→ November 29, 2019
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Cookbook recommendations, 2019.

I’ve streamlined this post a bit this year, as I’m using certain new books more and have set some older ones aside, and also I’d rather focus on the books I think you’re most likely to enjoy.

New for 2019

The new cookbook I’ve used the most this year is Yotam Ottolenghi’s Simple, which mostly lives up to its name. The majority of the recipes I’ve tried from the book can be executed start to finish in well under an hour, often closer to 30 minutes, as long as you ignore the utterly ridiculous quantities of chopped fresh herbs it calls for. The gigli pasta with chickpeas and spinach is a huge winner that I make at least once every two weeks. The mustard-marinated kale salad is a great platform for lots of dishes and as a side salad on its own even without the grilled asparagus it includes. The zucchini-feta fritters are excellent. The bulk of the recipes are vegetable-forward, like his other books, but not strictly vegetarian. It’s such a great go-to for weeknight dinners and many of them will provide you with leftovers if you’re cooking for fewer than four people.

I got an Ooni outdoor pizza oven last offseason and then got Marc Vetri’s Mastering Pizza to help me make better use of it; Vetri’s Neapolitan dough recipe is easily the best I’ve found, and it works every time. There are actually two versions: one that you ferment slowly over about 48 hours, and another you can start when you get up in the morning and use that night for dinner. His focaccia recipe is excellent as well, and I use his very basic tomato sauce for margherita pizzas. There are lots of other pizza dough styles in here, like the roman pizza al taglio, but I love the Neapolitan version so much I haven’t tried any of the alternatives.

I’ve just started to dive into two newish cookbooks, Yasmin Khan’s Zaitoun: Recipes from the Palestinian Kitchen and Nik Sharma’s Season: Big Flavors, Beautiful Food. I’ve made a couple of recipes from each with success, including the za’atar crusted salmon from Zaitoun and the spicy sautéed Brussels sprouts from Season.

I introduced this book in last year’s post, but I can give a much stronger recommendation now to Brave Tart, from Stella Parks. Brave Tart‘s real emphasis is homemade recreations of popular American dessert items, especially branded ones – Parks’ versions of Oreos, Thin Mints and Trefoils from the Girl Scouts, Little Debbie Oatmeal Pies, and so on. Parks also writes for Serious Eats, and their ethos of testing the hell out of every recipe, using weight rather than volume, and offering concise explanations for anything that deviates from the norm carries over into the book. Her basic chocolate chip cookie recipe is the best I’ve ever made. Her shortbread cookies are excellent. I didn’t love the Oreos, but the filling recipe is excellent.

Essentials

There are two cookbooks that I insist any home cook have. One is the venerable Joy of Cooking, revised and altered through many editions (I own the 1997, now out of print), but still the go-to book for almost any common dish you’re likely to want to make. The recipes take a very easy-to-follow format, and the book assumes little to no experience or advanced technique. I still use it all the time, including their basic bread stuffing (dressing) recipe every Thanksgiving, altered just with the addition of a diced red bell pepper.

The other indisputable must-have cookbook is, of course, Ruhlman’s Twenty, by the best food writer going today, Michael Ruhlman. The book comprises twenty chapters, each on a technique or core ingredient, with a hundred recipes, lots of essays to explain key concepts or methods, and photographs to help you understand what you’re cooking. It’s my most-used cookbook, the first cookbook gift I give to anyone looking to start a collection, and an absolute pleasure to read and re-read. Favorite recipes include the seared pork tenderloin with butter and more butter; the cured salmon; the homemade mayonnaise (forget the stuff in the jar, it’s a pale imitation); the pulled pork; all three duck recipes; the scrambled eggs with goat cheese (using a modified double-boiler method, so you get something more like custard than rubber); and the homemade bacon. Many of these recipes appear again in his more recent book, Egg: A Culinary Exploration of the World’s Most Versatile Ingredient, along with more egg basics and a lot of great dessert recipes; and Twenty itself builds on Ruhlman’s Ratio, which shows you master formulas for things like doughs and sauces so you can understand the fundamentals of each recipe and extend as you see fit.

I’ve long recommended Baking Illustrated as the perfect one-book kitchen reference for all things baked – cookies, cakes, pies, breads, and more. It’s full of standards, tested to ensure that they will work the first time. You’ll need a scale to get maximum use from the book. I use their pie crust recipe, their peach pie recipe, their snickerdoodles recipe (kids love it, but moms seem to love it even more…), and I use their pumpkin pie recipe every Thanksgiving. The prose can be a little cloying, but I skip most of that and go right to the recipes because I know they’ll succeed the first time. That link will get you the original book from the secondary market; it has been rewritten from scratch and titled The Cook’s Illustrated Baking Book, but I can’t vouch for it as I haven’t seen the new text.

J. Kenji Lopez-Alt’s mammoth The Food Lab: Better Home Cooking Through Science, named for Kenji’s acclaimed and indispensable column over at Serious Eats, is a must for any advanced or aspiring home cook. Unlike many of the books here, The Food Lab is a better resource for its text than its recipes – I’ve made a bunch of dishes from the book, with a few that just didn’t work out (e.g., the pork shoulder ragout), but every page seems to have something to teach you. His marinated kale salad recipe changed my view on how to do those at home. The one caution I’ll offer is that it doesn’t include any sous-vide recipes, which is something Kenji does a lot on Serious Eats’ site, although he does have a section on replicating the sous-vide technique using cheaper materials like a portable cooler.

If I know someone already has Ruhlman’s Twenty, my next gift choice for them is Nigel Slater’s Tender: A Cook and His Vegetable Patch, a book about vegetables but not strictly vegetarian. (There’s a lot of bacon here.) Each vegetable gets its own section, with explanations on how to grow it, how to choose it at the market, a half-dozen or more basic ways to cook it, and then a bunch of specific recipes, some of which are just a paragraph and some of which are a full page with glorious pictures accompanying them. The stuffed peppers with ground pork is a near-weekly occurrence in this house, and the warm pumpkin scone is the only good reason to buy and cook an actual pumpkin. I own but have barely cooked from his sequel on fruit, Ripe: A Cook in the Orchard, because it’s more focused on desserts than savory applications.

