Category Archives: Books

BOOK REVIEW: Conflict & Suspense by James Scott Bell

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Conflict and Suspense (Elements of Fiction Writing_Conflict and Suspense (Elements of Fiction Writing_ by James Scott Bell
My rating: 4 of 5 stars

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This is a book about the stuff that keeps readers reading. Without conflict there is no hindrance to a character achieving his or her goal, and thus no story. Suspense is a lack of clarity about what comes next that spurs the reader to keep exploring. Bell defines conflict and suspense, and then explores the various means by which these crucial features are conveyed in stories. I say in stories, but Bell is predominantly speaking to novelists with this book.

The book is divided into two unequal parts. The first, and larger, consists of fourteen chapters about conflict. The first few chapters describe conflict and how it is set up. Then Bell examines how the many dimensions of writing can be manipulated to fire up the tension, including: point of view, openings, subplots and flashbacks, dialogue, theme, style, and even editing. Chapter 14 suggests some tools that writers may employ to help them ratchet up the conflict.

The second, and shorter, part (8 chapters) delves into the topic of suspense. The organization follows a similar progression. First, Bell describes suspense through many potent examples. Second, he moves onto examine the various means by which suspense can be created. With respect to the latter, Bell suggests ways in which dialogue, setting, and style can be presented in order to create cliff-hangers. The last chapter pulls everything together to advise writers on the how to create stories that maximize conflict and suspense. This is in part a summary of the book, but it looks at the process more and the dimensions of writing less, and therefore offers something new as well.

Readers of Bell’s other guides may be familiar with the LOCK formulation that he uses in his “Plot & Structure” book. LOCK is an acronym for Lead (an intriguing opening), Objective (a goal of dire consequence), Confrontation (the battle for the objective), and Knock-out Ending (a conclusion that satisfies.) I mention this because one may find synergy in reading other books in the series. LOCK is not as central a concept here as in the “Plot & Structure” book, but it’s nice to have a common mechanism by which ideas are conveyed.

There’s not much by way of ancillary material. There are a few simple black and white graphics / diagrams. However, there is one nice feature in the form of an Appendix that analyzes conflict for two novels: “To Kill a Mockingbird” and “Silence of the Lambs.” These were good choices both because they represent literary as well as commercial fiction, and because they both have popular movie adaptations. The latter comment might seem like sacrilege to the “the book always beats the movie” crowd. However, using movies as examples—as Bell does here and there—offers the advantage that the average reader will have seen a higher percentage of good movies than they’ve read good books. This is even true for most us who read a ton because relatively few (if any) great movies come out each year and the history of cinema is much shorter.

I both enjoyed and learned from this book. Bell uses many excellent examples to support the ideas that he’s presenting, and this makes the book readable and easily digestible. I’d recommend it for writers of fiction who seek to put more zip into their creations.

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BOOK REVIEW: Characters, Emotion & Viewpoint by Nancy Kress

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Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Dynamic Characters and Effective Viewpoints (Write Great Fiction)Characters, Emotion & Viewpoint: Techniques and Exercises for Crafting Dynamic Characters and Effective Viewpoints by Nancy Kress
My rating: 4 of 5 stars

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This book is about how to write characters with sufficient depth that readers will follow them through to the end of a story. As the title suggests, there are three major components to the book: character building, emotional considerations, and point of view. A story requires a character who needs or wants something and faces barriers to that goal. The character has to be someone who the reader is interested in seeing through a process that involves inching toward a goal while being repeatedly beaten back. This doesn’t mean the character has to be likable, but if the character is unrealistic and uninteresting readers won’t get far. (In other words, they don’t have to like the character, but they do have to feel some sort of way about them.) Facing barriers to one’s goals creates emotional states that must feel authentic. If a character doesn’t respond emotionally to events, then the story is likely to feel flat (unless one has built a hilarious Sheldon Cooper-like character on purpose.) The perspective from which the reader learns of events is critical because it determines what information the reader is privy to, and—in particular—information about thoughts and emotions that are sometimes falsely portrayed.

