AMERICAN WHISKEY MASTER CLASS: The Ultimate Guide to Understanding Bourbon, Rye, and Other American Whiskeys, beautiful and fascinating

AMERICAN WHISKEY MASTER CLASS: The Ultimate Guide to Understanding Bourbon, Rye, and Other American Whiskeys
LEW BRYSON
Harvard Common Press (non-affiliate Bookshop.org link)
$40.00 all editions, available now

Rating: 5* of five

The Publisher Says: In American Whiskey Master Class, expert and industry insider Lew Bryson expands his deep dive into the history, process, and must-know producers of American whiskey in all its forms in this handsome, deluxe edition.

Go beyond the glass and discover the secrets behind your favorite styles of American whiskey in this updated, expanded, deluxe edition featuring a faux-leather cover.

Over the past three decades, Lew Bryson has been one of the most influential voices in whiskey—a longtime editor of Whisky Advocate and author of the critically acclaimed guides Tasting Whiskey and Whiskey Master Class. In this expanded edition of American Whiskey Master Class, Lew focuses solely on American whiskeys, sharing everything he’s learned on his journey through the world of American bourbon, rye, and other whiskeys. This approachable book is like a “200-level” class taught by a favorite teacher, with compelling tales (like how barrel aging came to be), insider tips (such as an old taster’s trick for sampling whiskey), and explanations you never thought you needed (like why you can never get a beverage that’s 100% alcohol—and why you should stick to whiskey!).

In this handsome edition, you’ll find it all:

An overview of the different types of whiskeys, including the rules and identities of each. He also includes information on craft whiskeys, which tend to be more creative and freewheeling than the styles made by traditional producers.

Exploration of the key whiskey ingredients, with a close look at the flavor contributions of malt, peat, corn, rye, wheat—even water.

Distillation for non-distillers and the beauty of barrels: Whiskey is both an art and a science, and what’s in the glass is affected by things like pot stills vs. column stills, barrel char, and of course, time.

Numerous interviews with master distillers, still makers, and other artisans at the top of their field.

Tasting notes throughout, including more than two dozen new ones, so you can identify the whiskeys you might want to try next.

New and expanded material, including how to decode and decipher rare bottles, new developments in the American whiskey market (notably single malts), new profiles and interviews of “must-know” producers, new photos, and more.

A new introduction from Fred Minnick, author of Bourbon Curious

Every chapter contains a variety of unique, often behind-the-scenes photography, coupled with Bryson’s master storytelling. And with whiskey as the subject, this is a class where you’ll want to do the homework.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Whiskey's my favorite tipple, though I'm medicine-induced teetotal at this point. I do love the smell as much as I love coffee's smell, for the same esthetic reason: The way it tastes is the way it smells, only adding a refined layer of bitterness, smokiness, complexity, that really fires up my palate. For me, then, this was a lovely walk down memory lane. For those not taking life-saving medications that preclude drinking alcohol, this is an *amazing* guide to developing and educating one's palate.

the roadmap to Whiskey Heaven, aha Table of Contents

Illustrations are well-integrated into the design, not looking like blobs of color stuck down on the pages. That shows especially in the infographics:

never thought much about HOW it gets done before

Naturally there are sections on the who/what axis of blindness we as aficionados can turn onto our belovèd objects of obsession:

who, then what

I can go on and on about how gift books of non-fiction are the most delightful reviews to write. I get to learn about stuff I really know so little about it's embarrassing, like the distinction between, nay existence of, the dichotomy between Traditional and New whiskeys:

beautiful presentations of the deliciousness

...and then, of course, we need to learn about the best of the best in the world-class expert writing this book's highly educated opinion:

interesting names, no?

I loved the lushness and polish of the presentation of the book, and was very interested by learning how much growth and activity there is in this beverage sector. I know y'all have whiskey fanciers in the family, and a luxury item like this that blends information he might not have with enjoyment you might not share is a lovely way to show interest in this subject.

Plus it looks *smashing* on your coffee table.

THE BIBLE OF BRITISH TASTE: Stories of Home, People and Place, lovely gift item for your Anglophile giftee

THE BIBLE OF BRITISH TASTE: Stories of Home, People and Place
RUTH GUILDING
Frances Lincoln Ltd (non-affiliate Bookshop.org link)
$45.00 all editions, available now

Rating: 4* of five

The Publisher Says: Based on the highly popular blog and IG account, Bible of British Taste, this book will give readers a glimpse into the idiosyncratic houses that exemplify the best of British taste and style.

