BOOK REVIEW: The Man Who Wasn’t There by Anil Ananthaswamy

The Man Who Wasn't There: Investigations into the Strange New Science of the SelfThe Man Who Wasn’t There: Investigations into the Strange New Science of the Self by Anil Ananthaswamy
My rating: 5 of 5 stars

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What is the self, and is the self a distinct entity as we feel it to be? Those are questions that philosophers and theologians have been debating for centuries, and they’re the questions at the heart of this book. Ananthaswamy takes a crack at answering by looking at several of the ailments and mental phenomena that seem to steal or morph what we think of as the self.

 

While there are many distinct views on the self, the predominant view has always been the one guided by the way it feels. And it feels like there is some non-material entity—call it a soul, a spirit, a consciousness—that resides in the body though is–in certain extraordinary circumstances–detachable from the body (e.g. death.) This gave rise to a widespread belief that while our physical bodies may have a shelf-life, this non-material bit is eternal—or at least not governed by physical laws.

 

However, as science has illuminated the workings of the brain, it looks more and more as though this “non-material entity” is, in fact, an emergent property or illusion that derives from the activity of our material brain / nervous system. One of the phenomena that a materialist explanation would have once had great difficulty in explaining is the out-of-body experience [OBE.] Historically some may have written these off as fraud, but the cases are common enough and described similarly enough that that strains credulity. However, we now have strong reason to believe that the OBE is a specific kind of hallucination, and that reason is that OBEs can now be consistently induced by neuroscientists applying an electrode to a specific point on the brain. As for the old schools of thought, it seems that the Buddhists were by far the closest when they suggested that there is no self—that it’s illusory.

 

Ananthaswamy’s book consists of eight chapters. Each of the chapters addresses a particular ailment or phenomena of the mind that has something to tell us about what the self is and what it isn’t. If a specific injury, ailment, or consumption of a chemical cocktail makes one feel as though one has lost part of what it feels like to be a person—then we may get some idea where the self resides or where the series of neural activities that feels like a self resides. (Spoiler: There is no single spot in the brain where the self or sense of self resides.)

 

The first chapter gets straight to the heart of the matter by describing Cotard’s syndrome, a disease in which a person swears that he or she doesn’t exist or is dead. This affliction seems to attack the most fundamental sense of self—the gut feeling that one is a distinct living being. Another way that we think of ourselves as that distinct living being is through our life story. Chapter two looks at how diseases like Alzheimer’s shatter this sense of self-hood.

 

Another basic level at which we feel the self is in its correspondence to the confines of our body. However, not even this physically rooted approach to self is unassailable. One may be familiar with cases of phantom limb syndrome in which amputees feel a lost limb. Incidentally, this is another reason people have felt there was a soul—one that didn’t know the body was amputated and kept its original non-material shape, an idea that V.S. Ramachandran’s work showed was likely not the case. Ananthaswamy, however, focuses on an ailment that is the exact opposite of phantom limb syndrome, those who feel that one or more of their limbs are foreign entities. This is where the book’s reporting is at its most intriguing as the author manages to speak with a doctor who does amputations for such people at no small risk to his medical credentials.

 

In chapter two, the author investigated the self as a collection of memories—in other words, the things one has done. Chapter 4 explores people who don’t feel a connection between the actions they are performing and the self even as they are performing said actions. The cases discussed involve patients with schizophrenia.

 

Chapter five examines depersonalization syndrome. With this syndrome, there’s an emotional disconnect which people feel as being in a dream, but during the patients waking life. The chapter focuses on two cases which give different means by which this can occur. One was an individual who was abused as a child, and the ailment seems to have been a defense mechanism to disconnect from the trauma. The other was chemically induced—though, disconcertingly, the effects went on long after all of the drugs should have been out of the woman’s system. Chapter six explores another set of afflictions involving stunted emotional response, and those are the autistic syndromes. The principle case involves a high functioning Asperger who was intelligent enough to learn how to respond even though he had no emotional cues. A quote from that individual that sums up his experience of the world nicely is, “I love my sister, but it’s done purely at a cognitive level. I think love for her; I don’t feel love for her.”

