Nutrition

It's April. The past two weeks have brought spring's first glimmers, the frozen world turning to soggy mush as the 0C barrier is occasionally broken. The crisp-though-bareable air, the sky expanding like a blue cornfield across the prairies, the sun pouring through the windows, viscous, tangible... all that is out-of-doors hints at the promise of summer's decadence. To celebrate the upcoming onslaught of shineshineshineshineshine, it was decided the most decadent sandwich of them all, the Shooter's Sandwich, should be our fare for the day's main meal.

Shooter's Sandwich

Ingredients

  • Two steaks. We went with two of The Co-Op's finest striploins.
  • One round loaf of sourdough bread
  • 500 grams of brown mushrooms
  • 500 grams of shallots
  • Extra spicy horseradish
  • Dijon mustard
  • 75 grams of butter (or, in our case, saved-up bacon grease)
  • Bulb of garlic
  • Pepper
  • Salt
  • Worcestershire sauce

Img_0222

After a morning at the grocery store

Preparation

First, have your lovely and beautiful sous chef deskin and chop up, without the help of a slapchop, the musrooms and shallots. Get them into a really fine diced consistency.

Img_0227

Deskinning the shallots

Img_0244
Shallots all chopped up

Img_0243
Sous chef reduced to a shuddering mess, tears streaming down face and into comforter, due to increase of atmospheric shallot juice

Img_0251
Mushrooms all chopped up

Next, pop a pan onto the burner, and get that thing all medium-sizzling. Toss in 75 grams (or, a few hearty spoonfuls) of hardened bacon fat. Let the fat liquefy, and toss in all the mushrooms and shallots. Add some salt and pepper in there and let the juices mingle and party.

Img_0256
Mingling, partying

While these are busy getting down, cut the top quarter of the loaf off.

Img_0236
Off with your hat

Use your dirty paws to rip out most of the gushy inner sourdough from the loaf. Save the innards to make breadcrumbs, or alternatively, press into a mushy ball and throw at your annoyed sous chef.

Img_0240
And then I ate the bowl!

By now (if now is like ten or fifteen minutes since you popped 'em into the frying pan), the mushrooms and shallots should know one another really well. Unfortunately for the shallots but fortunately for us, the shallots don't have enough flavour density to really fill out the sponge-like mushrooms. And by now, after all this partying, those shrooms are just ready to suck up some flavours and become little bits of epicurean dynamite. Have your forgiving sous chef finely grate some garlic and bring you your big ol' bottle of worcestershire sauce. Toss both those in the pan and stir a whole bunch. Then, set aside.

Img_0261
The life of the party arrived!

The supporting cast has their lines memorized and heavy applications of makeup. Now it's the star of the show's time. Get another pan dry and hot over the highest heat your burners can muster. You know the pan's ready when you look at it and the air above shimmers and swirls, air density increasing in eddies and currents like a desert wind in your kitchen. Season your steaks with some salt and pepper, and drop 'em in the pan.

Img_0265

Hey there beautiful...

Now, I'm the type of person who prefers his steak on the side nearer 'cow' than 'leather', and so the temptation is to give each steak side thirty seconds on ultra-high heat, no more, leaving it with a Michelson-endowed outer golden-black crust of flavour and the inside a more-red-than-blue oasis of tenderness, however, in the case of the Shooter's Sandwich, the prevailing wisdom is you want a little more doneness to your meat. Shoot for medium.

Also unlike when cooking steak for its own enjoyment, you don't want to let these steaks set at all. Once their done, take the pan straight from the heat and over the hollowed out loaf and plop the first one in.

Img_0270
First steak locked in

Once you've rammed the first steak into its doughy new home, layer on all the mushrooms and shallots you've slaved over.

Img_0274

Onions and shallots on top

Now, put the second, final, steak on their. It'll take a bit of shuffling and fussing before the entire package will fit snugly in its bread container, but don't be afraid to manhandle the meat and adjust the mushroom paste a bit.

Img_0278
Second steak locked in

Now, load up the out-facing steak with horseradish and shellack the bottom of the hat with dijon mustard.

Img_0282
Horseradish, the condiment of the gods

Pop the top back on, wrap the while affair in wax paper, and tie it up with some butcher string.

Img_0288
Like a Christmas present

Now wrap the whole bundle again, this time in tin foil. The hardest part of the whole recipe is this next step. You must take a big cutting board and balance it atop the bundle of nutrition you've created. Atop this cutting board, you must place some heavy objects, about as heavy as a Quiet Deluxe 46 typewriter and a hardback copy of The Adventures of Lewis and Clarke. And now (the hard part), you must wait, six hours at least but overnight is best. Let the loaf and its contents compress and densify, more taste per cubic centimeter than you can imagine.

Img_0294
Heaving downward!

Once the wait of the millenias is over, unwrap your treasure, but leave the last layer of wax paper on. Cut as you would a cake. Enjoy pure decadence.