Of the sixteen chapters that comprise the book, the first seven explore character development. Chapter 1 describes character in terms of general types. The book goes on to discuss the importance of how one introduces key characters. The next three chapters drill down into the challenge of building an authentic character: 1.) What is the character like deep down? 2.) Are the motives of the character clear-cut or complex? 3.) How can one show that the character has changed over the course of the story, and, if they don’t change, will the reader be satisfied? Chapters 6 and 7 investigate specialized types of characters (i.e. genre characters such as in romance, mystery, thriller, or sci-fi [Ch. 6] and in humor [Ch.7.])

Chapters 8 through 11 examine emotion and how it’s conveyed to the reader. The means by which writers communicate emotion include: dialogue (Ch. 8), metaphor, symbolism, and sensory experience (Ch.9.) Chapter 10 delves into special cases that are common in fiction but which require unique consideration (love, fighting, and dying.) Frustration has its own chapter (Ch.11,) and that may seem odd, but one must remember that a story is one barrier after another being erected in the way of the character’s pursuit of his or her objective.

The next four chapters present information to help the writer evaluate different approaches to viewpoint. Not only are there various pros, cons, and considerations one must take into account when deciding upon viewpoint, each approach has a several variations. The first of these chapters (Ch. 12) outlines the broad-based considerations. The next three chapters deal with first person (Ch. 13), third person (Ch. 14), and omniscient points of view (Ch. 15,) respectively. (The rarely used 2nd person point of view is also discussed briefly, but largely as a warning.) The last chapter explores how to make it all work by way of what Kress calls the “fourth persona.” Early in the book, one is told that the writer must simultaneously embody three personas (i.e. the writer, the character, and the reader.) Kress’s “fourth persona” is that of the critic, and it becomes necessary once one has drafted a story and character.

The book has a few extras. At the end of each chapters there are several (usually 4 to 6) exercises to help writers understand the concepts through practice. The chapters each have summaries, and at the end of the book there’s a summary in the form of a checklist. That is about it for ancillary features. There are a couple of graphics in the form of pictures of a “mini-bio” and an “emotional mini-bio.” These are single page fill-in-the blank summaries that help one build a character that has depth and an authentic feel.

I found this book to be interesting and educational. The writer uses examples from a number of popular commercial and literary fiction authors. There’s no real need to be familiar with any particular author, but being familiar with them might present one with additional insights. The book is readable.

I would recommend this book for writers of fiction.

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BOOK REVIEW: Low Back Pain ed. by Jeffrey N. Katz, M.D. [A Harvard Med School Guide]

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Low-Back Pain: Healing Your Aching BackLow-Back Pain: Healing Your Aching Back by Harvard Health Publications
My rating: 5 of 5 stars

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This guide is one in a series put out by Harvard Medical School. It’s the second one that I’ve read, and I found them both to be beneficial reads. The first was on the health benefits of tai chi chuan (a Chinese martial art / system of health exercise [qi gong.])

Harvard Medical School’s willingness to report findings about unconventional approaches and self-care was part of the appeal of this book. When I first developed lower back problems, I went to the doctor, was diagnosed with arthritis via x-ray, and all I got was an offer for pain killers. To me this was much like going to the mechanic because the check engine light came on, only to be told that all they could do for me is unplug the pesky indicator light. At any rate, that’s why this kind of book can be useful, because one can’t always expect a given doctor within the modern medical establishment to be on top of treatments not involving drugs or surgery. This isn’t to denigrate those options, often times they are the best or only option, and they are covered in this guide as well. However, back pain is one of those rare areas in which sometimes the best option is outside medical norms. Much as many doctors hate having information thrust in front of them by patients, at least Harvard Medical School may garner more respect than a WikiMD post. There’s even a box talking about the mind-body connection, and options in that domain.

Low back pain is both extremely common and often still poorly understood. That’s because there are so many problems that can cause similar symptoms. [I guess this shouldn’t be a surprise because our pelvis had to rotate through evolutionary changes to take us from quadrupedal to bipedal. It makes sense that our nerves and blood vessels might be routed in such a manner as to cause troubles.]

While this guide is short, it does take on a range of issues, including: who’s most at risk, how the spine works [and doesn’t], what the basic categories of back injury are, how one’s specific ailment may be diagnosed, how to evaluate treatment options, what one can do on one’s own to help heal a problem back while preventing future injury, what medicines may be prescribed, what surgical options may be offered, and advice on facilitating a recovery.

