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YUM: Your Ultimate Manual for Good Nutrition. Daina Kalnins. 2008. Lobster Press. 192 pages. [Source: Review copy]

YUM is an informative nonfiction read for upper elementary and middle grade students. Its focus is on teaching young people the basics of nutrition, on how to be more aware of what they're putting in their bodies.  It is not a diet book, a how to lose weight book. If nothing else, the book will teach readers HOW to read food labels and basic definitions of key terms. 

In the first chapter, the focus is on macronutrients: carbohydrates, fats, and protein.  In the second chapter, the focus is on micronutrients: Vitamin A, Vitamin B, Vitamin C, Vitamin D, Vitamin E, Vitamin K, Calcium, Iron, Zinc, Potassium, and Sodium. In the third chapter, the focus is on how the body digests food. In the fourth chapter, the author provides sample menus and recipes for breakfast, lunch, supper, and morning and afternoon snacks. In the fifth chapter, the practical advice continues on how to make changes and establish good habits. This last chapter covers a little bit of everything: food safety (how long to keep food, how to tell if food has gone bad, etc), grocery shopping, eating out, etc.

The book is written for kids and with kids in mind. The advice is specifically for what growing, active children need to be eating to be healthy.

Nutrition books can become dated quickly, this one isn't as up-to-date as I'd like. But it still has some good, basic information.  One thing that makes it continue to be relevant is how reader-friendly it is.

My favorite chapter is probably the one on micronutrients. I loved learning what each nutrient does in the body, and which foods you should eat to get that nutrient.

© 2015 Becky Laney of Becky's Book Reviews

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When a picture book takes off, it is usually the writer that receives all of the glory, while the illustrator remains in the background. Few make it as recognizable names themselves. Christine Tripp, however, has pushed herself to the foreground with an adorable character named Penelope, of the Penelope and the Humongous Burp fame, as well as Penelope and the Monsters, and the upcoming Penelope and the Perposterous Birthday Party book due for release this Spring.

Born and raised in Ottawa, Ontario, she has been drawing her entire life. Christine is a self-taught multi-award winning artist who illustrated her first book in 1985 for “Meadowbrook Press”. She has since worked for both Scholastic USA and Scholastic Canada, as well as Lobster Press, and Groiler (to name only a few). She works in many areas of cartooning and illustration to include advertising, greeting cards, and magazines. Thankfully her true passion is children’s books!

Christine was kind enough to take time from her busy life as a wife, a mother of four and a grandmother of four, to answer a few questions about the illustration side of the picture book biz. This interview was conducted via email and Christine would like me to mention that she struggles with dyslexia. I think she did a wonderful job, and I am sure you will thoroughly enjoy it!

I'm not sure, I read the manuscript, I read it again and then see if there is a voice to the character. After a few readings I begin to "see" what that character looks like, what they would wear, if they would be prim and proper or a disheveled mess. Once I have their personality well established in my mind, it's easy to direct it all down and out through the finger's and the pencil on to paper.

How did you decide to make Penelope biracial?

I think there was talk of it by the publisher to some degree right off the bat. I can't take complete credit for it but, with each of the books, she has become more "obviously" biracial and her mother more "obviously" of colour, especially in book 3 of the series. I prefer not to pin point Penelope's families culture, rather I like that any child of colour can then relate to the books characters and make them their own.

What reactions have you received over it?

Great reactions, reactions that give you a really good feeling deep, deep inside. Reviewers seem to point it out and I have had parents write me to say how wonderful it was to finally have a book that their children could relate to, plus just be funny and not an "in your face" non fiction story or have the story be ABOUT the issues of discrimination etc. Just have it be very matter of fact. Sad that we are still in a time where a biracial character brings out any reaction... but we are, sigh:(


There is a full representation of male and female genders in the other characters, as well as many different races. Were you trying to make a statement, or was that just the way you saw them?

That IS the way I draw. I'm not concious of it anymore but I think it was something that I "learned" way back. I did a lot of illustration work (before books) for many government agencies in Canada and they are extremely careful to be inclusive. After a while, it became second nature to me to include all of society in my illustrations. It just happens now, I like to imagine that this is truly where life imitates art (or at least mine anyway) and visa versa.
I also don't try to make everything EVEN because life is NOT even. So, I do not plot my illustation by saying to myself, this boy will be African Canadian, this girl shall be Aboriginal, this ditch digger will be a woman, etc. It just evolves into what is. I don't control it and I like it that way. Other wise I am sure it would look contrived in the final drawing.



