Eat Well and Feel Fabulous

WORLD CUISINE WITH AN EASTERN FLAIR

 

In her debut cookbook, the author offers recipes and tips on preparing international dishes for family meals. Resele serves up a variety of inviting recipes, attractively packaged, in a volume that draws on a wide range of flavors, including both common (rosemary, thyme and balsamic vinegar) and less well-known items (kaffir leaves, galangal root and flax seed powder). Her cookbook is also diverse in other ways: It draws on her multicultural Indochinese-Japanese-Chinese heritage; her experience as a chef; and her training in biochemistry and nutrition. After some opening material, the book moves on to recipes that focus first on breakfast, then lunch, dinner or supper, followed by main courses, and then switching organizational principles with chapters on carbs, vegetables and desserts. Each recipe has an introduction and a nutritional analysis, and the book includes references and a glossary. Unfortunately, however, it has no index, and readers should be prepared for weights in grams. Recipes include standards—like Gazpacho, Polenta, and Baked Apples—as well as some interesting variations, like Kimchi made with spinach or arugula leaves. The range of cuisines shows up in the inclusion of dishes as varied as Fresh Egg Spaetzle, Ayam Rica-Rica, Miso Udon Soup, Beef Bulgogi, Tortellini Filling and Tortilla Tempeh Crumble. As appealing as some of these foods may be, errors at times undermine the credibility of the material. Contrary to the text, Plato did not write Epigram VII to (the mythological) Helen of Troy and may not have written it at all. Not only is Marie Antoinette not responsible for causing the French Revolution, as the book asserts, but she did not say “Let them eat cake” at all, let alone in October 1793. The most questionable statement about nutrition is that “a low carbohydrate diet has a negative effect on muscle building and the proper burning of fat,” an assertion at odds with studies that have shown that—given sufficient calories—people on low-carb diets either maintained or increased lean body mass, losing only body fat. The book also reflects editing lapses in its references to “corned” pomegranates and “gloves” of garlic, which could easily have been avoided. Well-seasoned recipes served up with prose that readers need to take with a pinch of salt.         

 

Pub Date: June 24, 2013

ISBN: 978-1490561882

Page Count: 204

Publisher: CreateSpace

Review Posted Online: Feb. 18, 2014

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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