As far as ancillary features are concerned, there are a number of line drawings. This artwork is generally either anatomical drawings used to show how the spine works or is injured, or show exercises that one can use to strengthen the back. There are a few pages each of resources and glossary. The resources are not so much printed resources (there’s only one of book, and that one is authored by the editor of this guide,) but rather organizations and even websites.

I found this guide to be informative and helpful. I would recommend it for anyone who has low back problems, or who might benefit from learning more about them (e.g. yoga teachers.)

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BOOK REVIEW: Piriformis Syndrome by Loren Fishman, M.D.

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Piriformis Syndrome: Diagnosis, Treatment, and Yoga: Pain in the ButtPiriformis Syndrome: Diagnosis, Treatment, and Yoga: Pain in the Butt by Loren Fishman
My rating: 4 of 5 stars

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This short book (<50pp.) describes piriformis syndrome, what causes it and how it’s diagnosed and treated. Piriformis Syndrome is a malady in which a nerve is pinched by the piriformis muscle. Because of the way pain (and other sensations) radiate, it’s not necessarily easy to differentiate this syndrome from a low back injury. However, the descriptions of the specifics of this condition, and the test used to diagnose, it may give one insight as to whether one is looking in the right direction for the cause of one’s butt and leg pain.

One nice feature of this book is that it explains how yoga can be used both as part of the treatment regimen and as a preventive measure. The yogic treatment consists of just four classical postures of Hatha Yoga: Janu Shirshasana (head to knee pose), Parivrtta Trikonasana (twisted triangle pose), Matsyendrasana (a simple twisting pose named for a sage), and Parivrtta Parsvakonasana (twisted side angle pose.) However, yoga teachers who have students who’ve been diagnosed with this condition will find it nice that the book gives modifications and clarifications pertaining to use of the postures to help such people.

There are seven chapters in the book. The first describes the condition and its cause. The second chapter explains the connection between the condition of piriformis syndrome and the symptom of sciatica. Chapter three clarifies the ways in which this condition may be misdiagnosed, and this is followed up by the chapter that shows how it is diagnosed by both physical examination and by imaging technology. Chapter five gives a basic overview of the available treatment options including injections, drugs, physical therapy, surgery, and yoga. The next chapter talks about the state of research. The last chapter explores the yoga asana that can be used to help treat or prevent piriformis syndrome. There are a few graphics. These include line drawings such as of the diagnostic physical exam, and photos of modified versions of the yoga postures.

I’d recommend this book for those who’ve been diagnosed with this ailment, who believe they might have it, but also for yoga teachers who are interested in expanding their understanding of the afflictions of which their students may suffer—so as to be prepared to help them or, at least, not hurt them.

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BOOK REVIEW: Subliminal by Leonard Mlodinow

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Subliminal: How Your Unconscious Mind Rules Your BehaviorSubliminal: How Your Unconscious Mind Rules Your Behavior by Leonard Mlodinow
My rating: 4 of 5 stars

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If one tries to detect lies using conscious analysis, one stinks—wrong as often as right. However, if one distracts the conscious mind so as to produce what is often called a hunch, one performs much better. This is because not only is there is another mind below one’s conscious mind, but it’s better at many tasks than is our conscious mind. This will be hard news for many readers to take because they are reading and comprehending it with their conscious minds—a conscious mind that thinks it’s better than sliced bread when it comes to things that are awesome. Mlodinow’s book is about the many aspects of this mind that we generally don’t have access to (unless one is skilled in lucid dreaming or is conscientious in the hypnagogic state [on the edge of falling into sleep]—topics the author doesn’t get into.) It’s about why humans evolved to have subliminal mental operations, how they benefit us, and how they sometimes fail us.

Ideas about what the unconscious mind is have varied over the ages, though its existence has long been recognized. Ancient traditions often attributed the unconscious to the supernatural causes like a collective consciousness. Mlodinow begins his book with a chapter entitled “The New Unconscious,” presumably to distinguish it from Freud’s conception and to emphasize the wellspring of results that have come about during the last couple decades of brain research.

