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B. Smith Cooks Southern-Style, by Barbara Smith

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Barbara Smith, the famed fashion model who was the first African American to appear on the cover of Mademoiselle magazine, went on to build an empire that includes television shows, restaurants, her own furniture line (another first for an African American woman), and other lifestyle products from rugs to kitchenware.

Called "one of the most formidable rivals of Martha Stewart" by The Wall Street Journal, Barbara Smith not only shattered glass ceilings, she also brought America a casual, elegant, easy style that is all her own.

With B. Smith Cooks Southern-Style, Barbara focuses solely on the food -- no table settings, no party plans -- and gives readers more than 200 recipes and tales from her incomparable career. Readers and cooks will be surprised: for a skinny girl, she knows her way around cornbread, fritters, and pain perdu.

She also knows and passes on lots of tips and strategies for bringing down the calorie count without losing flavor.

From Cajun and Creole to Soul Food and beyond -- including some of the many ways to use smoked pig -- Barbara treats the home cook to a mouthwatering tour of Southern cuisine. Crave the classic Southern white meat? Barbara gives Catfish Fingers a tweak with a Guinness-flavored tartar sauce. Many iconic dishes of the American South are here -- Frogmore Stew, Jambalaya, Kentucky Burgoo, and Étouffée, along with updated versions of old favorites such as Vegetarian Étouffée, Chocolate Chip Dessert Sliders, and Bananas Foster converted into a sundae. Barbara even gives up the recipe for Swamp Thang, a riff on favorite Southern flavors and a perennial selection at her restaurants.

As The New York Times Magazine noted, "B. Smith's goal is to get you looking good and having fun." And with dishes such as Root Beer Barbecued Pulled Pork, Collard Greens Slaw, and Coconut-Pecan Cupcakes, how could you not have fun?

• Sales Rank: #475879 in Books
• Published on: 2009-11-03
• Original language: English
• Number of items: 1
• Dimensions: 1.08" h x 8.34" w x 9.42" l, 1.90 pounds
• Binding: Hardcover
• 336 pages

From Publishers Weekly
Southern cooking—both contemporary and traditional—may be having its moment, and it gets a friendly cookbook treatment from a celebrated African-American lifestyle restaurateur. While Smith has authored two books on entertaining and operated her iconic B. Smith restaurants in New York; Washington, D.C.; and Long Island for years, she actually considers this her cookbook debut, which she says, was inspired by her desire to share her love of Southern food while giving it an update. Chapters follow traditional categories such as brunch, appetizers, meat and so on. Interspersing recipes with facts about their historical or personal origin, Smith introduces readers to the nuances of the region's cuisine, from Carolina low country's shrimp and grits to the Cajun maque choux of Louisiana. (For any readers who ever wanted to attempt turducken at home, Smith has a multipage explication.) The contemporary spin comes in the form of eggplant fries with tomato truffle ketchup, sweet potato salad with orange-maple dressing, and chocolate chip dessert sliders. Where possible, she has substituted healthier renditions, eliminating fatty meats or reducing sugar. Smith tops it off with a chapter devoted to beverages, including a number of interesting cocktails (pistachio margarita-tini and strawberry sangria with rose geranium), which, in keeping with her home-entertaining pedigree, will get the party started. Throughout, Smith remains an affable host, keeping the proceedings accessible and fun. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author
B. Smith is a former fashion model turned restaurateur, television host, author, entrepreneur and entertainer extraordinaire renowned for her casual yet elegant approach to living. In 1999, she hosted B Smith with Style which aired nationwide and in 40 countries.  A native of western Pennsylvania (where she was raised by a bunch of Southerners who went north), B started her career as a fashion model, gracing the covers of 15 magazines, before moving on to restaurants and televison.

She lives in New York City and Sag Harbor, New York with her husband and partner, Dan Gasby, and their daughter.

Excerpt. © Reprinted by permission. All rights reserved.
Introduction

Why a Southern Cookbook Now?

"Are you from the South?" Through the years, I think I've been asked that question as much as, "How are you?"

"No, I'm not from the South but I'm from southwestern Pennsylvania," I answer, always with conviction and a smile. My family ended up in southwestern Pennsylvania by way of North Carolina and Virginia, where the first enslaved Africans arrived. Like many families, ours boasted strong Southern roots, and nowhere was it more evident than in my mother's, grandmother's, and aunts' pots and pans.

While researching this book and the heritage of Southern cooking, I discovered that there's more Southern in me than I'd realized. Eastern West Virginia borders southwestern Pennsylvania, and along with that border we also share a culture. Growing up, I never differentiated between Northern and Southern cooking; all I knew was the food we ate, and it wasn't good -- it was great. My mother cooked like our neighbors cooked. I thought people all over the country ate the way we did. I didn't know the difference until I traveled north to the other side of Pittsburgh. That's where I saw for the first time cornbread inside a turkey, instead of inside my mother's iron skillet!

When I started modeling and traveling with the Ebony Fashion Fair, I was lucky to be able to explore different kinds of foods. But when I was back in New York, it had to be Southern. Trips to the Horn of Plenty, The Pink Tea Cup, Sylvia's, and Wells for its famous chicken and waffles were musts. It wasn't easy staying model thin savoring a plate of smothered chicken, but over time I learned how to enjoy the food I loved by eating in moderation. I had to choose between my taste buds and my budding career.

I've always had more than a sprinkling of Southern dishes on my restaurants' menus. At the first B. Smith's in New York, it was a tradition to have chitlins on the New Year's Eve menu. It brought back memories of my mother preparing chitlins all day to make sure they were ready and right for the New Year. B. Smith's New York wasn't a soul food restaurant, but the funny thing about Southern food is that you put a couple of those kinds of dishes on the menu and people anoint it Southern. My goal was to always keep it eclectic. I like to think of the Southern dishes we served as inspired cooking. B. Smith's in Washington, D.C. was a different story. Since it was in the South, I had to have a great Southern chef, and I found him with the help of the famous Louisiana chef Paul Prudhomme.

Southern cuisine is bigger than crispy fried chicken and collard greens. It's a culturally rich and diverse cuisine with history in its ingredients, flavors, and textures. I like to look at it as a cultural artifact of the Old South. There's nothing like it. What other cuisine has had its journey? New settlers, enslaved Africans, enslavers, and Native Americans all had a stake in it.

In the world of food, I consider myself an explorer inside and outside the kitchen. I learn something from every bite, whether I prepared it or not. What better way to satisfy one's curiosity than with food?

I learned that the seductive flavors of Louisiana Creole cuisine have roots in France. I learned that Cajun gets its lively and spicy reputation from traditional African cooking. I respect the Upper South's penchant for pork and knowing what to do with it as much as I respect and love the Low Country's skill with seafood and various combinations.

Contrary to popular thought, enslaved Africans didn't bring their favorite foods with them. Slavery wasn't nice that way. Along with their human cargo, enslavers transported seeds to grow fruits and vegetables, like watermelon and okra. Once on land, enslaved Africans cultivated the land and planted the seeds.

And Native Americans brought a whole lot more than corn to the table. Thanks to them, early settlers' meals became more interesting and flavorful with a variety of squashes, tomatoes, and all kinds of beans, peppers, and fruits.

The big American Southern breakfast was attributed to the British fry-up, a meal heavy on pork, eggs, fried bread, and potatoes. The settlers were big hunters and didn't discriminate when it came to eating various parts of an animal, such as organ meats that included intestines, or chitterlings. Contrary to popular belief, whites, blacks, and Native Americans ate a lot of the same foods. What was different were the conditions under which they ate them. When you put all of this history together in a big pot, we call that Southern cuisine.

What I wanted to do with the recipes in this book was to bring modern eating to an old-school cuisine. Southern cooking with its rich and sometimes fat-laden qualities hasn't withstood the test of time with the health food movement. Today it's more about eating what's better for you than just what tastes good. I believe that we can have our Southern food and eat it too, with all the flavor we want and without the fat we don't need.

Let me get something straight: I like fat. It adds flavor like no other ingredient I've ever come across in all of my experience cooking. What I've done is lighten up the traditional Southern dishes we love by revisiting their original recipes, unlocking old secrets to perfect taste, and creating new ones. Talk about new ideas -- anyone for Alligator Sausage Patties? We can't seem to make enough Braised Black-Eyed Peas and Greens for the restaurants; now you can make all you want in your own home. Learn my secret to how I cut down the fat when I make chitterlings; you won't be disappointed. (My husband, Dan, put a hurtin' on them.) There's a whole section on sauces and gravies, recipes so delectable it's a pity they have to go on top of something.

