devil—Vonnegut’s Slaughterhouse-Five offers a similarly mind-bending journey as Billy Pilgrim becomes 'unstuck in time,' reflecting on fate, free will, and the absurdity of war.

If you enjoyed the metafictional games in The Master and Margarita—with its novel-inside-a-novel structure and sly authorial voice—Calvino’s If on a winter's night a traveler will enchant you as you become a character in the story, forever chasing the next chapter in an infinite literary labyrinth.

If you were drawn to how Bulgakov uses Woland’s antics as a veiled critique of Soviet society, you’ll appreciate Kundera’s The Book of Laughter and Forgetting, where personal memory and history intertwine with pointed allegories about life under political repression in Czechoslovakia.