The second chapter deals with our sensory experience and the role that unconscious elements play in shaping it. People tend to overestimate the extent to which they experience a high-fidelity and high-resolution display of the world, and underestimate the degree to which the brain fudges to make it seem so. Facial recognition, which is one of the most fundamental of human skills, is a centerpiece of the discussion.

The third chapter discusses memory. Again, the underlying theme is how the brain can make mistakes as it tries to cobble together a story with a combination of information we have, blank spots, and guesses. One may be surprised to discover how poorly one is able to describe the details of things that one sees—if not every day—at least thousands of times in a lifetime.

The next chapter examines how our unconscious plays into our social life. The concept of a “theory of the mind” is at the center of this discussion—and it may not be what you think. Theory of the mind is the ability to figuratively see the world through the eyes of others, to understand justifications for what others have done, and to anticipate what they will do in the future. We also learn about oxytocin and vasopressin, the so-called “love hormones,” whose presence corresponds to our fond feelings for others.

Chapter five continues the discussion of the previous chapter along a specific line of discussion—that of reading people. We are wired to make sense of the facial expressions and non-verbal behavior of other people and this chapter explores that ability as well as its limits. Chapter six describes how we draw quick and unconscious conclusions about people on the basis of how they look, feel, and smell. By way of example, I’ll offer a case from another book I read recently (I don’t believe Mlodinow refers to this particular study, but I may be mistaken) in which a mock interview was set up. Right before their interview meetings, some of the individuals were asked to hold either a hot or cold coffee (or nothing.) It turned out that whether a subject had held a beverage (and what kind) had a profound influence on the interviewers’ feelings about that subject (i.e. the degree to which an interview subject was seen as a cold or warm person had as much to do with an unconscious evaluation of a handshake as it did the conscious interpretation of the individual’s personality.)

The next couple chapters (7 and 8) explain the crucial role of the unconscious mind in categorizing things and people, how that skill has been essential to our survival, and how this sometimes gets us in trouble (e.g. racism.) Chapter 9 delves into the role of emotions, and what the author calls “emotional illusions.” Sometimes we make a decision because we have an emotional experience associated with the decision scenario, but being in an emotional state that is unrelated to the decision still affects the decision.

The last chapter is about how our attachment to self can influence decisions. You’ve probably read about studies showing 90+ percent of the population think they are better than average at something. Also, you may remember from Psychology class a discussion of the self-serving bias (attributing positive outcomes to one’s awesomeness, while blaming external forces for negative outcomes.) This chapter deals in these types of phenomena.

The book has a few relevant black-and-white graphics as well as annotations / citations.

I found this book to be interesting, but not unlike many books that are presently available. I thought it could have ventured into more novel and interesting territory. There are actually a number of books that focus on how we are wired, and the glitches that result. Sometimes our evolutionary programming served us well under hunter-gatherer conditions, and sometimes it still serves us most of the time–but fails us on occasion. There are a number of books that discuss this–often using the same or similar examples as Mlodinow (e.g. consider Eagleman’s “Incognito.”) However, the ways in which the unconscious mind can be interacted with, such as lucid dreaming, are now being scientifically studied, and so there exists a capacity to move beyond the blooper reels of the mind—though that topic is certainly a popular subject, both of scholarly study and pop science books such as this one.

If you are looking for a book on how the unconscious mind both benefits and deceives us, this is a good choice. Mlodinow has a sense of humor and writes complex subjects in an easy to comprehend fashion. However, if you’ve read up on the subject, you might not find much new here.

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BOOK REVIEW: Inside Jokes by Matthew M. Hurley, et. al.

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Inside Jokes: Using Humor to Reverse-Engineer the MindInside Jokes: Using Humor to Reverse-Engineer the Mind by Matthew M. Hurley
My rating: 4 of 5 stars

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This book examines the science of why we find funny what we find funny. Most people probably feel about this as did E.B. White who said, “Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it.” Still, while analyzing humor may not be as fun as reveling in it, it’s fascinating to scientifically inquiring minds.

