This Book Is a Planetarium: And Other Extraordinary Pop-Up Contraptions by Kelli Anderson

This is a work of art, teaching tool, pop-up toy and book that will delight playful lifetime learners.

This Book Is a Planetarium–as well as a musical instrument, a decoder ring, a spiralgraph and more. With a smartphone or small LED light, the galaxy comes to your living room. Graphic designer Kelli Anderson exults in the science and the art in the everyday, here playing with the powers of paper. This short but engrossing large-format book is at once an art object and a collection of teaching tools. Each page pops up and moves, dynamically demonstrating lessons from physics, geometry and astronomy. Brief explanations in small print further expand the didactic element. While the text is written for adults, not children, a little grown-up assistance (and supervision of removable parts) could make this an educational toy for all ages. Sensory play involving touch and sound as well as sight is too often left to the kids, but This Book Is a Planetarium is a physical object and absorbing interactive experience for all curious and young-at-heart readers.


This review originally ran in the November 21, 2017 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 7 strings.

Yokainoshima: Island of Monsters by Charles Fréger

A rich collection of photography explores the Japanese mythology that both celebrates and protects longstanding traditions.

yokainoshima

Yokainoshima is a lushly beautiful collection by photographer Charles Fréger (Wilder Mann: The Image of the Savage), with commentary by experts on his Japanese subjects. Yōkai are “spirits, ghosts and other monsters,” or, literally, “bewitching apparitions.” On Yokainoshima, the “island of monsters,” and in Japanese culture, these gods and ghosts emphasize links to other worlds, in which humans are not the only inhabitants.

The bulk of Yokainoshima is filled with nearly 200 glossy color images of masked and costumed performers representing specific yōkai in grassy fields, beaches, forests and snowfields. Standing alone, these powerful, vibrant photographs offer stories and evoke emotions. Descriptions of the depicted characters, groups and customs (located at the back of the book) elucidate the mysteries offered by the images: seasonal rites requesting fertility, abundance and protection. Short essays portray a culture defined by its spirits, monsters and connections, enriching Fréger’s striking visual art.


This review originally ran in the November 22, 2016 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 8 pieces of straw.

Paul Smith’s Cycling Scrapbook

In this love letter to professional cycling, a fashion luminary expresses his passion with visual pop.

cycling-scrapbook

British fashion designer Paul Smith once aspired to be a professional cyclist, and his love for the sport has persisted over the decades. Paul Smith’s Cycling Scrapbook presents assorted ephemera accompanied by Smith’s casual commentary, with a brief foreword by Scottish cyclist David Millar.

Smith has an impressive collection of cycling jerseys, pennants, advertisements and publications specific to professional road and track racing. Chapter headings present themes and artifacts, including racing personalities, events like grand tours and one-day classics, Smith’s own bicycles and what he refers to as “the look.” He admires the individual histories of heroes like Fausto Coppi, Jacques Anquetil and Eddy Merckx, and Smith’s friends among contemporary racing stars, including Mark Cavendish and Bradley Wiggins. Throughout, Smith’s tone is conversational and self-effacing, even as he is honored to design the 2013 Giro d’Italia’s maglia rosa (leader’s jersey).

Visually stunning and wide-ranging, Paul Smith’s Cycling Scrapbook elegantly marries Smith’s admiration for the heroes of road and track cycling with his passion for design.


This review originally ran in the November 22, 2016 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 7 polka dots.

book beginnings on Friday: Paul Smith’s Cycling Scrapbook

Thanks to Rose City Reader for hosting this meme. To participate, share the first line or two of the book you are currently reading and, if you feel so moved, let us know what your first impressions were based on that first line.

cycling-scrapbook

For one of Shelf Awareness’s upcoming gift editions, I am reading a big, hefty coffee-table book on one of my favorite topics.

Cycling has always been the sport for me. You probably won’t be surprised to learn that I was attracted by its sense of style: things like Fausto Coppi’s sunglasses, Jacques Anquetil’s jerseys and the beautiful graphics on a piece of Campagnolo kit have provided a regular source of inspiration in my work.

