Asian Books

This book is about the many battles fought in Vietnam by the 199th Light Infantry Brigade during a six month period from November 1967 thru May 1968. It is authored by one of the brigades company commanders. The author's riveting accounts of the battles are rendered in great detail and include quotes from many of the officers and men who particiated. I highly recommend it to those interested in the history of this war, especially those, like me, who are veterans of the conflict.

Days of Valor is a six month snapshot of the Veit Nam War and is part of the bigger picture of the events leading up to the Tet Offensive and the events following Tet. It is a mini history of the 199th Light Infantry Brigade and the men who fought during that time period. This book is an action roller coaster from start to finish. The book highlights the incredible actions, heroism, courage and valor of ordinary grunts and career soldiers of the 199th. It contains a no holds barred description of the chaos and character of the fighting in War Zone III and its major bases and cities during that time.

Robert Tonsetic, the author, describes the combat experience so vividly that one can vicariously experience combat with his soldiers. The ugliness of battle with its smells, sights and sounds is graphically documented. The environment in Viet Nam with its oppressive heat, monsoon rains, humidity and terrain is vividly described. The destructiveness of the Viet Nam War on the soldiers and the country is clearly pointed out. One can vicariously experience the fatigue and sleep deprivation caused by combat and the fighting conditions of this most brutal war.

Tonsetic has written a book that needed to be written about the 199th Light Infantry Brigade and its supporting units. It is a focused study of the combat, valor and heroism of men from PFC to General rank who performed their best during the most decisive American and Vietnamese Army victory of the war - the Tet Offensive. He concentrates on the strategy, command decisions and the execution in the field of officers and ordinary soldiers perfoming their duties. He does not focus on the political backdrop aganinst which these battles were fought. The author is a soldier's soldier. He is the type of leader soldiers wat to lead them into battle. While he was part of this story, he wrote it as if he was an objective observer.

This is not a novel about the Viet Nam War. It is a chronicle and oral history from the author and others who fought there of what the war was like for them and those they fought with during the six months of this history. It is brutally descriptive and real. It is truth about the war.
It is about the men who survived and those that died.

Viet Nam veterans have been maligned by the media and so called elites for decades. Tonsetic shows by his example and in the post war accomplishments of many of the soldiers named in the book that Viet Nam combat veterans accomplish great deeds in war and in civilian life. For those of us who were there, this is a welcome addition to the real history of the Viet Nam War. For those who hold other views of the war there can be no reconciliation.

I believe this book to be a pretty accurate account of the battle on Dec 6, 1967. I am personally mentioned (PFC Allen Oakes) in chapter 3 along with my assistant gunner Pvt Jose Acevedo and Lt Wayne Morris. I was proud to belong to the 199th LT Infantry Brigade and the actions it took in Vietnam on behalf of all Americans. The book gives a good accounting of the 6 months it covers and I recommend it first for all members of the 199th and for people interested in the Vietnam war or for those who only have an inkling of what war is like. I would like to also say that each person's experience in this war were all different. Some saw hardly any action while others lives were forever changed by wounds, death or PTSD.
Forty years after Vietnam I'm still having surgury to replace a lost nose when I was wounded in the face. At any rate this book is a must read and I thank Mr Tonsetic for giving us a place in history and the research he did to make it as accurate as possible.

Allen R Oakes

It's a shame men like these were led by the likes of Robert Mc Namara
I was a medic 66-68, and with fighting men like these and many others
we should have won this war.
An easy read.

Days of Valor is a readable, believable, and just plain interesting book. Since writing "Kill Me If You Can, You SOB", I've read every book about the Vietnam War that I could get my hands on, and I liked this book because it was worldly. No attempt to catch Hollywood's attention. But that might be the reason this book, like mine, is not rushing to the top of the chart. It seems with the entire world writing books now days, a sweeping, crisply written, energetic, true life adventure is not enough. Sorry, but most of us Vietnam veterans were just your run of the mill kind of guys. While we actually did for real a lot of the things that John Wayne did in the movies, our producer and director didn't spend a lot of time on the movie set. They mostly stayed in their offices in Washington, D.C., and for some reason decided the good guys would all get killed, and the fellows in black would win. If a sad ending is not a turnoff, you will enjoy this book.

Pittalwala may allow his characters to be baffled by their surroundings, but he never leads his readers astray. Unforgettable!

I happened on this book via an interview with Mr. Pittalwalla in a South Asian-audience magazine. My curiosity was piqued by the fact that he was a graduate of my University (in atmospheric sciences, no less). That he stumbled into a writing workshop, and went on to the Iowa Writer's Workshop - that impressed me no end.

I am not normally a fan of short stories, but these are INTENSE. You need to put the book down, catch your breath, and reflect on what you've just read. I haven't even finished reading the book, but the stories "A Change of Lights," "Ramadan," and espescially "Lost in the U.S.A." are some of the best things I've read in a long time. I'm a habitual book-byer (rather an oddity for a librarian) but this is one book that will stay in my personal library for a long time.

By the way, Iqbal, if you ever read this, I love the subtle dig on page 111 about "those idiots Mistry and Narayan" never shutting up.

Mr. Pittalwala is a gifted writer and a keen observer of the individual spirit. I have never been a short story reader; I prefer losing myself in the pages and chapters of a novel. Dear Paramount Pictures changed that! With his perfectly chosen words and incredibly sensitive insights, Mr. Pittalwala magically captures sights, sounds, smells and emotions in his stories about a rich culture of India, both in that homeland and in the U.S. Each story took me into the hearts and minds of the characters, and leaving me satisfied that I have shared their secrets, fears, discoveries and resolves.