Humor is universal (not the humor of a specific joke, but the experience of somethings being humorous.) A skilled science fiction writer might conjure up an alien race that is credibly humorless. But it defies credulity that even the remotest of aboriginal Earthling wouldn’t giggle or guffaw at the sight of an off-course ball careening into an unsuspecting man’s crotch. Humor’s universality begs certain questions. First and foremost, one expects there to be some evolutionary advantage to a sense of humor. That evolutionary mechanism is precisely what Hurley, Dennett, and Adams attempt to demonstrate in this book. The authors suggest that the pleasure associated with humor is a reward for recognizing an incongruity, and they go into great deal to fill in the details needed to explain the panoply of things people find funny, while suggesting why alternate explanations are inferior.

While there’s a lot of frog-killing academic analytics and needlessly messy scholarly language, this book does offer a vast collection of examples of humor to support and clarify the authors’ points. So, unlike many books on evolutionary and cognitive science, this book does have a built-in light side. WARNING: there’s also a discussion of why some attempts at humor fail. This means one is also subjected to a number of puns, elementary school jokes, and comedic misfires that show the reader why sometimes humor implodes.

The book starts by building a common understanding of what humor is. It turns out that this isn’t simple because people find many different kinds of things funny–from caricatures to wordplay. (And, whatever the initial evolutionary purpose of humor, our species has run with that reward system to places that couldn’t have been readily anticipated.) Next, the authors discuss the many varieties of theories of humor that have been raised. This subject has been studied for some time, and thinkers have suggested that humor’s pleasure derives from a number of different causes from feeling superior to recognizing surprise–just to name a couple. After considering the competition, Hurley et. al. start laying out the basis of a cognitive / evolutionary explanation. In chapter five they describe 20 questions they think must be dealt with, and–in the last chapter (13)–they give their responses as a summation of the book’s main points. Along the way, the authors take on important related questions such as why humor sometimes fails, what others will see as the weakness of their argument, whether a robot could be humorous, and why we laugh. The last point opens another can of worms. Even if one concludes–as the authors have–that humor is a reward system for recognizing incongruities, the question of why there is an advantage to spontaneously announcing that recognition still arises.

There’re are a few graphics in the book, mostly these are cartoons and humorous photos that serve as examples. The book is published by MIT Press, so all the usual scholarly features of notes and citations apply.

I found this book to be thought-provoking, and the plentiful examples of jokes made it enjoyable to read as well. I’d recommend it for those interested in the science of the mind. It’s a bit dry in places for readers looking for light reading about humor.

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BOOK REVIEW: Life and Death Are Wearing Me Out by Mo Yan

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Life and Death are Wearing Me OutLife and Death are Wearing Me Out by Mo Yan
My rating: 5 of 5 stars

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This strange title turns out to be a perfect summation of the book. The narrator / protagonist was a wealthy land owner named Ximen Nao who was executed when the Communists gained power in China. In heaven, Lord Yama (the judge in Chinese folklore’s version of the afterlife) sentences Ximen Nao to be sent back to Earth as a donkey, and—in subsequent lives—as an ox, a pig, a dog, and, finally and briefly, as a monkey. He’s always sent back to the family of one of his former underlings, Lan Lian, and the story follows that family over the course of several decades through the Cultural Revolution and China’s grand reforms.

The early parts (the lives of donkey, ox, and part of pig) are centered on Lan Lian’s decision to remain an independent farmer. Mao Zedong promised all farmers the right to remain independent contractors if they wished, but there was great pressure—first from the community and later from his own family—to become part of the commune. This ends up dividing the family, and ultimately Lan Lian ends up on his own. The latter part of the book (i.e. dog and monkey lives) deals with Lan Lian’s children (and eventually their children), and—particularly–with Lan Jiefang who shares a birthmark and a stubborn streak with his father. Lan Jiefang’s stubbornness is revealed as a desire to divorce his wife and to marry a younger woman. His equally stubborn wife refuses the divorce, and Jiefang and his young lover become ostracized. At the tail end of the book we see how Lan Jiefang’s son is afflicted by the same dogged determination to pursue a costly path—as a respected member of the police force he falls for a former classmate who has become a pariah.

