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At a time when society no longer imposes many sexual taboos, why is open marriage still considered beyond the pale? Written by Gracie X, Wide Open is an enthusiastic, honest, and sometimes raw account of one woman’s experience living polyamorously within the context of her average American family.

Gracie X—a suburban mother of two—has been married to her loving husband, Hank, for 25 years. The problem is that their once-vibrant sex life has shriveled to nothing. Meanwhile, she has fallen in love with another man, for whom she has an overwhelming physical yearning. Frustrated and conflicted but determined not to give up her hard-won home life and wonderful husband, she is desperate for a creative solution.  Can she somehow keep both men in her life without resorting to divorce or dishonesty?

A friend introduces Gracie to polyamory: loving and being faithful to more than one person at a time. “Poly,” it turns out, is a whole new world, with dedicated counselors, parties, and dating sites. Convincing Hank ended up being the easy part: he quickly found a girlfriend and accepted Gracie’s terms. Their children, although upset at first, adjusted to having their parents’ “special friends” around, and having Hank and his girlfriend in one duplex, with Gracie and her new boyfriend, Oz, next-door, seemed like an inspired solution. But would trying to go poly create as many problems as it was trying to solve?

In her candid and provocative memoir, Wide Open, Gracie details the years she has spent exploring the poly lifestyle and creating her “chosen family.” A fiercely intelligent feminist, she challenges traditional ideas about monogamy, fidelity, and sexuality. From swinger parties and strip clubs to sex toys and pornography, this is an edgy and thought-provoking read. Yet erotica and tenderness share space here, with Gracie’s true love for both Hank and Oz—as well as her two children—coming through very clearly.

Wide Open reveals—with humor, integrity and heart—how one woman blended love, sex and marriage in unconventional ways and found the fulfillment she was looking for.

• Sales Rank: #87707 in eBooks
• Published on: 2015-09-01
• Released on: 2015-09-01
• Format: Kindle eBook

Review
“Vulnerable and vivacious, Wide Open is a deeply personal, beautifully written tale of one woman’s erotic journey to find herself and keep her family together. Gracie X bares her soul in this gripping memoir filled with pain and pleasure, growth, endings, and new beginnings. I couldn’t put it down!”
—Elisabeth Sheff, author of The Polyamorists Next Door: Inside Multiple-Partner Relationships and Families (2014), and editor of Stories from the Polycule: Real Life in Polyamorous Families (2015)

“Gracie X has written an honest and engaging memoir about taking one of the biggest risks of her life—opening up her marriage despite warnings from friends and loved ones to not ‘rock the boat’ and her own fears. While honoring both her deep commitment to her husband and children and her reawakened sexuality, she shows us that, yes, we are capable of loving many people and receiving love back, as well as creating a marriage that is unique to our needs—a valuable lesson for all of us, whether polyamorous, monogamous, or monogamish.”
—Vicki Larson, award-winning journalist and coauthor of The New I Do: Reshaping Marriage for Skeptics, Realists and Rebels

“For anyone who’s curious about how to approach polyamory or open relationships with your partner, Wide Open is a must-read. Gracie X graciously lays out her complicated journey in a funny, honest, and relatable way that will inspire others to follow their heart. Redefining the family and relationship model is not an easy task; however, Wide Open gives you hope that through honest communication, emotional maturity, and patience, anything is possible.”
—Natalia Garcia, director and creator of Showtime’s Polyamory: Married & Dating

“I was moved by Gracie X as she shared a tender, passionate, and vulnerable memoir that inspires as it warns. This book is a must-read, authentic addition to the literature on open relationships and polyamory. As an intimacy counselor, I recommend her book for those who wish to experience the real-life joys, sorrows, challenges, and gifts of alternative relationship.”
—Francesca Gentille, contributing author of The Marriage of Sex and Spirit, radio host of “Sex: Tantra and Kama Sutra,” and relationship and intimacy counselor

“This is a remarkable book. At a time when liberals and conservatives alike are embracing marriage and the nuclear family, Gracie X sends us a life raft—the bold chronicle of her quest to create a family configuration that works for her, her husband, new lover, and children. Gracie X is not only creative and brave—she is also a consummate storyteller. Be prepared for a riveting tale of her journey into intense new love while her marriage simultaneously evolves and realigns itself. For anyone weary from the dry, didactic tone of poly how-to books, this memoir provides a wealth of information about the triumphs and tribulations of exploring polyamory. And it is an indispensable resource for those seeking to forge a new way with their partners and families, expanding the bounds of even polyamory itself.”
—Ann E. Tweedy, poet and author of Beleaguered Oases (CreativePress 2010) and White Out (Green Fuse Poetic Arts 2013)

“To open her kimono and share how one woman and two families made sense of the paradox that is love, sex, family, intimacy, and honesty in our modern lives, is an act of tremendous courage and generosity. Her sassy, relatable, sexy truth-telling burns away the tarnish that convention can leave on our hearts. Even if our journeys look different than Gracie X’s (as indeed they should), let us stand up and shout out: Viva the moxie of Gracie X to open her heart and her mouth. Say it, sister!”
— LiYana Silver, mentor for Women’s Embodiment: Bringing Your Feminine Genius to Life (http://liyanasilver.com)

About the Author
Gracie X is a writer, actress, and director. She lives in Northern California. Find out more about Gracie at http://GracieX.com, and connect with her online:

Facebook: https://www.facebook.com/GracieXauthor
Twitter: https://twitter.com/GracieXauthor
YouTube: https://www.youtube.com/channel/UCrpUKF87ojhzmV4uVNNyGAA

Foreword writer Carol Queen, PhD, cofounded the Center for Sex and Culture in San Francisco and is author of Real Live Nude Girl: Chronicles of Sex-Positive Culture.
 