With a predilection for lived-in, even cluttered interiors, filled with antiques, artworks and paintings, this style rejects perfection and gives you a sense of what it would really be like to live in some of the houses you see in magazines.

In 2012 Ruth Guilding, long-time contributor to World of Interiors, set up her blog and website, Bible of British Taste. Since 2016 has run an Instagram account of the same name, which now has almost 70k followers and an engagement rate of over 6%. In December 2022 she created the first issue of a magazine based on these accounts, which quickly sold out.

Now working alongside an influential younger generation of British tastemakers such as Edward Luke Hall (228k IG), Ben Pentreath (172k) and Duncan Campbell (70k), she has become the unofficial arbiter of the quirks and eccentricities of what makes British style.

This book charts the development of this style from the work of William Morris and the Bloomsbury circle up to the present. With unrivalled access to the locations, all the photographs are taken by the author.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: A potted history of Style as practiced among the British strivers and arrivistes since Victoria's reign, it's a gift item for the aspiring Anglophile. The author's quite the maven on the topic. Her Instagram account is filled with lush images of English cozy, homey, gemütlich comforts and some grand-looking stuff to break up the sameness.

where we're going, aka the Table of Contents

I'm always fascinated by these super design-oriented books. They're evergreens in publishing terms, books that can't fail (as a class, not individually) because people need gifts that make a statement: "I know you, I know you like {topic/thing/activity} so I'm going to show you just how fond I am of you with this book about it." One enormous category for this kind of object is the coffee-table book. It sits and looks lovely, it can be leafed through by awkward guests and/or during an embarrassing moment offering a social lifeline, and (in this specific book's case) be enjoyed simply for its intrinsic handsomeness.

all photos by the author

I turned pages and admired, felt oddly comforted in a world of confusion and turmoil by this steady thrum of solidity, and came through the experience with admiration for the author. This is a very cohesive presentation of British (English, really) style. It's clearly pervasive...she doesn't repeat any locations...and deep-rooted, the history bits demonstrate.

For my part, it's not my taste, it's cluttered and I'm morally certain every one of these spaces is dusty and musty. I'd feel the need for a full-time vacuumer/duster supported by a weekly wash-up specialist indoors, and at least two gardeners.

So, not so much on the aspirational scale for me. But it's fascinating, and for the right recipient, a gift that will elicit delighted coos and warbles of envious ecstasy.

DARK LONDON: A Journey Through the City's Mysterious and Macabre Underworld, for the ghoulish giftee closest to your heart

DARK LONDON: A Journey Through the City's Mysterious and Macabre Underworld
DR. DREW GRAY
Frances Lincoln Ltd (non-affiliate Bookshop.org link)
$22.99 hardcover, available now

Rating: 4.75* of five

The Publisher Says: Dark London brings together the history of the city’s seamier side, picking out the most scandalous, curious and bizarre aspects of London’s shadowy and fascinating underbelly.

From dark crimes of passion to shocking tales of grave robbing, gruesome murders, dens of iniquity, Victorian séances, and haunted houses—not far beneath London’s everyday bustle and glitter there has long been a fascinatingly rich underworld of criminality, superstition, scandal, and macabre debauchery.

In Dark London, social historian Dr Drew Gray, a specialist in the history of crime and punishment, delves into the city’s grim yet compelling past, uncovering the people and places that shaped its darker identity.

Across more than 100 real-life cases and curiosities, he explores how London became both the heart of a growing empire and a stage for vice, greed, and human fallibility.

Highlights include:

The London Burkers, a notorious gang of resurrectionists whose leader confessed to stealing and selling nearly 1,000 bodies to London’s medical schools in the 1830s.

The Whitechapel Murders of 1888, still the world’s longest running serial murder mystery.

The prisons of Newgate and Pentonville, where shifting attitudes towards justice revealed the tension between punishment, reform, and moral control.

The legend of Spring-heeled Jack, the terrifying, leaping figure who caused panic across London’s streets.

