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Book Review

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Reviewed by Jeffrey Sanzel

Author Talia Carner

Talia Carner’s The Third Daughter (William-Morrow and Company) is one of the most intriguing and riveting books published in the last year. Batya is the third of poor Russian milkman Koppel’s four daughters. The Third Daughter begins in 1889 as the family flee their ravaged shtetel of Komarinoe. If this seems a nod towards Sholom Aleichim’s Tevye, it is not unintentional.  In essence, Carner is using the end of those stories as a place to begin her narrative but in no way does it attempt to be a sequel. The Third Daughter is wholly original. In the prologue, with a few simple strokes of place and time, she is able to evoke the horror of the pogrom. This sets the tone and style for the rest of Batya’s grim  journey. It is told vividly but with never a wasted word or thought.  

The family’s goal is to travel to America.  “God wasn’t here [in Europe], where His Jews were being tortured and exiled, if not murdered.  Maybe he was in the Holy Land — but more likely He was in America, where everyone prospered and ate chicken every day.” Koppel’s brother — with whom he has had no contact for many years — lives in Pittsburgh; this becomes the golden dream. 

With no money or way to travel to the United States, they are forced to live in conditions worse than they endured in Komarinoe. There is a shabbat meal with a cobbler’s family that distills the grueling and grinding poverty of eastern Europe. Unlike many portrayals of these small villages, Carner never glamourizes. This is a hallmark of the entire book.

Enter Yitizk Moskowitz, a prosperous businessman, who takes a shine to the fourteen year-old Batya. He makes a deal with Koppel for Batya’s hand in marriage.  Initially, he agrees that he will come back for Batya in two years but then changes his mind, saying that he will take her now, and she will live with his sister until she is sixteen and of age. Koppel readily agrees.  

This begins the dark heart of the book. Moskowitz is not the businessman he claims but, instead, a procurer. (Another nod towards Aleichem, this time his short story The Man from Buenos Aires.)  Later, Moskowitz describes himself:  “‘My hands never get dirty in menial work,’ he liked to say when he delegated the beatings and cigarette burnings to others.” He assaults Batya; her violation in essence brands her. “‘You are mine now,’ said Reb Moskowitz.  ‘Forever.’” He then turns her over to a thug who transports her to a ship where she is further abused. Finally, she lands in Buenos Aires.  

Batya enters a realm of torture and debasement, a world devoid of humanity: the legal brothels of this Argentinian city. There, she is sent to Freda, Moskowitz’s equally pitiless sister, who runs the house for him.  

Carner has done her research and her depiction of Zwi Migdal, the far-reaching union of pimps, is as ugly as it is accurate. This ruthless organization rules through physical violence, bribes, and corruption. Buenos Aires is shown as a community that is just as poor as the one Batya escaped with the difference that this South American hell is a glimpse of Sodom and Gomorrah. 

The anti-Semitism of the Old Country is replaced by an equally appalling existence in the New World. Carner’s ability to make the reader feel Batya’s shame and fear is extraordinary; even among her own people, Batya is an outcast, as shown by a scene in which her humiliation is furthered as she is driven from the synagogue. Carner never lets us forget that Bayta is a child, an innocent thrust into a nightmare. There is one heart-rending moment where the girl creates a doll out of a pillowcase, attempting to give herself a moment of solace. Batya, whose name means “daughter of God,” is paradoxically given the name Esperanza, which translates as “hope.”

There are occasional odd acts of kindness.  Freda allows Batya to sit shiva (the ritual seven day period of mourning) for her mother. The prostitutes form a quick female minion, the group of ten that is the sole province of men, to pray with her in her loss. The laying to rest of a prostitute who has committed slow suicide shows a kindness underneath the day-to-day suffering.  Another time, Batya is taken to a café where she encounters girls from another house: “She caught the eyes of a sister across the table and smiled.  She didn’t know the woman’s name, and they couldn’t chat over the men’s conversation, but the bond of shared tragic history was a fine spiderweb that tied them together.”

Carner never allows sentimentality to overtake the reality. Batya’s wondrous visit to an opera house is rightly juxtaposed with the hideous persecution of an abducted girl who refused to become a prostitute. Her subsequent descent into insanity and the knowledge of her eventual fate cuts through any joy.  

Batya is introduced to the tango, which becomes both thematic and pivotal to what ensues. She is given context by Nettie, another prostitute: “This is what happens to sadness once it reaches Argentina. We can either cry about the past or laugh about the future. So we drown out the old pain in dance.” This is particularly germane to the final quarter of the book which involves Batya’s attempts to both bring her family over and to free herself from her bondage. It is as page-turning and tense as any thriller, with many complications that build the relentless suspense. Batya is forced to make life-altering choices, each with possibly calamitous repercussions.  

Talia Carner’s The Third Daughter is an epic work that is rooted in a deep sense of truth. While it deals with a cruel and terrifying chapter of history, the novel is also a celebration of the ability of great writing to transport and enlighten. It is a work of art, of craft, but, above all, humanity.  

The Third Daughter is available at bookrevue.com, barnesandnoble.com and amazon.com.

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Carl Safina with his buddies, from left, Cady and Chula. Photo by Patricia Paladines

Reviewed by Jeffrey Sanzel

“A sperm whale learns who she will be journeying with, a macaw casts a covetous eye on a beautiful neighbor, a chimpanzee learns to pay to play. Culture creates vast stores of unprogrammed, unplanned knowledge. The whole world speaks, sings, and shares the codes.”