Most helpful customer reviews

9 of 9 people found the following review helpful.
A funny, poignant, sexy read which makes you think about love, life and family.
By Vox Populi
I got this book on recommendation from a friend thinking it would be a fun little voyeuristic romp of a read. Boy did I get more than I bargained for. Don't get me wrong, it is a fun titillating read with many laugh-out-loud moments. It also is the most thought-provoking book I've read in a very long time.

This book tells it all on so many different levels. It is a multiple-love story. Gracie writes poignantly about her love for her husband, Hank, her children and the family they're all part of. She writes about falling in love with Oz, and trying to put that love away to maintain her family. Ultimately, she realizes that she needs to do something different but has no idea what that would look like. She starts to unpack what family, marriage, love and sex mean to her. Following her heart, (sometimes down some blind alleys), she is ultimately able to create a non-traditional vision of family which works for all of them.

Gracie takes the reader along on the ride,confessing her innermost thoughts, feelings, desires and frustrations. She pulls no punches, least of all on herself. Her writing mixes moxie, sheer determination and terrible uncertainty, erotic energy and vulnerability. It's an incredibly fun read, one which I couldn't put down.

I finished it a few days ago, but it's still in my head. It's helping me unpack questions about my own life. What parts of it would I like to change, and how would I have the guts to do it.

6 of 6 people found the following review helpful.
Gracie X, You're my She-Ro
By Rose
My favorite book this year! (which says a lot coming from a self proclaimed book worm) I couldn't put this courageous, sexy memoir down.
A must read for anyone who's ever had the haunting feeling that our current paradigm of matrimonial bliss is somehow amiss. I was reminded of an Alice Walker quote that states "No one is your friend who demands your silence or denies your right to grow." For how many of us has a relationship that started as something that felt limitless turned into what feels more akin to a cage? Lots of sex positive, pro-woman food for thought, whether you're in a long term relationship that could use a breath of new life, or you're currently exploring how you might want define your new relationship by your own design. For those of us willing to take what can feel like an unprecedented stance on romance, Love and sexuality, Gracie X tells us we're not alone. Her writing often feels like sharing the juicy confessions of wine time with your girls. I found myself applauding her on her journey, laughing and crying along with her. I commend her brave, saavy, bare all approach of embracing her own sexuality. I'm impressed by her ability to be simultaneously so playful and so dedicated to her own healing, both for the sake of her own happiness but also for her children and those who she defines as family.
Gracie X keeps it real, raising a lot of powerful, provocative questions without ever pretending to have all the answers. This book will definitely be the catalyst for stimulating conversation around the evolvement of 21st century Love in all of its manifestations.

5 of 5 people found the following review helpful.
A different kind of read that I needed.
By Christy
I've put off writing this review, simply because I'm not sure how to write it. The book stirred all kinds of feelings in me, as a divorced woman in her 40s who has had marriages fail, and multiple relationships fail.

Wide Open tells the story of Gracie, who has been married many years to Hank. From my interpretation of the book, at the time they decided to open their marriage they had been married for 25 years. They had children later in life, so their son and daughter are five and ten when the decision is made.

The book chronicles their odyssey in finding discussing this decision, coming to the decision, the hard ships faced along the way. The ones that Gracie faces while trying to "date" after the decision is made? She faces what many single women in their 40s do. More difficult for us than it is for men - while Hank seems to find someone almost instantly, Gracie has issues. Further, she has feelings for a man named Oz who she taught pilates too and she really yearns to explore a relationship with him.

I found myself taking breaks from the book; yet, I did not want to stop reading. I wanted to know how this decision affected everyone involved (which I do not want to spoil by going into here). Many times, things the author said touched me and I simply had to stop reading to deal a bit with the emotions if stirred.

This book will not be for everyone. Those who do not believe in sex or any kind of intimate relationship outside of their marriage will probably not like it at all. What it did for me is bring up many good points about loving your spouse, even when the "spark" seems to die. How a person, no matter their age, wants to feel desirable and wanted by their partner; and that isn't in just a sexual manner either. It also reiterates my belief that you simply should not judge anyone else's lifestyle. What makes you happy and works for you may not work for others. To judge others and how they achieve their happiness is wrong.

I guess, for me, I was very moved by Gracie's feelings of feeling inadequate, of low self-esteem, and the frustration she felt in dealing with those emotions.