A great book. A much needed easy read. Excellent stories and could relate to quite a few of them. Great humour with serious undertones.

Iqbal Pittalwala's first book of short stories is a very good read. Pittalwala has put together a fine portrayal of the characters in the stories as well as their own readings of their life situation. He has kept the style simple and the pages pretty much turn themselves. It calls to mind Rohinton Mistry's writing in its somber take on life for, mostly, middle class "Bombayites". However, despite its dark world view, the book allows for a gently sly humor at the expense of the vivid characters that populate it.

Whether it is woman confronting her horrific history as a homeless crippled mother in "A Change of Lights" or a father and a daughter's trip to the movies in "Bombay Talkies" or a woman deluding herself about her relationship and her talent in "Guruji" or two wives of one man and their three perspectives on the same situation, we are led with a quiet wisdom into truths about their lives.

Seeing the same thing from the point of view of multiple characters is wonderful, but not particularly unique in fiction writing. Pittalwala's talent is that he can reveal multiple takes on a particular situation from within the same character as well. And all these perspectives live together in this book in a manner entirely appropriate to the multiplicity of viewpoints and life truths that exist, not just for the book's characters, but that most of us encounter in the "real" world.

This is a fine book by "Ibn Warraq." Rather than merely point out a few errors in Ed Said's "Orientalism," it launches into a full-scale defense of the West.

In my opinion, Ed Said was not the first human being to write an untruth, merely the first to put so many untruths in print. And while "Orientalism" is indeed ghastly garbage, one has to wonder about those on university campuses and elsewhere who have taken it seriously. Obviously, "Orientalism" should not be banned just as the words to the "Horst Wessel lied" should not be banned. But one would have to wonder about a university professor who, for political reasons, taught his class the Horst Wessel lied. And I have to wonder about the teaching of "Orientalism" as if it were scholarly work rather than trashy propaganda. As the author of "Defending the West" tells us, quoting Clive Dewey, "Orientalism" clearly touched "a deep vein of vulgar prejudice running through American academe."

Ibn Warraq gets off to a good start by mentioning the aggressive tone of "Orientalism," which he characterizes as "intellectual terrorism" given that it "seeks to convince not by arguments or historical analysis but by spraying charges of racism, imperialism, and Eurocentrism from a moral high ground; anyone who disagrees with Said has insult heaped upon him." And it is disgusting, as the author points out, to see Said's hatred of the country that gave him such privileges as a tenured professor at Columbia University (a university he did much to disgrace). As for his idea that French and British academic studies of Arab lands were part of an imperialist plan, Ibn Warraq reminds us that the first French university chair in Arab studies was founded in 1538 and the first British one in 1633, well before any French of British imperial adventures in the region.

On top of that, the author mentions that Said "always assumed the role in the West of an Islamic expert and has never flinched from telling us in unscholarly journalistic articles what the real Islam is." That's pretty rich of Said, a Christian agnostic. Ibn Warraq says that Said's work "has encouraged Islamic fundamentalists, whose impact on world affairs hardly needs underlining."

Of course, Said omits any context from which various Orientalists wrote. As Ibn Warraq puts it, "even a casual comparison of the rival imperialism of Islam" ought to show that the British Empire should not be dismissed as a purely negative historical force.

Does "Orientalism" at least make logical arguments, albeit using a distorted selection of material? No. It "displays all the laziness and arrogance of the man of letters who does not have much time for empirical research, or, above all, for making sense of its results." I found it interesting that a meritless work written by a propagandist can take years of work to refute, simply because some folks have decided to taunt others by honoring it.

Ibn Warraq applauds Western values as "a system that does not affront our reason and humanity." He warns us that "only within the framework of certain institutions can humankind hope to realize its humanity, that we discard our hard-won institutions at our own peril, the veneer of civilization of most people disappears outside their civilizing confines."

On the other hand, Ibn Warraq warns us that, a little paradoxically, Western rationalism, universalism, and self-criticism can lead to their opposites. For example, "limitless self-criticism leads to self-hatred, as witnessed in the buffooneries of Michael Moore, the exaggerations of Robert Fisk, and the fanaticism of Noam Chomsky."

I agree with the author's reaction to "Orientalism." And I recommend this book.

Ibn Warraq, author of other brilliant and explosive books such as Why I Am Not a Muslim finally deals the death blow to Edward Said's mythmaking Orientalism (Penguin Modern Classics).

It is a needed critique because so many in the academy have been seduced by Mr. Said. Edward Said was a Anglican Arab raised to an upper class family that lived the life of the jet-set, travelling back and forth from mansions in Egypt, Lebanon and Jerusalem. Said, after his upbringing that included Armenian and Jewish servants, went on to claim that the west was racist for daring to write about the history of the 'East' from a western perspective. He claimed that only Muslims could tell Muslim history and only Arabs could write Arab history.

Warraq shows that not only was Said wrong in asserting that western portrayels of the 'east' were racist, but that in most cases the west romantisized the east and accepted it and learned from it. This is most true today when most western scholarship never critiqus the Koran or the 'east' but instead accepts all the myths it has itself created. This incisive and wonderful book dares to break down these myths and explode them.