Carl Safina’s latest book, Becoming Wild: How Animal Cultures Raise Families, Create Beauty and Achieve Peace (Henry Holt and Co.), is a fascinating look at the world of animal culture. It is an analysis of what is passed down (inherited) and what is learned (culture). 

Much of the study focuses on communication within the species and how animals form their own societies. “A lot of learning travels socially from parents to offspring or from a group’s elders.”  the author doesn’t so much redefine the term culture but, instead, encourages us not to be quite so human-centric in our perceptions.  

Safina divides the book into the study of sperm whales (families); scarlet macaws (beauty); and chimpanzees (peace). Each of the three sections is rich, detailed and engaging enough to be a book onto itself. He has brought them together under the umbrella of his exploration of culture. 

Each is given a detailed history of the species; description of their habitats; personal characteristics; intersection with the human world; and many fascinating details in both macro and microcosm. This is expertly mixed with his first-hand accounts of his experiences among them as well as the people with whom he takes the journey.  It is both objective and wholly personal.

His observations are enlightening:  “Chimps horrify and delight us because we recognize in them parts of ourselves. We see in them aspects of our own passions, and so they hold us in fascination.  We cannot look away. So much of what is uncomfortable for us in watching chimps is their excruciating similarity to us.” The book is rife with these epiphanies that are presented so simply and yet with such acumen.

One point that Safina makes is the debate over nature vs. nurture. His belief is that it is impossible to separate them as they interact. “Humans,” he writes, “are genetically enabled to acquire any human language. But we must still learn a language. Genes facilitate the learning, but they do not determine whether we will speak Russian.” Applying this to the terms of his overall thesis: “Genes determine what can be learned, what we might do. Culture determines what is learned, how we do things.”  

Safina has exceptional clarity and explains his ideas with focus and an underlying hint of humor that bring the reader further into his universe. There are a handful of black-and-white sketches but there are eight pages of glorious color plates. These should be studied prior to reading each section as they will give the ideal visual compliment to the descriptions.

Safina writes in engaging prose, rich in detail, vivid in his descriptions.  The depictions of these beings in their habitats truly give a sense of place in a thrilling and absorbing way. 

The fact that he is out there, in the midst of it, gives a sense of his joy and wonderment and his unceasing desire to understand. He never loses his awe of the depth and breadth of the natural world. 

He is a teacher, a student, and a tour guide. “I seek encounters that will enable me not just to see … not just to observe … but to penetrate past the labels and feel the beings as selves, living with their families, sharing the air where our two worlds meet.” Safina succeeds in his goal —and shares with grace, passion, and honesty.  

An ecologist and a MacArthur Fellow, Carl Safina is the author of numerous books on the human relationship with the rest of the living world. He holds the Endowed Chair for Nature and Humanity at Stony Brook University and is founder of the not-for-profit Safina Center. 

“Becoming Wild” is available online at bookrevue.com, barnesandnoble.com and Amazon.com. Learn more at CarlSafina.org.

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Elevating the Nature of Modern Landscapes
By Piet Oudolf and Rick Darke

Reviewed by Jeffrey Sanzel

“I feel very strongly in the sort of planning that I do, that you feel the changes all the time.  It is a changing beauty: from beauty into beauty.” — Piet Oudolf

In the introduction of Gardens of the High Line, Richard Hammond, co-founder of Friends of the Highline, addresses the issues that confronted the creators of the gardens. Is the goal to preserve the natural wildness of the vegetation or to recreate entirely? The final decision was to find something in between, that both honors the desire to conserve but also understands the value of change. 

Matt Johnson’s Untitled (Swan) was crafted from one of the High Line’s original steel rails

What resulted was both native and introduced flora:  “[a] multi-season garden of perennials, where the skeletons of plants have as much a part in the landscape as new growth … the wilderness in the city, the art museum on a train track. Like the park itself, the gardens hover between beauty and decay.”  

The High Line gardens are a true reflection of New York City. It is a place of growth and loss, romance and introspection; elements that are fixed and others that are constantly transforming. And, amazingly, it is where these aspects can co-exist.

The book’s prose is as elegant and eloquent as its imagery. It gives multi-leveled insight to not only the creation of the space but the more esoteric motivations beneath. It takes the reader through the history of the High Line and its roots in industry. It discusses its changing identity and evolution and, finally, its reinvention. 

There is also a detailed exploration of wild gardens, citing historical sources, and how untamed growth often transforms ruins. It explains the art that inspires and the craft that designs — and, most importantly — the alchemy that joins the two. This is not your average gardening book.

“Though it’s unlikely there will ever be another place quite like the High Line, it offers a wealth of insights and approaches worthy of emulation in gardens large or small, public or private. Authentic in spirit and execution, the High Line’s gardens offer a journey that is intriguing, unpredictable, imperfect, and, above all, transformative.”

After the introductory analyses, the book begins at the southernmost end of the High Line, at the Gansevoort Woodland, the area that is Gansevoort Street through Little West 12th Street. The route continues north, each section highlighting a different area: Washington Grasslands, Hudson River Overlook, etc., going all the way up to the Rail Yards, ending at West 34th Street.  

Ultimately, the glory of this book is the hundreds of photos by Rick Darke to be seen and savored. The photography is vivid, an explosion of color and texture. The chapters offer dozens of photos that span a range of viewpoints, showing the change of seasons, both extreme and subtle. Each turn of the page reveals the gardens in some different perspective, no two alike, but allowing the viewer to see the similarities as well as the contrasts. The book shows both an unbridled and an organized environment through the prism of the world as nature’s art gallery.