Again, not for everyone. But it was a much needed break for me as far as romance stories and the like.

*ARC received for honest review*

See all 23 customer reviews...

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[G963.Ebook] Ebook Download Brot: Bread Notes From A Floury German Kitchen, by Nils Schoener

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Brot: Bread Notes From A Floury German Kitchen, by Nils Schoener

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"Brot - Bread notes from a floury German kitchen" was compiled from the notes spanning more than three years of extensive testing, baking and tasting, carried out by Nils Schöner in a kitchen in Germany.

The quest for baking the best possible bread has resulted in 52 formulas for making anything from yeasted to sourdough breads like the rustic German Vollkornbrot to sweet pastries.

Each recipe has at least one corresponding photograph that illustrates the desired result. Plus, a chapter on baking tips and how to get the best results in a home oven helps you through the process.

The contents of the books are:

Recipes:

Korntaler
Pain au Levain de Sarrasin
The Salt-Yeast Method
Toast Bread
Pain au Levain
A Classic German-Style Rye Loaf
Pain Au Levain with Walnuts and Hemp Seeds
Ring Bread
Swiss Loaf from Tessin
Linseed Baguettes
Kosakenbrot (Cossack's Bread)
Malt-Beer Rye with Raisins
Apple Danish
Ciabatta Rolls
Oregano-Crusted Potato-Bread
Bauernbrot
An Organic Dough-Improver
Vollkornbrot
French Pavé
Salzstangerl
100% Rye Loaf
German-Style Sourdough Bread
A lighter German-Style Sourdough Bread
Berlin Short Sour
Grainy Rye Meal Bread
Five-Grain Bread
Pfennigmuckerl
'60/40' Rye with Old-Bread-Sourdough Starter
Grünkern-Carrot Bread
Einkornbrot
Spring Bread
Milk Rolls
Guinness-Vollkornbrot
70 Percent rye with a rye meal sourdough soaker
Quarkbrot
Nils’s 60/40
Spelt-Einkorn Bread with Coriander
75% Rye with Linseeds
3-Days Breakfast Rolls
Cheese Rolls
Haferbatzen
Vollkornbrot Reloaded
'75/30' Landbrot
Dinkelvollkornbrot
My All-Day Bread
Früchtebrot (Fruit Bread)
Baguettes with a yeasted poolish (with 'Brush-Steaming' Technique)
66% Rye
60% Rye with Apple-Juice-Soaked Rye Grains
Rustic Baguettes (using retardation)
Kopenhagener
Kleiner Schrotling (Small Rye Meal Loaf)

Appendix:
tools and tips:
Know your tools - baker's math
Baking Stones
Tips on baking with rye
Tips on baking with wheat
Tips on baking with spelt
German flours and the rest of the world
Dried yeast vs. fresh yeast
How to start and maintain a sourdough culture
How to dry sourdough
How to convert dry sourdough to wet sourdough
Temperature
How to line a rectangular bread tin with baking paper
Slashing
Kneading
Recommended Books

• Sales Rank: #480606 in eBooks
• Published on: 2010-10-02
• Released on: 2010-10-02
• Format: Kindle eBook

Most helpful customer reviews

15 of 16 people found the following review helpful.
no table of contents or index in Kindle version...BUT-
By mmbrownie
I got this a few days ago and was bummed to find, after purchasing, that there is no index or table of contents. So I am going through the whole thing and making notes and placing bookmarks myself. It would be nice if both were required for all Amazon books. And a thorough description written by Amazon would be appreciated. Amazon relies on customers to do the work they won't do.

But I must say that I am finding that, as a long time bread baker, this is well worth having. I have played with artisanal breads, as well as American breads, and the instructions for the slashing tops of loaves totally changes the beauty and shape of my loaves. The sourdough starter and method for drying the starter are wonderful. So even though I wish that the description was better and it was easier to access the recipes, this is a real find.

I am including screen shots from the Kindle version so you can see what I have mentioned.

ABOUT KINDLE BOOKS:
I have purchased a few Kindle books and probably won't buy more. The first reason is no color. The second- I thought the books would be very intuitive and easy to navigate- not so. None have had an index and only some have a table of contents. I rely heavily on an index when I search multiple cookbooks for a specific recipe. I can search on the Kindle, but it shows every page where the word is mentioned- not the location of the recipe. A real pain. It also just isn't the same as leafing through and glancing to see what you are looking for- it is one page at a time to look on a Kindle. Lastly, the books are just boring compared to the real thing. The convenience of having a couple good cookbooks on my iPad to study is nice, but I won't be replacing all my cookbooks with Kindle versions.

10 of 10 people found the following review helpful.
Interesting recipes for experienced bakers
By Dr. Karin M. Anderson
I agree with the first reviewer - in spite of a missing index and some minor flaws, like spelling mistakes, this book has a recipe collection that's worth the money. I baked the first two breads, "Korntaler" and "Pain au Levain de Sarrasin", and they turned out great. The book is not for beginners, though, you should know the basic modern bread making techniques (see Peter Reinhart's books, and others), and modify recipes accordingly (using steam, for example!).