How did Sheri Radclif receive your illustrations?

Sheri Radford has been nothing but supportive and my biggest fan. She has always, always said such wonderful things about my drawings, she's been such a great friend and fan! Sheri did comment the day she saw the first drawing of Penelope. I had no idea but Sheri, as a child, had curly dark hair and wore it the same way, little pig tail thingies, as my drawing. She then sent a photo and sure enough, she looked just like Penelope (or Penelope looked like her) I had no idea, before that I had not even communicated with the author, didn't even know her name.

The dog has become a signature of the “Penelope” books. There is no mention of him in the text. What made you decide to add him?

I just love drawing animals/pets, especially dogs. I add them in when ever I can. I did a dog in that Scholastic series I mentioned earlier and the publisher and author fell in love with him. So much so that they started asking me what his name was. I didn't have a name in mind for him but had just recently adopted a puppy from the pound, so I said "Jake" (as that is the name MY dog was given)


The author then wrote one of the books in the series specifically about "Jake":) I just feel that, if there is a child, there should be some sort of wonderful animal right there beside them:)

Would you agree that all great illustrators add a second layer of story, or can a great illustrator simply stick to the text?

No, in my opinion an illustrator HAS to add their story, visually, to the text. There is nothing more boring then illustrating only the words and, I assume, looking at pictures that just illustrate the words. I mean, why repeat the same thing twice? It's so much fun to find a story inside a story I think. A small child who can not read yet can open a picture book and make up the story based only on the illustrations alone. Even as the story is being read to him/her, they are "getting it" by looking at the art. Give them the story in the art but give them more then that, give them the ability to tell the story in their own way too.


Do you have much interaction with the author, while illustrating their ms?

Not usually, you often know nothing more about them then their name but with Sheri, after the first book, yes, we are now pals:)



What sorts of things are illustrators required to revise in edits?

With text revision, it's not till you begin to put the story down visually that you notice inconsistances in the text perhaps, or things that just do not make sense or words that can be eliminated, as you can best show them in the art. As for art revisions, it's most likely that the character say, on page 3, does not look the same on page 14 or you have drawn someone in long sleeves on page 9 when they appeared in short sleeves on page 3. Placement and spacing are big issues as is not leaving enough room for text or leaving toooooo much room and the page is now, visually, not interesting enough.

Most of the time, change requests by the Art Director serve to make a much better illustration (though it's always a little hard to hear and not take too personally:)


Are there any more “Penelope” books in the making? If so, when can we expect to see them?

The third book is done and coming out Spring (March?) 09. It's called, "Penelope and the Preposterous Birthday Party". I've never drawn so many monkey's in my life:)


Three books would definitely make it a series. A picture book series that doesn’t involve a licensed character seems to be somewhat rare these days. Do you think that Penelope will be made into a cartoon character? If so, what are your feelings about having so many other hands interpreting your work?

Wouldn't that be a hoot?:) I'd love it, and I don't think I would have a problem with an animator doing Penelope. Granted animation is not going to look the same, as you can not get all detailed about it but... I think that's OK. I'd love to be a little involved, just because it would be exciting! I doubt anything like this will happen but it would be cool!


Are you working on any other projects?

I'm not doing any trade books at the moment but am working on educational text book illustrations for a Korean book publisher and some small projects. I keep sending out my own picture book dummy, hoping I can find a publisher interested in it and continue to do mailers. Finding work is always a job in itself and it never gets any easier:)



What illustrators do you admire?

I love Denise Brunkus (Junie B. Jones fame), Lynn Munsinger, too many to list really. I tend to be drawn to art that is full of fun and a great sense of humour.


What advice do you have for aspiring illustrators?

Do not think it will be easy, get ready for a long road of self promotion and rejection. It may not work out that way, but if it happens faster, it will just be a pleasant surprise. Talent is not enough, it's a lot of hard work, it's not all fun and self expression. Illustration IS a job and you DO have a boss, many of them in fact. The publisher, the art director, the adults that buy and review your work and, ultimately, the children.