A compass plant frames the view west across the Hudson River to New Jersey.

In the end, the authors see the book’s goal as one that will “serve as a beautiful memory of a great place, as guide to the infinite opportunities it presents to practice the art of observation and as an inspiration to all who, publicly or privately, seek to elevate the nature of modern landscapes.” They have succeeded in a work that honors artistry and insight with deep understanding, celebrated through hundreds of dazzling and breathtaking images.

Published by Timber Press, Gardens of the High Line: Elevating the Nature of Modern Landscapes is available online at www.timberpress.com, www.amazon.com and www.barnesandnoble.com.

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'Nature's Best Hope'

Reviewed by John L. Turner

Author Doug Tallamy Photo by Rob Cardillo

Authors have differing goals for writing. For some, the motivation is to entertain, for other’s it’s to illuminate some slice of life, and for others still it’s to explore some fascinating historical event. In rare cases, though, the author writes with the not-so-modest goal of changing the world by presenting a new and novel way of looking at things, the result being a change to a person’s perspective on an issue, concept or their set of values.

Changing the world, or at least a part of it, by shifting our collective mindset is Doug Tallamy’s goal in his highly insightful book Nature’s Best Hope. The target of this change? The front and backyards of suburbia, dominated as they are by grass lawns and non-native shrubs. As Tallamy makes clear our yards are a virtual dead zone, biologically speaking, requiring vast amounts of water and chemicals and which provides little to no food or shelter for wildlife, large and small.

In its place, Tallamy sees a suburbia vibrantly alive with wildlife — butterflies and moths, pollinating bees, and abundant birds — all sustained by widespread plantings of native, life-sustaining plant species — white oaks, willows, and black cherry trees; elderberry, arrowwood and spicebush shrubs interspersed among beds of wildflowers including goldenrods (not the producers of hay fever!), asters, evening primrose, blazing stars, and milkweeds. He sees residential landscape design incorporating new values beyond just aesthetics to include the needs of the local ecology by providing species that help maintain, and to a large degree enhance, local food webs. 

What does he call this interconnected webs of land with interconnected native plant and animal species flourishing within? Homegrown National Park, a place every bit as diverse as any national park existing today and “Nature’s Best Hope” for restoring highly important ecological relationships.

‘Nature’s Best Hope’

As Tallamy makes clear, the spread of “sterile suburbia,” dominated by turf grass and exotic trees, shrubs, and wildflowers, is not a small problem. Collectively, lawns take up approximately forty million acres of land in the United States, equivalent to the combined size of the states of New York and Massachusetts. And it is growing daily.

And as Tallamy further makes clear, this growth has come at a high ecological cost. Forests and fields, filled with native plants that sustain caterpillars, bumblebees, squirrels, and Scarlet Tanagers, are replaced with exotic and sterile plants — Callery Pears, Arborvitae, hostas, and English Ivy, to name but a few. These plants and other exotics are fed upon by very few species, causing food webs to fall apart, a trend that portends an ominous future.

Here’s but one example — butterfly and moth caterpillars are the major source of food that songbirds feed their young — and oak species sustain 557 caterpillar species! If there are oaks, and other native trees, then the local food web is intact; remove and replace them and other native plants with non-natives and it unravels — insects decline followed by birds and mammals.

And this unraveling, happening quietly before our eyes, means that Tallamy’s idea isn’t just an interesting one — it is vital to our survival! Birds are not the only group of animals dependent on insects for their survival — we humans depend upon insects too. If we were to do away with all insects, human society would soon collapse and humanity would simply not survive long-term for there would be no replacement agent to pollinate the nearly 90% of all plants that they currently depend upon insects for.

Many insects are in trouble, a trend which scientists have labeled the “insect apocalypse.” Several North American bumblebees have already gone extinct and 25% of our other native bumblebees risk extinction. Many other of the continent’s 4,000 bee species are in trouble too, not to mention countless moths, butterflies, and beetles. Even the workhorse European honey bee is in trouble.

Tallamy is a fine writer with an interesting and clear style and he presents subjects and concepts in logical sequence. Color photographs of numerous plants and butterflies (and their famous larvae-caterpillars) fill the book and there’s an informative question and answer section in the back of the book. Also, an extensive bibliography is available if the reader is interested in digging deeper into some concept covered in the book.

And the most important chapter in the book? Chapter 11, entitled “What Each of Us Can Do.” The chapter includes a bunch of common sense ideas: shrink the size of your lawn; remove invasive species; plant native plants that are ecologically important like the aforementioned oaks and goldenrods and be generous with these plantings; talk to, and team up, with your neighbor to coordinate plantings; install bee hotels; place covers over sunken window wells that can serve as death traps for small mammals and amphibians; use motion-sensing security lights that only go on when needed (security lights that stay on all the time can kill hundreds if not thousands of moths attracted to the light); and do not spray or fertilize — native plants don’t need it.

Each of us can do some or all of these things. If we do any of them, we are helping to expand Homegrown National Park!

Released in February through Timber Press, Nature’s Best Hope is available online at www.timberpress.com, www.amazon.com and www.barnesandnoble.com. For more information on the author, visit www.bringingnaturehome.net.