This book comes as e-book only, but generally I prefer print versions of cookbooks. Making notes and changes in e-book recipes (and viewing them later) is cumbersome and rather unpractical, and I normally scribble my cookbooks full of remarks and observations.

I might add that I had the earlier free download version of Nils Schoener's book, but thought it appropriate to show my appreciation for his work by spending some money on the Kindle version.

4 of 4 people found the following review helpful.
Taught me most of what I know about baking with rye!
By J. Baron
Like the previous reviewer I know Nils from his blog and bought his ebook to show my appreciation of his skill, knowledge and kindness to everyone in giving free advice and support to would be bakers. This is a wonderful distillation of the best recipes and thoughts from his blog and I still bake his breads today. Definitely worth a read and more importantly, his recipes work beautifully ! Thankyou Nils!

See all 10 customer reviews...

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[N946.Ebook] Download PDF The Narrow Road to the Deep North, by Richard Flanagan

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Winner of the Man Booker Prize

“Nothing since Cormac McCarthy’s The Road has shaken me like this.” —The Washington Post

In The Narrow Road to the Deep North, Richard Flanagan displays the gifts that have made him one of the most acclaimed writers of contemporary fiction. Moving deftly from a Japanese POW camp to present-day Australia, from the experiences of Dorrigo Evans and his fellow prisoners to that of the Japanese guards, this savagely beautiful novel tells a story of the many forms of love and death, of war and truth, as one man comes of age, prospers, only to discover all that he has lost.

• Sales Rank: #12653 in Books
• Brand: Flanagan, Richard
• Published on: 2015-04-14
• Released on: 2015-04-14
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .90" w x 5.10" l, .81 pounds
• Binding: Paperback
• 416 pages

Review
One of the Best Books of the Year at • The New York Times • NPR • The Washington Post • The Minneapolis Star-Tribune • The Economist • The Seattle Times • Financial Times

“Some years, very good books win the Man Booker Prize, but this year a masterpiece has won it.” —A.C. Grayling, Chair of Judges, Man Booker Prize 2014

“Richard Flanagan has written a sort of Australian War and Peace.” —Alan Cheuse, NPR

“A symphony of tenderness and love, a moving and powerful story that captures the weight and breadth of a life . . . A masterpiece.” —The Guardian

“I suspect that on rereading, this magnificent novel will seem even more intricate, more carefully and beautifully constructed.” —New York Times Book Review
 
“Captivating . . . This is a classic work of war fiction from a world-class writer . . . Nothing since Cormac McCarthy’s The Road has shaken me like this.” —Ron Charles, Washington Post
 
“Elegantly wrought, measured, and without an ounce of melodrama, Flanagan’s novel is nothing short of a masterpiece.” —Financial Times
 
“A moving and necessary work of devastating humanity and lasting significance.” —Seattle Times
 
 “A novel of extraordinary power, deftly told and hugely affecting. A classic in the making.” —The Observer
 
“Nothing could have prepared us for this immense achievement . . . The Narrow Road to the Deep North is beyond comparison.” —The Australian
 
“A devastatingly beautiful novel.” —The Sunday Times (London)

“The book Richard Flanagan was born to write.” —The Economist 
 
“It is the story of Dorrigo, as one man among many POWs in the Asian jungle, that is the beating heart of this book: an excruciating, terrifying, life-altering story that is an indelible fictional testament to the prisoners there.” —Michiko Kakutani, New York Times
 
“Exhilarating . . . Life affirming.” —Sydney Morning Herald
 
“A supple meditation on memory, trauma, and empathy that is also a sublime war novel . . . Pellucid, epic, and sincerely touching.” —Publishers Weekly
 
“Homeric . . . Flanagan’s feel for language, history’s persistent undercurrent, and subtle detail sets his fiction apart. There isn’t a false note in this book.” —Irish Times

“The Narrow Road to the Deep North is a big, magnificent novel of passion and horror and tragic irony. Its scope, its themes and its people all seem to grow richer and deeper in significance with the progress of the story, as it moves to its extraordinary resolution. It’s by far the best new novel I’ve read in ages.” —Patrick McGrath, author of Constance

“I loved this book. Not just a great novel but an important book in its ability to look at terrible things and create something beautiful. Everyone should read it.” —Evie Wyld, author of All the Birds, Singing

“The luminous imagination of Richard Flanagan is among the most precious of Australian literary treasures.” —Newcastle Herald
 
“In an already sparkling career, this might be his biggest, best, most moving work yet.” —Sunday Age (Melbourne)
 
“An unforgettable story of men at war . . . Flanagan’s prose is richly innovative and captures perfectly the Australian demotic of tough blokes, with their love of nicknames and excellent swearing. He evokes Evans’s affair with Amy, and his subsequent soulless wanderings, with an intensity and beauty that is as poetic as the classical Japanese literature that peppers this novel.” —The Times (London)

