Reading Like a Writer by the Aptly Named Francine Prose

Prose, Francine.  Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them.  New York: HarperCollins, 2006.

Reading Like a Writer is different than the other books about reading that I’ve read so far.  Francine Prose doesn’t discuss judging what you read, but learning from it.  She wants readers, like herself and the aspiring writers she teaches, to look at how great writers accomplish what they do.  In that sense it is as much a book about writing as it is about literary criticism.

The book is organized with writing in mind.  Prose covers topics that are of interest to writers of fiction: words, sentences, paragraphs, narrative, character, dialogue, details and gesture.  In each chapter she discusses these issues using examples from works of classic literature.  I confess that I’ve read very few of the books she references, but she provides enough of a quotation or explanation that you don’t need to have read the book to follow her illustrations.  You don’t need to have a degree in literature to follow; this book might serve as an introduction to some classic literature.

The method Prose proposes is close reading.  This is slow, attentive reading.  It can be very purposeful, such as seeking out every time an author uses a particular word or concept.  Of course, to read with such a particular purpose in mind suggest you or someone else has already done a close reading with a more general purpose of paying attention and noticing how the book affects you and how the author accomplishes those effects.

Close reading is not intended to be a dry and analytical.  Books can be enjoyable, moving and fun.  If a fiction book doesn’t have some emotional impact on you, even if simply the pleasure of entertainment, then why would you bother to read it?  Close reading includes taking in the beauty of a story and the words used to express it.  You may not want to approach every book this way, but great books are worth the time and effort.

This book might be interesting to the critic or reviewer, professional or amateur.  I think it will be more interesting to aspiring writers who want to learn from the masters.  Prose has several masters to recommend and an approach to setting at their feet as they teach.  She won’t tell you how to write.  As much as there may be rules to writing there are examples of great writers who have bent or broken them. Reading Like a Writer may help you discover how writers did it well and hopefully you’ll continue that course on your own.

If you’re interested in this book, you may also be interested in

How to Read Literature Like a Professor by Thomas C. Foster

How to Talk About Books You Haven’t Read by Pierre Bayard

Google

How to Talk About Books You Haven’t Read by Pierre Bayard

Bayard, Pierre. How to Talk About Books You Haven’t Read. Trans. Jeffrey Mehlman. New York: Bloomsbury, 2007.

Regarding talking about books you haven’t read, Pierre Bayard might echo the Nike slogan, “Just do it.” Books are so much a part of a larger culture, so quickly forgotten and so interpreted through the internal experiences of readers that having read one brings little advantage to discussing it.

How to Talk About Books You Haven’t Read has three major parts, possibly an accidental homage to the lessons of a composition class. Bayard considers the issue of reading and non-reading (and how hard it is to tell one from the other), the social context of talking about non-read books and offers a new model for discussing books.

Reading is largely a matter of non-reading. We can’t possibly read every book there is, so the choice to read some is necessarily a choice to not read others, and a cultured person may choose to not read any of them. We may read every page or skim, and skimming may be a better way to understand a book as a whole. Even when we read a book, we immediately start to forget it. We hear about books we haven’t read.

This puts us in the position of talking about books we haven’t read (at all, or just skimmed, or forgot) whenever we discuss books. Bayard describes several such social situations, throughout building a case that what we really end up discussing is virtual book, made up of our own internal conceptions of the book and its place in the common library of our culture (including other books we probably haven’t read). He argues that we can’t exactly discuss a book because of all the factors of non-reading. Instead, a book becomes a pretext for discussion, a mental place for building common ground for communication (or so completely devoid of common understanding that people end up talking to themselves in exchanges with others).

In light of all of this, Bayard recommends laying aside the grade school shame of non-reading and discussing books anyway. He carries this pretty far, arguing that books are not fixed and we invent books out of our non-reading rather that discuss the books themselves. Discussions about books are really means of discovering and expressing ourselves.

Bayard can make our interactions with books seem so abstract and subjective that it may truly be best to not read them at all. Since he is a literature professor and an author, he probably doesn’t want people to actually go that far. His point is to get away from a narrow view of books and reading that limits the way people talk about them and move toward more creative and cultured engagement.

Double Your Brain Power by Jean Marie Stine

In Double Your Brain Power, Jean Marie Stine doesn’t tell you how to make your brain more powerful. She tells you how to get more out of the power your brain already has.

There are five major areas of brainpower covered by the book: learning, memory, reading, listening and thinking. Under each part, a few short chapters introduce specific techniques for improving performance.

I was particularly interested in the chapter on reading. I read a lot for pleasure and work. If I can get my work reading out of the way more quickly, I’ll be able to manage my other duties better. If I can read more books, I’ll be able to post more reviews on my blog. I’ve picked up some books on speed-reading and found the techniques to be so tedious that I never followed through on developing the skill. Stine doesn’t try to teach speed-reading. Her focus is on reading smarter, getting the information you need without reading every word, and remembering the important information. The techniques probably won’t help you get through Moby Dick in a day (though they might get you through it faster than if you didn’t use them), but they probably will help you plow through the paperwork, memos, and reports that come across your desk.

