Category Archives: Book Reviews

BOOK REVIEW: Crazy for Alice by Alex Dunn

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Crazy For AliceCrazy For Alice by Alex Dunn
My rating: 5 of 5 stars

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Ben has a secret and keeping it sends him into a depressive spiral. He’d had almost everything going for him. With his high IQ, he was sailing through school on his way to a top-tier college. He was also an athlete of local renown on the swim team. The only source of consternation in his life was a deadbeat drunk of a father, and the fact that said father recently passed away. Ben was in the car accident with his father, and was the last one to see him alive. Fortunately, Ben has an older brother who’s a cop, Gavin, who looks out for him and tries to keep an overbearing mother at bay.

After an attempted suicide via wrist slashing, Ben is institutionalized. It’s during this time that he drops into a coma. While he’s not conscious of the real world, his consciousness takes up residence in a place he calls “Gray World.” Besides being monochrome, Gray World exhibits the characteristics of a dream. The laws of physics, cause & effect, and consistency of space and time are all freely violated. Ben soon meets a girl named Alice who is initially cautious about him. Over time, the two develop an increasingly close relationship. Then Ben comes out of his coma.

In the real world, Ben is obsessed with getting back to the Gray World to rescue Alice. It seems that all the residents of Gray World are individuals suffering severe depression. The problem is that Ben only has a first name and a probable city of residency. Of course, to his mother, brother, friends, and doctors, this obsession is a sign that Ben’s depression has migrated into a full-blown delusional psychosis. His mother, terrified of losing him, treats Ben as a prisoner. Gavin, while well-meaning, feels the need to prove that Alice was just a dream.

I enjoyed the story and also found it to be thought-provoking. The characters are well-developed enough to care about, and the reader can see how each of the key players is trapped in his or her behavior—behaviors that are sub-optimal. At one point, I thought that it strained credulity that Ben took so long to realize he needed to play along to get some space for his search. He kept being forthright about his intentions to find Alice, and this just made his mother more nervous and smothering–and made Gavin more insistent. But it occurred to me that Ben’s ego as a genius kept him in that state. He wasn’t used to being challenged in his understanding of the world, and reacted to it poorly. He had a need to be right that overrode his capacity to recognize what those around him wanted to hear. His mother was trapped by fear into an increasingly suffocating form of love. Gavin, the most emotionally stable of the trio, thinks he can force Ben to accept an understanding of reality through the brute force of reason—missing that being right might not be as important as being compassionate.

I’d recommend this book for fiction readers. It’s written for the YA (young adult) market, but is intriguing for adults as well.

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BOOK REVIEW: The Men Who Stare at Goats by Jon Ronson

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The Men Who Stare at GoatsThe Men Who Stare at Goats by Jon Ronson
My rating: 5 of 5 stars

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Ronson investigates the US military intelligence community’s forays into extrasensory perception (ESP) and mind control. Those who’ve seen the movie loosely based on this book will be aware of the quirky-humorous tone it takes. (If the title wasn’t enough to convey that the author was aiming for quirky humor.) Ronson’s style, favoring punchy simple sentences, offers a kind of deadpan delivery that supports the tone of the book.

That said, the book also has a sad edge as it can be seen as a commentary on military officers who came back from the war in Vietnam damaged and grasping at straws as to how to prevent history from repeating itself. It’s as if what these men experienced made some eager to believe because they so wanted to believe they could win with the mind and avoid the carnage of war.

While the book’s sixteen chapters are not divided by the author, they can be roughly divided into three parts. The first is the pursuit of ESP starting in the late 1970’s. This includes remote viewing and the titular psychokinesis (i.e. starring goats to death.)

The middle section is the resurgence of these esoteric approaches in the late 90’s and, especially, after 9-11 (also speaking to how dire blows to the psyche lead to wild approaches.) Much of this section is about mind control rather than ESP. One may remember the news story of the “I Love You, You Love Me” song from Barney [i.e. the purple dinosaur] being played over and over again to break terror suspects. The question remaining unanswered is whether there was anything else going on besides torture by Barney song (i.e. subliminal messages or sonic / ultrasonic frequencies [as used in non-lethal weapon technology.])

