A couple of weeks ago I drove by myself to and from Denver for a short library conference. Along with Diet Coke, pretzel M&Ms, and Twizzlers, I kept myself company with an audiobook on CD, Sebastian Junger's "A Death in Belmont" originally published in 2006.

Every few years I crave a true-crime book, and this one about the Boston Strangler came right out of that Dewey number, 364.152.

Junger is known as a nonfiction writer. He picked up this topic because his own family had a connection to the Boston Strangler. When Junger was a little boy in 1963, his parents had a studio built in their backyard in suburban Belmont. One of the subcontractors on that job was Albert DiSalvo, who was convicted of the murders attributed to the Boston Strangler. The day before the studio was finished, a photograph was taken of the Jungers and the men who worked on the job. Junger reflects on that snapshot showing his mother holding him on her lap, with Albert DiSalvo standing behind them.

Junger clearly places himself in this story, but he does a great job of backing up to describe the context, what Boston was like and how the murders impacted people.

He explores a murder done in Belmont at the time that Albert DiSalvo was working on the Junger project just a mile away. A black man named Roy Smith was convicted of that murder, proclaiming his innocence until his death behind bars. In many ways this murder was a typical Boston Strangler job, in others, not. But both Smith and DiSalvo die before full light can be shed on Smith's case. Junger leads one to believe that Smith was very probably wrongly convicted.

Junger manages to tell this story, graphic details and all, without seeming to exploit the victims or the situation. He introduces a wide variety of people at a perfect pace, setting up a sort of chess board of characters. Kevin Conway, the narrator, maintains an even tone in his reading that reflected Junger well.

I loved "A Death in Belmont" for a traveling companion. I've noticed that the books that I most enjoy in audio are those with a strong narrative thread. Junger maintains this well. I was sorry when the book came to an end just before I reached Ogallala. I felt like I'd learned some interesting history, had reflected on the role of race in the early 1960s, and been told a fascinating tale by a fine storyteller.

I took a break from my Notable Books reading for "Quiet: the Power of Introverts in a World That Can't Stop Talking" by Susan Cain. I'd heard some interviews with her earlier this year, and found her comments intriguing.

And then I had to wait awhile because there were (and are!) quite a few holds on it.

Cain's title tells it all--she supports and values the combination of traits that characterize introversion--needing solitude for recharge, preferring one-on-one conversations over cocktail parties, focusing on one topic at a time, and a tendency for active environments to be overstimulating.

She includes research, cultural aspects, advice for romantic pairs and advice for parents.  Cain herself isn't a researcher, but has interviewed many who are, and she has done plenty of homework in seeking out a variety of opinions.

An introvert myself, I connected with many of her observations. In particular, I saw myself in her description of the need to gear up for certain kinds of social events, almost as if going into battle. On the other hand, I haven't sensed the scorn or disapproval of the extroverts in my life as much as she seems to have, and sometimes I felt like she "protested too much." A personal note--I do clearly recall my college boyfriend kindly pointing out that my quietness at parties could be interpreted as my being stuck-up. And he did say so kindly. And I still remember that--it stuck with me. I would guess that quite a few introverts have received similar observations.

I'll recommend this book to people who are interested in the many ways in which personality can be profiled, so that we understand ourselves better, and get along with others better. I'm finding myself having extended animated conversations with others who've read this--and so far, her audience seems mostly--introverts.

I continue in my reading of the American Library Association Notable Books List with "Inside Scientology: The Story of America's Most Secretive Religion" by Janet Reitman.

Reitman is a journalist/writer who was inspired to write this nonfiction book after she began writing a feature article on Scientology for the "Rolling Stone" in the summer of 2005. Her interest had been piqued by the actor Tom Cruise, a prominent Scientologist who often speaks out regarding Scientology.

Local readers may recall that Scientology's founder, L Ron Hubbard, was born in Tilden, Nebraska, in 1911.

Reitman describes the evolution of Hubbard's concept of "Dianetics" to the church of Scientology that exists today. I hesitate to attempt a brief description of the framework of Scientology. Foundational ideas include a belief that people are immortal souls who come back to the earth over and over. A practice known as auditing leads people to move past traumatic events that keep them from reaching their full potential. Scientology holds strong positions against much psychiatry and the prescription drugs it uses; they consider their own processes as much more successful. As people progress through auditing into upper levels of the church, they typically pay more and more money to move forward. Reitman sees money as central to the story.

Reitman seems less interested in the belief system behind Scientology, and more interested in the structure of the church, the personalities who run it, and how it raises money.