But there’s much more to it than that.

I am initially a little amused that Smith finds it obvious that he’d be attracted by cycling’s style, because I don’t think that’s a terribly common reaction today to Lycra-clad roadies on the streets of U.S. cities and towns. I know what he means, of course. And I think his tastes are more understandable in the era he’s referring to, and the more so because he’s British.

I like the way this beginning finishes up with a teaser, too. Aren’t we all anxious to hear what ‘more’ there is to come?


This quotation comes from an uncorrected advance proof and is subject to change.

Magnum Cycling by Guy Andrews

Stunning photographs of bike racing across disciplines and decades, succinctly narrated, provide a compelling historical perspective.

magnum cycling

From Magnum Photos, one of the world’s oldest and most prestigious photo agencies, comes a collection of historic and iconic images of bike racing. Arranged and with accompanying text by Guy Andrews, Magnum Cycling is visually stunning and insightful.

Chapters are organized by themes, times and places, and photographers. The photographs of Robert Capa and Harry Gruyaert each fill a whole chapter, focusing on the 1939 and 1982 Tours de France, respectively. Guy le Querrec’s work covers “winter and spring,” including cyclocross racing in Belgium and France, and the Renault-Elf pro team’s winter training program in 1985. Chapters also address the velodrome, including six-day racing and the Paralympics, and the spectacle of the spectators. Henri Cartier-Bresson and John Vink join an impressive list of featured photographers. Along the way, Andrews explores the history of the Tour de France, national differences in spectator traditions and the legacy of figures like Bernard Hinault, Laurent Fignon and Lance Armstrong. His tone combines awe with humor when he calls cyclocross “simply bonkers… akin, perhaps, to bull-running in Pamplona or cheese-rolling in Gloucestershire.”

The balance of text to photographs is perfect: Andrews’s narrative and captions inform and elucidate, and then get out of the way of the extraordinary images that are the heart of this beautiful book. More than 200 gorgeous, intimate photographs in black-and-white and vibrant color present a view of a sport that is adrenaline-filled, fast-paced and deeply, tenderly human. Magnum Cycling is a superior collection of art, history and emotion.


This review originally ran in the June 1, 2016 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish news.


Rating: 8 moments.

guest review: Salmon in the Trees by Amy Gulick, from Pops

salmon in the trees

I just finished reading Salmon in the Trees, recommended by a friend in response to my Edfro Creek “Fish in the Forest” essay, and this one belongs right up there with the other fish/forest books. Beginning with her own wonderful introductory essay, photographer Amy Gulick assembled a crew of nine contributors to help narrate the photo-format (with maps!) and it’s a masterful and lyrical collaboration, from writers Carl Safina and Richard Nelson to Alaska “writer laureate” John Straley, a couple of biologists and others. Its narrative focus: “Southeast” (Alaska), 80% of which is Tongass National Forest (largest in the US, 3 times the size of the next largest, 1/3 of Earth’s temperate rainforest but only 1/2 forest, 85% intact, more shoreline than 48 states, more than 5000 islands, more than 10,000 tribal population out of 70,000, approx. 1/2 of its old growth remaining); and the many ways it is special, yet largely overlooked by a US public that should champion its preservation in the face of continued threats. Along the way it depicts a world in itself, including three Salish tribes (Haida, Tlingit and Tsimshian) and their resilient white neighbors who together comprise

a vibrant, sensual brew… a place assembled of mystery & mistakes… wild & also messy… a place where people live with salmon in their streets and bears in their backyards… the big old trees still standing, the bugs, the fish, the bears, and the flawed & saintly people… the modern world has arrived and hasn’t yet broken the circle of life… [but] it may just be a matter of time.

I learned of the ANCSA (Alaska Native Claims Settlement Act) that partly restores land rights, including Sealaska, a tribal land corporation; the Haida tale that explains their recurring recessive gene for red hair; the special role of pockmarked sandstone karst in forest ecology; that alder as a nitrogen-fixer rivals salmon for forest nutrients; and yet more about bears & fish in the forest. Gulick does for this region what McAllister does in Great Bear Wild.

