Salamander and Other Stories by Masuji Ibuse, translated by John Bester (Kodansha International)

Salamander and Other Stories is a collection of short stories written by the author of the acclaimed novel Black Rain which was about the survivors of the atomic bombing of Hiroshima (reviewed on March 20, 2020). Salamander and Other Stories was first published as 山椒魚 (Sanshouuo) in the Japanese language in 1948 by Shinchosha. The first English publication became available in 1971 and was released with the title Lieutenant Lookeast and Other Stories, also published by Kodansha International in hardcover. The paperback edition was published in 1981 with a change in the title. Both versions were translated by John Bester. 

This book includes nine stories that were written between the years of 1923-1955. Ibuse uses a wide range of themes. Some are semi-autobiographical while others can be considered satire. The setting usually takes place in rural Japan where Ibuse writes about ordinary, everyday life and is often filled with subtle humor. 

Plum Blossom by Night is about a man who decides to go out drinking one night. It was February 20 around two in the morning. The man was looking for an oden restaurant or some other cheap eating joint when he was accosted by a man who shouted, “Is there blood on my face?” After ascertaining that he was indeed hurt, the man helped the drunkard concoct a story to tell his boss the following day. The drunk was so greatful, that he pressed a five-yen note into the other man’s cloak. The five-yen note began to bother him. He decided he would return the note to the drunkard the following day, but days, then months, then years would pass before he called about the drunk man’s home only to find that the man had disappeared ages ago. 

Lieutenant Lookeast is a satire on Japan’s militarism era. The story takes place after the end of World War 2. Lieutenant Yuichi Okazaki (Lieutenant Lookeast) suffers from the delusion that the war is still going on and will often shout out military orders to people who pass by his house. We later find out from a local how Lietenant Okazaki got his name and why he behaves the way he does. It was when Lieutenant Lookeast was in Malaysia and overheard one of his soldiers saying something about war. The soldier said, “the enemy was dropping bombs as though they’dgot them to spare. So I said war was an extravagant business”. The lieutenant slapped the soldier but at the same time, the truck hit a bump, the tailgate flipped open and both Lieutenant Lookeast and the soldier fell out and rolled down into the river. The soldier fell on his head and rolled off in the river. The lieutenant hit his head and hasn’t been the same since. 

The title story, Salamander, is about a small amphibian that lived in a cave. But as its body grew, so did its head and whenever it tried to leave, the salamander’s head would get stuck and it would only have enough room to move its feet to and fro and from side to side. 

Old Ushitora focuses on a man’s grandchild who doesn’t approve of his grandfather’s job. Carp is about a man who is given a gift of a carp, but has a hard time taking care of it. Savan on the Roof is about a man who finds a wounded goose on the roof, nurses it back to health, but then finds that he doesn’t want to set it free. There are three other stories that are just as enjoyable as the ones already mentioned - Pilgrim’s Inn, Life at Mr. Tange’s, and Yosaku the Settler.

Ibuse’s stories are fun to read adn give light as to what life might have been like in a small town in old Japan. It is a great introduction to one of the lesser known Japanese writers and the stories give you a feeling of nostalgia when you read them. ~Ernie Hoyt

Banyan Moon by Thao Thai (Mariner Books, HarperCollins)

Although Tolstoy may have been wrong when he said “Happy families are all alike,” he was definitely amiss when he decided unhappy families were all different. Unhappy families universally share a crucial similarity that defines their status; they all conceal secrets.

Secrets fill every corner of the Banyan House, a crumbling mansion in Florida that Minh purchased long ago as a family home. There her daughter Huong took refuge from a dangerous husband, raising her daughter Ann in tandem with Minh, who quickly supplants Huong in Ann’s affections. From her earliest childhood, Ann has an adversarial relationship with her mother, much as Huong does with Minh. Only when Huong tells her daughter that her grandmother has died, does Ann leave her established adult life and return to the Banyan House, a place that no longer holds the woman whom she has always loved and trusted above anyone else.

She returns carrying a secret, one that she has yet to tell the man she thought she would marry, the one who has recently confessed to an act of infidelity. As her mother once did, Ann looks for a sanctuary in the Banyan House, but the child she brings with her is months away from being born. 

This secret is swiftly uncovered by Huong, who’s determined to repair the prickly, damaged relationship that connects her with her daughter. United in the task of cleaning the Banyan House that Minh has filled with unused and unnecessary objects, the two women work under the oversight of an invisible observer, the restless spirit of the family matriarch. Slowly Minh discloses her secret, one that her family has never known. Huong and Ann are not descendants of the man they were taught to revere as their father and grandfather.

As a flood of secrets gradually comes to light, what begins as a run-of-the-mill beach book takes on a depth that’s surprising and puzzling. Although the subjects of greed, sibling rivalry, domestic violence, and the return to a hometown that no longer seems to fit have all been covered again and again in a multitude of novels, Banyan Moon carries an eerie magic that makes this all seem fresh, new, and riveting. 

How does Thao Thai manage to pull this off? From the very beginning, with its cliched friction between the privileged wasp background of Ann’s fiance clashing against her own artistic and “exotic” life, this story carries a luster that pushes readers into its many different layers of story. Although Thai is a writer who doesn’t shy from well-worn descriptions that are perilously close to being threadbare, she has the gift of creating irresistible characters--and it’s Minh, Huong, and Ann who carry this novel. Each of their voices is distinctly different and they coexist without the slightest trace of unease. Their stories flow and interweave together, never feeling intrusive or inauthentic. Their lives flare into being, making the supporting characters seem almost nonessential and certainly pallid. The strength and complexity of their different personalities gives an edge to the end of this novel. Will these women be able to move beyond their history and their secrets, taking secure possession of what seems to be a happy ending?~Janet Brown

A Walk in the Darkness by Jon Land (Tor)

Jon Land is an American thriller writer. He has written two detective series - The Caitlin Strong novels about a fifth generation Texas ranger and the Ben Kamal and Danielle Barnea series featuring a Palestinian Detective and an Inspector of Israel’s National Police. 

A Walk in the Darkness is the third book in the Ben Kamal and Danielle Barnea series. The story opens with an incident that took place in Jerusalem in around 33 A.D. This relates to another incident which took place in Ephesus, Turkey almost 2000 years later.

“1948:  An archeological team in Turkey is slaughtered after making an earth-shattering discovery. More than fifty years later, a group of American archaeologists is murdered in the Judean desert”. 

Inspector Barnea is investigating a crime scene in the desert. A member of the Israeli Defense Force said he wasn’t expecting some from the National Police Force as the Judean desert falls under military jurisdiction. The Inspector informed the sergeant that it would be true if there were a security issue but the murder of foreign nationals is a civilian issue, unless terrorism is involved. However, the victims were part of an American archeological team who were invited at the request by the government of Israel. 

Fourteen people had been killed, shot at point blank range, in the back of the head. Twelve Americans and two others. She was given a list of the victims and was shocked to see the name at the bottom. It was a name she recognized, the nephew of Palestinain detective Ben Kamal. 

Detective Kamal was headed out to the Judean desert but was told by an Israeli army sergeant that he had entered a restricted area. Although he showed his ID and informed the Israelin army sergeant that he was there at the request of Pakad Barnea of the Israeli National Police Force. The sergeant refused to budge, insisting that his orders were to deny access to the area to all but those who have the proper authorization. Inspector Barnea intervened and Ben was allowed to pass.

Although Inspector Barnea told Ben that he was not there in an investigatory capacity, the death of Kama’s nephew sparked in him a need to find out more. There was one witness but nobody could understand what he was saying as he spoke in a dialect the Israeli’s were unfamiliar with, but it was a dialect that Ben’s father taught him when he was young. 

From what Ben could gather, the archeologists found something of great historic value. Barnea reluctantly recruits Kamal’s help in the investigation in which they discover more than just the discovery of an item that could change the world as we know it. But they discover a conspiracy that is an even greater threat to the Palestinain people and the entire West Bank. 

The Middle East remains one of the most volatile regions in the world. Tha Arab-Israeli issue remains at the heart of the conflict. Land’s depiction of both the Israelis and Palestinians put you in the heart of the region. Land’s latest story blends a bit of Dan Brown-like history as in The Da Vinci Code with current day politics in the Middle East. A fascinating blend of fact and fiction which will keep you on the edge of your seat. We can only hope that one day peace will come to the Middle East. ~Ernie Hoyt

Meet Me Tonight in Atlantic City by Jane Wong (Tin House)

Jane Wong is in college when she learns about the Great Famine, also known as the Great Leap Forward. When she looks at the dates of this tragic era in Chinese history, she realizes that when her grandfather said his family had “disappeared,” and told her how he was adopted by a man whose family had also “disappeared,” that in truth the “disappeared” had starved to death. Wong, who has never gone hungry, races from the classroom in the grip of a panic attack, “heaving tears as thick as wheat.” 