The view that she presents is primarily from outside--Scientology's leaders did not speak with her. She relies heavily on former Scientologists, those who have left the religion, to get inside views of the structure of the church. She describes people who left the church having been treated shabbily or worse, detailing in particular the death of Lisa McPherson in 1995.

She gives an overall picture of a "church" in quotes, which she implies is actually a business that uses the cover of religion to shelter money. Further, she reveals how the personalities who head Scientology, first Hubbard, and now David Miscavage, shape the church in sometimes bizarre ways. She presents Miscavage as a sheltered young man who came to lead the church in his 20s, ill prepared for the job. She details many ways in which his direction seems irrational.

Yet she concludes with optimistically-toned interviews with young people currently engaged in Scientology.

I expect that the Notable Books committee chose this title because it brings forward information on an important topic of interest to many readers. I would point out that Reitman sometimes employs language that seems biased, describing Hubbard as a huckster, and using terms such as "concoction" that carry laden meanings. I would have preferred more measured reporting.

Even so, I'll recommend this to readers who prefer nonfiction and who like to read about current events and issues. I was struck by the parallel stories of a belief system on one hand, and the personalities behind it on the other. That is where much of the energy in this book lies--in the end, it is a story about people.

"The Memory Palace: A Memoir" by Mira Bartok falls into the category of "memoirs by women with mentally ill mothers." Others in this category include "Liars' Club" by Mary Karr and "The Glass Castle" by Jeannette Walls. I picked it up because it's on this year's Notable Books List from the American Library Association. And--I'm a sucker for a memoir.

Here are the basics--Mira Bartok and her sister ended up changing their names and moving to cities away from Cleveland to separate themselves from their mother, who was seriously mentally ill. Bartok became an artist and writer. After a serious car accident and traumatic brain injury as an adult, she decided to take a few steps toward reconnection with her mother who by then was homeless as well.

This book stands out from the others because Bartok includes excerpts from letters that her mother wrote, and she includes pictures of her own art. These deepen her story. Her telling isn't chronological, but it does make sense somehow, as she describes the reconciliation, and then backs up to tell what came before.

Bartok employs the image of the memory palace partly because she had to reconstruct her own ability to remember. She suffered a traumatic brain injury in 1999 at age 40, and lost much of her short term memory. She describes the memory palace as a way of remembering by creating an imaginary space where each item within the space represents something one wishes to remember, an apt description of her writing here.

As I look back on the reading and reflect on what images I will keep of this book, I will recall Bartok's description of when she first saw her mother behaving oddly in a way that was seriously wrong, and her immediate understanding that it was something to hide. The saddest to me was that Bartok seemed to show great talent at the piano; her mother had been a prodigy. But the disorganization of the entire household kept Bartok from continuing with lessons just as she was progressing to serious music.

Bartok struggles with guilt and shame. Yet there is also a sense in which she and her sister keep their eye on the light at the end of a tunnel, knowing that their only hope is that light. Nothing here is easy, but much of it is richly focused on life and hope.

I confess that as I read this, I often silently thanked my parents for being so by-the-book in getting me to bed on time, feeding me three square meals each and every day, and insisting on a sense of order. I chafed at that, but "The Memory Palace" reminded me that there's nothing lovely about the kind of mental chaos that puts children in true danger. I'll recommend this to readers who love memoirs, who seek stories of resilient children, and who want to know more about families without bedtimes.

I'm continuing my annual trek through the American Library Association Notable Books List, having recently finished "The Cat's Table" by Michael Ondaatje.

This novel takes place on a ship traveling between Sri Lanka and England in the early 1950's. Its narrator, Michael, is eleven and traveling without supervision. He befriends two other young men on the ship and the three of them engage in the kinds of adventures one would expect--sneaking into the first class areas, filching food, sneaking a dog aboard.

The book's title refers to the table in the ship's dining room where the passengers with the lowest status were assigned. That is, of course, where one would expect to find the most interesting people--and Michael does.

About a third of the way through the book, I began to wonder where it was heading. At that point, it seemed much like a romp of a book, the mood overall light, a quirky cast of characters introduced in succession, with no sense of a narrative trajectory--no problem to solve.

And then Ondaatje introduces some evil and mystery. That dog that one of the boys sneaks aboard bites and kills a seriously ill passenger. A prisoner tries to mount an escape. Michael takes all of this in, only later figuring out how some of the pieces fit together.

At about the same point, the narrator moves away from the voyage to tell some of what happened after. He remains friends with one of his ship buddies and eventually marries that boy's sister though the marriage doesn't last. Decades after the voyage, he meets up with a cousin who had been aboard, a pretty young woman who at the time seemed to be involved in some mystery all her own. These time shifts continue until the novel ends with the ship's arrival in England.