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Reviewed by Jeffrey Sanzel

“One of the things that attracted me so greatly to Masonry, that I hailed the chance of becoming a mason, was that it really did act up to what we, as a government and as a people, are pledged to — of treating each man on his merits as a man.”

— Theodore Roosevelt to the Grand Lodge of Pennsylvania, Nov. 5, 1902

Author Ronald J. Seifried

Many of us have been intrigued by the society known as the Freemasons but most know little about its history. Huntington Station resident Ronald J. Seifried has written Long Island Freemasons to offer background and anecdotes of this organization while still respecting its privacy. Seifried, a Freemason for over seventeen years, succinctly defines the Order:

“Freemasonry is a worldwide fraternal organization that is a system of morality, veiled in allegory and illustrated by symbols.  Formally organized in London, England, in 1717, Freemasonry initiates men from various professional and social backgrounds, well recommended, with a shared belief of a supreme being without prejudice of religious affiliation. A society with secrets, but not a secretive society, Freemasons forbid the discussion of politics or religion in the lodge, creating an atmosphere of harmony and removing any conflictive or divisive nature. Charity has been an important aspect and virtue of Freemasonry since its foundation.”

The introduction provides a brief history before focusing on Long Island’s connection to the association, which traces its roots to George Washington. Seifried then gives a detailed timeline of Long Island’s various lodges, some of which still exist today. He cites the challenges faced by the earliest members, including the traveling of great distances and economic struggles. His presentation is well thought-out and his research is a wealth of detail.

Suffolk No. 60 Lodge in Port Jefferson

The book is rich with hundreds of photos. There are pictures of lodges and meeting halls, both interiors and exteriors. Seifried gives descriptions of the buildings’ histories and architecture as well as the costs of construction. Faith in the Freemasons’ goals has historically attracted generosity with many wealthy individuals and families donating money and land for lodges and their locations. There are explanations of lodge names, many of them obtained from Native American sources. Pictures of gathered lodge members give background on the individuals and their positions in the lodge. There is a mammoth amount of information in this slender volume.

The author acknowledges the enigmatic nature of the Freemasons:  “The secrecy of this group of men lent a certain level of mystery and respect when the members appeared in public. Schools were dismissed and locals turned out en masse to see the Masons parade.”  Often, this is the only time the community ever sees the members in their Masonic regalia. In addition, dedications were also public events and several images show these gatherings.

The book is divided into geographical sections: Central Suffolk; Western Suffolk; Oyster Bay; Town of Hempstead; North Hempstead; and Glen Cove.  Seifried finds what makes each area special to the group and offers a range of photos that pertain to the region. The final chapter touches on affiliated groups, including the Shriners, Eastern Star, and the Scottish Rite, among others.

There are intriguing accounts scattered throughout: “Part of a brother’s introduction into Freemasonry included a drama representing the building of King Solomon’s Temple, with chief architect Hiram Abiff as the central character, murdered for not revealing the secret word of a master mason; the lodges are often referred to as ‘temples,’ as an allegorical reference to King Solomon’s temples.”  

The Hawkins-Mount Homestead, in Stony Brook, was used several times in 1802 as a meeting place for the Suffolk Lodge; its owner, Major Jonas Hawkins, was a member of the Culper Spy Ring during the American Revolution. Chief Crazy Bull, grandson to the famous Sioux Chief Sitting Bull of the Hunkpapa Lakota Tripe, was a member of the Suffolk No. 60 Lodge, which is still located on Main Street in Port Jefferson. 

Governor Franklin D. Roosevelt was invited to speak at Huntington’s Jeptha No. 494 Lodge, in commemoration of the adoption of the U.S. Constitution. He was late due to inclement weather and traffic and quipped that the island should be named “Longer Island.”

The color plates in the book’s center are striking. They have contemporary shots of existing lodges, explaining the various rooms. There are paintings that depict the three degrees of Freemasonry, offering a insight to the overall core of spirituality. The Long Beach No. 1048 Lodge’s stained glass window dome is photographed beautifully and the symbols are clearly explained.  

Today, there are 28 active lodges across Suffolk and Nassau counties. Ronald J. Seifried’s Long Island Freemasons is an excellent look into the local history of the world of Freemasonry as well as a tribute to its survival and contribution.  

Long Island Freemasons by Ronald J. Seifried, part of the Images of America series by Arcadia Publishing, is currently available online at www.arcadiapublishing.com, www.amazon.com or www.barnesandnoble.com.

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'Hope and Freckles'
Retired police officer encourages empathy for refugees in powerful first book

Reviewed by Melissa Arnold

Author Bill Kiley

Every year, tens of thousands of people from around the world flee their homes. They have any number of motivations, among them political turmoil, threat of violence, discrimination and climate change, to name a few. 

Retired police officer Bill Kiley has deep compassion for asylum seekers of all kinds, and recently felt a strong desire to help them in some way. Kiley, 71, of East Northport, hopes that educating children about the plight of refugees can bring about a more supportive, empathetic culture in the next generation. 

His new book, “Hope and Freckles: Fleeing to a New Forest” tells the story of a white-tailed deer named Hope and her spotted fawn, Freckles, as they attempt to escape the growing number of hunters in their forest and go in search of a place where they will be safe. The sharply written story and whimsical, beautifully-illustrated characters will stir the hearts of children and adults alike.

What was your childhood like? 

I was raised in Brooklyn, lived in Queens after I got married, and came to this area when I started working for the Suffolk County Police Department years ago.