I love Southern food. I love the way it blankets me in comfort. I love the warm and loving memories it evokes. And there's nothing like seeing Dan and our daughter, Dana, light up when something Southern is on the table. It makes me the happiest gal from southwestern Pennsylvania.

Copyright © 2009 by Barbara Smith

Most helpful customer reviews

8 of 8 people found the following review helpful.
Southern Goodness, from start to finish
By J
My family is from the South. I fondly remember my grandmother and aunt cooking good old fashioned family dinners that included the best of Southern cuisine when I was a child. As an adult, I thought those days were gone for good. I would find a recipe here and there, but nothing like they made in the past. I always longed for some good old fashioned Southern foods. I knew the basic (and a few not-so-basic) dishes, but nothing like what they used to whip up. I decided to give this book a try. Southern food has traditionally been high in fat and and rich ingredients. I can remember watching my grandmother nonchalantly toss an entire stick of butter or huge scoops of lard into her dishes. The author discusses this topic and reveals that she took traditional Southern dishes and attempted to modernize them by making them healthier and less fattening. She accomplishes this, for the most part. However, there are still plenty of rich dishes for those who want to go all out (cheese grits anyone?)

The dishes themselves offer a nice variety. There are the more exotic: (alligator, turtle soup, poached quail eggs), the less exotic: (chitterlings, chicken livers), and the normal: (grits, cornbread, okra, gumbo, hash, catfish, etc). Recipes are offered for brunch, appetizers, breads and dressings, soups and stews, salads, meats, poultry, seafood, side dishes, sauces and condiments, desserts, and beverages. There is a nice diverse mix of dishes to satisfy every palate. I admit, I haven't tried all of the dishes offered in this book (and doubt I will ever try some, such as the gator), but there are more than enough dishes available that remind me fondly of my roots. The author even throws in welcome little familiar touches that I had grown accustomed to, like tossing a little sugar in the cornbread mixture to make a sweeter bread. Some of my favorite dishes from the book: cheese grits, smothered chicken livers, lobster grits, buttermilk biscuits, cornbread, corn fritters, seafood gumbo, jerk spiced beef tenderloin, marinated fried chicken, chicken fried steak, bacon wrapped scallops, spiced catfish with black eyed pea gravy, southern styled collard greens, and ALL of her desserts! For good measure, a few cocktail mixes are tossed in. Both alcoholic and non-alcoholic drinks are offered. The recipes are clear and easy to follow. Even inexperienced cooks should have little difficulty preparing them.

The book is hardcover. The pages are mostly standard grade black and white text. There are several b/w pictures throughout and there is a 16-page full color glossy section in the middle that features some of the highlighted recipes. It's not the fanciest cookbook around, but it gets the job done.

What is true "Southern" cooking is a subjective topic. Some consider southern cooking the traditional "soul food" while others consider it a little more exotic like raccoon & gator (One of these I actually ate. Hint, it wasn't the gator). There are several dishes that I ate as a child and considered Southern cuisine that aren't included in the book. There are also some dishes that I'd never heard of prior to reading this book. The main thing I looked for were the staples: greens, cornbread, pork dishes (including chitterlings), fried chicken, grits, black eyed peas, macaroni and cheese, and catfish. All of these are present and plentiful in this book, along with many more. Mrs. Smith starts with brunch and ends with a nightcap. Regardless of whether you have your own particular feelings about what is or isn't Southern cooking, you are sure to find some cherished favorites in this book, from beginning to end.

3 of 3 people found the following review helpful.
Root Beer Pulled Pork, Cornbread, and Pecan-Coconut Cupcakes.
By Patrick McCormack
The book is fun to page through, and has a nice mix of recipes, some challenging, others easy to make. I made the root beer pulled pork, and it was really excellent. The cupcakes and cornbread were good accompaniement, with a simple salad. An easy Saturday night meal. I know that this food is southern, with greens, catfish, and easy comfort foods, but it is the kind of food that goes well with cold beer and comfortable friends, flavor with a certain style and charm. I buy about ten cook books per year and keep three of the ten, and this one stays.

7 of 9 people found the following review helpful.
Quality recipes but design details could have been much better (details)
By Patrick W. Crabtree
I'll say up front that if you know someone who is particularly keen on southern recipes then this book might make a nice gift; however, it has some drawbacks.

There are certain features that I appreciated in this cookbook, the greatest of which are the recipes themselves. About half of these dishes will likely see frequent preparation which is a pretty good average as cookbooks go. The other half are fine but not many folks will jump in to make the Lobster Grits (page 16), the Duck Jambalaya (page 79), or the Grouper with Persimmon Salsa (page 186) -- still a few self-motivated souls will endeavor to try these more unusual dishes and such recipes do present us with some new culinary ideas.

The book lies open fairly flat and is of a manageable size (9 1/2" x 8 1/4" x 1") -- there are 326 pages, including a coherent index. Just over 200 recipes are included in the work and most of the old southern standbys are in here. A number of the dishes are featured in color photographs (multiple dishes per photo) in a center section of the book. Finally, interest in Southern Cooking is clearly broad enough to justify yet another cookbook on the topic.

I wish the publisher (Scribner) had skimped more on the just jacket and had invested the savings in the actual book cover which, in this instance, seems little better than one found on a book club edition novel. And the idea of having most of the photos in the center of the book instead of appurtenant to their respective recipes is always cumbersome.

The author has included some useful tips (e.g., how to butterfly a Cornish hen, page 156) but these techniques are not illustrated, an initiative which seems pretty basic to me. A few recipe ingredients might not be all that easy to find at local grocery stores (e.g., mango gelatin, quail eggs) but this is only of minor concern - substitutions can be made.

In summary, I thought the book lacked innovation to the degree that the recipes fail to nudge one into their kitchen. The meat and poultry recipes are all pretty solid but again, they didn't seem all that exciting. Recipes of equal quality can be found for free online and the stated retail price of this cookbook is thirty-five dollars, (an overblown figure which is always immediately cut at most outlets.)

If you aren't on fire to obtain this cookbook, I suspect that you'll be able to locate it on the "sale table" at the chain bookstores in a year or so.

See all 45 customer reviews...

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Bestselling author Nicholson Baker, recognized as one of the most dexterous and talented writers in America today, has created a compelling work of nonfiction bound to provoke discussion and controversy -- a wide-ranging, astonishingly fresh perspective on the political and social landscape that gave rise to World War II.

Human Smoke delivers a closely textured, deeply moving indictment of the treasured myths that have romanticized much of the 1930s and '40s. Incorporating meticulous research and well-documented sources -- including newspaper and magazine articles, radio speeches, memoirs, and diaries -- the book juxtaposes hundreds of interrelated moments of decision, brutality, suffering, and mercy. Vivid glimpses of political leaders and their dissenters illuminate and examine the gradual, horrifying advance toward overt global war and Holocaust.

Praised by critics and readers alike for his exquisitely observant eye and deft, inimitable prose, Baker has assembled a narrative within Human Smoke that unfolds gracefully, tragically, and persuasively. This is an unforgettable book that makes a profound impact on our perceptions of historical events and mourns the unthinkable loss humanity has borne at its own hand.

• Sales Rank: #667410 in Books
• Brand: Brand: Simon n Schuster
• Published on: 2008-03-11
• Released on: 2008-03-11
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 1.56" w x 6.12" l, 1.87 pounds
• Binding: Hardcover
• 576 pages

Features

• Used Book in Good Condition

Amazon.com Review
Bestselling author Nicholson Baker, recognized as one of the most dexterous and talented writers in America today, has created a compelling work of nonfiction bound to provoke discussion and controversy -- a wide-ranging, astonishingly fresh perspective on the political and social landscape that gave rise to World War II.

Human Smoke delivers a closely textured, deeply moving indictment of the treasured myths that have romanticized much of the 1930s and '40s. Incorporating meticulous research and well-documented sources -- including newspaper and magazine articles, radio speeches, memoirs, and diaries -- the book juxtaposes hundreds of interrelated moments of decision, brutality, suffering, and mercy. Vivid glimpses of political leaders and their dissenters illuminate and examine the gradual, horrifying advance toward overt global war and Holocaust.

Praised by critics and readers alike for his exquisitely observant eye and deft, inimitable prose, Baker has assembled a narrative within Human Smoke that unfolds gracefully, tragically, and persuasively. This is an unforgettable book that makes a profound impact on our perceptions of historical events and mourns the unthinkable loss humanity has borne at its own hand.

Questions for Nicholson Baker

Amazon.com: This is obviously a big departure for you, in both style and subject. How did the project come about, and how did it find this form?

Baker: I was writing a different book, on a smaller historical subject, when I stopped and asked: Do I understand World War Two? And of course I didn't. Also I'd been reading newspapers from the thirties and forties, and I knew that there were startling things in them.