I sensed that the novel lost energy when it left the ship itself. There's something about a ship story, a group of people confined together, that when written well becomes a delicious soup of humanity.

Each time that I read a book from the Notables list, I reflect on why it was chosen. In this case, Ondaatje is the master of elegant writing, of the effective turn of phrase. The narrator that he creates here strikes a perfect balance of a youngster's point of view with an older man's wisdom and regret. Reviewers often use the word "elegant" to describe Ondaatje's writing--fine choice of words, observations that are spot on, and that sense of writing so well done that it calls no attention to itself. Applying such elegance to so quirky a group of characters as in "The Cat's Table" is a lovely irony.

I'll recommend this to readers who often choose more literary novels, seeking the qualities that Ondaatje weaves into this fine sea story.

Just this morning I finished Francisco Goldman's "Say Her Name," an autobiographical novel about the death of his young wife, the writer Aura Estrada. The book has won many accolades, and is included on this year's American Library Association Notable Books List.

The basic story is that Goldman was an established writer in his early 50s when he fell in love with and in 2005 married the emerging Mexican writer, Aura Estrada, who was in her mid 20s. Just short of their second anniversary, she died following a swimming accident on a beach in Mexico.

Goldman casts the story of their courtship and marriage, her death, and his life since then, in sections that move in time and in place. It has the sense of how one would expect such a story to be told, with one memory providing a nudge that reminds the author of something else that seems unrelated and yet highlights or foreshadows what will come. This backing and forthing continues until finally at the end of the book, Goldman describes what happened on the beach that day and just after.

I was interested in why Goldman chose to tell this story in a novel instead of as a memoir. What he said in an interview in the Paris review, "I have never liked the memoir form because I tend to think that memory fictionalizes anyway. Once you claim that you are writing a narrative purely from memory you are already in the realm of fiction."

What a perfect book for book groups--there is the marital relationship made more interesting with the difference in their ages, the intense relationship between Aura and her mother, the striving of Aura as a writer with a dream of success, her balancing of Mexico and America, and of course the exploration of grief and loss. I doubt I'm the only reader who takes a little too much interest in what writers are like, and so book groups can add the added incentive of looking into these closets and cupboards.

I'm reflecting on my own internal score for this book--Goldman writes so well, well enough that this tribute to Aura is worthy of her, and I sensed that he was honest about himself, even when being honest meant revealing things that I didn't much like. Thinking a little more about it, I see that this book grew on me in a way that I admire. I wasn't instantly pulled in, but Goldman managed to make me want to know more, to continue to read about Aura, and to fathom and face his loss.

"Destiny of the Republic" by Candice Millard is subtitled, "A Tale of Madness, Medicine and the Murder of A President." In this American Library Association Notable book, Millard tells the story of President James Garfield, who was elected in 1880 and died in 1881.

Some readers may recall Millard as the author of "The River of Doubt" which was a One Book One Lincoln finalist a few years ago. That focused on an episode in the life of Theodore Roosevelt. She excels at writing history as story.

Millard opens this story with a prologue that introduces us right away to Charlies Guiteau. Guiteau survived a collision between two steamships in 1880. His own survival when others died led him to believe that he was saved for an important purpose, and when that belief combined with his mental illness, it twisted itself into his intention to kill President Garfield.

Chapter One picks up at the United States' Centennial Exhibition in 1876, where James Garfield, a congressman, strolls the grounds with his family. Millard uses this event to introduce two key angles that will be highlighted when Garfield is shot--the work of Inventor, Alexander Graham Bell, and pioneering work regarding antiseptic procedures in surgery.

Millard spends enough time with Garfield's remarkable rise from poverty to presidency to set the context of the time, and to tell the parallel story of Guiteau's descent. The events following the shooting take up a good deal of the book, yet she doesn't lose the narrative's momentum.

I appreciated how much I learned in the course of this book. This takes several forms. The sense of the United States shortly after the Civil War, the personalities engaged in politics, the dirtiness of the politics, and the lack of cleanliness as it impacted Garfield, are staying with me.

This may not be the book for serious students of American history, but for readers who have a general interest in the time and who are unfamiliar with James Garfield, Millard unrolls a fine story. I'll recommend it both to those with that interest in American history, and also to fiction readers who are willing to try nonfiction "when it reads like a story."

You can read an additional review of this book in the library staff review section of our website, with thanks to Alyse at Bennett Martin Public Library.

Here's my short assessment of "The Art of Fielding" by Chad Harbach. It's a fine book with a fabulous first half. As a reader and evaluator, I'm so overwhelmed by the unfulfilled promise of that first half that I may be underestimating the second.