 

The penultimate chapter is where the author describes case of OBE and other hallucinations in which the self seems to migrate, split, or wander. The final chapter continues examining the self free of the body by considering cases of epilepsy. Epilepsy can have many powerful mental effects. One may be familiar with the many cases of “spiritual awakening” that have been attributed to temporal lobe epilepsy. And some have speculated that Joan of Arc, St. Paul of Tarsus, and Mohammed all suffered from epilepsy. Ananthaswamy also presents cases of people on psychedelics—most famously Aldous Huxley.

 

There’s an epilogue that both tells us what the Buddha had to say about self during his first sermon at Sarnath, and sums up what’s been learned about what the self isn’t and what it seems to be. The book is annotated, but there are no graphics or other ancillary matter. It’s really not needed as the focus throughout is narrative, the telling of fascinating cases that illuminate the experience of the self. I appreciate that the author went out and sought some unique cases. I read a fair number of pop neuroscience books, and there are a few cases that get rehashed ad infinitum (Phineas Gage, H.M. etc.) It’s not that Ananthaswamy doesn’t go retell a few of the classics, but he also does some original investigation. The chapters on depersonalization disorder and amputation show this distinct touch.

 

I’d highly recommend this book for those who want insight into the nature of the self from a scientific perspective. I’ve read many books that touch upon the subject as part of a broader theme, but this is the first I’ve read that focuses entirely on this subject from a scientific rather than philosophical or spiritual perspective.

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BOOK REVIEW: Incognito by David Eagleman

IncognitoIncognito by David Eagleman
My rating: 4 of 5 stars

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This is the book that started me on a fascination with the science of the subconscious mind. In it, Eagleman explains that our subconscious mind has a much bigger role than our consciousness lets us believe. We feel that the conscious mind is in charge of the whole enchilada of our mental being, but in reality the conscious is often late to the party while still managing to weave a narrative about how it saved the day. The conscious has an important role, but one much more limited than it seems, but because consciousness Is the frame through which we are aware the world, it’s easy to miss how much the subconscious handles.

 

The book is organized into seven chapters. The first chapter sets up the notion that the mind is like an iceberg, the subconscious is the more massive portion that lies below the waterline, and the conscious is the peak that lies above.

 

The second chapter explores the interface of the senses and the mind. We think that our sensory experience of the world is like looking through a spyglass, but it’s much more a secondary rendering—subject to editing and corruption. Eagleman discusses many illusions that serve to show us that our sensory experience is not as true as we feel it to be.

 

Chapter three investigates why it is that in some cases the more we think about a task the worse we do with it, and how biases show up even among those who swear they don’t have a racist notion in their body. A number of interesting cases, such as chicken sexing, are used to convey where our conscious mind is of no use to us. Anyone who’s practiced a martial art is aware that sometimes thinking is death.

 

The fourth chapter explains concepts like instinct and our perception of beauty and attractiveness. It’s entitled, “The Kind of Thoughts That Are Thinkable,” and that gives some insight into the theme.

 

The next chapter covers one of the most important ideas of the book, that our brains are not all on one page on any given idea. This is one thing that our conscious mind dupes us into believing, that we have a certain belief and that we are uniformly of that view. In fact, our reasoning and emotional systems often have quite different perspectives on a matter. As I mentioned earlier the people who think they don’t have a racist notion in their body. In one sense, they are correct in that they can reason that it’s illogical to think of people differently based on skin color, but such a person still often shows a marked bias when asked to make associations that are made more quickly when they are not at odds for the subconscious.

 

Chapter 6 gets into the policy ramifications of what has been discussed to this point. If decisions aren’t a product of the conscious mind, then are we right to send people to prison for crimes that they didn’t consciously decide to commit and couldn’t have consciously overruled? The case of Charles Whitman who took up a sniper position in the University of Texas clock tower in 1966 takes center stage in this discussion. Whitman suffered a great change of behavior that was posthumously (by autopsy) linked to the development of a tumor. Eagleman proposes that the traditional question of blameworthiness is the wrong one.