I also paid close attention to the chapter on memory. If you’ve read books on mnemonics, you’ll have seen some of the techniques Stine includes. The down side of mnemonics is it takes time and effort to be good as using the techniques. Fortunately, this is not the only, or even the primary, thing in the chapter.  There are effective, and easily mastered, methods for remembering better that Stine includes.

There are recurring themes that apply to many areas of brainpower. Be attentive. Relax because your brain works better when you relax. Believe you can do better and have a firm intention of improving. Focus and concentration improve all areas of brainpower. Make connections to the things you want to learn and remember, both to things you know and to your personal experiences. Use your feelings as well as you thoughts. Review important information.

Double Your Brain Power is almost a model how-to book. It focuses on specific areas one may want to improve and skills for making those improvements. Stine built some of the skills she teaches into the structure of the book, especially reviewing. The reviews are very brief, so the book does not seem repetitive. Illustrative stories are few, brief, and directly related to the skills discussed.

This structure lends itself to including a lot of information and to brevity. I find that to be a very good quality in a nonfiction book.

In addition, Stine follows the old adage about speaking or teaching: “Tell them what you are going to tell them, tell them, and tell them what you told them.” This is not as bad as it sounds. Stine does not linger on introductions and reviews. They serve their purpose of reinforcing the major points briefly.

Double Your Brain Power does not have a great deal of original concepts, and the author readily acknowledges when ideas or techniques are adapted from others sources. The advantage of this book is that it brings many useful skills together, gets to the point and describes them briefly.

If you’re interested in this book, you may also be interested in

The Genius in All of Us by David Shenk

Idea Mapping by Jamie Nast

Moonwalking with Einstein by Joshua Foer

The Relaxation Response by Herbert Benson with Miriam Z. Klipper

Your Intelligence Makeover by Edward F. Droge, Jr.

Stine, Jean Marie. Double Your Brain Power. 1997. New York: Barnes & Noble, 2000.

Scan Artist by Marcia Biederman

When I want to find some information, I can pull my cell phone out of my pocket and search for it using Google (or some other search engine, but probably Google). I can remember a time when that was not an option. If the information I needed wasn’t in the dictionary or encyclopedia I had at home (which was already of date in some areas), I’d have to go to the library for additional references or—heaven forbid—the morgue of a newspaper office. Getting useful information was not a trivial affair. The generation before mine that saw a pre-Internet explosion of printed information after World War II especially felt the difficulty of keeping up. Evelyn Wood was there with an answer; Marcia Biederman tells her story in Scan Artist.

Evelyn Wood did not invent speed reading. She did not even like the term. However, for decades her name and face was more strongly associated with it than any other person. Though she built her reputation on being a school teacher, she never was not a regular classroom teacher (she was a school counselor) and she was not a reading specialist. She had a master’s degree in speech, earned under the direction of a professor who a studied theater.

Theater may be the lens for looking at Wood’s career. She started writing and staging plays when she was in high school and a college undergraduate. Many of these had religious themes related to her Mormon faith. When she was in Germany, where her husband served as president of the Mormon mission in Frankfurt as the Nazis began their aggressions, she fell in love with the opera and cajoled her way into back stage of the opera house. She began bringing what she learned of stagecraft into her own productions.

Back in the U.S. the Woods put Evelyn’s theatrical skills to work as lecturers on their European experience. They changed their focus as American sentiments shifted from Germany to Britain. They also put a pretty heavy spin on the Mormon relationship with the Nazis and greatly embellished the dangers they face leaving Germany.

Evelyn Wood’s success as a seller of her speed-reading system was largely built on such theatrics and embellishments. She claimed student could read thousands of words per minute; the faster one read the better their comprehension. (The fastest people can actually read is about 900 words per minute. Anything faster is skimming, and comprehension suffers when one skims). She managed to get endorsements from senators and she encouraged, or at least never corrected, the misconception that she was tied to John F. Kennedy and his reportedly fast reading speed. (Ted Kennedy took her course as a senator, and staffers in the Kennedy, Nixon and Carter administrations took the course, including Jimmy Carter himself, though Wood was not the teacher.)

The company she started changed hands and business models several times. A lot of money was made with her name and methods, and in the sale and resale of the company, but the Woods received only a small portion of it. Even so, she was ready to promote herself, her methods and the company that still paid her a consulting fee. She slowed down, but continued to make appearances and accept interview requests even after suffering cancer and a stroke.

While one may sympathize with her, especially in her illness later in life, the Evelyn Wood presented by Biederman is not easy to like. The Wood adopted a teenage girl largely to have a live-in nanny for their natural daughter when they moved to Germany; they never really acknowledge their adopted daughter or even saw her much once she was an adult. Wood was in some ways a con artist who played on the insecurities of her marks, some who were never knocked in spite of the mounting evidence that her program was at best an overprice lesson in skimming.