Seth J. Frantzman

DEFENDING THE WEST: A CRITIQUE OF EDWARD SAID'S ORIENTALISM is the first in-depth critique of a work that for three decades has received nearly unanimous recommendation and discussion. Said's thesis was that the Western image of the East was biased by colonialist attitudes and racism: this reconsideration offers a powerful rebuttal to college-level audiences, surveying misinterpretations in Said's original survey of scholarly literature and providing college-level collections strong in history and culture with a fine reinterpretation. Collections housing Said's work need this rebuttal.

The book is OK (like any book, I guess), but Ibn Warraq is way too serious about the subject, in my view. It is understandable, considering the impact of Said's "scholarship".
But, still, Edward Said is not an "intellectual terrorist". I think there is a difference between terror and pogrom. To call Edward Said a terrorist, or an intellectual, would be as ridiculous as to call Trofim Lysenko a scientist, or a biologist. Terrorist have to hide his intentions. Pogrom is done with a certain assurance of impunity. That's exactly what Edward Said have done.
I guess there is some point in refuting Said's ravings. But overall it looks a little bit odd: really, if you are normal, you wouldn't go to a clinic for mentally ill for some quarrels or intellectual discussions. There are doctors or nurses for that.

For 25 years, many leaders and candidates have accepted the willful misinterpretation of Western history instigated by Columbia University's infamous late professor, Edward Said. Western civilization could greatly benefit if current presidential hopefuls read this bromide of a book, identifying the damage Said caused---and providing a curative.

Politicians here gain a yardstick to measure Western cultural grandeurs (including intense self-criticism)---compared with ongoing social dysfunction, disintegration and horrors over 1,400 years of Islamic history.

Colleges requiring students to read Edward Said's Orientalism should also require this 24-karat tome, rebutting Said's flawed evaluation of the West---what Ibn Warraq identifies as inadequate methods, incoherence, tendentious interpretations---and amusing, but dangerous "historical howlers."

He credits Said for courage and self-criticism---in disparaging Arab writers insisting "the Jews never suffered..., the Holocaust is an obfuscatory confection created by the Elders of Zion," or supporting criminal French Holocaust denier Roger Garaudy.

But Orientalism's "pernicious influence" made Arab and Muslim self-examination---especially criticism of Islam within the West---nearly impossible, Ibn Warraq shows; it "taught an entire generation ... the art of self-pity," blaming all Arab and Muslim miseries on "wicked imperialists, racists and Zionists" whom Arabs and Muslims almost universally blame for their failure to reascend.

Alas, Said neglected historical Islamic imperialism---from Mohammed's invention of "one true faith" through the 17th Century, with reprises whenever wealth, time and war materiel sufficed. Petrodollars fueled the recent Islamic renewal of this effort---via "modernized" Muslim Brotherhood ancient Islamic strategy, supremacist jihad---and aggressive 21st century financial jihad through "shari'a finance."

Terror-advocating "experts" like former Pakistani Shari'a Court jurist, Taqi Usmani set Islamic banking standards for the MB construct that was established to promote Islamic supremacy. Usmani serves on the shari'a board of Saudi Arabia's terror-funding Dallah al-Baraka; in July 2007 he advised U.K. Muslims to live peacefully only until they acquire military strength to "establish the supremacy of Islam." Syrian Abdul Sattar Abu Ghuddah is a senior-level advisor to al-Baraka.

Christian, and not an Islamic scholar, Said nevertheless "bludgeoned into silence any criticism of Islam"---adding late-modern inadmissibility to ancient Islamic shari'a tradition: Muslims (or non-Muslims) criticizing Mohammed or Islam are guilty of blasphemy, punishable under Islamic law by death.

Ibn Warraq shows innumerable Western to Islam. Egyptian novelist Naguib Mahfouz avowed, "Napoleon's campaign" ushered Egypt from "centuries of obscurantism" into modernity, including discoveries of pre-Islamic Egypt, which now anchor Egypt's tourism.

Said held, "the Orient was viewed as something inviting French interest, penetration, insemination--in short colonization...." He ignored the German, Russian, Italian and Western Jewish scholars who created Islamic, Middle Eastern and Arabic studies, thereby gutting his thesis.

Ibn Warraq finds Westerners and Western history and thought characterized by "three tutelary guiding lights,"--rationalism; universalism; and self-criticism. Pursuing truth and knowledge, Westerners accepted others and all humanity--and consistently criticized societies to improve them. Sir Jadunuth Sarkar credited the English with India's 19th century Renaissance---a mass-recovery from 500 years of Muslim jihad invasions (1000-1525), when an estimated 80 million Hindus perished.

But Islamic orthodoxy remains "suspicious of `knowledge for its own sake'." Unlimited intellectual inquiry is "dangerous to the faith." The 2003 Arab Human Development Report thus found fewer books translated into Arabic in the last 1,000 years than Spain translates in one year; Greece (population, under 11 million), annually translates five times the foreign books as all 22 Arab nations combined (population, 300 million).

Arab and Muslim pleas for assistance often brought Western "imperialists" to the Middle East to start with, Ibn Warraq notes. Sultan Selim III declared Jihad after Napoleon's 1789 Egyptian conquest---joining the infidel British and Russians to protect his imperial territories from the French. In 1804, the Ottomans got territorial guarantees from Russia and Austria; In 1809, they again allied with the British. In 1866, the Sultan permitted Suez canal construction, against British and French objections. Egypt's Khedive Ismail nearly bankrupted his protectorate---and in 1875 sold the Suez to Britain for its £4 million nominal value to unwind debts. Only reluctantly, the British helped quell riots that followed---yet the Sultan refused Britain's request that he repossess canal ownership.

