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Book Review: BORN TO RUN: A Hidden Tribe, Superathletes, and the Greatest Race the World Has Never Seen by Christopher McDougall

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Whatever your interest or background, there is something for you in Christopher McDougall’s book, “Born to Run.” Forget about whether you even like sports, this is one of those books that encompasses more than its subject and is simply a pleasure to read. This 2009 New York Times Best Seller has reached many readers. But there’s still a legion of couch potatoes who would benefit from reading this book. I know I did!

McDougall is a former war correspondent and brings a no-nonsense approach to his work. This is one sharp and vigorous guy. So, when he turned 40 and his body began to ache and stumble, he set out, like a guy, to fix the problem. He wanted to run. But his doctor told him that his large frame was not suitable for running. Instinctively, McDougall knew the doctor was wrong. As if by chance, McDougall discovered the story of the Tarahumara Indians of Mexico. This is a tireless group of runners, of all ages, who run 150-plus miles at a time, cheerfully in bright colored robes and sandals. If there could be a more whimsical scene, McDougall had probably not come across it before.

To find the free-spirited Tarahumara would require entering an area just as fearsome as any war zone. The Copper Canyons have everything going against you: wild animals, intense heat, narrow gorges, rocky mountainous terrain, and a crazy maze-like environment sure to swallow you up. If a snake or a coyote doesn’t get you, then maybe a drug warlord will. But what if McDougall could find himself the ideal guide? Sure that was easy enough. He just had to find Caballo Blanco.

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Caballo Blanco is painted to be somewhere between legend and ghost. He could be a fright to the unaccustomed and was so elusive as to cast doubt on his very existence. McDougall plays with the mystery and serves up a slice of detective story narrative as he relentlessly tracks down his only hope of true contact with the Tarahumara. Caballo Blanco featues prominently in this book. McDougall spends a great deal of effort in unveiling this mystery. But, even after countless attempts, Caballo remains an enigma. This makes sense as you continue to read. Caballo had been out in the Copper Canyons for far too long to ever be fully understood, labeled, and set on a shelf. What McDougall does find out, however, is exactly what he needs to know. McDougall does justice to the man in this book. Caballo Blanco passed away last year.

With great care and enthusiasm, McDougall metes out facts to make his case which involves a leap of faith back to nature. With the sensibility of a novelist, McDougall dove tails from one scene and character to another. He switches back in time and focuses on one subplot and makes his way back to advance the main plot. What he seeks is nothing less than the truth and that runs the gamut from running shoes to all of humanity. He starts out with the idea that he, along with the rest of us, have settled for less. Once he has made contact with the mystical Tarahumara, he is convinced that their joie de vivre is the key to getting his own joy of life back on track.

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It’s a question of finding patterns and confirming facts. As he gets to know more ultrarunners, including legends like Scott Jurek, one thing is clear. The best runners are the happiest runners. They run because they love to run. And what is it about running? It seems to be something so basic, primal. More investigating, and McDougall finds compelling information to back up the case that we humans evolved from hunters running in packs. And when did our naked feet lose their capacity to run? Again, the facts bare out a case for bare feet. We are at our best when we run and when we are not impeded by added padding and support. It appears to be a fairly simple truth. But sometimes the easiest truth is the hardest to expose. McDougall knows that.

Simple myths can be hard to overcome. Like the myth that you reach a point when you’re too old to run. The fact is that the human body regains its peak running performance over time. By age 64, you will be back to your peak of age 19. And, thanks to Nike, we can still be swayed by our fear of injury. Nike is always ready to provide pseudo-scientific remedies of added padding and support. But there is absolutely no need to be swayed by all the hype. A simple shoe is more than adequate. The pros train barefoot and some even run barefoot. The essential takeaway from this book is that we never needed running shoes before Nike “invented” them. All that padding and support keeps your feet from landing properly and, ironically, leads to the very injuries you are trying to avoid. Here is a quote in the book by Olympic coach Arthur Lydiard:

“Those sideways flexings of the ankles begin only when people lace themselves into these running shoes because the construction of many of the shoes immediately alters the natural movement of the feet. We ran in canvas shoes. We didn’t get plantar fascia, we didn’t pronate or supinate, we might have lost a bit of skin from the rough canvas when we were running marathons, but, generally speaking, we didn’t have foot problems. Paying several hundred dollars for the latest in high-tech running shoes is no guarantee you’ll avoid any of these injuries and can even guarantee that you will suffer from them in one form or another.”