“Extraordinarily beautiful, intelligent, and sharply insightful . . . Flanagan handles the horrifyingly grim details of the wartime conditions with lapidary precision and is equally good on the romance of the youthful indiscretion that haunts Evans.” —Booklist
 
“Virtuosic . . . Flanagan’s book is as harrowing and brutal as it is beautiful and moving . . . This deeply affecting, elegiac novel will stay with readers long after it’s over.” —Shelf Awareness
 
“Devastating . . . Flanagan’s father died the day this book was finished. But he would, no doubt, have been as proud of it as his son was of him.” —The Independent (UK)
 
“Despite the novel’s epic sprawl it retains the delicate vignettes that characterise Flanagan’s work, those beautiful brush strokes of poignancy and veracity that remain in the reader’s mind long afterwards.” —West Australian News
 
“Mesmerising . . . A profound meditation on life and time, memory and forgetting . . . A magnificent achievement, truly the crown on an already illustrious career.” —Adelaide Advertiser

About the Author

Richard Flanagan's five previous novels—Death of a River Guide, The Sound of One Hand Clapping, Gould’s Book of Fish, The Unknown Terrorist, and Wanting—have received numerous honors and are published in twenty-six countries. He won the Man Booker Prize for The Narrow Road to the Deep North. He lives in Tasmania.

www.richardflanagan.com

Excerpt. © Reprinted by permission. All rights reserved.
chapter 1

Why at the beginning of things is there always light? Dorrigo Evans’ earliest memories were of sun flooding a church hall in which he sat with his mother and grandmother. A wooden church hall. Blinding light and him toddling back and forth, in and out of its transcendent welcome, into the arms of women. Women who loved him. Like entering the sea and returning to the beach. Over and over.

Bless you, his mother says as she holds him and lets him go. Bless you, boy.

That must have been 1915 or 1916. He would have been one or two. Shadows came later in the form of a forearm rising up, its black outline leaping in the greasy light of a kerosene lantern. Jackie Maguire was sitting in the Evanses’ small dark kitchen, crying. No one cried then, except babies. Jackie Maguire was an old man, maybe forty, perhaps older, and he was trying to brush the tears away from his pockmarked face with the back of his hand. Or was it with his fingers?

Only his crying was fixed in Dorrigo Evans’ memory. It was a sound like something breaking. Its slowing rhythm reminded him of a rabbit’s hind legs thumping the ground as it is strangled by a snare, the only sound he had ever heard that was similar. He was nine, had come inside to have his mother look at a blood blister on his thumb, and had little else to compare it to. He had seen a grown man cry only once before, a scene of astonishment when his brother Tom returned from the Great War in France and got off the train. He had swung his kitbag onto the hot dust of the siding and abruptly burst into tears.

Watching his brother, Dorrigo Evans had wondered what it was that would make a grown man cry. Later, crying became simply affirmation of feeling, and feeling the only compass in life. Feeling became fashionable and emotion became a theatre in which people were players who no longer knew who they were off the stage. Dorrigo Evans would live long enough to see all these changes. And he would remember a time when people were ashamed of crying. When they feared the weakness it bespoke. The trouble to which it led. He would live to see people praised for things that were not worthy of praise, simply because truth was seen to be bad for their feelings.

That night Tom came home they burnt the Kaiser on a bonfire. Tom said nothing of the war, of the Germans, of the gas and the tanks and the trenches they had heard about. He said nothing at all. One man’s feeling is not always equal to all life is. Sometimes it’s not equal to anything much at all. He just stared into the flames.

2

A happy man has no past, while an unhappy man has nothing else. In his old age Dorrigo Evans never knew if he had read this or had himself made it up. Made up, mixed up, and broken down. Relentlessly broken down. Rock to gravel to dust to mud to rock and so the world goes, as his mother used to say when he demanded reasons or explanation as to how the world got to be this way or that. The world is, she would say. It just is, boy. He had been trying to wrest the rock free from an outcrop to build a fort for a game he was playing when another, larger rock dropped onto his thumb, causing a large and throbbing blood blister beneath the nail.

His mother swung Dorrigo up onto the kitchen table where the lamp light fell strongest and, avoiding Jackie Maguire’s strange gaze, lifted her son’s thumb into the light. Between his sobs Jackie Maguire said a few things. His wife had the week previously taken the train with their youngest child to Launceston, and not returned.

Dorrigo’s mother picked up her carving knife. Along the blade’s edge ran a cream smear of congealed mutton fat. She placed its tip into the coals of the kitchen range. A small wreath of smoke leapt up and infused the kitchen with the odour of charred mutton. She pulled the knife out, its glowing red tip glittering with sparkles of brilliant white-hot dust, a sight Dorrigo found at once magical and terrifying.

Hold still, she said, taking hold of his hand with such a strong grip it shocked him.

Jackie Maguire was telling how he had taken the mail train to Launceston and gone looking for her, but he could find her nowhere. As Dorrigo Evans watched, the red-hot tip touched his nail and it began to smoke as his mother burnt a hole through the cuticle. He heard Jackie Maguire say—

She’s vanished off the face of the earth, Mrs Evans.