Said ignored historical evidence, mimicking superficial French "existentialists, structuralists, deconstructionists and postmodernists" methods, and "grandiose theories" supported by "flimsy history or empirical foundations." Said's signature work displays "laziness and arrogance" of a literary man lacking time for empirical research or need to prove his results.

Said offended worst by neglecting comparisons. Using them, Ibn Warraq affirms the West.

Said excoriates Western slavery. But Muslim traders were far more culpable. From 1700 to 1929, Arabs traded over 17 million black slaves---including 1.5 million who perished crossing the Sahara; little over 11 million crossed the Atlantic. The Occident outlawed slavery. Muslims saw Western abolitionists as "a threat to their very livelihood but also as an affront to their religion."

Tenth century Arab geographer al-Maqdisi described "Zanj," Bantu-speaking East Africans, as "people of black color, flat noses, kinky hair and little understanding." A 10th century Persian treatise called Africans "people distant from the standards of humanity." A 13th century Persian wrote, "the ape is more teachable and more intelligent than the Zanji." Islamic social scientist, economist and philosopher Ibn Khaldun (d. 1406) argued, "Negro nations" submitted to slavery since they "have little [that is essentially] human and have attributes that are quite similar to those of dumb animals..."

Even "tolerant" Ottomans perpetuated slavery through tradition and religion---and lacked an abolitionist movement, write Ehud Toledano and Turkish historian Y.H. Erdem.

Ottomans also manufactured and traded eunuchs--boys castrated throughout southern Europe, North Africa and the Near East to maintain large Ottoman harems for the upper classes. Following "total removal of testicles and penis," eunuchs suffered extensive hemorrhaging and death rates upwards of 90% in sub-Saharan and west-central Africa.

Every Middle East scholar and library should own this book.

--Alyssa A. Lappen

This remarkable novel was a random discovery; after finishing it I do hope that Han Shaogong finds a larger audience around the world.

A novel structured like a dictionary of a semi-real, semi-fictional town in a rather remote region of southern China, A DICTIONARY OF MAQIAO is a remarkable, dazzling creation - each 'dictionary entry' is a vignette unto itself, each of which gradually coalesce into something greater. Shaogong's Maqiao is a bit like Garcia-Marquez' Macondo or Faulkner's Yoknapatawpha County, a semi-fictional place upon which one can examine (and also honor and satirize) the varied contradictions and conundrums of a changing nation.

A DICTIONARY OF MAQIAO is set against the backdrop of the cultural revolution, though these political events don't intrude into the center of the story. Shaogong instead emphasizes language, specifically it's mutability and restless, dynamic evolutions, symbolic of life itself, and this tactic (or fascination) does serve to also place external events into some sort of philosophical perspective.

The end result is a novel that is fascinating, inventive and endlessly playful, with a vast cast of intriguing characters, and a captivating, cinematic precision. It didn't seem to get much attention when published in translation, which is highly unfortunate - it's a novel worth going out of your way to read.

-David Alston

Thank you, Han Shaogong, for a wonderful, thought-provoking novel. The fiction you deliver, cloaked in the garb of a regional history, transcends time, place, and language to offer an incredibly precise and well-crafted definition of 'being.' Your point concerning the importance of defining experience and expression on a scale less grand than that of global village is well-delivered and it imbues A Dictionary of Maqiao with a message of hope. As more readers come to this book, may it gain the recognition it deserves. We in Western culture are lucky to have this story available to us in translation.

This book takes me back to my home, a village in Southern Hunan Province, China, and to my childhood. When I was reading, the stories and the people jump out of the book onto my memory. It reminds me of my childhood friends, my relatives, the village doctors, the traveling smith and craftsmen.
When I was 6 or 7 years old, I often grazed water buffalos with my friends in the slops of Wuling (Five Peaks) Mountain. One day we saw a World War II bomb delivered by the Japanese airplane. We were so curious, excited and naïve. We moved it to the grain yard of our agricultural production brigade on the buffalos?back. Fortunately, the explosive was already gone possibly because of aging and weathering. This book forces me to recall the detail of this incident and reassure that nobody was hurt by our ignorance.
During that time our village was often visited by a locksmith, who is the one spoke "xiang qi?accent. He was tall with broad shoulders and white beard. He carried two cabinets covered by glasses on a bamboo pole. Whenever he came, we surrounded his workshop area in the grain yard. He was always accompanied by a young boy of our age. I never figured out why that boy would play with us while the locksmith was making the 5 or 10 cent deals with the adults. The visit was usually about two to three hours. Then they left for other villages. We saw them off in sun and in rain. They did not take away anything from us. But they brought us excitements every time.
In our area, we had village doctors they used to practice Chinese medicine in Jianxi province. They always told us that people from Jianxi province were our relatives. We greeted each other "Lao Biao? I would always have remembered them because I was often sent by my mom to ask for medicine help when our family members felt unease.
Our village also hosted two youngsters from the city. At that time, there were about 16 or 17 years old. They worked hard to learn and to grow up. I didn't know what was their feeling when they lived in our village. But I know the villagers are still talking about them and wishing them well.
I never had the habit to keep a dairy for my past. I have forgot many things about my childhood. The author of this book recorded the language I have used and the stories I have experienced. It reminds me many of my happiness and sadness.
If you want to understand Chinese society, Chinese people, and the rural areas in China, I recommend you read this book. The writing is crisp, the information is practical, and the stories are true. The translation is great.
At this pint, a pop-rice master is walking towards me from the book, with the black, bomb-shaped and air-tight rice cooker, the charcoal stove and the bellow on his shoulder. The black soot covers his face. His smiling reveals only his eyes and teeth. I hear the explosion of the air. Now, I am going to put a bag of popcorn in my microwave so that I will progress with the book and step back to my hometown with my uncle.