Wood found a way to take advantage of the insecurity of her day. She built a brand on it. While primarily a biography of Wood, Scan Artist reveals interesting things about America of the time and the obsession with self-improvement. It has not disappeared. Speed-reading apps still claim to greatly increase both speed and comprehension. TED-talkers claim to read a book or more a day. The Internet makes it easy to acquire a shallow knowledge of almost anything quickly, so perhaps people have become satisfied with what they can learn from skimming hundreds of books a year. Deep learning and understanding remains slow and effortful.

Biederman, Marcia. Scan Artist: How Evelyn Wood Convinced the World that Speed-Reading Worked. Chicago: Chicago Review Press, 2019.

How to Read Literature Like a Professor by Thomas C. Foster

Foster, Thomas C. How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines. New York: Quill, 2003.

Some associate learning and teaching literature with an English Lit requirement to read boring books they didn’t understand and being embarrassed by a teacher berating them for not seeing the significance of some obscure symbol. To top things off, the kid who seems to do best is someone they know to bullshit their way through everything (that kid is probably a professor now). So when Thomas Foster promises “a lively and entertaining guide” to reading literature (it says to right on the cover of the book), he faces a skeptical audience even among book lovers.

Foster delivers on the promise. His tone is light, sometimes humorous. His style is conversational. He resorts to only on technical term and it refers to a concept that runs through the whole book so the reader will have no trouble getting it.

What makes reading the book fun is that Foster has such fun reading and thinking about what he has read. He doesn’t want people to stop enjoying what they read to start analyzing. He wants them to keep enjoying novels, stories and poems for the interest, entertainment and beauty they way they always have. Keep the old fun and add to it the enjoyments of understanding a work in relation to the rest of literature.



This is the main point of the book (and that technical term, intertextuality): a book, story, poem, or play is part of the total body of literature and by asking ourselves how it relates to other things we’ve read, using both our intellect and our emotions, we can have a full understanding and enjoyment of it. Each chapter after the first discusses things that appear in literature, such as sex, violence, weather and allusions to other works.

The idea isn’t to give you a bunch of discrete things a reader should always be looking for and doing; Foster wants to enrich readers, not burden them. Instead, each is an example of different recurring themes in literature (intertextuality says it’s all connected) allowing a few concepts to be applied to many different things.

This conceptual focus makes the book easy to grasp. The reader doesn’t have to figure out how to read like a professor by wading through a bunch of dusty old books someone thinks is great. Foster shows how readers (and he as a professor) can get more out of reading whatever they want.

That kid who bullshitted his way to a high grade in your English Lit class is probably a professor now. Fortunately, Professor Foster isn’t he.

If you’re interested in this book, you may also be interested in
How to Talk About Books You Haven’t Read by Pierre Bayard

Why Comics? by Hilary Chute

I enjoyed reading comic books as a kid. Sometimes I enjoy reading them as an adult. Comics have always been for adults (and kids, too). While popular superhero comics have told stories of the physical and moral paragons of our fantasies, comics have also been a place accessible to those who didn’t see themselves represented in other media. The combination of words and pictures, sometimes more of a juxtaposition, that are the language of comics can powerfully present a point of view. Hilary Chute considers the power of comics to communicate the experience of individuals and subcultures in Why Comics?

While Chute focuses on comic books, she considers cartooning more broadly, especially the early cartoons that appeared in British magazines (quickly imitated in the U.S.) and the American newspaper comic strip. While some newspaper comics were designed to appeal to kids, many were meant to attract adult readers. They often depicted people from poor and immigrant communities. In addition, cartooning could also be very artistic and even in the early days of comic strips some artists were recognized for the quality of their images and storytelling, such as Winsor McCay and George Herriman.

Because Chute generally focuses on groups that were historically or currently marginalized, much of the book focuses on underground and independent comics. I’ll admit that I’ve not particularly been a fan of underground comics. My earliest introduction to underground comics in the 1980s was mostly to 1960s and 1970s books that featured drug culture and bizarre or pornographic depictions of sex. In the subsequent years, I’ve come across some incredibly good underground, literary or artistic comics. Chute discusses some of them such as Art Spieglman’s Maus, Marjane Satrapi’s Persepolis and Harvey Pekar’s American Splendor. I’m a Midwesterner and I was amazed to see Pekar’s depictions of scenes I might see in my own town.

Comics were born as a mass media, which may explain some of the stigma attached to them, and mainstream comics have always been produced in factory-like manor with a division of labor (writer, penciler, inker, etc.). Some creators were uncredited, or one name appeared on the work of many (this practice was common in the newspaper comic strips, too). Undeground and art comics were more often the work of an auteur, who produced the entire work. This opened up comics to more individual perspectives that strayed farther from the mainstream. Comics can powerfully represent personal experience or memories because it is like memory: it mixes words and images, it can readily present comparisons and contrasts, and it can show past, present, future, real and imagined on the same page.

