The Matter of Everything, by Suzie Sheehy

The Matter of Everything, by Suzie Sheehy (Knopf, 320 pages)

If you’ve been on this planet for more than two decades and have decent health insurance, you’ve probably had an X-ray at some time. However, you may not have given any thought as to how the technology came about unless it was required on a test.

Suzie Sheehy, an Australian physicist, is here to forgive and redeem the incurious with a surprisingly engaging book that delves into 12 experiments that radically upended the world. While “read a science book by a particle accelerator physicist” might not be on your bucket list, The Matter of Everything is an easily digestible dive into advances in physics that will be especially useful for anyone who struggles to define a quark.

Sheehy didn’t plan on a career in physics; she was studying civil engineering in college when she was invited to an overnight astronomy event at the Leon Mow Dark Sky Site not far from Melbourne. (Dark sky preserves are places where you can see much more of the galaxy because of the absence of artificial light.)

There Sheehy saw Saturn’s rings and the arc of the Milky Way and experienced a recalibration of what she thought about the universe. She writes, “I wanted to know how it was all connected and how I was connected with it. I wanted to know if there really was a theory of everything. I felt deeply that all this mattered, that it mattered to me as a human, that understanding this was a goal big enough that if I managed it even a little bit, I’d not have wasted my blip of time as a conscious being.”

She changed course and began studying particle physics — how particles form, transform and behave. And her interest in connectivity eventually helped to shape this book, as she connects historical dots to show how some of the most ground-breaking advances have come about not from the “lone genius theorizing at a desk” but by stubborn and curious scientists who were determined to figure out something that stumped them.

Take, for example, the X-ray.

A German scientist named Wilhelm Rontgen was working with cathode rays (observable streams of electrons) when he noticed a green-colored glow coming from the other side of his lab. The light disappeared when he turned the cathode ray tube off, but remained when he covered the tube with black paper. He became obsessed with figuring out what was happening, and discovered that the strange light would leave shadows of what it passed through.

Rontgen had dark hair that protruded from his forehead “as if he were permanently electrified by his own enthusiasm” and was a shy loner ill-prepared for the fame that would find him when he began telling the world about the discovery of this new kind of ray, to which he assigned the letter “X,” to denote “unknown.”

While conducting experiments, “He spent seven intense weeks in his lab, occasionally being reminded to eat by his wife, Anna Bertha.” He used his wife’s hand to test what happened when the ray passed over a human limb and an image of her bones and wedding ring showed up.

Writes Sheehy: “According to legend, when Bertha saw the bones in her hand, she exclaimed, ‘I have seen my death!’ and never set foot in her husband’s lab again.”

Rontgen soon realized how transformative his discovery would be in medicine, and he made the first public presentation of his findings to a medical society. It marked the first time that doctors would be able to see inside the human body without cutting it; within a year, X-rays would be used to find shrapnel in wounded soldiers on battlefields.

Of course, with one being born every minute, as P.T. Barnum would say, X-rays quickly seized the public imagination in non-medical ways. “X-ray-proof” underwear and “X-ray glasses” would soon be for sale by unscrupulous entrepreneurs.

Sheehy (or her editors) was smart to begin with the X-ray experiment, since that is something to which most people can easily relate. She has to work a bit harder to get us to care about the origins of, say, cloud chambers or the linear accelerators that led to the discovery of quarks. But she is a good storyteller despite her formidable intellect and weaves in the sort of detail that humanizes her subjects and holds our attention.

We might not, for example, be as intrigued by the origin of the nuclear theory of the atom until we learn that it was developed by a man who believed that “swearing at an experiment made it work better” and thus cussed his way into changing what we previously believed about the composition of atoms.

Or that technology that dates historical artifacts was developed, in part, because contemporary physicist Charles Bennett bought an $80 violin at a New York flea market and was determined to find out if it was a famed Stradivarius instrument made in Italy.

