CHELSEA

THE STORY OF A SIGNAL DOG

In this lively memoir, Ogden (Communicative Disorders/California State Univ. at Fresno; co-author, The Silent Garden, 1982) eloquently explains what it's like for a deaf person to function in a hearing world—and how Chelsea, a well-trained ``signal dog,'' adds dimension to his life. When Ogden and his wife, Anne, who is also deaf, lose their first dog, Lox, they lost not just a companion, but a connection to the hearing world. (They had taught Lox, among other things, to indicate when someone was at the door or on the telephone.) So they set about adopting a signal dog from Canine Companions for Independence, a group that matches dogs with deaf and handicapped individuals and puts both humans and canines through a very rigorous training program. The dogs have been previously taught to respond to over 80 signals, and when their new owners arrive, it is they who need the training. Ogden spends half of a two-week training period literally leashed to his new dog, a Belgian sheepdog named Chelsea, so they can bond together and learn to read each other's signals (no wonder human graduates refer to the training as boot camp). Throughout, Ogden conveys what it's like to be deaf—even the little things, such as how a hearing-impaired person worships in church or manages to lip-read someone with a mustache. ``Deafness,'' he contends, is ``not a handicap but a serious inconvenience.'' Candid and appealing—both as a treatise on deafness and signal dogs, and for its human-animal sentiments. (Twenty b&w photographs—not seen.)

Pub Date: Jan. 23, 1992

ISBN: 0-316-63375-5

Page Count: 192

Publisher: Little, Brown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 1991

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MOMOFUKU MILK BAR

With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    

 

Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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