I don’t plan on adding a lot of underground comics to my reading list, but I did enjoy Chute’s book. If someone is looking for an introduction to comics that are outside the mainstream and done well, Why Comics? is a good place to start.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

American Splendor

The Book of Lies by Brad Meltzer

Comic Book Nation by Bradford W. Wright

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

The Secret History of Wonder Woman by Jill Lepore

Stan Lee by Bob Batchelor

Stan Lee by Jordan Raphael and Tom Spurgeon

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Chute, Hilary. Why Comics?: From Underground to Everywhere. New York: Harper, 2017.

Life is So Good by George Dawson & Richard Glaubman

Dawson, George, and Richard Glaubman. Life is So Good. New York: Penguin, 2000.

George Dawson was in his nineties when he learned to read. He was a centenarian when he and coauthor Richard Glaubman wrote his biography, Life is So Good. I think Dawson’s life was good, and not just because it has been so long.

Even a good life is sometimes hard. Most of Dawson’s life was hard. Black and poor were not auspicious beginnings for a boy in Texas at the beginning of the 20th Century. In the opening chapter, Dawson tells of how, as a boy, he witnessed the lynching of a young black man falsely accused of raping a young white woman. Dawson was ready to become bitter and withdraw from all contact with white people, but his father would not allow him to even consider it.

Dawson presents his parents and wise and pragmatic, making things better for themselves bit by bit. He picks it up and does the same thing in his own life, especially once he settled down to start his own family.

He had some wandering to do first. His early life of travel and adventure makes for interesting reading. He road trains all over North America, sometimes as a ticketholder and sometimes joining the hobos. He was able to find work wherever he went, mainly because there was no job so hard or unpleasant he was unwilling to try it.

Traveling opened his eyes, especially to race relations in the U.S. Growing up in the South, he thought the discrimination and oppression he was accustomed to be the way things were. In Mexico and Canada, even in parts of the U.S., he was treated like anyone else, regardless of color. Mexican villagers welcomed him like family and delighted in the novelty of someone so tall. Canadian lumbermen were curious about his home and happily directed him to the snow he had never seen before—it almost killed him. In his early days, he found it strange to be in places where no one cared which train car he was in or the restaurant at which he ate.



Things changed a lot in Dawson’s more than 100 years of life, though racism hasn’t disappeared. (I grew up in a town that was 99 percent white and I’m barely 40 years old. In the same county were villages that were almost entirely black.) Even in the face of difficulties, Dawson persisted and bit by bit made life better for himself and his family. When retirement came it wasn’t time to rest from his labors, it was time to pick up the education he had been denied as a boy because he had to work.

Dawson’s life story is worth reading simply because he is a witness to history who tells his story in an interesting and accessible manner. It’s worth reading because, without trying, it has a message too: don’t worry. Dawson recommends that people not worry if they want a good life. I think it’s very good advice. Arguably, though, he was working too hard most of his life to have time for worries, even though he had cause for them.

Google

In Memory Yet Green by Isaac Asimov

When I was a kid, my interest in science fiction was fed by reading many short stories from the heyday of science fiction magazines in the 1940s and 1950s. I particularly remember reading I, Robot, a collection of stories written by Isaac Asimov. (The book is still in bookstores after more than four decades. Will Smith is on the cover; his 2004 movie of the same title was based on one of the stories.)

Asimov wrote an extensive autobiography. The first volume, In Memory Yet Green, covers the first 34 years of his life. As you would expect, his life in that timeframe was similar to many other. He grew up, completed his formal education, started his career and started a family.

Like other famous people, Asimov had fortunate timing, talent, and willingness to work hard to achieve something. He is best known for his achievements as a science fiction writer. Writing was not his sole profession during this part of his life, but he was a fairly prolific writer and was well known in science fiction circles. He had a reputation in science fiction fandom before he ever published a fiction story. He was a fan of the early science fiction magazines and regularly wrote letters to them. He made friends with other fans, several of whom became successful writers along with him, particularly fellow Futurians.

As he put time into writing stories, his participation in fandom waned. His other career as an academic chemist also took up a lot of time. Though it is well known among science fiction fans, others may not be aware that had a Ph.D. in chemistry and was a professor at a medical school. He co-wrote two biochemistry textbooks during this period.

The book covers many aspects of his life, both professional and personal. He begins with his birth in Russia and ends as a husband (to Gertrude) and father (to David) on the verge of a career transition. In between he lived through two world wars, the Great Depression, and many other upheavals of the first half of the 20^th Century. Asimov shares his experiences and views of these events.

Asimov’s style in his autobiography is much as it is in his other writings: straightforward and often jovial. He is not shy about his accomplishments, but he is often humorously self-deprecating and willing to confess to his boneheaded moments.

The book will probably appeal mostly to science fiction fans. Asimov got in on the ground floor. He knew many of the other writers, editors, and publishers of his generation including Ian and Betty Ballantine, John Campbell, L. Sprague de Camp, Lester Del Rey, Robert Heinlein and Frederik Pohl.