The Great Stink of 1858, when London’s polluted Thames brought the city to a standstill and forced a revolution in sanitation and public health.

Dark London brings together the history of the city’s seamier side, picking out the most scandalous, curious and bizarre aspects of London’s shadowy and fascinating underbelly.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: London's been a world city, most of the time, since the Romans lost Colchester in 60CE and moved their colonial government there. Lots of scope for serious weirdness of the supernatural stuff sort, and viciousness (or just misguided trying to help) of the human sort. Both leave separate kinds of stains on the memory of society, locally as well as internationally.

Author Drew Gray's biography as provided by Frances Lincoln Ltd:

Dr. Drew Gray is a social historian of the eighteenth and nineteenth centuries who specialises in the history of crime and punishment. Drew is Head of Subject for Culture (Humanities, Media, & Performance) at the University of Northampton and teaches modules on both the History and Criminology programmes. His previous works include Murder Maps: Crime Scenes Revisited; Phrenology to Fingerprint 1811-1911 and London's Shadows: The Dark Side of the Victorian City.

That's one helluva CV. The gent knows how to present the facts and images in tandem, all illustrated books from him to date, so why would this one fail? Spoiler: It doesn't.

The history of crime, the historical context of punishment, the social context of these dark patches of London's history aren't exhaustively explored in this handsome gift book. I felt the illustrations were well-chosen and -presented; but sometimes pulled well above their weight in explication of societal details. I can't give full five stars because I was niggled by this, despite this being the book's literal purpose for being an illustrated overview.

We all have a well-loved ghoul somewhere on our gifting list. Someone who really enjoys the frisson of crime and punishment, who wants that extra thrill of knowing what humans are capable of...and this is the book for them. It's also very much a book for your Londonphile/Anglophile giftee. I think you, faithful reader, might like it for your own coffee table.

Here, look at some of the more than a hundred images:

contents

punishment

murder

spooky stuff

humanitarian harms done

A very nice gifting idea for Yule...especially suitable for the Goth nibling/grandchild.

WITH WALT WHITMAN, HIMSELF is a beautiful 200th birthday present to the Good Gray Poet.

WITH WALT WHITMAN, HIMSELF: In the Nineteenth Century, in America
JEAN HUETS
Circling Rivers
$34.99 trade paper, available now

THIS IS A LIBRARYTHING EARLY REVIEWERS BOOK REVIEW

Rating: 5* of five

The Publisher Says: WITH WALT WHITMAN, HIMSELF immerses the reader in the life and times of the poet called “America’s bard,” with over 300 period images and text including extensive quotes by Walt Whitman and his family and friends (and a few enemies). Explore the fascinating roots of Whitman's great work Leaves of Grass: a family harrowed by alcoholism and mental illness; the bloody Civil War; burgeoning, brawling Manhattan and Brooklyn; literary allies and rivals; and his beloved America, racked by disunion even while racing westward. The coming year 2019 will mark the bicentennial of Walt Whitman’s birth; this book anticipates the celebration with a perspective of Walt Whitman “in the nineteenth century, in America,” as he himself put it.

My Review: What an extraordinarily lovely surprise this book was to me. It is physically beautiful: Printed in four colors, with Whitman's own words highlighted for the reader's eye by being printed in a handsome shade of Process Blue; daguerrotypes and other photos printed in rich and period-appropriate shades of umber and sepia achieved by using the four process colors; paintings and archival materials reproduced in very clear and obviously carefully proofed separations. The paper is uncoated, but is a top-quality book paper; this means it isn't vividly bleached to an eye-hurting whiteness, thus making the text a chore to read. Instead, the whole package, in its design and execution, is meant to be an inviting visual and tactile experience. This makes its contents that much more appealing to view.

This is a coffee-table book about a poet, not about poetry. It would look very well on anyone's conversation-starting furniture of whatever description. The purpose of the book is to bring a modern reader, perhaps one not familiar with Whitman or, at most, glancingly acquainted with "Crossing Brooklyn Ferry" or "To A Stranger" (if a gay man over 40), a sense of Whitman the man and the way he became that man. The 19th century brought huge changes to the USA, as your history class sledgehammered into your adolescent brain. The world Whitman was born into on the 31st of May in 1819—two hundred years ago today—resembled not at all the world in which he wrote his poems or in which he died, in March of 1892, at seventy-two well-lived years of age. Steamships, trains, escalators...a Civil War whose battles we fight to this day...a world that Whitman embraced with wide-open arms and eyes, with reservations he always set aside to be more fully present in his moment. We could all do well to live in imitation of Whitman's way.