Too respectful to breach her grandparents’ “chosen silence,” Wong pieces together bits of information as it falls in conversational crumbs. “What happens,” she asks, “when your archive is a ghost?” Her reply to herself is “I have no choice but to let food haunt me.”

During the pandemic, she learns to make jook, that supreme comfort food, and dreams of the day when she’ll be able to make it for her grandmother. Later she learns that on the day she made jook for the first time, her brother has done the same thing. A dish that “at its simplest core” is only rice and water holds the secret and power of a sacrament, comforting and connecting.

Wong needs comfort and connection. Although her mother and her grandparents feed, nurture, and love her, her father truly has “disappeared.” A man who gambles away the restaurant he owned and leaves his wife to support two children, the father gives his children only a collection of memories—the trips to the casinos of Atlantic City. There he parks his family in a squalid hotel room for days while he plays all night “in that red-velvet world of his.” After he loses everything he has, he buys a ping-pong table that’s meant to keep him at home but he and his friends eventually begin betting extravagantly on the matches. And then he vanishes.

Wong’s mother was the “village beauty,” who came to America for an arranged marriage with the wrong man. When she gave birth to her daughter a year after the wedding, she looked at the baby and said “She knows too much.” But even as she works two jobs in the wake of her husband’s abandonment, she fosters her daughter’s intelligence and takes pride in her beauty. 

Although this book has “A Memoir” emblazoned on its cover, it’s a collection of essays, deeply personal and fluid, not linear. Wong is a poet  and her poetic art burnishes the  language of her narrative. She discloses the rage that filled her childhood home and that still burns within her when she thinks about her father. Her stories of the other men who have left her are told with agonizing honesty and she illuminates her mother with a love that’s almost blinding in its clarity, empathy, and truth.

She tells how it was to leave Hong Kong after living there for a year as a Fulbright Scholar, flying to Iowa, where she’s accepted in the legendary Writer’s Workshop. Trading the smells of soy sauce eggs and sweet egg waffles for the odors that waft toward her in a Midwestern airport, reeking of “old carpet and recycled air,” Wong realizes that she’s no longer surrounded by Asian people. In fact she is “the only Asian person” to be seen and she “immediately felt unmoored.”

Now the author of two volumes of poetry and a university associate professor, she asks “How did I get here, glistening with all this nourishment?” These brilliant, shining essays show every step of Jane Wong’s emotional odyssey, and “memoir” will never be the same again.~Janet Brown

Last Man in Tower by Aravind Adiga (Knopf)

Aravind Adiga, author of the Booker Prize winning novel, White Tiger (and reviewed by Janet Brown in 2008) third book, Last Man in Tower, was published in 2011. It tells the story of a real estate developer who has his eyes on buying out Vishram Society, an apartment complex which consists of Tower A and Tower B. The buildings are located in the city of Mumbai, in India. 

If you were to ask about Vishram Society, “you will be told it is pucca - absolutely, unimpeachably pucca. It is important for the reader to know because “something is not quite pucca about the neighborhood - the toenail of Santa Cruz called Vakola”. You will infer from the context of the passage that pucca means something solid or permanent. 

Tower B is the newer and younger of the two buildings. It is a seven-story building that was built in the seventies. It houses many young executives who work in the financial district which is located nearby. It is the more desirable building of the two to buy or rent. 

Tower A is what most people think when people talk about Vishram Society. It is a six-story building which was founded in 1959. Many of the residents of Tower A have been living in the same building for thirty years or more. 

Real estate developer Dharmen Shah has made a very generous offer to the residents of Vishram Society, both Tower A and Tower B. Most of the people living there had never seen or held the amount that the wealthy builder is offering. He believes that all the residents will agree to the offer and will move out as soon as possible so he can build his latest and best luxury apartment complex which he has already named Shanghai. 

Shah had the Secretary of Vishram Society post his offer on the complex’s notice board. There was only one stipulation written at the very bottom - “The last date for the acceptance of the offer is the day after Gandhi Jayanti: 3 October. (Non-negotiable.) The offer will not be extended one minute beyond this date”. All residents must agree to the offer. If only one person refuses, then the offer will be withdrawn.

It is a dream-come true for most of the residents, but one man, Yogesh A. Murthy, a 61-year-old retired teacher, known to all as Masterji, is not interested in moving. The apartment is a reminder of the life he shared with his recently deceased wife. The rooms are also full of memories of not only his his daughter as well, who met a tragic end when she was pushed out of the train when she was on her way to school. 

As the deadline approaches, the residents' true colors begin to show. Friends become enemies, rumors are spread, and threats are made. However, Masteri does not budge from his refusal to accept the offer. 

In short, Adiga’s story is how greed and yearning can corrupt even the best of people. When the builder’s left-hand man, the person that does the dirty jobs fails to change Masterji’s mind, the builder relies on the residents’ greed to do what must be done? If you lived in a similar complex, how far would you be willing to get what you want? ~Ernie Hoyt

Four Treasures of the Sky by Jenny Tinghui Zhang (Flatiron Books)

“Practice erasing and overturning and re-creating the self until all I have to do is disappear.”

Daiyu has been doing this all of her life. Born to parents who named her after a doomed woman in an ancient story, she is a loved and cherished little girl until the day her parents disappear. Her beloved grandmother tells the twelve-year-old girl that she too must vanish, so the captors of her parents won’t come back to take her away. Cutting Daiyu’s hair and dressing her in the clothing of a boy, her grandmother gives her a boy’s name, Feng, and sends her off to a distant city. 

As Feng, Daiyu becomes a boy, finds work as a calligraphy master’s servant, and begins to learn the characters on her own. The Four Treasures of the Study become her implements: the inkbrush, inkstone, inkstick, and paper, and she’s taken on as an after-hours student at the master’s school. One day, while exploring the city streets alone, she falls into the hands of a stranger who drugs her, puts her in a dark room, and holds her prisoner for almost a year. During that time, an old woman comes every day to teach her English and when she has learned enough, her abductor covers her body with tar and stuffs her into a basket filled with coal. “You’re going to America, to a place called San Francisco. If anyone asks, tell them you came from New York.”

But nobody asks. Instead the girl is taken from the ship as soon as it docks, is stripped naked, put into a barracoon, and is quickly purchased by a Chinese brothel owner. She’s given a new name, Peony, and eventually is assigned her first customer, a young boy who helps her to escape.

Once again her hair is cut, she’s dressed in men’s clothing, and is given papers that declare she is Jacob Li. Taken to Idaho where Chinese labor is needed, Jacob Li lives there for three years, never once betraying his true identity. Working for two Chinese shopkeepers,  Jacob struggles with his attraction to a young Chinese man who teaches the violin. The only feminine part of Jacob is the ghost of the woman with whom the girl he once was allowed to be shares a name. Lin Daiyu’s spirit is sheltered within the body of Jacob Li, as hidden as Daiyu herself.

Then the violence begins, with the white townspeople united against the Chinese residents, and suddenly “being Chinese is something like a disease.” When the Rock Springs Massacre is reported in the Idaho newspapers, a tragedy begins to unfold and a story that has the tinges of a romance novel becomes an account of terrible history.

In 2014, Zhang says in an author’s note, her father was driving through a town in Idaho where he saw a sign that said a “Chinese Hanging” once took place there. Five Chinese men accused of murdering a white store owner had been strung up by a mob of vigilantes. Later Zhang began to research the facts behind this brief account. The more she learned, the more she “wanted to tell the story, not just of the five Chinese who were hanged, but of everything--the laws, tactics, and complicity that enabled this event and so many others.”

Through Daiyu, Zhang tells this story in the form of a fable anchored in history. Through her different names and selves, Daiyu embodies the Chinese women who were forced into American brothels, the Chinese men who looked for work under identities that were not their own, the Chinese business owners who were forced to leave everything they had painstakingly built, the Chinese who faced death at the hands of white mobs. 