This is not to say that the entire book is riveting to people who aren’t conversant in physics. For the science-impaired, it can go from fascinating to bewildering in the span of 10 seconds. I have lived many decades on this planet without once using “muon” in a conversation and don’t expect that to change even though I now know that muography is a thing and muons are apparently going to assure the structural integrity of our bridges in the future.

And while I understand in principle the importance of the Large Hadron Collider, which in 2012 confirmed the existence of the Higgs boson particle, I take it on faith, much like I take on faith that my air fryer will not explode no matter how loud it gets.

Disappointingly, Sheehy did not help me to wax eloquent on these subjects, nor did she convince me that with just a little more study I, too, could explain the Standard Model of particle physics to an innocent bystander.

That said, I am a little bit smarter for having read this book, my eyes having been opened to many more things that I know embarrassingly little about. There are about 13,000 particle physicists in the world, and they are just like you and me except that they spend their time using ion traps to mimic particle accelerators. Whatever that means. B

Album Reviews 23/01/26

keep calm stay home, A Theme For… (Give/Take Records)

I know how much a good percentage of my readership loves The Beatles, even if I don’t so much. I only bring it up because the artist in question here, London-based composer Oli Morgan, is the mastering engineer at legendary Abbey Road Studios, the 90-year-old space where The Beatles cut, you know, the Abbey Road album. That’s some cred, for sure, but Morgan hasn’t been using it to record bubblegum songs; he’s all about ambient soundscapes, using techniques he used while working for big shots like Elton John and Seal. This one took him long enough, and it’s only five songs clocking in at a total of 17 minutes, but it’s a quantum leap from the ambient stuff that ends up on this desk. The title track, for instance, has an advanced art-rock feel, starting with a History Channel-inspired let’s-explore-this-giant-underground-cavern feel before suddenly shifting into an IDM/noise-rock joint. “Unrest” is more droney, almost gothic in the way it resembles stuff I’ve heard from Noise Unit. Well worth your time if you need to get lost in really thick layers of melodically usable techno. A

Die Oberherren, Die By My Hand (Svart Records)

This LP is described as “the product of Joakim Knutsson’s dissatisfaction of a genre which has gone totally down the drain,” meaning goth rock, which means he may have never heard Front Line assembly and all that stuff, but you know the drill: any angry goth-rebel palomino is a pal-o-mine-o. It streets this week, this debut LP from a six-piece Swedish band that wants to appeal to “metalheads, synth aficionados, rockers and shoegazers” but that also believes goth peaked in the 1980s. The record lifts off with “The Horned One Stabs,” a tune that does remind us that bands like Sisters Of Mercy are sorely missed, and that’s no understatement; in other words the tune is basically what you’d hear if you took everything about SOM’s “Lucretia My Reflection” and rearranged the parts. “By The End Of The Shore” adds some Fields Of The Nephilim gloom-pop to the SOM trappings and voila, very enjoyable if in no way groundbreaking. They have my blessings, certainly. A

Playlist

• So yo, the next general-release date for music CDs is Jan. 27, just a couple more months of winter horror left to go. Aaand terrific, I don’t know any of the artists dropping new product this Friday, so I get to — OK, wait, here’s one, Truth Decay from none other than You Me at Six, the British five-piece band that’s sort of half-emo and half-Creed insofar as temperament. You may have seen them on Warped Tour or whatnot, playing alongside Fall Out Boy and all those guys; chances are — if you usually do things like attend keggers and have a glass muffler on your car — that you’ve probably subjected yourself to their sort-of-hit single “Bite My Tongue” on many an occasion, but let’s just forget that, because a new and improved YMAS is here, to drop some fresh hot tracks! One hot track that got dropped for all you homeslices a few months ago was “Deep Cuts,” in which our intrepid heroes dabble with a Red Hot Chili Peppers sound at the beginning and then remember they’re trying to be Panic! At The Disco and so on and so forth. There’s another song for you to preview out there as well, “Mixed Emotions (I Didn’t Know How To Tell You What I Was Going Through),” which isn’t all that bad, a little like Hoobastank trying to emulate Aerosmith. It’s OK, but the video’s pretty dumb.