Often an illustrator will feel that demanding a fair rate for their work, commercializing their art, is distasteful. Examine why you want to be an illustrator and realize that everyone in the book industry thinks of it as just that, an INDUSTRY and everyone, from the publisher down to the receptionist and mail room person makes their living in this industry. Perhaps you want a different career and retain your art as an enjoyable hobby. It's serious business, just because you love what you do, be it teaching, treating the sick, it does not mean you should not be able to make your living at it as well. (off my soap box now:)


Do you have any words of wisdom to offer picture book authors, when it comes to dealing with the visual interpretation of their work?

Oh, I wouldn't want to give advise on something I know nothing about... even though that doesn't always stop me:) Perhaps to always keep in mind what you need to say in text and what you can leave out, because it can be said just as well or perhaps better in the illustration.


What is the most important ability that an illustrator must possess?

Determination, Drive, Patience and Professionalism.


Once again, when can we expect to see the new “Penelope” book in stores?

SPRING 09, horrrrrray!:)

Honors and Awards:

"Penelope and the Humongous Burp", Second Place, OLA "Blue Spruce"Award 2006. Voted on by the Young Readers of Ontario.

"Penelope and the Humongous Burp", awarded the Gold, "Mom's Choice Award", 2005 at Book Expo NYC. (Judges included, executive producer of Reading Rainbow (PBS) and the creator of Baby Einstein!)

"Penelope and the Humongous Burp", picked as one of the Top 10 books for 2004, by "The Canadian Toy Testing Council", Children's Choice

"Penelope and the Humongous Burp", nominated for the "IPPY", 2005, "Independent Publisher Book Awards".

"Penelope and the Monsters", Nominated for BC Chocolate Lily Award, to be announced in 2007.
Judge: "National Newspaper Awards" editorial cartooning division, 2001 Chief Judge: "National Newspaper Awards" editorial cartooning division, 2002

Victoria International Cartoon Festival, second place for published cartoon strip, 1985.

Learn more about Christine by checking out her fantastic website:

http://www.christinetripp.com/

Or, look at some of the books she has illustrated:

http://www.christinetripp.com/bookpage.html

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Oliver Has Something to Say! By Pamela Edwards
Review by Mary Rowe (Library Queen's Weblog)


Oliver has a very common problem found among children with an older sibling. Oliver doesn’t get a chance to speak. Oliver opens his mouth to speak but someone always answers every question for him. First, it is his older sister. She seems like the typical older sister who is trying to be helpful. She just has not noticed that Oliver has grown up and is able to speak for himself. Mom and Dad are also guilty of speaking for Oliver instead of waiting for him to form the words and make his own voice heard.

It takes a kind, patient preschool teacher to help Oliver find his voice. Oliver seems a little overwhelmed when he gets to make a choice for himself about where to play. Mrs. Samra is patient while Oliver tries to get his underused mouth in motion. Through the process Mrs. Samra listens with her eyes and heart as well as her ears. Finally, Oliver is able to tell her what he wants to do.

Oliver has learned his lesson well. After his first day in pre-school he gets up in the middle of the night and lets everyone know they have not been right about what he really wanted as they spoke for him. Loudly, he lets them know all the things he tried to say over the week. Mom, Dad, and Margaret are so surprised that this time they have nothing to say.

This is an excellent book to be used in the home or classroom, not only to encourage children to speak up, but to let talkative children know they are not being helpful when they rush to finish someone’s thought or sentence. Sometimes, children need an extra few seconds of time before they can gather their thoughts. Those who are a bit quicker in forming their thoughts (Mom, Dad, older siblings, and even teachers) need to take the lesson in this book to heart.

Reviewers note: This book hit very close to home for me. My grandson has some tendencies found in children with oral apraxia. There seems to be a bit of “a disconnect” between his brain and his oral muscles. He can make all the sounds but has a hard time getting his lips and tongue into position to make the sounds. This causes a bit of a delay when he begins to speak. It also causes him to substitute some sounds that are easier for him to make for some of the harder sounds. He is more than happy most of the time to let his older sister do the speaking for him. His mom has an undergraduate degree in speech communication. She has been able to make sure he got an opportunity to make his voice heard.

What Other Bloggers Are Saying:
Just One More Book: "Slurps, spaghetti, grimaces and gasps seem to spurt from the page in this animated escapade of a younger sibling who finally finds his voice." (listen to podcast about book...)

My Readable Feast: "Oliver Has Something to Say! makes us realize that quiet kids do have opinions and we need to encourage them to express themselves." (read more...)