Img_0327
Cross section

Img_0330
It looks like cake, but it's better

First, drool over your masterpiece. Then, devour with good friends.

MySQL, FreeBSD, and libpthread

Recently, I needed to run mysqld in a FreeBSD jail. The jail was built on a FreeBSD 6.4 host and later moved to an 8.1 host. (The reasons for this are myriad and I won't go into them here.)

MySQL depends on libpthread, and was compiled with dynamic linkage to libpthread.so. When attempting to fire up the jail on the 8.1 host, mysqld failed to start, spitting out an error about libpthread. After some discussion, it was decided that mysqld should be using libthr instead of libpthread. (For the unaware, FreeBSD has two thread implementations. There're lots of documents online regarding this, and I don't know exactly why this is, so I won't discuss it here.) I messed around with attempting some invocation of ./configure and LDFLAGS and CFLAGS to get MySQL to build against libthr, with Google providing no help (which is why I'm posting this). And then I found out about /etc/libmap.conf.

It turns out, on FreeBSD you can override which shared object gets loaded when a binary requests one. This is configured in /etc/libmap.conf, and it's really handy. It turned out I didn't have to recompile MySql at all. I just editted /etc/libmap.conf (which doesn't exists by default, so create it if you don't have one). Inside:

[root@test /]# cat /etc/libmap.conf 
[mysqld]
libpthread.so.2 libthr.so.2
libpthread.so libthr.so

With this in place, mysqld started without issue and runs well. Additionally, some highly-unscientific reports from the web show that MySql actually runs faster using libthr. Who'd've thought? 

Introducing Node-Twilio: The Single Best Platform for Writing Twilio Apps

Typically when developing a Twilio application, there is an ugly and confusing separation between making REST requests to Twilio's API servers, and setting up the response handlers that reply back to Twilio with TwiML instructions. For example, when you POST to the /Calls resource in order to initiate an outgoing call, you specify a StatusCallback URL. When the call is answered, Twilio requests that StatusCallback URL. Your application then must respond back with valid TwiML, and Twilio executes your instructions.

In truth, this all is very straightforward no matter what library, language, or platform you're using to build your Twilio app. You make some REST requests, ensure there's some sensible and valid TwiML at the URLs you specify, and you're good to go.

Here's an example of what I mean, borrowed from the Python Twilio helper library:

# Instantiate a Twilio REST account object 
account = twilio.Account(SID, AUTH_TOKEN); 
# Call my parents req_data = { 
    'From': MY_CALLER_ID, 
    'To': '867-445-1795', 
    'Url': 'http://hostname/path/to/my/love/filled/parental/greeting.xml' 
} 
print account.request('/2010-04-01/Accounts/%s/Calls' % \ 
    ACCOUNT_SID, 'POST', req_data)

Before your request is POSTed to Twilio, this code assumes you've set up a webserver on your machine, and you've gone and put your TwiML (either statically or dynamically generated) in the path you've specified. The file probably looks like this:

<?xml version="1.0" encoding="UTF-8"?>
<Response>
        <Say>
                Hey mom and dad! It's your baby boy! I love you!
        </Say>
</Response>

Granted, nothing above is really difficult (who can't configure nginx or apache and write some XML, after all?), but it still is pretty annoying to have separate controllers for your Twilio REST requests and your TwiML responses. Additionally, if your app includes lots of complex logic (suppose, for instance, you have various different responses you want to deliver based on an incoming caller's geographic location), it becomes a cumbersome and error-prone process to maintain all your different REST controllers and TwiML response generators.

Enter: Node-Twilio.

Node-Twilio is a Twilio helper library for Node.js. Now, Node-Twilio's not your average Twilio helper library; It doesn't simply provide you with a few simple method calls for making REST requests and a few functions to ensure you generate valid TwiML (but it does include both of those). Node-Twilio takes care of provisioning all the URLs you deliver to Twilio to deliver TwiML, and it exposes all of Twilio's functionality as EventEmitter objects.

Perhaps an example is in order. Again, let's call my parents (they're great, and I want to make sure they really know it), but this time, let's do it with Node-Twilio.

// First, we have to require TwilioClient and the TwiML helper
var TwilioClient = require('twilio/client'),
    Twiml = require('twilio/twiml');

// Now, let's instantiate our client with our credentials and hostname
var client = new TwilioClient(ACCOUNT_SID, AUTH_TOKEN, HOSTNAME);

// Ok, great! Now, let's get a new PhoneNumber object
// Note: We can pass in either a Twilio phone number
// associated with our account, or the SID of same.
var phone = client.getPhoneNumber('+16067777777');

// Alright, we're ready to make a call
phone.makeCall('+18674451795', null, function(call) {
    // Call is an OutgoingCall object
    // It is an EventEmitter
    call.on('answered', function(callParams, response) {
        // callParams is simply a map of the POST vars
        // Twilio sends with its request.
        // response is a Twiml.Response object
        response.append(new Twiml.Say('Hey mom and dad! It's your baby boy! I love you!'));
        response.send();
    });
    
    call.on('ended', function(params) {
        console.log('Call ended');
        process.exit(0);
    });
});

Paste all that into a file called app.js, substitute in your credentials, and you're ready to call my parents.