Four Treasures of the Sky is a smart and compelling novel that’s almost impossible to put down. Once it’s finished, it clings on, with sorrow and a terrible unveiling of whitewashed truths.~Janet Brown

Nausicaa of the Valley of the Wind by Hayao Miyazaki (Viz Media)

One of Japan’s most renowned anime production companies recently announced that it would be re-releasing their movie soundtracks on colored vinyl. With the opening of the Studio Ghibli theme park in Aichi Prefecture last year, I decided to revisit the first Studio Ghibli title I was exposed to. 

I had originally watched the 95-minute edited, re-cut, and dubbed version of 風の谷のナウシカ (Nausicaa of the Valley of the Wind) released as Warriors of the Wind in the U.S. in 1985. However, knowing that the film was based on a manga of the same name, I decided to read the entire seven volume series in English. 

Nausicaa of the Valley of the Wind is an environmental cautionary tale. It is a dystopian story that is set one thousand years after the Seven Days of Fire, an ecological disaster created by mankind that changed the face of the earth. Humanity survived but most of the earth became a wasteland, covered by the Sea of Corruption, a toxic forest which is protected by mutant insects including a large creature called the Ohmu. 

People live on the fringe of the forest and often engage in battles with other lands and peoples for the few remaining resources. The world has been divided into the Kingdom of Torumekia, the Dorok Principalities and the Autonomous States of the Periphy which includes the Valley of the Wind, Waji Valley, Valley of Sand, and the cities of Pejitei and Pagase.

Nausicaa is the Princess of the Valley of the Wind. She’s a very brave and courageous woman and often explores the Sea of Corruption while riding her glider. When the Valley of the Wind is drawn into war, she reluctantly finds herself leading her people in place of her ailing father. 

The Periphery States are vassals of the Torumekian Empire and they are obliged to help the Emperor who has decided to attack the Dorok lands. Although the Torumekians have a great army, it was the Doroks ancestors that bioengineered the mold that caused the formation of the Sea of Corruption. 

Now, the Doroks have developed a new mold and when used in battle, “its rapid growth and mutation result in a daikaisho” which is translated as a “great tidal wave”. The daikaisho draw the insects into battle killing all in its path - both Doroks and Torumekians.

The Doroks also have in their possession a God Warrior. When Nausicaa encounters the God Warrior and it’s brought to life, it believes that Nausicaa is its mother. Nausicaa finds the God Warrior to be childlike but fears its powers of destruction. She gives the God Warrior a name and convinces it to travel with her to the Shuwa, the Holy City of the Doroks.

Meanwhile, the Ohmu and other insects are trying to stop the expansion of the mold. The two warring nations still don’t realize that it is the ohmu and insects who continue to protect the earth. Nausicaa decides to sacrifice herself and joins the ohmu, however they protect her. She survives but finds a new quest - to seek a peaceful coexistence with the mold and the Sea of Corruption. 

The fact that the mold can be made into a weapon disturbs Nausicaa. It is here where she learns the secrets of the Doroks which were hidden inside a crypt. She decides that the crypt is a danger to the future survival of humanity and orders the God Warrior to destroy it. But even if the crypt is destroyed, what will become of humanity? That seems to be the ultimate question in Miyazaki’s epic story. 

If, like me, you thought the manga serialization was a graphic novelization of the movie, you will be in for quite a surprise. The story is more detailed than the movie. Many of the characters from the movie are more fleshed out and have certain motives for doing what they do. It is a story of intrigue, love, betrayal, and the ultimate fight for survival. As Miyazaki infers in his story, if we don’t take care of the environment now, it could lead to our own destruction. ~Ernie Hoyt

Bangkok Shophouses by Louis Sketcher

There are travelers who are perfectly satisfied with big fat guidebooks that tell them exactly where to go, where to eat, where to sleep, and where they will always be securely in the company of other travelers. This book is not for them. Bangkok Shophouses is slender, idiosyncratic, and fits on a coffee table as nicely as it does within a backpack. It’s a book for people who want to wander through the older streets of Thailand’s capital city, while being given an understanding of what they’re looking at. Since these are the sort of people who like to roam around on their own, unhindered by a guide or a big fat guidebook, Louis Sketcher, aka Suppachai Vongnoppadongdacha, is the man for them. 

“Because each shophouse has a story to tell…” he has taken his sketchbook, pencils, brushes, and watercolors to two of Bangkok’s oldest neighborhoods. The first is an area that almost every traveler will have on their itineraries, the historic area of Phra Nakhon that holds the Grand Palace, the city’s most revered temples, and the raucous jollity of that tourist paradise, Khao San Road. The second is less renowned, Thonburi, the Brooklyn of Bangkok, that lies across the river and has just recently attracted the attention of developers. 

Both of these areas are filled with streets that hold architectural gems and other secrets, which are beautifully divulged in this book.

Sketcher’s drawings are delicate and bright with soft colors and meticulous details. He shows the carvings and elaborate sculpted designs on pediments and balustrades, the lattice work on veranda railings, the creative use of stucco and concrete. He identifies the styles of architecture and the reign in which the buildings were constructed.  Strolling through the labyrinth of streets, he finds the diversity that exists in this part of the city--the Indian section, the lane that has been the Chinese trading center from the earliest days of Bangkok, and Talat Noi, a thriving urban village which has housed Chinese, Portuguese, and Vietnamese throughout its history. He shows where to find the three shophouses that contain Bobae Market, a wholesale clothing market that’s been bustling since before World War Two began. His drawings reveal the shuttered Palladian windows that lie above Pak Klong Talad, Thailand’s biggest flower market. And he tackles the overwhelming drama that’s found in Yaowarat, Bangkok’s sprawling Chinatown, plunging beneath its neon glory to point out quieter beauties, including an elegant colonial-style gem that’s been refashioned into a hotel.

Across the Chao Phraya river,  Sketcher goes to a wooden house with an ornately peaked roof and latticed walls that’s now a riverbank cafe and to a shophouse with a concrete facade that looks like a giant honeycomb, within a corner of the city that’s famous for its desserts. In the neighborhood known as Kudi Chin which was once Portuguese, he finds Windsor House, owned by an English family long ago, a wooden house in the style known as gingerbread with a profusion of carved ornaments and “exquisite wooden fretworks above the windows, eaves, and canopy.” And he shows all the reasons why readers should brave the “long and narrow lane” that twists through the riverside Wang Lang Market.

The primary delight of this book lies in the illustrations that are scattered in the margins--sketches of the people who live and work in these shophouses, the food that can be found and eaten there, the treasures that are sold within their walls. A double-page spread of delectable specialties and where to find them, along with an index of some of the shophouses with addresses in English and in Thai, add to the usefulness of this information. Yes, you can stay in the baroque splendor of the heritage hotel, buy sarees in a 100-year-old shophouse in the Indian section of Phahurat, view the river traffic in all its chaotic splendor from the comfort of a cafe in the Wang Lang Market.

Because the text is bilingual, readers have a good chance of finding everything that’s pictured—and because there’s an illustrated list of shophouse styles and examples of architectural vocabulary, they’ll be able to understand what they see. Just in case they might want to fill their own sketchbooks, there’s a list of supplies and paints that were used in making Sketcher’s drawings. A small bibliography may not be helpful to everyone since it’s largely written in Thai.

I lived in Bangkok for eight years and have lost count of how many times I’ve visited Thailand. Bangkok Shophouses has made me realize how much I missed as I walked and stared through the areas that Louis Sketcher has illuminated. I can’t wait to go back--and when I do, this book is going with me, every step of the way.~Janet Brown

Points and Lines by Seicho Matsumoto, translated by Makiko Yamamoto and Paul C. Blum (Kodansha International)

Long before the popularity of Japanese mystery authors such as Keigo Higashino, Kotaro Isaka, and Miyuki Miyabe became known to the English reading public, there was Edogawa Rampo and Seicho Matsumoto.

Matsumoto is the winner of the prestigious Akutagawa Award in 1953 for his short story Aru Kokura Nikki Den (The Legend of the Kokura-Diary). He also won the Mystery Writers of Japan Award in 1957 for his short story collection Kao (The Face). 

Although Edogawa Rampo is considered the first Japanese modern mystery writer, his novels are often described as being part of the “orthodox school” of detective fiction - stories that follow a very conventional formula. In contrast, Seicho Matsumoto incorporated social realism into his stories in which crimes are committed in ordinary settings and often have motives related to political corruption and social injustice, popularizing the detective genre which was later called suiri shosetsu (deductive reasoning fiction) which may include non-detective fiction as well. 