This masterful and quite heady novel tackles the history of a fictitious town buried deep in China, a place protected by rivers and mountains. When a a "sent-down" worker from the city joins a group of urbanites to live in the town, they discover a place that's almost a metaphor for Chinese life -- cast in reverse.

Han Shaogong guides the reader through the fictitious author's "dictionary" of Maqiao, which acquaints us with a baffling set of customs, and a people who view themselves as a kind of "Middle Kingdom," in which the outside world is shunned. The novel becomes an inventive expose of Shaogong's sometimes profound insights into the restrictions of culture and language. The book's episodes can be rigorously dry or unexpectedly moving.

The diligent reader will be rewarded. The depth and honesty of Shaogong's insights reach to the present day, and his small town of Maqiao is certain to leave a deep impression. This prize-winning novel is a dictionary that compels your interest and enjoyment..

In 1970 16-year-old Han Shaogong was sent to the Southern Chinese village of Maqiao in Hunan Province to plant rice and tea as a member of the Educated Youth. During his years in Maqiao he carefully made notations of the differences in culture, customs, and language that he observed as a stranger. Later in his life Shaogong became a central member of the Root-Searching Movement that aimed to undermine and reverse the thought-control mechanisms instituted by the Cultural Revolution and rebel against the highly-structured controls on literature, language, and aesthetics. Shaogong returned to his observations of Maqiao and developed this book to further the movement. THE DICTIONARY OF MAQIAO is structured as a dictionary with 110 entries, but it is not a tedious index of words and meanings; rather this book provides small vignettes of how life, both human and natural, is lived in Maqiao. Shaogong's position as an outsider provides him with a unique perspective of the village. He detailed the often-eccentric habitants and their distinctive language that differs from his own. By documenting these cultural and custom differences Shaogong demonstrates how there is great variety and fluency of unlike the teachings of the Maoist doctrines. I loved reading this book and would highly recommend it to others.

I have borrowed this book twice and came here now to buy my own copy that I can write in. My Indonesian vocabulary is mostly nouns and those are mostly names of fruits and food dishes. "Eat Smart" taught me how to ask for lawar without blood in it--that alone is worth the price of the book! In Indonesia, I'll be toting this next to my dictionary at all times. At home, I'll keep it in the kitchen to have the recipes handy.

This little book is essential for travelers to a country where food is riotously varied, delicious and, to most of us, utterly unfamiliar. It begins with a brief historical survey of the cuisine, citing the contributions of successive immigrant or colonial groups, then slices the other way, with sections on Indonesia's major culinary regions and their specialties and characteristics. Recipes, a listing of US sources for ingredients, then phrases in Indonesian all follow. Two alphabetical listings are the heart of the book: One is of menu items, with brief descriptions and notations; the other is of "foods and flavors" (and utensils, cooking methods and so on), in Indonesian, with English translations or explanations. The whole is thorough, information-packed and mouthwatering.

The authors have written a series of Eat Smart books that no traveler to foreign countries should be without. Each book covers a separate country--Eat Smart in Turkey, Eat Smart in Brazil, Eat Smart in Indonesia and Eat Smart in Mexico--and is chock full of information that you won't find elsewhere within the covers of one easy-to-carry paperback. Individual chapters cover such topics as the history of the country's cuisine, regional foods, how to shop in the local markets, mail-order sources for suppliers of ingredients, and a collection of recipes for typical dishes found in that country. Especially useful is each book's extensive menu guide, listing menu terms alphabetically in the language of the foreign country, with a description of the dish in English. That section is followed by a chapter titled "Foods & Flavors"--listing the foreign terms for foods, spices, kitchen utensils and cooking techniques, with an English translation/description. These books are well researched, accurate and very informative. Highly recommended. --Sharon Hudgins, editor, Chile Pepper magazine

Soundly researched, clearly written, artistically illustrated, "Eat Smart in Indonesia" is the most comprehensive and readable survey of the whole scope of Indonesian gastronomy I have ever come across. It is equally valuable as a solid reference work for the scholar and as exotic inspiration for the chef or home entertainer. Bill Dalton, founder, Moon Travel Guides; author, "Indonesian Handbook"

For a country of 17,000 islands and 670 dialects, and complex traditions, religion and culture, no one-including Indonesians-can claim to know more about Indonesia's traditional food tastes than the authors of Eat Smart in Indonesia. Their guide is the first ever published with in-depth information about the unique and diverse food of Indonesia. -William W. Wongso, culinary educator, president of William F & B Management, Jakarta, Java

The author skillfully relates his combat experiences, the delayed onset of P.T.S.D., its effect on his family, his treatment, and eventual conquest of his condition. The suspense slowly builds until the ultimate cause of his trauma, "the darkness" is revealed to the reader. Schedule your reading of "Farewell Darkness" when you have a lot of spare time. You may not be able to put this one down.

Of the numerous books written on the War in Vietnam, I believe this is the defining work of the life and times of a Marine Helicopter Crew Chief and his battles fought during and after the war.
It is a story of undying friendship, terror, laughter and the sadness of loss. But most of all it is a story about the heart of a man and his sense of duty to friends and family. It is a journey none should wish to take, but it raises the spirit to follow Ron and his battle to overcome his personal war.