Who Shot Sports: A Photographic History, 1843 to the Present by Gail Buckland

Disclosure: I read an uncorrected advance proof sent to me as a review copy.

who shot sportsI’m sorry not to love this book. I love the concept: a coffee-table style art book of sports photography, beginning with the first known “sports photograph” in 1843 (a portrait of an unknown tennis player), and including nearly 300 images. In the final publication, 120 of these photographs will be printed in color. My galley copy has just a few pages of full color, but I can tell the end result will be visually impressive.

The pictures are great. And the history is fairly well done: there is some discussion of technological advances (geared toward the layperson, not the professional photographer), and trends and values. The text itself, however, is very uneven. It started to bother me at about halfway through, as it began to repeat itself: in particular, Dr. Harold Edgerton’s feat in pioneering stroboscopic photography is noted over and over again, at different points in the book but also repeatedly on the same page. Who Shot Sports is organized thematically, with chapters like “Fans and Followers” and “Vantage Point”; within these chapters are photos that fit into that theme, from different eras. The surrounding text profiles the photographers rather than the athletes, and one of the express goals of the book is to highlight those often still unknown men and women (but mostly they are men, even now). These bios vary widely in length and quality, and often feel more like lists of facts than composed or relevant narratives.

But the line that stopped me and wouldn’t let me go was, “Banning African Americans, who were such talented athletes, was especially cruel and malicious.”

This is a racial stereotype that has not served African Americans well historically, and anytime we assume something to be true of an entire population, we look silly and find ourselves in some cases wrong. I read another 20-30 pages past this point, but couldn’t move on in my mind.

I will point out again that I read an uncorrected proof, meaning that this book is likely to see another round of editing before publication. They may catch this line in time. But they also sent this copy out for review, and should expect to be held accountable for its contents. Typos and formatting problems are common issues with galleys; images may be missing or shown in poor resolution, with the understanding that the finished copy will include the real thing. But tone-deaf racial profiling I can’t help but note.

This will clearly be a beautiful volume of photography. I think the text might be worth, at best, skimming. Unless of course you are as bothered by that one line as I was.


Rating: 9 light sources for photos, 3 for text. Draw your own conclusions (always).

guest review: Great Bear Wild by Ian McAllister, from Pops

I reviewed this book very briefly, for a gift review several years back. Now, here’s Pops.

great bearMcAllister writes eloquently & sincerely about this amazing place, with confident familiarity from living there for decades; he was a wonderful guide & companion for the all-too-brief time of reading.

The region he describes is also subject of several other books worth mentioning – and reading.

The Fish in the Forest, with its detailed explication of salmon + forest ecosystem interdependence, is significantly based on the research of Tom Reimchen, which documented bears’ role in spreading nutrients from salmon into temperate rainforest. Reimchen’s extensive observation and data collection was based in the Great Bear wilderness.

The Last Great Sea by Terry Glavin (2000) is an exceptional survey of the geologic and human history of the North Pacific basin, from Japan to Bering Sea to California’s Bay Area. Learning of North America’s temperate rainforest in this context illuminates how literally unmatched it is on earth; Great Bear represents the best surviving enclave of this precious treasure.

The Golden Spruce includes both factual narrative and cultural backstory revolving around McAllister’s Great Bear region, with a stunning impact that lays bare the tragic contradictions implicit in human impacts and threats in such a place.

Threats to coastal waters from increased fossil fuel tanker traffic are a prominent theme in McAllister’s telling; beyond that, there were persistent threats from continued logging, hunting and general human expansion in the region.

However, there have been significant developments on these fronts even since the 2014 publication.

The Enbridge tar sands pipeline project was at first permitted by the conservative Harper government. Then in 2015 Justin Trudeau was elected PM, and this year his government quickly denied the permit. Such battles are never “won”; but depressed crude prices are driving tar sands closures, global pressures against further oil extraction are growing and Trudeau faces constant scrutiny to transition Canada away from Harper’s legacy to become an international clean energy leader.