• Still on a British music tip, Sam Smith is a singer-songwriter who won fame in 2012 by featuring on Disclosure’s breakthrough single “Latch,” which peaked at No. 11 on the U.K. Singles Chart, according to Wikipedia — in other words you probably have no idea who we’re talking about here but that’s OK. Ha ha, this genius released a tune in 2014 called “Stay With Me” that was pretty good, but only because it sounded like Tom Petty’s 1989 hit “I Won’t Back Down,” but the party ended early, when Petty himself noticed the similarities between the hooky parts of the two songs (namely that they’re exactly the same except for the lyrics) and promptly sued the little rascal and settled out of court. But hey, come on, everyone accidentally steals from Tom Petty, you know that, so let’s cut Smith some slack and waddle off to YouTube to listen to “Unholy,” the latest single from their new album, Gloria. This track features German singer and popular trans figure Kim Petras (who received international media coverage that touted her as the “world’s youngest transsexual”). It’s a U.K.-garage-and-King Tut-tinged diva extravaganza that’s kind of fascinating, not that there seems to be any point to it whatsoever, but, well, there you are.

• Garage rock dude King Tuff is from our neighboring state of Vermont, where he makes garage rock records for the Sub Pop label. He looks like your average everyday popcorn seller at the local Comicon, all beard and unattractiveness, but that makes him more edgy than most, as who would want to be seen like that. He’s also the singer and guitarist of stoner-rockers Witch, and used to be in Ty Segall’s backing band The Muggers, if any of that means anything to you, but meanwhile the hot new beats he’s about to drop are compiled on a new album called Smalltown Stardust, the title track from which is sort of unplugged Nirvana meets Beck or something of that nature. The video is kind of neat, he’s hanging around this colorful Sesame Street kind of sidewalk playing a piano and fondling an actual rat. Yay randomness!

• And to end this week’s thing, let’s check out Electrophonic Chronic, the latest LP from U.S. garage rockers The Arcs. Led by Black Keys singer Dan Auerbach, the single “Keep On Dreamin’” is a cross between Flaming Lips and Wilco. It takes guts to be that lazily viable and relevant, you have to admit.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

Life on Delay, by John Hendrickson

Life on Delay, by John Hendrickson (Knopf, 272 pages)

Since childhood, journalist John Hendrickson has had a severe stutter — or, as the condition is formally known, severe “disfluency.” His stutter was so pronounced that once, in a school play, he had been assigned to say three words: “place,” “sound” and “celebration,” with meaningful pauses between each word. He couldn’t do it, even when the assignment was reduced to one word. He wound up being the only kid on stage who didn’t have a speaking role.

This was one of countless embarrassments in Hendrickson’s memories about his stutter, memories that followed him into adulthood, even as he forged a career writing for respected publications like Esquire, Rolling Stone and The Atlantic. “I wish I could pinpoint the moment that shame changed from something that periodically washed over me to something I lug around every day like a backpack,” he writes in his memoir Life on Delay.

Although disfluency affected every aspect of Hendrickson’s life, it was something that wasn’t talked about by his family, at least not in productive ways. His mother took him regularly to speech-language pathologists, his father believed that it was a passing problem that he would outgrow, and his older brother cruelly made fun of him. It wasn’t until after Hendrickson wrote about Joe Biden’s speech impediment for The Atlantic in 2019 that he began a journey to acceptance and healing that is the focus of this book.