In earlier books, I've looked closely at moments to see why they matter, and I've tried to rescue things, people, ideas from overfamiliarity. So in a way a book like this--which moves a loupe over some incidents along the way to a much-chronicled war--was a natural topic.

But yes, the style is a departure: it's very simple here out of respect for the hellishness of the story that I'm trying to assemble, piece by piece.

Amazon.com: Why World War Two in particular?

Baker: Politicians constantly fondle a small, clean, paperweight version of this war, as if it provides them with moral clarity. We know that it was the most destructive five year period in history. It was destructive of human lives, and also of shelter, sleep, warmth, gentleness, mercy, political refuge, rational discussion, legal process, civil tradition, and public truth. Millions of people were gassed, shot, starved, and worked to death by a paranoid fanatic. The war's victims felt as if they'd come to the end of civilization.

But then we also say that because it turned out so badly, it was the one just, necessary war. We acknowledge that it was the worst catastrophe in the history of humanity--and yet it was "the good war." The Greatest Generation fought it, and a generation of people was wiped out.

If we don't try to understand this one war better--understand it not in the sense of coming up with elaborate mechanistic theories of causation, but understand it in the humbler sense of feeling our way through its enormity--then cartoon versions of what happened will continue to distort debates about the merits of all future wars.

Amazon.com: You largely kept your own opinions out of the text, except for the choices you made in what to include and a few editorial comments here and there, as well as your short Afterword at the end. It makes for a real tension between the neutral tone and the sense, at least on the part of this reader, that there are some passionate opinions behind it. What authorial role did you want to establish?

Baker: I found that my own cries of grief, amazement, or outrage--or of admiration at some quiet heroism--took away from the chaos of individual decisions that move events forward.

It helps sometimes to look at an action--compassionate, murderous, confessional, obfuscatory--out of context: as something that somebody did one day. The one-day-ness of history is often lost in traditional histories, because paragraphs and sections are organized by theme: attack, counterattack, argument, counterargument. That's a reasonable way to proceed, but I rejected it here for several reasons. First, because it fails to convey the hugeness and confusion of the time as it was experienced by people who lived through it. And, second, because I wanted the reader to have to form, and then jettison, and then re-form, explanations and mini-narratives along the way--as I did, and as did a newspaper reader in, say, New York City in September, 1941.

I think the pared-down, episodic style allowed me to offer some moments of truth that I wouldn't have been able to offer had I had uppermost in my mind the necessity of making transitions and smoothing out inconsistencies and sounding like me. I offer no organized argument: I want above all to fill the readers mind with an anguished sense of what happened.

Amazon.com: I was telling someone about your book and how it failed to convince me of what I took to be its thesis, and his response was, "Wow, you really made me want to read it." And that's my response too: if your point was to convince me that we shouldn't have fought World War II, then the book didn't work, but I'm still very glad I read it. But maybe that wasn't your point at all.

Baker: I'm really pleased that you responded that way. I didn't want to convince, but only to add enriching complication. Long ago I wrote an essay called "Changes of Mind" in which I tried to talk about how gradual and complicated a shift of conviction can be. I left overt opinionizing out of this book so that a reader can draw his or her own conclusions, folding in other knowledge.

There are many books about the war that I value highly even though I don't agree with the world-outlook of the people who wrote them. To take a major example: Churchill's own memoir-history is completely fascinating and revealing--and a great pleasure to read--although I happen to think that Churchill was himself a bad war leader.

There's no point in trying to use a book to replace one simple set of beliefs about World War Two with another simple set of beliefs. The war years are alive with contradictions and puzzles and shake-your-head-in-wonder moments. You're going to look at it in different ways on different days because you're going to have different moments uppermost in your mind.

On the other hand, I don't want to hide what I think. Here's what I am, more or less: I'm a non-religious pacifist who is sympathetic to Quaker notions of nonviolent resistance and of refuge and aid for those who need help. I find appealing what Christopher Isherwood called "the plain moral stand against killing." I don't expect people to look at things this way, necessarily--after all, it took me a while to get there myself. But I do hope that my book will offer some thought-provocations that anyone, of any ideological persuasion, will want to mull over.

Amazon.com: It's hard to believe there's something new to say about what may be the most written-about event in human history. What did you feel about approaching such a well-chronicled subject? What were you most surprised to find? What responses have you gotten from historians and other readers?

Baker: There were many surprises. For instance, I didn't expect Herbert Hoover, who argued for the lifting of the British blockade in order to get food to Jews in Polish ghettoes and French concentration camps, to be a voice of reason and compassion. I didn't know that German propagandists used the phrase "iron curtain" before Churchill did. I didn't know that in 1940 the Royal Air Force tried to set fire to the forests of Germany. I didn't know how interested the United States government was in arming China. I didn't know how public was Japan's unhappiness with the American oil embargo. I didn't know that many of the people who worked hardest to help Jews escape Hitler were pacifists, not interventionists.

I've had interesting reactions from historians, who seem to understand (for the most part) that I'm not trying to write a comprehensive history of the beginnings of the war. I've had some very good reviews and some very bad ones. The bad ones seem to follow the teeter-totter school: that if a dictator and the nation he controls is evil, then the leader of the nation who opposes the evil dictator must be good. Life isn't that way, of course. There is in fact no "moral equivalence" created by examining coterminous violent and repulsive acts. The notion of moral equivalence is a mistake, because it undermines our notions of personal responsibility and law. Each act of killing is its own act, not something to be heaped like produce on a balancing scale. One person, as Roosevelt said, must not be punished for the deed of another--though he didn't follow his own precept.

Gandhi comes up sometimes. It was said in a review that I "adore" Gandhi. That's not quite right. Gandhi is in many ways an admirable and perceptive man. He spoke gently even while thousands of his supporters were in jail and his country was being bombed by an occupying power. But the years told on him, and he sometimes came to sound, as Nehru once observed in a memoir, cold--indifferent to suffering. He is one voice, and a voice worth listening to.

My real heroes, though, are people like Victor Klemperer, who responded to Hitlerian terror not with counterviolence, but with beautiful nonresistance: by writing a masterpiece of a diary. He and Romanian diarist Mihael Sebastian have the last word for that reason. And I've dedicated the book to British and American pacifists--I want this book to rescue the memory of their loving, troubled efforts to help.

The most interesting and helpful set of responses to the book so far has been at www.edrants.com, where a group of participants discussed Human Smoke for a week, adding all kinds of thoughts, analogies, comparisons, and criticisms. I've never been through anything like it before, and I'm the better for it.

Amazon.com: Your recent celebration of Wikipedia in the New York Review of Books has gotten a lot of attention (deservedly so). Did the style and philosophy of Wikipedia influence the way you wrote Human Smoke? Have you made any Wikipedia updates based on what you found in your research.

Baker: I used Wikipedia during the writing of the book, especially to check facts about subtypes of airplanes and ships--e.g., the Bristol Beaufighter I cited in the first paragraph of the review. Wikipedia is amazingly strong and precise on military hardware. (And on when a British Lord became a Viscount, and on a million other things.) But I've been writing movies, and the model I often had in my mind while working on Human Smoke was the movie documentary--in which short scenes and clips follow each other with a minimum of narration.

From Publishers Weekly
"Burning a village properly takes a long time," wrote a British commander in Iraq in 1920. In this sometimes astonishing yet perplexing account of the destructive futility of war, NBCC award–winning writer Baker (Double Fold) traces a direct line from there to WWII, when Flying Fortresses and incendiary bombs made it possible to burn a city in almost no time at all. Central to Baker's episodic narrative- a chronological juxtaposition of discrete moments from 1892 to December 31, 1941-are accounts from contemporary reports of Britain's terror campaign of repeatedly bombing German cities even before the London blitz. The large chorus of voices echoing here range from pacifists like Quaker Clarence Pickett to the seemingly cynical warmongering of Churchill and FDR; the rueful resignation of German-Jewish diarist Viktor Klemperer to Clementine Churchill's hate-filled reference to "yellow Japanese lice." Baker offers no judgment, but he also fails to offer context: was Hitler's purported plan to send the Jews to Madagascar serious, or, as one leading historian has called it, a fiction? Baker gives no clue. Yet many incidents carry an emotional wallop-of anger and shock at actions on all sides-that could force one to reconsider means and ends even in a "good" war and to view the word "terror" in a very discomfiting context. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
It’s no surprise that a pacifist portrayal of World War II will invite controversy. Yet what really seemed to divide reviewers of Human Smoke was not Baker’s dovishness but his devices: the many short anecdotes and quotations that comprise this book. This style, which allows readers to reach their own conclusions, won over some critics, even if they remained unconvinced by Baker’s pacifism. Yet many others found the book’s form an offense in itself, charging that Baker takes quotations out of context and disingenuously portrays Allied leaders as the equivalents of Hitler or Stalin. Other reviewers were confused rather than incensed by Baker’s many snippets, suggesting that Human Smoke might not be the best book for someone just learning about the war, or even for someone looking for a pacifist take. Alternatively, one reviewer suggested Hiroshima by John Hersey or Stalingrad by Antony Beevorâ€"books that describe how any war results in horrific acts of violence by both sides.
Copyright © 2004 Phillips & Nelson Media, Inc.