At nearly the same time this year, the Great Bear Rainforest Agreement was finally signed after decades of maneuvering & negotiation between BC, Tribes, logging companies and non-profits like Sierra Club, Greenpeace & ForestEthics. The Agreement is broadly depicted as welcome preservation for the region.

Yet, even with that consensus some regrets are inevitably emerging, and McAllister is among those voices. Although the agreement protects 85% of the rainforest from logging, the 15% remaining is in coastal lowlands with remaining old-growth forest – the largest trees; these should be preserved. And although the Agreement “ends all bear hunting”, what it really does is grandfather bear hunting licenses so that hunts will continue at existing levels, at even greater value now, for the foreseeable future.

As with most such efforts since John Muir arrived in California in 1868, conservation has meant compromise; and when humans make concessions on behalf of natural resources, some of those resources are lost. After more than 150 years of this well-intentioned horse-trading, there is little left to bargain away.

Agreed; this is at least a 9.

(Susan Vreeland’s The Forest Lover is set in BC, as well.)

A different perspective, with background on the political situation. Let me just weigh in to say PICTURES! This is a collection of deeply gorgeous photographs, as well, and for that reason as well is not to be missed.

Thanks, Pops.

Memento Mori: The Dead Among Us by Paul Koudounaris

Photographs of memento mori from around the world illustrate rich relationships with death.

memento mori

Paul Koudounaris (The Empire of Death) presents phenomenal photographs and a fascinating survey of death across cultures and history with Memento Mori: The Dead Among Us. His text is concise but effective, allowing his photography to take the lead. Images are gorgeously rendered in large format and across full spreads. They feature ossuaries, charnel houses and intricate, artistic arrangements of bones, mummies and decorated skeletons from various cultures.

Koudounaris portrays the Torajans of Indonesia, who place their dead in caves, and after the coffins disintegrate, arrange the bones decoratively; the Aymara Indians of Bolivia, who keep treasured skulls in their homes and ask them for advice; and the elaborate, even decadent, Catholic ossuaries created in response to Protestant reforms. Buddhists gilded certain mummies; Rwandans set up memorial vaults. Wrapped in a blue satin cover, with more than 500 illustrations, Memento Mori offers a striking tribute to many ways of remembering and honoring death and the dead.


This review originally ran in the November 27, 2015 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 7 perspectives.

Thunder & Lightning: Weather Past, Present, Future by Lauren Redniss

Superb illustrations accompany fascinating tidbits about weather and the world in this lovely, distinctive book.

thunder lightning

Lauren Redniss (Radioactive) offers a gorgeously rendered and singular piece of work with Thunder & Lightning: Weather Past, Present, Future. Her original artwork is stunning, dreamy and evocative, the perfect complement to facts about weather and carefully selected interview excerpts and quotations.

Redniss’s “Note on the Art” describes her media: copper plate photogravure etchings and photopolymer process prints, hand-colored, and a few drawings in oil pastel. She comments on the artistic tradition that inspired her: artist/scientists whose devotion to precision and accuracy have historically paired with “a sensation of strangeness, wonder, terror.” Her work is certainly worthy of that tradition; drawings of wildfires recall Picasso’s Guernica, and the chapter entitled “Sky” contains only striking illustrations and no text. These drawings are both otherworldly and very much of our world.

Redniss’s text, based on scientific research and cultural traditions, riffs on weather phenomena rather than offering a comprehensive study. Her chapters cover conditions (cold, rain, heat, fog) as well as concepts (dominion, war, profit), and span the planet and various peoples throughout history. She considers weather that has been blamed on witches or credited to gods; the use of cloud seeding as a weapon by the United States against Vietnam; and weather derivatives and insurance. Redniss’s subjects are quirky and entertaining; her chapter “Forecast” is as concerned with the Old Farmer’s Almanac as with the National Oceanic and Atmospheric Administration. That tone of marvel and whimsy, plus exquisite illustrations, make Thunder & Lightning both remarkably beautiful and pleasingly informative.


This review originally ran in the November 10, 2015 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 8 gorgeous interpretive hand-colored prints.
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