Category Archives: Book Reviews

BOOK REVIEW: Injustice: Gods Among Us by Tom Taylor

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Injustice: Gods Among Us #1Injustice: Gods Among Us #1 by Tom Taylor

My rating: 4 of 5 stars

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If you’re among those who were distraught over Superman’s uncharacteristic behavior at the climax of the Man of Steel movie, this graphic novel isn’t for you. However, the author and illustrator do know how to build tension and keep it rolling. That’s the good news. The bad news is that they achieve this via a mountain of corpses. If you’re good with that, you’ll likely enjoy this work. If not, you may find it a tad dark and / or gratuitous in its violence.

With the movie Batman v Superman: Dawn of Justice filming for a summer of 2016 release date, many are wondering how a Batman versus Superman battle might occur (and how the Caped Crusader could credibly avoid being smashed to pulp 30 seconds into the movie.) This comic offers one possible approach—though it’s exceedingly unlikely to be the tack portrayed in the movie. (This book is ancillary to a video game, and wouldn’t necessarily be seen as core canon of the Justice League.)

This book consists of six parts. In part I, the Joker outwits Superman, tricking him into an act that is so horrendous that it will shake the Man of Steel’s core values. In part II, Superman takes a proactive stance against global conflict. In part III, the U.S. government supports a covert action designed to give them leverage against Superman, and to dissuade him from enforcing his previously announced ceasefire. Aquaman and his nautical army oppose Superman in the fourth part because the former is displeased with a dictator setting rules in the maritime domain—even if it is a largely benevolent dictator. In the penultimate part, Batman and Nightwing resist Superman’s attempt to clear out Arkham Asylum and to put the lunatics somewhere where they can’t keep breaking out and causing trouble (as the Joker caused for Superman.) In the final part Batman is exposed to a life-altering event (as Superman had been at the book’s beginning), but the bulk of this section is just picking teams for the epic game of superhero dodgeball that is presumably to unfold in later volumes.

What worked? The setup in which the Joker bests Superman is well-played. The Joker’s willingness to die for the ultimate prank, his perfect psychopathy, and his love of sowing the seeds of chaos make him the perfect man for the job. Harley Quinn gets a few laughs in this otherwise morose book. There’s a lot to think about in terms of the morality of a benevolent dictator. If a god-like creature, i.e. Superman, were to exist on Earth, what should he/she/it take on and what should he leave alone? That’s a question that’s at the core of this book. As in many good storylines, there’s a blurring of the lines between good and evil, a blurring which is essential to have a Batman versus Superman battle make sense.

What doesn’t work? We come into the middle of the Joker’s plot and are supposed to accept that he and Harley Quinn could pull off the phenomenally complex plan in a manner in which it seems easy. It involves hijacking a nuclear sub, successfully taking control of and reprogramming a nuclear weapon, and not only giving Superman a hallucination but controlling the nature of the hallucination. For these events to play out, the Joker needs more than his usual complete lack of moral compass; he needs access to far greater intellectual ability than he usually has to display. And that’s not the only point at which events seem a little too easy. (However, yes, I do realize we are talking about a world in which there are people who can fly under their own locomotion and make complex constructs out of thin air. I didn’t say it was a deal breaker. I’m just saying there were some opportunities for tension missed.)

There is also a death that should have a profound impact on Batman, but which he seems to shrug off pretty well after a couple of hours of bereavement—and possibly some behind-the-scenes Catwoman nookie. I assume the effects of said death will play out in later volumes, but it seemed gratuitous given its lack of effect within the volume. Unlike the death that fundamentally alters Superman’s course, Batman seems to remain unchanged. I’m presuming that the death wasn’t just to create an excuse to bring Selina Kyle (Catwoman) into the storyline, and addition of mixed outcomes. Kyle’s left-of-Marx preachiness will grate on the nerves of politically conservative readers. (Not that it should, regardless of one’s views, one should be able to accept that realistic character development will include individuals with extreme views—just as one sees such individuals in real life… or on Facebook. I’m just saying that, sadly, in our world people don’t want to hear opposing views unless they are being lampooned, and so some will stay away just to avoid hearing characters spouting views contrary to their own. I don’t know how we got there, but…)

I enjoyed this comic overall. Like most entries in its genre, it’s a quick read, and it’s better written than most.