And the smoke gave way to a small gush of dark blood from his thumb, and the pain of his blood blister and the terror of the red-hot carving knife were gone.

Scram, Dorrigo’s mother said, nudging him off the table. Scram now, boy.

Vanished! Jackie Maguire said.

All this was in the days when the world was wide and the island of Tasmania was still the world. And of its many remote and forgotten outposts, few were more forgotten and remote than Cleveland, the hamlet of forty or so souls where Dorrigo Evans lived. An old convict coaching village fallen on hard times and out of memory, it now survived as a railway siding, a handful of crumbling Georgian buildings and scattered verandah-browed wooden cottages, shelter for those who had endured a century of exile and loss.

Backdropped by woodlands of writhing peppermint gums and silver wattle that waved and danced in the heat, it was hot and hard in summer, and hard, simply hard, in winter. Electricity and radio were yet to arrive, and were it not that it was the 1920s, it could have been the 1880s or the 1850s. Many years later Tom, a man not given to allegory but perhaps prompted, or so Dorrigo had thought at the time, by his own impending death and the accompanying terror of the old—that all life is only allegory and the real story is not here—said it was like the long autumn of a dying world.

Their father was a railway fettler, and his family lived in a Tasmanian Government Railways weatherboard cottage by the side of the line. Of a summer, when the water ran out, they would bucket water from the tank set up for the steam locomotives. They slept under skins of possums they snared, and they lived mostly on the rabbits they trapped and the wallabies they shot and the potatoes they grew and the bread they baked. Their father, who had survived the depression of the 1890s and watched men die of starvation on the streets of Hobart, couldn’t believe his luck at having ended up living in such a workers’ paradise. In his less sanguine moments he would also say, ‘You live like a dog and you die like a dog.’

Dorrigo Evans knew Jackie Maguire from the holidays he sometimes took with Tom. To get to Tom’s he would catch a ride on the back of Joe Pike’s dray from Cleveland to the Fingal Valley turnoff. As the old draught horse Joe Pike called Gracie amiably trotted along, Dorrigo would sway back and forth and imagine himself shaping into one of the boughs of the wildly snaking peppermint gums that fingered and flew through the great blue sky overhead. He would smell damp bark and drying leaves and watch the clans of green and red musk lorikeets chortling far above. He would drink in the birdsong of the wrens and the honeyeaters, the whipcrack call of the jo-wittys, punctuated by Gracie’s steady clop and the creak and clink of the cart’s leather traces and wood shafts and iron chains, a universe of sensation that returned in dreams.

They would make their way along the old coach road, past the coaching hotel the railway had put out of business, now a dilapidated near ruin in which lived several impoverished families, including the Jackie Maguires. Once every few days a cloud of dust would announce the coming of a motorcar, and the kids would appear out of the bush and the coach-house and chase the noisy cloud till their lungs were afire and their legs lead.

At the Fingal Valley turnoff Dorrigo Evans would slide off, wave Joe and Gracie goodbye, and begin the walk to Llewellyn, a town distinguished chiefly by being even smaller than Cleveland. Once at Llewellyn, he would strike north-east through the paddocks and, taking his bearings from the great snow-covered massif of Ben Lomond, head through the bush towards the snow country back of the Ben, where Tom worked two weeks on, one week off as a possum snarer. Mid-afternoon he would arrive at Tom’s home, a cave that nestled in a sheltered dogleg below a ridgeline. The cave was slightly smaller than the size of their skillion kitchen, and at its highest Tom could stand with his head bowed. It narrowed like an egg at each end, and its opening was sheltered by an overhang which meant that a fire could burn there all night, warming the cave.

Sometimes Tom, now in his early twenties, would have Jackie Maguire working with him. Tom, who had a good voice, would often sing a song or two of a night. And after, by firelight, Dorrigo would read aloud from some old Bulletins and Smith’s Weeklys that formed the library of the two possum snarers, to Jackie Maguire, who could not read, and to Tom, who said he could. They liked it when Dorrigo read from Aunty Rose’s advice column, or the bush ballads that they regarded as clever or sometimes even very clever. After a time, Dorrigo began to memorise other poems for them from a book at his school called The English Parnassus. Their favourite was Tennyson’s ‘Ulysses’.

Pockmarked face smiling in the firelight, gleaming bright as a freshly turned out plum pudding, Jackie Maguire would say, Oh, them old timers! They can string them words together tighter than a brass snare strangling a rabbit!

And Dorrigo didn’t say to Tom what he had seen a week before Mrs Jackie Maguire vanished: his brother with his hand reaching up inside her skirt, as she—a small, intense woman of exotic darkness—leaned up against the chicken shed behind the coaching house. Tom’s face was turned in on her neck. He knew his brother was kissing her.

For many years, Dorrigo often thought about Mrs Jackie Maguire, whose real name he never knew, whose real name was like the food he dreamt of every day in the POW camps—there and not there, pressing up into his skull, a thing that always vanished at the point he reached out towards it. And after a time he thought about her less often; and after a further time, he no longer thought about her at all.