Now, what about incoming calls (and SMS, too)? Well, they're just as simple to handle. The PhoneNumber object returned by the TwilioClient is also an EventEmitter. It emits 'incomingCall' and 'incomingSms' events. So, if you wanted to respond to SMS messages, you'd do something like this:

phone.on('incomingSms', function(smsParams, response) {
    // No matter what the incoming message is, respond back with a 
    // quote from your favourite recent novel (Adam Levin's The Instructions)
    response.append(new Twiml.Sms('We are on the side of damage!'));
    response.send();
});

Simple, isn't it? Node-Twilio makes developing Twilio apps simpler and more rapid than any other platform or application. In addition to providing a clear EventEmitter interface to Twilio's REST API, Node-Twilio includes wrapper methods for every one of the resources defined in the API, so if you want to get into the nitty-gritty, you're easily able to.

Interested in trying it out? Check out Node-Twilio on github, take a look at the documentation (which is still slightly in-progress), and give it a whirl!

What I Thought About a Book: On Beauty (Zadie Smith)

My Rating: y = 3x - 500 where y is book enjoyment and x is number of pages into the book you are 

Being under 35, Zadie Smith finds herself frequently dubbed a "young writer", and that phrase is often and rightly preceded by the word "great". Her debut novel, White Teeth, dazzled. It was deep and sorrowful and hilarious and just damn good. On Beauty, her third, begins slow and boringly, and I had trouble working through the mundane lives of the Belsey family. While "boring" was probably not what Smith intended for the opening act, it seemed there wasn't much there. A bit of familial conflict, some academic squabbling, a mention here and there of Rembrandt, and really not much to keep the pages whizzing by. This slow plodding, it turned out, was entirely effective.

On Beauty introduces itself as a family might introduce itself to another. You get the highlights, the complimentary information. Here's Howard, he's a tenure-track professor. He's quirky--doesn't allow visual art in his house, argues vehemently against the intention of textual artifacts, and appears to be a stuffy white guy who happened to marry a big black woman. That's Kiki. Kiki's not an intellectual, though the rest of her family is. She works at a hospital as a nurse, has an iron will, and posses as much maternal care as Aunt Jemima might. Jerome, the black sheep, newly born-again Christian, rebelling against his parents hard-line liberal atheism. Zora, young ferocious scholar. And the whole Kipps family. 

In the first third of the novel, we are introduced to all these people, these two families, and it is much like meeting people in real life. We see mostly the surface, and while there are hints of what lies beneath, we don't see much but what those we're meeting want us to see. Which is exactly what we all do when we meet new people. It's not quite putting on airs, it's not quite deception. David Foster Wallace had a great analogy for it in his heart-rending (more now than ever) story Good Old Neon: We've got these huge inner worlds inside all of us (and, by extension, every family has a huge world to itself that nobody outside really sees much of), and these worlds are shut off from each other with doors. The best we can do is to peer out of our keyhole, shove whatever we can through it, and receive from others' keyholes the same way. So why wouldn't we put the best stuff out first?

The novel's second section opens with a bang, Howard banging an old family friend. Nothing like a little infidelity to make family life more interesting. As the book progresses, everywhere we previously saw success and happiness, we come to see there is really strife, rot, and lots of spit-shine.

You go out, anywhere, say the library, and you meet a family. Some kids, ages scattershot, a smiling wife with an armload of books, husband demonstrating the finer points of the Dewey Decimal System. Or maybe it's just some family you know about. Kids in the same grade, you see the husband filling up at Exxon every once and again, knowing enough of each family member for salutations and words of weather. Comparing the family you're part of, the family whose sphere has absorbed you, you think they're perfect. So happy, always smiling, healthy kids, no signs of abuse or obesity. But then get to know them better, or ask a relative about them, and sure enough you'll find the surface gives no indication of the depths. Greener grass and all that.

This is exactly how On Beauty progresses. We meet two outwardly happy, financially secure, intelligent, educated families. Then, we really meet them.

Throughout the novel, it is really clear that Smith cares a great deal about her characters. Their foibles endear us. As they make mistakes, even grievous mistakes, like Howard banging his two-generations-younger student, we identify with them. We can see ourselves in their shoes, and we can see how we might also be weak in given circumstances. There is no outright evil character, no villain to speak of.