If you’re interested in reading this book, you may also be interested in

The Ancient Engineers by L. Sprague de Camp

The Astounding, the Amazing, and the Unknown by Paul Malmont

Caves of Steel by Isaac Asimov

The Moon is a Harsh Mistress by Robert Heinlein

Asimov, Isaac. In Memory Yet Green: The Autobiography of Isaac Asimov, 1920-1954. New York: Doubleday, 1979.

Reading Comics by Douglas Wolk

Douglas Wolk’s book Reading Comics has two major sections. In the first section, outlines a framework for comic book criticism. First, he makes it clear that the comic book (or graphic novel) is a distinct medium. Comics are not half-assed attempts at some other media such as film or prose.

Next he draws a distinction between mainstream comics and art comics. Mainstream comics have always been an corporate effort. It is corporate in the sense that it has been controlled by publishers. It is also corporate because most mainstream comics are the product of a team (a writer, an artist—sometimes separate penciller and inker—a colorist, and a letterer). Both of these types of corporate authorship give rise to a house style.

This gives rise to one of the major points of distinction between mainstream and art comics. Mainstream comics are dominated by a house style. Art comics are an expression of the style of the cartoonist. There is an element of auteurism in this understanding of art comics. An art comic, to a much greater degree than a mainstream comic, is a single artist’s interpretation of what he sees or envisions. Art comics are valued as an expression of their creators’ visions. The more skillful the cartoonist, the more likely he is to produce good comics.

There is more to Wolk’s framework of comics criticism than this, but it seems to me to be the central element. Wolk does not claim to be making a comprehensive system of criticism. Comic books are too new a medium for that, especially because comics criticisms is necessarily younger.

In the second section of the book, Wolk discusses the works of particular cartoonists. Some of these work heavily or mostly in mainstream comics, but the focus remains on how the artist interprets and expresses his vision in comics, with or without the expectations of mainstream comics.

One of the great examples of this is Alan Moore. Moore’s work for mainstream publishers had turned the mainstream, and especially the superhero genre, on its head while still producing comics that work excellently as mainstream comics. Moore bucks the trend of artsy cartoonists by being a writer only; all of his comics are mainstream-style collaborations with an artist. Wolk mentions several works of Moore, but the grand example is Watchmen. Moore, and especially Watchmen, has cost a long shadow on mainstream comics. He has pushed the mainstream to be much better, and eager imitators have unfortunately produced some horrible comics by learning all the wrong lessons.

Several cartoonists receive attention: the dark, strange visions of Steve Ditko (cocreator of Spider-Man), the epically deep world-building and beautiful drawing of Jaime Hernandez, the epic opus of Cerebus comics by Dave Sim, the artistry of Will Eisner, the power of Frank Miller (sometimes overpowering), and the consciousness-expanding ouvre of Grant Morrison (another writer, but not artist).

Even though the book is not new, it introduced me to cartoonists and comics that were new to me. It was worth the read for that, though Wolk’s perspective on the development of mainstream and art comics is interesting, too.

If you’re interested in this book, you may also be interested in

American Splendor (Film)

Comic Book Nation by Bradford W. Wright

The DC Comics Guide to Writing Comics by Dennis O’Neil

How to Read Literature Like a Professor by Thomas C. Foster

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Writing for Comics with Peter David

Douglas Wolk. Reading Comics: How Graphic Novels Work and What They Mean. Cambridge, MA: Da Capo, 2007.

The Procrastination Equation by Piers Steel

Steel, Piers. The Procrastination Equation: How to stop Putting Things Off and Start Getting Stuff Done. New York: Harper, 2011.

I don’t have a reputation as a procrastinator. In fact, some employers and clients have hired me because of my ability to get things done. However, looking around my home and office I saw many unfinished and delayed projects that indicated procrastination was a problem for me in some areas.

In The Procrastination Equation, Piers Steel describes the reasons behind procrastination and its scary costs, both to individuals and society. Fortunately, he also provides strategies for overcoming procrastination.

The big issue for procrastinators is impulsivity. I balked at this at first; I didn’t see myself as an impulsive person. When I read Steels description of how it works, I admitted to myself that I was more impulsive than I realized.



Impulsivity is an issue for nearly all procrastinators, indeed for nearly all people. Our limbic system drives use to respond to immediate concrete payoffs. Most of us live and work in a world of more distant, abstract goals, the realm of the prefrontal cortex. In the battle between the will of the prefrontal cortex and the urges of the limbic system, the limbic system is much stronger, so most of us are wired to give in to immediate gratification and give up, for a while, on seemingly far off, ethereal and uncertain objectives.

The way we live hits us from both sides. The greatest benefits accrue to those who can delay immediate gratification for greater, later benefits (eat vegetables instead of cookies, exercise instead of sleep in late, save money rather than spending it on the latest gadget). On the other side, we are bombarded with distractions that have immediate payoffs (especially television and the internet).