3

Dorrigo was the only one of his family to pass the Ability Test at the end of his schooling at the age of twelve and so receive a scholarship to attend Launceston High School. He was old for his year. On his first day, at lunchtime, he ended up at what was called the top yard, a flat area of dead grass and dust, bark and leaves, with several large gum trees at one end. He watched the big boys of third and fourth form, some with sideburns, boys already with men’s muscles, line up in two rough rows, jostling, shoving, moving like some tribal dance. Then began the magic of kick to kick. One boy would boot the football from his row across the yard to the other row. And all the boys in that row would run together at the ball and—if it were coming in high—leap into the air, seeking to catch it. And as violent as the fight for the mark was, whoever succeeded was suddenly sacrosanct. And to him, the spoil—the reward of kicking the ball back to the other row, where the process was repeated.

So it went, all lunch hour. Inevitably, the senior boys dominated, taking the most marks, getting the most kicks. Some younger boys got a few marks and kicks, many one or none.

Dorrigo watched all that first lunchtime. Another first-form boy told him that you had to be at least in second form before you had a chance in kick to kick—the big boys were too strong and too fast; they would think nothing of putting an elbow into a head, a fist into a face, a knee in the back to rid themselves of an opponent. Dorrigo noticed some smaller boys hanging around behind the pack, a few paces back, ready to scavenge the occasional kick that went too high, lofting over the scrum.

On the second day, he joined their number. And on the third day, he found himself up close to the back of the pack when, over their shoulders, he saw a wobbly drop punt lofting high towards them. For a moment it sat in the sun, and he understood that the ball was his to pluck. He could smell the piss ants in the eucalypts, feel the ropy shadows of their branches fall away as he began running forward into the pack. Time slowed, he found all the space he needed in the crowding spot into which the biggest, strongest boys were now rushing. He understood the ball dangling from the sun was his and all he had to do was rise. His eyes were only for the ball, but he sensed he would not make it running at the speed he was, and so he leapt, his feet finding the back of one boy, his knees the shoulders of another and so he climbed into the full dazzle of the sun, above all the other boys. At the apex of their struggle, his arms stretched out high above him, he felt the ball arrive in his hands, and he knew he could now begin to fall out of the sun.

Cradling the football with tight hands, he landed on his back so hard it shot most of the breath out of him. Grabbing barking breaths, he got to his feet and stood there in the light, holding the oval ball, readying himself to now join a larger world.

As he staggered back, the melee cleared a respectful space around him.

Who the fuck are you? asked one big boy.

Dorrigo Evans.

That was a blinder, Dorrigo. Your kick.

The smell of eucalypt bark, the bold, blue light of the Tasmanian midday, so sharp he had to squint hard to stop it slicing his eyes, the heat of the sun on his taut skin, the hard, short shadows of the others, the sense of standing on a threshold, of joyfully entering a new universe while your old still remained knowable and holdable and not yet lost—all these things he was aware of, as he was of the hot dust, the sweat of the other boys, the laughter, the strange pure joy of being with others.

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427 of 454 people found the following review helpful.
"Life was only about getting the next footstep right."
By Jill I. Shtulman
The very best books don't just entertain, uplift or educate us. They enfold us in their world and make us step outside of ourselves and become transformed. And sometimes, if we're really lucky, they ennoble and affirm us.

The Narrow Road to the Deep North is such a book. Once I got past the first 60 or 70 pages, there was no turning back. I turned the last page marveling at Mr. Flanagan's skill and agreeing with historian Barbara Tuchman that, "Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill."

The Narrow Road is based on an actual event: the building of the Thai-Burma death railway in 1943 by POWs commanded to the Japanese. The title comes from famed haiku poet Matsuo Basho's most famous work and sets up a truism of the human condition: even those who can admire the concise and exquisite portrayal of life can become the agents of death.

The key character, Australian surgeon Dorrigo Evans, a larger-than-life POW, is also a study in contradictions: as "Big Fella", he protects those under his command from starvation, heinous deceases and senseless dehumanizing while struggling with his own demons. The passages are haunting and heartbreaking: the skeletal bodies covered in their own excretement, the bulging ulcers, the breaking of mind and spirit.

Yet Mr. Flanagan does not depict these scenes to shock the reader. Rather, he reveals how all is ephemeral, mythologized, or forgotten: "Nothing endures. Don't you see? That's what Kipling meant. Not empires, not memories. We remember nothing. Maybe for a year or two. Maybe most of a life, if we live. Maybe. But then we will die, and who will ever understand any of this?"

And later: "For an instant, he thought he grasped the truth of a terrifying world in which one could not escape horror, in which violence was eternal, the great and only verity, greater than the civilizations it created, greater than any god man worshipped." Richard Flanagan implies again and again that were it not for poems, sketches, and narratives, the truth of an experience is gone forevermore; it is the ancient haikus that endure and prevail more than, say, a railroad that cost thousands of lives.