Another essential if you want to cook more vegetables is Hugh Acheson’s 2015 book The Broad Fork, which has become the first book I consult when I have a vegetable and am not sure what I want to do with it. Acheson conceived the book in response to a neighbor’s question about what the hell to do with the kohlrabi he got in a CSA box, and the whole book works like that: You have acquired some Vegetable and need to know where to start. Organized by season and then by plant, with plenty of fruits and a few nuts mixed in for good measure, the book gives you recipes and ideas by showing off each subject in various preparations – raw, in salads, in soups, roasted, grilled, pureed, whatever. There are main course ideas in here as well, some with meat or fish, others vegetarian or vegan, and many of the multi-part dishes are easy to deconstruct, like the charred-onion vinaigrette in the cantaloupe/prosciutto recipe that made a fantastic steak sauce. Most of us need to eat more plants anyway; Acheson’s book helps make that a tastier goal. It’s also witty, as you’d expect from the slightly sardonic Canadian if you’ve seen him on TV. He has a brand-new cookbook out called Sous Vide: Better Home Cooking, that I’ll pick up shortly. I also really like his podcast Hugh Acheson Stirs the Pot.

You know, a lot of people will tell you go get Julia Child’s classic books on French cuisine, but I find the one I have (Mastering the Art) to be dated and maddeningly unspecific. Julia’s Kitchen Wisdom is a slimmer, much more useful book that focuses on the basics – her explanation of vinaigrettes is still the gold standard, and her gift for distilling recipes and techniques into simple little explanations shines here without the fuss of three-day recipes for coq au vin. Oh, that’s in here too, but she does it in two and a half hours.

Experts

The The Flavor Bible isn’t actually a cookbook, but a giant cross-referencing guide where each ingredient comes with a list of complementary ingredients or flavors, as selected by a wide range of chefs the authors interviewed to assemble the book. It’s the book you want to pull out when your neighbor gives you a few handfuls of kale or your local grocery store puts zucchini on sale and you don’t know what to do with them. Or maybe you’re just tired of making salmon the same way and need some fresh ideas. The book doesn’t tell you how to cook anything, just what else to put on the plate. Spoiler: Bacon and butter go with just about everything.

Yotam Ottolenghi’s Plenty is an outstanding vegetable-focused cookbook that uses no meat ingredients (but does use dairy and eggs), although Ottolenghi’s restaurant uses meats and he offers a few suggestions on pairing his recipes with meat dishes. The recipes here are longer and require a higher skill level than those in Tender, but they’re restaurant-quality in flavor and presentation, including a mushroom ragout that I love as a main course over pappardelle with a poached egg (or two) on top and my favorite recipe for preparing Belgian endives (a pinch of sugar goes a long way).

Thomas Keller’s Bouchon Bakery cookbook ($11 for Kindle right now) has long been my standby for high-end dessert recipes, but unlike Baking Illustrated, the recipes are written for people who are more skilled and incredibly serious about baking. Ingredients are measured to the gram, and the recipes assume a full range of techniques. It has the best macaron recipe I’ve ever found – close second is I Love Macarons – and the Bouchon book has also the homemade Oreo recipe I made for Halloween a few years ago (but you need black cocoa to do it right, and I use buttercream as the filling instead of their unstable white-chocolate ganache).

For the really hardcore, Harold McGee’s On Food and Cooking: The Science and Lore of the Kitchen is an essential kitchen reference, full of explanations of the chemistry of cooking that will make you a smarter cook and help you troubleshoot many problems at the stove. I haven’t read it straight through – it’s 700-plus pages – but I’ll go to the index and pull out some wisdom as needed. It also explains why some people (coughmecough) never acquired the taste for strongly-flavored cheeses.

I can sort of recommend Flour + Water: Pasta, a cookbook from the chef/owner of flour + water in San Francisco, although it’s not for everyone. The restaurant is nationally renowned for its fresh pasta dishes, and this cookbook is a grand tour of regional Italian cooking, with just about any style of pasta you can imagine, and the best directions on how to form, knead, and shape the pasta that I’ve come across. Every pasta dish I’ve made from this book has come out great the first time. There’s a catch, however: the non-pasta aspects of the recipes are poorly written and were clearly never tested by any non-professionals. One recipe calls for starting a sauce by cooking onions over high heat … for eight minutes, which is fine if you want to burn them (you don’t). Times and temperatures are off throughout, so if you’re a novice in the kitchen, this isn’t the book for you. If you’ve cooked a lot, especially Italian sauces, then you’ll spot the errant directions and make adjustments as you go. And the pasta is truly spectacular, enough that you might do as I did and spring for a garganelli board (used to shape a specific hand-rolled noodle).

Richard Blais’ Try This at Home has become a staple in my kitchen both for about a half-dozen specific recipes in here that we love (sweet potato gnocchi, lemon curd chicken, arroz con pollo, sous-vide chicken breast) and for the creativity it inspires. Blais has lots of asides on techniques and ingredients, and if you actually read the text instead of just blindly following the recipes, you’ll get a sense of the extensibility of the basic formulas within the book, even though he isn’t as explicit about it as Ruhlman is. His second book, So Good, came out in May 2017; I’ve tried four recipes so far, with the chicken thighs adobo and spicy green pozole both hits. I make that adobo recipe, which uses lots of ginger and garlic, a bit of brown sugar, and some vinegar (he recommends pineapple vinegar, but I haven’t found that in any stores yet) for a unique flavor profile.

Bread

I’ve owned and given away or sold a lot of bread-baking books, because nothing has been able to beat the two masterworks by baker/instructor Peter Reinhart, The Bread Baker’s Apprentice and Whole Grain Breads. Reinhart’s books teach you how to make artisan or old-world breads using various starters, from overnight bigas to wild-yeast starters you can grow and culture on your countertop. If that seems like a little much, his Artisan Breads Every Day takes it down a notch for the novice baker, with a lot of the same recipes presented in a simpler manner, without so much emphasis on baker’s formulas, and is a good value at $24.

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→ November 25, 2019
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Palm Island.