Were you creative from an early age?

I wasn’t creative at all. I’m one of nine children, and we lived in an apartment with one bathroom, so you can imagine what that was like! We played a lot of sports with our friends, and I started working during the summers when I was 11 to help contribute to the family.

What did you end up doing for a career?

After high school, I spent a couple of years working at the FBI as a clerk while I went to college at what is now John Jay College at night. My initial plan was to become an agent. Simultaneously, when I was 17 I joined the Army National Guard. I went away for six months of training right after my 18th birthday, and continued to go for additional training at other points which meant some breaks from school. I ultimately began working for the Suffolk County Police Department in 1972.

You must have met a lot of people from diverse backgrounds, then.

Of course. That was part of my motivation for writing this book. I wanted to shine a light on the struggles of refugees and asylum seekers all over the world. After 30 years in law enforcement and serving as an Army reservist, I recognize that this crisis threatens free democracy if it’s not dealt with. If we don’t step up, then our children and grandchildren will be left to deal with the global implications of people being pushed out of their countries and living in tent cities. Something needs to change.

When did you first start writing? 

In retirement, I’ve had the opportunity to do a lot of babysitting for my granddaughters. We’re a few blocks away from a local library, and so when the kids were with me we’d sometimes go down to the library and head to the children’s section. I began reading to them, and then as they grew I’d read along with them. At that point I began to see the incredible power that children’s books have on young minds. All the while, I’d been looking for a way to help with the refugee crisis, and I began to think that maybe I could help young children understand what’s happening and have some positive influence on the future. I never had any ambitions to become an author.

How did you learn about publishing and sharpen your writing skills?

I read a lot with my grandkids. But in the spring of 2019, I found out about an annual convention in New York City called Book Expo at the Javits Center. I spent three days there. For me, it was a three-day immersive educational experience. I had the opportunity to meet lots of people from every aspect of the writing and publishing world, including some very generous folks who were authors of children’s books. They spent a lot of time sharing their experiences and advice with me, and then I went home and continued to read and learn as much as I could. 

‘Hope and Freckles’

How did your family react when you told them you wanted to write a book?

Well, my wife, Kathy, and I were in school together since the first grade. We go back that far. And no one in my life has been as supportive of their spouse in life as my wife has been for me. In everything I’ve ever tried, she’s been there, and this was just another one of those things.

My granddaughters have been involved in this project from the get-go. They gave great feedback and I’ve had the chance to share the book with their classmates, too.

Is there a reason why you chose to make the characters animals instead of people?

I thought that since this is such a sensitive subject to explain to children, it would be less upsetting to use animals. The national animal of Honduras is the white-tailed deer, and as many refugees come from that area, I thought it was an appropriate choice.

How did you go about getting published?

I met a number of people from traditional publishing companies, independent publishers and hybrids. One of them was a man who recommended his publisher, Mascot Books in Herndon, Virginia. I submitted my manuscript and was happy to learn that they were going to accept it.

What about the illustrations?

I contacted freelancers all over the world, and Mary Manning’s work is so unique and beautiful. I’m so happy with what she’s done for the book. Once the manuscript was finalized, Mary broke the manuscript into logical scene breaks, then made pencil sketches for me to approve. She took it from there. To see the final copy was like holding my children and grandchildren for the first time. There was a feeling of, “Oh my gosh, we just gave birth to a book!”

This book also includes vocabulary words and questions for discussion. Why did you choose to add those?

As I was researching and reading different children’s books, I found a couple that had some variation of continuing discussion. My hope is that this book isn’t just read by 7 to 10 year olds, but that their families will read along with them and share in the experience and conversations that can happen afterward. A parent or other adult might feel ill-equipped to start a discussion on their own, so I thought having some starter questions might be helpful.

What do you want children to take away from reading this book?

The response from the classes I’ve read to so far has been wonderful. Kids have shared that they never thought about what it would be like to leave your home because of danger; to not have a school to go to or books to read; that they are grateful for what they have. That has been like gold to me. 

It’s easy for people in our country to automatically look at the U.S,-Mexican border as the only place of crisis. But this is a global issue. The U.N. estimates that around 26 million people around the world have had to flee their homes, often to places where they are unwanted. Half of those refugees are children. I hope kids who read this book come to understand that there are people their age that are in that situation, and empathize with the plight of refugees all over the world.

What’s next for you?  

My hope is to do a series of four books, all with these same characters, following their journey as it continues on. I’ll be reading from the book at Barnes and Noble stores around Long Island and New York City in the future. I am also available to speak about the book at schools, religious congregations and events.

Author Bill Kiley visited with his granddaughter Keira and fourth grade students from Mrs. Dennis’ class at St. James Elementary School in the Smithtown Central School District on Feb. 4. Kiley spoke to the students about the writing, editing and illustration processes of producing a book. He then read ‘Hope and Freckles’ to the class followed by a Q&A session.

“Hope and Freckles: Fleeing to a New Forest” is available online at www.mascotbooks.com, www.Amazon.com or www.BN.com. To learn more about Bill Kiley, this book and future projects, visit www.hopeandfreckles.com.

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‘This book is a love affair with seaside eating.’ 
—  from the Foreword by Gael Greene

Reviewed by Jeffrey Sanzel

Co-author Hillary Davis

Hillary Davis and Stacy Dermont have collaborated on a book that is more than just a collection of recipes. It is an engagingly written celebration of not just seasonal cooking but local sourcing. They have brought together multiple elements of Long Island and channeled them into a guide that is both entertaining and practical. The love for their home is furthered in its citing of neighborhood farms and businesses and the plethora of ingredients that they provide to make magic in the kitchen.