The latter section deals with the famous case of a scientist who jumped from a hotel room window to his death. It was later admitted that the scientist had been the unwitting victim of hallucinogen experimentation as part of the famed MKUltra project, and his death was written off as a trip gone bad. Ronson presents the story of the scientist’s son, a man who firmly believes that the story copped to was neither the full story nor the true story.

This book is interesting and entertaining, despite the fact that many of the questions that Ronson sets out to answer remain unanswered and probably always will. While the author got several key people to talk to him, the projects discussed are highly classified and the possibility of disinformation is ever-present.

Ronson manages to walk a fine line throughout the book. He presents all this quirky and bizarre activity in a way that neither comes across as mocking nor even particularly skeptical. (His punchy delivery does hint at this intention on occasion.) He lets the reader do the mocking and be the skeptic. At times he comes across as a believer. That is, while many of the happenings of the book reflect bat-shit crazy behavior / decisions, he suggests that all but the most hardened skeptics would believe that some of the people involved had inexplicable gifts.

I’d recommend this book. If you’re interested in government sponsored esoteric activities like psi and mind control and related scandals / conspiracies, you’ll find it fascinating. On the other hand, even if you’re not, it’s still an entertaining read that provides a sort of commentary on the effects of war on the psyche.

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BOOK REVIEW: A South Indian Treatise on the Kamasastra ed. by Swami Sivapriyananda

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A South Indian Treatise On The KamasastraA South Indian Treatise On The Kamasastra by Swami Sivapriyananda
My rating: 4 of 5 stars

Amazon page (note: they have a different edition, I can’t comment on its commentary and art.)

 

This book was originally entitled “Rati Ratna Pradipika.” It’s an unfinished manuscript penned by a member of the Wadiyar (Wodeyar) Kingdom over 350 years ago. The Wadiyars were a south Indian royal family that ruled out of Mysore from 1399 to 1950. Like the “Kamasutra,” which heavily influenced this text, it’s a sex manual. Readers of the “Kamasutra” will not find anything new herein. This book serves more as a window into sexuality, culture, and their overlap for the place and time written. That said, it’s a quick read to appease one’s curiosity. The edition I read was only slightly more than 100 pages and that includes extensive commentary, artworks, and front and back matter.

This treatise consists of seven chapters. Chapter one is largely about astrology and what sex acts are most auspiciously practiced on which days of the month, but it starts with a brief classification of women with regards sexual promise. There’s not much content in this chapter that has any validity outside of the culture and times of its writing, and one wouldn’t want to consider this information to be a relevant guide to one’s behavior in the present day.

Chapter two delves into greater detail in classifying women and men (by body type, demeanor, and genital size / characteristics.) Women are classified as gazelle, mare, and elephant and men as hare, bull, and horse. There’s a brief discussion of which classes are ideally paired. The influence of dosha (i.e. kapha, pitta, vata)–a three-fold classification scheme broadly referenced in yoga and ayurveda—is also described herein.

Chapter three describes “outer play” which—as the name suggests—consists of acts that don’t involve bodily penetration (at least not beyond the so-called “French kiss.”) There are subsections for embracing, kissing, nail marks, and bite marks. The nexus of pain and pleasure is seen in the discussion.

Chapters four and five both concern the practice of “inner love.” The first of these chapters discusses 27 styles of intercourse. The 27 ways of intercourse are functions of genital size, time to orgasm, and level of passion. Chapter five elaborates on the subject that most people think of when they think of Indian sex manuals, and that is the physical positions. As with the “Kamasutra,” these postures range from simple and straight-forward to contortionistic.

Chapter six describes sixteen varieties of oral sex (i.e. eight female to male, and the same number vice versa.) Perhaps reflective of the misogyny of the times, the male to female varieties reflect different physical approaches, whereas female-on-male oral includes varieties such as “post-quarrel.”

Chapter seven is sort of a miscellany chapter that describes approaches to “love blows,” sounds, and a tour of the traits of women of various regions of India. As with the rest of the book, there are some entries that read comedically. (e.g. “While the woman is either sitting on his knee or on a bed the man lovingly punches her with his fist.”… “In response to this cruel violence she will cry like a goose, cuckoo, or duck.” However, the commentary clarifies and reduces confusion over what is presumably an attempt to translate as literally as possible.