Palm Island is a solitaire game with one of the most clever gimmicks – I use that term with endearment – I’ve seen in a while: You hold the entire game in your hand, hence the name “Palm Island.” It manages to sneak in some resource management and ‘building’ concepts while forcing choices by setting up the cards so you can’t do everything you want to do. You’ll cycle through a small deck of cards eight times, trying to gain as many points as possible by using the cards with resources on them to upgrade the cards worth victory points.

The base game comprises a deck of 17 cards, one of which is just the round marker, while the others are double-sided and have different abilities depending on which side is pointing up. After shuffling the other 16, all in their starting orientation, you look at the top two cards and choose your actions. You can rotate some cards 90 degrees clockwise to make a resource (fish, wood, stone) available, often for free but sometimes at the cost of other resources. When you use a resource card to pay for something else, you rotate it back 90 degrees counterclockwise. You may also spend resources to turn some cards 180 degrees, unlocking more powerful abilities/more resources/more points, or to flip them over, unlocking even more of the same. The base deck has two housing cards that you can upgrade three times (turn 180, flip over, turn 180 again) to get to 6 victory points, and two temples that you can upgrade three times to get to 10 victory points, but I don’t think it’s possible to hit all four of those maximum figures with the original deck, and the order in which those cards appear affects your ideal strategy.

There are a handful (pun intended) of other restrictions on how you use these cards. You can only have four resource cards rotated to the right at any time; to rotate a fifth one you must discard one of the others by rotating it counterclockwise back into place. When you rotate a card 90 degrees to make its resource(s) available, you place it at the back of the deck; if that card returns to the top before you’ve used it, you lose that resource, rotating the card back 90 degrees counterclockwise and also placing it at the back of the deck. You can keep the top card in place and keep using or discarding (to the back) the second card, but once you reach the round marker card, you have to use or discard that top card as well – you can’t roll it over into the next round.

Palm Island card play

Some of the resource cards can be worth points if fully upgraded as well, although it can be at the cost of some of its resource powers – the Logger cards, which give you one wood at the start and two wood if upgraded twice, are worth five points if upgraded all three times but don’t give you any wood in that state. You have to upgrade at least some of the resource cards to be able to max out the housing or temple cards, the latter of which requires eleven total resources to go from its 2x state to its 3x state. This combination of features means you have to make a series of choices that will be determined by the order of the cards in the deck. The rules say you can look through the entire deck once before you start, but once you’ve started you can only look at the top three cards.

The game comes with Feat cards you can gain by hitting certain milestones in your games, starting with scoring 30 points, which I did in my first game and do almost every game now, up to some more difficult goals – it took me several plays and a bit of luck with card order to finally hit 40 points – or more specific ones, like upgrading all your Logger cards three times. Those Feat cards are nearly always useful, some more than others, but getting them at the wrong time can mess with your card sequencing.

There are two base decks in the game, so you can play competitively or cooperatively with someone else, although it’s a bit of a kludge for a game that was clearly designed with the solo player in mind. I’ve timed myself and none of my games has taken more than 13 minutes to play. For a novel solo experience it’s worth the price, maybe not as clever or challenging as my favorite solo game, Coffee Roaster, but cheaper and much more portable.

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→ November 6, 2019
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Standard Deviations.

While working on my own forthcoming book The Inside Game (due out April 21st from HarperCollins; pre-order now!), I stumbled across a chapter from Prof. Gary Smith’s book Standard Deviations: Flawed Assumptions, Tortured Data, and Other Ways to Lie with Statistics, a really wonderful book on how people, well-meaning or malicious, use and misuse stats to make their arguments. It’s a very clear and straightforward book that assumes no prior statistical background on the part of the reader, and keeps things moving with entertaining examples and good summaries of Smith’s points on the many ways you can twist numbers to say what you want them to say.

Much of Smith’s ire within the book is aimed at outright charlatans of all stripes who know full well that they’re misleading people. The very first example in Standard Deviations describes the media frenzy over Paul the Octopus, a mollusk that supposedly kept picking the winners of World Cup games in 2010. It was, to use the technical term for it, the dumbest fucking thing imaginable. Of course this eight-legged cephalopod wasn’t actually predicting anything; octopi are great escape artists, but Paul was just picking symbols he recognized, and the media who covered those ‘predictions’ were more worthy of the “fake news” tag now applied to any media the President doesn’t like. Smith uses Paul to make larger points about selection bias and survivorship bias, about how some stories become news and some don’t, how the publish-or-perish mentality at American universities virtually guarantees that some junk studies (found via p-hacking or other dubious methods) will slip through the research cracks, and so on. This is more than just an academic problem, however: One bad study that can’t survive other researchers’ attempts to replicate the results can still lead to significant media attention and even steer changes in policy.

Smith gives copious examples of this sequence of events – bad or corrupt study that leads to breathless news coverage and real-life consequences. He cites Andrew Wakefield, the disgraced former doctor whose single fraudulent paper claimed to find a link between the MMR vaccine and autism; the media ran with it, many parents declined to give their kids the MMR vaccine, and even now, twenty years and numerous debunking studies later, we have measles outbreaks and a reversal of the eradication the hemisphere had achieved in 2000. Smith chalks some of this up to the publish-or-perish mentality of American universities, also mentioning Diederik Stapel, a Dutch ex-professor who has now had 58 papers retracted due to his own scientific misconduct. But these egregious examples are just the tip of a bigger iceberg of statistical malfeasance that’s less nefarious but just as harmful: finding meaning in statistical significance, journals’ preferences for publishing affirmative studies over negative ones (the file drawer problem), “using data to discover a theory” rather than beginning with a theory and using data to test it, discarding outliers (or, worse, non-outliers), and more.

Standard Deviations bounces around a lot of areas of statistical shenanigans, covering some familiar ground (the Monty Hall problem and the Boy or Girl problem*) and less familiar as well. He goes after the misuse of graphs in popular publications, particularly the issue of Y-axis manipulation (where the Y axis starts well above 0, making small changes across the X-axis look larger), and the “Texas sharpshooter” problem where people see patterns in random clusters and argue backwards into meaning. He goes after the hot hand fallacy, which I touched on in Smart Baseball and will discuss again from a different angle in The Inside Game. He explains why the claims that people nearing death will themselves to live through birthdays or holidays don’t hold up under scrutiny. (One of my favorite anecdotes is the study of deaths before/after Passover that identified subjects because their names sounded “probably Jewish.”) Smith’s reach extends beyond academia; one chapter looks at how Long-Term Capital Management failed, including how the people leading the firm deluded themselves into thinking they had figured out a way to beat the market, and then conned supposedly smart investors into playing along.