Points and Lines was originally published in 1957 as 点と線 (Ten to Sen) by Kobunsha. The first English translation became available in 1970 and the first paperback edition was published in 1986 and was translated by Makiko Yamamoto and Paul C. Blum. In English, it was also released with the title Tokyo Express.

The story opens with three people standing on Platform 13 at Tokyo station. The people are Tatsuya Yasuda, the president of a precision tool company. Recently, he has been doing a lot of business with government agencies and his company continues to grow. Yasuda is also a regular patron at a restaurant called Koyuki where he entertains many of his government contacts.  With him on the platform are two women who work at Koyuki, Yaeko and Tomiko.

All three of them witness Otoki, who also works at Koyuki, getting on the Express Train Asakaze with a man on Platform 15. A few days later, Otoki and the man she was seen with, a man named Sayama, were found dead on a beach in Fukuoka, apparently the victims of a love suicide. 

The local detective in charge of the case, Shigetaro Torigai, feels there’s something not right about the case. But at this point, his only clue is a receipt from the dining car of the Asakaze which was found on Sayama’s person. It also comes to light that Sayama may have been involved in a corruption case with government officials at a certain ministry. 

Detective Kiichi Mihara, who is investigating the corruption case in Tokyo, goes to Fukuoka to find out what happened to Sayama. Together with Detective Torigai, the two detectives discover another fact. That the Asakaze can only be seen from Platform 13 for a mere four minutes. The two detectives begin to have their doubts about Yasuda, but he has a rock solid alibi that puts him in Hokkaido when the alleged “love-suicide” occurred. 

Many of Seicho Matsumoto’s stories have been adapted into films or television series, including this one. The movie adaptation was released in 1958. It wasn’t until 2007 when the book was adapted into a television program.

The plot of this story continues to be used in crime novels and films to this day. The main theme being able to disprove a suspect’s alibi. One of the things you must remember when reading this book is the fact that it was written before the advent of the shinkansen or bullet train and air travel was still uncommon. There were no smartphones or Internet either. Reading the book now, it may seem dated, but there is no doubt that it could only be set in Japan, seeing how the story is centered around the train schedules, which to this day remain very accurate. 

The story is also a great introduction to the Japanese detective fiction genre. You won’t be disappointed. ~Ernie Hoyt

Real Thai Cooking by Chawadee Nualkhair, photographs by Lauren Lulu Taylor (Tuttle Publishing)

When I first began using cookbooks, way back in the dark ages of mid-century Alaska, they weren’t embellished with photographs. Some had a few pages of garish colored photos bound into the middle of the book, others quite dismally still offered black and white pictures of a few of their dishes. Food photography wasn’t yet a category. What was in place were snapshots of completed recipes.

Maybe that’s why two of my favorite cookbooks have no photographs at all. MFK Fisher and Laurie Colwin provided something better. They wrapped their recipes in essays instead and as a greedy reader, I was enthralled. It wasn’t until 1982, when Christopher Idone came out with the stunning coffee table book, Glorious Food, did I begin to think that cookbooks could be objects of visual delight.

However I never cooked anything from Glorious Food because I was terrified that I would mar its pages. And I infrequently used recipes from MFK or Laurie, although I picked up their books often. Several hours later I’d pull myself away from their stories and slap together a meatloaf, just in time for supper.

It wasn’t until this year that I found the perfect ménage à trois of essays,  photographs, and recipes. Real Thai Cooking has it all.

I can hear the yawns now. Another Thai cookbook? Really? Why?

Here’s the flaw in that rush to judgment. This is a pioneer in the cookbook arena, because every portion of the trinity that lies between its covers is perilously close to perfect. 

I dare anyone to look at Lauren Lulu Taylor’s food photographs without immediately feeling hungry. But they aren’t just appetite snares--her thumbnail photographs turn the ten pages of essential Thai ingredients into a guide to shopping in Asian grocery stores and her shots of street food vendors are bright, evocative, and an irresistible invitation. This is food photography at its best.

And it has to be because those photographs exist side-by-side with some of the best food writing ever done about Thai cuisine and some of the most enticing--and often surprising— recipes. 

Chawadee Nualkhair is a food explorer. Yes, she tells how to make Pad Thai but she first gives the reason why it exists. (Hint: it’s a political creation, not a culinary masterpiece.) She gives two recipes for Som Tum but neither are the version most beloved by visitors to Thai restaurants in America or in Bangkok, where som tum, Chawadee says, is a form of fusion, adapted to the palates of that city’s residents. She provides a recipe for Tom Yum Goong which is elevated by ingredients used in the dish made by Michelin-star-winning street vendor, Jay Fai.

The stars of her recipe collection illuminate Thailand’s multicultural underpinnings: Jalebi that has Persian ancestry; a pumpkin custard invented by an enslaved Portuguese aristocrat who headed a palace kitchen;  Oxtail Soup that’s descended from Arab traders who brought Islam to Southern Thailand; a pork pâté that came to Thailand when Vietnamese fled French colonizers in the 1880s to settle into Thai towns along the Mekong. These culinary surprises coexist happily with a recipe for Chiang Mai’s famous sausage, Sai Oua, which may require a meat grinder, a sausage stuffing machine, and over two hours of prep time. And just in time to combat the U.S. Sriracha hot sauce shortage, she  comes to the rescue with a recipe for the real thing, calling for fermented chilies,  as it was first invented and still made on the Thai coast in Sriracha.

Not only are these recipes clear and undaunting, they’re fun to read. When using a Thai mortar and pestle, “pound like you have a grudge against the ingredients.” If you’re brave enough to mash Thai chilies in that fashion, protect your eyes from flying chili bits by covering part of the top of the mortar “with your other hand as you pound, like watching a horror movie through your fingers.” When making salt-encrusted fish, encase it in salt “like you have murdered it and are trying to hide the evidence.” Even making a humble omelet becomes high drama when the drops of egg “bubble up like the villain in an acid bath in a James Bond movie.”

If you gather from these phrases that Chawadee Nualkhair knows how to write, you’re absolutely correct. A former journalist for Reuters and for years the writer of a delightful food column called Bangkok Glutton (bangkokglutton.com), she has studded this cookbook with a bounty of essays that have turned it into a painless and pleasurable tutorial on food in Thailand. 

She explains the differences of Thai regional cuisine, along with the history behind it all. As an ardent champion of Bangkok’s street food, she tells how it came into being and why it must survive. In a frank and possibly controversial explication of “Thailand’s Fast-developing Drinking Culture” she hazards a debatable theory as to why drinks aren’t paired with Thai food: “That is because Thais simply drink to get drunk.” In another piece about eating larb prepared with raw beef, she presents a kinder reason for drinking while consuming this dish. The consumption of alcoholic beverages “are supposed to help kill any germs.”

Her voice is as seductive as her recipes and her recipes are as easy to enjoy as Chawadee Nualkhair is herself. Even readers who may never go to Thailand can immerse themselves in the country’s food, as it’s prepared and eaten within its borders, in the company of a woman who knows it well.~Janet Brown

What I Talk About When I Talk About Running : A Memoir by Haruki Murakami, translated by Philip Gabriel (Vintage)

In 2007, Japanese Nobel Prize nominee Haruki Murakami wrote a nonfiction book about running and writing. It was originally published as [走ることについて語るときに僕の語ること (Hashiru koto ni tsuite Kataru toki ni Boku no Kataru Koto] which translates to What I Talk About When I Talk About Running and published by Bungei Shunju. The English version was published in 2009 and was translated by Japanologist, Philip Gabriel. The title was taken from a short-story collection by one of Murakami’s favorite writers - Raymond Carver. He was given permission by Carver’s widow, Tess Gallagher, to use the title in this way. 

In this collection of essays, which Murakami wrote between August of 2005 to October of 2006, as he was training for the New York City Marathon, he writes about what running has meant to him as a person. He says it’s “Just a book in which I ponder various things and think aloud”. Murakami says this isn’t a book about his philosophy, it’s more a book about life lessons he learned by running. 

Murakami had the idea of writing a book about running ten years previously but it wasn’t until he read an article in the International Herald Tribune when he came across an article about running a full marathon. Famous marathon runners were asked by different interviewers what goes on in their head when they are running. Do they have a special mantra that keeps them going to complete the race? Murakami thought their answers were interesting and profound. 

The mantra that one runner mentioned stuck in Murakami’s head. The runner replied that it was a mantra his older brother said - “Pain is inevitable. Suffering is optional.” Murakami has this to say about the mantra. “Say you’re running and you start to think, Man, this hurts, I can’t take it anymore. The hurt part is an unavoidable reality, but whether or not you can stand any more is up to the runner himself”. 