“Over many meals and food-oriented adventures,” writes Davis, “we came to the conclusion that we wanted to share what we love about this very special part of the world. … In the way we have chosen to live, we shop at our local farm stands and farmers’ markets for most or all of our fresh produce, as much to revel in the amazing quality and choice as to feel as if we are taking part in preserving our small-farm heritage.”  

This local-centric ideology is a passion for both writer-chefs and this clearly honest zeal continues throughout the book. Prior to each recipe there is a succinct and informative narrative piece: a personal anecdote or a slice of hyperlocal detail. Both authors pen in a homey narrative, as if they are sharing a bit of themselves as they prepare the plethora of repasts. Whether it’s a history of the ingredients or a “one time when” they enrich the entire reading experience.

In the first part of the book, there is a discussion about the importance of pairings of food to beverages. Their thesis is that they should amplify or contrast to enhance the meal. Davis and Dermont explain each and propose a local drink as complement.  Most often, there is a recommendation of a product from one of the 60 local wineries, 40 craft breweries, or one of the many distilleries or cideries. Sometimes, they simply advise an herbal tea. These details are a wonderful augmentation.

Co-author Stacy Dermont

The book proper is divided by seasons:  spring, low summer, high summer, fall and winter. Presented is a very detailed list of what is in season and when, a list that should be kept nearby throughout the year. There is even a plea for “Nothing Goes to Waste” with ideas for using remnants in making stock or composting.

Each section of the book contains small plates, salads, main courses and desserts. In the hundred recipes, there is  a nice mix of well-loved and new dishes as well as unique takes on popular favorites.

It is a tribute to the clarity of the writing that even the more complicated and challenging recipes are explained in such a way that novice cooks can accomplish them. They are given step by step with just the right amount of detail. There are also instructions on topics ranging from the roasting of garlic to the blanching of fresh bamboo shoots to the selection and cooking of clams. This is a wealth of knowledge, expertly shared. 

It would be impossible to highlight all of the wonderful choices that are on offer:  Potato Cheesecake with Caramel Crust, Kale Poppers, Blue Cheese Chicken with Strawberry Salsa, Long Island Duck Breasts with Duck Walk Vineyards Blueberry Port Sauce, BLT Macaroni Salad with Ham Crisps, So Many Tomatoes Sauce over Spaghetti Squash, Peconic Bay Scallops with Riesling Cream, Roasted Montauk Pearl Oysters, Wine Country Beef Stew, Cider-Poached Apples on a Cloud of Cider-Sweetened Ricotta … there is not just something for everyone — there is a bounty of culinary joys.

Special note should be made of the original photography by Barbara Lassen. Lassen’s keen eye brings the dishes to life in dazzling and vivid colors, further reminding us that there is a special multifaceted aesthetic involved in this entire process. 

Davis and Dermont’s The Hamptons Kitchen: Seasonal Recipes Pairing Land and Sea will make a wonderful addition to culinary libraries throughout the Island. But even more importantly, it will find its best home in kitchens for many years to come.

The cookbook is available online at Barnes & Noble and Amazon and will be in bookstores by April 7. For upcoming book signings, please visit www.thehamptonskitchen.com.

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The cover jacket of Cucinello’s latest book

By Melissa Arnold

The author with her grandaughter Lia Paris when she was 5 years old.

Regardless of gender, age or hobbies, just about all kids are surrounded by “stuff” — games, toys, dolls and LEGOs are perennial favorites. Joanne Cucinello’s granddaughter, Lia Paris, was no exception in her younger years, her childhood bed literally overflowing with stuffed animals. It’s a cherished memory for Cucinello, a longtime poet, storyteller and resident of Port Jefferson. In late January, she published “Lia Paris Sleeps in a Zoo,” an adorable book for children that explores little Lia’s vivid imagination and those of her stuffed friends.

Tell me a bit about your upbringing. Were you creative as a child?

I grew up in Brooklyn and Queens, and came from a family of five children. I wound up being the caretaker of my younger brothers and sisters, whom I love very much. I ended up having five children myself!

When I was younger, we didn’t have much money, and we learned how to create things out of nothing. All of us were very resourceful and creative. I loved reading and writing, and I always had a pencil in my hand.  

When did you first start writing? Was it a part of your career?

I have probably 10 children’s stories that I’ve written so far, though this is the second one that I’ve published. I’m also a poet at heart — I’ve published a book of poems, and have a blog called “I See the Bridge” that I’ve been writing on since 2007. 

My husband and I had a few hair salons, first in Queens and then out here in Suffolk County. I also grew up cooking beside my mother, and ended up starting my own small catering business. When my children were grown, I partnered with my daughter Lisa to open up Tiger Lily Cafe in Port Jefferson. We’ve been in business for more than 20 years. 

What made you want to write for children?

I love all stories, but I especially enjoy fairy tales. I think they’re very important for children to listen to. Fairy tales can connect with a child on a very deep level. My first book, “Wanda the Wilopent,” is a fairy tale.

The cover jacket of Cucinello’s latest book.

What inspired you to write this book? Is it based on a true story?

