Mindless Eating: Why We Eat More Than We Think, by Brian Wansink

This is more of a scientific book than a diet book, although for marketing purposes it seems to try to sell itself as the latter. I really enjoyed the descriptions of all the studies and experiments the author has done on how we determine that we have had enough to eat, our perception of the caloric content of our food, etc. It's fascinating to see evidence that indicates that we are not equipped to stop ourselves before we overeat. The message is a bit grim, in that sense, but on the positive side, it seems that knowing how we mindlessly consume more than we need can help us reverse the trend and apply to lose extra weight. Science geeks in the readership would probably rather read Wansink's scientific papers instead of this book, but in any case, this is a great starting point for one not well-versed in this area of expertise.

Equus, by Peter Shaffer

It's been quite a few years since I saw this in the theater, as a student production at William and Mary. At that point in time, theater didn't really mean much to me. It was never the kind of experience that did anything more than simply entertain me. Equus changed all that - it was a powerful script with the kind of production that leaves a lot for the viewer's imagination to fill in. I found the play extremely moving and to some extent it shocked me out of my wits by the depth of the ideas it discussed.

In the last 10 years, I often thought about this play. The production I saw was so well staged that the scenes continue to haunt me to this day. I can close my eyes and see the sequence of events unfolding; I can hear the ominous humming of the horses that announces something big is about to happen. Then, Equus came back to newspaper headlines when Daniel Radcliffe, the young actor who plays Harry Potter in the movies, signed on to appear in a new production. What everyone was talking about was the fact that the character he plays appears stark naked. (Take that, Dumbledore!) There was little mention to how powerful this play is.

So, in order to revisit this amazing text, I picked up a paperback and read it as fast as I could manage. I discovered that most of what I saw in the theater was guided by careful instructions in the text. What I saw was very much like what it was meant to be: a shocking peek into the mind of a disturbed young man, who had just pierced the eyes of a number of horses, through a series of psychoanalysis sessions. The story discusses how misguided religious practices can affect the upbringing of children, how we often engage in hypocrisy when we define what normal is, how close minded we can be and how this hurts the development of our children. Powerful stuff. Read it and think about it; it's worth every second you spend with it. Best of all, though, is see it on stage first!

El Principe de la Niebla, by Carlos Ruiz Zafon

As I traveled around Europe in 2006, I kept finding this 1992 book in Spanish in bookstores inside and outside airports. It was displayed prominently in Spain, as it was to be expected, but also in Italy and in Germany. I remember holding it in my hands at the Munich airport and thinking whether I could read it in its original language or if I should look for a translation. As soon as I managed to get an Internet connection, I hit Amazon.com to check if there was a translation to English available. No luck. I really wanted to read more by the author of the incredible The Shadow of the Wind (TSOTW), but I thought that if I could only find these books in Spanish, I wouldn't be able to read them. I am a native Portuguese speaker who manages to have conversation with Spanish speakers efforlessly without ever having formally studied their language. With a little bit of effort, I can understand 95% of written Spanish, but could I read a full novel? What if the audience for this novel was the young-adult public? Back at home in the US, I decided it was worth a try, so I bought the new edition from Amazon.com and threw myself into it, while keeping a little dictionary always at arms length.

The effort was highly rewarded. To give you an idea of how engrossing I found the book, last night I was within about 100 pages of the end, just about where mysteries are unfolding and the reader is being thrown into the climax. I put it down after 20 pages and went to sleep, but 5 hours later, I came to and couldn't stop thinking about the story. So, I just had to give up trying to go back to sleep and get up at 3:30am to finish it.

The storytelling is true to Zafon's skills even if this was his first published novel. That means, it is magical, exciting, and inherently lyric. It's marketed for the young-adult audience, but I believe that its appeal goes far beyond this group.

The story talks about the Carver family, who in the midst of WWII, relocates from the big city to a beach town. The reader is never told in which country this all happens, but all the character names are in English, so perhaps one can draw conclusions from this fact, even if these conclusions don't really matter for the understanding or the appreciation of the plot. The Carvers end up in a mysterious house, which was previously inhabited by a trajedy stricken family. Max, the 13-year old son, and his two sisters, are quickly engulfed by a stream of supernatural events. Voices come out of the closet to haunt his little sister Irina, who had brought home a sinister cat found wandering the train station. Strange dreams get his older sister Alicia uttely spooked. And Max, in his turn, finds a bizarre garden of statues behind the house, where its stone inhabitants seem to change shape and appear rearranged as time goes on. Behind all this, a Faustian tale awaits to shake up the family and to catapult Max and Alicia in a struggle for their lives. I highly recommend this book and hope that it will end up being translated to different languages as was TSOTW.

Reading this book, one can't fail to see parallels that link it to TSOTW. The mysterious doctor Cain and the burned man in TSOTW seem to have in common their aura of supernatural. I imagine that this has served as a warm-up of sorts where Zafon learned to flex the muscles he put to use to create his masterpiece.

Les Halles Cookbook, by Anthony Bourdain

Some people like Julia Child and enjoy reading her cookbooks or watching recording of her shows. I do. As much as I appreciate the informative aspect of her material, though, it has no rock'n'roll appeal. And I love rock'n'roll. And punk rock, too. So, needless to say, with this personality type I am much more inclined to like Anthony Bourdain much, much better than Julia.

Even though he says this is not a cookbook, I think you can cook very successfully from it. Take the recipe (or rather, the method) for making stock and demi-glace, for instance. Even though it doesn't give you that classic breakdown of ingredients and quantities in excruciating detail, it tells you precisely what you have to do. In any case, who really follows all the details in recipes religiously to the last pinch of salt? If you know people who do, make sure to ask them how much salt there should be in a pinch! Can they tell you how many grams so that we can all measure what we add in our attempts to recreate their recipes? Come on, you know you're going to fudge recipes to give them your personal imprint, so why stress?

With that said, I should also state that there are "proper" recipes in the book to satisfy the readers who want minutiae and step-by-step directions (kind of). But best of all, this is was written by Tony, so you get to read about his perspective on cooking, to learn something new, and above all you have the sarcasm, the wit, the intelligence that are characteristic of his writings. I'll be making many of these recipes, but I'll also read the book cover to cover because Tony is funny as hell and he knows his stuff inside and out.

What Einstein Told His Cook, by Robert Wolke

Kitchen Confidential, by Anthony Bourdain

Redemption, by Carol Berg