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BOOK REVIEW: 98.6 by Cody Lundin

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98.6 Degrees: The Art of Keeping Your Ass Alive98.6 Degrees: The Art of Keeping Your Ass Alive by Cody Lundin

My rating: 4 of 5 stars

Amazon page

If you’ve seen the Discovery Channel show Dual Survival, you’re familiar with Cody Lundin. He’s the one who looks like a hippie and is always barefoot. 98.6 is a book designed to prepare readers for a wilderness survival situation. To be clear, this book isn’t about going out for a six-week trek. It’s about going out for a day hike and finding your foot stuck in a bear trap or having your jeep washed away in flashflood. It’s about how to stay alive for as much as a few days while search and rescue teams are looking for you (and how to make sure they do look for you.)

As the title suggests, Lundin focuses on the issue of maintaining the body’s core temperature as the key to short-term survival, and special attention is given to the subjects of hypo- and hyperthermia. Besides dressing appropriately, maintaining core temperature involves requirements such as hydration that may not seem relevant at first blush. The heart of the message is that one has to plan for the worst even on apparently mundane treks or drives into the backwoods. Lundin hammers home the importance of letting others know where one is going and by when one will return. However, the bulk of the space is devoted to suggestions about what to pack in your survival kit.

Lundin takes a light-hearted tone while talking about the dire nature of survival in the wild. Many of the graphics are quirky, caricaturesque line drawings (there are also photos–mostly towards the rear of the book in the discussion of gear and kits.) His writing style is conversational—which is to say that he writes like he talks. While this may induce rage in English teachers, I find it’s only problematic if it leads to misunderstandings. (i.e. In conversation there are fewer opportunities for misunderstanding because there is non-verbal communication and the potential for feedback.) Having said that, I can’t recall any cases in which meaning was unclear, so either Lundin is conscientious about this issue, or his editor did a good job of maintaining his style without losing clarity. The conversational tone involves a lot of analogies and metaphors that are sometimes humorous but sometimes over-the-top.

Lundin’s advice runs toward the pragmatic and the frugal. Survival gadgetry and gear is a huge industry, and Lundin’s guide helps a budget-weary amateur outdoorsman know where it’s worth spending a little extra and where it’s likely to be a waste of money. (In some cases, spending more money will leave one worse off in more areas than the pocket-book.)

Despite his folksy tone, it’s clear that Lundin is no stranger to science. One thing that one will get in his guide that’s uncommon in others is scientific explanations–in lay terms–of why some methods or equipment will or won’t work. This ranges from the physics of space blankets to the psychology of fear to the chemistry of nutrition.

Another strength of this guide is that it gives due attention to the crucial nature of the mind in survival. There are a few early chapters devoted to this. Many guides might give a paragraph to the subject before plowing into survival methods. The problem is that some people may die overwhelmed and unable to keep all that knowledge straight. Tips about keeping one’s head seem worth the space.

In addition to the use of humor and anecdotes, there is a clear attempt to make the information memorable. Lundin uses mnemonic devices to help people ingrain information, and frequently recaps important points. He also has a “Cliff Notes” version at the back of the book that condenses his message down into a few pages.

If you like to spend time outdoors, I’d recommend you pick up this book. Of course, reading a book is not going to keep you alive, you have to practice with the gear you assemble, but the book is an important first step.

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BOOK REVIEW: Flow by Mihaly Csikszentmihalyi

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Flow: The Psychology of Optimal ExperienceFlow: The Psychology of Optimal Experience by Mihaly Csikszentmihalyi

My rating: 4 of 5 stars

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Recently, I read and reviewed Steven Kotler’s The Rise of Superman, which is about how extreme athletes use a mental state called “the flow” to pull off some miraculous feats (e.g. “hanging righteous air” to use an appropriate term of art.) That book got me intrigued about the flow, and wanting to learn more. The logical next read was the book by the man considered the godfather of flow, the man who coined the term, Mihaly Csikszentmihalyi. Csikszentmihalyi is a Professor of Psychology at the Claremont Graduate University and formerly of the University of Chicago.