The edition that I read (ed. by Swami Sivapriyananda with art by Raghupati Bhatta) was well done. The commentary did a great job of elaborating on confusing elements in the text as well as clarifying points which are incongruous with what we’ve come to know about sex and sexuality through the lens of modern science.

As mentioned, the edition I read had artworks to help clarify the text. These paintings / drawings are exaggerated (not unlike Japanese erotic artwork) and stylistic, but give one the gist of what the author was trying to convey. Most of the pictures are in chapters five and six where they are most helpful, but a few are placed for aesthetic purposes in other chapters. There’s also a brief bibliography in the edition that I read.

I’d recommend this book for anyone who’s interested in the nexus of sex, culture, and yogic / ayurvedic thought.

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BOOK REVIEW: Lumbar Herniated Disc by Veritas Health

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Lumbar Herniated Disc: The Essential Guide to Finding Back Pain ReliefLumbar Herniated Disc: The Essential Guide to Finding Back Pain Relief by Veritas Health
My rating: 3 of 5 stars

Amazon page

 

I picked up this 60 page guide when I was having low back problems involving a slight nerve impingement. The good news is that it provided enough information to eliminate lumbar herniated disc as cause of my particular problem. That’s not saying nothing because low back problems are notoriously difficult to pinpoint and a cause often remains undiagnosed. The bad news is that this, inexpensive but not free, guide didn’t offer anything that couldn’t be found at respectable online sites like WebMD or The Mayo Clinic for free.

The guide is organized into 11 brief chapters that run from understanding what a lumbar disc is and how it becomes herniated through various treatments (self- and doctor-administered.) It also explains when the situation warrants seeing a doctor.

There are plenty of graphics in the book from computer-generated anatomical imagery to simple line drawings. They are beneficial to understanding the nature of the condition.

My recommendation would be to consider whether you need to have access to this information at times when you don’t have access to the internet. If that’s the case, it’s worth the small cost. If not, you’ll probably feel it didn’t really offer any value-added over free online sites.

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BOOK REVIEW: Jabu and the Lion ed. by Tanya Munshi

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Jabu and the lion (Folktales)Jabu and the lion by Tanya Munshi
My rating: 4 of 5 stars

Amazon page

 

This is a simple children’s book about the virtues of keeping one’s word and the nature of karmic justice.

Jabu is a boy, a cowherd in Africa. One day he’s taking his cattle to the river to drink when he comes across a lion in a trap. The lion implores Jabu to let him go. While the boy doesn’t trust the lion at first, he ultimately agrees. The lion decides to renege, but Jabu reasons with the big cat that it would be wrong to go back on the promise not to make a meal of the young boy. Jabu, recognizing he’s not an unbiased party, asks two animals—a donkey and a jackal—to give their view. The sly jackal helps Jabu.

This is book for young children. It has colorful graphics, and the entire book is less than 30 pages. It has a simple story that conveys a moral.

If you’re teaching kids about being true to one’s word, this simple tale will help illustrate the point.
This folktale also nicely conveys something of life in Africa, which may be of value to students living elsewhere.

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BOOK REVIEW: How to Read a Poem by Edward Hirsch

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How to Read a Poem: And Fall in Love with Poetry (Harvest Book)How to Read a Poem: And Fall in Love with Poetry by Edward Hirsch
My rating: 5 of 5 stars

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If one were to judge solely by the mundane title, one might expect this to be a different book—i.e. more along the lines of “Poetry for Dummies.” That’s not what Hirsch is offering with his book. There’s plenty of opportunity to learn to differentiate pentameter from tetrameter or a lyric from an epic poem, but the book isn’t arranged according to such fundamentals. It might even take one a few pages (or chapters) to realize there is an organizing structure. But you’ll get there because of the author’s contagious passion for poetry and his presentation, and an analysis, of many beautiful poems by masters such as Keats, Yeats, Whitman, Dickinson, Frost, Neruda, and many others–more ancient or modern and equally or less well-known. In the end, you’ll think of poetry in a new light.