Although writing is Murakami’s profession, he says he became a serious runner after moving to Cambridge, Massachusetts earlier in the year. His idea of running seriously means he runs an average of thirty-six miles a week. “In other words, six miles a day, six days a week”. “So at thirty-six miles per week, I cover 156 miles every month, which for me is my standard for serious running”. 

Murakami says since he’s become a serious runner, he has run one full marathon every year for the past twenty plus years. He trains in whatever city his schedule takes him, be it in Hawaii, Japan, or his current home of Cambridge, Massachusetts. He has also expanded his interest beyond running and has participated in triathlons as well and talks about readjusting his training for the cycling and swimming portions of the event. He is also aware that he is not as young as he once used to be and accepts the fact that it is near impossible to improve his times on subsequent marathons or triathlons. 

I’m no runner, nor am I a huge fan of Murakami’s works, although I have read a number of his novels. Even if you are not a runner and are not a big fan of Haruki Murakami, his easy to read journal on training for the New York City Marathon is interesting and introspective. It makes you think about your own thoughts when you are doing something that completely absorbs your mind. I do exercise everyday but instead of thinking about my inner thoughts, I usually listen to music or watch a movie while working out on a treadmill. So far I haven't had any epiphanies while exercising but you never know…. ~Ernie Hoyt

Mott Street by Ava Chin (Penguin Press)

When Ava Chin first saw a picture of the completed transcontinental railroad, she was puzzled to see no Chinese faces in the photograph. From the time she was very small, her grandfather had told her stories about his grandfather. Yuan Son came to America in the 1860s when he was still in his teens and was immediately hired as one of the many Chinese men who laid track for the railroad that would unite the country. He and his crew had won a bet for their employers by accomplishing the impossible task of putting down ten miles of railroad track in a single day. Why weren’t the Chinese laborers mentioned in her history book?

What she didn’t know was the continuing story of her great-great-grandfather who took his earnings after the railroad construction was over and moved to Idaho, a place that in 1870 had a population that was 30% Chinese. He opened two businesses and was a solid part of his community until economic turmoil struck and the Chinese Americans became a convenient scapegoat. After thirty years in the U.S. Yuan Son was chased out of his home by his white neighbors as they yelled “The Chinese must go!” He returned to his ancestral village where he was understandably reluctant to have his sons and grandsons retrace his journey to seek their fortune in the U.S.

This wasn’t the only piece of family history that Ava learned about as she was growing up. Although she often went to Manhattan’s Chinatown, she had no idea that the father she had never known lived around the corner from the building where her mother had grown up, 37 Mott Street. Nor did she know that both sides of her family, paternal and maternal, had lived for over a hundred years as neighbors in that same building. 

Long before Ava finally met her father, she learned about the tangled history of the Chins and the Wongs. It came to her in the jigsaw puzzle pieces of her grandparents’ stories about the Wong and Doshim families and through snatches of historical research about her paternal clan, the Chins. When she was in her twenties, she finally found her father, a prominent Chinatown resident who lived in the only remaining Manhattan townhouse that dated back to the days of the American Revolution, on Pell Street, only two blocks from 37 Mott Street. It was a place Ava had walked past countless times, never knowing that this place contained the hidden part of her family.

At this point, uncovering the history of the Chins , the Doshims, and the Wongs became Ava’s life’s work. Her academic training gave her the ability to do piercing and unflagging research, eventually sending her to live in China as a Fulbright scholar. However it was the torrents of memory, the oral stories, not written records, that held “the keys to truth” and revealed “the rich, loamy terroir” of both her family history and the history they inhabited on two continents.

The child of a doomed relationship between a beauty who had been Miss Chinatown and a dashing young playboy who drove a Triumph convertible, Ava’s lineage went back to the beginnings of New York’s Chinatown and continued throughout the terrible bastion of racism that was fostered by the Chinese Exclusion Act. From 1882 until 1943, her ancestors’ lives were battered and truncated by this legislation, denying them all citizenship in a country they made their home for five generations. It was only the fifth, Ava’s generation, that would have the full privileges of an American birthright from the moment they opened their American eyes.

As her ancestors worked and prospered, they did all they possibly could to prove themselves more than worthy of citizenship. During each of the world wars, Dek Foon, an uncle to Ava’s maternal grandmother and a Chinatown powerbroker and philanthropist, was at his local draft board as soon as his age group was eligible to sign up, although as a man in his late forties and then in his sixties, he wasn’t called for duty. He and his colleagues were indefatigable fundraisers for Russian Jews who suffered pogroms in !903, an act of kindness with political benefits as New York Jews took note. 

Foon’s wife, Elva May Lisk, became a pillar of strength and kindness to her husband’s family. Their marriage was a love match that was able to come into being because New York had no anti-miscegenation laws and it lasted until Dek Foon’s death. One of the most moving portions of the family history takes place when Ava discovers that Elva hadn’t been buried next to her husband. Stealthily she scoops earth from each of their burial sites, placing a portion of one spouse’s earth on the other’s grave, uniting them in the only way she can. 

The Doshims and the Wongs were people who married for love. The Chins were pragmatic Don Juans whose passion for gambling and fast living eclipsed anything they might have felt for the women in their lives. Ava’s grandmother Rose, the smartest woman in Chinatown, a graduate of Hunter College in a time when this was an anomaly and a stunning accomplishment for a Chinese American woman, told her granddaughter scathing stories about the Chins, who made and lost fortunes and squandered their expensive educations.

Through the pages of Mott Street is an overlay to this well-told family history. It’s the shameful history of the United States that Ava uncovers in a state of rage and grief, facts that live in a ghostly state of forgotten truths and are now brought to light. From Angel Island in the San Francisco Bay to the immigration hell that once thrived in the small New York town of Malone, there was no recognition of the propaganda written by Emma Lazurus. No Lady Liberty was there to “lift my  lamp above the golden door.” Even for Chinese residents who had the 19th Century equivalent of a “green card,” travel outside of the U.S. was a risky business that might ensure they could never return.

This shadowed history is beautifully and scaldingly interlaced with the stories of Ava’s families, making Mott Street a book that should be required reading for every high school civics class.~Janet Brown 

Spirit of the Phoenix : Beirut and the Story of Lebanon by Tim Llewellyn (I.B. Taurus)

Tim Llewellyn is a British writer who was the British Broadcasting Company’s (BBC) Middle East correspondent based in Beirut for about ten years. He has covered the Lebanese Civil War, the Palestinian question, and was the first reporter to break the news of the massacre at Sabra and Chantila in 1982. 

Spirit of the Phoenix is Llewellyn’s treatise on Beirut and the country of Lebanon. Before you even begin to read, he provides a chronology of important dates and events in Lebanon’s history, followed by a list of leading figures in the country. We are introduced to the people who settled the country - the Maronites, the Druze, the Shia, and the Sunni. 

Lebanon is part of the Levant - an area of the Middle East which includes areas of Lebanon, Jordan, Palestine, Israel, and Syria. It sometimes also includes current day Cyprus, Egypt, and parts of Turkey. 

“For all the beauty of its landscapes and the attractions of its people and culture, Lebanon has coursing through its enfeebled veins all the poisonous currents of international rivalries and regional aggression, and the religious and nationalistic fanaticisms these have engendered”, make this one of the most volatile regions in the world. 

Llewellyn hopes to explain that given all the animosity and strife that continues even to this day, how Lebanon and the Lebanese continue to survive. He has seen the changes in the country when Beirut was considered a modern and chic city and was still in the country when the Lebanese Civil War began. 

Llewellyn’s book is part travelogue, part history, and is also full of his personal anecdotes of what he has experienced living and working in the war-torn country. He revisits many of the places he has reported on and is able to talk to the people who still live there. He may not have the answer to the problems still facing the country, but he does help the reader have a better understanding of the region and its many problems. 

The most upsetting fact you will learn about the Levant is how the League of Nations divided up the Levant after the fall of the Ottoman Empire. There was a Mandate for Great Lebanon and Syria managed by France, and the Mandate for Palestine managed by the United Kingdom. It appears as if the two powerful countries were splitting the land as spoils of war. The creation of Israel on Palestinian soil in 1948 continues to be a sore point for the Palestians leading to creation of HAMAS and Hezbollah. 