Steel offers methods for bolstering the prefrontal cortex, reducing distractions and even turning our impulsivity to our advantage. Even before I was finished with the book, I was seeing ways I could put some of these techniques into practice for myself.

There are other reasons for procrastination, but not many. You can take a short test in the book to find out why you procrastinate. In my case, one other factor in Steel’s equation was significant in my procrastination. I could see how it influenced my delaying habits throughout my life, even going back to my rebellion against spelling homework and multiplication tables in third grade (it’s amazing that I passed third grade).

I haven’t eliminated procrastination overnight (I just finished reading the book), and Steel doesn’t suggest anyone can. One can start doing something about it right away, and the science-based approaches offered in this book offer a reasonable expectation of success.

As an aside, I tweeted that I was reading the book and Dr. Steel and he replied with a humorous tweet that demonstrates my theory that published authors are also salesmen. (By the way, the tone of his book is often humorous, too.) Any of us who have a product or service to offer are salesmen, including me. Anyway, if you’re reading this, Dr. Steel, I managed to return the book to the library on time. Perhaps a few of the readers of this review will due us both the favor of buying a copy of the book.

If you’re interested in this book, you may also be interested in
How to Get Control of Your Time and Your Life by Alan Lakein
One Small Step Can Change Your Life by Robert Maurer
The Richest Man Who Ever Lived by Steven K. Scott

Readings from Your Best Life Now by Joel Osteen

Daily Readings from Your Best Life Now, is a daily devotional adapted from Joel Osteen’s breakout bestseller Your Best Life Now. The primary divisions of the book follow that of the source material. Likewise, the body of each short chapters is adapted closely from the original material. However, this book is organized differently. It is divided into 90 chapters, each one kept short in order to fit into a daily reading schedule.

At the top of each chapter is a reference to a passage of scripture. The chapters in the book are not expositions on the scripture; Osteen is plain in the introduction that that was not his intention. Osteen’s books, like his televised sermons, are topical rather than expositional. I thought that the connection between the scripture reading and the chapters were sometimes tenuous.

I’ll admit I took much longer than 90 days to finish this book (I probably first opened it shortly after it was published in 2005). That may have injured my sense of the book as a whole, but I think that the book was written with the hope that each chapter would be able to stand on its own as a sermonette of encouragement.

Encouragement is a good word for the book. It’s the theme through every part from encouragement to dream bigger to encouragement to press on in the hard times.

That leads also to what I think is the weakness of the book, and Osteen’s ouvre in general. It seems to draw from the theme and concepts of self-help as much (or more) as from the Bible. Even in the introduction, Osteen speaks in one sentence of wanting people to draw near to God and in the next of helping readers “unlock the doors of a fuller life.” These are not mutually exclusive pursuits, but that depends a lot on your concept of a fuller life.

I don’t mean to be too critical of Osteen. Obviously, I read several of his books and books by his predecessors as preachers of positivity in popular culture, Robert H. Schuller and Norman Vincent Peale. I have felt encourage by reading the books of these men, but I also leave there books feeling like something much deeper is missing.

Joel Osteen also wrote

Break Out

I Declare

You Can, You Will

If you’re interested in this book, you may also be interested in

Be All You Can Be! by John C. Maxwell

Creative Living for Today by Maxwell Maltz

Life's Not Fair, but God is Good by Robert H. Schuller

Positive Imaging by Norman Vincent Peale

Power in Praise by Merlin R. Carothers

The Power of Positive Thinking by Norman Vincent Peale

Self-Love by Robert H. Schuller

You Can Become the Person You Want to Be by Robert H. Schuller

You Can if You Think You Can by Norman Vincent Peale

Osteen, Joel. Daily Readings from Your Best Life Now. New York: Warner Faith, 2005.

Books That Made a Difference to Me

I’m not a regular reader of O: The Oprah Magazine, but when I come across one, I turn to the “reading room” segment. In each issue, they have a celebrity, author or other notable person comment on a few books that they find notable. I enjoy reading and I’m curious about what other people enjoy reading, even if I don’t share their tastes. What follows are books that made a difference to me roughly in the style of the O feature.

The Holy Bible

As a believer in Christ, this book is a touchstone for me. The Bible is one of the ways God reveals himself, and it is the most explicit, specific, definitive and accessible special revelation. Jesus compared the word of God to a mirror, and said those who didn’t do it were like someone walking away from a mirror and forgetting what they looked like. Within its pages, the metaphor of a sword is applied to God’s word. One the great uses of this sword is to, in indelicate terms, cut through the crap.

Simple Pictures are Best
By Nancy Willard
Illustrations by Tomie De Paola

This is a children’s book and I first read it as a boy. It has so influenced me that I sometimes use the phrase “simple pictures are best” in conversation. The moral of this parable is to keep it simple, don’t create unnecessary complications. I’m not immune to mission creep and function overload. However, this book helped me develop an early appreciation for focus, setting priorities and enjoying those things that do one thing very well.

