A food connoisseur expertly unravels the intricate dance surrounding food in Japan.




A gourmand's tour through Japan.

Roads & Kingdoms editor and co-founder Goulding, who co-authored the bestselling Eat This, Not That! series, takes readers to Tokyo, Osaka, Kyoto, Fukuoka, Hiroshima, Hokkaido, and Noto, chronicling his wanderings through the streets, bars, teahouses, and restaurants of each locale. Throughout the book, the author brings to light the food found in these cities. In Japan, eating, cooking, preparing, and even selecting the food products to cook are near-sacred tasks. The Japanese transform what many might consider mundane chores into sublime acts of devotion, where time slows down and reverence is as much a key ingredient as the freshness of the food. Through Goulding's eyes, ears, and especially his mouth, readers can sense the perfection that each shokunin ("an artisan deeply and singularly dedicated to his or her craft") strives for as he or she dedicates his or her life to cooking just one item—e.g., grilled beef intestines or buckwheat noodles—constantly tweaking ingredients, heat, and timing to reach a transcendent state of food ecstasy. Thanks to Goulding's obvious love of the exotic and his ability to write mouthwatering descriptions of food, readers will appreciate the smells and tastes of gizzard shad, cod sperm, dried sea cucumber ovaries, and numerous other animal and seafood parts many would never consider eating. The author munches and crunches his way through bite-sized portions of sushi, soups, dumplings, and noodles, washed down by rounds of sake, to bring readers an epicurean bonanza in addition to insights into the men and women who have devoted their lives to the perfection of certain dishes. Though it does not contain recipes, the book will whet readers' appetites for fresh, flavorful foods and inspire them to travel to Japan to taste the country’s main delicacies.

A food connoisseur expertly unravels the intricate dance surrounding food in Japan.

Pub Date: Oct. 27, 2015

ISBN: 978-0-06-239403-3

Page Count: 368

Publisher: Harper Wave/HarperCollins

Review Posted Online: June 23, 2015

Kirkus Reviews Issue: July 15, 2015

Did you like this book?

No Comments Yet


Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

Did you like this book?

No Comments Yet



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

Did you like this book?