Perhaps Caballo Blanco will just have to remain an enigma. But McDougall learned what he needed to know. Despite the fact that Caballo’s choice of actually living in the Copper Canyons was far more poetic than practical, McDougall can understand why that would have been enough for Caballo. Along the way, McDougall learned to trust himself and develop a light running technique. In the process of writing his book, he got his life back. He can run. He can run as much as he wants and not have to answer to anyone. That seems to have been all that Caballo Blanco ever wanted.

You can visit Christopher McDougall at his website here.

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Filed under Book Reviews, Books, Creative Living, Exercise, Feet, Fitness, Health, Running, Sandals, Sports

Review: ‘The Best American Comics 2013,’ Editor, Jeff Smith; Series Editors, Matt Madden and Jessica Abel

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“The Best American Comics 2013” pops out at you with we-mean-business cover art by Kate Beaton and zips right to it. I interviewed this year’s editor, Jeff Smith (read here). As he explained, he was looking for singular talent, whether new or established, “A story someone really needs to tell.” He took care with placement so that elements from one work flow into the next and compliment each other.

Smith starts with Alison Bechdel’s “Mirror,” an autobiographical piece about mother/daughter dynamics; and he ends with Paul Pope’s “1969,” a quirky inside look at the first human landing on the moon. These two works by cartoonist heavyweights anchor the top and bottom. In between, other top contenders lend a hand, like an excerpt from Craig Thompson’s “Habibi.”

Sophie Goldstein's "The Good Wife"

Sophie Goldstein’s “The Good Wife”

There are many new rising stars that get to sparkle amid the well know cartoonists. One such talent is Sophie Goldstein. Her work is placed right before Craig Thompson’s. The connection between the two is the focus on the female main character. In Goldstein’s “The Good Wife,” we view a woman who denies herself well beyond her limits in order to please her husband. That story gives way to Thompson’s “70 Nights of Pleasure,” an excerpt from “Habibi.”

Craig Thompson's "70 Nights of Pleasure," excerpt from "Habibi"

Craig Thompson’s “70 Nights of Pleasure,” excerpt from “Habibi”

Again, we have a woman pushing her limits to satisfy one man. The artwork, and the narrative structure, for each of these pieces is quite different. Goldstein’s style is basic. Thompson’s style is ornate. However, both present confident, mature work. That’s saying a lot since Thompson is a seasoned veteran and Goldstein is a recent graduate from the Center for Cartoon Studies.

If you’re looking for a cut-to-the-chase short list on the best comics in America, then this 400-page trade paperback is your book. There are 30 works featured here and they are all gems. This book is in full color. “The Best American Comics 2013” is published by Houghton Mifflin Harcourt and is available here.

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Review: SUPERHEROES! by Laurence Maslon and Michael Kantor, published by Crown Archetype; in connection with ‘Superheroes: A Never-Ending Battle’ on PBS

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“Superheroes! Capes, Cowls, and the Creation of Comic Book Culture” is a 304 page full color hardcover, published by Crown Archetype, with a lot to say about comic books. As has always been my experience, a companion book to a PBS series is worth getting. This book is attached to the upcoming feature-length documentary on PBS, “Superheroes: A Never-Ending Battle,” originally slated to air on three separate nights, now scheduled to air all on October 15, 2013. It’s a smart choice since viewers, much like readers, appreciate it when they can dive into a subject all in one go.

The story of the comic book superhero industry lends itself well to being observed in an uninterrupted panorama. At 75-years-old, this is still a young industry and what is happening today can’t help but remain a story in flux. You might think that, after 75 years, things have settled down. But you would be wrong. That is a relatively short blip of time, ask any historian. Furthermore, this is an industry inextricably linked to far more than commerce, far more than it ever bargained for.

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But say what you will, superhero comics remain embedded in the culture. And there are artists within the industry who continue to push the superhero comic forward. Along the way, we get work that is transcendent and rises to the level of art. Just considering all the examples can make your head spin. There is a reason your head might spin. Superhero comics have tapped into something as deep as any literature or art and resonate on a primal level. So, who truly owns today’s superheroes? People from all walks of life will lay claim to that. Cobbled together from the old salty pulp magazines and Sunday funnies, superhero comics have always run into conflict with their varied audiences. Kids and comics are a natural combination. But so are adults and comics.

