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This book starts in the same moment as Slayground, but follows Alan Grofield as he flees the scene, instead of Parker.

Grofield is more of a grifter than a straight-out thief, and his roles in the thieving scams tend to reflect that. I love that his true love is acting and him taking scores is simply a means to allow him to pursue that passion.

I enjoy the slightly lighter tone of the Grofield novels, though they are still what I’d call gritty. And I love how Stark created a “Parker-verse” long before the idea of an IP universe was commonplace.

For my high school sophomore history teacher, world history was only Greece under Pericles and England under Elizabeth I. I went to Greece under her spell, and ever since, I have been drawn to books about Greece—fiction and non-fiction.

This book is about a fictional Greek island at the end of the Ottoman empire, an English con man caught up in his archaeological con, a beautiful artist (played by a young Helen Mirren in the film version), greedy government officials, and an informer who fears for his life is our unreliable narrator. It makes for an engrossing novel of adventure and ideas that holds up on a second reading after over forty years. 

Evidence, published in 1977, is a book of black-and-white pictures culled by these two artists from the archives of government agencies, public utilities, university laboratories, and private corporations. The anonymous photographs were made to document actual fires, land sites, crime scenes, product testing, and scientific experimentation. In Evidence, the pictures are removed from their context of origin and printed, one to a page, without caption information. Individually, the pictures take on surrealist properties subject to endless narrative interpretation; collectively, the sequencing creates a running narrative with no coherent story. Since the pictures so closely resemble the black-and-white documentary images that came to define art photography in the 1970s, Evidence was among the early postmodern works to contest the growing acceptance of photography as art, photographer as artist-author, photographic documentation as fact, and the truth-telling capability of the medium as unwavering.

When I attended an international conference, I had the opportunity to be at Chris Mathers' session: I simply loved his presentation. He gave me as a gift his book, which is a great guide to knowing how organized crime operates in real life since it is written using his experience as an undercover policeman. He explains in detail the techniques seen/used and what he experienced. The way it is written (in simple language and with humor) makes you feel interested and read it quickly. And the best thing: it will also help you so that you are not a victim of organized crime or an accomplice in money laundering. It is one of the few books that reflect the real world of money laundering; bravo!

Totally loved that this Dark Romantasy is set in Dublin. There's a fair amount of set up for the 'premise' of the hidden magical world of the Fae, but it's all fascinating, and the second half of the novel is action packed.

Rubbing my hands with glee that this is a long series.

This is ultimately a contemporary romance. But the writing style is excellent and beautiful. Each sentence was like biting into an overripe mango, so full that juice dribbles down your chin. And in the vein of contemporary romance, it has sex scenes, and is a love story.

I also loved peeking into this very specific world, inhabited by emotionally thoughtful people who understand real grief. While this is a romance, the conversation of grief rode shotgun. Highly, highly, highly recommend.

Because it was not only a thick* book, but it proved that you can think a book is crap one day, and absolutely love it the next**. 

I was going to have an impacted wisdom tool chiseled out and wanted a book for my convalescence. It had a great cover, so I flipped open to the first page and read the opening line—something like, “Amoebas don’t have bones…”.

I bought it and had the wisdom tooth removed, which evidently actually removed the wisdom needed to appreciate the writing.

Time passed, and I gave the book another try—evidently the wisdom had returned because what had once been chaotic and confusing and stupid, was now delightfully random and effortlessly insightful, and really really fun. I loved this book.

* At least it seemed thick to me at that age.

** Actually, it wasn’t the next day, it was actually about a year… show more.

Not all Jews are white. Again, there are a number of wonderful books by African American Jews that remind us of this fact, and how often we use the word “Jewish” to refer only to Jews of European descent. Azoulay insists on confronting this unthinking racism head-on by reflecting on her experiences as a Black woman who struggled to feel at home in the Jewish community. Too often “Black-Jewish relations” as a phrase defines two discrete communities. This book reminds us that this distortion of the truth both erases Jews of color and lets white Jews avoid taking responsibility for challenging social systems that privilege whiteness.

Although Madhouse reads like a Stephen King novel, everything it recounts is actually true. At the turn of the twentieth century, Henry Cotton, a psychiatrist and the medical director of the New Jersey State Hospital at Trenton, thought he had found the solution to mental illness. His unconventional approach to treatment, however, left more people dead and disfigured than effectively cured. Andrew Scull’s deeply-researched narrative of Cotton’s medical interventions is a horrifying, yet entirely gripping, account of the lengths people have gone in the name of psychiatric treatment.

I like a good wine (though Madeira isn’t one of my favorites). I like even more a book that tells me about wine—and about many other things that I had not previously connected to wine. That’s what Oceans of Wine does and does magnificently.

David Hancock is a pioneering scholar who has taught us to understand the Atlantic Ocean “world” as an interconnected space of exchanges that remade all the individuals and societies surrounding it. In this book, he shows how merchants in Britain, Portugal, and British North America transformed Madeira from a rather ordinary wine into a transatlantic bestseller.

Like most of my favorite historians, Hancock has dug up a treasure trove of unexplored sources to write a big story in a wholly new way.