* Smith also explains why Leonard Mlodinow’s explanation in Drunkard’s Walk, which I read right after this book, of a related question where you know one Girl’s name is Florida is incorrect, and thank goodness because for the life of me I couldn’t believe what Mlodinow wrote.

I exchanged emails with Smith in September to ask about the hot hand fallacy and a claim in 2018 by two mathematicians that they’d debunked the original Amos Tversky paper from 1986; he answered with more detail that I ended up using in a sidebar in The Inside Game. That did not directly color my writeup of Standard Deviationshere, but my decision to reach out to him in the first place stems from my regard for Smith’s book. It’s on my list now of books I recommend to folks who want to read more about innumeracy and statistical abuse, in the same vein as Dave Levitan’s Not a Scientist.

Next up: About halfway through Mary Robinette Kowal’s The Calculating Stars.

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→ November 3, 2019
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Parasite.

Parasite won the Palme d’Or this year at the Cannes film festival, making director Bong Joon-Ho the first South Korean to win the top prize at that event, and the film has since racked up tremendous critical accolades and earned $5 million-plus already at the U.S. box office. It’s enough of a hit that it showed at my local, mainstream multiplex this weekend. It’s South Korea’s submission for this year’s Academy Award for Best International Feature Film, and I’ll be shocked if it doesn’t make the shortlist. On this Friday night, there were 20 people in the theater, including us, there to watch a Korean-language film with no actors who’d be recognized at all in the U.S. I’m thrilled to see it get this kind of audience because Parasite is a remarkable, funny, dark, and deeply metaphorical movie.

This upstairs, downstairs story revolves around the Kims, an unemployed family of four living in a dank semi-basement in Seoul where they steal WiFi from neighbors who forget to turn on passwords; and the Parks, a very wealthy family in the city with two young children and more money than they know what to do with. The two families intersect when Ki-woo, the Kims’ college-aged son who doesn’t attend school because he can’t afford it, gets a job filling in as the English tutor to the Parks’ teenaged daughter, Da-hye. Seeing how well the other half is living, Ki-woo hatches a plan to get the rest of his family hired – his sister as the Parks’ son’s art teacher, his father as the chauffeur, and his mother as the housekeeper – by also getting their existing help fired. This all goes very well until one night the housekeeper returns, revealing a secret of her own, turning the film from a hilarious farce into a darker satire that ultimately ends in violent chaos.

For about 3/4 of its running time, Parasite is consistently, laugh-out-loud funny. From the lengths to which the Kims go to perpetrate their con on the Parks or to justify their increasingly unethical behavior to themselves, on to the utterly ridiculous Park family themselves. The three Park characters who have something to do in the film – their son barely speaks at all – are all deeply stereotypical, with the mother (stays at home, can’t take care of herself or the house, heavily neurotic) and daughter (acts/dresses below her age, falls in love with her tutors) both so much so that I wondered if they were meant to be caricatures. The plot to get rid of the chauffeur is amusing; the subsequent plot to get rid of the housekeeper is bananas. Even as the film starts to become violent, there are still moments of humor, including some great physical comedy, until the final cataclysm tears the cover off and reveals the swirling mess of class rage that was beneath the surface the entire time.

Bong isn’t subtle about the fact that the film is replete with metaphor; Ki-woo uses the word “metaphorical” several times, often because he is trying to impress the Parks, but the presence of the word at all felt a bit like a message to the audience to wake up and smell the symbolism. There’s water everywhere in this movie, but while it’s clean and revivifying for the Parks, it’s anything but for the Kims; while water brings the Parks a modest nuisance, it eventually contributes to the Kims’ destruction. The physical locations of their living spaces – the Kims halfway (or more) underground, the Parks on the upper floors of a house with lower floors that they never even visit themselves – correspond to their relative status and their absolute status within a South Korea that rapidly developed after the Korean War but has created substantial income inequality, especially for older citizens. The rock, the Parks’ son’s artwork, the use of American “Indian” imagery – Parasite is absolutely rife with metaphors to underscore the conflict between the Parks and the Kims.

I assume Bong’s use of Kim, the most common family name in South Korea, for the lower-class family, was not a coincidence; Park is the third-most common name, so perhaps the point was that neither of these families is all that atypical, and that Bong is trying to represent wide swaths of Korean society. He’s also created a real dramatic balance between the two families; while the Kims are rascals, they’re not heroes, and if you were still rooting for them at the time that they dispatch the housekeeper, their ruse should be enough to dissuade you. There are no heroes here, no ‘good guys;’ it’s a movie about a lot of regular people who do bad things in the quest for money and all that it brings: status, comfort, freedom from future financial worry.

I won’t spoil any of the end other than to say it turns quite violent, although in the context of everything that has come before, it felt like the inevitable conclusion after two hours of growing tension that had no outlet for release, as the Kims wanted to preserve their ruse at all costs. When one of them finally realize that the Parks will never see them as anything but the hired help – and thus as lesser people – Parasite reaches a disturbing climax and conclusion that will cause you to rethink everything that came before.

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→ October 23, 2019
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The Queen.

If you’d like to win a free, signed copy of this book, sign up for my free email newsletter by this Friday, October 25, at 12 pm ET. I’ll choose one subscriber at random to win the prize, graciously donated by Josh and Little, Brown & Co.

Josh Levin has been writing for Slate since 2003 and has co-hosted their podcast Hang Up and Listen for a decade now. (I appeared on the show way back in 2013.) His first book, The Queen, has nothing whatsoever to do with sports, however; it is an engrossing profile and history of Linda Taylor, the woman tabbed by Chicago newspapers and made infamous by Ronald Reagan as a “welfare queen,” whose fraudulent activities were widely embellished by the media and conservative politicians … and who also probably committed other, far worse crimes during her long life of malfeasance.