Biden has spoken often about overcoming a childhood stutter; Hendrickson called him out on the fact that it still exists in the piece, titled “What Joe Biden Can’t Bring Himself to Say.” In the piece, Hendrickson wrote not only about Biden’s struggle with disfluency, but also his own. It wasn’t the first time that a moving account of stuttering caught the general public’s attention; the film The King’s Speech has done so, as well as Katherine Preston’s book Out With It. Celebrities such as John Stossel, Samuel L. Jackson, Carly Simon and Ed Sheeran have dealt with stuttering and spoken about it openly.

But Hendrickson’s account resonated, not only with the 3 million or so Americans who stutter (70 million worldwide), but also with the people who love them. His inbox quickly filled up with poignant emails from people who wanted to share their stories, in large part because they had previously felt so alone in their struggles.

Stuttering, as Hendrickson points out, can be painful not only for people with disfluency but also for those around them. (Hendrickson once was turned down for a job at a coffee shop by an owner who said the shop was “a place where customers feel comfortable.”) There will always be jerks who respond cruelly, and those who are impatient and unwilling to be uncomfortable even for a short time; Hendrickson writes of what he calls “The Look” that crosses people’s faces when they realize he has trouble communicating.

But even people who are empathetic blunder when talking to someone with disfluency. “Have you ever told a stutterer to take their time? Next time you see them, ask how ‘take your time’ feels,” Hendrickson writes. “‘Take your time’ is a polite and loaded alternative to what you really mean, which is ‘Please stop stuttering.’”

He and many other stutterers also hate when people, in an attempt to be helpful, cut them off or try to answer their own questions for the stutterer.

While it is true that around 75 percent of childhood stutters will resolve by adulthood, Hendrickson doesn’t seem to think that’s because of interventions provided by speech-language pathologists; there are 150,000 or so of them in the U.S., but only about 150 are board-certified in stuttering. Speech therapy offered to children may give them strategies and their parents hope, but most children who still stutter at age 10 will continue to do so to varying degrees throughout adulthood, he says. And he is dubious of even world-famous clinics that boast of “cure” rates exceeding 90 percent.

At some point, he says, achieving fluency is not a viable goal. He quotes a speech specialist who says that people’s lives often change dramatically not because of sudden improvement in their disfluency but because they encounter “people who cared about them, who didn’t care about the fluency of their speech, but the content of what they were saying, and expressed to them that total acceptance.”

Hendrickson writes movingly of the small indignities of stuttering which stem from things that most people take for granted — the ability to place an order at a restaurant, to record a voicemail, or even introduce yourself to another person. He quotes a fellow stutterer as saying, “I would love the ability to go around and say hi to people and not feel the world was about to end.”

But although the narrative is encased in difficulties which relatively few people experience, its broader theme is more universal: healing from childhood and family dysfunction.

While conducting interviews for the book and getting to know stutterers around the world, Hendrickson also opened the Pandora’s box of his own childhood and adolescence, going so far as to interview teachers and friends from the past about how they remembered him and how his struggles affected them. His reporting also forced him to confront his parents and brother about their mistakes in progressively difficult conversations. As such, his story is one to which many people will relate even if they don’t know anyone who stutters.

Sometimes books that bloom from popular articles seem contrived, an unnecessary expansion that does little more than make money. That’s not the case with Life on Delay, which opens a window beautifully into human struggles that often go unseen. It is the rare sort of book with the potential to make us better human beings. A

Album Reviews 23/01/19

We Are Scientists, Lobe (Masterswan Recordings)

You may remember this New York City-based indie-rock band first surfacing in 2005 with their debut LP With Love And Squalor, a sturdy record that did well for sounding like a cross between Killers and Tokyo Police Club (I know, there’s not a terribly wide difference there aside from the energy levels, which is what I really mean). I remember not being blown away by them, but they were fine, no problems. On this, their eighth full-length, they’ve thrown off the self-imposed adherence to Aughts-era “polite-noise” that made the whole decade so loathsome and have matured into something quite remarkable, a sort of neo-post-punk thing that — at least I’d think — will be genuinely adored by the 50-ish Gen Xers of their age group (I’m sure it’s refreshing not to act 10 years younger than they are). What do I mean? Well, opening tune “Operator Error” is a great one, like an evolved version of something Mr. Mister would have tossed up as a single. “Human Resources” is even more rich and delicious, evoking Tears For Fears 2.0, and such and so. This one deserves a lot more attention than it’ll get. Shame about that. A+