 

The last chapter reflects upon what it means to be a human person in light of a mind arising from material activity. A central idea is the self as an emergent property rather than the “thing” we feel it to be.

 

The book presents many monochrome graphics of various types to support the text. It’s also annotated and has a substantial bibliographic section.

 

I’d recommend this book for anyone interested the nature of the subconscious mind. Eagleman uses interesting cases to demonstrate his points. This makes it quite readable while conveying some challenging ideas.

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BOOK REVIEW: Ruby Slippers, Golden Tears ed. by Ellen Datlow and Terri Windling

Ruby Slippers, Golden TearsRuby Slippers, Golden Tears by Ellen Datlow
My rating: 4 of 5 stars

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This anthology consists of 22 pieces of short fiction written by 21 authors and connected by the theme of “fairy tales.” These are variations on traditional folk and fairy tales written for adult audiences. Some are more recognizable than others either because they follow the original more or less or because they start with a more or less well-known tale. (Make a note, these aren’t for bedtime reading for the kids– unless you’re willing to shell out for therapy. Some are dark and some deal in adult sexual themes.)

 

“Ruby Slippers” by Susan Wade: A modern, journalistic hearing of the “Wizard of Oz.”

 

“The Beast” by Tanith Lee: What does a woman’s new husband do when he goes out, and where does he go? A variation on the theme of “Beauty and the Beast.”

 

“Masterpiece” by Garry Kilworth: This is a deal-with-the-devil story in which an artist must make a perverse decision between his masterpiece or something else dear.

 

“Summer Wind” by Nancy Kress: This is the first of three pieces that play off the Briar Rose / Sleeping Beauty concept. A prevailing theme is one of making a less passive sleeping princess.

 

“This Century of Sleep or, Briar Rose Beneath the Sea” by Farida S. T. Shapiro: This is one of the few poetic pieces in the anthology. It reconsiders the Briar Rose [Sleeping Beauty] fable.

 

“The Crossing” by Joyce Carol Oates: This is the last of the stories built around Sleeping Beauty. It’s a period piece set neither in ancient times nor the present day.

 

“Roach in Loafers” by Roberta Lannes: This is a humorous retelling of the tale in which the elves come each night and save the over-burdened cobbler.

 

“Naked Little Men” by Michael Cadnum: This time, instead of a cockroach, it’s naked little men that come to do the work.

 

“Brother Bear” by Lisa Goldsmith: Part Goldilocks and part tale of marriage in the animal kingdom.

 

“The Emperor Who Had Never Seen a Dragon” by John Brunner: An arrogant, despicable, and dense Chinese Emperor summons an artist who draws dragons, insisting the artist introduce him to a dragon. This story goes in the “be careful what you wish for” file. It’s among my favorites of this anthology.

 

“Billy Fearless” by Nancy Collins: Another outstanding story. Billy is fearless and he’s suffered for it because his father and others think he doesn’t have any sense. (He’s not the sharpest tool.) But one day he finds himself in a situation in which his fearlessness might work to his advantage.

 

“The Death of Koshchei The Deathless” by Gene Wolfe: This is based on a Russian folk tale of the same name, but shedding the superstitious / supernatural elements to give it a bit of realism.

 

“The Real Princess” by Susan Palwick: The story’s basis is “The Princess and the Pea.” The story is built around a sadistic king of an impoverished kingdom and the “Real Princess” who comes to live with him.

 

“The Huntsman’s Story” by Milbre Burch: The Huntsman from the Snow White fairy tale, but in a brusk style and with a key difference.

 

“After Push Comes to Shove” by Milbre Burch: A poem on the Hansel & Grettel theme.

 

“Hansel & Grettel” by Gahan Wilson: This short story re-imagines the two children not as impoverished waifs but rather as wealthy trust-fund kids who travel the world, ending up at a fancy resort that represents the siblings’ second brush with stumbling into some place that could be bad for them.