Cheryl Rainfield: "Do you know a shy child, or a child who has a hard time speaking up? Give them this book; it may help them to feel understood or less alone." (read more...)

The Literary Word: " I think this is an amazing book in that it will inspire and promote confidence in children who are shy or quiet." (read more...)



More Info:

• Reading level: Ages 4-8
  
• Hardcover: 24 pages
• Publisher: Lobster Press (March 25, 2007)
• Language: English
• ISBN-10: 1897073526
• ISBN-13: 978-1897073520
• Source: Review Copy from Publisher
  

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Today for Nonfiction Monday, I'm happy to present the first review from our newest contributor, Mary, "The Library Queen."


Let's Clear the Air: 10 Reasons Not to Start Smoking is probably the most readable book on the subject I have seen. There are ten chapters. Each chapter is devoted to one reason not to start smoking. Within each chapter, the reader is introduced to pre-teens and teens who think no one should start to smoke. After the introduction. the reader is allowed to peek into the mind of person by reading his/her original essay dealing with the topic of smoking

The ten reasons given for not smoking are the ones you would expect: cancer, other health issues, relationships, addiction, performance, appearance, the entertainment trap, false advertising, and money.

What you might not expect is the honesty of these young people as they tell how family members suffered because someone in the family smoked. They tell of the pain they felt when their parent or grandparent died from cancer. They tell of cousins addicted to cigarettes who have told them NEVER to start smoking because they themselves can't quit. In the chapter about how tobacco affects athletic performance oral cancer and smokeless tobacco were also addressed.

Included in each chapter are interesting facts which highlight the dangers of tobacco in brief sentences inside gray boxes. Lighter gray boxes have the student essays. This layout helps the reader to focus on specific aspects that interest them. Other features that will keep students reading are black and white pencil drawings. For students who want to take action facts relating to how they can become active in spreading the message about the dangers of tobacco are included.

I believe this book would be a wonderful addition to a school or public library. Students will not feel someone is preaching to them as they read this book. The teens included in the book speak with words that are convincing and not overly edited to sound less than authentic.

Adrienne Joy Lowry was seven when her dad died of cancer. The book includes Adrienne's story in her own words.

"My dad died on November 2, 2002. I wrote this in my journal on the day that he died.

'Today my daddy died. It was really sad. I will miss him. He took his last breath and poof he was gone. His spirit went to heaven. He is special.' "

She concludes her essay with this statement of firm resolve:

"I will never smoke because I don't want my kids someday to have to go through what I went through" (p 15).

Another essay I liked was by Brenna on page 107. She writes,

"If you think you want to start smoking, you should think again! Because if you like the way you look now, that can all change when you start smoking. When you smoke the tar in the cigarettes will stain your teeth and fingers yellow. Smokers also have really bad breath!"

How much more honest can you get?

This book was published in Canada and includes photos of Canadian cigarette package warnings. It is interesting to note that these warnings include photos of the disease along with the warning. I think it would be much harder to pick up a pack of cigarettes that had a photo of diseased lung or a clogged heart valve along with the words "smoking causes lung cancer or doubles your risk of stroke."


What Other Bloggers are Saying:

A Patchwork of Books: "The parts that will really hit home to kids are the personal accounts written by real kids for the teens and older children reading the book. Those written accounts are what make the book go by so quickly and actually make it an enjoyable read." (read more...)


More Info:

• Reading level: Ages 9-12
  
• Paperback: 192 pages
• Publisher: Lobster Press (October 31, 2007)
• Language: English
• ISBN-10: 1897073666
• ISBN-13: 978-1897073667
• Source: Review copy from publisher
  

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Pier 21: Stories from Near and Far written by Anne Renaud, illustrated by Ares Cheung

Reading level: Ages 9-12
Hardcover: 24 pages
Publisher: Lobster Press (April 15, 2008)
ISBN-10: 1897073704
ISBN-13: 978-1897073704


Pier 21: Stories from Near and Far is the second book in Lobster Press' Canadian Immigration Series. The first book also written by Anne Renaud, Island of Hope and Sorrow: The Story of Grosse Île, was released in 2007. (see my review here)

Organized into different time periods, Pier 21: Stories from Near and Far tells the story of a shed-like building in Halifax Harbor that welcomed more than 1 million immigrants and refugees to Canada between 1928 and 1971. In addition to taking in newcomers, Pier 21 was the departure point of more than 500,000 service members on their way to fight in World War II.