What you will find in this book is a treasure trove beyond any extras on your DVD or Blu-ray. With the book, there is an even greater opportunity to fill in the gaps and extend discourse in well-thought-out words. For instance, while few would quibble on the quality and significance of “Watchmen” and “The Dark Night Returns,” two landmark works in superhero comics, it is fascinating to get this quote in the book by Len Wein, co-creator of DC Comics’ Swamp Thing and Marvel Comics’ Wolverine:

‘Watchmen’ and ‘The Dark Night Returns’ were both very violent books. They were meant to be exceptions to the rule. They weren’t intended to be a blueprint for the industry to follow, they were intended to be something to show you here’s what could have happened–let’s not go do that. But they were hugely successful and so everybody started to do those books.

If anyone knows what he’s talking about, it would be Len Wein. What he is saying is that those two works had a purpose and served a purpose. If a marketing plan just calls for more of the same, it is already dead in the water. It may sell but readers will sniff it out and may not come back for yet more of the same product now four, five, ten times removed from the original.

What Laurence Maslon, a co-writer on the PBS documentary, and Michael Kantor, the filmmmaker, keep coming back to in both the film and in this book, is that superhero comics, by their very nature, will always be engaged in a never-ending battle in more ways than one: a battle to refine their purpose and remain relevant. And, in one way or another, even if the customer/fan may not fully realize it, they will have the final say, maybe not now but someday.

Readers will find this book to be exceptionally comprehensive and quite relevant. While the book was created prior to the uproar over the DC Comics decision not to allow Batwoman/Kate Kane to marry her girlfriend, Maggie Sawyer, the writers for this book were clearly sensitive to the significance of such a storyline and provide a fresh example of the never-ending battle.

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“Superheroes! Capes, Cowls, and the Creation of Comic Book Culture” is available as of October 1, 2013, and is published by Crown Archetype, a division of Random House, which you can visit here. And don’t miss this very special PBS documentary, “Superheroes: A Never-Ending Battle,” and you can learn more about that here.

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Filed under Book Reviews, Books, Comics, DC Comics, Marvel Comics, PBS, Superheroes

Review: ‘When David Lost His Voice’ by Judith Vanistendael

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Currently on the shelves is a book with a bright orange cover and a powerful story about coping and understanding death and loss. Our lives can become so routine: work, eat, sleep, rinse, repeat. Ironically, the closer we come to death, the more we appreciate life. Just like they say, our lives flash before our eyes at a time of crisis. It can unnerve us. Americans, for example, have been thought to not deal too well with death. However, given the popularity of zombies, that overall outlook seems to be improving. And there are some cultures who appear to be more in touch with death. “When David Lost His Voice,” the new graphic novel by Judith Vanistendael, published by SelfMadeHero, gives us a story that shows how life and death can come to terms. It’s a story not without a healthy dose of good cheer.

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I recently viewed Julie Delpy’s “2 Days in New York,” a comedy about what happens when relatives from France descend upon a couple’s New York apartment for the weekend. In the movie, you see just how crude, or earthy, depending on your taste, these French folks can be. The humor itself felt French too, embracing the absurdity in life more than your typical American comedy. It seems to be a matter of dropping any inhibitions and yet done with a certain style. In that regard, I find a similar sensibility running throughout this graphic novel. It is the story of David, who discovers he has developed a cancer in his throat. He is an older gent who has a full-grown daughter, Miriam, as well as a 9-year-old daughter, Tamar, from a recent marriage to Paula. And Miriam has recently given birth herself to Louise. It is quite a premise: all these women are a vital part of David’s life and the prospects for his future don’t look so good.

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David is a special man who is well loved. He’s a man of few words. He prefers to let his actions speak for him. He owns a bookshop so he deals in words every day but, for seeking deeper meaning, he can make good use of silence. It is these qualities that are on display as he does his part to console Tamar, about the possibility he may not be around for much longer. He’s there for her. He’s attentive to her child’s viewpoint.

David and his wife, Paula, tirelessly work together to keep their daughter calm, even if it requires adhering to an elaborate scheme to make it look like it’s possible to send mail back and forth attached to balloons. It’s almost easier for David to attend to little Tamar’s needs than it is to attend to the needs of anyone else. Miriam keeps seeing him as a ghost. Paula, an artist, reconstructs him from x-rays.