If one approaches this volume in the spirit of an interested browser, it will delight and edify; those seeking A Life or, perish forbid!, a monograph on Whitman's poems, will go away dissatisfied, though certainly diverted. I came to the book informed about Whitman, and came away delighted at the quantity of insight I gained from reading it. I loved the images, I knew I'd be sucked in by the 300 or so lovely reproductions, but I was equally edified by the organization of the text into Walt, and his world. It is explicit in the title: You're going to 19th century America with Walt Whitman's life as your tour agenda. As I am a New York City boy, those sections resonated strongly with me; as a Long Islander, Whitman's experiences highlighted for me the unslackening pace of change in this vigorous and vibrant world. Whitman was born in Hempstead, where I spent a decade! Believe you me, if we resurrected Walt and placed him in the Hempstead of today, he'd love it for its vibrant urbanity and be shocked to learn it's his birthplace.

I found Pete Doyle's tale, with whose outlines I was familiar, to be unbearably poignant. Soul father Whitman, 45 at the time, met his 21-year-old life's love on the streetcar where the lad worked. The rest of Whitman's life, and of Doyle's I learned here, they were connected, they were in love. What that means to someone in an intergenerational relationship in this disapproving and minatory world...! The storms of life could separate their bodies, death could knock with her unignorable tattoo, they were in love:

I have Walt's raglan here...I now and then put it on, lay down, think I am in the old times. Then he is with me again. It's the only thing I kept amongst many old things. When I get it on and stretch out on the old sofa I am very well contented. It is like Aladdin's lamp. I do not ever for a minute lose the old man. He is always near by. When I am in trouble—in a crisis—I ask myself, "What would Walt have done under these circumstances?" and whatever I decide Walt would have done that I do.

I hope with all the fibers of my being that my Pete, my Young Gentleman Caller Rob, has occasion to remember as fondly after I am dead.

It was such points of commonality, uncommon to find in a work about a long-dead author, that kept me returning to the book with a curious mind and an eager eye. After reading WITH WALT WHITMAN, HIMSELF, I was soul-satisfied that I had found my spiritual ancestor. No poet I, nor truth to tell much of a poetry consumer; but Walt Whitman, comme d'habitude, pursued me down the street to talk to me.

I am so very glad that I stopped to listen.

SILENT DAYS, SILENT DREAMS is a kids' book in name only

SILENT DAYS, SILENT DREAMS
ALLEN SAY
Arthur A. Levine Books
$21.99 hardcover, available now

Rating: 5* of five

UPDATE! AWARD NEWS! The 2018 American Library Association Awards honored Author Say's work with its Schneider Family Book Award for books that embody an artistic expression of the disability experience! Well-earned, well done, and congratulations.

The Publisher Says: James Castle was born two months premature on September 25, 1899, on a farm in Garden Valley, Idaho. He was deaf, mute, autistic and probably dyslexic. He didn't walk until he was four; he would never learn to speak, write, read or use sign language.

Yet, today Castle's artwork hangs in major museums throughout the world. The Philadelphia Museum of Art opened "James Castle: A Retrospective" in 2008. The 2013 Venice Biennale included eleven works by Castle in the feature exhibition "The Encyclopedic Palace." And his reputation continues to grow.

Caldecott Medal winner Allen Say, author of the acclaimed memoir Drawing from Memory, takes readers through an imagined look at Castle's childhood, allows them to experience his emergence as an artist despite the overwhelming difficulties he faced, and ultimately reveals the triumphs that he would go on to achieve.

My Review: I will never be able to thank my friend Joe enough for bringing this book, this artist, this art, into my life. I am so profoundly grateful to you, old friend.


James Castle with the tools of his trade. I don't know the date, but he died at 78 in 1977, so I'll venture a guess at early 1960s...? I'm actually surprised, given how very little the people he lived among seem to have liked him, that someone took his photo at all.