Most helpful customer reviews

11 of 16 people found the following review helpful.
A Hidden History Revealed
By Al Swanson
As a life-long conservative, I've found myself challenging my beliefs over the past five or so years. I've read a lot of books I would have called "pinko-commie" not too long ago. "The Corporation" was the first, followed by Howard Zinn's history of the 20th Century. Those gave rise to questioning our country.

I'd long heard that WWII was precipitated by issues seldom discussed in conventional history books. This book solidifies many of those things I'd heard. What's amazing is that the book, by and large, is not modern day opinion and observation of 60 year old facts, but rather a selection of opinions and facts FROM 60 years ago. Our history books make it seem as if the Allies were peace-loving peoples forced into a state of war by the crazed Axis countries.

While Hitler may have started the war, the book shows how the incidents that happened after the beginning of the war (and indeed, before it ever started) are not the way our history books seem to remember them. The sanitized history we are all fed here is shattered when you read this book.

Even if you choose not to accept or believe all you read here, the information is good to have regardless of your political leanings. Like I said, I'm a conservative (so much so that folks used to say I couldn't even make a left turn) but events of the past 10 years, bolstered by books like this, make me question where I really stand. When a book makes you question your beliefs - you know it's a powerful book.

15 of 24 people found the following review helpful.
A Brave, If Irritating, Work
By Timothy Haugh
I am a tremendous fan of Nicholson Baker. I find him to be one of the best prose stylists in America today. I find his work to be eminently readable--absorbing, subtly subversive, sometimes irritating, certainly entertaining. Even when I disagree with him, whether that be the conclusions he draws in his non-fiction or some outrageousness in his fiction, I love to read him.

Human Smoke joins Baker's oeuvre as one of his best pieces of non-fiction. In it, he gives us a different perspective on the lead-up and first years of World War II. Essentially, it is his desire to show us how the Allies, Churchill and Roosevelt, in particular, brought on the war, committed atrocities and enabled the Nazis and Japanese to commit their atrocities. For example, the British engaged in haphazard bombing in Europe forcing the Luftwaffe to start the Battle of Britain while Roosevelt gave the Chinese planes and crews and positioned the Pacific fleet to egg on the Japanese, knowing in advance Pearl Harbor would be attacked, drawing us into the war just as he wished.

In point of fact, almost no one in this book comes off well. The pacifists look rather pathetic as they are dragged off to jail while Gandhi encourages people to stand and be slaughtered rather than defend themselves. Jews and non-Jews alike seem in denial about what is going on in Nazi-controlled territories. The only people who come off half-way decent are ones you wouldn't expect: people like Herbert Hoover who works to relieve the suffering of children in Europe, and Hitler who constantly seems to be pushing for peace treaties, responding to provocation and pushing Jews to emigrate.

Now, though much of what Baker is reporting is true, he is, of course, rather selective in his reporting. And I didn't walk away from this book changing my feelings about Churchill, Roosevelt, or Hitler, for that matter. Much of what Baker talks about in this book are things with which I was already familiar. Still, it is good to be reminded of the fact that in big historical events like this, there is always more going on than meets the eye. Politicians, no matter how decent, are playing deep, complex games that even they can probably not fully articulate.

And when it comes right down to it, Baker writes so well. I love the structure of this book. It reads and in some ways appears on the page as a series of telegrams. Each "message" is dated and comes across as pure reportage based, as it is, on sources from the time. As we all know, primary sources such as newspapers and letters can be as deceiving and self-serving as any other form of media but it still makes for wonderful reading.

Baker takes a series risk with this book. The Allies in World War II were the "Greatest Generation" and taking them to task does not seem like a wise road to popularity. On the other hand, those people not automatically turned off by Baker's premise will find a lot of interest here. My respect for people is rarely swayed by knowing that they are flawed, human, and products of their time. If you are the same, I recommend this book to you.

121 of 148 people found the following review helpful.
There is no revisionism on the planet that can turn Churchill into Hitler, no matter how eloquently the attempt is made.
By Shawn M. Ritchie
"Human Smoke: The Beginnings of World War II, the End of Civilization", best-selling author Baker's first work of non-fiction, is a history of the buildup to World War II as told via snippets from newspapers, personal diaries, memoirs, etc. Baker provides a minimum of personal interjections or opinions along the way, preferring instead to let the chosen selections speak for themselves. The end result is a grim and depressing narrative that shows the breaking out of World War II as the inevitable conclusion of the machinations of American industrialists looking for new markets in Asia and Europe, Roosevelt's desires to impose his visions of an Anglo-American order upon the world, and, particularly, Winston Churchill's ruthless and bloodthirsty pursuit of a wider and more devastating war.

It needs to be said by the reviewer and, hopefully, known by the reader that Baker is emphatically not a historian. The text itself and post-release interviews with Baker himself indicate that the author had a thesis in his head before the book was written, and the material presented is that which most strongly supports it. The result is a tale of a haunting descent into both total war and industrial holocaust that, possibly, could have been, if not avoided, at least mitigated, had the men in power simply had the moral fiber to choose differently.

This book is going to appeal strongly to a certain subset of readers that wish to believe that capitalism, anti-semitism, etc., were stronger factors in the outbreak of World War II than, say, fascism and national socialism. The supposed anti-semitism of Franklin and Eleanor Roosevelt gets almost as much ink as that of the Nazis, particularly as it involves the USA's (along with most every other nation on the planet) unwillingness to take in more Jewish refugees than our immigration laws at the time allowed. Likewise, the push by American aircraft manufacturers to design and sell new warplanes to all and sundry in the 30's, even though the total figures involved come out to about 100 planes total throughout the pre-1939 period, gets more consideration as a cause of the increasing belligerence and actual combat around the globe than does the considerably more gigantic buildup of the fascist and Soviet militaries during the same time.

Likewise, a lot of pages and ink are given over to the pronunciamentos and goals of various pacifist movements through the first decades of the 20th Century, with the clear subtext of "had we listened to them, the war would never have started, or at least not been as vicious". While there is much to be said for studying the pacifist movement prior to and during the start of World War II, there is little to be said for believing for an instant that, had Churchill or Roosevelt just listened more closely to the them, Hitler and Tojo would've somehow been less warlike as a result.

That leads to the biggest problem of the book; it's _incredibly_ biased. All histories are, to some extent, a reflection of the author's biases, sure. However, the lack of any context being provided here would lead the uneducated reader to assume that the viciousness of the war itself and the Holocaust need not have happened as they did. The lack of much editorial context by the author actually serves to reinforce this aspect; the reader has no guide as to why Baker chose a given text in the first place. The reader, if not Baker's argument, would actually be better served if Nicholson had chosen to provide more editorial context for his selections. At least that way, the pro-pacifist, anti-Churchillian bias of the author would be a known quantity instead of something just hinted at.

The obvious counter-argument can be made that, well: these ARE Churchill and Roosevelt's and Chennault's own words, are they not? Sure, they are. However, the context that would clearly show that these men were emphatically NOT the primary actors driving the events of the era is simply not there. We hear much of the bloodthirsty-ness of Churchill, Bomber Harris, etc. The comparable and considerably more voluminous and damning words of the Hitlers and Mussolinis of the era are much less present.

When they are present at all, they've been chosen to show the rare moments when these men were hoping for an end to the war they had started (so long as it ended on their terms and with their bloody conquests already made allowed to be kept).

While a very engrossing and emotionally effective (and affecting) read, I could not recommend "Human Smoke" to anyone whom I was not already aware of possessing a clear understanding of how World War II came to be. While the study of pacifism in the 30's and early 40's has its merits, the conclusion that it would have been effective had just certain men in the West been willing to listen to it, is unsupportable.

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## PDF Ebook The Foie Gras Wars: How a 5,000-Year-Old Delicacy Inspired the World's Fiercest Food Fight, by Mark Caro

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In announcing that he had stopped serving the fattened livers of force-fed ducks and geese at his world-renowned restaurant, influential chef Charlie Trotter heaved a grenade into a simmering food fight, and the Foie Gras Wars erupted. He said his morally minded menu revision was meant merely to raise consciousness, but what was he thinking when he also suggested -- to Chicago Tribune reporter Mark Caro -- that a rival four-star chef 's liver be eaten as "a little treat"? The reaction to Caro's subsequent front-page story was explosive, as Trotter's sizable hometown moved to ban the ancient delicacy known as foie gras while an international array of activists, farmers, chefs and politicians clashed forcefully and sometimes violently over whether fattening birds for the sake of scrumptious livers amounts to ethical agriculture or torture.