Spider-Man Created by Stan Lee and Steve Ditko

I could carry on for some time about all that is great about Spider-Man. The essence of it is this: the core of Peter Parker and his story is ethics. Behind the mask, he is just a man and he is just as concerned with his family, friends and job as with battling supervillains. Like us, Peter faces the costly rewards of doing what is right and the painful price of choosing what is wrong in a complex world he doesn’t fully understand. What makes him a hero isn’t his power, it is his character.

War Against the Weak: Eugenics and America’s Campaign to Create a Master Race By Edwin Black

The atrocities of the Nazis were justified, in their minds, as a science-based policy for managing society. The science was eugenics; it originated in American. I was amazed that not only did it start here, but also one of its largest proponents and popularizers worked in my home state, Missouri. Black thoroughly traces eugenics from it roots in an America, both as a science and a policy, to its leap to other nations, its ultimate expression as policy in Nazi Germany and its aftermath, which continues to linger in science and politics. Today, calls for science-based policy are often in the news, but it is important that both policy and science be informed by ethics. (Edwin Black also wrote IBM and the Holocaust.)

The Road to Serfdom
By F. A. Hayek

Hayek devoted this book “to socialists of all parties.” His particular audience was the British intelligentsia (Hayek was an economics professor at the University of London and familiar with German intellectual life from his years in his native Austria). His message was a warning: socialism leads to totalitarianism. Socialism was a popular movement in the time Hayek wrote this book (first published in 1944). Even the United States looked to the communist, fascist and national socialist governments of the world as models to emulate (until we entered World War II and many of these governments became our enemies). Today, socialist ideas and policies are widely espoused, though few would put the socialist label on them, and their proponents seem to imagine, some may be convinced and some may pretend, that a planned society can still be a free one. Hayek demonstrates that socialist government and individual freedom cannot coexist for long.

Glossary

One of the most important books in a reader’s library is the dictionary. Here are a few words I’ve had to look up in my reading or that I thought were noteworthy.

Amended March 7, 2011

A

Acheron – a river from Greek mythology over which the dead were ferried by Charon

adamantine – hard, unyielding (the last syllable may be pronounced like teen, tin or tine, which could come in handy for rhyming)

aerolith, n. – a meteor (such as on might see in the empyrean)

aliquot – an adjective that describes something that is an exact divisor, or factor
Dictionary.com, Merriam-Webster, OneLook

For example, when you factor a number, such as 60, you find its aliquot parts, 2, 3, 4, 5, 6, 10, 12, 15, 20 and 30.

angstrom, n. – unit of length equal to one ten-millionth of a millimeter (10-7 mm), mainly used to express electromagnetic wavelengths (named for Swedish astronomer Andes Johann Ångström)
Dictionary.com, Merriam-Webster, OneLook

aprioristic, adj. – preconceived, or considered valid independent of observation or evidence

“The grid for historical interpretation is more than something that facilitates the selection and interpretation of evidence: it offers an all-encompassing aprioristic view of reality into which the phenomena of history must be made to fit, whether by fair means or foul.”

-Carl R. Trueman, Histories and Fallacies

Argus – a giant with 100 eyes from Greek mythology

C

cagoule – a hooded, weatherproof jacket
Cambridge Dictionary, TheFreeDictionary

canescent – downy, as in the whitish or grayish down on some plants
Dictionary.com, Merriam-Webster Online

caul – part of the amnion sometimes covering the head of a child at birth
Dictionary.com, OneLook

celebutante – a young woman who is famous for no discernable reason (from celebrity + debutante)

cicerone – a guide for sightseers (pronounced with a long e at the end)

cloaca – a sewer
Dictionary.com, Merriam-Webster Online

concertina – noun musical instrument resembling an accordion with hexagonal bellow and button-keys – verb to fold or collapse like a concertina
Dictionary.com, OneLook

crepuscular – resembling or active at twilight
Dictionary.com, Merriam-Webster Online

cuprous – containing univalent copper
Dictionary.com, OneLook

curlew, n. – a shorebird with a long beak that curves down, of the genus Numenius

D

dalton, n. – unit of mass used to express the mass of atomic and subatomic particles equal to 1/12 the mass of the carbon-12 atom; another name for an atomic mass unit (named for English chemist John Dalton)
TheFreeDictionary, Encarta, YourDictionary

disembogue – pour out
Dictionary.com, Merriam-Webster Online

demimonde, n. – women with wealthy lovers who have lost standing in society because of indiscretions or promiscuity; courtesans or prostitutes (an individual woman of this class is a demimondaine)
Dictionary.com

“Humiliation no longer threatens the individual who hasn’t read a book, but the one who has; reading is seen as a degrading task that may be left to a woman of the demimonde.”
-Pierre Bayard, How to Talk About Books You Haven’t Read

doyenne – a woman with seniority in her profession or organization (feminine form of doyen)

