Category Archives: Books

BOOK REVIEW: How To Make a Zombie by Frank Swain

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How to Make a Zombie: The Real Life (and Death) Science of Reanimation and Mind ControlHow to Make a Zombie: The Real Life (and Death) Science of Reanimation and Mind Control by Frank Swain
My rating: 5 of 5 stars

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The title of this book might lead you to believe that it’s either frivolous or that it’s an examination of a successful sci-fi subgenre. In fact, the book presents some serious (if disturbing, and often unsuccessful) science on two concepts that are disparate except by way of analogy of the Zombie – the brain-obsessed walking undead popularized in film and fiction. Those two ideas are: 1.) how definitive of a state is death, can people be brought back from it, and – if so – under what conditions and at what costs? 2.) is it possible to completely usurp an individual’s will, and – if so – by what means?

The book consists of seven chapters that are topically organized. The first chapter introduces the idea of Zombies, discussing early reporting on them from interested parties visiting the cane fields of the Caribbean. But it also delves into the idea of how drugs and freezing might create temporary death (or the appearance of death) from which individuals can be [partially or fully] successfully roused.

Chapter two explores the history of research about how to bring a deceased person back from the dead. Squeamish readers should be forewarned there is discussion of such things as partial dogs (i.e. the head end) being temporarily revived. The book touches on various ideas related to resuscitation. There is a discussion of one researcher’s study of katsu, techniques used in judo and jujutsu to revive an individual who has lost consciousness [or worse.] Near Death Experiences [NDE] and Out-of-Body [OoB] are also covered. These strange phenomena reported by revived individuals are too common to ignore, but — while they are often presented as evidence of an afterlife and /or the divine, there’s little reason to believe that they aren’t perfectly natural phenomena. [e.g. Neuroscientists are able to induce an OoB with a carefully placed electrode.]

Chapter three shifts gears from the question of death and resuscitation to the one of mind control. While the bulk of the chapter is devoted to pharmaceutical approaches to mind control, it also examines mind control by other means – e.g. authority as an agent of mind control as seen in the famous Milgram experiments, as well as hypnosis. Most of the drug related sections deal with psychedelics (and their naturally occurring precursors.) Swain describes the CIA’s varied shenanigans with LSD in MK-Ultra, Operation Midnight Climax, and the Frank Olsen death. [Long story short, you can’t control someone’s mind with psychedelics, but you can still achieve some despicable ends.]

Chapter four continues the exploration of mind control, but focuses on more invasive approaches — from lobotomies to electro-stimulation. Of course, even as these procedures got more sophisticated, they could still only reliably make vegetables.

If you think the history of lobotomies from chapter four was as scary as it can get, I’ve got news for you. Chapters five and [particularly] six are the ones that I found both the most fascinating and by far the most terrifying. These chapters, together, uncover how mind control is achieved in the natural world by parasitic creatures. Clearly, if there is any risk of successfully taking over a human will, it will not be with doses of Acid or icepicks stuck in the brain, it will be from figuring out how some of nature’s parasitic masters of mind control do it and copying from their playbooks.

Chapter five discusses wasps and fungi that successful take over their [fortunately non-human] hosts. I wasn’t familiar with how many mind-controlling wasps there are, but I had heard of the fungus, Ophiocordyceps unilateralis. Said fungus infects an ant, steers it up into a tree, forces it to secure itself by locking in its mandibles onto a branch, and then the fruiting body blooms out of the ant’s frickin’ scull. It’s chapter six, however, where things really get creepy. There’s an extended discussion of rabies, but the wildest part was a discussion of Toxoplasma gondi. T. gondi likes to infect cats, but if it can’t find a cat, it’ll infect a rodent and selectively (not only turn off the rat’s fear of cats but also) make the rat attracted to cats. What’s fascinating is that all of the rat’s other usual fears remain intact (bright lights, sharp noises, etc.)

The last chapter is on the various intriguing things that happen after a person dies — from cannibalism to organ harvesting. I think the most interesting discussion to me, however, was one about keeping a brain-dead accident victim alive long enough that her baby could live to term within her. (There was also an intriguing – if unnerving – case of a mother who wanted her deceased son’s sperm harvested.)