"Take a dish with a funny French name, add ducks, top it all off with celebrity chefs eating each other's livers, and that's entertainment," Caro writes. Yet as absurd as battling over bloated waterfowl organs might seem, the controversy struck a serious chord even among those who had never tasted the stuff. Reporting from the front lines of this passionate dining debate, Caro explores the questions we too often avoid: What is an acceptable amount of suffering for an animal that winds up on our plate? Is a duck that lives comfortably for twelve weeks before enduring a few weeks of periodic force-feedings worse off than a supermarket broiler chicken that never sees the light of day over its six to seven weeks on earth? Why is the animal-rights movement picking on such a rarefied dish when so many more chickens, pigs and cows are being processed on factory farms? Then again, how could the treatment of other animals possibly justify the practice of feeding a duck through a metal tube down its throat?

In his relentless yet good-humored pursuit of clarity, Caro takes us to the streets where activists use bullhorns, spray paint, Superglue and/or lawsuits as their weapons; the government chambers where politicians weigh the ducks' interests against their own; the restaurants and outlaw dining clubs where haute cuisine preparations coexist with Foie-lipops; and the U.S. and French farms whose operators maintain that they are honoring tradition, not abusing animals. Can foie gras survive after 5,000 years? Are we on the verge of a more enlightened era of eating? Can both answers be yes? Our appetites hang in the balance.

• Sales Rank: #1771321 in Books
• Brand: Brand: Simon n Schuster
• Published on: 2009-03-10
• Original language: English
• Number of items: 1
• Dimensions: 1.30" h x 6.38" w x 9.29" l, 1.20 pounds
• Binding: Hardcover
• 368 pages

Features

• Used Book in Good Condition

From Publishers Weekly
Veteran Chicago Tribune entertainment reporter Caro expands on his front-page story about a 2005 flap over foie gras with a wide-ranging investigation into the ethical debate surrounding the human consumption of fattened duck liver. Drawing on conflicts in Chicago, Philadelphia and California over whether force-feeding birds should be legislated as torture or standard agricultural practice, Caro presents various positions from duck farmers, chefs and animal rights activists. His chatty arguments between industry players deliver without becoming unnecessarily complicated or resorting to the oversimplification of surveys and superficial media reports. Caro offers descriptions of a vegan activist headquarters, a video depicting a rat burrowing into an injured duck, and traditional farm operations in France. While he pursues his source's agendas with due diligence, he appears reluctant to side completely with gourmands despite describing presumably happy ducks, mouthwatering foie gras meals and even eating a raw duck liver. While he tends to focus on the colorful, entertaining aspects of the food's history and science, Caro's selection of pointed quotes from duck liver lovers and foie gras foes presents an in-depth take on this ongoing food fight. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
In 2006, Chicago’s City Council enacted a ban on the sale of foie gras, one of the summits of gastronomic art. Concerted action by a number of animal-rights advocates armed with photos and videotapes had persuaded one alderman to propose the embargo, and the ordinance sailed through with little debate. Reacting to this governmental interference in their menus, Chicago’s vainest and most celebrated chefs squared off in opposing camps, hurling insults at one another and generally attracting both national and worldwide attention until the ban’s repeal in 2008. Chicago Tribune reporter Caro has documented the full story of this culture contretemps. Reminding that force-feeding poultry dates back to the dawn of recorded history, he investigates the reality of today’s relatively benign treatment of ducks and geese on both American and French farms. He details force-feeding processes that engorge fowls’ livers to succulence and appear so repugnant to urbanites who romanticize rural life. The voluble farmers, entrepreneurs, animal-rights activists, and chefs whom Caro vividly describes rival even the perennially entertaining denizens of Chicago’s City Hall, and it becomes hard to discern who is the silliest goose. --Mark Knoblauch

About the Author
Mark Caro is the entertainment reporter for the Chicago Tribune, whose writing on the issue of foie gras received honors from the James Beard Foundation and the Association of Food Journalists.

Most helpful customer reviews

5 of 6 people found the following review helpful.
An Appreciation of a Duck
By Judypetunia
I knew Mark Caro was working on this book but I had no idea of the extent of his research. He's asked hard questions of the producers and of the opponents. He even brought together "sworn enemies" to have civil conversation. Mark's writing is funny and smart. He's covered a subject that affects few average citizens but he's made us think about all of our food and how we come by it. The book is a good read, a page-turner. Even knowing about the Chicago overturn of the ban, I wanted to keep reading to find out how the book would end. And if I get a chance to eat foie gras,I will and will thank the duck. And Mark.

2 of 4 people found the following review helpful.
Bravo Mark Caro
By Sparkle
Mark Caro did a wonderful job of presenting both sides of the controversial subject of Foie Gras, with a well researched, practical, and humorous account of his experiences. He offers unique behind the scenes insight to the opinions of some of the industries favorite Chef's, talented artisans and impassioned protesters. There is the side that says the production of Foie Gras is cruel and only for the rich. There is another that says all food comes from somewhere, it is not born of Styrofoam. Every animal deserves respect and our thanks for sustenance.

Foie Gras becomes an easy target for criticism because so few even know what it is and don't have a daily reliance on it to get the family fed. If one really wants to see cruelty... look at industrial farming and processing of the animals we eat everyday. Most choose not to know, lest they feel the need to change their life and give up burgers and chicken breast. There truly is no comparison between dedicated, compassionate artisinal farmers of any food animals and the agri-business that makes sure the grocery stores are stocked as inexpensively as possible for the convenience of the masses.

This book is a great read for any foodie or Chef.

14 of 15 people found the following review helpful.
An impressive analysis of a specialized food item!
By R S Cobblestone
It's rare that I read a book, and decide I need to develop a university course. The Foie Gras Wars, by Mark Caro, inspired me to do so.

The fatty liver of a force-fed duck or goose, foie gras (Caro notes the correct pronunciation is "fwah grah") is a speciality food item in the United States, but a rather common food item in France. The "foie gras wars" are not an anti-French action spawned by the creators of "Freedom fries," but rather a very focused campaign by animal activists and supporters of the humane treatment of agricultural animals toward this one food production system: the practice of stuffing a tube into the gullets of captive ducks and geese and forcing them to consume more food than they would under "natural" conditions (even in captivity) until they have an extremely fatty liver, affecting even their ability to waddle normally, then being slaughtered and packaged for up-scale restaurants (in the U.S.).

The book begins with the story of well-known Chicago chef Charlie Trotter speaking out against foie gras. What made foie gras different than veal, chickens, or bacon? Caro states the attention given to foie gras as a unique food niche was for the following reasons:

- it has a funny French name,
- it is enjoyed by the relatively affluent,
- it remains unknown to the average Tyson chicken eater,
- it is LIVER, and
- it is made from ducks. "We like ducks."

And, of course, the ducks and geese were force-fed. Foie gras promoter Michael Ginor stated "I would think that any animal that's economically grown suffers some. There's no question that the duck on day 28 of [force] feeding is not as happy as a duck that hasn't been fed. But the question then does become: How does that duck feel compared to, let's say, a woman in her ninth month of pregnancy? I don't think that there's ever a woman in her ninth month of pregnancy who's really psyched about that day" (p. 46). And Grammy-nominated musician Moby, who works with The Humane Society of the United States, thinks that there are more pressing animal welfare needs than foie gras. But, Moby claims, "Like insofar as pot is a gateway drug to harder drugs, banning foie gras to me is like a gateway issue to get people to evaluate their eating habits, kind of like the way veal was... The means of production are so repulsive and so profoundly unethical that once your general consumer becomes aware of it, they'll never eat foie gras again" (p. 112).

And what did Chicago Mayor Daley think when an ordinance was passed banning the sale of foie gras? "I think it's the silliest law that they've ever passed" (p. 142). Ironically, the law banned the sale of a force-fed duck's liver, but not the rest of the bird. The law was later rescinded.

So author Caro travels to France to seek out the origins of this food. He concludes that the French do not fear people making the connection between an animal and food as do American consumers. "[I]n America, it's not good that people realize that what they have on their plate is coming from the farm," stated one French foie gras exporter. In France, "People don't want to be told what to eat," said a French anti-foie gras activist. Instead, activists groups like Stop Gavage focus on culture: "How on earth can you say that a barbaric custom, consisting of sticking a funnel or a pneumatic pump down the throat of a caged animal, is a tradition of high culture?" (p. 275, Antoine Comiti).