A Note on Editions: The book I read is the 2013 edition of a book that was first published in 1990. The two editions have different subtitles. The 1990 edition was entitled Flow: The Psychology of Optimal Experience and the 2013 edition is Flow: The Psychology of Happiness. It’s not hard to imagine what happened. The 1990 version was titled to appeal to scholars, and the former title both has more syllables and suggests that one might be able to use LaGrangian Methods (the calculus of constrained optimization) to maximize bliss—which would be double bliss for an academic. As Csikszentmihalyi’s work attracted widespread attention, there was a need for a title that didn’t sound painfully dull. To be fair, the word “happiness” has gained some purchase in scholarly literature in recent years, but in 1990 saying one was studying “happiness” would be akin to saying one would study the “cuddliness quotient” of kittens (actually the latter, having the word “quotient” in it, would test better with department chairs and funders.)

Flow is a state in which one’s entire mind and body is devoted to overcoming a challenge that is intrinsically rewarding. There’s a lot packed into that definition. First, the task must be difficult but within the skill-level of the individual. If it’s too easy, it’s too boring for flow. If it’s far too challenging relative to one’s skill, it may become frustrating before one can build enough skill to achieve it. Flow states can be achieved via many different kinds of tasks, and the middle chapters of the book are devoted to different types of flow-inducing events. Chapters 5 through 8 address, respectively: physical activities like yoga and the martial arts, mental activities like poetry, word play, and chess, work activities, and solitude and social activities.

Second, tasks must usually be autotelic, or intrinsically rewarding. If the only reason that one is doing an activity is for a paycheck, to stave off nagging, or to attract attention, one will be unlikely to find the flow. That doesn’t mean that one can’t receive external rewards, but the activity has to have something intrinsic that keeps one at it. Csikszentmihalyi’s approach was to interview people to access how happy they were, and what activities allowed them to achieve said happiness. He shares many anecdotes about individuals who were blissful, including people who derived happiness from work activities such as factory work, work that most people would find unpleasant and only tolerable to earn a living. Of course, these happy individuals didn’t just do the job in the manner of the poor schlubs who hated their work-life. Instead, they found ways to make the work challenging and, in doing so, they often made themselves indispensable and gained not only job security but also the respect and admiration of others. What is key is that one’s mindset determines all of this, and the book focuses on the notion of controlling one’s inner life to achieve happiness via the flow.

Third, flow is not achieved in a distracted state; all of one’s being has to be surrendered to the act at hand. Multi-tasking is not conducive to the flow.

The ability to override one’s evolutionarily-programmed instincts is key to being able to obtain a flow state. One must be able to stay on task and devote one’s consciousness to the action at hand. This is the central theme in chapter 2, entitled “The Anatomy of Consciousness.” The book also speaks to a subject that I’m currently interested in, which is how states of mind and body that have been known since ancient times, but whose mechanism of action weren’t well-understood, are explained in the world of modern science. Csikszentmihalyi refers to yogis and Taoist masters as he describes the flow. Flow state isn’t new; it’s just newly put in the context of science, rather than mythology.

I enjoyed this book and found the chapter on the flow in movement and bodily activities particularly educational. Csikszentmihalyi has written a few related books on creativity and the flow applied specifically to sport. I would like to learn more about the neuro-anatomy and neurochemistry of the flow, as this book doesn’t delve into the hard science of the flow, and much of this science has occurred since the time this book was first published anyway.

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BOOK REVIEW: The 120 Days of Sodom by Marquis de Sade

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The 120 Days of SodomThe 120 Days of Sodom by Marquis de Sade

My rating: 1 of 5 stars

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This book was listed in one of those “500 Books One Must Read” lists. Maybe it was “1,001 Must-Read Books.” However large the number, I think it was wrongly included. But it was free in e-book form (or nearly so) and so I figured: “I love free and I like edgy, so what’s not to enjoy.” Besides, this book has been banned many places around the world and there’s nothing that makes me want to read a book like it being banned. Plus, how many authors have such profound impact on the language as to have their names raised from that status of proper noun to common noun and adjective (the Marquis de Sade being from whence the word sadism, or “delight in cruelty,” is derived.)

Now the natural inclination of people seeing the uncomplimentary fashion in which I present this novel will be to think that I’m just a vanilla guy who found the work morally objectionable and that tarnished my view. It’s true that the scat, pedophilia, rape, and—in the latter chapters—homicidal mania rampant throughout the book are not my cup of tea. I, therefore, may not be able to convince you that I could have found the book appealing if it presented the same content in a more skillful manner. [I can’t imagine such a book being “enjoyable,” but I can imagine one that would be “engrossing.”]