The book’s only graphics are black and white photos at the head of each chapter, but it is footnoted and has a chapter-by-chapter bibliography.

I found this book riveting. I learned a lot from it. The cases are presented in amusing and enthralling ways. If you are interested in the questions of what it means to be dead and how safe your free will is, this is an engrossing look at those subjects. I highly recommend it.

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BOOK REVIEW: American Vampire, Vol. 1 by Scott Snyder and Stephen King

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American Vampire, Vol. 1American Vampire, Vol. 1 by Scott Snyder
My rating: 5 of 5 stars

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This graphic novel includes two distinct, but interconnected, stories presented in an interspersed fashion (i.e. each chapter presents a piece of each story.) The first story, written by Scott Snyder, is set in flapper era Hollywood, and revolves around a hardworking aspiring actress, Pearl, who is lured into a den of vampires by a big-name actor who she has a celebrity crush on.

The second story, by Stephen King, is set in the wild west and tells the story of a violent bandit named Skinner Sweet. Sweet is also turned vampire when he is “killed” by a vampire whose business activities are disrupted by Skinner’s rogue ways. The connective tissue between the two stories is the character of Sweet, who is a background character in Snyder’s story – playing a sort of mentor / guide who Pearl is only reluctantly and skeptically willing to accept.

Like Blade, character from Marvel Comics and the movies of the same name, Pearl and Sweet have enhanced capabilities in comparison to the old “European” vampires. These enhancements are similar to Blade’s, as well. The American Vampires don’t instantaneously fry in sunlight, and they are stronger and faster than their old-world counterparts. I suspect that in both cases, these enhancements are meant to make things interesting, given that – in both cases — these characters are at a disadvantage in every other way (i.e. they are outnumbered, they have many fewer resources, and they are far less experienced.) Unlike Blade, the “American Vampires” morph into nastier and more monster-like versions of themselves when they go on the attack.

The stories are straightforward, though skillfully crafted. In the first, Pearl is turned and then goes out for some payback, her best friend getting caught up in the action as well. In the second, Sweet plays out his vendetta against a lawman who was his nemesis. We get additional insight from a man who wrote up Skinner’s story as a work of fiction, but then came out as having really been writing the truth – much to the amusement of a skeptical audience. Flashbacks throughout this author’s talk layout the Skinner Sweet story. One does get the sense that immortality has had a tempering effect on Sweet, who doesn’t seem so prone to be mean for meanness sake. Although, this might be deceptive as we don’t see much action by him in the Snyder story.

I found the artwork to be well-done. While I don’t have expertise on the subject, I could follow the panels with no problem, and that’s about all I need out of them.

I was engrossed by this book. It can’t be claimed to being original, but it is an adept execution. If you are interested in vampire stories, this is an interesting take on them.

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BOOK REVIEW: The Winter’s Tale by William Shakespeare

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The Winter's TaleThe Winter’s Tale by William Shakespeare
My rating: 5 of 5 stars

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The moral of this story is that great power combined with human frailties like jealousy, vanity, and pettiness is a recipe for misery – even [perhaps, especially,] for the all-powerful individual. Stated another way, all humans get a little crazy from time to time, but if one has power over life and death the craziness isn’t just a passing fancy.

Leontes, the Sicilian King, has enjoyed an extended visit from his old friend King Polixenes of Bohemia. As Polixenes intends to leave the next day, Leontes is politely trying to talk his friend into staying longer. Leontes then asks his Queen, Hermoine, to take on the task of nagging Polixenes while Leontes steps out to take care of some business. When Leontes returns, he finds the Queen has succeeded in talking Polixenes into staying. At this point, Leontes is driven into a jealous madness, assuming his wife must be sleeping with Polixenes because she was able to talk the Bohemian King into something Leontes couldn’t. Leontes immediately becomes certain of this infidelity, despite the fact that he has no evidence for it and – it will turn out – no one believes the Queen has been unfaithful. While Leontes keeps his rage to himself, he orders one of his trusted Lords, Camillo, to murder Polixenes.