Rather than give straight, boring facts, Renaud details interesting information through compelling accounts of the people who arrived at Pier 21. Children will especially find the stories of "home children" and "guest children" interesting. "Home children" were British children who were orphaned or whose parents could not care for them. In the 1930's, these children were sent to Canada to work for families in hopes of a better life. While many of the families these children were sent to treated them well, some did not. "Guest children," were evacuee children from war-torn Europe who were sent to Canada as part of the Children's Overseas Reception Board (CORB). Children will be surprised to learn why this program ended.

Other accounts in the book include those of war brides, European immigrants who came to Canada after WWII in hopes of a better life, and Hungarian "56ers", Hungarian refugees who arrived in Canada in 1956.

In addition to the main narrative, each page contains more information about the stories including real photographs, stories, and quotes; a "History Note" sidebar that expands on the narrative; and illustrations reflecting the period.

Like Island of Hope and Sorrow, Pier 21 puts a human face to immigration and war. The content and visuals make this book accessible to children of many ages, including "browsers" who may be reluctant to read books from cover to cover. It would also make a great supplement to any middle-grade history or social studies classroom.

Visit the rest of the Nonfiction Monday roundup at Picture Book of the Day.

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Two brief reviews of books that deserve much more -- links to further coverage provided.

The Brief Wondrous Life of Oscar Wao
by Junot Diaz
(Riverhead, September 2007)
You've never heard of this book before, right? Diaz' first book since his class short story collection Drown has turned out to be a huge publishing event, inspiring everyone from Michiko Kakutani to bloggers galore to heights of praise. I can't give you much more -- just my own little story.

I read the short story that formed the foundation for BWL of OW in an anthology the ALP picked up called Rotten English -- a collection of prose and poetry written in non-standard or dialect English. Diaz was probably the most famous of the lot, but he certainly fits the bill -- Oscar Wao is studded with Spanish and Spanglish words and construction, and, my favorite, often uses the word "dude" as the subject (first example I can find in the novel, in a footnote, in parentheses: "(dude had bomber wings, for fuck's sake)"). It's electric, addicting, and like readers all over America and the Dominican Diaspora, I was hungry for more.

I finagled a copy from our kind-hearted Penguin sales rep. I started reading it in brief chunks on the subway. Then I had a day off, which I usually need as a work day, and when I took a lunch break from writing and researching I picked up Oscar Wao again. The rest of the day I spent in various positions throughout my house, book in front of my nose, unable to get away from the saga of old curses and modern dysfunction and sci-fi humor and adolescent dorkiness and tragedy masquerading as farce and the language -- oh man, the language. It's that kind of book.

I mentioned that Diaz came by the bookstore to sign stock -- I'm glad I hadn't read the book then, or I might have acted even more foolish. When I was finished I wished I was back in school so we could lit-crit the heck out of it. What does Oscar's identification with Oscar Wilde mean in terms of his outside status, his repressed sexuality, his political persecution, his lasting fame, his flamboyance or lack thereof? What are the implications of Yunior (the book's narrator and Diaz' stand-in) asserting that the troubles of the Dominican Republic stretch back to the moment Columbus used it as an entry point to the New World, his deadly serious joke that the curse (fuku) stretched all the way to the 20th century and killed Kennedy? Why does his refusal to mention Columbus' name (he is referred to as The Admiral, which it took me a bit to understand) give colonialism such a spooky power? Does his explanation of the Trujillo regime in footnotes, David Foster Wallace style, mean that these are merely "footnotes of history"? If all Dominicans are hit by fuku, is Yunior's fuku his inability to be faithful to Oscar's beautiful sister Lola, or his association with Oscar? What's with the golden mongoose, anyway?