 

“Match Girl” by Anne Bishop: A little abused orphan girl finds her fire. This is a prime example of a story not for the kiddies; it’s got a bit of an S&M undertone.

 

“Waking the Prince” by Kathe Koja: This is a variation on “Sleeping Beauty” with an obvious change in gender roles and the modern outlook that comports with said change.

 

“The Fox Wife” by Ellen Steiber: Based on Japanese folklore in which foxes are clever and conniving souls. A samurai’s trophy wife becomes possessed by fox spirit. This was among my favorites. It’s also one of the longer pieces.

 

“The White Road” by Neil Gaiman: A poem based on the English fairy tale of “Mr. Fox.”

 

“The Traveler and the Tale” by Jane Yolen: This one is a bit different. It’s a sci-fi tale that suggests fairy tales are injected into society in order to have some effect on behavior.

 

“The Printer’s Daughter” by Delia Sherman: This is also one of my favorites. It’s a take on the Pinocchio story. What’s fun about this version is that the totem brought to life is made out of proofing sheets. Since the printer mostly prints booklets of bawdy tales and, on the other hand, religious tracts, the girl that comes to life can only speak in two ways: one that would make a sailor blush and the other is quoting scripture.

 

Short story anthologies usually don’t included much in the way of ancillary matter beyond an introduction (and sometimes an epilogue,) but this one has a several pages of recommended reading at the end for those who are interested in learning more about fairy tales and how they come to be translated into modern forms.

 

I’d recommend this book for those interested in fairy tales of a form suitable for adults.

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BOOK REVIEW: The Cat’s Pajamas by Ray Bradbury

The Cat's PajamasThe Cat’s Pajamas by Ray Bradbury
My rating: 5 of 5 stars

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This is a collection of 20 short stories by Ray Bradbury written between 1946 and 2004. Bradbury was the master. Besides his imaginative gift for storytelling, he was a torch-bearer for language that was both beautifully crafted and highly readable. Bradbury often used words poetically but without detracting from story. I believe he did so through sparing and careful use. I also appreciate the way Bradbury smoothly moved between genres, and the fact that his stories could have a moral without being moralistic.

I’ll list the stories in this collection with just a few words about each.

 

1.) “Chrysalis”: An unlikely friendship develops. A story about race.

 

2.) “The Island”: The dangers of isolation. Tension skillfully ratcheted up.

 

3.) “Sometime Before the Dawn”: Why does the neighbor cry late at night?

 

4.) “Hail to the Chief”: What if Senators wagered America at an Indian casino?

 

5.) “We’ll Just a CT Natural”: This is one of my favorites, but it doesn’t have a complex story or involve clever sci-fi elements. It’s just a woman waiting for a visit from a man who she used to nanny, but who’s made it big as a writer. Two simple questions keep one glued to this story. Will he show up? If not, how will she handle it?

 

6.) “Olé, Orozco! Siqueiros, Sí!”: This is a commentary on what is art in the modern art scene.

 

7.) “The House”: A couple buys a fixer-upper, but there are mixed feelings between them.

 

8.) “The John Wilkes Booth / Warner Bros / MGM / NBC Funeral Train”: How time travel would spawn a history-entertainment complex.

 

9.) “A Careful Man Dies”: A hemophiliac author who’s writing a tell-all meets his match.

 

10.) “The Cat’s Pajamas”: A couple of lonely cat people vie for ownership of a stray that they happen upon simultaneously.

 

11.) “Triangle”: As in, “love triangle.” A take on the story of X loves Y, but Y is indifferent to X; while Z loves X, but X is indifferent to Z.

 

12.) “The Mafioso Cement-Mixing Machine”: It’s a metaphorical cement mixer, but it’s useful for—as a mobster might say—“takin’ out da trash.”

 

13.) “The Ghosts”: The children are enchanted with them, but their father wants to drive them off. The difference between how children and adults see the natural world, in a nutshell.

