Lunch in Paris: A Love Story, with Recipes

By Elizabeth Bard
Little, Brown and Company

While the memoir fad is nothing new, Elizabeth Bard’s new book confirms the emergence of a memoir subgenre to contend with: the memoir with recipes. In May 2009, the New York Times proclaimed these books as the brainchild of the “money-making imagination of the publishing industry.” Certainly, a spate of globe-spanning titles have followed, many born from blogs. However, the story of the American in Paris has long been a favored literary subject. It has sparked writers’ imaginations from Henry James to Anais Nin to Elaine Dundy to David Sedaris. Elizabeth Bard’s adventures in Paris have a more chick-lit feel to them than even Nin or Dundy, and have a liberal sprinkling of Julia Child and Peter Mayle throughout. In this recipe-infused book, Bard navigates a long-distance relationship with a French archivist, decides to move to Paris, and eventually gets married and builds her writing career.

At first, Elizabeth Bard’s life seems impossibly charmed, complete with buying the perfect apartment on the increasingly trendy Rue Oberkampf and negotiating cultural differences that seem more endearing and eye-opening than frustrating. However, what sets Bard’s writing apart from others of her nascent genre is her thoughtfulness and realism. She paints a very true and convincing portrait of herself as a driven, New York striver, bent on academic, artistic, and financial success at an early age and agonizing over why it has not yet arrived. While she is highly educated, she does not come from a place of easy breezy privilege, and in between recipes inspired by fresh finds at her Parisian market, Bard contemplates her family and personal history.

As much as it documents her courtship, relationship, and marriage to Gwendal, a digital archivist and entrepreneur, Lunch in Paris is about Bard’s acclimatization to a Parisian pace of life and ultimately, self-acceptance. Bard finds her stride by finally finding a peaceful balance between her Parisian and New York lives and selves. While this revelation is not particularly groundbreaking and her feminist-tinged reflections stay in safe mainstream territory, Lunch in Paris satisfies readers with a good story, intelligent and heartfelt reflections, and mouth-watering recipes. It’s not clear if these recipes have been kitchen tested the way one would for a professional cookbook, but they serve as solid guidelines for readers interested to add a French twist to their cooking.

While it may not become part of the Americans in Paris literary cannon, Lunch in Paris is a satisfying, straightforward read that feels like a good friend telling you a particularly tasty—and truthful—story.

Review by Eleanor Whitney

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The Artist in the Office: How to Creatively Survive and Thrive Seven Days a Week

By Summer Pierre
Perigee

I was looking forward to reviewing The Artist in the Office because it seemed so relevant to the situation many people I know find themselves in, myself included. Making it as an artist these days is tricky, and without a patron to support them, most emerging artists need another job to make ends meet.

In this book, Summer Pierre hits many of the emotional highs and lows people in my position feel: guilt because they’re not doing art full-time, frustration that they are unable to be creative at work, suffocation at the restraints of a nine-to-five schedule, and the constant nagging question of what your “real job” is. An artist herself, Pierre demonstrates noticeable insight in to the day-to-day life of the average creative worker.

There’s a lot to be talked about on this topic and no easy answers. This book never tries to solve the “problem” of how to be an artist in the office, which is for the best because there’s no magic solution that will resolve this anxiety. What Pierre does suggest is a change in approach. The most solid advice I took away from this book was to remain positive and keep focused on the specifics of what you really want. I know from experience that it’s easy to get stuck in the “If I only had xyz than I would be happy” mindset, which gets you nowhere. Pierre reminds us that working in an office—having a “day job”—while being an artist is hardly the end of the world, and in fact can often benefit your creative work.

Unfortunately, when these benefits are discussed in detail, the book tends to lose some of its insightful commentary and switches to somewhat condescending advice and cutesy pictures to get the point across. Most artists who work in an office hardly need a full-page illustration telling them how the company photocopier can be useful for... photocopying. Or how work computers can be used for non-work stuff. Surely most of us know these things already? The book also could have done without the handwritten doodling of things to do on your lunch hour or how to play “bingo” on your morning commute.

This book is at its strongest when the author seriously engages with the question of what it means to be an artist in a culture that doesn’t necessarily value art. Part four of the book, “Ideas for Change,” is the strongest section. It reads like a heartfelt conversation with a friend who in the end convinces you to not be so hard on yourself and reminds you that you have to value yourself before anyone else will.

Review by Jennifer Burgess

Trees in Key West

Key West is a small, flat island so trees are sparse here. Palms are often cut down for building so even large palm trees are special. These beauties are along Higgs Beach, one of the most popular Key West beaches.