Before I finished reading this book, I was shocked to discover how ignorant I was of Lebanon and the Middle East in general. The only thing I knew for certain was its location and that capital, Beirut, was once referred to as “Paris of the Middle East”. I was surprised to find that Lebanon had a large Christian population, the Maronites. As with a large number of people, my knowledge of the Middle East was divided into the Jewish state of Israel and the Arab countries surrounding it being Islamic. How wrong I was!

The only other thing I knew about Lebanon was that they made great food. I knew this because I used to live near a Lebanese restaurant during my university days. Whenever I’m asked, “What would be my ‘Last Supper’ I always answer, dejaj mashwi - Lebanese dish which is charbroiled chicken marinated in lemon and garlic and topped with a garlic sauce. It is also seasoned with allspice. 

Until the Middle East sorts out its differences without U.S. or other external interference, I’m afraid World Peace is still years from being achieved. ~Ernie Hoyt

The Glass Kingdom by Lawrence Osborne (Hogarth)

Bangkok is where people come from all over the world to reinvent themselves so it’s no wonder that this is the city where Sarah Mullins chooses to launch herself as Sarah Talbot Jennings. She’s arrived with a suitcase full of cash that she received for letters between famous people--ones that she forged herself. She needs a place to hide until the resulting furor dies down and Bangkok, she decides, is a “chaotic, lawless choice.”

She settles into one of the city’s newly gentrified neighborhoods, one characterized by the “affable stability” of “yoga studios and espresso bars.” Presiding over this veneer of hipster chic is The Kingdom, a somewhat down-at-the-heel residential complex consisting of four towers, each twenty-one stories high. It’s the perfect place for Sarah to park her money for a while while she figures out her next move. What she hadn’t counted on was that she’s landed in a community of drifters and grifters who have come from all over the world, looking for their next target, be it another city or another sucker. 

Sarah, with her aura of wealth and her claims of being a “trust fund baby,” is the perfect victim. The women who befriend her are ones who are experts in decodng the nuances of social class and this American newcomer lacks the manners and style of the upper echelons. It’s an easy matter to figure out where her money comes from. All her neighbors have to do is persuade Sarah to hire the same maid whom they recommend and all use. There are no secrets that a Bangkok maid can’t uncover and this one quickly finds the suitcase laden with bundles of cash.

Suddenly things begin to unravel with alarming speed. Political demonstrations spring up all over Bangkok, threatening to unsettle the capitol and launch a revolution. A curfew goes into effect and power outages throw much of the city into darkness. During a black-out, one of Sarah’s neighbors shows up, covered in blood. She has just killed her physically abusive boyfriend. Sarah, steeped in the female solidarity that infects every American woman, becomes an accomplice, and as she does, reality begins to dissolve.

Many foreigners in Bangkok lead liquid lives. They have no rights and they have no roots. Without much language or cultural understanding, they float in a strange netherworld where paranoia coexists with cluelessness. Sarah, “a living ghost,” unanchored by any previous form of reality, finds herself in a place where nothing seems real and ghosts are a common feature. Spirit houses, shrines, trees that are protected by presiding spirits, a young girl who appears and disappears in odd places and at odd intervals, the woman whom Sarah assists in the aftermath of the murder who vanishes as thoroughly as if she too had been killed, the spectral flowers that gleam pale in the darkness of the nocturnal power failures--all of these things conspire to evoke an atmosphere of dread. 

Atmosphere is what Lawrence Osborne is known for and he’s become a master of it. In The Glass Kingdom, he anchors this with a skimpy plot, undeveloped characters, and a shaky command of dialogue and presents it as all surrealism. However atmosphere is almost enough to carry the book--don’t read it at night, alone. Without ever creating a tangible threat, the gothic darkness of a lonely existence and a cloud of invisible menace is almost overwhelming. 

The problem with inventing a new life is it’s as easy to erase as it is to change. Disappeared, has she? Who cares? Osborne, perhaps without knowing it, has written a cautionary fairy tale with a concluding moral that’s as plausible as it is horrifying.~Janet Brown

Wandering Souls by Cecile Pin (Henry Holt and Company)

“There are the goodbyes and then the fishing out of the bodies--everything in between is speculation.” But “in between” lie three long months and within that space, Anh loses her childhood. 

She and her two brothers are sent away from Vietnam on an eight-day voyage to Hong Kong, aboard a “rotting and cracked boat.” Her parents and her other siblings will follow them later, an act that divides the family in two: the survivors and the dead. Three months after she last saw them, Anh is taken to a morgue to identify bodies that were once the other half of her family.

She becomes the only security her brothers will ever have again and her spur-of-the-moment decision to lie to an official at the Kai Tak refugee camp determines what their lives will become. Angered that an uncle who had successfully journeyed to America had given her father encouragement to follow him and die, when asked if she has any family abroad, Anh says “No.”

This one syllable puts her and her brothers on a plane to another refugee camp, Sopley, in England. Caught in the exclusionist policies of Margaret Thatcher, it will be two years before the children have a home of their own with a bed they can all lie upon at the same time with their arms outstretched, a luxurious feeling after sleeping in the narrow bunk beds of Kai Tak and Sopley.

They aren’t unaccompanied, although they will never know it. Their little brother watches them as they slowly acculturate to their London slum neighborhood. “When they laugh, it’s like a dagger in my heart,” he says, “It’s lonely and tiring to be a ghost…invisible and voiceless.”

But his voice permeates the narrative, along with the future voice of Anh’s daughter who searches for her family’s history, “trying to carve out a story between the macabre and the fairy tale.” A weird counterpoint is given in the words of an aging American soldier who had been given a key role in Operation Wandering Soul, eleven years before Anh and her brothers leave Vietnam. He and a comrade are sent out into the battle zone with a cassette player and a portable PA system “to scare the living shit out of those gooks, their lieutenant tells them. When they reach their destination and press “play,” wails, screams and sobs echo into the jungle. Years later they’re told those were meant to be the voices of those Vietnamese who died far from home, wandering souls who yearned to be buried in the places where they belong.

The story of Anh’s wandering soul finding a home for herself, her brothers, and the part of her family who lie buried under Hong Kong soil, is wrapped in a collage of history: the terrible story of over 1000 Vietnamese who are taken by Thai pirates to Koh Kra, where 160 are killed and 37 women are raped by 500 men over a period of 22 days; a letter written by Margaret Thatcher to a Vietnamese family, a string of empty words belied by minutes from an informal meeting where the Prime Minister clearly states her reluctance to take in refugees who are not white; a study of Prolonged Grief Disorder, grief that lasts beyond a few months and “signals a state of mental illness.”

Anh’s daughter is told by a therapist that her family heritage “is one of death.” Saying she doesn’t want to write about death, she’s forced to confront it as she searches for her family’s history. At last she decides to keep the deaths, keep the suffering, add some joy, and ends her book with her mother in a garden of blooming roses, thinking it is “quite a wonderful thing to be alive.~Janet Brown

Fragrant Heart : A Tale of Love, Life and Food in Asia by Miranda Emmerson (Summersdale)

Miranda Emmerson is a British writer. In 2008, she and her partner decided to have one last fling before settling down and having kids. They decided to spend one year living and working abroad in China. 

Although she and her partner Chris chose to live in China for a year, they also traveled down to Vietnam and the Mekong Delta, then went west Cambodia, enjoying the cuisines of Phnom Phen and Tonle Sap Lake. They would continue their travels to central Thailand and to the island of Penang and the city of Kuala Lumpur in Malaysia. 

Emmerson’s love for Chinese food started when she was still a youngster living in Isleworth, a small suburb of London, England. She describes Fragrant Heart as “a book about travel but it’s also about food. The experience of food, the discovery of it, the sensuality of eating strange things in strange lands and falling in love with the taste of other people’s countries”. 

Emmerson’s love of Chinese food started when she was still a youngster. Her family would celebrate family occasions at a Chinese restaurant called Mann’s Beijing. When the family had a bit of extra money, birthdays would be celebrated at the Four Regions Restaurant in the neighboring town of Richmond. Emmerson thought, “If Italian food tasted of home and family, Chinese food tasted of exociticism and success”. 

Her love of Chinese food would grow after meeting her friend Anne whose parents were from Hong Kong. They worked at a Chinese takeaway and she would be mesmerized by the speed and efficiency of how they worked. However, it was while living in China which really “turned her on to the possibilities and varieties of Chinese food. To start to understand the different regions and thousand different dishes that could emerge from a single wok”. 

Emmerson does remind readers that Fragrant Heart is not only a culinary travelog but is also a memoir of facing the unknown, of escaping big decisions she and her partner have yet to make and of dealing with life in general. 