Artist and Caldecott Medalist Allen Say created this artwork at the request of an Idaho-based friend of his. It was his introduction to James Castle...he says of this amazing moment, "I opened the catalog and suddenly remembered the excitement of seeing a van Gogh for the first time." I rang like a bell when I read that. I had just had the same experience opening this book and seeing Say's artworks based on Castle's.

A spread from this gorgeous book.

I've got a reasonably sophisticated knowledge of art. I'm up to speed on "outsider art" and its importance in our visual vocabulary, to our aesthetic landscape. But there hasn't been an experience quite like discovering, via Artist Say, the astonishing work of James Castle in a very, very long time. The sheer breadth of the material he left behind is astounding! Sculptural constructions, drawings in their thousands, mobiles, it's like the man was working against a deadline that only he knew about and was determined to finish saying what he had no other way to say.

The publisher, Arthur A. Levine Books (the imprint responsible for bringing Harry Potter to the US market), is bringing this to us via a damned-near perfect design and production job. The aesthetics of the design you can see for yourself above. If you don't think that it's outstandingly lovely, look at it in person. If you still don't agree, okay, but why? What failing do you adduce to this presentation of two-color artwork mixed with four-color artwork and all presented in a beautiful matte-coated glowingly white space? What artistic flaw do you find with Artist Say's beautiful, spare evocations of the grim and terrible world of James Castle?

And it was a grim and terrible world, a kind of hell that I fear with all my wobbly, trembling emotional heart isn't unique except in its reasonably happy ending. Artist Say has gone as deep as one can into the little factual material of this ordinary life. His bibliography is quite substantial...and disturbingly complete...for someone who, absent Fate's intervention, would simply have vanished without a trace from the collective memory of US society. I knew I could trust Artist Say to tell me the truth about James Castle when I read:

To emulate his unschooled style, I used the same kinds of odd materials he had used: soot and spit, liquid laundry bluing, and shoe polish, to name a few.
I had help. My wife meticulously made dolls and birds out of wastepaper and cardboard that I think the artist would have approved. I drew on ninety-year-old letters and envelopes that {his friend} found in an antique shop; and to mimic James's unsteady lines, I often switched lands—to my left hand, which hadn't learned to tell lies.

Artist Say is the right one to lead us into James Castle's work, and his life and times insofar as any of us can know them.

The Seattle Times gives us the jacket of this glorious book in its native environment, the store where you'll be going to spend USD 21.99 (higher in Canada) to bring it home with you. And now you're able to do it legally, since a Federal judge ruled that Artist Say didn't violate Castle's estate's copyrights in offering us, in 28 cases from the 150 drawings in this book, his own artistic impression of specific Castle pieces.

Isn't that a sad statement of our current society's obsession with ownership? A beautiful illustrated biography would quite probably have pleased Castle, whose early relationship with books (despite being unable to read or write) was a loving and profound one. Not at issue were any facts, any alleged misrepresentations of Castle, his family, anything...just ownership of the images and therefore the right to profit from them.

Had I been related to Castle I'd've cringed in shame for the picture painted of a cold, uncaring, even cruel "family" that frankly seems to me to be culpably negligent and abusive of their child/sibling/educational charge. They sound like horrible people and I'm glad they're dead.

ATLAS OF CURSED PLACES, a beautifully produced coffee-table reference book

ATLAS OF CURSED PLACES
OLIVIER LE CARRER
Black Dog & Leventhal
$24.99 hardcover, available now

Rating: 5* of five

The Publisher Says: Olivier Le Carrer brings us a fascinating history and armchair journey to the world's most dangerous and frightful places, complete with vintage maps and period illustrations in a handsome volume.

This alluring read includes 40 locations that are rife with disaster, chaos, paranormal activity, and death. The locations gathered here include the dangerous Strait of Messina, home of the mythical sea monsters Scylla and Charybdis; the coal town of Jharia, where the ground burns constantly with fire; Kasanka National Park in Zambia, where 8 million migrating bats darken the skies; the Nevada Triangle in the Sierra Nevada mountains, where hundreds of aircraft have disappeared; and Aokigahara Forest near Mount Fuji in Japan, the world's second most popular suicide location following the Golden Gate Bridge.

THIS BOOK WAS A YULE GIFT TO ME. IT SHOULD BE ON YOUR BOOKSGIVING LIST TOO.