The book mixes humor with tragedy. The animal incarnations of Ximen Nao each have its own personality, but retain some of the landlord’s character and memories. The animal stories are both part of and comedic counterpoint to the tales of woe experienced by Lan Lian’s family. Mo Yan has cameo appearances throughout the book, though in the dog’s life section he plays a more substantial role. References to Mo Yan’s character invariably come with self-deprecating humor. The author creates characters that the reader is interested in. What I call stubbornness is really a tenacious willingness to suffer for the principle of pursing one’s own happiness. In the case of Lan Jiefang and his wife, the reader is likely to be torn by the gray situation. The wife seems the more sympathetic character, but, still, one can’t help but appreciating the tenacity of Lan Jiefang and his willingness to suffer so greatly on the principle that “the heart wants what the heart wants.”

In addition to a good story with vibrant characters, this book offers a birds-eye view of China in the latter half of the 20th century. What is happening in the lives of the characters isn’t divorced from what is going on in the world, but is shaped by it. One notices this most vividly across the three generations over which the book’s story unfolds—with the middle generation (Lan Jiefang’s) serving as hinge point. When Lan Jiefang’s half-brother goes from being a Communist Party apparatchik to the wealthy CEO of a large firm, it’s a reflection of the societal undercurrents.

I enjoyed this book, and would recommend it for readers of fiction—and particularly translated literary fiction.

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BOOK REVIEW: Thirst by Andrey Gelasimov

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ThirstThirst by Andrey Gelasimov
My rating: 4 of 5 stars

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This novel (novella) is translated from Russian, and is the story of a soldier, Kostya, who fought in Chechnya and was badly burned while trapped inside an Armored Personnel Carrier (APC.) Owing to his severe disfigurement, Kostya becomes a heavy-drinking homebody. This changes when one of his team members from the war, Seryoga, goes missing and a couple surviving team members come to recruit Kostya to the search party.

Kostya struggles with an internal conflict common in war stories. On the one hand, Kostya both rationally recognizes the logic of why his friend and teammate, Seryoga, didn’t pull him from the burning APC (i.e. Seryoga believed Kostya was dead) and he loves Seryoga like a brother. On the other hand, he can’t help but feel that if Seryoga had pulled him out sooner he wouldn’t be so hideously disfigured and his life—as he sees it–wouldn’t have been ruined. Kostya battles those feelings, even defending Seryoga’s decision based on the reasonable conclusion that Kostya was already dead. A flashback sequence interwoven into the contemporary timeline shows us the events of the APC attack, including—ominously—a discussion of what should happen in case grenade breaches the vehicle for the benefit of the FNG (F@#%ing New Guy.)

The story is short and sparse, and that complements the somber tone of the book. One reason for dragging Kostya into the search is that his father is a Lieutenant Colonel with the pull to access records. This forces Kostya to open up the estranged relationship with his father and his father’s new wife. One gets the feeling that Kostya blames his father more for his plight than he does Seryoga, adding to any pre-war problems in the relationship. There are several factors that combine to move Kostya toward a better place over the course of the story. One is the thaw in relations with his father, and–perhaps even more so—the burgeoning relationship with his step-mom, Marian, who he discovers to be a genuinely good person. A second factor is reconnecting with his military buddies. Finally, his art (Kostya has a talent for drawing) becomes more therapeutic as his friends and family begin to see it.

This is a classic brothers-in-arms story. The universality of that bond comes through in translation. With tweaks in details (and choice of liquor) this story could be about American soldiers in Vietnam or Iraq. What makes the book a worthwhile read, if nothing else, is its display of that commonality of human experience. The ways of soldiers who have a stake in each other, even if they feel little personal stake in the grand strategy that has put them where they are.

I found this story to be moving and thought-provoking. I’d recommend the book—particularly for readers of literary fiction—and it’s definitely literary fiction. The story is character driven, and not plot or action driven. The tension derives from the interaction of characters and not (except for the APC fire) outside events. Many will find the ending abrupt and anti-climactic, but it’s the story of Kostya’s journey and not of any particular destination.