 

14.) “Where’s My Hat, What’s the Hurry”: A man goes through his little black book to find a woman more responsive to the “city of love” than his wife has been.

 

15.) “The Transformations”: This is another story about race and walking in the shoes of another.

 

16.) “Sixty-six”: This is a prime example of the genre-fluidity of Bradbury. It’s a murder mystery, but not just a murder mystery.

 

17.) “A Matter of Taste”: Human space explorers travel to a distant world and meet a species that is wise, benevolent, helpful, but they can’t get past the alien’s creepy appearance.

 

18.) “I Get the Blues When it Rains”: The fickle nature of nostalgia.

 

19.) “All My Enemies Are Dead”: A man tries to console a friend who believes it’s time to die upon seeing the obituary of the last of his enemies.

 

20.) “The Completist”: Having everything may include things one doesn’t want.

 

I’d highly recommend this collection for readers of short fiction. While some of the stories are over sixty years old, they’ve aged well.

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BOOK REVIEW: Light on Pranayama by B.K.S. Iyengar

Light on Pranayama: The Definitive Guide to the Art of BreathingLight on Pranayama: The Definitive Guide to the Art of Breathing by B.K.S. Iyengar
My rating: 4 of 5 stars

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This is B.K.S. Iyengar’s A-Z guide to breath and breathing exercises (pranayama.) It’s meant to do for pranayama practice what “Light on Yoga” did for asana (postural) practice. That is, it presents all the classic techniques, offers variants to meet individual needs, and provides the background necessary to put pranayama into the context of a balanced yoga practice.

Let me begin by discussing the book’s organization, and this book is organized to the n-th degree. There are parts, sections, chapters, and even the paragraphs are numbered (though–near as I can tell–the latter serves no purpose for a typical reader and may be more for the help of the writer and his assistants. It does create a somewhat biblical scheme, so maybe it was assumed there would be a need to quote this guide “chapter and verse,” as they say in Bible study.)

The bulk of the book consists of the first of two parts, and Part I is divided into three sections. The first of those sections is “The Theory of Pranayama,” and it puts pranayama in the context of yoga’s entirety. If you’ve read other B.K.S. Iyengar titles, much in these nine chapters will be familiar (e.g. discussion of the eight limbs.) However, chapter 4 offers a nice description of the anatomy and physiology of respiration. There are many anatomical drawings and diagrams in it to help convey the complex information. There’s also additional information about the traditional Indian notions of breath encapsulated in the concepts of prana, nadis, and chakras.

Section II is entitled “The Art of Pranayama” and it covers those topics necessary regardless of what technique of breath exercise one is practicing. It includes seated postures, mudras, bandhas, inhalation, exhalation, retention, etc. This section, too, has nine chapters. The final section of Part I describes the various techniques of pranayama. The chapters of this section are arrayed in lists, and they systematically build from the basic technique towards more advanced variations (e.g. by inserting retentions.)

Part II covers meditation (dhyana) and the corpse pose (savasana.) With respect to the former, it suggests how one’s body, mind, and sense organs should be conducted in the act of meditation. In the case of the chapter on corpse pose (after cross-legged seating position, this being the most common position for practice) there’s an extensive look at the details of that pose.

There are a number of helpful features incorporated into the book. In addition to the drawings mentioned in Chapter 4, there are black-and-white photos throughout to clarify the textual instructions. There is also a glossary of Sanskrit terms and an Appendix of courses of pranayama (i.e. recommendations as to how to sequence breathing techniques for optimal results with guidance as to how many sets or repetitions of each to use.)

My major criticism is one I’ve offered about previous books from this author and others. There’s a muddle of science and mythology that makes it hard to know how much weight to give particular instructions. It may be that a given piece of advice (e.g. a contraindication) is based on repeated observations of the physical or mental effects, or on a sound understanding of anatomy & physiology. In which case, it makes sense to heed such advice. However, advice can also be based on myths and the desire to preserve a way of thinking about the human body which is wholly unsupported by evidence. In which case, if one has no dog in the fight to preserve egos, it makes sense to disregard said advice. I suspect the vast majority of statements of what to do (or not to) fall into the first category, but some may fall in the latter, and it’s not easy to tell which is which.