Point is, it's a book that pulls you in to a whole world, like the best novels do, and opens your eyes to some parts of the real world you never noticed. To be honest, there were moments when the pacing or emphasis seemed weird to me -- maybe because I could perceive the bones of the short story under the novel, and the flesh didn't always fill in where I'd expect. And Oscar's life, truth be told, isn't so very wondrous, except that it existed at all, and in the wondrous telling of it, and with luck, in the significance of his ultimate act of defiance. With luck, this pulls the purposefully anti-canonical Diaz irresistibly into the canon of our greatest American writers, not least because he can't help writing powerfully about the least powerful among us: the refugees, the prisoners, the cursed, the unbeautiful, the lonely. He'd laugh to hear it, but dude is a serious force for good in the world. He has a kind of power, and he knows it. Here are his words, full of typical allusion and irreverence, erudition and pop culture and idealism and self-loathing, from another footnote about a writer who fell afoul of Trujillo:

What is it with Dictators and Writers, anyway? Since before the infamous Caesar-Ovid war they've had beef. Like the Fantastic Four and Galactus, like the X-Men and the Brotherhood of Evil Mutants, like the Teen Titans and Deathstrike, Foreman and Ali, Morrison and Crouch, Sammy and Sergio, they seem destined to be eternally linked in the Halls of Battle. Rushdie claims that tyrants and scribblers are natural antagonists, but I think that's too simple; it lets writers off pretty easy. Dictators, in my opinion, just know competition when they see it. Same with writers. Like, after all, recognizes like.

Like You'd Understand, Anyway
by Jim Shepard
(Knopf, September 2007)
Jim Shepard is another one of those writers with a cult following -- what you call "a writer's writer." Check out the recent Bookslut interview here for more about him. I had a bookstore colleague once (hi, Ethan!) who had had Shepard as a writing teacher, and hearing him talk about Shepard filled me with respect for the man before I'd ever read a word he'd written. I read his previous short story collection, Love and Hydrogen, of which the only one I remember is the title story where two men, a couple, try to hide their relationship while working on a Nazi zeppelin, which of course goes down in flames. It's a very Shepard-esque story: he likes to work in somewhat exotic settings, which act as metaphors for the unhappy relationships they contain.

But that's reductive, and makes it sound like I don't like the man's work: I do, I do. What impressed me most about the new collection is the weird and simple fact that most of the relationships aren't romantic, or even homo-social (though most are between men). Fathers and sons, high school friends, brothers -- these loves are powerful too, and shape our actions and our perceptions just as powerfully as sex does. The title of the collection, which doesn't appear in any of the stories, is a great evocation of the singular inarticulate-ness that often characterizes such relationships: there's a longing for understanding, but an instinctive shoving away at the same time.

Okay, the stories, or at least my favorites. A Roman scribe in "Hadrian's Wall" seethes with resentment for his retired legionnaire father, and then fails to prevent an incursion by the barbarians, which leads to reciprocal slaughter by the Romans. In "Trample the Dead, Hurdle the Weak," two friends immerse themselves obsessively in their high school football team, while the narrator speculates on whether a guy on an opposing team could be the son of his disappeared dad, and his meat head best friend deals with his own father's constant comparison of him to his pro football older brother. "Eros 7" is one of the few stories involving a woman: two Soviet astronauts are assigned to orbit simultaneously but separately, a heartbreaking parallel to their secret and unsuccessful romance. Possibly the most powerful is the first story, "The Zero Meter Diving Team," narrated by the oldest of three brothers, a bureaucrat implicated in the nuclear meltdown at Chernobyl, where his two younger brothers die slowly. It's an astonishing play-by-play of the governmental unwillingness to admit the problem that resulted in the accident's horrible long-range consequences, and the brothers' various manifestations of suffering and guilt and stoicism and humor make it all too real.

The point here is that any of these stories might be maudlin, or worse, tough-guy pretentious, in the hands of a lesser writer. Shepard's enviable and compelling skill, sentence by sentence, is to expose his characters' posturing, their weaknesses and wants and failures and loving impulses, in language that not only shows compassion for them, but makes it clear that they are just like you, for better and (mostly) for worse. One of the best stories has no exotic setting: "Courtesy for Beginners" is about a kid at summer camp, with all the miserable hazing that can imply, while his possibly mentally disturbed younger brother is at home. After the sickening denouement, the narrator ends with this telling conclusion:

But what I did was the kind of thing you'd do and the kind of thing you've done: I felt bad for him and for myself and I went on with my week and then with my summer and I started telling my story to whoever would listen. And my story was: I survived camp. I survived my brother. I survived my own bad feelings. Love me for being so sad about it. Love me for knowing what I did. Love me for being in the lifeboat after everyone else went under. And my story made me feel better and it made me feel worse. And it worked.

Take their words for it: these are two books that are seriously worth reading, and worth adding to the ranks of great 21st century American literature.

(And come see Shepard read and talk with his editor, the equally cult famous Gary Fisketjon, on the 24th.)

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