While neither Camillo nor Paulina (the Queen’s closest friend) would be considered marquee characters, they are the MVP’s of the play. Both characters take actions that put themselves at great risk when confronted with the dilemma of whether to do the right thing or to comply with the dictates of the King. Camillo first does this by refusing the assassinate Polixenes and then fleeing to Bohemia (which is necessary given Leontes’s madness.) [In an intriguing turn, Camillo will again have to do the right thing, this time, in the face of Polixenes’s wishes – i.e. when Polixenes wants to punish his son for sneaking out to apparently court a commoner. This incident with the — previously reasonable — monarch reinforces the aforementioned story moral, and perhaps establishes a few hundred years before Baron Acton’s dictum that “absolute power corrupts absolutely.”] Paulina is vocally (and, later, in other ways) supportive of the Queen, even when it is clear she is raising the hackles of King Leontes.

The madness of Leontes is fascinating. He not only concludes with certainty that the Queen cheated on him, he also makes the leap that his current son, Florizel, and the child that Queen is due with when she is arrested were both sired by Polixenes. The fact that all his Lords and Paulina (wife of a Lord) politely suggest to him he is in error does not sway him. As an attempted concession toward reason, he consults an Oracle. Even when the Oracle’s sealed response comes back telling him that he is wrong, that his wife and Camillo are both right, and he is going to end up without an heir unless he can find the child that he sent away (the infant delivered in the gaol) he is unswayed – until moments later when he learns his once beloved son, Florizel, is dead. Despite the fact that he’d concluded Florizel was a bastard, he is moved by the death of the boy – at least in combination with the swooning of the Queen — which appears to be her death as well.

The rest of the story plays out the fate of the child that was sent away by the King. The child was taken by Antigonus (another of Leontes’s Lords and husband to Paulina) who doesn’t survive the trip but does leave the child where a shepherd ends up finding her.

This is an intense take on the jealousy and insanity. The story is gripping throughout. There are plenty of intriguing twists and turns. It’s fascinating how many ways Shakespeare can play the simple plot of unfounded jealousy. Needless to say, this play is highly recommended reading.

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BOOK REVIEW: Pride of Baghdad by Brian K. Vaughan

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Pride of BaghdadPride of Baghdad by Brian K. Vaughan
My rating: 5 of 5 stars

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I generally dislike books for adults which anthropomorphize wildlife. Except for “Watership Down” and “Animal Farm” I can’t — off the top of my head — think of another book oriented towards adults that I liked that did so. However, Vaughan’s book tells a stirring story that could pretty much only be told by anthropomorphizing its wildlife characters – because those characters are the only characters through most of the story and the intensity of the story revolves around their internal experience.

It’s the story of a pride of lions that escaped from the Baghdad Zoo during the Gulf War. The four lions were – for a time – roaming the streets of war-torn Baghdad looking for food. The story blends fiction with way-points of fact established from the accounts of soldiers.

Vaughan does inject some of the harsh reality of the natural world into the book, and so it doesn’t fall completely into the pit of anthropomorphization, and — by doing so — he creates a more visceral experience in the story.

It’s a short but gripping story. Vaughan succeeds in facilitation of the reader’s consideration of what it must be like to be an uncomprehending creature placed in humanity’s most incomprehensible condition – warfare.

An appendix to the book includes the proposal and notes, which clarifies some of what was actually known to have happened as opposed to what is either speculated or fiction.

I found this book intriguing and would highly recommend it.

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BOOK REVIEW: The Nightgown & Other Poems by Taisia Kitaiskaia

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The Nightgown & Other PoemsThe Nightgown & Other Poems by Taisia Kitaiskaia
My rating: 5 of 5 stars

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This playful poetry collection takes fairy tales and folklore as a theme, but — as in those tales — it makes magical leaps, refusing to be restrained. Amid poems that meander in a fun but stream-of-conscious way, denying the reader literal meaning, there are lines that — like Zen koan — slap the reader in the face for trying to rationally calculate a meaning. (An example that stuck with me is, “candles are dying to see me naked.”)