I would recommend this book for students and teachers of yoga. It’s a good reference for one’s pranayama practice.

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BOOK REVIEW: Let Every Breath by Scott Meredith

Let Every Breath: Secrets of the Russian Breath MastersLet Every Breath: Secrets of the Russian Breath Masters by Vladimir Vasiliev
My rating: 3 of 5 stars

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This book presents an introduction to breath exercises employed by the Russian martial art called Systema. Systema is one of a number of drill & spar-centric (as opposed to technique-centric) martial arts that have developed in modern times in an attempt to cast off the unrealistic and needlessly complicated elements that tend to grow within traditional martial arts (e.g. Krav Maga is a well-known exemplar of such a martial art.) Among the unique aspects of this system is its focus on, and approach to, breath—and breath is crucial in the martial arts, in a fight, and in life.

I had mixed feelings about this book. I’ll begin with positive aspects and then get into what I found off-putting. First, the book offers a clear explanation of principles and drills that are straight forward and will increase one’s awareness of breath. That is laudable. Are these particular principles and drills the end-all-be-all that will take one to heights that no other approach to breathing could (as the book suggests?) No. But is it a solid approach to breath that will yield benefits by making you more aware of breath while helping you to use it more effectively? Yes. Second, the book doesn’t have a lot of competitors in the “breathing for martial arts” space, and so it fits into a substantial void. (Note: the book doesn’t get into martial arts / self-defense drills or techniques, and doesn’t claim to.)

Now, here’s the other half of the open-faced shit sandwich. You’ve likely already gotten a hint of my problem with the book. This will seem like a two-part criticism, but it condenses into one problem with the book’s attempt to sell the reader on Systema. The starting point, as another reviewer noted, is that this system isn’t as completely novel and unmatched as is presented. Is that a damning indictment? It wouldn’t be. Just because this approach shares concepts applied elsewhere and is constrained by the nature of the human body doesn’t mean that it can’t offer its own unique value-added. The problem is that we are told how unique and completely peerless this system is so often that it becomes a bad info-mercial.

I get it. Systema is a product that has to compete in an intense market place with the likes of Krav Maga, MMA, Total Combat Systems, Defendu, and a ton of other self-protection oriented martial arts. It’s Pepsi, and it has to carve out a market share by convincing us of the unlikely fact that Coke products aren’t even in the same ballpark. The problem is that when it dismisses systems like yogic pranayama and Taoist chi gong, it does so in a way that shows virtually no understanding of those systems. When the author is telling us how the Systema approach to breath is superior to pranayama, he describes an asana (posture-oriented) class. If you’re going to convince us that the several thousand year old yogic tradition completely missed an approach to breath so groundbreaking that it will take one on an e-ticket ride to self-perfection, at least have some idea of the scope of what the yogis learned and how they present those lessons to their students.

The second half of this rant is that there is a lot of hagiography to delve through before one gets to the meat of the subject. Now, in general, authors of martial arts books tend to pay homage to their teachers and lineage. It’s not unreasonable that there is some near-deification of teachers in this book. However, at some point it becomes hard to tell whether the book exists to inform readers or as a monument to someone’s ego. This book gets disconcertingly close to the line. (The arrogance issue is made worse by confusion about authorship. It’s said that Meredith wrote the book, but Vladimir Vasiliev takes the by-line. This creates an odd situation because the book tells us how Vasiliev is both an exceptional human being, and humble as well. You can see my problem. Without evidence to the contrary, I can easily accept that Vasiliev is exceptional. I can also believe that he is humble. But when a book with his name on it tells me both of these things, I’m forced by the dictates of logic to reject at least one of them [and doubt is cast upon both.])

If you are looking to expand your understanding and awareness of breath, you may want to give this book a try. I certainly wouldn’t endorse every claim it makes, but there are some interesting ideas presented.