One of the book's strengths is that it never resorts to "us" and "them." After depositing us in the midst of hell, he delivers us back to a post-war world where Japanese and POWs alike struggle to justify and endure. The only weakness is an overwrought love affair at the beginning of the book but to Richard Flanagan's credit, he doesn't take the easy way out in crafting its culmination.

The dedication - to prisoner san byaku san ju go (335) was so enticing I Googled it, only to find that the prisoner alluded to was actually Richard Flanagan's father. As he states early on when describing the unofficial national war memorial commemorating the railroad, "There are no names of the hundreds of thousands who died building the railway...Their names are already forgotten. There is no book for their lost souls. Let them have this fragment." Richard Flanagan does honor to these unsung heroes.

125 of 133 people found the following review helpful.
How to decipher an indecipherable world?
By Patto
Goodness eludes the characters...

The protagonist, Dorrigo Evans, is a womanizer, an unloving husband, an unsatisfactory father, a somewhat reckless surgeon, and a war hero who considers himself a man without virtue.

The Japanese soldiers who tormented him and his men in a POW jungle camp in Siam consider themselves good men, heroically devoted to the Emperor and faithful to their idea of duty. Years later they actually do develop compassion (too late to benefit the POWs).

These shifting sands of morality are a recurrent theme in the book. It's clear that Dorrigo protected his men as best he could and saved many lives. His personal failings pale beside this. And the insane cruelty of the Japanese soldiers, although inexcusable, is clearly the result of their military training and indoctrination. So everyone can be seen as a victim of war and circumstances.

Dorrigo's experiences in the jungle camp are the most fascinating pages of the book. The vivid accounts of hunger, beatings, dysentery, lice – and surgery with improvised implements and homemade anesthetic are unforgettable. Compared to camp life, I found the account of Dorrigo's guilty love affair with his uncle's young wife to be a bit tedious. Perhaps I’m losing my romanticism.

There is a certain incoherence to the narrative; on the other hand there are some very moving scenes. So my enjoyment of this book was on and off. Certainly it’s a very ambitious novel, a valiant effort to decipher an indecipherable world.

176 of 193 people found the following review helpful.
‘Why at the beginning of things is there always light?’
By Jennifer Cameron-Smith
This novel shares its title with a poetic travelogue by the 17th century haiku poet Matsuo Basho which was published in 1694. In many respects, the journey undertaken by Matsuo Basho is very different from that undertaken by Dorrigo Evans in this novel. Matsuo Basho is largely focussed on the beauty of the world around him, whereas Dorrigo Evans’s odyssey is of evolving self, and place.

‘A happy man has no past, while an unhappy man has nothing else.’

Dorrigo Evans is the central character in Richard Flanagan’s novel. His story moves in place and time, between different aspects of his lives in a way that made me think about the kind of man Dorrigo Evans was, and about how complex humans can be. The core of the story, and of Evans’s heroism, is about his experiences as a doctor in a prisoner of war camp on the infamous Thai-Burma railway during World War II. Evans loves literature, and especially Tennyson’s ‘Ulysses’ which he reads and rereads. Evans’s memories are triggered by writing a foreword for a collection of sketches done by one of the men (Guy ‘Rabbit’ Hendricks) who did not survive the camp. We read Dorrigo Evans’s memories of the camp together with his childhood in Tasmania, his life in Melbourne, and his posting to Adelaide where he has an affair with his Uncle Keith’s much younger wife, Amy. Although Evans becomes engaged to the conventional Ella before being posted overseas, it is his affair with Amy that sustains him through his camp experiences. We are not spared from graphic descriptions of the physical consequences of life in the camps: malnutrition, minimal hygiene and physical brutality are all covered. But in all the squalor and hardship, pain and suffering, there are men who try to support each other.

‘Because courage, survival, love – all these things didn’t live in one man. They lived in them all or they died and every man with them; they had come to believe that to abandon one man was to abandon themselves.’

Others see Dorrigo Evans as a hero for his kindness to them and self-sacrifice for them, and he comes to feel trapped by the weight of their expectations. A sense of duty weighs him down, even after he has returned to civilian life.

Dorrigo Evans is not always likeable, especially once he returns to civilian life and acquires a collection of mistresses. And yet, the man whose heroic efforts made a difference to so many in the camps cannot be easily dismissed. Back in Australia, we still need (and want) our heroes.

This is a beautifully written novel which is at times harrowing to read. The descriptions of suffering in the camp are necessary to the story, but not easy to absorb. Many of the experiences are heart-wrenching, and yet Australian larrikin humour is at times on display. I came to care for many of the characters, and to cry for them. This is a novel that invites you to think about life, about situations and accommodations, and about the strengths and weaknesses in each of us. It is not an easy read, but I found it a rewarding one.

‘He could never admit to himself that it was death that had given his life meaning.’

Jennifer Cameron-Smith

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• Sales Rank: #7171232 in Books
• Published on: 2008-09-30
• Original language: English
• Number of items: 1
• Dimensions: .60" h x 7.00" w x 9.90" l, 1.10 pounds
• Binding: Paperback
• 260 pages

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• Published on: 2011-12-08
• Binding: Hardcover

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