Emmerson is also a vegetarian. She asks the reader, “Are you vegetarian?” and follows up with, “Want some advice? Don’t go to China!”.  She says, “the irony for the vegetarian traveler in Asia is that as a relatively wealthy visitor to restaurants and towns in the cities, everything comes cooked in and garnished with meat”. 

Their first stop in their travels of food and life starts at a hostel in Beijing. China. It is the year the city hosted the Olympics. The owners of the Red Lantern House hostel are hosting a party for their guests. They are teaching the guests how to make New Year’s dumplings that are shaped like crescent moons. And that is only the beginning. 

Emmerson and her partner move from the hostel and find an apartment in Beijing are introduced to hot-pot meals, eat noodles and rice at an outdoor stall, her partner takes a Mandarin cooking class (Chris is proficient in four languages and has a degree in Russian from Oxford). 

They eat pho and nem cuon in Vietnam. Pho is a dish made with rice noodles in a broth with either chicken or beef and herbs while nem cuon is Vietnamese spring roll. They ate some grilled chicken and tofu kebabs in Cambodia which were topped with tirk salouk swai, a mango salsa. They introduce the readers to Pernakan cuisine which is also known as Nyonya while in Malaysia before making their way back to China. 

Emmerson’s prose is easy to read and her adventures in Asia with her partner Chris are filled with excitement and fear. Their love of food and culture might inspire you to travel abroad and try things you’ve never eaten before. If international travel is out of your budget, there are always the ethnic restaurants you check out in your own neighborhood. 

Happy eating and happy travels!! What more can you ask for? ~Ernie Hoyt

Anna and the King of Siam by Margaret Landon (HarperCollins)

If it hadn’t been for America’s love of Broadway musicals after World War II, Anna Leonowens would have sunk into well-deserved obscurity long ago. The author of two memoirs of her five-year stay in what was then called Siam, back in the middle of the nineteenth century, Mrs. Leonowens had a brief flurry of fame with her stories of teaching English to the many children of King Rama IV. She faded from public attention until Margaret Landon, the wife of an American missionary who had lived in the south of Thailand for ten years, was handed a copy of An English Governess at the Siamese Court. Both this and its successor, The Romance of the Harem, had been out of print for more than fifty years but they captured Landon’s imagination. 

After an impressive amount of research, she came out with a fictionalized version of Anna’s time in Siam, Anna and the King of Siam. It became a bestseller and drew the attention of theatrical impresarios and Hollywood moguls, ensuring that Anna’s fame spread worldwide. The Broadway show tunes became enduring classics and Deborah Kerr, sumptuously dressed in Victorian gowns made from Thai silk, made Anna an unforgettable historical figure. As she swooped across the throne room floor with her royal partner, Yul Brynner, singing Shall We Dance, who could fail to be enchanted? Thailand, aka Siam, that’s who.

Mrs. Leomowen’s books, Margaret Landon’s novel, and all three of the movies that stemmed from the Broadway musical, are banned in Thailand because the portrayal of King Rama IV in these works insults the memory of the monarch and the institution of the monarchy. Even in this century, when few people in other countries know or care about the “English Governess,” her name is still reviled in the Kingdom of Thailand and books refuting her claims are still popular. 

Margaret Landon tracked down copies of Anna’s two books, met Anna’s granddaughter who gave her copies “of letters and other pertinent material,” and unearthed a volume in the Library of Congress that was a collection of letters written by Rama IV.  Even so, the book she wrote, she confessed,  was “seventy-five per cent fact, and twenty-five per cent fiction based on fact.” (Since she accepted Anna’s invented facts with touching faith and a certain amount of naivete, her figures of fact and fiction are a bit skewed.)

Eighty years later, her novel is almost unreadable. The best parts of it are the portions that draw upon facts. Unfortunately they’re sunk by the remaining portion of the book that’s fictional, and by Landon’s stilted writing, which was probably modeled on Anna’s Victorian literary style. 

Within the supposed facts, there are strange glitches. Anna’s son is often referred to as Boy, with no explanation. Since he’s originally introduced as Louis, this is a weird and puzzling insertion. A Thai prince who appears at the novel’s beginning as an absurd and frightening figure later shows up as an honored physician.  His fluency in English and  the fact that he was the first Thai doctor to use quinine as a treatment for malaria is never mentioned to counteract that first buffoonish portrayal. Another bizarre episode implies that a diamond ring given to Anna by the King was an indication that he wished to add her to his collection of wives, Credulity is completely strained by the story of a royal wife who becomes so proficient in English under Anna’s tutelage that she’s able to read Uncle Tom’s Cabin and then translate it into Thai. Most shocking is a graphic description of flesh being cut from the body of a revered monk and fed to the temple dogs before the corpse is cremated, a disgusting bit of pure invention that Landon must have known was false. 

The most engaging portions of the novel are the letters written by Rama IV. The King’s English is idiosyncratic but his sentences are much more readable than the overwrought effusions that are excerpted from Anna’s own letters. 

Dramatic episodes of cruelty toward women of “the harem” are interspersed with lengthy and dull accounts of colonial incursions upon the sovereignty of Siam. Slavery weighs heavily upon Anna’s heart and mind and much later, when King Rama V, her former student, emancipates the slaves of Thailand, she gleefully takes credit for this. 

It’s difficult to understand how such a priggish woman could have given birth to so many versions of her invented life. Strangely, the life of her son Louis has been ignored, although it’s far more worthy of a book. Years after his mother took him back to England, he returned to Thailand as an adult, became a captain in the King’s Royal Cavalry, and founded a company that still exists in Thailand under the name of Louis T. Leonowens Co, Ltd. While Anna’s name is excoriated, it’s delightful to think that Thailand has kept “Boy”  as a part of his chosen country’s history.~Janet Brown

The Beast Player by Nahoko Uehashi, translated by Cathy Hirano (Pushkin)

Naoko Uehashi is a well known fantasy and children’s book author in her native Japan. She has won many awards including the international Hans Christian Andersen Award in 2014. The chairman of the International Board on Books for Young People, Maria Jesus Gil, has said of Uehashi, “Uehashi tells stories that are replete with imagination, culture and the beauty of a sophisticated process and form. Her literary subjects are based on ancient Japanese mythology and science-fiction fantasy that are deeply rooted in human reality”. 

The Beast Player is the English translation of the first two books in her series 獣の奏者: 闘蛇編と王獣編 (Kemono no Soja : Toda hen and Oju hen). Originally published in the Japanese language in 2006 by Kodansha Bunko. It is translated by Cathy Hirano who has translated a number of Marie Kondo books which have gone on to become international bestsellers.

In the world of The Beast Player, the kingdom of Lyoza is ruled by Yojeh, the divine ruler of the kingdom. Protecting the land of Lyoza is the Aluhan (Grand Duke) who is responsible for protecting Lyoza. There are also the Se Zan who guard the Yojeh. 

Elin is the ten-year-old daughter of Sohyon who comes from a nomadic tribe called the Ahlyo. Sohyon  became an outcast when she married outside her people. She and her daughter live with the Toda stewards. The toda being dragon-like water serpents. Sohyon is the head Toda doctor. It is her duty to take care of the kiba, the fiercest of all the toda. Everyone knows that toda cannot be tamed, but they are controlled by a silent whistle. A whistle that Sohyon doesn’t really like to use. 

One night, all of the kiba mysteriously die. Sohyon is blamed for their death and sentenced to be eaten alive by wild toda. On the day of her execution, Elin tries to save her. The Aluhan and their warriors were willing to let the child die as well as they considered her to be Akun Meh Chai, the “devil-bitten child”. 

As Elin tries to help her mother, they can see the wild toda coming for them. Sohyon tells her daughter, “Elin, you must never do what I am going to do now. To do so is to commit a mortal sin”. The last thing she says to her daughter is, “I want you to survive. And to find happiness”. She then used her fingers to whistle and the piercing sound made all the toda stop immediately. 

As Sohyon continued to use her finger whistle, the toda came near. Sohyon set Elin on one of the toda’s backs and said, “grip hard with both legs and don’t let go of the horns”. She then yelled, “Go! Don’t look back. Go!”. Elin manages to escape but witnesses her mother being devoured by the wild toda, 

Elin ends up stranded on the shore of a land far from her own home. She is found by Joeun, a solitary beekeeper. He takes her in and raises her as his own child. He senses that she is different. He also notices the color of her eyes. They are green. Only the Ahlyo have such green eyes and they are rarely seen by others. 