Linda Taylor was a welfare cheat, and got caught multiple times doing so, although attempts to prosecute her weren’t always successful, and authorities didn’t always follow through even when she was caught because the laws didn’t adequately address this type of public assistance fraud. She used different identities to apply more than once for aid, and used the names of children who weren’t hers, or didn’t exist at all, to ask for more. It’s possible that she was among the most financially successful people exploiting the public aid system in the 1970s, and that that alone would have been enough to make her story newsworthy.

Levin does way more than tell the story of Taylor’s misdeeds around welfare, however. For one thing, he gives readers a detailed biography of Taylor, from birth to death, giving much-needed balance to her story. He explains the roles that uncertain parentage and mixed-race status in a time when that could leave someone ostracized from white and black circles had in shaping her life, while also using interviews and public records to show that Taylor was more than just a con artist, with credible accusations of kidnapping and even murder following in her wake. One of the more interesting threads in Taylor’s biography is her false claim that she was the daughter of a man in Chicago who died and left behind a maybe-illegal fortune, leading to a trial that hinged as much on her own history of lying as anything else.

That alone would make for a pretty good, if short, book, but Levin adds a second and more substantial layer to Taylor’s story by explaining how she became the front-page welfare queen whose thimblerigging became fodder for politicians and activist journalists in Illinois and, eventually, across the country. Levin details much of the life of George Bliss, a Pulitzer Prize-winning journalist for the Chicago Tribune, whom Levin credits with putting Taylor in the spotlight and helping create the image of her as both an extensive welfare cheat and a symbol of wrongdoing around the public aid system, both by recipients and by people working within the government. That was then picked up by members of the Illinois state legislature, who at one point managed to create their own extrajudicial investigative team to go after welfare frauds, and subsequently by Ronald Reagan in his 1976 presidential campaign.

Reagan, who had left office as California’s governor after two terms in 1974, was a primary challenger to Gerald Ford, who of course was the first unelected official to ascend to the Presidency and was seen as vulnerable for that reason and his tie to the disgraced President Nixon. Reagan began using the story of the “Chicago woman” who used dozens of aliases and the names of hundreds of children to collect hundreds of thousands of dollars in undeserved welfare checks. He was referring to Taylor, but overstated the extent of her crimes and her takings, and continued to embellish the story as the campaign continued – even over objections of some of his own campaign staffers. Levin spins this into a larger point about Reagan’s penchant for dissembling, misrepresenting, or outright lying – and the lack of accountability even from the media covering his campaign at the time – and while Levin never draws the direct parallel to our current President or the contemporary environment of “alternative facts,” I found it impossible to read The Queen without thinking that even Trump’s original campaign was a direct descendant of Reagan’s. Trump is just more blatant about his lies, and perhaps more unrepentant about it, but he was hardly the first – especially when it comes to demonizing people of color.

And that’s the other significant theme of Levin’s book: This is very much a story about race. Taylor’s precise ethnicity is unclear, and she passed for white, black, Latina, and Filipina at different points in her life, but at a time when the “one-drop rule” still existed through the American south, she was generally seen as black. That made her the ideal target for politicians courting white voters angry over the stagnant American economy of the post-oil crisis 1970s and the societal changes that resulted from the civil rights movement. Race-baiting is hardly new in American politics, but Taylor’s race and the breadth of her actual or presumed crimes made her the perfect talking point for candidates looking to appeal to the “economically anxious” non-Latinx white voters who, in 1976, constituted 89% of the U.S. electorate. As I write this, we’re dealing with the current President accusing Democrats pursuing an impeachment inquiry of a “lynching,” invoking a term used almost exclusively to refer to the murders of black men across the American south between the civil war and 1981, when Michael Donald was lynched in Alabama by multiple members of the Ku Klux Klan. Levin makes the case that this sort of coded language is hardly new, and was widely used by a candidate who would go on to serve two terms as President, winning re-election by a historic landslide in 1984.

There’s quite a bit more detail in The Queen, including side threads on the officers who first brought Taylor to some measure of justice (and led to her infamy), Taylor’s daughter and her role in some of the ongoing scams, and comments from people whose lives were affected, almost all adversely, by Taylor’s involvement. The possible murder committed by Taylor for a modest financial gain is an appalling enough story, although Levin can only go so far with that subplot because Taylor was never even arrested for that crime, and the same goes for the accusations that she kidnapped children and either sold them or used their identities to gain more public aid while neglecting the kids. There’s a lot of misery in The Queen, some of it belonging to Taylor herself, but it’s also very much a story of the modern United States – of race and class divides, of lying and self-serving politicians, and of a media culture that still is learning the importance of holding people accountable for their words.

Next up: Just about done with the second book in Paul Theroux’s Riding the Rails trilogy.

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→ September 13, 2019
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Bowlaway.

I’d never even heard of Elizabeth McCracken until my friend Eden suggested to me at Gen Con that I check out McCracken’s newest novel Bowlaway. McCracken, who edits Ann Patchett’s novels, was a finalist for the National Book Award in 1996 and has earned some smaller plaudits for her work since then, but this was the first time I’d encountered her. Based on n of 1, at least, she is a wonderful storyteller on par with Patchett, and while I’m not really sure if there’s a broader point to Bowlaway, I was completely enraptured by the story, which washes over the reader with waves of fun or interesting characters.

Bowlaway opens with a woman in a graveyard in a fictional town just outside of Boston just after the turn of the 20th century, and no real clue of how she got there. Bertha Truitt doesn’t remember her previous history, or just isn’t telling, but she enters the town on a mission to introduce candlepin bowling, a regional variation on bowling with a much smaller bowl and slimmer pins. She founds an alley called, of course, Bowlaway, and attracts a group of regulars, including several local women, while also employing a pair of the town’s eccentrics. Bertha marries and has a child, and when she dies, the narrative shifts to her husband, then to his housekeeper, and on around to other people who are all primarily connected through the bowling alley, including one later owner who wants to ban women from the alley.