It seems like today children never have just one favorite toy. There’s always more being added. That was the case with my first granddaughter, Lia. She and her parents lived with us for the first year of her life, and so I was able to be closely involved with her as a baby. She was a very sensitive child and very imaginative. She refused to put her stuffed animals in the closet, saying that they would start to miss her and cry. 

For a while, Lia and her younger sister, Simone, shared a bedroom. Eventually, her parents turned an office into a bedroom, allowing both girls to have their own room. It seemed that initially she was feeling lonely being the big sister in her own room. Relatives saw how much she enjoyed animals and her stuffed pig, so they began to bring her additional stuffed animals for her collection. Over time, she kept putting more and more of them on her bed, until there was no more room and she ultimately fell out of bed.

How does Lia Paris feel about having a book written about her? 

Lia is 16 years old now, a wonderful human being. She’s been thrilled about the whole process from the beginning. Her little cousins, my grandchildren, are always asking if I’m going to be writing a story about them, too. I do have plans to bring them into stories in the future.

How did you go about getting published?

My first book was self-published, but this time I was published through Austin Macauley Publishers. They were accepting submissions, and I looked at the kind of books they were printing. While they didn’t have any fairy tales, they did have funny, touching stories about children and their life experiences. I had written “Lia Paris” years ago, when she was around 5 years old, and it was dear to my heart. 

What about the illustrations?

Austin Macauley has its own illustration department. I sent them pictures from when Lia was young, along with sketches my niece helped me with. Lia actually has many of the stuffed animals from the story still in her closet, so she got them all out for us to photograph. It was a lot of work, but they did a great job.

Is there a particular lesson you’re trying to teach with this book?

I think there is a lesson in it for both parents and children, that more isn’t always better. Today, we always have to have the latest, greatest thing. And so much gets thrown out. It doesn’t have to be that way.

Who is the book’s target audience?

I think that it would be best for children ages 4 to 7, though younger children can certainly have their families read it to them.

Any more books on the horizon?

Yes, I have plenty of stories that I hope to publish in the future if this book does well. One story is called “My Name is Rainbow,” about a little girl who has a condition called heterochromia — her eyes are two different colors, and she often gets picked on by other children for it. It’s about learning to love yourself and celebrating the things that make you different.

Meet the author at a Spring Local Author event at BookHampton in East Hampton on April 19 at 10:30 a.m. and at a special Storytime event at Barnes and Noble in Lake Grove on April 25 at noon. “Lia Paris Sleeps in a Zoo” is available for purchase online at www.austinmacauley.com, Barnes & Noble and Amazon.

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Reviewed by Jeffrey Sanzel

Animalkind is subtitled “Remarkable Discoveries about Animals and Revolutionary New Ways to Show Them Compassion.” This succinctly explains this straight-forward work coauthored by Ingrid Newkirk, founder of PETA (People for the Ethical Treatment of Animals), and Gene Stone, who has done extensive plant-based writing.

The book is divided into two parts.  The first half deals with understanding animals as beings who “move, chat, love, and romp … and how we humans can benefit from our greater understanding of what makes animals tick.”

Co-author and animal activist Ingrid Newkirk with a friend

Section I covers a wide, diverse range of beings from the wonder of worker ants; to Rico, the extraordinary retrieving Border Collie; to “Clever Hans,” the Orlov trotter who was purported to comprehend sentences and solve math problems (but was revealed to be taking cues from his master). These and many more are analyzed alongside organisms as unusual as maze-solving slime mold:

The dog who jumps for joy when you come home. The emperor penguin guarding his child through a subzero blizzard. The dolphin smiling at us from the water. The sleeping cat’s purr of contentment. The manta ray’s intricate underwater ballets. The lark’s exquisite song. Animals delight, fascinate, and enrich human lives and thoughts every day of the year.

Newkirk and Stone carefully base their arguments in science and not solely issues of feelings and morality. Extensive research, siting multiple sources, are the foundation of their thesis. They make the distinction that we cannot compare animals’ minds and emotions to our own; anthropomorphizing is a dead-end in the understanding of animal natures. This is also true in comparing animals to other animals.

Contrary to common thought, animals — even fish — can be self-aware, and, therefore, experience pain and trauma as well as other emotions. There are detailed discussions of homing instincts and complex migrations in everything from snails to elephants. They look at the long-term effects of removing animals from their natural habitats. Quoting Darwin, animals experience “anxiety, grief, dejection, despair, joy love, ‘tender feelings,’ devotion, ill-temper, sulkiness, determination, hatred, anger, disdain, contempt, disgust, guilt, pride, helplessness, patience, surprise, astonishment, fear, horror, shame, shyness, and modesty.”

In a mix of investigation and anecdotes, the writers paint a vivid picture of a world that more than just co-exists with ours.

Section II deals with difficult issues. It focuses on how animals have been exploited for science, clothing, entertainment, and food. Part two alternates between detailed and often graphic accounts, offering a variety of proposed alternatives. Each of these ends with suggested calls to action.

The science portion gives a brutal narrative of the history of experimentation and vivisection. It discusses the problems with what few laws there are and their poor enforcement. It brings up the 3Rs of humane animal research:  replacement (substitutions); reduction (using the fewest number possible); and refinement (techniques that reduce the pain and stress). 

According to their sources, much of the testing on animals is of limited-to-no value given the dissimilarities of humans and animals. In addition, computer simulations are slowly replacing many areas of exploration: “In the future, the math may replace the mouse.” Finally, they encourage people to only use products and brands that are proven to be cruelty-free.