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Interestingly enough, it’s Paula who becomes very vocal and loses control a bit over all the quiet surrounding David. It’s bad enough that David won’t talk about it. But no one else is capable of articulating what’s happening either. Or does it just seem that way? Balance is gained when a child’s perspective, that sense of lightness, can be brought into play. Maybe mermaids, magic, and notes sent on balloons can help make things better.

As long as everyone believes in hope and compassion, then the end need not be harsh and bitter. In a story that floats with such delicate ease, Judith Vanistendael does a beautiful job of evoking what is involved when all parties manage to transcend a crisis and create something new.

“When David Lost His Voice” is a remarkable graphic novel by Judith Vanistendael. She is a Belgian author of graphic novels and an illustrator. She is known for “Dance by the Light of the Moon,” two volume work also published by SelfMadeHero. You can find out more about purchasing your own copy of this book here.

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Filed under Comics, Death, Graphic Novel Reviews, graphic novels, Judith Vanistendael, SelfMadeHero

Review: ‘Beta Testing The Apocalypse’ by Tom Kaczynski

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Tom Kaczynski is sensitive to the fact that consumer culture seems pretty much a lost cause and any attempt to reverse course would appear to be futile at best. It’s the stuff of great comics and Kaczynski has an excellent handle on it. “Beta Testing The Apocalypse” brings together, thanks to Fantagraphics Books, an impressive collection of social satire with a distinctive voice. I hate to throw in the term, “snark,” in this review since it’s too easy and sort of misleading. Kaczynski’s humor is, at times, acerbic, with an attitude, I suppose, but it’s much more than that. This book collects eight comics, the majority having appeared in the Fantagraphics anthology, MOME. Read as a whole, the author’s vision comes through as heart-felt, witty, and maybe even, perhaps, genuinely concerned. Oh sure, it’s all in good fun. I’m just saying this stuff will get under your skin.

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Have us Westerners crossed a line of no return? We worship cars. We allow ourselves to be herded like cattle to our office cubicles. We create myths about the great dream to own a house. Well, you get it. The readership for this type of satire already gets it. Where Kaczynski shines is in the details. His characters are numb and they know it. The world is too much with them, as Wordsworth says in his poem, and they have given their hearts away. In “976 SQ FT,” Kaczynski gives us a hipster couple, having recently abandoned suburbia, who mock their new “urban” neighborhood as nothing more than a few blocks sliced and diced by a highway overpass, a bridge, and an avenue. They cope with the nonstop construction of new condos. They think they’ve managed to get a handle on an increasingly artificial environment until one day, the joke is on them.

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Wordsworth goes on to wish, in that same poem, to just be a pagan. But can such silly near-sighted humans ever get it right? In “Million Year Boom,” an ambitious young man takes a new job that will find him living on a corporate campus for several years. Hired as part of the new marketing team, he is less than impressed with the current company logo that looks like it was lifted out of a clip-art file. However, the company is stuffed with investor capital and the energy of start-up idealism is too much to resist. It’s not until he comes to see that the company’s goal is sort of crazy, that he hesitates. The allergy he’s developed from one of the company’s new species of plants is not a good sign either. But then again, when he thinks it over, a corporate return to the wild could be the sort of crazy that he’s always hungered for.

Kaczynski’s characters are often attempting to push back and find that something that is pure and real. “The New,” throws into bed conflicting beliefs in the authority of first world and third world states. Architecture is seen as a possible solution to the many ills of one struggling nation. Sex and power are confused with the potential of building something “great.” The end is near for everyone when architecture turns into a cosmic portal to unspeakable horror.

So, no, there is no snark here. It is wry humor, told and drawn with a deft touch. Never overburdened or overwraught, what we have are naked apes with too much technology, and too much time, on their hands.

“Beta Testing The Apocalypse” is published by Fantagraphics Books. Visit our friends at Fantagraphics Books here.

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Book Review: MY FATHER’S HOUSE By Beatrix Ost

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“My Father’s House” is unusual in many ways. It is an honest and loving portrait of the author’s father, beautifully written, that provides a unique window into Nazi Germany. The book is made up of numerous vivid details such as this passage:

Once, my parents had lived a truly magical life. In the early years of their marriage, between the wars, they lived with their friend Baron Wilhelm Farnbühler at his castle near Stuttgart. The Baron had his own wing; my parents, with Uli and Anita, had theirs. In the great hall, in a cage, there dwelt an owl, who preferred to eat living things: rabbits and mice. His lame wing folded into a crutch, he shrieked into the night and rattled the bars.

