LOL.
That really doesn't leave out much, but, well.....
How come you left out Ursula Le Guin? There are a few others I could mention.
There are many more to mention, including Le Guin.
I just came across them later in life (say Le Guin sci-fi work, as I really remember her more regd EarthSea which I read lot earlier) so they aren't as formative for me....but still very great work I have no objection if folk rank them highly among their all-time list.
It's just circumstance is what it is, as I have friends that come across same set of stuff in different order and they rank differently as result....I could easily have been the same. Le Guin's world/setting building in number of her sci-fi for example, very well done.
Take Hamlet for example, a friend of mine sticks by Branagh's 1996 version as the all time best ever and he makes a dozen very cogent arguments (that I heavily sympathise with) as to why....but way I see it he is also biased by it being the first portrayal he saw and latched onto. Other's take to the Mel Gibson (1991) version for very much the same reason as he brought a certain "1st/fresh" authenticity that caught them compared to say a later downstream viewing....whereas I hold that as the 4th best (after Branagh's) ...so out of the medals but a honourable mention.
I saw Laurence Olivier's version first (movie wise) on the other hand, so I held that as my favourite for the longest time and it also set the basis as to why Hamlet lends itself to a movie compared to a stage IMO, given (among other reasons) the angular/zooming in to the persona and psyche.... that puts you as close as possible into Hamlet's thoughts and brooding.... that is impossible to do (along with proper outdoor/wider settings/perspectives) with a stage portrayal since you have fixed non intimate perspective only.
It was only some 10 years ago did the Soviet (1964) version displace it with much effort and careful contemplation and consideration....as I simply think the "peopling" of various scenes and their real-world foibles in various off-script (but highly personable and relatable) moments along with all kind of attention to detail and some very memorable "outdoors + worldly" cinematography to complement Smoktunovsky's magnetic presence and acting...along with heavy addition of the political setting put it a tier above the Olivier one....
(....these were maybe definitive Soviet and Russian convetions, aesthetics and approaches compared to the Western one at the time too....that the later western ones in the 90s I mention try to address somewhat).
Bedney Yorick... (the movie spurred me to learn a lot of Russian too, till I saw its horror show of grammar, which arguably is nastier than German one I mentioned just earlier)
Kosintsev's last 3 in many ways are his best 3, he really hit his apex stride:
Don Quixote, Hamlet, King Lear .... and this also is part of why his Hamlet took 1st spot as it introduced me to these other 2 he did around the same time.
But yeah, this is part of chronological bias in what is formative....very few exceptions exist for me like with Soviet Hamlet displacing Olivier heh.