It is the essence of "Semper Fidelis" (always faithful). It is the story of one VMO-3 Marine Crew Chief, a title not given nor easily earned, and the men with whom he served.
Outstanding, well written and a clarity next to none.

Great book. I have given it to my son in the hope that he may better understand his father.

When I first came across "Farewell Darkness," I was looking for an account that would give me a solid insight into the effects of combat trauma. As a novelist, I needed to get more deeply inside the head of one of my characters, and though my subject's time was different, war is still war, only the technology changes. Not only did I find what I was looking for in this book, but I also found a tremendously moving, intense story of war, trauma and recovery that should be read by anyone who lived in the Vietnam era, veteran and civilian. Ron Zaczek writes with eloquence, crisp detail and a straightforward honesty rarely found in personal accounts of serving In Country. With profound insight and courage, he sorts through the fear, guilt and anger that he suffered. And even without having been in war personally, I have learned quite a bit about how fear, guilt and anger are irrevocably interconnected and how we face similar degrees of them in everyday life. Highly recommended.

As the wife of a Khe Sanh Viet Nam veteran, I have watched my husband of 25 years deal with his own personal war - struggling through his memories of Viet Nam. In "Farewell Darkness", Ron Zaczek helped me to understand more clearly the phases my husband has gone through and the emotional hell he lives with every day. This book is a must-read for anyone whose loved one suffers from PTSD as a result of Viet Nam.

I don't know why I feel this way, but you'd think there would be a lot of Newbery winning children's authors who'd switch their focus from time to time to picture books. And yet, this is not the case. In fact, it's rather rare for someone of Lunda Sue Park's stature to go about writing for children younger than her usual fare. It's almost as if she's slumming. But Park (who won the Newbery for "A Single Shard") has discovered what most winners fail to realize. That a picture book can be every bit as morally complex and intricate as a 230-some page novel. All it takes is excellent writing and an illustrator who knows their stuff. Which makes, "The Firekeeper's Son" a perfect example of a picture book that does everything right and ends up wowing the reader with its intensity.

Sang-hee lives in a small, unassuming, and peaceful village in Korea. One day, his father informs him that their little space is infinitely important (a fact that Sang-hee has a bit of difficulty believing). But his father is absolutely correct. Located beside the sea and just next to the first of a row of mountains, it understood that in the event of a seaward attack by Korea's enemies, this village is the first line of defense. That is why, every night, Sang-hee's father climbs the nearby mountain and lights a fire that can be seen for miles. Then, someone on the next mountain will see that fire and light their own. This continues all the way to the king's palace where, if the king sees the last mountain lit, he'll know that all is well. Of course, if the fire is not lit, the king would immediately send his soldiers out to battle with the enemy. Now this system has gone on for generations, but Sang-hee is not content. He would love to see the king's glorious soldiers more than anything else in the world. Then, one night, his father hurts his ankle while climbing up the mountain. Sang-hee is given the task of lighting the fire himself, but as he nears the pile of dried twigs he thinks about how much he'd like to see a soldier up close. And the hot coals are slowly burning out...

The book weighs an individual's personal wants and fantasies against the greater good of the whole, and does so beautifully. You completely understand Sang-hee's dilemma. On the one hand, there's the fact that not lighting the fire would be a callous lie. On the other hand, "Maybe there is a soldier who would be glad for a chance to visit the sea". Park's story is based on factual information, as she mentions in her Author's Note. However, the system by which bonfires informed the king of potential attacks was, in real life, far more complex than the one featured here. As Park herself mentions, "additional fires could be lit to convey further information, so the court would know not only which province was facing danger but things like the size of the enemy forces and how well armed they were!". She provides additional resources for further reading.

It was a real stroke of luck that Park was paired with illustrator Julie Downing too. Downing plays with lush watercolors and pastels that perfectly convey not only the cool blue nights Sang-hee must run through, but also the glow of the slowly dying coals and eventual hot orange flames. If you look on the cover of the book, you can see dream soldiers fighting in the fire and the bright orange flickers reflected in the black of Sang-hee's eyes. Downing's images are the perfect compliment to Park's deeply rich story.

As historical fiction picture books go, this one has to be one of the most beautiful on record. If you'd like a picture book that lures those sometimes hard to interest boy readers, but is just as doggone interesting to the girls of the world, this book's a safe bet. It's beautiful to look at and remarkably complex to contemplate. Art in the purest sense.

The book is so interesting, so informative, and so gorgeous. Also, my kids enjoyed comparing the fires on the mountains to their favorite fantasy, LORD OF THE RINGS. The tie-in made it even batter for them.
Well done, Ms. Park, and while I am here, let me say, KEOKO is my other favorite of yours.

Set in Korea, some time in the nineteenth century, a young boy discovers the great responsibility of lighting the bonfires. When Sang Hee and his mother see that his father has not yet lit the bonfire, and see that there is no enemy coming from the sea, the boy takes up a responsibility that has been in the family for generations. He follows the path up the mountain to find his father injured and unable to climb the mountain. His internal conflict is against the temptation of satisfying his curiosity of soldiers versus responsibility. Good judgment outweighs his selfishness and the bonfire is lit. The systematic communication sends the message to the palace that the kingdom is peaceful. Park is an accomplished writer. The narrative is moving and interesting. The radiant colors of Julie Downing are well crafted.