However, I intend to convince you that there is a great deal that is unappealing about this book that has nothing to do with the subject matter. I firmly believe that, regardless of one’s ability to stomach the substantive content, one will still find the book to be an utter disappointment. [It should be noted that many people will find the book is more effective in the horror genre than the erotica genre—which isn’t to say that it succeeds in either.]

The synopsis is that four wealthy and prominent men take a harem of 46 individuals (boys, girls, men, and women) to a remote retreat to both have their way with them and, ultimately, snuff most of them out. The four men spend their time listening to tales of debauchery and sadism as told by a couple of prostitutes and then emulating the acts in the aforementioned stories.

Now, you may say, “What would keep 46 people from overwhelming four men—rich and powerful as they may be—and regaining their freedom?” Well, that’s the first problem with the book. It’s true that many of the victims aren’t adults, but enough are to make a rebellion workable. We are never told why this should work, and in this way the book is just a bunch of crude juvenile fantasies that fail the credulity test. A Bishop or President tells someone to drink acid or kill their own kin, and we are just supposed to accept that they would do it without question. The book sets up no tension. It really is the fantasy realm of an impotent man with delusions of grandeur.

The organization of the book is in five parts corresponding to the months / partial months that make up the 120 days mentioned in the title, and the storytellers tell progressively more vicious tales as the book progresses. The first couple parts don’t involve much violence and the acts described aren’t much different from what one might find in a book like The Story of O, except for the tonnage of poo in the Marquis’ stories. Having compared this to Réage’s work, let me say that it’s not just the poo that makes Sade’s work inferior, it’s also the lack of insight into the mind of the characters. (Part of the problem is that there is a vast cast of victims that have no dimensionality to them.) We see O’s reluctance, anger, pain, and transformation, but get none of this in The 120 Days of Sodom.

As the book progresses, it degrades further into lists of acts of debauchery and cruelty that all seem to blend together into a tepid bowl of poo. The Marquis de Sade wrote this work in prison and it really comes off as an outline of acts of violence he dreamt up out of the frustration of impotence. A well-written work that wanted to explore this situation would pick a few particularly evocative acts from the list and would form them into a coherent story with multi-dimensional characters and a narrative arc. This book is just a list of cringe-worthy acts written out tersely, but they don’t induce a cringe because none of it feels real because we get no insight into characters and the four leads are just supermen who get to do whatever they please without any realistic opposition.

If you read this book, read it out of interest in the historical persona of the Marquis de Sade. If you’re reading it as erotic literature, you’ll probably find it to be a disappointing series of premature ejaculations that just tries too hard to list the most disgusting and objectionable acts imaginable. If you read it as horror, you’ll have to read through a couple of chapters of stuff that’s just disgusting–but not particularly scary, and then when you get to the horrifying part it’ll just be a machine gun blast of little tales with inadequate description to be truly gripping.

Needless, I think the greatest act of cruelty ever committed by the Marquis de Sade was getting people to read this horrible book—maybe that was what he was after.

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THE CLASSICS: The Waste Land by T.S. Eliot

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The Waste Land (Illustrated Edition)The Waste Land by T.S. Eliot

My rating: 5 of 5 stars

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It’s for good reason that this is considered one of the greatest poems of the 20th century. Eliot’s vivid verse paints a bleak landscape in language of beauty not seen in the poem’s imagery. It will come as no surprise that this work was penned during a dark time in the poet’s life, but it wasn’t just Eliot’s personal dark hour; for many, the wounds of World War I hadn’t yet scarred over.

This poem is divided into five sections, each with an artful title. The five sections of The Waste Land are: “The Burial of the Dead”, “A Game of Chess”, “The Fire Sermon”, “Death by Water”, and “What the Thunder Said.” Some consider The Waste Land to be a collection of five poems, but there is both language and theme that connects the various parts. For example, the following verse is contained in both the first and third chapter:

Unreal City,
Under the brown fog…

The poem contains many complex references to Arthurian legends and to a broad swath of literary canon. You can learn about that from individuals more erudite than I. I will suggest a simpler theme, and that is death—not just death, but death as an eraser of legacies and influence. Eliot refers to bone almost as much as he does death, and by the time one’s body is reduced to bones one’s influence on the land of the living is minimal—even for giants among men. When he’s not speaking of bones, he’s speaking of death of masses, also a form of anonymous death.