The poetess is clearly a word-lover, and occasionally makes bold choices of verbiage, sending me to the dictionary for words like “oubliette.” Though I must say there was always a nice pay-off. These weren’t words chosen solely for sound quality, they invariably represented evocative or profound ideas. (e.g. The aforementioned example, “oubliette” is “a secret dungeon with access only via a trapdoor in the ceiling.”)

Lest I make the collection sound impenetrable (if fun,) I’d say it just requires a certain surrender to whatever it kindles in the reader.

I immensely enjoyed reading this collection. It’s fun. Even when it’s taking on serious topics, which it does, it doesn’t take itself too seriously and it’s all the more effective fore it.

I’d highly recommend poetry readers give this one a try.

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BOOK REVIEW: World War Hulk by Greg Pak

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World War HulkWorld War Hulk by Greg Pak
My rating: 5 of 5 stars

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This collection [World War Hulk (2007) #1-5] picks up where “The Incredible Hulk: Planet Hulk” left off. “Planet Hulk” sees Hulk arriving on the harsh planet of Sakaar where he engages in a series of adventures that take him from enslaved gladiator to king. I reviewed that work recently, and enjoyed it more than this one, though both are from the same author and each tells an intriguing story. The “Planet Hulk” story was just more intricate and thought-provoking — we see a change in the Hulk and the events that bring those changes about.

In “World War Hulk,” the Hulk returns to Earth, seeking revenge upon the “Illuminati” group who jettisoned him into space (i.e. Tony Stark / Ironman, Doctor Strange, Reed Richards / Mr. Fantastic, and Black Bolt.) Said revenge isn’t so much for shooting him into space, but because the craft that they sent him to space in blew up leveling Sakaar’s capital city and killing (among many others) his brand new Queen. So, the story is just the Hulk trying to put a beating on the four superheroes who shot him into space as they try to not get beaten (and to keep a [mostly] evacuated New York City from being leveled.] The Illuminati quartet face a number of problems, however. First, while they might have had the combined ability to defeat the Hulk before (at least teamed with the many other heroes at their disposal — and many are present from street-level vigilantes to big leaguers like the Fantastic Four,) the Hulk is madder than ever, and thus stronger than ever (but also wiser / more experienced.) Second, the Hulk now has his own monster-level “Warbound” entourage (i.e. Korg, Miek, Hiroim, Brood, and Elloe Kaifi.) Finally, the one hero who, without a question, has the power to stop Hulk and his Warbound, i.e. The Sentry, is severely agoraphobic and schizophrenic. So, it’s a great challenge to get him out the door and once you do, he’s at risk of schizoid behavior. On top of all that, he contains enough power to destroy the world – accidentally or because of distorted perceptions.

I did like the touch about The Sentry being a basket case. I’m not a big fan of hugely overpowered heroes, but if they have enough weaknesses they can redeem what would otherwise be terminally boring storylines. This is certainly the case with the Hulk who is at his most powerful when he is out of control and who is also, generally, at his least intelligent at those times. The Sentry takes it a step beyond because he’s barely functional. One may be doubtful about someone so powerful being scared to go outside, but it is the nature of mental illness that one doesn’t always see oneself as one is seen and there need not be a sound logic to one’s perceptions of the world.

I’d recommend reading “Planet Hulk” first and – if you enjoy it, which I suspect you might – you’ll probably find following it up with “World War Hulk” worthwhile.

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BOOK REVIEW: Cymbeline by William Shakespeare

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CymbelineCymbeline by William Shakespeare
My rating: 5 of 5 stars

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This play, like a number of Shakespeare’s works, revolves around erroneous mistrust regarding infidelity. While it’s usual for star-crossed lovers to spend the length of a play trying to be wed — against all odds and opposition — this story turns the tables. At the beginning of “Cymbeline,” the King’s daughter (Imogen) is already married to a gentleman named Posthumus Leonatus. However, Leonatus is being deported from Britain back to Rome because the King, Cymbeline, doesn’t sanction the wedding. So, the young lovers in question (Imogen and Leonatus) are forced into a long-distance relationship. Both Cymbeline and his Queen would prefer Imogen marry Cloten, the Queen’s son. [While that sounds incestuous, the hitch is that Cymbeline is twice married. Imogen is his daughter from his first wife; Cloten is the Queen’s son from her previous marriage. So, the problem with marrying Cloten isn’t incest, but rather that the Prince is a pompous gas-bag who nobody likes — except his treacherous mother. Not to mention, Imogen still considers herself wed to her true love, Leonatus.]