The characters are mostly well-drawn and three-dimensional, flawed and interesting and often amusing in their own peculiar ways. Bertha’s departure from the novel is a disappointment, as she’s the most larger-than-life character in the book and provides so much of the spark that sets the novel ablaze. If there’s a movie or TV series to be made from Bowlaway, it’s going to revolve around Bertha, who has most of the best lines in the book and could also be the breakout character getting quoted and captured in GIFs. Margaret, the housekeeper, is also very well-written, but her character is suffused with sadness and there’s a sort of simplicity to her personality that makes her less enjoyable on the page. The one character I found a bit disappointing is Bertha’s husband, Leviticus Sprague, whom McCracken gives an idiosyncratic way of speaking but who disappears into the bottle after his wife’s death; Margaret’s kids are also a bit meh, especially the profligate one who also takes to drink.

While Bowlaway has a real conclusion to its plot, it’s not clear whether there’s a point to all of this other than to tell a good, fun story. McCracken seems to love her characters, and that alone is enough to make the book a compelling read, although I did stop a number of times because of that persistent, subcutaneous feeling that I was missing a greater theme. It’s not quite empty calories, since McCracken’s prose is good (and smart) and the characters work, but it’s unusual for me to read fiction that isn’t genre that doesn’t have something more significant going on underneath the hood.

There is, however, the mere passage of time, which itself does allow McCracken to get into some additional cultural shifts as her fictional town goes from a somewhat sleepy hamlet to an active suburb of Boston, connected to the city via mass transit. The novel spans something close to 70 years – she’s vague with some of the dates – so she tracks characters, the alley, and the town across the decades, working in real-world events like the Great Molasses Flood. She also has the habit of dispatching characters major and minor in gruesome ways; the molasses takes one, another goes the way of Old Krook; others are killed by flying objects or a runaway horse. Death is just another detail in the world of Bowlaway, especially when the characters aren’t essential.

It’s really a better book than I’ve made it sound here – I tore through it and, once I got past the fact that the best character was gone before the midpoint of the novel, found myself enraptured by McCracken’s prose and knack for spinning new stories out of the spare threads of the ones before. I don’t know that it amounts to much, but the journey there is enough.

Next up: Gary Smith’s Standard Deviations: Flawed Assumptions, Tortured Data, and Other Ways to Lie With Statistics.

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→ August 20, 2019
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Coffee Roaster.

There are so very many board games – more than a thousand new ones hit the market every year, not including self-published titles or ones that don’t get published in English – yet there are few games designed with solo play in mind. More new games come with solitaire modes, typically asking you to beat some specific score, but truly solo games, ones designed from the start with the single player in mind. I’ve reviewed three in particular, Friday, the best I’ve played; Onirim; and Aerion.

One of the top-rated solitaire games on BoardGameGeek is a Japanese game known as Coffee Roaster, which has been out of print for a few years but which is coming back in a new edition this fall from Stronghold Games, now available for pre-order. I just obtained a copy of the original a few months ago, right before word of the new edition leaked, and it more than lives up to its reputation: It’s fun to play, suitably challenging, brings lots of replay value, and its theme is as well-integrated into its gameplay as any game I’ve seen.

Coffee Roaster asks you to do just that: You’re a roaster asked to roast three beans out of a selection of 22 possibilities, trying to maximize your score over the three roasts, but you have to do well enough with each roast to get to choose a more challenging (and lucrative) bean in the next round. It’s a brilliant press-your-luck game that gives you a slew of choices and multiple ways to try to max out your score, with every bean – tied to the physical characteristics of the real coffee beans the cards depict – offering a new starting point and different paths to scoring.

For any bean you roast in Coffee Roaster, you’ll start with some combination of tokens that you’ll place in the bag, usually unroasted beans (roast level 0, or green beans that have to be roasted once to get to 0), moisture tokens, flavor tokens depicting aroma or body or acidity, and probably some bad beans you have to work your way around as you roast. As the game progresses, you’ll pull an increasing number of beans from the bag in each round, roasting some, spending the flavor tokens to gain bonuses on the board or to manipulate the roasting process, and, at two steps, gaining smoke tokens that go in the bag and can screw up your final scoring. You decide when to stop roasting and ‘cup’ your coffee, drawing tokens to fill the ten spots on your cupping board – with three spots on the tray to hold beans you don’t want to score – and then add up the points on your tokens.

Each bean has an ideal total roast level that gets you the maximum number of points; you get fewer points if you’re too high or two low. You get points for drawing the key flavor components for that bean, up to ten points if you hit all four on an Expert level bean. You also get points for consistency, drawing at least three tokens with the same roast number on them. You can then lose points if you draw and place bad beans or smoke tokens in your cup, or if you don’t get any of the key flavor components, or if you fail to get ten tokens into the cup. As I type that, I realize it sounds a bit more complicated than it is, but the game has an inherent rhythm to it that makes it go very quickly once you’ve got the process down. You have a lot of potential options on every turn, but they depend almost completely on what tokens you draw from the bag on that turn – and earlier in any roasting process you won’t get to draw that many tokens, so your choices will be somewhat limited.

My 22-point Kona roast.

I have played a handful of times, with (of course) varying levels of success, but have found that getting the wild-card flavor token and the permanent 3-point token (which goes directly into your cup) are essential, while for some roasts you will want to get the extra tray, which lets you discard two extra tokens in the cupping process. There’s a Sweetness token – whoa oh oh, oh oh oh – that is required for some Expert roasts, but can otherwise serve as a wild token in the cupping process. Other bonus tokens let you redraw during the roasting process but the random aspect makes their value too variable. There’s one space on the left side of the board that lets you discard one flavor token to trash all smoke, bad bean, or burned bean (roasted past 4) tokens you have drawn in that round, a very powerful move that you can use just once per bean. It’s nearly always useful, but the question of when to use it becomes a key strategic decision among several across the game.

We don’t have the rules for the new version yet, just cover art, so I don’t know if the game itself is changing or if we’re just getting new images and, I would hope, an improved translation of the original Japanese rules, as the translation in the original edition omits key words or mistranslates others at a few places. It’s also a bit dear at a list price of $45, more than just about any solo game I know of, but I am hopeful that will come down after the initial release satisfies folks like me who’d been looking for the game for years. It is worthy of a bigger audience than it got the first time around, and while Friday is easier to recommend for its simplicity, I enjoyed this game even more.