Dust Bowl Faeries, Carnival Dust (self-released)

These guys had me at “Hudson Valley, NY’s goth, rock, cabaret, vaudeville, and folk [band],” a combination of descriptors that the world needs much more of. As you’d expect, this quintet is visually appealing to cynical outcasts: guys dressed like beer-barrel polka-meisters; cute girls with plush antlers on their heads, but like someone (OK, everyone) once said, the proof is in the listening, and this six-song EP has all the necessary boxes checked, I assure you. Accordion-fueled oom-pa-pa in “Cuckoo”; Decemberists-tinged furry-pop in “Changeling”; a creepy campfire mumble-along (“Medicine Show”); vintage spooky-ghost-whistling in “The Old Ragdoll” — this bunch isn’t kidding around, especially in the video for “Lost in Time,” which rattles off every steampunk trope like it’s a test. Bandleader Ryder Cooder (apparently no relation to Ry) got Melora Creager of Rasputina to help produce this act’s first album and hasn’t looked back; if you’re a frequent attendee at spooky-cons, you’d better get on board fast. A+

Playlist

• You have got to be kidding me. The next general-CD-release date is already Jan. 20? How did that even happen? I mean, I don’t have a problem if this dumb winter wants to fly me right out the window and land me in a nice greasy beach Snack Shack staring down the barrel of a fried seafood platter, let’s do this. I’m already ready, since I hate everything about skiing and/or generally slipping on ice like a funny dancing clown on my way back into the house to gulp quarts of hot cocoa and try to find something decent on Netflix (there isn’t, and I should really just cancel my subscription right this minute, seeing as how I’m all set forever with gross serial killer mysteries with Finnish voice overdubs and people acting all nice and European and normal). Yessiree Bob, get me out of this insane frozen tundra post haste and serve me clams, fast-forward this crazy thing, but for now we shall suffer through these frozen winds, freshly blown onto our faces from Canadian igloos, and go check out some of these albums. I think we should start with British synthpop girls Ladytron, because the last I heard from them they were sort of a one-trick (albeit sexy, mind you) goth-tinged synthpop band that did little to differentiate themselves from mid-aughts euro-club acts like Miss Kittin and all that. With “Misery Remember Me,” the single to their new one, Time’s Arrow, though, I’m hearing a definite shift to traditional shoegaze — crank the reverb and the emotional unavailability, bake at 300 and serve. The beat is quite nice; now let’s see if I can find something I can actually mock.

• According to Wikipedia, Dave Rowntree is, let’s see, an English musician, politician, solicitor, composer and animator. Wait, did I take wrong turn at somewhere, oh OK, never mind, he’s the drummer from famous oi/pub band Blur, meaning Rowntree got his political campaign seed money by way of royalties from the ridiculously overrated Madchester, uh, classic, “Parklife” (think of a song that’d be in the buds of a gang of football hooligans who’re chasing Mr. Bean around a sleepy British burg and you’re there). But ours is not to tool on Blur’s oeuvre or find fault with British politics (if they have any). Nay, we’re tasked with looking at Rowntree’s debut solo album, Radio Songs, and trying to justify its ever being made. OK, listening to rope-in single “Devil’s Island,” I have nothing in the way of good news. There’s a kind of dumb synth line, ably made worse by an off-time clicking noise, and Rowntree talk-sings like the guy from Psychedelic Furs. It would probably be listenable if you were having a few “pints” at a pub in Lancashire On Whatever, but American audiences will listen to it and simply say, “Oh, a new Elvis Costello song I think,” and that’s why America rocks.