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BOOK REVIEW: Cold Days by Tibor Cseres

Cold DaysCold Days by Tibor Cseres
My rating: 5 of 5 stars

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During the Second World War, there was a massacre conducted by the Hungarian military in the Yugoslavian town now called Novi Sad (known as Újvidék under the Hungarians.) The operation was meant to be a cleanup of Yugoslavian partisans, but the casualties were primarily innocent civilians. The novel is called “Cold Days” (i.e. literally translated from the Hungarian “Hideg Napok”) because the killings took place during a cold snap in January of 1942. Cseres bases his novel on this real world event, but he tells the story through the lens of four fictional military men who are sharing a cell for their respective actions in Novi Sad.

The novel weaves five narrative lines into an overall arc. Four of these are the personal stories of each of the four soldiers during the massacre and the time leading up to it, and the fifth takes place later when they are all together in the cell. The four characters have no connection before being placed in the same cell—or so it seems. At most, the officers know of each other. The five lines come together in the end and the reader sees how the four lives are no longer in strict isolation, but are connected by the events of that day—in some cases more severely than others.

Captain Büky is the highest ranking of the prisoners and is a straight-laced military man except that he takes issue with the order than keeps married men from bringing their families to station at Novi Sad. Prior to the massacre and some killings that instigated it, it’d been a routine assignment. Lieutenant Tarpataki is a new assignee, and his principal trouble is that he arrives to find that he hasn’t been assigned housing or a billet. Lieutenant Pozdor gets his men taken from his control by the police chain of command and is left hiding out trying to avoid being assigned some remedial task. Corporal Szabo is both the only enlisted man in the group and the only one who is directly involved with the violence, though a Cpl. Dorner takes the lead and Szabo is a follower.

If that cast doesn’t seem like the kind of villainous blackguards one expects of a massacre crew, I think that that is part of what the author is trying to convey. Run-of-the-mill men stumble down slippery slopes into treachery during times of war. Sometimes the worst go unpunished, while others take the fall. The author also shows that sides can matter little when it comes to such events. Anyone can suffer loss when events tumble out of control as they did in January of 1942 on frigid day in Novi Sad.

This book is translated from Hungarian. It’s sparse and simple writing, and readability is high. It’s a short book of only about 120 pages.

I’d recommend this book for those interested in tales of the horrors of war. It may have interest to history as well as fiction readers.

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BOOK REVIEW: Death in the Andes by Mario Vargas Llosa

Death in the AndesDeath in the Andes by Mario Vargas Llosa
My rating: 5 of 5 stars

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Three men disappear from a small mining village in the Peruvian Andes. The army sends two investigators, Corporal Lituma and his adjutant Tomás, to get to the bottom of the apparent murders. Suspects include Sendero Luminoso (“Shining Path”) guerilla-terrorists and a number of locals. For some of the locals, there’s another possibility, the various demons and deities attributed to each of the mountains in the Andes.

“Death in the Andes” follows the time that the investigators spend in this remote village. There are two major story lines taking place at once. One narrative arc revolves around the investigation and day-to-day living in a tiny town under primitive living conditions. The second story line comes by night as the deputy, Tomás, recounts his love affair with a girl who was out of his league in almost every way—except, perhaps, with respect to virtuous living. The girl was in a relationship with an abusive gangster at the start, a condition that Tomás found untenable. His love-driven reaction creates all manner of drama, and that drama serves as the only entertainment to be had in this remote village.

The book is literary fiction, but it’s not purely about the characters. As suggested, there’s a strong narrative element. While the book is in a realist genre, i.e. nothing in it feels like it couldn’t happen in our universe, the fact that the story takes place in an area of the Andes where the Shining Path is strong and mother nature is harsh means that there’s plenty of tension and suspense.