I will pick a few lines from each of the five sections to illustrate my point.



From “The Burial of the Dead”:
Unreal City,
Under the brown fog of a winter dawn
A crowd flowed over the London Bridge, so many,
I had not thought death had undone so many



From “A Game of Chess”:
I think we are in rat’s alley
Where the dead men lost their bones



From “The Fire Sermon”:
White bodies naked on the low damp ground
And bones cast in a little low dry garret
Rattled by the rat’s foot only, year to year.



From “Death by Water”:
A current under sea
Picked his bones in whispers



From “What the Thunder Said”:
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is long dead
We who were living are now dying
With little patience



I’m not saying that Eliot’s views on death and dying are great from a philosophical or psychological perspective—on the contrary, but as a work of poetry these words should be read by all.

 

Neither the version linked to in GoodReads nor on Amazon is the version I read. As far as I could tell by way of a hasty search, the Kindle edition I read no longer exists.

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BOOK REVIEW: Yoga Sutras by Patanjali [Trans. Charles Johnston]

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Yoga Sutras of PatanjaliYoga Sutras of Patanjali by Charles Johnston

My rating: 4 of 5 stars

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There are about a billion editions of Patanjali’s The Yoga Sutras. The one I got was a free or very cheap on Kindle, and is, therefore, probably not the best edition. I don’t know that the Kindle version I got still exists because it included a supplemental essay by Swami Vivekananda that the version I linked to on Amazon doesn’t. However, the translation is the same, and is by Charles Johnston.

For many old works, the edition might not matter too much, but for Patanjali’s Sutras it matters a great deal. First, there’s the issue of the quality of the translation. Beyond that, however, is the question of the analysis. The Yoga Sutras are extremely brief, consisting of only 196 aphorisms. Owing to the terse brevity of the Sanskrit language, many of these aphorisms are only a few words long. That means that there isn’t a high degree of precision in the language of the Sutras, and, consequently, there’s a great deal of room for misunderstanding and misinterpretation. It’s for good reason, therefore, that most editions are 90% or greater commentary on Patanjali’s words.

The Sutras are typically divided into 4 chapters (this convention apparently came well after Patanjali wrote them.) The first section lays out the objective of yoga. The central notion is the need for Chitta Vrtta Nirodha, which basically means to transcend the fluctuations of the mind. Patanjali’s point is that the problem faced by mankind is that people’s minds are run amok. There is a need for some system to facilitate correction of all this monkey-mindedness. That’s where Chapter 2 comes in.

The second chapter lays down an outline of Ashtanga Yoga, which is the eight-fold path of Raja Yoga (i.e. Royal Yoga). While modern-day people tend to think of yoga only as pretzel-like physical postures, that’s just one of the eight limbs of yoga. The eight limbs are: commandments (yama), rules (niyama), postures (asana), control of breath (pranayama), withdrawal of the senses (pratyahara), concentration (dhanara), meditation (dhyana), and liberation (samadhi.)

It’s interesting to note that the limb that many think of as yoga, i.e. the postures, is one of the most briefly covered. Most famously, Patanjali says in Ch.2, Sutra #46, “Sukham Sthiram Asanam” (i.e. postures should be stable and effortless.) The massive body of asana that developed in Hatha Yoga were initially just a means to give one the ability to sit still for a long periods of time comfortably enough to get one’s mind in order.

The third chapter talks a little bit about the last three of the eight limbs (i.e. concentration, meditation, and liberation.) However, the bulk of this chapter is devoted to the supposed magic powers that yogis claimed to have had as a result of their work on improving their minds. For skeptics and scientifically-minded individuals (e.g. yours truly), this is where the Sutras take a silly turn. The translation in question came out in 1912, and it’s clear that rationalism was already gaining hold and magic was getting to be a harder sell. I suspect that was the reason for the inclusion of Swami Vivekananda’s essay entitled “The Powers of the Mind”—to capitalize on the gravitas of the renowned yogi to convince people that chapter 3 isn’t bunk.

The fourth chapter wraps up the book neatly–discussing karma and the liberation of the karmic cycle achieved through the state of higher consciousness called samadhi.