Smith drops small, poignant revelations about life everywhere in the novel. For instance, two weeks Howard cheats for the second time and he runs into his new, young mistress, Smith tells us, "...with the miracle that is male compartmentalization he had barely thought of her [since their liaison]." Later, Smith reveals that the second affair, "had done a world of good for Howard's marriage and for Howard's general mental state. The concept of [her] had put the blessings of his own life in perspective." Guilt has a sneaky way of making us appreciate that which we stand to lose. Lessons like these pepper On Beauty's pages, often causing the reader to stop and pause and revel in the obvious little truths we so often encounter but fail to see.

Deep in On Beauty is a delicious sacking of various bits of modern culture. If I hadn't attended such an institution, hadn't studied the makings and markings of one, I would've assumed Smith's rendition of the academic life heavy-handed satire. Howard, his children, his peers, and his students are all full of the intellectual blatherings you can hear any time you enter the academic echo-chamber. What makes the presentation so perfect in this novel is how damn seriously the characters take their own theses. In Howard and Monty Kipps, long-time professors and scholars, arguments are as internally believed as they are uninteresting. Howard has spent a career in proving Rembrandt not a master but a money-grubbing whore (albeit one of some skill). Kipps rails on and on about conservatism, and doles out the same homophobic and anti-everything Christian-bent rants you can see every day if you watch Fox News at the right times. The students also demonstrate their own dogged belief in scholarship over all else, however Smith interestingly points out that the students, not yet so indoctrinated, cling to their arguments only tentatively, ready to slip away and move on to another argument (maybe even a counterargument) at any time.

And, of course, as with any Zadie Smith novel, the issues of race and place are front and center. Both Kipps and Belseys are transplanted Brits, and the Belseys are a mixed-race family. While both families contend support with their minority brethren who've been much maligned historically and presently, the irony that both families and the institutions they live for shit all over the non-elite, unprivileged minorities ever present in those hallowed halls of learning. The novel follows the struggles of Carl, a young rapper, as he encounters and attempts to align himself, become merged with, these learned, elite of his minority group, and Carl is repeatedly and unabashedly dismissed and marginalized whenever his aims and goals cross heads with any of those of the rich few.

Finally, On Beauty handily decimates the right/left, liberal/conservative dichotomy that so fully renders modern public discourse useless and unintelligible. Monty Kipps is a great conservative warrior. Black himself, he's against affirmative action, he believes in bootstrap capitalism, he argues for all the things conservatives are shown to care about in editorial cartoons across the world. He is Howard's foil, Howard being the all-tolerance educated liberal. In the end, both are exposed as dishonorable frauds, just as the left/right presentation of politics and social discourse in our media reduces whoever's opposite us to dirtbags.

On Beauty is an excellent and significant work of art. It's definitely worth the effort of getting through the first act--all that is apparently boring pays off with the fireworks of familial horror. Smith is very deservedly called "great".

What I Thought About a Book: Small is Beautiful: Economics as if People Mattered (E.F. Schumacher)

My rating: 9.1/10

The economists of the world finally seem to agree with each other, by and large, these days presenting themselves as harbingers of calamity. Several European Union member states are on the brink of collapse and in need of tremendous bailout, and the Euro itself has an murky future. The American economy is still in ruins, despite the preaching of the gurus on cable television. China's future is uncertain, and despite its wealth in reserve, it is encountering its own set of problems. Scared by currency woes, nervous citizens of the world are buying gold in record volumes, so much so that many European gold dealers have had to refuse orders for lack of product. All the while, not a word is said questioning the Keynesian principles all the economists reporting and controlling these situations believe in to their core.

In Small is Beautiful, Schumacher--a delightful chap whom I imagine would be a fantastic guest for tea--questions in great detail the fundamental underpinnings of the economic theories that guide and drive the world. From the outset, the book attacks a question that I had often thought about and never adequately resolved: Why does society value growth above all else? It has always seemed to me slightly insane that every company I'd ever heard of had as its main goal growth: More employees, more production, more output, more office space, and above all, more profit. The very obvious reason that infinite growth is absurd arises when one quickly realizes that the earth is finite. It has a specific, though large volume, it has mass, it has a set amount of resources--some renewable, some not--and so at a fundamental level any macroeconomic theory which espouses continual, eternal growth is flawed. As Schumacher rightly points out, because economists have all agreed that growth is the highest possible goal, none will ever say, "Enough!"

This book is a collection of wisdom. Schumacher points out that modern economic thought is flawed not just by its fixation on growth: Its metrics are entirely vapid. Modern economics focuses on goods. A country with a higher standard of living is one in which its citizens have more things--more cars, more televisions, more sofas, bigger houses, more and better everythings. The question never asked is: At what cost? Does a country with more material wealth but which also has a workforce dehumanized and lacking dignity because corporate-scale work have a higher standard of living than a less materially wealthy country in which citizens work less in more humane ways? Any economist alive today will say definitely yes--goods are gods. It is ironic that economics, a study which at its roots is interested entirely human pursuits, pays no attention to people in its operation. (The book makes a great example of the modern factory worker. That great innovation, the assembly line, was instrumental in growing the productivity of an organization. This increased society's material wealth at the cost of turning a man into a robot, performing one action or procedure thousands of times per day.)