• Oh great, another album from Guided by Voices I have to deal with, it’ll never end, friends. This one’s called La La Land, and as always, it will consist of the last 20-odd songs that came to hilariously over-prolific songwriter Robert Pollard whilst he was in the water closet. You know the drill, it’s like King Gizzard, this guy puts out an album every three months, and the single from this one is “Queen of Spaces,” made of an acoustic guitar arpeggio that’s OK, then he sings and it sounds like he’s eating a Twinkie while he’s warbling like a half-sober Tom Waits. OK.

• Lastly we have July Talk, with their new LP, Remember Never Before. The rollout single is “After This,” an ’80s-tinted dance-chill number that will make you think of A-Ha, as if you didn’t already have enough difficulties to deal with.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

At the Sofaplex 23/01/12

Strange World (PG)

Jake Gyllenhaal, Dennis Quaid.

This Disney animated feature introduces us to Searcher Clade (voice of Gyllenhaal), who, when he was a kid, was forced, like it or not, to join his famous father, Jaeger Clade (voice of Quaid), on his explorations to find a path beyond the mountains that surround (and keep cut off) their city-state. On one exploration, Searcher discovered pando, the electrified fruit that becomes a source of power to their previously horse-and-buggy world. Jaeger was uninterested and plunged alone through the mountains.

Twenty five years later, Searcher is a successful pando farmer and himself the father of teenage son Ethan (Jaboukie Young-White). Searcher farms, his wife/Ethan’s mom Meridian (voice of Gabrielle Union) flies a crop duster and Ethan dreams of a life doing something else — maybe exploring like the grandfather he never knew.

Searcher wants nothing to do with exploration, but when president (and former expedition member in his dad’s explorations) Callisto (voice of Lucy Liu) shows up on Searcher’s farm, it looks like he might have to hit the trail once again. Across the land pando plants have been dying and Callisto needs to find out why to save everyone’s modern way of life. They discover that pando isn’t separate plants but one big plant and decide to follow a hole deep in the earth to find the source of the plant and see if they can figure out what’s killing it.

Naturally, Ethan stows away on the subterranean ship making the journey and Meridian shows up to tell Searcher that Ethan is there, putting the whole family on the trip into the mysterious deep and the Strange World they find there.

Where and what is this Strange World? I kind of feel like if you’ve been through middle school biology you’ll know pretty quickly, thus making the wait for the reveal feel extremely draggy (and the very straightforward “here’s what’s been happening” explanation is oddly deflating of the cool concept).

I get now why this movie, which spent like a minute in theaters around Thanksgiving, had such odd, vague marketing. To explain the story feels like you are tangling yourself up in details and characters and themes. Strange World has some beautiful visuals, moments of action and an interesting central quest but it also has a lot of talking about characters’ feelings and motivations and parent-child relationships. Like, a lot of talking. Those text-heavy scenes, often between adult characters, slow down the action and make the movie feel less kid-compelling. By its nature, the setting of the movie doesn’t lend itself to lots of high-personality new creatures and characters (we get one, basically, which, as a character in the movie calls out, feels like it’s primarily there for merchandising purposes), leaving only the humans. Sure, I thought to myself, this is a lovely reminder to me, a grown parent, to listen to my kids and their dreams and ambitions without imposing my ideas about what their dreams should be. But what are my kids going to do during the moments that inspire these thoughts? In my experience, that’s when they go to the bathroom or start searching for another screen to watch until the action starts up again. B- Available on Disney+ and through VOD.

Born to Run 2, by Christopher McDougall and Eric Orton

If starting (or restarting) an exercise program is one of your new year resolutions, Christopher McDougall can help you achieve it.

McDougall, a former war correspondent for the Associated Press, fell into a second career when he started writing about running. His 2011 book Born to Run had the effect of an incendiary device in the running community because it challenged the notion that runners need expensive shoes. Now he is back, with Eric Orton, for Born to Run 2.