My Review: History, a ruling passion of my reading life, contains so many byways, culs de sac, and dead ends that are fascinating that it's a wonder the "real" history ever gets told. I love the odd and unsettling details that get lost when one reads only The Big Picture. There are very few byways left unexplored by now, wouldn't you think?

You haven't read this book yet.

Start here, in India. Most US citizens have probably heard of Centralia, Pennsylvania, at some point or another...a town that sits atop a coal mine burning out of control since 1962. Now multiply that by about fifty and set it in a country where there isn't any kind or sort of centralized authority charged with keeping people safe from the consequences of profit-driven environmental rape. Oh wait...that'd be 45's Murrikuh, so sorry. Anyway, the image of Hell that is Jharia makes Centralia look like a minor dump fire.

Then let's go back in time to Timur's reign of terror. In the uniformly awful 14th century, Timur (or Tamerlane as the West knows him) was memorably more heinous than his contemporary rulers and more feared than the only slightly more virulent Black Death that killed almost 50% of the world's population. He managed directly to slay over 15 million people of the 300 million alive on Earth at the time he was busily slaughtering entire cities. This ghastly spot is the site of his mausoleum. It bore the inscription, "When I rise from the dead, the world shall tremble." On 22 June 1941, a silly Soviet scientist raided his tomb; mere hours later, the Nazis began the unbelievably costly Operation Barbarossa, which cost over 5 million more lives, and led to the deaths of millions more in its wake.

The moral of this story, kiddies, is DO NOT TAKE CURSES LIGHTLY.

Unlike the unbearably silly Lutz family that bought 112 Ocean Avenue in Amityville, New York, after ghastly Ronnie DeFeo slaughtered his family there the year before. They found out the hard way that there is no such thing as a deal too good to be true, lasting a whopping 28 days before bailing on this buy-of-a-lifetime Dutch Colonial in a desirable neighborhood.

Lots of publicity still attends the case, and the Lutzes have been called liars and profiteers. Amityville's just down the road from here. It's a nice village and nice people live there. I myownself get no evil vibe from it. But I wouldn't spend a night at 112 Ocean Avenue for any damn reason.

For the ghoulish giftee, this book's the best!

Lawrence Durrell's Last Book, and a beauty it is

CAESAR'S VAST GHOST: Aspects of Provence
LAWRENCE DURRELL
Out of Print, available from all imaginable online booksellers

Rating: 3.5* of five

The Publisher Says: Before Peter Mayle there was Lawrence Durrell, who for more than 30 years made Provence his home. In this, his last book, he distills the affection and understanding of half a lifetime, describing the rich culture and giving breath to the history that still invests the land. 39 color photos.

My Review: This gorgeously illustrated trip through Mr. Durrell's experiences in Provence over the course of three-quarters of a century (1920s to 1990s) was a delight. I don't habitually read books of the An Italian Education or Toujours Provence ilk. I tend to want to experience a place for myself, or simply not to care about it. This is an excellent book, though, because it's not larded through with carefully thought out "random musings" or cursed with the destination-article breathlessness that I experience in so many place-books.

Durrell's prose is a polarizing factor about the book. One will either enjoy its lyricism:

What are the French really like? ...I found myself thinking back to my own early youth, to the first shock of my encounter--at about twenty years of age--with Paris. It was like a sudden unpremeditated chord on the piano--a chord I had never struck before. The city was full of a subtle sort of oxygen which mounted to the head.

on p27
Or one will be repulsed by its phony-tony-ness (example above again). I was about evenly split in my decisions on his style, but in the end I felt I had so much more pleasure from it than I had wincing pains, that I came down on the plus side.

The lovely object of the book itself is a sheer pleasure to hold. It's an oversized book, though not a huge one; it's a four-color book with many nicely chosen images to illuminate the text. Arcade Publishing bought the book in from Faber and Faber, the UK originators of it, back in 1990-91. Its beautiful four-color endpapers, a riot of color in a drawing by one Oscar Epfs (of whom I had never before heard), are exemplary of something I miss in today's more somber book production: A sense of the object "book" as a desideratum of its own, separate from whatever merits and qualities the text might have.

I don't recommend this to fans of Peter Mayle, but rather to fans of lyrical prose and leisurely impressionistic immersive reads.


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