I simply happened upon the life and work of Beatrix Ost while in the process of exploring. It began while I was doing some research for a book review of, “Jerusalem,” a graphic novel that relates to the creation of the State of Israel. I had also just written a movie review of a documentary, “The Flat,” about the unusual relationship between a Jewish couple, who had emigrated to Palestine during World War II, and maintained a friendship, after the war, with a high ranking Nazi official. Life is complicated. Things are never quite as they seem. In the case of Beatrix Ost, this is an enormously talented person: writer, artist, desginer, actor, and theatrical producer. She is what she appears to be and so much more.

Beatrix Ost comes from a world of the rich, those F. Scott Fitzgerald has noted as “different from you and me.” Ost is not here to deny the world she was born into. She was born in 1940, in the castle from the above passage. However, given this difference or distinction, Ost finds a way for you to join in. It is, in fact, a world not so different from you and me. It is far more earthy and raw than you may imagine.

This may sound trite, but many readers may relate to the stories presented here if they think of the landmark musical, “The Sound of Music.” As jarring as it is to juxtapose Nazis with Bavarian folklife, general audiences understand, in the context of the musical, how two Germanys could coexist: one run by Hitler and another very different one. It takes a strength and boldness to be able to bring out a multitude of memories that are innocent and sweet amid a backdrop of war. Ost engages the reader on a Proustian level, never missing a beat of recovered memory and dipping deep into a well of language that consistently produces gems.

Think of this book as a collection of passages that, as a whole, bring out a greater truth. Each passage is like a little story of its own. Consider this passage from “The Gleaners,” describing people during World War II coming to the Ost family farm in search of food. They would come in search of even the smallest potato. Dieter, a member of the household staff would be dispatched to fetch a bunch of the teenaged girls from the girls school to help themselves to potatoes. They arrived in what they could muster up for the latest fashion, all hardened by the war but joyful:

The girls trudged along behind the plow, collecting potatoes in sacks. When the sacks were full, they were tipped into a cart. It started to rain. The girls sought shelter under the one available roof: the potato wagon. But the rain got through between the narrow planks, and after a short while, they were drenched. Their cheap dresses rode up above their knees, clinging to their thin bodies. Little rivulets of color ran down their legs.

It is Ost’s father, Fritz, who looms larger than life over this landscape of memory. He did his military service in Africa and subsequently retired, including his membership in the Nazi party. He had only belonged to the party to help his friends, particularly his Jewish friends, secure safe passage out of the country. He was a proud man that seemed to only want to be left alone to rule over his estate, Goldachhof, a rural paradise of manor, farm and stables, about twenty miles out of Munich. If there were Nazis amidst the circles he travelled in, he didn’t want to know. What he, and his wife, Adi, did know was to help those in need and Goldachhof proved a haven for refuges many times over. It is this backdrop that little Beatrix grew up in and learned the ways of the world, from getting by on rations to celebrating the dawn of a new world ushered in by the Americans.

This excerpt gives you a taste of the exuberance of youth faced with big change. The Americans, all brash and exciting, had finally arrived. But they make a few missteps. A couple of homesick Texans decide to ride a couple of the carriage horses, who were not meant for riding. Then some soldiers got the nutty idea of going fishing with hand grenades. This was far too much for Herr Ost and he finally managed to restore order by bringing in a high ranking American officer to have a talk with his men. But change had arrived and there was no turning back:

Now we children played Yank all winter long as we sledded down the granary path on our Jeeps. We still had our “Judenstrick,” ersatz cigarettes made from the winter-dried marrow of elderberry twigs, but we were infatuated with everything the Americans brought into our little world. They had landed among us with the exciting utensils of their exotic culture. Chewing gum. Nescafe. Powdered milk. Hershey’s chocolate. Blue jeans. Johnson’s lotion. Marlboros. Things useful and also symbols of hope, the end of terror. Our blue days were gone–love live The Blues.

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How such a book came into being is remarkable. “My Father’s House” is an inspiring and enlightening work. It can be appreciated on many levels, not the least of which is in the classroom. You can purchase it here.

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Filed under Autobiography, Book Reviews, Books, History, Memoir, Nazi Germany, Nazis