One summer as the Joeun takes Elin to the mountains, they see Royal Beasts in the wild. Elin is captivated by them. They appear to be large dragons that are the symbol of the Yojeh. The toda are the natural enemy of the Royal Beasts. However, the Royal Beasts can render the toda immobile by the whistling sound they make. 

As Elin grows older, Joeun sends her to Kazalumu Royal Beast Sanctuary and learns to become a beast doctor. Unknown to Elin, she becomes a pawn in a political struggle between the Aluhan and the Yojeh. There’s also a plot to assassinate the Yojeh as well. 

Uehashi’s epic saga can be enjoyed by children and adults alike. You will meet a whole host of characters which you will become to love (or hate) as the case may be. The story teaches one compassion and cooperation. It also focuses on ambition, greed, corruption, and the pursuit of power. The saga continues in the sequel The Beast Warrior. ~Ernie Hoyt

Nisei Daughter by Monica Sone (University of Washington Press)

Monica Sone is six when her parents tell her she is Japanese. She’s been told stories about her parents’ early lives in Japan, but she and her siblings are Yankees, born in America. Only when she and her brother learn that soon they’ll spend their after-school playtime in a Japanese school every day, does she realize she’s part of a culture that until now hadn’t intruded on her life.

A scrappy little hoyden who lives in her father’s Skid Row hotel, Monica’s playground is on the streets and alleyways of a rundown Seattle neighborhood. Taverns, a burlesque house, and businesses owned by the Japanese parents of her friends make up her landscape. Suddenly she’s in Nihon Gakko where she receives rigorous lessons in the Japanese language and etiquette. It’s a place, Monica decides, where “the model child is one with deep rigor mortis…no noise, no trouble, no backtalk.”

This is in preparation for a family trip to Japan where Monica’s youngest brother has a shrieking tantrum when he’s told to remove his shoes before entering a hotel dining room and Monica slaps one of her cousins during an argument, shocked when the girl doesn’t fight back. At the Nikko Shrine, she rebels when told that no one but the  Emperor is allowed to set foot on the sacred Shinkyo Bridge. Lagging behind her father, she slips under the rope barrier, tries to run up the curving arch of the bridge, and fails, seen only by horrified strangers. When a group of village boys gang up on her brother, Monica dives into the fray, scratching, biting, and pulling hair in “a marvelous free-for-all.” She returns to America knowing that in Japan she is “an alien.” The country where she was born, with its “people of different racial extractions,” is her home.

As she grows older, fissures threaten her sense of security. When her youngest sister grows ill and her parents want to find a house near the beach for the summer, they discover that even places with vacancy signs are no longer available. Finally they’re told “I’m sorry but we don’t want Japs around here,” and Monica feels “raw angry fire flash through my veins.” When she enters adolescence, she and her friends are barred from a swimming pool and leave, protesting “But we’re American citizens” as they drive away.

She is Nisei, an American-born Japanese, with a strong belief in equality and justice. While her Issei parents, born in Japan, had grown up steeped in acceptance and resignation, Monica refuses to submit to prejudice. Then an evening’s choir practice is interrupted when a boy bursts in announcing that Japan bombed Pearl Harbor and America is at war. Within two months, Executive Order Number 9066 turns Monica’s American birthright into a cruel hoax. She and her family are packed off to an army barracks where they wait for the orders that will send them to a relocation camp. Anger and rebellion are useless now, and Monica faces the truth that “my citizenship wasn’t real after all.”Perhaps neither were “the ideas and ideals of democracy.”

Memoirs are the heart and soul of history and Monica Sone’s Nisei Daughter illuminates the lives of Japanese Americans in the first half of the 20th Century with a bright and stabbing light. Her journey from a peaceful childhood into the betrayal of promises in a country at war is beautifully told and presents a scalding indictment. Her conclusion holds words from an Issei neighbor that sums up the difference between the two generations: “You young ones feel everything so keenly. It’s good, but sometimes you must suffer more for it.” More than any class Monica took when she reluctantly attended Nihon Gakka, it’s the time she spends with her parents and other Issei in the relocation camp that makes her know she’s both American and Japanese, integrated into “a whole person.”~Janet Brown

Activities of Daily Living by Lisa Hsiao Chen (W.W. Norton & Company)

Activities of daily living are how acuity and independence are measured in aging people. Can they manage their money, shop for groceries, do laundry? The list becomes more basic as time goes on. Can they bathe without help, get dressed in the morning, feed themselves three times a day? Are they able to go to the toilet alone? Do they know where they are? Can they recognize familiar faces?

It’s a heartbreaking litany of questions that Alice and her sister Amy ask themselves as the man they call The Father, whom  their mother married after her first husband abandoned his family,  loses his ability to do these things, gradually but with an alarming speed. Six months earlier he lived alone in the way he wanted, with “his standard meals of Fritos and pork rinds confettied with peanuts,” a bottle of Jim Beam, and two packs of cigarettes a day, sitting in front of his television watching Netflix.  In spite of this sustained physical abuse, “his lungs remained pink, his blood pressure and cholesterol levels normal. Just like they were now.” It’s The Father’s mind that’s shutting down. Eventually he’ll forget to breathe, just as he no longer remembers how to perform any other activity of daily living.

When Alice goes to The Father’s house, she’s surprised to discover he had been a man with projects. Old cameras and stacks of photographs, pieces of classical Chinese furniture that he has taught himself to build, a library of cookbooks: all bear testimony to an active mind which is lapsing into torpor. “Come on, brain,” Alice overhears The Father saying as he struggles to put on a pair of pants. 

Alice believes in projects. She lives in a community of artists and when they ask her what she's been up to, she tells them she’s working on a project, although it doesn’t yet exist outside of her head. Within her head she’s obsessed with a performance artist, a man who came to America from Taiwan as Alice, her mother, and sister did. 

Tehching Hsieh is bored with the activities of daily living, although his own are complicated by his status as an illegal alien. For Hsieh time is plastic, a substance to be molded in surreal ways. He selects the expanse of a year to spend or to waste in a matter of his own choosing, in enigmatic versions of his own daily activities. 

One year he builds a cage in his studio and lives in it for 365 days,  never leaving it, without speaking, reading,  writing or being amused by a radio or a television. A friend comes every day bringing food and removing his body waste. During this time he allows four showings, one for each season of the year. He follows this by putting a time clock in his studio and punching it every hour, on the hour, from  one April to the next, for a total of 8,627 punches. Twelve alarm clocks woke him every hour for a year, during which he missed only 133 punches of the clock. A few months after this piece, he lives outdoors with only a sleeping bag as shelter for a year that includes one of the coldest winters ever recorded in New York. The hardest part, Hsieh said, was staying clean; his hands became encrusted with dirt. His next piece involves another person, the artist Linda Montano to whom he is tethered by an 8-foot rope for a year, without ever touching each other. Only in sleep do the couple find privacy. Montano later admitted this piece was “dangerous emotionally.” As Hsieh said, they became each other’s cage.

Alice steeps herself in records of these pieces. She manages to find where Hsieh lives, not far from her own Brooklyn apartment. She spots him in a local supermarket and follows him to Italy where he represents Taiwan in the Venice Bienniale. She never speaks to him but his work becomes her life. 

“What is important for me is passing time, not how to pass time,” Hsieh has told interviewers. By making him her project, Alice passes time without needing to wonder how or why this is happening. But then The Father becomes the project and passing time takes on an unfamiliar urgency. 

Lisa Hsiao Chen uses the form known as autofiction and makes it a work of performance art. There is no plot and no resolution. Although The Father’s decline is the pivot point of the novel, it doesn’t provide a narrative arc. Neither does Tehching Hsieh, a living artist who exists outside of fiction, whose final performance was thirteen years of making no art at all. https://www.tehchinghsieh.net/ Nor does Alice, who ends the book with a single question: “Will there be another project?”

Although this novel floats like a dream drifting through a heavy mist, it’s weighted with the unspoken questions that lie below its surface. Chen is a writer who catches ordinary life and places it in sentences of amazing beauty--”It was late spring; the days molted with gold.” She explores ideas of time and mortality through glimpses of Simone de Beauvoir and Henri Bergson. She investigates the amorphous nature of friendship in modern kinetic lives. She offers up hundreds of thoughts that are like pieces of a jigsaw puzzle, leaving it to her readers to assemble them into a whole that will make personal sense for each one of them. She's written a book that might never have been written before. Read it.~Janet Brown