Perhaps for centuries, the royal court of Korea kept infomred of invading forces and problems in it eight provinces through a series of bonfires lit from one hilltop to the next. In this story, a young boy and his father live in a seacoast village on the first line of defense for the bonfires. Each night, the boy's father lights a bonfire which is seen by hilltop after hilltop all the way back to the king. But when he in injured, his son must light the fire. But would it not be better to not light it, so that some excitement and soldiers will come to the village? Or does reponsibility win out?

Linda Sue Park's The Firekeeper's Son is a picture book that tells of life in a Korean village several hundred years ago. At that time fires were lit as signals that all was well. It is an exciting story the pits a young boys dreams for excitement against his duty and responsibility. Julie Downing's illustrations showing traditional Korean village life really bring the past alive.

I first read David Young's amazing translations of these great T'ang poets seventeen years ago, when I was one of his students at Oberlin College in Ohio, and they started me on a lifetime of reading and loving these astonishingly ancient and contemporary sounding poets. There is something vibrantly alive, immediate, and inspiring about these 8th century words and the personalities of their wise, striking authors. In reading many translations, you won't find many as clear and right.

My best friend in this world (outside of my wonderful family) is a guy that I only get to see every few years. He's like the wind. He blows in and out of my life. But he's always in my heart. We are poets.

Being a poet is not a choice. It is a life sentence.

My friend and I are dissimilar in so many ways that it is remarkable that we don't break out in a fight the instant we come into each other's presence. Yet...and yet...

Hearts touched by the flame always find warmth in good company.

Imagine my joy then, at finding a new brother (one from over a thousand years ago) when I picked up this book and met Li Po.

I won't bother you much longer with my words. Instead, let me introduce you to Li Po himself:

Drinking in Moonlight




I sit with my wine jar
among flowers
blossoming trees

no one to drink with

well, there's the moon

I raise my cup
and ask him to join me
bringing my shadow
making us three

but the moon doesn't seem to be drinking
and my shadow creeps around behind me

still, we're companions tonight
me, the moon, and the shadow
we're observing the rites of spring

I sing
and the moon rocks back and forth

I dance
and my shadow tumbles with me

We celebrate for awhile
then go our own ways, drunk

may we meet again someday
in the white river of stars
overhead!

This is THE book of translated Chinese poems which opened my eyes to the art of poetry. I've since searched for and read many others, but this remains the best. The translations are masterful - lucid, transparent, simple, and, in English, stand as wonderful poems in their own right.

"Verses, however masterly, cannot be translated literally from one language into another without losing much of their beauty and dignity." (Bede, English writer and historian, AD 673-735)

For the translator of poetry, and Chinese poetry in particular, the question is: shall I be true to the letter or to the spirit? Usually the answer lies somewhere in the middle. The best translations aim to be true to the spirit without violating the letter more than necessary.

David Young, a poet himself, hopes to be true to the spirit of the five poets from the Tang Dynasty (AD 618-906) while at the same time trying to create poetry in a different language and period. The impulse that lies behind his book is to rescue the poets "from the often wooden and dogged versions of the scholars" and to recreate the beauty and dignity of the poetry in a language used by an American poet at the end of the 20th century. The results are marvelously readable, beautiful translations that I enjoyed more than any other translations of Chinese poetry I have read before or since.

Preceding the translations, Young has written a short introduction to each of the poets. These include a discussion of the special qualities of the poets' works and a selection of recommended translations by other English authors.

The five poets represented in this book are (1) Wang Wei, a devout Buddhist and the Chinese poet of landscape par excellence who wrote poems of a deeply religious sensibility; (2) Li Po, the Chinese archetype of the "bohemian artist and puckish wanderer," a poet beloved for his Taoist unconventionality; (3) Tu Fu, China's greatest poet according to a widely held view because of his technical brilliance and "vigorous poetry that manages to transcend unhappiness and melancholy by its enormous range and immense humanity"; (4) Li Ho, a poet usually not ranked with the Big Three because he is too innovative and defies classification; and (5) Li Shang-yin, who has a reputation as a decadent versifier but, as Young shows, is a "human and humane artist who feels deeply and sees deeply into mysteries of our common existence."

One of my favorite poems in this collection is "Returning to my cottage." It is a good example of Wang Wei's ability to capture stillness and movement in a landscape, to balance observations of things distant and close by, and to create from these images an atmosphere of serenity tinged with sadness. It is a good example for David Young's style of translation, too:

A bell in the distance
the sound floats
down the valley

one by one
woodcutters and fishermen
stop work, start home

the mountains move off
into darkness

alone, I turn home
as great clouds beckon
from the horizon

the wind stirs delicate vines
and water chestnut shoots
catkin fluff sails past

in the marsh to the east
new growth
vibrates with color

it's sad
to walk in the house
and shut the door.

Bottom line: This is one of the few anthologies of classical Chinese poetry in which the English versions of the poems really sound like poetry. There is nothing of the stiff formality and awkwardness of most other translations that disable the lyric voice of the verses. These translations are full of the beauty and dignity of the Chinese originals.

The Five Tang Poets covered in this book are wonderful.

Wang Wei excellent landscape poems take you to places which are wonderous while not over iydllic. Tu Fu is sad and poinant, talking about the scenes of war. Li Po talks of drinking and intoxication in a way that seems that it is a way of life

Young translates in a free verse form using simple words and goes for the feeling of the poem. The poems are not 100 % literal translations but they are jems. I feel like I am having some of my chinese friends translating a poem for me and they say this is the best I can do you will have to read Chinese to fully understand the poem completely. Young takes us as far as one can go in our language. He took on a difficult task to bring these poems so simple in language and so complex in context and emotion to life, Young has done an excellent job with the tool of the English language

My 3-year old daughter loves Grace Lin books. Kite Flying, Dim Sum and this one are in her current reading rotation (sometimes 10 times a day!) The illustrations are just wonderful.

