99 books like Eric, the Wild Car

I cannot stop loving this book, which graphically depicts a city growing up around a small farm country cottage. While the storyline concerns the fate of the tiny house, the thrill is watching the steady mushrooming growth of vehicles, electric lines, street cars, street lamps, apartment buildings, elevated and subway trains, and finally skyscrapers as they surround the home before it is able to make its satisfying escape back to the country. The art is warm and cozy, befitting a book that has a gutsy cottage as the main character.

Gramatky had been a Disney artist in the 1930s. Legend has it Walt had passed on his story about a little tugboat that saves the day, but after Gramatky left the studio and the book became popular, Disney then had second thoughts and adapted it into one of the shorts compromising the wartime animated feature Melody Time. The theme is familiar but potent: being small does not mean you are insignificant, a lesson of encouragement for any child. The illustrations are loose yet beautifully expressive. Gramatky wrote another book about an inanimate object – Homer the Circus Train. Although the story is not as iconic, the illustrations are equally fine. As for Disney, they carried this theme through to other shorts like Susie the Little Blue Coupe, written and boarded by Bill Peet, who wrote many books of his own. It served as one of the inspirations… show more.

This is a unique and unexpected story of a school bus that can take its child passengers anywhere in the world by simply pressing a button on the dashboard. It seems to suggest one can really go anywhere with one’s imagination, particularly when one is absorbed in a book. Gergely illustrated other books about inanimate objects including The Little Red Caboose, Tootle, The Taxi That Hurried, and Scruffy the Tugboat.

This was one of my favorite picture books when I was a child. An insignificant character coming to the rescue of those who are much bigger and important is a tried and true theme but it has a bit of dramatic flair in its own simple way.  Anton Loeb had worked for the Fleischer/Paramount-Famous studios.

I love books that explore the Soviet Bloc through its development of consumer culture. Much as they were in the West, in the East, cars were symbolic of progress and modernity. Unlike the West, production and distribution problems created a car culture focused on access. 

Still, the regimes struggled to control the excesses of consumer impulse more than they did the abuses of authority. This volume is fascinating as it asserts that the Soviet Bloc states were consumer-driven societies, given the same desires and demands as the West, despite their communist ideology.

Cars were political, and acquiring one may demand demonstrations of loyalty to the system. On the other hand, owning a car allowed for a perceived freedom from the regime, socialism, and social norms.

Examining automobiles people buy offers, if not a window into their soul, then a peek into their personal values. Ingrassia, a Wall Street Journal automotive reporter, guides us down a freeway of history and consumerism that “begat the middle class, the suburbs, shopping malls, McDonald's, Taco Bell, drive-through banking and other things.” He traces our romance with tires, horsepower, and wood-trimmed interiors through 15 models ranging from the Model T to the Prius. As stories of the Corvette, Jeep, GTO, VW Beetle and VWMicrobus, the unfairly maligned Chevy Corvair, and others roll by, Ingrassia integrates how each successive model forever changed customer desires and the often-cramped minds of auto executives. His cruise-control writing style rewards us with a smooth journey among the cars of our dreams.

If I Built a Car is one of my all-time favorites.

Honestly, I read it to myself just for the fun of it. But every child I read it to loves it as well.

Chris Van Dusen (my all-time favorite illustrator) hits all the marks of a great picture book: wonderfully imaginative, absolutely beautiful retro 50’s style artwork, and his rhyming text has such perfect rhythmic timing.

It’s a joy to read, and each page is so full of hidden wonders. After you read this one, you will definitely want to check out his other “If I Built” books and see what a house and a school could be like with a little, or a lot, of creativity.

When this book was released, I was immersed in a huge failing project at Wells Fargo, struggling to make sense of it all. This book helped me put the failure in perspective and showed a better way that I embraced for the rest of my career. 

The key insight is that large-scale innovation is not like manufacturing – it is less about planning and control, more about people, rapid learning, and adaptation. Here we learn concepts such as the Chief Engineer, lightweight milestone—and responsibility-based project management, and focusing on engineering skills and vendor partnerships. Shelve the elaborate process frameworks consultants are selling you, focus on the basics Toyota emphasized throughout their glory years. 

Ever wondered if you'd survive in the Mad Max universe? Here's the assurance you can, well maybe if you've loaded die. Choose your own adventure has been a staple literary source of my youth and Ian Livingstone and Steve Jackson are both united champions of the genre. Freeway Fighter is one of their few which lends more to science than fantasy, and is thoroughly invigorating. For mind-bending characterization, here you've got the original immersion you need in self-discovery.

Randall Rothenberg, an advertising industry reporter for The New York Times, applied the Tracy Kidder Method of journalistic immersion in a process or profession to a single advertising campaign from start to finish. He chose wisely, focusing on the then up-and-coming Weiden + Kennedy—an ad agency riding the success of Nike’s “Bo Knows” commercials. His choice of product? Subaru of America, which, at the time, was the cellar-dweller of Japanese imports. Rothenberg effortlessly captures the high-stakes tension of the ad industry while not neglecting aspects of the industry that are more smoke and mirrors than research-grounded truths.

Rothenberg is exceptional at providing windows into advertising history as his story unfolds. Throughout the span of the campaign, he unsparingly documents inspiration, idiocy (W+K assigns a creative director who hates cars), and an intimate look at how advertising works.