This is book is translated from Peruvian, and it seemed to me that the translator did a fine job of capturing the feel of the rural Andes. A few Spanish terms are used for terms like terrorists and avalanches to create a feel of a unique character of these concepts relative to this place. However, there are only a couple of these terms and so context is sufficient for the reader to readily keep them straight even if one is not gifted in picking up foreign terminology.

In general, the book is quite readable. The most challenging part of reading it is when Tomás is telling his story because you have a three-way conversation going on over two time periods at once. (i.e. Tomás voices himself and his girl as he tells their story, but then Cpl. Lituma chimes in periodically with questions—or, more commonly, commentary.) However, the author uses dialogue tags throughout to avoid confusion. One just needs to be attentive in one’s reading of these sections.

I enjoyed this story. I picked up this book both because Llosa won the Nobel Prize in Literature in 2010 and I like to read something by winners, but also because I’ve trekked in the Peruvian Andes and translated literature often offers one a unique form of insight into a place. This was no exception.

I’d recommend this book for readers of fiction. If one is looking to broaden one’s horizons into literary fiction and /or translated fiction, this book is a good place to start. It offers humor and intrigue as well as deep characters and an infusion of geography and culture.

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BOOK REVIEW: The Enormous Crocodile by Roald Dahl

The Enormous CrocodileThe Enormous Crocodile by Roald Dahl
My rating: 4 of 5 stars

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The story arc of “The Enormous Crocodile” is a familiar one. It’s a variation on a theme seen in “Little Red Riding Hood” and “Three Little Pigs” to name a couple of well-known examples. First, there is a bad guy who wants to eat some helpless and / or unwitting victims. In this case, the enormous crocodile is the gluttonous cad—rather than a wolf–and the helpless victims are the local children. Second, the villain is thwarted at the last possible moment.

While it’s a tale that’s been told many times in many ways, Dahl does a good job adding his own imprint to it. An important element of the story is that the crocodile angers, alienates, and attacks several of the other jungle creatures on his way into town to find a victim or victims. Because of this, these animals conspire to thwart the crocodile’s clever plots, and this ultimately contributes to his downfall. It’s with the crocodile’s clever plots that Dahl most fully engages the imagination. The croc uses various disguises to try to lure children to within snapping distance.

It should be pointed out that the illustrations by Quentin Blake are as crucial as Dahl’s words. The color drawings really bring the book to life, and serve to make feasible the clever plots of the crocodile. (e.g. When the croc scoops up coconuts and fronds and stands on his tail in mimicry of a coconut tree, it’s the illustration that makes this seem believable—not to mention capable of being visualized by a small child.)

If you’re looking for a short young children’s story that can be read in 15 minutes or so, this is a good one.

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BOOK REVIEW: Just So Stories by Rudyard Kipling

Just So StoriesJust So Stories by Rudyard Kipling
My rating: 4 of 5 stars

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“Just So Stories” is a collection of 12 children’s stories. The theme that runs through the dozen stories is that they are mostly tall-tale answers for questions that children might have. All but two of them focus on animals and nature, and the two divergent stories deal with the origin of written language. Since it’s such a small collection and the titles tend to synopsize the stories, I’ll include the table of contents below, which may give one greater insight into the nature of the stories.

1.) How the Whale Got his Throat
2.) How the Camel Got his Hump
3.) How the Rhinoceros Got his Skin
4.) How the Leopard Got his Spots
5.) The Elephant’s Child
6.) The Sing-Song of Old Man Kangaroo
7.) The Beginning of the Armadillos
8.) How the First Letter Was Made
9.) How the Alphabet Was Made
10.) The Crab that Played with the Sea
11.) The Cat that Walked by Himself
12.) The Butterfly that Stamped

The edition that I have (i.e. 2006 Scholastic Junior Classics Edition) has a number of black-and-white graphics (block print and line drawn style)—one or two per story. Given the genre, I imagine most editions have some kind of pictures, but your edition’s graphics may vary. A number of the stories include short poetry—usually at the end. The poetry is part of the original Kipling product and so are likely included in all unabridged editions.

I’d recommend this book for those looking for short stories that are relatable to young children.

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