Schumacher talks a great deal about the value of work. Before the industrial revolution, work was valued as an ends to itself. Before the age of smog-coughing factories, a typical man's labour involved some degree of creativity and freedom, some stake in achieving a goal, and some obvious benefit to his local community and family. Work wasn't something one avoided, or hoped to do away with. Work was an integral part of life. Today, this is heresy. As much as can be automated is automated, and the opportunity for "human error" should be reduced as much as possible. Moreover, modern man's work typically has no connection at all with his local community or his family, the only exception being the cheque he receives at the end of the week.

Our current society is structured around the base human instincts of greed and envy. All day we are pummeled with images of those materially more successful than we are, we are told from the moment we're free of the womb that the most important thing is to get rich--and once you're rich, you must continually strive to get richer. As we watch the decay of our economies and as another generation grows up with an unfillable hollowness in our chests, which we try to stuff full with flatscreens and fancy phones, can we really wonder about why this is happening? More importantly, why isn't anybody asking the question, Why are we structuring our societies around the worst realities of human nature?

Schumacher does a great deal of criticizing of current economic thought--all of it backed up with wise reasoning. But he's not one to sit around bitching about a situation without proposing a solution. In the final chapter, he outlines a proposal for wiser economic policy. But he doesn't just lay out a screed of idealism and impracticality: His plan is implementable today, with no violent revolution, and with potentially huge upsides for society as a whole. A half-assed summary wouldn't do it justice, so all I can do is urge you to go out, buy this book, and then plant and nurture a tree every year for five years.

What I Thought About a Book: Although of course you end up becoming yourself (David Lipsky)

My rating: One kilogram of gold that happens to rend my heart

The first time I was ever deeply affected by a celebrity death happened when I lately read about David Foster Wallace's suicide. The news was a powerful undertow that pulled me underwater. That I should be so distraught about his death despite never having met the guy wasn't surprising; reading DFW's work was like listening to what my own brain-voice would sound like if I were much smarter. Over the course of two years, I consumed, ate, internalized all his available writings, and though the connection was half-duplex, it was impossible not to feel as though I knew him deeply, as though we were close friends (except he'd never heard of me).

This book is not so much a book as it is a lengthy transcription. In 1996 on the ass-end of DFW's Infinite Jest tour, David Lipsky joined  the author on a road trip, conducting a lengthy interview for a Rolling Stone article that was never published. During the entire journey, Lipsky had his tape recorder running, and this book is an edited transcription of those tapes (exactly how much editing happened between transcription and publication isn't clear, but the impression is that very little was removed). Lipsky and Wallace discuss the obvious things (how the book tour's going, how DFW feels about Infinite Jest's reception, &c.), but they also discuss a range of topics unrelated to Infinite Jest and the tour.

What shouldn't be surprising but is anyways is that DFW speaks and thinks aloud in the same voice present in his journalism. He is a deep thinker, and possibly the most mentally-ambitious person to have lived in modern America. It seems as though nothing that his senses pick up on is left without questioning. He explains frequently the cranial stunt pilotry he goes through examining even trivial details. Example: He read a criticism of him for wearing a bandanna. He explains that he wears a bandanna for purely functional reasons: A man of great perspiration, the bandanna relieves him of having to repeatedly swipe his paw across his forehead. Then someone postulates that he wears the bandanna for reasons of image, that it is an affectation which he somehow calculated would increase his credibility. A lazier person would have maybe said, Screw it, I don't give a shit, and while that's the conclusion he comes to, he does so after examining what he must look like to the critic, how the critic made this assumption, and then as well the various avenues of action he might take in response, and what all of them mean. This over a bandanna.

No matter the topic at hand--television, literature, politics, dogs--DFW exudes startling intellect. And he is always hilarious. His writing often deals with big topics, but I've always read DFW as a humorist of the highest sort. He is genuinely funny.

There isn't anything really sad in this book. If I'd read it before I knew DFW had eliminated his own map, I would have thought it was cool, interesting, great. But in the context of his suicide, the text wrung tears from my reluctant eyes, often during passages that were just downright funny (David's Folger's can spittoon falling over in the car, or David telling his dogs, "Nothing wrong with a little shit on the floor, you guys. Happens to the best of us, hey guys?" when he arrives home to find some shitcoils on the carpet). I definitely enjoyed reading this book, even though the entire time I was immersed in sadness.

Good Old Neon has never read the same. RIP DFW.

