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Quick Design quick_desib1b4 — I personally had never heard of either Jane or Michael Stern before reading this book, and it wasn't until a few chapters in that it clicked that they are the folks behind roadfood.com, which I certainly *had* heard of. This book is really just a collection of stories and musings that Jane and Michael have collected over the past 30+ years about seeking out the best (and often times, worst) in road food. There's not really an order to the book necessarily, but then again, there doesn't need to be. Each chapter ends with at least 2 or 3 recipes that were mentioned in the chapter, usually with a short blurb about how Michael and Jane came to discover them, or its origin. The book is humorous throughout, and kept me interested for the majority of the time. Some chapters dragged on a tad, but nothing that was intolerable. Given all of that, I love reading about the exploits of people on the road, looking for what most tourists will never bother looking for: that little place that has just the right balance of hospitality, comraderie, charm, and great food. In a way, this book would be a nice companion piece to Bill Geist's Way Off The Road. Both talk about the great finds that can be had in small towns (and even large ones) across the country, and they both celebrate what makes these places so wonderful to eat at or visit. One final note: I found myself during the course of reading the book wanting to make notes of the places they mentioned in the chapters. Luckily, the book provides several indices at the back, one of which is a listing, state by state, of all the places they mentioned. Nice!

Georgy Sergeev sgeg8d6f — ** spoiler alert ** Eerie, unsettling and melancholic. It rattled me, and I pushed the book physically away from me as it ended, a sign of provocation. I was aware of feeling pity and derision for a couple of the characters; joy and pride in others. At one point, I thought: this event is my very worst nightmare come to fruition: feeling trapped on the edges of obscurity, voiceless. And I wonder what I would do to unquestionably make my presence known. In life..and after; and, how I could push through if, appallingly, I was discovered hovering among the in-between.

Jane Moore _anemhoughton — First, let me clear something up. Oedipus is one of the classics of Western Literature as a tragedy, not as a murder mystery, a genre that wouldn't yet be invented for more than a thousand years. The questions Oedipus asks us are not questions of motive and guilt. Oedipus is not a detective. We know who did it, the audience would've known who did it, almost everyone in the play who Oedipus questions knows what's up. It's not really a mystery to anyone besides Oedipus and the chorus. There's only one compelling suspect, and there is not an insignificant amount of foreshadowing that Oedipus is the killer. The important question isn't what the caused of the tragedy of Laius's death. It's the question of what caused the tragedy of Oedipus the King's life. Conventional wisdom holds that a tragedy have a tragic flaw, something which causes their plans to go awry and miss the mark. This can be a character flaw or a mistake. One is easily tempted to blame fate for the whole thing and call it a day. We are lead to wonder what the cause of this tragedy is. Was it fate itself, or Oedipus trying to avoid his fate which brought it about? Oedipus was doomed from the start, we might say, and he tried to avoid it to no avail. This is certainly a valid way of looking at it, but by no means the only way. Hubris is another possibility. Oedipus wanted to find the murderer to help his people. He fled his home so that he would not murder his parents. Surely this is not a character flaw, but defying the Gods has consequences. He was proud in thinking he could know everything, defy fate, and dismiss the prophets. When he pries too deeply into matters which everyone else tells him to leave well enough alone, eventually he sees too much, and pulls his eyes out. Obviously the crime (hubris) was committed after the punishment, but fate does not necessarily have to follow a cause-effect relationship. Another interpretation says that Oedipus acts too hastily, trusts too much in his own knowledge and his ability to unravel riddles. He pronounces a curse on himself when he curses the murderer without knowing the circumstances of the crime. He almost kills his friend for treason, despite a lack of evidence. He flees home to avoid killing his parents, even though there is some doubt cast on his parentage. One could argue therefore that though the gods cursed him with his life, it was actually his tendency to act hastily and his reckless pursuit of knowledge against the warnings of others that did him in. I've even heard of an ingenious, slightly perverse interpretation of the play (possibly from Borges?) which goes like this: Laius was supposedly killed by a gang of bandits. Oedipus killed some unknown person alone at the crossroads. Oedipus comments that they need to confirm that there actually was a band of robbers from the witness. But interestingly enough, we never get confirmation from the witness that just one man killed Laius. There is a lot of circumstantial evidence that Oedipus did it, but it conflicts with one of the known facts of the case. If Laius was actually killed by one man, then perhaps Oedipus himself could've done it, but as far as we know, there was a group of men. There is therefore insufficient evidence to convict Oedipus, case not closed, Oedipus is possibly innocent (!) and there is some other weird footed doppelganger who killed Laius still at large out there. Interesting food for thought, but I think its more likely there was a deleted scene somewhere. But does there have to be a clear cut answer to any of this? Who says there has to be a tragic flaw anyway? Maybe Oedipus didn't do anything! Maybe the fall of Oedipus was senseless and brought about by the Gods for inscrutable reasons. As I said before, this isn't a murder mystery. These questions aren't meant to have a clear cut answer laid out for us all nice and neat at the end. We can't know for sure, all we can do is think about it, and contemplate the issues it brings up. Thank god. Who wants everything laid out at the end anyway?

Edy Damián _ — I grew up with this book! It is so lovely everyone should read it.

Andrea Barry aebarry858b8d — Good book but his tongue-in-cheek could use some downsizing.Regardless the story was interesting and enjoyable. His characters are over-the-top, and the names -- oh my gosh, crazy.

Videmy Video videmy — Short and easy, taking me about 2 hours. I was expecting something amazing after loving (and teaching) The Giver, but I feel a bit let down by this. I think a good YA book is one that doesn't really read like a YA book; and this one definitely does. But at the same time, if this book gets 5th graders thinking about subject matter this heavy then it is doing its job. I'm obsessed with Hitler, Nazi Germany, WWII -- I think it is truly one of the world's most fascinating times in all of history, with its tales of resistance, spies, and the endless dichotomies of supreme evil and utter selflessness as well as episodes where the line of good and evil is so blurred one can't even distinguish -- so I guess for a younger child this would be a good introduction to those themes; but I can imagine even my classroom of 8th graders thinking that this is written a bit too childish. Myself, I just didn't really "feel" it like I felt for Jonas in The Giver. Maybe a hard comparison to argue, but I would think that "who you 'felt' most for" would be awarded to a character in the Holocaust -- an event containing enough pathos in and of itself -- every time, given a choice.

Dima Mitwalli dimamitwale4e8 — The book is written beautifully and helps one find that inner peace to love anyone (and not just romantically). We've forgotten how to give ourselves to someone 100% because we place things before others. I suggest you read this to figure out what I'm trying to say and not capable of finding the right words.