The book is arranged into 12 chapters, each of which looks at poetry from a different dimension. Chapter 1 considers the poem in two ways. First, it emphasizes the importance of the reader, i.e. the poem is presented as an interaction rather than an act of transmission. Second, the author considers how various poets have defined poetry, and what we can learn from said definitions—besides that poetry is defiant in the face of definition. (Like a wet bar of soap, the tighter one tries to grasp it, the less one succeeds.) Chapter 2 continues to investigate the nature of a poem using the framework of the word’s etymology, coming from the ancient Greek word meaning “to make”–thus the chapter title: “A Made Thing.”

Chapter three delves into the making of connections (or lack thereof) as a theme in poetry. As with most of the book’s chapters, it’s built around a small number of poems that elucidate the author’s point. In this case, poems by Keats, James Wright, and Baudelaire are used to describe cases in which a human connection is sought, in which it momentarily exists, and in which it is shunned. As is true of other chapters, this doesn’t mean that these three poems are all that are mentioned. It’s just that they are given in-depth analysis, while other poems and fragments are referenced to help illustrate points.

Chapter four is entitled “Three Initiations” and it introduces three types of poetry through quintessential examples. The three types of poems are: 1.) poetry of trance; 2.) poetry of praise; and 3.) poetry of grief. The latter two may be more easily grasped than the first, which are poems that convey an altered state of consciousness.

Chapter five examines the subject of authenticity and vividness in poetry and how poets convey such genuineness—even by way of surrealism. The classic example is Shakespeare’s sonnets that mock Petrarchan sonnets in suggesting a less hyperbolic form of love letter (i.e. Sonnet 130, “My mistress’ eyes are nothing like the sun”)

Chapter six is entitled, “5 Acts,” and, as such, it covers five different subjects through the motif of a play. This first act is about opening poems or introductory soliloquy. The second act is about drama and its role in verse, and is heavily influence by a quote from Robert Frost (i.e. “Everything written is as good as it is dramatic.”) Act three is about what might be called “character” in the scheme of a play, but is really about the personhood of a poem. Act four delves into the topic of dialogue as a poetic tool. The last act is about concluding poems / death poems—as exemplified by Bashō’s deathbed poem and the postcard poems written by Miklós Radnóti on a Holocaust death march.

Chapter seven considers desolation as a theme in poetry. The next chapter places poetry in the context of history, using Polish poetry of war and Holocaust to convey the emotion and numbness of tragic events. Chapter nine proposes a nexus between art and justice, and looks at how this is displayed through jeremiads and political poems. The two core examples of this chapter are a work song by Sterling Brown and an ode by Pablo Neruda.

Along with chapter four’s “poetry of trance,” I found chapter ten’s discussion of poems that transport the reader to a moment of epiphany–or ecstatic / transcendental experience–to be particularly fascinating. There are a couple modern pieces that Hirsch presents herein, but some work by Dickinson introduces the topic and truly shows how it’s done. Chapter eleven presents the soul as a poetic theme. The poem gives substance to that which is inherently insubstantial, but which is somehow essential and beyond refute. Walt Whitman’s references to the soul offer particularly vivid insight on this question.

The last chapter is a brief echo of the first, reiterating the role of the reader and the need for poetic definitions for poetry because any definition that tries to capture the medium in precise prose loses it as it’s reinvented countless times over. If one prefers a simple and direct definition of poetry—e.g. writing that displays meter and rhyme–this is may not be your go-to book. (You might prefer a book such as Fry’s “The Ode Less Traveled” that is more dogmatic about prosody as the sine qua non of poetry.)

As for ancillary material, there is a huge glossary. It’s huge not by virtue of containing a vast number of words, but rather because it goes into considerable detail on most of the entries. There is also an extensive and thoroughly organized “recommended reading” section. The book also offers discussion questions for those who want to review or used the book for a book club or whatnot. There’s not much by way of graphics, except for one or two displays of visually oriented forms of poetry, but there’s no need of more than that.

I found this book to be insightful and I welcomed the unique way in which the author divvied up and evaluated the topic of poetry. If you enjoy poetry, or if you write it, there is much to be garnered from reading this book.