The ensuing sections follow much the same format:  A history of the use of animals, followed by analysis of their abuse, and finally specific changes that people can make in their lives. Everything from the pain of sheep raised for wool to the horrors found in circuses, zoos, and all forms of captivity are recounted. Even the “No Animals Were Harmed in the Making of This Film” is, at best, a half-truth, if not a lie. “Free range,” “free roaming,” and “cage-free” are often misnomers, misrepresenting the reality.  

Dunkirk and Stone also provide a brief  but informative history of the animal protection movement. This segues into the health benefits of a plant-based diet, describing the various meat, dairy, and egg alternatives and echoes the earlier proposals for clothing options that do not involve the harming or slaughter of animals.  

The book is passionate and honest in its goals; it makes its points with clarity and sincerity. Ultimately, people are reluctant to make changes they see as inconvenient and the advocacy here is large one. Whether this book creates converts to the cause remains to be seen. However, for those who do read it, it will certainly make a lasting impression. 

Animalkind is available at Book Revue in Huntington, Barnes & Noble and online through Simon & Schuster (simonandschuster.com) and Amazon. 

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Half Hollow Hills senior writes children’s book celebrating local history
Author Jay Nagpal;

Reviewed by Melissa Arnold

It’s Jay Nagpal’s senior year at Half Hollow Hills High School in Dix Hills, and like everyone else in his grade, he’s got a lot to do. There’s classwork to finish, college applications to mail, a social life to keep up and the future to consider. But in the midst of all that, he’s also taken up an unexpected task. 

On Nov. 30, Nagpal published his debut book for children, “Miss Kim’s Class Goes to Town.” The 17-year-old wrote the book in hopes of sharing his knowledge and enthusiasm for local historical sites with the next generation. The book plays out just like a real class trip, with questions from students and helpful commentary by “Mr. Robert,” an actual historian in Huntington. 

The informative storyline coupled with cartoonish, fun illustrations will capture the imaginations of local children.

What came first for you, the interest in writing or history?

 It was history. From a young age, I was lucky enough to do quite a bit of traveling with my family, and we would always make a point of going to the historical sites or museums in the places we were visiting. We’ve gone to Rome, Paris, London and many other places in Europe that are rich in history. I think being exposed to that at such a young age is what’s given me such a great interest in history now.  

Do you have a favorite historical time period?

It bounces around, but years ago I was very interested in ancient history like you would see in Rome. Later on, I became more interested in the American Revolution, and last year I spent a lot of time focusing on World War II and postcolonialism.  

Why did you decide to write this book?

Last year, I started to see that while I was really passionate about history, a lot of other people just aren’t. In my history classes, I noticed that many of the other students weren’t engaged in the material, and I started to wonder if there was something I could do to engage kids in a meaningful way. I thought that I could create a platform that focused on local history and stir up interest around that for people my age.

Ultimately, I founded the Dix Hills-Melville Historical Association. It was uncharted territory for me, but I had tremendous support from the Huntington Historical Society and the local school district. Robert Hughes from the Huntington Historical Society supported me from the very beginning. I compiled all the important historical sites, landmarks and archives with their help, and created a website that would provide me with a forum to write features and blog posts about history. For example, we just celebrated Walt Whitman’s 200th birthday in May, so it was important to write about that on the website.

Are any of the children in the book named after people you know?

A lot of the names in the book have meaning to me. Early on, one of the students mentions a teacher named Miss Martin. That’s a reference to Karen Martin, who is the archivist at the Huntington Historical Society. Mr. Robert, the town historian, is directly based off of the real Robert Hughes. Dylan is my friend’s brother, whose parents published the book, and some of the other students are also named after friends of mine.  

What was it like to see the book for the first time?

It was a surreal feeling, for sure. After months of going through the entire process of publishing and putting everything together, it was so rewarding to finally see the finished product. 

How long did writing take?

I started over the summer, and the book was published about six weeks ago. A lot of the research had already been done in founding the historical association, so I already had the information I needed.

How did you go about getting it published?

A close friend’s parents actually run a publishing company called Linus Learning, and they were very open to the idea of publishing my book. 

What about the illustrations? Did you do them, or did you work with someone else?

I’m definitely not an artist, and one of the great challenges of the project was finding the right illustrator. I ended up going online and using a service called Fiverr to connect to a very talented illustrator who lives in Sri Lanka. Her name is Thushari Herath, and she really did a phenomenal job. There are a lot of cultural differences between us, so we had to talk about things like what side of the road the bus would drive on, what classes would look like, how people would dress and so on. It took a bit of extra effort, but it was all worth it because she’s so talented.  

What is the recommended age for this book?

Older elementary school kids will probably get the most out of it, starting at about third or fourth grade. My goal was to be as accessible as possible, though, so people older or younger than that shouldn’t feel discouraged to read it.

What’s next for you? Do you want to write more books?

Right now, I’m focusing on finishing up my college applications. I’m looking to stay somewhere in the Northeast that has a strong history program − I’d like to pursue some kind of research track through graduate school and maybe a Ph.D. down the road. I’m not totally sure about anything yet, but that’s what I’m thinking about lately. 

I hope to do something like this book again in the future, especially if it makes an impact on local students.

Where can we learn more about you?

I share information and thoughts about local history at www.dixhillsmelvillehistory.org. 

“Miss Kim’s Class Goes to Town” is available online at Amazon.com, at Huntington Historical Society events and at the gift shops of historical sites around Huntington.

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