The geopolitical context of the play is that Britain has stopped paying tribute to Rome, and the Romans are sore about it. However, Britain has been on the rise as the Roman empire has apparently been waning — having transitioned from Julius Caesar to Augustus. At any rate, it’s no longer a slam-dunk that Rome would defeat Britain in battle. This broader context is important because it explains why Rome sends diplomats and – eventually — soldiers to Britain.

One of the Romans sent to Cymbeline’s court is Iachimo, who is cast as a “gentleman,” but whom we will learn is anything but. Iachimo, insulted by Leonatus’s pining over his wife when Rome has so many lovely women, tells Leonatus that he should just get on with getting busy, because he can be sure that Imogen has. Leonatus refutes this. Iachimo says that he’s going to visit Cymbeline’s castle as part of a Roman delegation and he bets Leonatus that he can get in the sack with Imogen. Leonatus tells Iachimo it will never happen; Leonatus has iron-clad trust in his wife’s chastity. However, Leonatus goes along with the bet because winning it will be the next best thing to stabbing Iachimo.

During the visit Iachimo is sternly rebuffed by Imogen. But before she can summon the guards to bounce him, Iachimo really gets despicable — cleverly shifting his tack. He plays off his proposition as being a bad joke in bad taste, apologizes, and – behaving in a gentlemanly fashion – he warms her up to him. So much so, that when he asks a small favor, she readily agrees. The favor is to store a trunk of valuables in her room that he doesn’t trust being shipboard. However, he uses the trunk to Trojan horse his way into her sleeping chambers. That night, once she is asleep, Iachimo sneaks out and makes note of the furnishings of the room, a birthmark that he can see given Imogen’s nightie that he wouldn’t be able to see in her daytime attire, and – for good measure – he thieves a bracelet off her wrist. The bracelet and the information he acquired will become the evidence Iachimo uses to convince Leonatus that he made the beast with two backs with Imogen. While Leonatus is dubious at first, he eventually concedes the bet, giving Iachimo his ring and sending an order to his servant, Pisanio (who stayed in Britain to serve Imogen,) to murder Imogen. Pisanio, being near Imogen on a day-to-day basis, doesn’t at all believe she has been unfaithful, and finds himself on the horns of a dreaded dilemma.

The story plays out moving from Cymbeline’s palace to the countryside, and then to a chaotic fifth act in which all is reconciled in the aftermath of a battle between the Romans and the British in which Cymbeline’s forces are victorious. (As you might have realized, despite the play being named for him, Cymbeline is not one of the lead characters. However, his fifth act interrogations are the means by which the resolutions and revelations are made.)

The tension that is maintained throughout this work is visceral. It plays with a number of common plot devices seen in Shakespeare: women disguised as men, a potion that causes a short-lived appearance of death, and unexpectedly reunited family, but still it remains a distinctive story. It may be one of the lesser known works of Shakespeare, but it’s definitely worth reading.

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BOOK REVIEW: The Incredible Hulk: Planet Hulk by Greg Pak

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The Incredible Hulk: Planet HulkThe Incredible Hulk: Planet Hulk by Greg Pak
My rating: 5 of 5 stars

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I was pleasantly surprised by the story arc and character development in this volume – which is to say it had both and they were well crafted. I often have a problem with comic books — in particular (and on-going series of any kind, in general,) and that’s that they often fail to be satisfying as self-contained stories. So much effort is put into keeping one reading that the climax and resolution – such as they are – feel like minor speed-bumps on the way to somewhere else. That wasn’t the case here. While the ending leaves open a route of continued story (as one would expect,) one sees the Hulk undergo a transformation across the events of this story. He’s shot away from the Earth, lands on the wrong planet, is forced to fight as a gladiator, escapes, fights his way across a world teeming with harsh adversaries, all the while building the respect of those around him until he is elevated to kingship.