But to back up--this is a baseball novel combined with a coming-of-age story. Its focus is Henry Skrimshander, a remarkable shortstop. Henry's fielding ability is witnessed by a catcher who is able to wangle Henry a place at Westish College. Henry's magical talent transforms the team...until he loses it. And then his friends, his teammates, and all who have been introduced in this novel adjust their orbits around his misery.

Other aspects of the story include the life of a small liberal arts college, the first motions toward a gay relationship by the college president, the return of the president's prodigal daughter, and the coaching brilliance of that catcher.

Harbach is a wonderful writer, combining a sense of Henry's transcendent talent with the everyday details of college, of roommates, of part-time jobs. He takes an often wry approach, even as he describes scenes artfully, maybe wistfully. I thought to myself that he strikes the tone that I sense Jonathan Franzen going for, of telling a story with a clever voice, from a perch that allows the teller to know an awful lot, when the teller honestly likes the characters, warts and all.

I absolutely loved the first half of this book, with Harbach introducing characters in lovely order and a perfect pace. This part of the story seemed so clean, so lusciously straightforward and true. What happens after that just didn't live up to the promise. The drama of sexual betrayal, the ongoing suspense of Henry's inability to play, the awkward introduction of a counselor who untangles Henry's issues, they seemed like too many condiments on a perfect hot dog.

I can't bring myself to dislike "The Art of Fielding," and I do think it's fair to describe it overall as a good book, a fine baseball story. I'll recommend this to fiction readers, to people who enjoy contemporary settings, to baseball fans, and certainly to book groups. It's easy to see how it earned its place on this year's Notable Books list.

I just finished "Turn Right at Machu Picchu: Rediscovering the Lost City One Step at a Time" by Mark Adams, one of the nonfiction titles on this year's American Library Association Notable Books List.

Adams alternates chapters of his own recent trek to Machu Picchu with chapters describing the travels of Hiram Bingham, the Yale professor who "discovered" Machu Picchu in 1911.

Adams travels to Machu Picchu via the ancient Inca Road, using routes that allow him to see what Bingham saw. He includes himself very squarely in this story, offering many personal opinions, observations, and conversations with his guide and the Peruvians who manage the donkeys, food and gear. This works. As a travel writer, Adams achieves that delicate balance where his own personality enlivens the story with overpowering it.

There's something about Machu Picchu that remains eternally interesting. Recent developments regarding the ownership of many Inca items that Hiram Bingham transported back to Yale have added an additional measure of interest to Bingham's portion of the story.

Adams explores several theories about the function of Machu Picchu, describes well the mountainous area where it is, and draws connections among stories, geography, and personalities. He deepens his own experiences with deft study of others, including those who have always lived in the area, the early white explorers who sought the Lost City of the Incas, and the thousands who visit the site each year.

Although this is not a deep academic study, I'll recommend it to people with an interest in this area. In particular, I will mention it to those who have visited or intend to visit Machu Picchu, to readers who enjoy travel books generally, and to fiction readers who will enjoy a nonfiction book of it's "a good story."

The 2012 American Library Association Notable Books List was announced last Sunday--and that made January 22 a Recognized Holiday at my house. I've got several notables checked out, a few more on hold, and I have finished my first--"We the Animals" by Justin Torres.

After last year's rants about LONG books dominating the list, I can ease up this year. In fact, "We the Animals" is only 128 pages.

It's a series of short stories told by the youngest of three brothers in a contemporary family. Their father is Puerto Rican, and their mom is anglo, both from Brooklyn originally, although the family lives now in upstate New  York.

The stories reminded me of Andre Dubus III's "Townie" in their mix of profound family chaos, fierce love, and edginess.

In one story, the boy is alone left too long at a Niagara Falls museum. To keep himself occupied, he ends up dancing in front of a film that nobody else is viewing, enjoying the movement and the lights on his body. He realizes that his dad has finally returned, and has been watching him, perhaps for some time. His dad realizes how "pretty" his son is. That begins the movement toward the book's end, as the young man realizes he's gay, and engineers his first sexual encounter.

When I finished this, I noted that I felt like I was either in the presence of genius, or needed a shower. The scenes in this book so often put the narrator and his brothers in situations that were dirty or grimy or slightly dangerous or mean. And yet there remained that sense of love and solidarity. How did Torres manage that?

Torres writes in a deceptively simple way that seems just to describe, but that also sets a tone.

I will recommend this to people who appreciate spare writing, who seek varieties of experiences, and who can tolerate edginess. I'll also bring it to the attention of book groups.