“Sue Carter of the University of California at Irvine is famous as the doyenne of research on this potent hormone of attachment [oxytocin], which she has studied extensively in the prairie vole.”
-Stephen Post & Jill Neimark, Why Good Things Happen to Good People

E

elegiac, adj. - expressing sorrow or mourning

empyrean – sky

“The very empyrean seemed to be a secret.”
-G. K. Chesterton, The Man Who Was Thursday

endogenous – internally originated
Dictionary.com, Merriam-Webster, TheFreeDictionary, Encarta

“Because the internally focused [performance assessment and evaluation] frameworks of the [community water system] sector are based on endogenous measures of performance, they narrowly asses performance in terms of core processes, which differ by [community water system].”
-Jeffrey W. Rogers & Garrick E. Louis. “A standard efficiency metric for evaluation performance of community water systems.” Journal AWWA 97.10 (2005): 79-80.

F

fissiparous, adj. – tending to split into factions

“Marxism has proved as fissiparous a philosophy as it has a political ideology.”

-Carl R. Truman, Histories and Fallacies

G

ghee – clarified butter
Dictionary.com, OneLook

glaucous - greenish blue or bluish green
Dictionary.com, Merriam-Webster Online

I

inanition, n. – exhaustion from lack of nourishment; lethargy

L

lacuna – missing part (the middle syllable is pronounced like queue)

Laocöon, n. – Trojan priest who warned against accepting the horse left by the Greeks (Trojan horse); he and his sons were killed by serpent bites

lido – a beach resort or open-air swimming pool
Dictionary.com, OneLook



M

mantic – related to or having the power of divination
Dictionary.com, Merriam-Webster Online

meretricious, adj. – having a flashy or vulgar allure, insincere or pretentious; characteristic of a prostitute

moue – a pout
Dictionary.com, OneLook

multitexting – the rude and dangerous activity of reading and writing text message on mobile communication devices, including e-mail message in the case of crackberry addicts, while engaged in other activities such as walking, driving, attending meetings and dining with others (from multitasking)

O

ouroborus, n. – a symbol of a snake or dragon eating its tail
Dictionary.com, OneLook

outré, adj. – unconventional or bizarre

P

patulous – spreading
Dictionary.com, TheFreeDictionary, Merriam-Webster Online, OneLook, YourDictionary

"Above the spire of St Paul’s, patulous white clouds deepened to a shade reminiscent of overwashed socks."
-Christopher Fowler, The Water Room

phenology – the study of the timing of recurring natural events
Websters, Dictionary.com, Merriam-Webster


plover, n. – a shorebird having a thick neck, compact body, and pigeon-like beak, of the family Charadriidae, or a similar bird

prolegomenon, n. – scholarly preface (you can tell it is scholarly by its length)

putsch, n. – a revolt or uprising
Merriam-Webster, Encarta

R

retrosexual, n. – a man who cares little for or minimally attends to his appearance (i.e., the opposite of a metrosexual), or a man who adopts an old-fashioned masculine style (especially the suit-and-hat style of the 1950s and 1960s)
Merriam-Webster

S

sesquipedalian, adj. – multisyllabic
Merrian-Webster.com

“Do not build monuments to obfuscatory sesquipedalian tergiversation.”
-Elizabeth Slatkin in How to Write a Manual

sibilant, adj. - hissing

soidisant – self-styled, so-called, pretended (from French and pronounced in something of that style, i.e. swa-dee-zahn’)


spoor, n. – track or trail, especially of a wild animal
Dictionary.com, Merriam-Webster.com

“The victory always lies in our hunger for the spiritual intimacy of our union with Christ. In some since it is more than a hunger, it is a stalking—pursuing God as a safari tracks the spoor of big game”
-Calvin Miller, Into the Depths of God

stoat – the European ermine, Mustela erminea
Dictionary.com, Merriam-Webster Online

suspire, v. – to utter with sighing breaths
Wordnik.com, Yahoo! Education

Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame:
Which human power cannot remove.
We only live, only suspire
Consumed by either fire or fire.
-T. S. Eliot, The Four Quartets

syncretistic, adj. – attempting the reconciliation of opposing principles, practices or parties

“Catholicism’s commitment to the developing cult of the saints was surly one of its great strengths during the church’s massive expansion during the fourth and fifth centuries, and the winning strategy of a somewhat syncretistic pattern of handling folk religion right down into the fifteenth century.”

-Carl R. Trueman, Histories and Fallacies

T

tergiversation, n. – a constantly changing, unclear or misleading opinion or attitude
OneLook.com



threnody, n. – a song of lamentation
traduce, v.t. – to speak maliciously or falsely, to slander or defame

V

viridescent – greenish
Dictionary.com, OneLook

vulpine – fox-like
Dictionary.com, Merriam-Webster Online


W

whinge, v. – to cry, to complain, to whine
Dictionary.com, Merriam-Webster

X

xanthic – yellowish
Dictionary.com, Dict.org, The Free Dictionary, Webster’s Online, Your Dictionary