Tough guy characters are notorious for remaining unchanged across a story arc. Hulk, being the ultimate tough guy, seems particularly unlikely to grow or develop. However, the Hulk who begins this story jettisoned into deep space by his superhero colleagues to avoid him causing chaos on Earth, feels different from the Hulk who assumes leadership of the planet Saakar at the volume’s end. Amid monsters, the Hulk is in his element and can be a better version of himself. On Earth he is a bull in a china shop, on Sakaar not everyone he meets is so delicate. Overpowered heroes are often hard to make interesting. However, a couple countervailing features make it easier to make Hulk more interesting than say, Superman. First of all, Hulk is overpowered in one dimension, i.e. power, and might be considered underpowered in other dimensions (i.e. intellect, pettiness, control, etc.) Second, there is an interesting game theoretic condition in which the Hulk just gets stronger the angrier he gets, and so he always presents an object lesson — that is, one can’t just fight fire with fire and get the better of him. Thirdly, and most importantly, no matter who the Hulk is fighting, his story is essentially man versus self. The outward opposition is secondary. Because of his past mindless destructiveness, he is uniquely able to understand the need to let bygones be bygones. This is nicely shown, and eventually challenged.

Movie buffs may wonder what this book has in common with the “Thor: Ragnarok” movie that features common elements. The answer is: not a lot. The Sakaar of the movie seems to be just a huge trash heap and a gladiatorial arena. The Sakaar of the comics is more fleshed out with agrarian areas and various indigenous peoples / species. There are a couple of common characters, including Korg and Miek, but they are only superficially the same character. (Korg is much more serious and Miek is a much more substantially developed character in the comic book.) Also, there is no Thor. The only other familiar hero from other comics that we see on Sakaar is the Silver Surfer – and only early in the story.

Besides the main story, provided by “The Incredible Hulk, #92 – 105” there is a “Planet Hulk Gladiator Guide” for the hardcore nerds the provides all sorts of detail regarding the geography planet Sakaar, biographical sketches of key characters, and the culture of various species on the planet. There is also another issue “Amazing Fantasy #15” that shows Amadeus Cho (on Earth) investigating what happened with his friend, Bruce Banner.

I enjoyed “Planet Hulk” considerably, and I look forward to reading the “World War Hulk” collection that was also written by Pak. The art was generally clear and conveyed action effectively, and I found the story quite intriguing.

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BOOK REVIEW: And the Earth Will Sit on the Moon by Nikolai Gogol

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And the Earth Will Sit on the MoonAnd the Earth Will Sit on the Moon by Nikolai Gogol
My rating: 5 of 5 stars

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This collection contains five short stories by the esteemed 19th century Russian writer, Nikolai Gogol. (According to marketing materials, the finalized edition may have a sixth story located in the book’s second half.) For a small collection, it’s a diverse set of stories including surrealism, speculative fiction, and grim and gritty realism. That said, there is a theme that runs throughout, and it’s the social humiliation and envy of being in the middling territory of a hierarchical / aristocratic society.

The first three stories, which are among Gogol’s best known, are set in Saint Petersburg, and feature low-level bureaucrats. In other words, the bottom tier of the upper crust – not peasants, but poor relative to what they were expected to maintain and lacking status compared to almost everyone around them. Whatever else is going on throughout these stories, these characters are striving to save face — and the odds of doing so are against them.

“The Nose” is a story in which a barber finds a human nose in a loaf of bread he’s eating for breakfast. [Lest this seem gross beyond measure, the story is completely surreal / dream-like and there is no gore.] The barber recognizes the nose as one belonging to a civil servant who is one of his regular customers. The barber panics and pitches the nose in the river, trying to get rid of the evidence. The story picks up with the civil servant who lost the nose, and his attempts to discern its whereabouts.