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BOOK REVIEW: One Flew Over the Cuckoo’s Nest by Ken Kesey

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One Flew Over the Cuckoo's NestOne Flew Over the Cuckoo’s Nest by Ken Kesey
My rating: 5 of 5 stars

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When a sane man, Randle McMurphy, enters an insane asylum to get out of prison, he turns life in the ward upside-down. The book’s fictional narrator is the patient who sleeps next to McMurphy. He’s an American Indian of giant stature, named Chief Bromden, who’s become convinced that he’s shrunk. Besides childhood problems stemming from his father’s emasculation—i.e. having to take his white mother’s name (hence, Bromden) instead of the more usual family name of the father—Chief is haunted by war. Our narrator has the hospital staff convinced that he’s a deaf-mute (and probably mentally deficient, as well) and thus has a unique view of the ward, the staff speaking freely before him.

McMurphy is everything the other patients are not. He’s gregarious, confident, and risk-loving. He’s also a con-man extraordinaire—hence, his ability to trick the authorities into shifting him out of hard labor and into the mental hospital. But he’s not completely lacking in morality, and displays a kind of hard-nosed compassion. While the patients are occasionally distressed by McMurphy’s behavior, they find his willingness to stand up for them (at least when it’s in his best interest, though later a sense of justice or camaraderie guides him) worth the price of his wheeling and dealing.

McMurphy’s real opposition is Nurse Ratched, a former Army nurse who runs a tight ward. Nurse Ratched is used to controlling the patients through a combination of soft power (maternally convincing them that she acts in their best interest), bullying, and fear of the treatments she can get the doctors to rubber stamp (namely electro-shock and—in extreme cases—lobotomy.) However, she’s met her match with McMurphy. He can play patients and doctors as well as she. He, too, is capable of being cool and cunning at the same time. He’s able to provide a counterbalance to the authoritarian democracy in which she asks the patients for votes after telling them what to think. The reader doesn’t know how, but knows this conflict between McMurphy and Ratched must come to a head to be resolved once and for all, and it is (but I’ll leave the how to the reader.) At times McMurphy seems to be ahead, and at other times Ratched has the lead.

The book was influenced by Kesey’s discussions with patients at Menlo Park Veterans’ Hospital, where he worked as a night aide. Interestingly, Kesey volunteered for a study of hallucinogens during the same period (funded by the CIA as part of MKUltra), and, thus, for some of the conversations he was baked on LSD. At any rate, the experience had profound impact on him, and he became convinced that not all the patients were insane. Many, he believed, just didn’t fit well in society or families, and were pushed into institutions. The themes of the book are that differentiating sanity from insanity isn’t always easy and that mental healthcare professionals had too much power–and often wielded it unwisely.

The story is well crafted with an intense ending. The characters are developed, and this isn’t easy for the mentally insane—though Kesey’s experience with LSD may have helped on that end. Though we only really experience the insanity of Chief, because the perspective is his and he’s one of the few patients that legitimately seems to have trouble differentiating reality from illusion (at least through much of the book.) But we don’t really know how much of Chief’s problem is from his medication, and how much is the illness. There’s a beautiful descriptive scene in which Chief comes off his meds and is looking out the window watching a dog and the world go by. It’s vivid.

I’d highly recommend this book. It’s an evocative story with insights into mental health, some of which—sadly—are as valid today as they were then.

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BOOK REVIEW: Marquis de Sade: A Very Short Introduction by John Phillips

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The Marquis de Sade: A Very Short IntroductionThe Marquis de Sade: A Very Short Introduction by John Phillips
My rating: 4 of 5 stars

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History has—fairly or not—relegated the Marquis de Sade to status as the author of four violently sexual novels and the eponyms (i.e. sadism and sadist) that arose from those works. He produced many more conventional works than libertine / sadomasochistic ones (including plays, stories, essays, and correspondence), and has been credited among the leading developers of the modern short story. While his philosophy tended to be both extremist and inconsistent, it was also in the vanguard of rationalist thinking that eschewed superstition, put mankind squarely in the realm of nature, and advocated cherishing the body (if tending toward a hedonistic approach, but contrasting with religious thinking in which the body was a mere empty vessel—a burden to be gratefully cast off at death.) The man also lived through fascinating times astride the French Revolution, while spending much of his adult life in prison.