What I Thought About a Book: Eating Animals (Jonathan Safran Foer)

My rating: More Vegetables

I've seen the Youtube shock videos that show in gruesome, gut-wrenching detail the evils perpetrated in factory farms. I've read the literature about the ethics of eating animals (including the especially awesome Consider the Lobster by DFW). I've seen the evidence of the atrocious health and environmental impact modern animal eating inflicts. Yet Eating Animals is the single best argument against eating animals I have ever encountered.

Perhaps the reason that this book is so convincing is that it comes without an agenda. Foer is a storyteller (one of incredible talent), not an animal rights activist, and Eating Animals is a story (a heavily researched story). He begins by telling the story of how the book came about: Foer was going to become a father, and he realized that in order to be able to do right by his son, he'd have to investigate his own dietary customs, those that he'd be passing on to his son.

As he tells us, this research project wasn't Foer's first foray into funny dietary restrictions--he'd been variously strictly vegetarian, kinda vegetarian, lapsed vegetarian, and back and forth between those states a bunch of times. In that sense, his path mirrors my own, stupid idealism leading at different times to veganism, vegetarianism, and back and forth between (all along with rare doses of grass fed 100% Canadian beef). At least for me, it was comforting that Foer's path mirrored my own to some degree. Being able to identify with him made the impact of his arguments all the greater, whereas when Jaquin Phoenix preaches at me about how evil I am, I am less able to identify (and a bit annoyed).

Eating Animals is effective not because it tells us about the evils of modern agribusiness, which it does with startling acuteness. It is effective because Foer attacks the problem not from on high, not looking to explain how eating animals is just plain wrong so don't do it, but rather he tells about all the problems that come for people who choose not to eat animals. He rightly points out that eating is a social act. Eating, maybe unlike any other regular social activity, binds us and brings us together. Gathering to break bread is a tradition that spans all cultures and peoples. It is also something that everybody (excepting those media-sickened teenagers who refuse) does on a daily basis. Since it's so regular and so social, the choice of what we eat matters more than just what we eat--we are identified by our food, and our society and environment are products of it.

The opening chapter of the book was especially enlightening. Before he delves into detailed descriptions and analyses of each of the major animals and how they are farmed in factories, Foer talks about factory farming at a higher level. He describes how until the 1950s, farming was an activity that sought a balance with nature. Farming was an activity that required care and patience, and a symbiosis between animals and us, the eating animals who ate animals. Foer eloquently points out that in stark contrast to traditional husbandry, "Factory farming considers nature an obstacle to be overcome."

The remainder of the book is a well-written description of various farms (not only factory farms, but also those which practice traditional husbandry--the latter becoming increasingly rare) and the perversions that daily happen within them. While reading, it becomes apparent that not only is factory farming inherently evil, it is totally unnecessary: We do not need such giantified farming operations to feed ourselves, and we are now eating more meat than ever before in history, and it is far cheaper per-pound than ever before.

It is very easy to forget the stories we know are true about our food. It is easy, and most young people these days are at least partly cognizant that unconscionably evil acts were required in order for them to buy that burger for $1.99. This forgetting is easy, and we all do it, every day we eat meat. That is the most important takeaway from this book: We can not consider ourselves conscientious or good if we daily provide money and support for organizations that commit atrocities, billions per year, all to bring us convenience and tastes we may prefer.

What I Thought About a Book: Good to a Fault (Marina Endicott)

My rating: 52-50

The author of this book as well as every single reviewer of it doesn't understand what it's about. Good to a Fault, they say, is about death. The big, heavy, subject of death. Ostensibly, they say, the book is about religion and its human value, the collateral damage caused by terminal illness, the burden of being elderly, and what it is that gives life meaning.

I can't really blame them. I could read Good to a Fault and arrive at those same conclusions. Even if I'd missed the true point of the novel, I'd consider this book worthwhile, like a kid who laughs at a New Yorker comic because the drawing looks funny. Even taking the conventional viewpoint, one specific aspect of this book is entirely revelatory for me. Lorraine, a mother of three, recovers from what had been thought of as terminal non-Hodgkin's lymphoma, and for Clara, who had been voluntarily taking care of Lorraine's children while she got skinnier in the hospital, this was bad news. Endicott is just slightly heavy-handed in showing us how incongruous this result is, but since Clara's the book's protagonist and by this point, two-thirds into the novel, I'd come to enjoy Clara and understand her perspective, I felt like a schmuck because Clara was right, Lorraine should have died, I'd bonded with those kids just as Clara had, I didn't want to give them up, the darlings.
 
This book's emotional pull is as strong as the South Saskatchewan River's current, which is why it's so tempting to miss its real message. As I read, I was pulled into characters. I became invested in their lives exactly like I've never in an S&P index fund. In fact, it wasn't until the last chapter when I fully realized what Good to a Fault is about.
 
Good to a Fault, it turns out, is allegorical, and it is a clever reenactment of the 1982-84 University of Houston men's basketball team. This allegory is very well hidden, because Good to a Fault's plot and characters have absolutely nothing to do with the Cougars of the early-to-mid-eighties. The allegory is subtler than that--so subtle that even Endicott didn't see it, and she wrote the thing!
 