What does Caro think? "Slaughter happens." "Food isn't just fuel. It's a source of pleasure, and if some people love foie gras the way others love chicken nuggets, who are we to say one dish is frivolous while the other is acceptable? At the same time, the fact that some chefs can prepare fantastic foie gras dishes has no bearing on whether the birds are treated humanely" (p. 280-281). In other words, it's complicated. But he admits, "Truth be told, my diet had become decidedly less healthy since I'd begun my immersion into the world of foie gras" (p. 317). His doctor, after checking Caro's cholesterol levels, was more blunt: "You're done eating foie gras." Caro didn't argue.

At the beginning of this book, probably during the first chapter, I was already wondering how Caro was going to write an entire book on this one issue. By the end, I felt I had a deeper, richer understanding of foie gras production, the arguments both for and against its production and use, its history, and some of the politics of food choices. I think that this was Caro's goal for the reader.

And I don't think Caro would argue.

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The soldiers of Armageddon are on the march, laying waste to worlds in their passage. An audacious plan could stop them forever, but it carries risks that one starship captain is unwilling to take. For Captain Jean-Luc Picard, defending the future has never been so important, or so personal -- and the wrong choice will cost him everything for which he has struggled and suffered.

For Captain William Riker, that choice has already been made. Haunted by the memories of those he was forced to leave behind, he must jeopardize all that he has left in a desperate bid to save the Federation.

For Captain Ezri Dax, whose impetuous youth is balanced by the wisdom of many lifetimes, the choice is a simple one: there is no going back -- only forward to whatever future awaits them.

But for those who, millennia ago, had no choice...this is the hour of their final, inescapable destiny.

• Sales Rank: #225280 in Books
• Brand: Brand: Pocket Books/Star Trek
• Published on: 2008-11-25
• Released on: 2008-11-25
• Original language: English
• Number of items: 1
• Dimensions: 6.75" h x 1.00" w x 4.19" l,
• Binding: Mass Market Paperback
• 464 pages

Features

• Used Book in Good Condition

About the Author
David Mack is the New York Times bestselling author of more than twenty-five novels, including the Star Trek Destiny and Cold Equations trilogies. He co-developed the acclaimed Star Trek Vanguard series and its sequel, Star Trek: Seekers. His writing credits span several media, including television (for episodes of Star Trek: Deep Space Nine), film, short fiction, magazines, comic books, computer games, and live theater. He currently resides in New York City.

Excerpt. © Reprinted by permission. All rights reserved.
1

It was the hardest decision William Riker had ever made.

He cast a suspicious glare at Titan's unexpected visitor, a human-looking young woman with a crazy mane of sable hair and delicate garments that showed more of her body than they covered. She had claimed to be Erika Hernandez, the commanding officer of the Earth Starship Columbia, which had vanished more than two centuries earlier, thousands of light-years from the planet where Titan was now being held prisoner. Her tale seemed implausible, but she had offered to help his ship escape, and so Riker was willing to accept her extraordinary claims on faith... at least, until Titan was safe someplace far from here and he could put her identity to the test.

Hers had been a proposition he couldn't refuse, but freeing his ship from the reclusive aliens known as the Caeliar would come at a price: His away team -- made up of most of his senior officers, including his wife, his Imzadi, Deanna Troi -- would have to be abandoned on the planet's surface.

But there was a war raging at home, and above all, he had a duty to protect his ship and defend the Federation. No matter what he did, he was certain his decision would haunt him for a long time to come.

"Take us home," Riker said.

Hernandez snapped into action and took command of the situation. Pointing at the display screen over the science station, she asked curtly, "Who set up this tap on the Caeliar's subspace aperture?"

"We did," answered Commander Xin Ra-Havreii, Titan's chief engineer, gesturing to himself and the ship's senior science officer, Lieutenant Commander Melora Pazlar.

Hernandez stepped to the console and began entering data. The strange young woman's fingers moved with velocity and delicacy, as if she had mastered the Federation's newest technology ages earlier. "I need to change your shield specs to protect you from radiation inside the passage," she said.

"Our shields already do that," Ra-Havreii said.

"No," Hernandez replied, her flurry of tapping on the console unabated, "you only think they do. Give me a moment." Her hands came to an abrupt stop. "There." She turned and snapped at Riker's acting first officer, Commander Fo Hachesa, "Which station controls onboard systems?"

Hachesa pointed at ops.

"Thank you," she said to the stunned-silent Kobliad. Moving in rapid strides, Hernandez crossed to the forward console and nudged Lieutenant Sariel Rager out of her way. "I'm programming your deflector to create a phase-shifted soliton field. That'll make it harder for the Caeliar to shift the aperture on us while we're in transit." She looked across at Ensign Aili Lavena, the Pacifican flight-control officer. "Be ready to go at your best nonwarp speed, as soon as the passage opens. Understood?"

Lavena nodded quickly, shaking loose air bubbles inside her liquid-atmosphere breathing mask.

Watching the youthful Hernandez at work, Riker felt superfluous on his own bridge.

"All right," Hernandez announced, "I'm about to widen the subspace aperture into a full tunnel. When I do, the Caeliar will try to shut it down. Be warned: This is gonna be a rough ride." She looked around at the various alien faces on Titan's bridge. "Everyone ready?" The crew nodded. She met Riker's gaze. "It's your ship, Captain. Give the word."

Nice of her to remember, Riker thought. He led Hachesa back to their command chairs. They sat down and settled into place. Lifting his chin, Riker said to Hernandez, "The word is given."

"And away we go," Hernandez said. She faced forward, fixed her gaze on the main viewscreen, and lifted her right arm to shoulder height. With her outstretched hand, she seemed to reach toward the darkness, straining to summon something from the void. Then it appeared, like an iris spiraling open in space: a circular tunnel filled with brilliant, pulsing blue and white rings of light, stretching away to infinity.

Lavena pressed the padd to fire the impulse engines at full power. One moment, Riker heard the hum and felt the vibrations of sublight acceleration through the deck plates; the next, he was clutching his chair's armrests as the ship slammed to a hard, thunderous halt and threw everyone forward.

"More power!" cried Hernandez over the alarm klaxons and groaning bulkheads. "I'll try to break their hold on us!" She closed her eyes, bowed her head, and raised both arms.

Riker had witnessed some of Deanna's psychic struggles in the past, and he knew that whatever Hernandez was enduring to free his ship, it had to be worse than he could imagine. "Give it all we've got!" he bellowed over the chatter of damage reports pouring in via the ops and tactical consoles.

Titan lurched forward, then it was inside the pulsating brightness of the subspace tunnel. Lieutenant Rriarr gripped the side of the tactical console with one paw as he reported, "High-level hyperphasic radiation inside the tunnel, Captain. Shields holding."

That's why she had to modify our shields, Riker realized. Otherwise, we'd all be handfuls of dust by now. Bone-rattling blows hammered the ship. "Report!" Riker ordered.

"Soliton pulses," Rriarr said. "From behind us."

"They're trying to bend the passage and bring us back to New Erigol," Hernandez said. "Keep that soliton field up!"

"Divert nonessential power to the deflector," Riker said.

"Belay that, sir," countered Ra-Havreii. "The gravitational shear inside the tunnel is rising. We have to reinforce the structural integrity field!"

Hernandez shot back, "Do that, and we'll lose control of the tunnel. We'll be taken back to New Erigol!"

"If we don't, the ship might be torn in half," replied the angry Efrosian engineer. Punctuating his point, a console behind him exploded and showered the bridge with stinging debris and quickly fading sparks.

Falling to her knees, Hernandez kept her arms extended and her hands up, as if she were holding back a titanic weight. "Just a few more seconds!" she cried in a plaintive voice.

The bluish-white rings of the tunnel began distorting as the black circle of its terminus became visible. "Lieutenant Rager, all available power to the deflector," Riker said. "That's an order." Another round of merciless impacts quaked the ship around him. "Hold her together, folks, we're almost out!"

An agonized groan welled up from within Hernandez as the egress point loomed large ahead of Titan. She arched her back and lifted her hands high above her head before unleashing a defiant, primal scream.

Outside the ship, in the tunnel, a massive ripple like a shimmer of heat radiation coursed ahead of Titan, smoothing the rings back to their perfect, circular dimensions and calming the turbulence. The shockwave rebounded off the exit ring as the Luna-class explorer hurtled through it.

Energy surges flurried the bridge's consoles, and displays spat out chaotic jumbles. A final, calamitous blast pummeled Titan, and the bridge became as dark as a moonless night. Only the feeble glow of a few tiny status gauges pierced the gloom in the long moments before the emergency lights filled the bridge with a dim, hazy radiance.