If one has more than a superficial interest in yoga, it’s pretty much obligatory to read some edition of Patanjali’s The Yoga Sutras. I didn’t find this edition to be devastatingly poor, but there seems to be a consensus among reviewers that it’s not among the best translations / commentaries.

I would recommend that one read some version of these sutras, be it BKS Iyengar’s Light on the Yoga Sutras of Patanjali, Swami Vivekananda’s edition, or Swami Satchidananda’s version. I don’t have any experience with these other editions, though I have read works by BKS Iyengar and Swami Vivekananda, and found works by both to be well-written and clear. Notwithstanding the parts about magical superpowers, the book does provide a lot of food for thought, and in nice bite-sized pieces.

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BOOK REVIEW: Hellboy: Midnight Circus by Mike Mignola

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Hellboy: The Midnight CircusHellboy: The Midnight Circus by Mike Mignola

My rating: 4 of 5 stars

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Hellboy meets Something Wicked This Way Comes. In this issue, Hellboy—as a boy—runs away from the BPRD (Bureau for Paranormal Research and Defense) and stumbles upon a circus that operates only through the wee hours of the morning. An acknowledgement of Ray Bradbury suggests that the use of a creepy, nocturnal circus of the netherworld was not a coincidence but a purposive homage.

The comic also borrows elements of the story of Pinocchio, which is explicitly referenced in the story line.

The comic is well-written and drawn. Those who don’t like it will likely find their dislike rooted in the comic’s ending. The title character doesn’t have a great deal of agency—i.e. he has little influence on the resolution of the story arc. That said, given that Hellboy is a boy in this issue and that his upbringing as a human boy by the Professor is credited with his ability to refrain from regression to his demon-like nature, there’s not a lot that he could probably do without straining credulity.

I enjoyed this book.

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BOOK REVIEW: The 20th Century in Poetry Ed. Michael Hulse & Simon Rae

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The 20th Century in PoetryThe 20th Century in Poetry by Michael Hulse

My rating: 4 of 5 stars

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The 20th Century in Poetry is an anthology of over 400 poems written in the 20th century that take (often tenuously or symbolically) historical events as their prevailing theme. The poets included in this collection range from household names to those who’ll be well-known only to poetry lovers to a few obscure choices. Among the more famous poets included are: Rudyard Kipling, A.E. Housman, James Joyce, W.B. Yeats, D.H. Lawrence, Ezra Pound, Robert Frost, Carl Sandburg, T.S. Eliot, Langston Hughes, William Carlos Williams, A.A. Milne, Countee Cullen, Edna St. Vincent Millay, W.H. Auden, e.e. cummings, Dylan Thomas, Allen Ginsberg, Bob Dylan, Sylvia Plath, John Updike, Chinua Achele, Robert Penn Warren, and Seamus Heaney.

Read the title carefully, this isn’t a collection of the best or most popular poems of the 20th century. Many of the works included aren’t even among the best known works of poet authoring them—though there are a few exceptions (e.g. William Carlos Williams’ Red Wheel Borrow and Dylan Thomas’ Do not go gentle into that good night.) Having “clarified” this point, one should note that many of the poems aren’t written about 20th century events. In other words, they’re all written in the 20th century, and they’re mostly about (or around) historical happenings, but sometimes those happenings are from a much earlier time period. However, the editors could well argue that the decision to reflect back on ancient events at that particular time speaks to perceived corollaries in the contemporary era.

I remember reading the reviews on Amazon for this book when I was considering whether to purchase it. The few reviews were overwhelmingly positive, but there was one negative review. Now usually when there’s one negative review and several positive ones, one can dismiss the negative review as that of a curmudgeon—the same person who returns his or her steak three times because the cook can’t get it within one minute and half-a-degree of what that person has determined is the ideal state of cookedness. However, I gave this negative review the benefit of the doubt and read it. What I found was a well-reasoned and uncurmudgeonly explanation of why that person didn’t like the anthology. Still, I dismissed the review and bought it. While I’m glad I did, I can see that reviewer’s point.