My two-year-old daughter and I just LOVE Grace Lin's books. With each new Grace Lin book that we buy, it immediately becomes my daughter's favorite, until we get another Grace Lin book! There is so much to see in the book, and the story is adorable. Highly recommended!

I bought this book for a lesson on Multiculturalism in the classroom. I incorporated a puppet with the story, and the students loved it. This is a must for any classroom.

For older kids, even high school, this would be a great starter story for them to read and then make their own fortune cookies, inserting their own fortunes before the hot smooth cookies harden. A nice end note explains some of the original of the Fortune cookie as Japanese, not Chinese, but the overall charm of the book is its celebration of the traditions of the messages inside the cookies. If you didn't want to make fortune cookies from scratch in a classroom, you might just settle for everyone having a fortune cookie (available in most large groceries) and sharing their fortunes over a cup of nice tea. Also, check out Dim Sum for Everyone, also celebrating cultural food experiences for all ages.

Hard to keep a young toddler (or an adult) interested in the storyline...it's mostly a long list of fortunes, but Grace Lin's illustrations are wonderful, as always. My toddler loves just looking at the packed pages of beautiful birds, origami animals, and lots more!

This is, as other reviewers have pointed out, a comprehensive but very challenging book, one that requires some background knowledge of the Persian Empire before starting. The translator, Peter T. Daniels, at the end of his introduction recommends that the non-specialist reader start with Wiesehofer's Ancient Persia, an excellent book in its own right and one that complements Briant's magisterial tome. Academic reviews I have seen endorse this, and I strongly agree with them.

This book is one of the best books on this subject and it covers rise and fall of Achaemenid Empire in details. Pierre Briant has showed his ability to use his extensive research to seek the truth about this great civilisation and he has examined Babylonian inscriptions and Egyptian documents to support it.
The theory of decadence of Persian Empire was introduced by some scholars and it has dominated the
Studies of ancient Persia but this book gives us an opportunity to study new evidence and to overcome the Hellenocentric view which has infiltrated Iranian studies.
I salute Pierre Briant for his dedication and love for Iranian history and for giving us such a valuable
Book and I recommend this book to readers with passion for Iranian history and to those who seek the truth about the past.

Pierre Briant's book "From Cyrus to Alexander: A History of the Persian Empire" is probably the best book on the Persian Empire thus far. Pierre Briant use not only the western sources but also the eastern sources on the Persian Empire. He painstaking pieces together just about every bit of info on the Persian Empire to give the reader a panorama view of their culture. If you are intrested in the History of Persia this is a great book have on the book shelf!

This book is discussing pre-Islamic era of Iran. This book is discussing founder of Iran Zamin Cyrus the Great who found daynasty of Hakhamanishian. This dynasty came to an end by invasion of Alexandra.

Dear Friends,

This book is not light reading for the casual dilletante, it is a scholarly book by a world renowned author who has produced the last book to be writted on the Achaeminid Persian Empire pending the discovery of a huge new archive of inscribed tablets that will provide a new book A NEW LOOK AT THE PERSIAN EMPIRE: THE X CUNEIFORM TABLET ARCHIVES.

I took a course on the Achaemenid Persian Empire from Professor Pierre Briant when he was a visiting professor at the University of Chicago's Oriental Institute in 1997 when I was in graduate studies in ancient history there. He is fully conversant in every piece of literature and archaeological evidence on the subject.

Be prepared for a lot of reading, the book is 1196 pages long,everything is referenced. The actual text starts on page 13 and ends on page 876, the other 300 pages are research notes, pages 977 to page 1050. There are indexes on personal names and topics. The Bibliography is from page 1059 to page 1124, a full 65 pages!

Those of you interested in numismatics will be sorely disappointed unless you have been unable to find a convenient genealogical table of the Achaemenid Dynasty

My own interest at the present time is in anceint weapons, also an area that is not covered by this book. I for one would like to see a book titled ARMS AND ARMAMENT OF THE ANCIENT ACHAEMENID PERSIAN EMPIRE that would illustrate swords, daggers, spears, missile weapons, armor, helmets, horse trappings, chariots and anything else in the field.

If you share my interest in ancient weapons, please feel free to join http://groups.yahoo.com/group/ancientweapons or emai me at jpisc98357@aol.com. For those of you interested in a broader based discussion of anceint Iran, there has been a new discussion group formed. Go to http://groups.yahoo.com/group/Iranica-L There is not yet any content to the group which has staked out the eras from pre history until the Muslim conquest in the 7th Century.
There is a good site if you are interested in the Parthians at:
http://groups.yahoo.com/group/Parthia-L The participants of this group are heavily into numismatics.

This book is not a good source for artifact studies, there are no photographs at all and the iconography illustrated is all done with line drawings. The maps are adequate but are not plentiful.

For those interested in a supplement to this book that will give you a real taste of what the Empire's captial looked like, I would recommend Persepolis Recreated, a book and DVD that reconstructs the great palaces of Persepolis using modern graphics technology. It is available for $85. from the producer, Farzin Rezaeian. Call (708)386-2720 to place your order.

Best regards, John Piscopo