Smoke blanketed the bridge, and the deck sparkled with a fine layer of crystalline dust from demolished companels. The deck was eerily silent; there was no sound of comm chatter, no feedback tones from the computers.

"Damage report," Riker said. He surveyed the bridge for anyone able to answer him. He was met by befuddled looks and officers shaking their heads in dismay.

Ra-Havreii moved from station to station, barely pausing at each one before moving on to the next, growing more agitated every step of the way. When he reached the blank conn, he gave his drooping ivory-white mustache a pensive stroke, then turned to Riker and said, "We're blacked out, Captain. Main power's offline, along with communications, computers, and who knows what else. I'll have to go down to main engineering to get a better look at the problem."

"Go ahead," Riker said. "Power first, then communications."

"That was my plan," replied Ra-Havreii, heading for the turbolift. He all but walked into the still-closed doors before making an awkward stop, turning on his heel, and flashing an embarrassed grin. "No main power, no turbolifts." He pointed aft. "I'll just take the emergency ladder."

As the chief engineer made his abashed exit, Riker got up and walked to Hernandez's side. In slow, careful motions, he helped her stand and steady herself. "Are you all right?"

"I think so," she said. "That last pulse was a doozy. Guess I didn't know my own strength."

Riker did a double-take. "You caused that final pulse?"

"I had to," she said. "It was the only way to close off the passage and destroy the machine at the other end once we were clear. That'll keep the Caeliar off our backs for a while."

"Define 'a while.'"

Hernandez shrugged. "Hard to say. Depends how much damage I did and how badly the Caeliar want to come after us. Could be a few days. Could be a few decades."

"We'd better get busy making repairs, then," Riker said.

She nodded once. "That would probably be a good idea."

Riker turned to Lieutenant Rriarr. "As soon as the turbolifts are working, have Captain Hernandez escorted to quarters and placed under guard." To Hernandez, he added, "No offense."

"None taken," she replied. "After eight hundred years with the Caeliar, I'm used to being treated like a prisoner."

Deanna Troi screamed in horror as Dr. Ree sank his fangs into her chest just below her left breast, and Ree felt absolutely terrible about it, because he was only trying to help.

The Pahkwa-thanh physician ignored Troi's frantic slaps at his head as he released a tiny amount of venom into her bloodstream. Then the half-Betazoid woman stiffened under his slender, taloned feet as the fast poison took effect.

Four sets of hands -- one pair on each arm and two pairs on his tail -- yanked h...

Most helpful customer reviews

0 of 0 people found the following review helpful.
Fantastic
By A. Calloway
I just got through with this trilogy and wish I could give David Mack an award. What an amazing writer.
From start to finish the story glides you effortlessly and excitingly from one of four ships, three time-lines, and several planets just at a time when you're wondering what's happening to them--with interesting characters given just enough background to make them solid.
Mr. Mack even helps you to distinguish major players by describing them more than once. Not even the references to books I hadn't read confused the story line. Each person was utterly believable and in keeping with their original personalities.There are no easy conclusions or convenient powers to bail out a character at the last minute(writing "cheats" I really hate)--that's how well thought out the books are.
I had no idea who'd win any of the thrilling battles or one-on-one fights(which were perfectly described). It made me happily afraid for the main people, because they really could get killed or assimilated.
Well crafted, tight writing, with intelligent reasons for each wild development whose meanings are explained far in the future.
I didn't want to put any of them down and hope the next installment is up to this quality of style and talent.

1 of 1 people found the following review helpful.
The Rise and XXXX of the Borg
By George Wood
This is the final book of the "Destiny" trilogy and it brings together such disparate Star Trek characters as Captain Erika Hernandez from the Star Trek Enterprise series, Ezri Dax from Deep Space Nine, Jean-Luc Picard from Next Generation, and Will Riker and Deanna Troi, from that same series, now on their own ship Titan.

That's the kind of thing you can do in a novel. "Lost Souls" ties up a lot of loose ends from the first two books in the series, but it does a lot more. Against the background of a massive Borg invasion of the Federation, it explains the horrifying origin of the cybernetic assimilators.

And (SPOILER ALERT) it tells the story of their fall.

2 of 3 people found the following review helpful.
Best Star Trek TNG book in a very Long time!
By One Wendol
I am a long time reader of the Star Trek TNG and Titan books. The Titan books have been satisfying, but the last year or so the Star Trek TNG books have been rather bland. I can say now that combining the crews of the Titan and Enterprise in this 3-book series was excellent and the final book, "Lost Souls" was by far the best. I really loved how the books developed Captain Hernandez and the Caeliar; however, I really truly enjoyed the conclusion to the three-part series.

The Borg are attacking the Federation and not assimulating this time, but destroying planets. I really wasn't for sure how Captains Picard, Riker, Dax and Hernandez were going to turn this around and on top of that, I really wasn't sure if Will Riker would see Deanna again after leaving Deanna and the away team with Caeliar. In fact, I really spent the last month wondering how David Mack was going to pull this together. Let me tell you, David Mack has pulled this conclusion together in an excellent manner and makes you at the end go "Wow, what a great book!". I hate to spoil this but it was interesting the way David Mack tied in the Caeliar and humanity into being the founders/creators of the Borg. (It made me wonder that if there were 3 city ships that escaped . . . one created the Borg, one became what was left of the Caeliar, did the other one become the Q?) That might be a book for another series.

I really loved this book. This three part book series would make a great STAR TREK TNG/TITAN movie . . . COME ON PARAMOUNT!

Once, again, I highly recommend reading this three-part book series. You will truly love it. I hope that there are more of these type of books combining the Enterprise and Titan crews. BTW, the ending for Riker and Troi is also very satisfying. I was very happy with the ending. Captains Riker, Picard, Dax, and Hernandez come up with a way to not only defeat the Borg, but save the Borg. This book ends with a lot of hope and looking to the future. One of the major reasons I like Star Trek . . . . looking to the future with hope. Again, I can't say enough, this is a truly terrific book and by far the best Star Trek book since the Titan book with the star jellies.

See all 99 customer reviews...

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! Download Just After Sunset: Stories, by Stephen King

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Stephen King-who has written more than fifty books, dozens of number one New York Times bestsellers, and many unforgettable movies-delivers an astonishing collection of short stories, his first since Everything's Eventual six years ago. As guest editor of the bestselling Best American Short Stories 2007, King spent over a year reading hundreds of stories. His renewed passion for the form is evident on every page of Just After Sunset. The stories in this collection have appeared in The New Yorker, Playboy, McSweeney's, The Paris Review, Esquire and other publications.

Who but Stephen King would turn a Port-a-San into a slimy birth canal, or a roadside honky-tonk into a place for endless love? A book salesman with a grievance might pick up a mute hitchhiker, not knowing the silent man in the passenger seat listens altogether too well. Or an exercise routine on a stationary bicycle, begun to reduce bad cholesterol, might take its rider on a captivating-and then terrifying-journey. Set on a remote key in Florida, "The Gingerbread Girl" is a riveting tale featuring a young woman as vulnerable-and resourceful-as Audrey Hepburn's character in Wait Until Dark. In "Ayana," a blind girl works a miracle with a kiss and the touch of her hand. For King, the line between the living and the dead is often blurry, and the seams that hold our reality intact might tear apart at any moment. In one of the longer stories here, "N.," which recently broke new ground when it was adapted as a graphic digital entertainment, a psychiatric patient's irrational thinking might create an apocalyptic threat in the Maine countryside . . . or keep the world from falling victim to it.

Just After Sunset-call it dusk, call it twilight, it's a time when human intercourse takes on an unnatural cast, when nothing is quite as it appears, when the imagination begins to reach for shadows as they dissipate to darkness and living daylight can be scared right out of you. It's the perfect time for Stephen King.