What was said critique? It was that the entire anthology was bleak and depressing. At the time of purchase, I shrugged that off. It’s poetry. Of course, it leans to the dark and morose. Poets aren’t generally known for their cheery dispositions (Augden Nash, Dr. Seuss, and Shel Silverstein notwithstanding—and, of course, none of those individuals’ works is in this book.) There are times when the doom and gloom obviously strikes the right tone (e.g. poems about the Depression, the World Wars, and various genocidal atrocities.) However, the 20th century was not all war and holocaust; it was also a time of great advancements in science, technology, and quality of life. But even the best times of the 20th century are painted depressingly in this collection. To give an example, there are three poems about the moon landing and they all come across as works of petty douchebags. (I suppose the underlying sentiment was, “Why are we spending millions going to the moon when there are poets who can’t make a decent living moping about and painting word pictures of the world as seen through shit-colored glasses.)

As this book is proclaimed as an attempt to capture the history of an entire century through poetry, it’s worth pointing out that this is clearly an English language centric view of history. To be fair, the editors do go to lengths to include poems from both Indian (i.e. South Asian Indian) and African poets whose works were published in English.

The poems are arranged in 7 chronological parts: 1900-1914, 1915-1922, 1923-1939, 1940-1945, 1946-1968, 1969-1988, and 1989-2000. Anybody remotely familiar with the history of the 20th century should be able to tell what world events drove this particular delineation of timeframes. For readers who aren’t history buffs, one nice feature is that each part begins with a prose discussion of world events during said era.

I would recommend this book to individuals interested in poetry as long as they don’t currently suffer from depressive disorders.

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BOOK REVIEW: Light on Yoga by BKS Iyengar

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Light on Yoga: Yoga DipikaLight on Yoga: Yoga Dipika by B.K.S. Iyengar

My rating: 4 of 5 stars

Amazon page

I recently reviewed the book Asana Pranayama Mudra Bandha [APMB] and used this book as a point of comparison, and so further insight into my thoughts on this book can gleaned from that review. This will be fairly short and to the point as the APMB review provided a great deal of detail.

Light on Yoga is the work of world-renowned yogi BKS Iyengar. Iyengar is one of several noted students of T.T. Krishnamacharya, and is celebrated for developing a system using props (belts, blocks, chairs, bolsters, etc.) to achieve correct alignment in yogasanas. You won’t learn about props in this book. Iyengar–at least the Iyengar of the 1960’s–didn’t need props to achieve proper alignment. In fact, he was capable of all manner of what can best be described as contortionism.

This book is a solid reference for Hatha Yoga. It covers all the basic asana (postures), pranayama (breathing), bandha (locks), and a large number of variations and advanced asana. Light on Yoga also has an introduction to the eight limbs of yoga (of which asana and pranayama are but two.) There are also helpful appendices like a glossary, a 300-week course outline, and a list of courses for various ailments. The book doesn’t cover shatkarma (cleansing practices) or mudra (sealing postures) in any depth.

The graphics in this book are beneficial and consist of black and white photos of Iyenger performing the asana with his perfect alignment. There are multiple shots of asana as needed either to demonstrate how to enter / exit the posture or to show the completed posture from multiple angles.

As I suggested in APMB review, my biggest complaint with Light on Yoga is that it doesn’t systematically address contraindications, and we don’t learn what evidence supports various claims of benefits.

I’d recommend this book for Hatha Yoga students and teachers. Its strengths make it a valuable text and its weaknesses can be addressed with other books.

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BOOK REVIEW: Asana Pranayama Mudra Bandha by Swami Satyananda Saraswati

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Asana Pranayama Mudra BandhaAsana Pranayama Mudra Bandha by Swami Satyananda Saraswati

My rating: 4 of 5 stars

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Asana Pranayama Mudra Bandha [APMB] is one of two textbooks used in a yoga teacher training course I recently attended. The other text is BKS Iyengar’s Light on Yoga. Iyengar’s book is one of the most well-known yoga books in the world, and I, therefore, expected that I would prefer Light on Yoga to the much more utilitarian looking APMB—a book that you’re unlikely to find at your local bookseller (unless, like me, you live in India—in which case it is quite popular.) However, having now read both books, I think I would give an edge to APMB. I don’t usually frame a book review in comparative terms, but–in this case–the books are similar in subject matter, and comparison may benefit the many who have the Iyengar book.

Both works are largely collections of detailed descriptions of yogasanas (postures), breathing methods (pranayama), mudra, bandha, and, in the case of APMB, Shatkarma (cleansing practices.) Shatkarma is not well-known in the West, but it is a series of 6 cleansing practices that, along with asana and pranayama, are part of the trio making up Hatha Yoga.