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BOOK REVIEW: The World’s Best Street Food by Lonely Planet

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The World's Best Street Food: Where to find it and how to make it (General Pictorial)The World’s Best Street Food: Where to find it and how to make it by Lonely Planet
My rating: 4 of 5 stars

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This is a combination guide to street food and cookbook. Each of the 100 entries consists of two pages. The first describes the food, how it’s eaten [that’s not always as self-evident to outsiders as one might think], its origins, where one can find a quintessential or famous example of the food, and whether there are any variants on the recipe. The second page is the cookbook entry, which lists the ingredients and describes the process by which they are combined to create the dish in question.

The foods are divided into broad categories of savory and sweet. The savory category is the larger by far, comprising 80 of the dishes—leaving 20 sweets. The dishes represent about 50 different countries of origin. A lot of these countries are well-known street food cultures such as Thailand, Vietnam, India, Mexico, and the US, but there are also a number of locales with which readers may be less familiar– such as Ghana, Malta, and French Polynesia. The dishes include a number of my favorites, such as Vietnamese Banh Mi, US Breakfast Burrito, Indian Masala Dosa, Thai Pad Thai, Hungarian Langos, and Singaporean Hainanese Chicken Rice. However, I also learned of new dishes that I’m eager to try, such as Croatian Cevapcici, Burmese Mohinga, and Chilean Sopaipilla.

WARNING: While I didn’t deduct stars for it, I will warn readers that this isn’t a good book to get as an e-book—at least unless you have a high-end tablet. It was a bit of a pain to read on my Kindle Touch, and the graphics (which I assume are beautiful in the print edition) were largely useless on my device. One could blow up the text easily enough (within limits, at least,) but the pages got grainy if one blew them up too much—and some of the text remained small when expanded.

There are photos. As I mentioned, on my device they were largely useless (grainy black-and-white) but your results may vary.

I found this book to be interesting and informative. While I wish the e-book had been easier to read, it was well-organized and offered a broad selection of dishes from a large number of countries.

I’d recommend this book for street food lovers and foodies.

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BOOK REVIEW: 100 Movies to See Before You Die by Anupama Chopra

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100 Films to See before You Die100 Films to See before You Die by Anupama Chopra
My rating: 4 of 5 stars

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Full Disclosure: I’m not much of a movie-goer, and have seen a mere 16 of the titles on Chopra’s list—if memory serves, but it often doesn’t. My point being that I may not be the best judge of what films should be included in such a list.

Be that as it may, I liked this book and its list. First, I found it to be a richly diverse set of films. Given that Chopra works for Indian media, one might expect that the book would be completely dominated by Indian films (fyi–I don’t know much, but I have learned not to lump all of Indian cinema under the term “Bollywood.”) Alternatively, one might expect the list to be ruled by Hollywood because the US has been the 800-pound gorilla of moviemaking since the early days of the industry. It’s true that the US and India are well represented on the list (the US with 34 movies and India with 26,) but Hong Kong, Italy, Japan, France, Mexico, and others are suitably represented (not to mention films produced by / in multiple countries.) (Nigerians and other Africans from countries with filmmaking industries may not agree because Africa isn’t represented, but the fact that the most recent film is 2007 makes me assume the book may not be up to the latest breakthroughs. [My edition is listed as 2013, but I think that’s just the e-publishing date. I’d guess the book came out around the time of the last film on the list, but could be wrong.])

Another aspect of the book’s diversity is the age range; the films are from 1922 to 2007. They don’t seem to be heavily weighted toward the modern day—as is a common defect of such lists. Yet another dimension is diversity of the class and genre of film. By that I mean that the list includes unambiguous classics of cinema like “Citizen Kane,” but it also includes what might be considered less cerebral movies such as “Enter the Dragon” and “Kungfu Hustle.” It also includes comedies and sci-fi movies, which are often under-appreciated by critics. Still, Chopra doesn’t resort to using to box office earnings as a criterion either. Many huge money makers aren’t on the list (e.g. “Titanic.”)

The entries for each film are just a couple of pages, but, in addition to a summary, they include the awards won by the film and a piece of intriguing trivia for each entry. There are some graphics in the form of movie posters and set photos. There isn’t a photo for every entry, but they aren’t that important and, in the case of my little Kindle, the pictures couldn’t be seen well anyway.

I’d recommend this book for anyone who wants a tight list of films to be seen that prominently features international cinema.

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