Like the first book, which examined the athletic prowess of members of a tribe who can run for hundreds of miles without the accoutrement that most modern runners think they need, Born to Run 2 introduces us to some fascinating people, like a woman who was formerly 300 pounds but now runs regularly as a form of prayer. But this is essentially a training manual for regular people, especially people who have been told they can’t run, and people who find running tedious or hard.

McDougall argues that running is a natural state for the human body — “if it were difficult, we’d be extinct.” The earliest humans — for whom running was an occupation, not an interruption of the day — were able to survive in unforgiving circumstances not only because of their brains, but because they were able to run long distances. They weren’t faster than the animals they pursued, but since they could sweat and their prey couldn’t, they could outlast them by running until the animals collapsed. “Evolution doesn’t reward pain; it rewards joy,” the authors argue. For the modern human, “If it feels like work, you’re working too hard.”

Or running all wrong.

Most runners, even longtime ones, run wrong and in shoes that bring on injury. McDougall and Orton are particularly critical of the “squishy” shoes that are all the rage. While shoes that are padded and gel-packed may feel comfortable to stand in, they too much separate the foot from the ground, making our feet land unnaturally and preventing us from feeling the useful discomfort that should be the signal to run differently. They are equally disdainful of much common running advice:

“‘Listen to your body’ may be the only fitness advice more useless than ‘We are all an experiment of one.’ You and your body don’t speak the same language. You have no idea what each other is saying,” they write. “Your body still believes that on any given day it needs to run to find a mate, or fresh water, or a safe hideaway for the family before glowing eyes emerge from the dark.”

What advice does work? McDougall and Orton break it into seven fundamental steps: food, fitness, form, focus, footwear, fun and family. Yes, a cynic might say the sum total of the advice can be reduced to “eat less, exercise more,” but they offer counterintuitive, actionable steps to help us get to that point whether we are beginners or veteran exercisers who need a reboot.

For example, they point out that most runners focus on how they can run longer, not how they can run better (which would lead to running longer, and without injury). To run better, they maintain, takes all of 10 minutes to learn — in the comfort of your home, barefoot, with music. Your natural running form emerges when running in place, back to the wall, to songs set to a certain number of beats per minute — they recommend “Rock Lobster” by the B-52s, but they also offer other choices such as The Beatles’ “Help!” and Led Zeppelin’s “Rock & Roll.” Once you can feel how you’re supposed to run, it’s just a matter of practice out on the road or trail, they say.

They also promote a lifestyle full of what they call “movement snacks” — bite-sized stretches and movements throughout the day to keep us limber and emotionally in check. “The more you move, the more emotionally safe you’ll feel. The safer you feel, the happier and less anxious you’ll be.”

As for food, they advocate a diet heavy in sustainably sourced meat and cheese. “There is no ethical argument that can be made in support of commercial meat production,” they write, but with our carb- and sugar-rich diets today, our bodies have forgotten how to use fat as fuel, which is why so many people are obese. They prescribe a two-week “factory reset,” eating no foods that are high glycemic.

And of course, they take on running shoes, which they call “the most destructive force to ever hit the human foot.”

“If the Food and Drug Administration were in charge of running shoes, they’d be announcing a recall and yanking them off the shelves,” they write, citing a study that found people who ran in expensive running shoes bought after a gait analysis at a running-shoe store suffered five times as many injuries as people who hadn’t had that kind of “help.”

Minimalist shoes, however, had a short shelf life, and there’s little pleasure in running barefoot in New England in winter. There are some brands the authors recommend that can be ordered online, but at minimum, they recommend taking out the insole liners of your current shoes for immediate improvement. McDougall and Orton also offer advice on a number of other running topics, including best practices for running with dogs.

Some of their recommendations may be radical, but Born to Run 2 is engaging and for the most part convincing. It can be read without having read the first book, but for maximum inspiration, start with the first and proceed to the second. B+

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