Before proceeding with this comparison, it should be noted that the APMB is associated with the Bihar–or Satyananda–School of yoga. Indian yogis and yoginis will likely be familiar with this school as a form of Hatha Yoga that was founded in 1964 by Sri Swami Satyananda Saraswati. Western practitioners are less likely to be familiar with the Bihar school as it has not made the same kind of splash in the West as Bikram Yoga (the most famous “hot yoga” style), Iyengar yoga (which uses props when necessary to achieve proper alignment), Power yoga (a faster and more endurance oriented form of yoga), and many other yoga styles with a hook. (I don’t mean to suggest that Westerners need a gimmick to keep their interest in yoga, but, on a whole, they do.) At any rate, while the Bihar School was founded in 1964, the yoga it presents is classical Hatha Yoga, incorporating some of the knowledge gained from modern understanding of anatomy and physiology.

What I liked best about APMB–and why I liked it better than Iyengar’s book– is its superior organization. APMB lists not only the alignments and benefits, but systematically spells out the contra-indications in their own bold headed section. Iyengar indicates contra-indications only sparsely and puts them in with the “effects” section which is mostly benefits. This makes contraindications easy to miss in the Iyengar book. APMB also has bold sections for breathing, awareness, and variations. This might make it seem like APMB would be denser, but it’s not—it’s actually more concise. Most of these subsections are short and to the point. Each asana takes between one and two pages (unless there are several variations.) While Iyengar clumps asana together with a logic, APMB delineates different sub-classes of asana (standing, forward bends, backward bends, etc.) with separate chapters.

One thing that surprised me is that I found APMB to be more forthright and scientific in its approach. I’d always heard Iyengar was modern and relatively scientifically oriented. After all, this is the man who introduced props for students who cannot perform asanas without proper alignment otherwise—so as to avoid injuries. Now I know that the Bihar School is also known for integrating present-day research into its understanding of yoga, but I was initially not so familiar with Bihar. So while both texts are better than most about depicting the risks, as indicated, Iyengar gives short shrift to the contra-indications and occasionally suggests an extreme posture for a severe ailment. While I applaud Iyengar’s passion, I think it has made him prone to see yoga as a panacea for all ills and to downplay the risks—at least in the late 1960’s when Light on Yoga was written. (Both books were written in the late 60’s, but—based solely on the front matter—it appears there may have been more revised editions for the APMB.

I should note that neither book uses citations to provide supporting evidence about what is a benefit or a contraindication. Some of these claims may be supported by scientific studies, some may be supported by experience, but some may just be old wives’ tales handed down based on pseudo-scientific or outmoded beliefs.

APMB doesn’t win hands down in all dimensions. Graphics is one area in which Light on Yoga is much more useful than APMB. Iyengar’s book uses photographs, and given Iyengar’s penchant for perfect alignment, his book’s photos are quite informative. APMB has line drawings, but some of the drawings suggest incorrect alignments (e.g. the knee well forward of the toes in an asana for which the shin should be perpendicular to the floor.) This would be a damning criticism if I thought anyone should or could learn yoga from the drawings in a book, but since I think pictures are just there to remind one of the general form of the asana, I don’t deduct too much for this flaw. [On the other hand, Iyengar is so flexible that his photos can be a little demoralizing for a person incapable of touching his or her skull to his or her coccyx.]

Iyengar’s book also has more information. While Light on Yoga has many more asana, each book has a few postures that the other doesn’t, but—for the most part—both of the books hit all the classic asanas of Hatha Yoga. I don’t give a lot of credit for having more asana or variations because both books have more than enough material to keep beginner, intermediate, and advanced students busy.

What I think may be valuable is the fact that Iyengar covers more background material in greater detail than does the APMB. Iyengar writes extensively on yamas and niyamas, and the other legs of Ashtanga Yoga (not to be confused with Ashtanga Vinyasa–a flowing and strenuous set-sequence form of Hatha Yoga from Mysore). Of course, if you are interested in shatkarmas or mudras, you’ll only get that information in the APMB.

Both books are beneficial references for students and teachers alike(not to suggest that teachers shouldn’t remain forever students, but not all students should be /need be teachers.) I’m particularly pleased to review this book as it may be an opportunity to introduce this book to some outside of India who may not be familiar with it. If you practice Hatha Yoga, you should give this book a look.

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