Studded Stone Pony Holder

One morning, I was getting ready for school. The top of my dresser was cluttered with various hair products: hair ties, rubber bands, barrettes, and one large "jaw" clip. I was attempting to put my thick, naturally curly hair into a pony tail. First, I tried a rubber band. It was only big enough to wrap around my hair once. The hair tie wrapped twice, but it wouldn't be secure enough to hold through the school day. The barrettes couldn't close; they would only shut over a few strands, barely holding anything back. My last resort was the enormous "jaw" clip that looked like a big shark's mouth.

With some struggle, I was able to get my hair into the clip. Suddenly, I felt a looseness on the back of my head. I heard a small cracking noise against the wall behind me. When I felt my head, pieces of the big jaw clip crumbled into my hand. My enormous hair had not only broken the clip, but literally exploded it, throwing a piece against the wall. I'm only telling this story to illustrate the fact that I have very little esteem in hair products. For other people's hair, I'm sure they work just fine. However, I've basically given up.

And so, I was pleasantly surprised by the Studded Stone Pony Holder from Cover Your Hair. The first thing to catch my eye was the big silver star with multicolored jewels embedded in it. It's big, but thin and light, not heavy like I imagined it would be. I can barely feel it on my head. My favorite thing about this pony holder is that there are two bands on it instead of one. This helps keep my hair back and secure. Also, the bands are big, stretchy, and covered in a fabric material that won't snag your hair. I was relieved that the pony holder stretched wide enough to hold my hair. It's not too loose, nor too tight, but most importantly, it feels secure enough to get through my nine-hour work day.

Once properly fastened, the Studded Stone Pony Holder created a very cute, curved ponytail with a gorgeous star on top. This product is great for creating a last-minute, glamorous ponytail, or very pretty in a more time-consuming, up-do hairstyle.

Review by Jacquie Piasta

Gender Stereotyping: Transnational Legal Perspectives

By Rebecca J. Cook and Simone Cusack
University of Pennsylvania Press

Gender stereotypes are often studies in contradiction. They can be insidious or glaringly apparent; they are hostile, and occasionally operate out of “benign” sexism. The customs and mores of the society, the media that is consumed in that society, the predominant religion of a culture, and the family unit can all commingle in order to perpetuate gender stereotypes. Of course, a society's operative legal system can do this as well, which can do the most harm of all since the weight of law enforces entrenched gender stereotypes, often resulting in gender discrimination.

Women are most often burdened by the practice of stereotyping, since stereotyping is used to justify the subordination of women to men. Gender Stereotyping: Transnational Legal Perspectives is an academic book that analyzes the worldwide practice of gender stereotyping and discrimination through the framework of the 1979 United Nations Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW), with an additional focus on the obligations of the law and state to avoid stereotyping and discrimination with the force of law.

Authors Rebecca J. Cook and Simone Cusack focus on both men and women in their study of stereotyping, and illustrate their points through international court cases in which gender stereotyping affected the verdict. While women are often the injured party, Cook and Cusack point out that harmful stereotypes about men can harm women as well, and vice versa. Stereotypes about men and women in fact are mutually reinforcing and end up as self-fulfilling prophecies. The solution to ridding society, media, law, and culture of stereotyping, the authors note, is by a process of Identification/Naming/Elimination/Remedy. It is necessary to both point to and give a name to the operative stereotype before it can be erased, and before reparations can be made to the injured party.

CEDAW and the protocols issued for the adoption of its ratifying countries are the focus for the book, but scant information is provided about the Convention itself. It is not indicated what countries and governments adopted its platform (presumably member nations of the U.N.), who was on the committee to draft its proposals, and who exactly is enforcing it outside of a nebulous “Women's Committee.” The governments targeted by CEDAW are referred to as “States Parties,” a term which is never clearly defined; from inference, I gathered that it is a combination of government, courts, and human rights treaties bodies. Furthermore, since several countries (Niger, Malaysia, and Israel are noted) have formally expressed reservations about several of CEDAW's articles for religious reasons, one wonders why they agreed to adopt CEDAW at all. CEDAW apparently also does not have the force of law behind it. Offending governments will be issued reports and recommendations, but there appears to be little impetus to follow CEDAW's instruction.

These are critiques of CEDAW, but several critiques may be noted about the book as well. The authors focus on only a handful of international cases that fall under CEDAW's jurisdiction, and no dates are given for any of these cases. Knowing the date might have provided an insight into sex and gender attitudes of the time. Furthermore, numerous commentators and scholars are quoted, but not named or sourced until the bibliography. Certain terms are used, but not defined (the most egregious being the “woman question.”) There are also far too many hypothetical “for examples,” especially for a book that deals in hard legal facts. The tone is dry and academic, but it is free of the subjectivity and injection of hyperbolic personal opinion that can accompany many feminist-related texts.

On the whole, though Gender Stereotyping handles its subject matter fairly well, it is not a terribly interesting read except perhaps to policy wonks and the legally-minded. It's always appreciated when subjects such as these are brought to the forefront for analysis, but I am not sure for what target audience the authors intended it.

Review by Natalie Ballard