At the beginning of the 1982 season, Hakeem "Dream" Olajuwan and Clyde Drexler were freshmen at the University of Houston, on academic scholarship to play basketball for a team most would describe as promiseless, just as promiseless as Good to a Fault seemed, judging from its cover.
 
At the beginning, in 1982, the Cougars surprised everybody. The Dream and Drexler played fast-pace, above-the-rim basketball that had fans' eyeballs focussed intensely on their TVs all season. Good to a Fault's opening page features a car accident, a mother in hysterics clutching her child to her chest, an elderly woman covered in blood, peeling newly-dislodged skin from her body, excitement and disarray! Shedding their covers, both the '82 Cougars and Good to a Fault began by tearing expectations apart like a pack of hyenas might dismantle a slow zebra.
 
The Cougars in '82 made it to the Final Four. Their opening chapter ended in disappointment, losing 68 to 63 against the smug North Carolina Tar Heels. Good to a Fault's first chapter identically smothers the build-up. What was apparently blood and gore from a major car crash turns out to be a bag of collateral-damage cherries, red juice bursting everywhere, building up hopes for all who read.
 
Good to a Fault continues with this trend throughout its length. As I read, I built up hope, not only in the excitement of the plot as I had in the first chapter, but in the Endicott's ability to move forward with her message subtly, which she did for a while, then smashed me back down when she openly quotes some poem about death (Oh, it's so confusing!), or in her willingness to let me see for myself the turmoil of dealing with the soon-dead, which she squashes when she tells me explicitly that dealing with the soon-dead is terrible. In '83, the Cougars made it to the NCAA Championship. They lost.
 
The last season of the Olajuwon-Drexler "Phi Slama Jama", the Cougars lost their second-in-a-row appearance at the NCAA championships. 52 for the Hoyas of Georgetown, 50 for the good guys. Three whole seasons of building expectations, then shattering them, but this last, final shattering--Hakeem and Drexler veterans now, they can do this--a real, awful betrayal. Good to a Fault's final hundred pages build up confidence in Endicott. Yes, she messed up before, just as the Cougars did in '83, but she's really building here, inspiring confidence, this last stretch. Just at the final buzzer, Endicott so close to victory her well-deserved sweat is falling all over it, she chokes. The main characters draw out pictures on the beach that symbolize some things in the most hackneyed way possible.  The buzzer sounds. 52-50. Good game, it was a close one.

What I Thought About a Book: Papillon (Henri Charrière)

My Rating: 9.0/10

From time to time people make jokes about the French being surrender-happy pansies. The next time somebody makes such a remark in my presence I'm going to find a copy of this book and use it to smack them upside the head. Papillon is an autobiography of a Frenchman, Papillon, who was unjustly imprisoned and sent to a series of penal colonies in French colonies in South America. For ten solid years he attempts escape after daring escape demonstrating unrelenting tenacity and balls so big they're best compared to some sort of celestial body.

If you're doing a startup, you have to read Papillon. Reading this book I was often struck by how Papillon reacts to situations just as startup drones are told to. All his fellow inmates are telling him he's crazy to attempt an escape and he's going to fail, but giving up on it doesn't even cross his mind. He fails over and over and as soon as he's back on his feet, he's scheming again. He takes risks--life-and-death risks, risks that make quitting the day job seem like choosing between the urinal and the toilet--but he always knows all the facets of them.

One of the most interesting parallels between startup culture and Papillon is the 37signals idea of underperforming competitors. Papillon attempts a variety of escapes from different prison camps, and at first they're always very complicated. In one, Papillon convinces a carpenter friend to build him a two-man raft, and he stores the big sections of raft at first in a hollowed-out wall and then in a grave he dug up. All this while working various other angles to obtain the supplies he'll need in order to survive, floating on the ocean, and complicated by his being in a prison camp, with guards and people watching his every move. Papillon's final escape attempt is the most successful (several of his attempts worked initially, then he was picked up by some authority or other and taken back into bondage) and also the simplest: He rides a big wave and is kept afloat in the ocean by a very simple raft buoyed by coconuts. No complicated features here, just a lean, mean escaping machine.

More important than pithy catchphrases, however, Papillon demonstrates one of the most important qualities a successful entrepreneur must possess: Honesty and trustworthiness. Everybody in the prison camps would go to bat for him, because he always does right by his compatriots. He's not looking to screw anybody, and save for a few special cases, the golden rule works out for him. It's especially noteworthy that Papillon, though he probably wouldn't have described it this way, is a genius at networking. He's sent to a dungeon for punishment, knowing full well he might not be able to source creature comforts from his outside sources, and his first move is to give every one of his dungeonmates a cigarette from his own limited, soon-to-be-depleted supply. He knows that small sacrifices for people right now will pay dividends in the future.