“Diary of a Madman” is – as the name suggests – a chronicle of a man who descends into madness. Gogol does an artful job with pacing. He begins by establishing a lead character that one might find quirky, but not particularly insane. Then we see the character as he registers a conversation between two dogs in the street. As the story continues, at first the only anomaly is the man’s belief that dogs communicate in words (spoken and written) and that he can uniquely understand them. Then, when the man begins to believe he is the King of Spain, his madness becomes complete and all-encompassing. It’s interesting to see how Gogol communicates this madness, down to the change of sensible diary headings (i.e. the date) to bizarre substitutes.

“The Overcoat” is a story about a poor civil servant whose coat is falling to shreds, so – though he can’t afford it – he invests in a new one. While the story is mostly realistic, it does take turns into speculative territory near the end. However, the themes of envy, obsession, and the glee of apparent upward mobility (even if it’s for something as superficial as a new coat) provide the story’s tension.

The book takes a little turn at this point. The first three stories were set in Saint Petersburg, but the latter stories are set out in rural villages.

“Old World Landowners” is about a cute old couple who owns the lands encompassing a village and surrounding territory. It is Gogol’s take on a myth from Ovid’s “Metamorphoses,” but instilled with a grimmer, more Russian, sentiment. The couple are not only adorable, but are essentially the glue that binds the community.

“The Carriage” is about a gentleman from a small and boring village. At times, a military unit takes up residence in this village, and – when they do – they instill life in an otherwise bleak small town. The gentleman comes to visit the General and his officers — desiring to impress them. He is most proud of a Viennese carriage that he recently acquired. He invites them to lunch the next day, but all does not go as planned and the man is faced with utter humiliation.

I enjoyed this collection immensely. Despite the nineteenth century prose, the stories are readable and engaging. While the stakes are more often saving versus losing face (as opposed to life-and-death) Gogol does a great job of building the feelings of humiliation and woe – even for readers from a very different form of society. The stories may feature uniquely aristocratic Russian circumstance, but they still work because they deal in universal human emotional experiences.

I’d highly recommend the book for readers of fiction.

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BOOK REVIEW: Conversations, Volume 3 Jorge Luis Borges [Int: Osvaldo Ferrari]

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Conversations, Volume 3Conversations, Volume 3 by Jorge Luis Borges
My rating: 5 of 5 stars

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This book of interviews with Jorge Luis Borges has me jonesing to read a collection of his short fiction. I must admit that, despite Borges’ great stature as an author, I’ve only ever read one of his stories, and that was lost amid a huge anthology (also perhaps a poem or so under the same constraints.) However, I was intrigued by the possibility of gaining some insight into the Argentinian author credited as one of the founders of the magic realism genre in Latin America. I not only gained said insight, but I also developed an affinity for Borges as a thinker. These interviews not only discuss literature, but also philosophy, politics, language, and other topics as they interact with the literary world. The chapters, of which there are almost thirty, are topically organized and a few pages each.

The interviews are published as dialogues between Osvaldo Ferrari and Borges. That is to say, they are in transcript form so that one can experience the question and response as if you were witnessing the conversation. I found this worked well, and one could sense a camaraderie between the two men.

Let me answer a few questions about which readers might be interested. First, I came in late to the game, and one might wonder if there was any problem reading this, the third volume, first. It caused me no problems. Once in a while Ferrari would reference something the two discussed at an earlier point, but I didn’t feel any confusion (it was never necessary to have heard what they said earlier to interpret a reply.)

Second, given that the conversation is between two Argentinians, readers from other parts of the world might wonder if there is any difficulty following the discussions if one doesn’t know much about the art and social worlds of Argentina. Again, I would say the answer is no – for the most part. There are brief forays into Argentinian literature and politics, but the bulk of the discussion is cosmopolitan. I’d say there was considerably more page space devoted to Irishmen (e.g. Joyce and Yeats) and Americans (e.g. Emerson and Whitman) than there was to Argentinians.

Finally, if you’re wondering whether the book is highly focused on Borges’ work, the answer to that, too, is no. Borges discusses his own work enough, for example, that I now feel I know where I should begin my reading of him. However, he generally seems reticent to discuss his own work and the interviewer was responsive to that preference and picked his questions carefully.

If you’re interested in literature, I’d highly recommend this book. I found Borges penchant for minimalism and simplicity appealing, and yet he had deep insights to offer into a wide range of topics.

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