• Sales Rank: #383338 in Books
• Published on: 2008-11-11
• Released on: 2008-11-11
• Original language: English
• Number of items: 1
• Dimensions: 1.35" h x 6.44" w x 9.40" l, 1.10 pounds
• Binding: Hardcover
• 367 pages

Features

• short stories

From Publishers Weekly
Starred Review. In the introduction to his first collection of short fiction since Everything's Eventual (2002), King credits editing Best American Short Stories (2007) with reigniting his interest in the short form and inducing some of this volume's contents. Most of these 13 tales show him at the top of his game, molding the themes and set pieces of horror and suspense fiction into richly nuanced blends of fantasy and psychological realism. The Things They Left Behind, a powerful study of survivor guilt, is one of several supernatural disaster stories that evoke the horrors of 9/11. Like the crime thrillers The Gingerbread Girl and A Very Tight Place, both of which feature protagonists struggling with apparently insuperable threats to life, it is laced with moving ruminations on mortality that King attributes to his own well-publicized near-death experience. Even the smattering of genre-oriented works shows King trying out provocative new vehicles for his trademark thrills, notably N., a creepy character study of an obsessive-compulsive that subtly blossoms into a tale of cosmic terror in the tradition of Arthur Machen and H.P. Lovecraft. Culled almost entirely from leading mainstream periodicals, these stories are a testament to the literary merits of the well-told macabre tale. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
In King's latest collection of short stories (following 2002's Everything's Eventual), he presents 14 tales that range from the philosophically themed, to one in which the author gleefully admits to playing with the gross-out factor ("A Very Tight Place"), to "The Cat from Hell," which makes its hardcover debut some 30 years after its original publication as part of a contest in Cavalier, one of the gentleman's magazines that put food on the table in King's early years as a writer. In his introduction, King cites his recent stint as guest editor for the 2007 edition of Best American Short Stories as an impetus to return to the form in his own writing. Several of the works included here were written following that experience. Finally, as King has done previously in his collections, at the end of the volume he provides the reader with brief insights into the inspirations for each tale. Recommended for all popular fiction collections. [See Prepub Alert, LJ 7/08.]—Nancy McNicol, Hamden P.L., CT
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
Critics agreed that Just After Sunset showcases a matured and sophisticated Stephen King, one who eschews vampires and clowns in favor of more refined terrors—unraveling relationships, aging, and the decay of both body and mind. That's not to say that readers won't be frightened. With the exception of "The Cat From Hell," written in the 1970s, King composed these stories after his famous brush with death, and many critics touted them as some of his finest. As with most short story collections, a few pieces are uneven, and "A Very Tight Place" is not for the claustrophobic. However, there are some real gems here. "If most Stephen King novels are 800-page sides of beef, this short story collection is the filet mignon," concludes the reviewer from the Charlotte Observer.
Copyright 2008 Bookmarks Publishing LLC

Most helpful customer reviews

177 of 185 people found the following review helpful.
Vintage Stephen King at his best. Master of the short tale.
By Robert Busko
First, I'm an avid Stephen King fan. I'm pretty sure I've read all of his books but I don't think I can say I've read every word he's written....but I have to be close. After reading Just After Sunset, I'm convinced that King's true talent lies in the short story/novella sphere. He is a master at developing stories and characters quickly and like a spider can spin his web with perfection. His novels, all of them, are worth reading. You won't be sorry having invested the time with any of them, but his true masterpieces are in his collections of short stories and novellas.

Just after Sunset is comprised of 13 stories, many published previously. For example, The Cat From Hell was originally published in 1977. King displayed, even then, his willingness to experiment with publishing. Originally, only the first 500 words of Cat From Hell were published in Cavalier. Readers were invited to finish the story and the completed work was published later the same year. The story has been published, revised, and then published again. The story was also used in Tales From the Darkside. Others, such as Willa are recent creations and are a treat for the mind.

"N" continues King's willingness to experiment in getting his stories out to the public in innovative ways. The short story "N" was the basis for the animated series of the same name.

Harvey's Dream, originally published in New Yorker in 2003, is a story of fathers, daughters, and dreams and is a read that will keep you interested throughout.

Of all the stories included in Just After Sunset, my favorite is Stationary Bike. Richard Sifkitz has a belated physical and learns that his cholesterol is extremely high; dangerously so. Like so many of his generation he decides to get a stationary bike to exercise and hopefully ride off his health problems. Unlike many of his contempories, however, Richard rides his workout machine. He rides and he rides and he rides. He decides to paint a mural in the room he rides in to give him something to look at while he's working out. As in all of King's work, the simple mural turns out to be unique and Richard's bike takes him on trips he really doesn't want to make. This is a riveting story and is worth the cost of the book by itself.

Other stories of note (my opinion only) are "The Things They Left Behind", "Graduation Afternoon", and "The New York Times at Special Bargain Rates".

I especially appreciated the last section, Sunset Notes, comprising King's own thoughts about each of the stories in the collection. I always like the special note he includes to readers at the end of many of his books.

Thank you once again Stephen King. "And the beat goes on!"

Peace to all.

79 of 84 people found the following review helpful.
King, Revitalized
By Lauren James
Although I have never been an advocate of the view that Stephen King was losing his touch, this collection seems to offer a version of King with so much energy and creativity that some of his more recent works pale in comparison. It is an intense and generous sampler of short fiction that truly shows King at his best, whether you consider his best to be his horror or his more mainstream work.

"Willa," which provides a quiet, understated opener to the collection, is suspenseful, eerie, and creative. It also, in my opinion, offers a rather unique solution to what I will admit is one of King's problems: crafting realistic modern dialogue for his younger characters. (A problems that he seems to have largely eliminated in this collection, by the way, with the exception of his creative use of it here.) "Harvey's Dream" is also quiet. I found it far more unsettling than "Willa," however, as its depiction of ordinary marital unhappiness--already frightening, given its monotony and barely suppressed hatred--slowly evolves into a sharp, ice-pick intrusion of unfortunate foresight. "Graduation Afternoon" features a similar kind of transition from ordinary unhappiness to the outright horrific.

"The Gingerbread Girl" is one of the best stories in the collection. King shows a deft touch with Emily's characterization while still writing at a white-hot pace and bringing this particular reader to the edge of her seat. He takes enough time to build up Em's past and her attempts to outrun it before starting the clock with the arrival of the zealously psychotic Pickering, one of the best and most frightening villains in all of King's short fiction. Another standout is "N.," a Lovecraftian story of OCD and the outside dimensions, which, given its portrayal of the eroding veil of sanity between us and a massive, incomprehensible evil, will probably have you organizing your things into circles (just to be on the safe side). There's also the very short "New York Times at Special Bargain Rates," which artfully blends disaster, afterlife, and premonition (three of the collection's major themes) in just a few pages to produce a quiet ghost story that doubles as a tearjerker.

"Mute" is marred by the distracting eccentricity of the wife's crime (pulled from real life) and "Ayana," though a rare unsentimental exploration of miracles, is lackluster, as is "Rest Stop."

"Stationary Bike" will probably be a divisive story. In my opinion, it's best going into this not thinking of it as a horror story, and simply enjoying the ride (no pun intended) as Sifkitz's exercise efforts begin to extend into the unnatural. And the ending, whatever its faults in terms of resolution of suspense, is a valuable lesson in terms of dieting. "The Things They Left Behind," with which it share a similar tone, explores the aftermath of 9/11 without the slightest hint of exploitation. It's also an interesting story about survivor's guilt and how grief latches onto possessions.

Lastly (in the order of this review, that is, not in the order of the collection), there are the more gruesome entries of "The Cat from Hell" and "A Very Tight Place." These are probably the best recent examples of what is often called (tongue-in-cheek) "Klassic King," and one actually is: "The Cat from Hell" dates back to the eighties and was often anthologized but never collected by King himself. It balances the grotesque with the vaguely ridiculous so well that, at the ending, you're torn between screaming or laughing as a cat gains a particular type of revenge upon a hitman and, presumably, his animal-testing employer. "A Very Tight Place" is better and even more disgusting, and it's best not to eat immediately before reading it, as it features some very detailed descriptions of what it might be like to be trapped in an overturned Port-O-San. Like "The Gingerbread Girl," this features some almost unbelievable suspense and a likable, emotionally beleaguered protagonist in a horrific situation it's impossible not to imagine, but this is slightly marred by a particularly unsatisfying ending and some laughable dialogue from the villain.

I've described some problems with some of these stories, so why five stars instead of four? Easy. When these stories work, they're really firing on all cylinders: involving, frightening, and impossible to stop reading. If you like King, you can't pass this up; if you haven't liked him before, this might be a good place to start. Definitely worth the money and any sleepless nights that may result.

3 of 3 people found the following review helpful.
Mr. King is a Master Story Teller
By LarryBear
It goes without saying, though I'm going to say it because it's so obvious from all my King reviews, that I am definitely a fanboy of Mr. King. With the internet and the chance to post reviews ad nauseum, a lot of reviewers rip apart books and even write paragraph after paragraph, ruining the story and the plots. I think a lot of these people fancy themselves "authors" and feel the need to prove it by writing short stories about someone else's work.
My review of this book like all my reviews of Mr. King's books is short and sweet. "Just After Sunset" is a collection of short stories and they all kept me interested from start to finish. I have never read anything from Mr. King that he didn't capture my attention and keep me coming back for more. He's done it from the time I was a teenager and he continues to do it now that I'm 60. I couldn't imagine growing up without being frightened and entertained by The Master.

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