Papillon is a book that made me feel like a total pussy. Compared to this industrious Frenchman, my life is a Milton Bradley board game. But what I can take away from his story is a way of being, a set of guiding principles, that I know will lead to success (however you define it).

What I Thought About a Book: Generation A (Douglas Coupland)

My rating: 7.2/10

Tweets, social networks, instant messaging, oh my! The youth of today are going to be different from the youth of yesteryear! What we need is a novel that criticizes this culture, and quick! Make sure to couch the critical message in metaphor, but remember, people these days are stupid, so ensure the metaphor is just deep enough to drown a caterpillar and no deeper. To be sure, spell out the message explicitly about two-thirds of the way through.

I guess I can't fault Coupland too much. Generation A is a pretty good book. It's peppered with great imagery (a guy in a plastic body bag was carried off like "a duffel of low-grade weed") and lots of delicious nerd humour and pop-culture references (a guy from Sri Lanka is dubbed "Apu" by racially insensitive Americans, and midway through the novel he has a run-in with Chief Wiggum in some small Midwestern USA town), but it fails spectacularly in its aim: To criticize digital culture.

I have to give Coupland points for authenticity. He is a nerd, no doubt. Wikipedia and Google make appearances, as do thinly-veiled representatives from Facebook and Twitter. However, Coupland loses style points for what seems like stale impressions of social critics that came before him. For instance, Harj--a Sri Lankan call center worker who sells Abercrombie and Fitch merchandise--describes in Patrick Bateman-detail the clothing he and others wear, as though Coupland didn't remember that in American Psycho, Ellis invented, developed, and killed that shtick, all in one book. And his encyclopedic information about Solon (the drug that removes all worry of the future and speeds time up) felt not so much like an homage to DFW as a weak ripoff.

Coupland wrote Generation X--which I'm told both dubbed and defined an entire generation of slackers and mass-culture aficianados--when he was in his late twenties. (As an aside, I really enjoyed Generation X, as I did much of Coupland's other work.) But now he's quite a bit older, probably in his forties or fifties or something, which means his input on "Generation A" is about as relevant as Mike Huckabee's input on my sex life. Which isn't to say that his input is wasteful or less valuable just as a fact of his dinosaurness, but it's almost a foregone conclusion that a senior citizen isn't able to criticize a younger generation adequately, because they can't easily engage with it, can't be a part of its essence, and hence, can't really understand what it is that's being criticized.

(An aside, but important: I feel defining age groups by "generation" may in itself be pure folly. People my age are entirely fragmented in significant ways, and classifying us as a "generation" makes that word meaningless save for its most obvious interpretation: A bunch of people born around the same time. Since I wasn't there, I can't definitely say for certain, but it seems like previous generations were exposed to mass culture, and that mass culture identified the vast majority of them. Led Zeppelin, Star Wars, "one small step for man"--these are all mass-culture experiences that people who grew up in the late 60s and early 70s shared, for the most part, homogeneously. Other than maybe 9/11, I can't think of a single cultural experience that defines at least half of the people my age. Saying, "Youtube" is too broad--it's a medium, not a message--just as saying Facebook or Twitter is--they've replaced and enhanced the telephone, that's it. I don't know anybody whose iPod tracklist matches mine even 75%, and I'm not unique in that regard. Because of our wide access to every cultural subgroup, we all join some or other cultural subgroup--I happen to be into building scale models of ancient battles out of Mechano, and with our modern communication media, I can find the other sixteen people in the world who are into it, and that can define a small part of who I am. You need shared cultural experience in order to become a subgroup of something, and we all share different subsets of the set of all cultural experiences, so we can't be grouped together meaningfully as a generation.)

That Generation A so closely mirrors Generation X is no accident. The most obvious similarity is that both of the novels act as framed narratives in which characters in the novels tell stories that are symbolic of their present situation, and mostly drive towards the same just-short-of-moralizing metaphors. The difference between these two, a difference that underscores Coupland's reservations about "my generation", is that in Generation X, the characters all willingly and joyfully tell each other stories, whereas in Generation A, the characters are forced into it, and chafe the whole time.

That seems to be Coupland's main thesis in Generation A: With our digital-medium-saturated culture, my generation has lost the ability to form cohesive narratives out of our lives (and it takes two hundred pages before he says exactly that). Apparently, we're consuming tweets and social networking so much that we can't see our lives outside of the immediate and can't process our experiences into an overarching story with us as the protagonist. Coupland doesn't link the ideas through causation (i.e., he doesn't explain how our digital culture destroys our narratives, he just sort of waves his hand and the conclusion arrives), nor does he tell us why it is detrimental that we've lost our internal narratives. He just states it's true, then tells us its bad. Which is precisely the type of failure anybody will experience when they look, however closely, at a diverse group of people and try to form generalizations about them.

Oh, yea, the bees died. I guess that was important.