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→ August 6, 2019
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A Kiss Before Dying.

Ira Levin wrote seven novels in his long career, as well as the long-running Broadway play Deathtrap, garnering raves from critics and his peers for much of his output despite working across a broad range of themes, with novels as seemingly disparate as Rosemary’s Baby and The Stepford Wives. His debut novel, A Kiss Before Dying, was a straightforward noir thriller, a grim take on a ‘perfect’ murder that uses shifting perspectives to keep the reader guessing in the first half of the novel and raise the stakes for the second half. (It’s out of print; the link above goes to the Kindle version.)

The first third of the novel centers on Dorothy, the daughter of a very wealthy copper magnate, who is dating a charming classmate at her college and has just revealed to him that she’s pregnant, which does not comport with his plans to marry her for her expected inheritance. Assuming she’ll be cut out of her father’s will for becoming pregnant outside of wedlock, the boyfriend first tries to get her to abort the baby and, when that fails, decides to kill her and make it look like a suicide. He succeeds, at least at first, but Dorothy’s sister Ellen can’t believe Dorothy would kill herself – especially since no one knew she was pregnant – and decides to go investigate.

At this point, Levin switches the point of view and you realize that he never named the boyfriend in part one, so you enter the college town with Ellen and share her ignorance of the killer’s identity – just a very rough description of his appearance, which means it could be any of several men, and Levin utilizes that puzzle to ratchet up the tension for the first half or so of Ellen’s section. Once you find out who it is, which I didn’t see coming, the story flips, putting the reader into the chase and the mystery of whether anyone will catch Dorothy’s killer before he kills again while exploring the depths of his sociopathy, eventually introducing us to the girls’ father, Leo, and making him a central character in the story even though he tries to avoid accepting that Dorothy was murdered.

The book has been filmed twice, once in 1956 to positive reviews and once in 1991 to negative ones, although in both cases the screenwriters changed the story enough that I don’t think either could possibly match what Levin accomplished here in the book. The murderer here isn’t so much twisted as callous and insensate, viewing Dorothy as a mark to make himself wealthy, and viewing all of his victims as obstacles, with no apparent compunctions whatsoever about killing to protect his own interests. Levin also takes advantage of the author’s privilege of hiding key information from you that would have to be revealed on a screen, which raises the stakes for the reader, makes the reveal especially potent, and then lets him play with perspective throughout the third part of the book, where you’re unsure if the killer will get away with his crimes or if the ‘good guys’ will figure it out in time. It’s very classic, straight noir, with a dim view of humanity that leans a bit towards Jim Thompson but with more balance between the good and the bad.

Next up: Milan Kundera’s The Unbearable Lightness of Being.

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→ August 2, 2019
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Amity and Prosperity.

If you’ve heard of fracking at all, it’s probably for bad reasons; the practice of fracturing rocks to free and capture natural gas has caused substantial environmental damage, from earthquakes to groundwater contamination to air pollution, across wide swaths of the Midwest, down through Oklahoma and Texas. The practice was once hailed as a way for the United States to achieve energy independence, or at least reduce our dependence on oil from the Middle East, and was even embraced by some Democrats, including Barack Obama, who would have said in the next breath that they favored policies to protect the environment.

Eliza Griswold’s Amity and Prosperity: One Family and the Fracturing of America documents the horrendous effects of fracking on one town, Amity, in western Pennsylvania, where the drilling company Range Resources ran amok, ignoring environmental regulations or simply lobbying the state to alter them, sickening local residents – possibly to the point of causing cancer – and making multiple homes unlivable. She reported for eight years on this story, getting close to two mothers in the area in particular whose children and animals were sickened by groundwater and air pollution from Range’s fracking and mishandling of waste materials, and won this year’s Pulitzer Prize for Non-Fiction for this book. No Range executives were fined or charged; the company was only modestly fined, despite violations of environmental regulations and false claims in its advertising; and the homeowners most adversely affected received a pittance after years of litigation against Range and Pennsylvania’s Department of Environmental Protection.

The story all takes place in the northern Appalachian region, atop the Marcellus Shale formation of sedimentary rock, which it turns out contains a large quantity of natural gas that must be retrieved via hydraulic fracturing, now called “fracking” for short. This involves the high-pressure injection of a slurry of water, sand or other proppants, and various additional chemicals to hold the fractures open, reduce friction, lubricate the drill bit, prevent scale deposit buildup, or serve other purposes. The result of the process, in addition to copious supplies of natural gas, is a lot of wastewater that can contain hydrogen sulfide, ethylene glycol, arsenic (released from the rock that has been fractured), and other chemicals or elements that are harmful to human health when ingested or inhaled. The national desire for cheap domestic energy sources, the (mistaken?) belief that natural gas could serve as a “transitional” fuel between coal/oil and renewable energy sources, and extensive lobbying by the oil and gas industry have led to a regulatory environment that is, to a large extent, dictated by the companies the agencies, including Pennsylvania’s toothless DEP, are supposed to be monitoring and sanctioning. The DEP, in this case, was defanged by Democratic governor Ed Rendell, then further hamstrung by Republican governor Tom Corbett and the GOP-controlled legislature, which passed a law that was likely written in large part by the oil and gas lobby; it should surprise no one that the DEP completely whiffed on the Range fracking endeavor in the Marcellus shale region, but it should surprise and enrage you to hear that lawyers for the company and the agency worked together in the lawsuits filed by the sickened homeowners.