Phillips emphasizes the unfair oversimplification of Sade’s work, ideas, and place in history. That said, he does give special attention to the four libertine novels (i.e. “Justine,” “Juliette,” “120 Days of Sodom,” and “Philosophy of the Bedroom.”) This attention is spread across the book’s seven chapters as Phillips deemed relevant. While the author wants us to recognize Sade was more complicated than we might think, he also suggests that the libertine novels tell us the most about the man’s philosophy and his personal psychology. If it sounds like Phillips is a mere champion of Sade, he does mix in strong criticism with his defensive positions.

The first chapter is a biographical sketch of the life of the Marquis de Sade. Sade’s life story has been the subject of more than one book, so this is that biography greatly condensed. The chapter is designed, as its heading suggests, to separate the man from the myth. In this more objective telling of Sade’s life, one learns some interesting facts. For example, Sade held a judicial position in which he could have passed sentence on his ex-in-laws for whom he had no love. However, the ultra-violent sadist set them free because he didn’t believe in the death sentence, and knew they would be doomed to it if he did otherwise. This is representative of the contradiction of Sade, but it’s also not. Sade distrusted violence in the hands of groups and government even while he swore it was the way of nature between individuals. There is a seed of truth in his apparently irrational stance, and that is that we humans are inescapably of nature.

Chapter two is entitled “Man of Letters” and it looks at Sade as an author and scholar. Here we learn about the breadth and depth of Sade’s work which included comedies, tragedies, and satires, and in which plays out in several media. Chapter three is about Sade’s stance as an atheist, which could have gotten him killed before or after the Revolution, and it was a much more lethal stance than his life as a pornographer. (Note: I use “pornographer” as the authorities might. Phillip makes a point [upon which I agree] that most of Sade’s libertine writings are too disgusting and/or violent to achieve eroticism. Some would classify them in the horror genre rather than that of erotica.)

The fourth chapter describes Sade’s life around the French Revolution. He was in prison at times before and after, but—as mentioned–at one point was given a judgeship. Phillips points out that at one point Sade’s prison cell overlooked a yard in which Robespierre’s guillotine operated as the revolutionary’s “Terror” was in progress. (As has been true on numerous other occasions, revolutionaries can more than match the brutality of those they overthrew.) It seems likely that witnessing executions had a profound influence on Sade’s psyche and philosophy.

Chapter five is about Sade’s theatricality. Besides being a playwright, Sade was known to act and also to use theatrical elements in his other written works. Phillips specifically notes this tendency with respect to “120 Days of Sodom” in which much of the action revolves around four libertines listening to stories of old prostitutes, which the libertines then try to reenact or outdo in person.

Chapter six delves into an area of great controversy: Sade’s views on women. Sade has often been dismissed as a she-hating misogynist. This reputation isn’t without reason, despite the fact that Sade’s libertine characters are brutal to males over which they have power in similar fashion. However, one sees in both “Philosophy of the Boudoir” and “Juliette” a more nuanced view. The former is a girl’s coming of age story (coming to age as a lady libertine, though), and the latter is a counterpoint to “Justine” in which tragedy after tragedy befalls a virtuous female lead (in “Juliette,” Justine’s separated sister–who took to vice in accord with the ways of nature as Sade saw them–experiences prosperity beyond all expectations.) The take-away is that Sade may have been a hater of goody-two-shoes women, but his views on Jezebels seems to border on affectionate.

The final chapter considers Sade’s perspective on liberty. Like his positions on femininity and philosophy, it’s a mixed bag of muddled views, but it doesn’t lack for boldness. As mentioned, Sade saw both the before and after of Revolution and was inherently distrustful of any party in power. He’d been an aristocrat (if a scandalized one) and he’d been freed from the royal dungeons–thus currying temporary favor among revolutionaries. And, of course, he’d watched many a head roll wondering if his day wasn’t soon to come. He saw mankind in the Hobbesian state of nature, and couldn’t help but have it reinforce his established views.

The book has numerous graphics. One should note that many of these are line drawings of a sexual and / or sadomasochistic nature. There are also “further reading” and “references” section, that are a little longer than average for books in this series.

I’ve reviewed a number of books in this “A Very Short Introduction” series put out by Oxford University Press. They are designed to give one the core information on a subject in a compact package. This one is slightly longer than average for the ones I’ve previously reviewed (i.e. usually 100pp, this one is about 140pp), but not severely so–particularly given it being in the humanities.

I’d recommend this book to anyone who wants to separate the Marquis de Sade from his myth. It’s not straight biography, and–if that’ s specifically what you’re looking for–it may not be your primary choice, but I’d still recommend it for some of the information on specific subtopics addressed.

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BOOK REVIEW: Maya Angelou: The Complete Poetry by Maya Angelou

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Maya Angelou: The Complete PoetryMaya Angelou: The Complete Poetry by Maya Angelou
My rating: 5 of 5 stars

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This posthumous collection gathers together 180 poems of Maya Angelou. A collection of collections, it amasses six of Angelou’s collections as well as four stand-alone poems, and is said to represent the entirety of Angelou’s published and publicly released poetry. (Actually, it’s said be all of her poetry, but I suspect even a poetic genius like Angelou had notebooks of fragments and pieces with which she never made peace.) Her famed collections: “Just Give Me a Cool Drink of Water ‘Fore I Diiie,” “Oh Pray My Wings Are Gonna Fit Me Well,” “And Still I Rise,” “Shaker, Why Don’t You Sing,” and “I Shall Not Be Moved” are presented as released.

Angelou’s poetry tends toward the playful and melodious even when its topics are angry or distressing. She favors short pieces that have rhyme and rhythm that please the ear—at least in those early collections for which she is most recognized. Reading the poetry chronologically, I noticed a shift toward a little bit longer free verse poetry—though always with attention to the issue of sound (if not to creating song-like sound.) As this was my first reading of this collection, some of this perception of shifting length and style may be an illusion created by the fact that the freestanding pieces are toward the end, and they tend to have been released for special occasions that called for longer run times. But maybe she felt that poems of dissent and social commentary ultimately called for a more discordant quality. Delivering a jeremiad with pop tune catchiness can feel as though it undermines the message—though it also makes a commentary about the nature of being underdog.

I don’t want to suggest that Angelou’s work doesn’t capture the happy and hopeful as well as the daunting, because it is. But poets deal in emotion, and that means confronting dark topics such as slavery, racism, domestic violence, etc. Her use of dialect language breathes authenticity into her poems and builds the emotional weight of them, which often supports the song-like quality. And there is plenty of precedent in music for delivering hard material in a melodious package.

I’d recommend this collection to poetry readers. It’s powerful and poignant, and makes a beautiful sound.

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BOOK REVIEW: TED Talks Storytelling by Akash Karia

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TED Talks Storytelling: 23 Storytelling Techniques from the Best TED TalksTED Talks Storytelling: 23 Storytelling Techniques from the Best TED Talks by Akash Karia
My rating: 4 of 5 stars

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This is a brief guide to storytelling and story building, particularly as it pertains to public speaking. Its emphasis on TED Talks is just to capitalize on the popularity of that forum as well as to draw widely known examples. There are no novel insights offered in this book. It’s the same information one could find from many other sources. However, it’s concise, well-organized, and uses examples pulled from popular TED Talks, and so readers may get some synergies from familiarity with a given speaker’s delivery.

The book is organized into nine chapters. The first introduces the topic by explaining why stories are so much more effective than other approaches to public speaking. The second chapter is about hooks and conflict. The third chapter is about the twist or element that makes the story interesting—as opposed to a straightforward accounting of events. Chapters four through six are all related in that they deal with providing the sensory and other details necessary to make the story come alive for the audience member. Chapter seven is about the effectiveness of stories with a positive message. Chapter eight steps back and examines the overall flow of the story with key way-points of consideration. Chapter 9 is a summation of key points. It’s mostly a list of the 23 bullet points that were made throughout the book, each of which is also located at the end of its respective chapter.

I’d recommend this book for anyone preparing for a public speaking engagement. However, I should point out that the price seems to be higher at the moment than when I bought it. I wouldn’t recommend spending a lot on the book because the information is so widely available.

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