Fracking continues largely unabated in states controlled by the Republican Party, which touts their job-creation potential (and that isn’t in dispute) and potential to provide cheap energy from within our borders, although many, many Democratic politicians have gone along with fracking for their own reasons. What is clear, however, is that the process requires substantial regulation if it could ever be made safe for citizens anywhere in the vicinity of the wells. Any drilling within a mile of community water sources puts the water at risk of contamination, and that’s even if the fracking company handles its waste water correctly. Range, according to Griswold, used open waste “ponds” to store its toxic sludge, didn’t line them properly, and then ignored evidence of leaking while fighting any effort to get them to take responsibility. (Several Range executives Griswold named not only escaped any accountability, but have since moved on to better jobs in the industry.) One of the two mothers Griswold profiles, Stacey, kept diligent notes on the appearance of foul odors in the air (hydrogen sulfide, like the smell of rotten eggs, which can indicate bacterial contamination as well) and the increasing illnesses of her kids, one of whom missed a year of school because of fracking pollution, and the deaths of many of her animals. Yet despite all of this evidence, the state of Pennsylvania tried to pass a law, some of which was struck down by the state Supreme Court (but not all!), that would have prevented local governments from banning or regulating fracking in their area; prevented doctors from discussing poisoning cases possibly caused by fracking with each other; and excluded private water wells from pollution/leakage notification requirements.

Griswold’s telling of this story is fundamentally humanist – she never, at any point, loses sight of the people suffering from Range’s actions, the people who reside at the heart of the book – but it is also very much a story of institutional failure. Pennsyvlania, which was gerrymandered into another dimension, let many of its citizens down in the most basic way. We take certain government protections for granted, yet here, the people who were supposed to be protecting the state’s water, air, and land resources – it’s one of only three states with an environmental rights amendment to its state constitution – did no such thing; at best, they looked the other way when Range wanted to drill and frack, and at worst, they aided and abetted the polluters, including helping them fight against the state’s own citizens when the latter tried to assert their rights under the amendment. It bears repeating: Pennsylvania didn’t just do nothing. They worked against their own citizens. If you live there, you should be angry. If you live anywhere in the United States, but especially somewhere where there’s fracking, you should be angry. Once this garbage is in the groundwater, entire towns will become unlivable, maybe for generations. If you’re cool with wide swaths of Oklahoma looking like the Love Canal, I guess that’s your choice, but I wasn’t okay with it before I read Amity and Prosperity and I sure as hell am not okay with it now.

Next up: Jeff Vandermeer’s Annihilation, the story of how he threw two consecutive no-hitters.

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→ July 22, 2019
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Billion Dollar Whale.

When I reviewed Bad Blood a few months ago, one of you recommended Tom Wright and Bradley Hope’s book Billion Dollar Whale, since it’s in a similar vein – another story about a con artist who took very wealthy people for a substantial ride. While Elizabeth Holmes got caught, and may even stand trial next year (although I hold out little hope of serious punishment), Jho Low, the “whale” at the heart of this book, remains a fugitive from justice, and still has a lot of the proceeds of his massive scam – maybe the biggest in world history.

Low was a Malaysian nobody with a little bit of family money who somehow talked his way into the good graces of Malaysian President Najib Razak and some of his myrmidons, and thus ended up in control of a new sovereign wealth fund in Malaysia called 1MDB. Low, with the help of other officials in Malaysia and co-conspirators in the United Arab Emirates, managed to loot the fund of several billion dollars, using the proceeds to party his way around the world, but also to invest in or start legitimate businesses. He invested in EMI Music, bought real estate in the United States and the United Kingdom, and even funded a Hollywood production company called Red Granite Pictures, co-founded by the stepson of President Razak, which produced the Oscar-nominated film The Wolf of Wall Street as well as Daddy’s Home and Dumb and Dumber To. Meanwhile, Low kept his position of power by providing Razak’s wife with millions of dollars in gifts and jewelry, while using state funds to drum up support to keep Razak in office. He did all of this with the help of major western investment banks, notably Goldman Sachs, which profited handsomely from Low’s looting of the Malaysian government’s supposed investment fund, as well as a Swiss bank called BSI.

Wright and Hope spin an unbelievable yarn here, going from Low’s childhood to his years at Wharton, where he already showed the sort of pretension and penchant for not paying his debts, through his rise and partial fall as the de facto leader of 1MDB. Low befriended Leonardo DiCaprio, giving him millions of dollars of art as gifts, and dated supermodel Miranda Kerr, giving her $8 million in jewelry. (DiCaprio and Kerr forfeited all of those gifts, voluntarily, once the FBI began its investigation into 1MDB.) He also hung out with Jamie Foxx and producer Swizz Beatz, the husband of singer & musician Alicia Keys; Swizz Beatz in particular continued to support Low even when it was clear that the latter had come by all his money via fraud.

Low’s con was really simple as cons go – he covered up his pilfering of the till with a series of paper transactions, doing so with the cooperation of other con men in Malaysia’s government and with the sovereign funds of Arab nations, all of whom took payouts to participate in the scam. What is hard to fathom, and what Wright and Hope spell out so well, is how thoroughly Low et al bamboozled western banks and accounting firms – or how little they cared about the provenance of the funds as long as they were getting paid. Billion Dollar Whale could be a textbook in a class on “Know Your Customer” rules, and what happens when banks fail to follow those procedures. Low skated repeatedly at points when someone should have told him no, simply because he could get someone else to forge a letter to support him.

Wright and Hope try to explain some of Low’s personality and choice to go into a life of fraud, but largely end up stymied by how bland he was – socially awkward and introverted, granted access to famous people and women by his money but still every bit as inscrutable. He also studiously avoided attention throughout his tenure with 1MDB, so there was minimal press coverage of him, and he didn’t start to appear in the media coverage of the scandal until after several stories had already appeared. So it’s not a biography of Low in any sense, but a story of a con – a completely fascinating one because of how many people either went along with it (to get rich) or failed in their fiduciary or legal duties to stop it.

A huge part of Low’s ability to get away with this scam for years was the tie to Razak, who was finally ousted from office in an election in 2018, after which he and his wife were arrested for corruption. Just this week, prosecutors in his trial showed that his wife spent over $800,000 in one day on jewelry, spending that went through the 1MDB fund; I assume this is the same story Wright and Hope tell of Low taking Razak’s wife to a famous jeweler. Low, however, fled to China and appears to still be running around the country with access to at least some of his ill-gotten gains, which means the Chinese government is, for some reason, okay with him doing so in spite of an Interpol warrant out for his arrest.

Next up: Laura Cumming’s The Vanishing Velázquez: A 19th-Century Bookseller’s Obsession with a Lost Masterpiece.

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