A handy guide for health care professionals seeking to improve patient communication and care.
Written by a group of doctors, clinical psychologists and health care providers at the Cleveland Clinic's Lerner College of Medicine, this manual is “predicated upon the belief that the relationship between a physician and patient has the capacity to heal,” which leads to greater job satisfaction for providers. Good communication, according to the authors, depends upon an authentic relationship between the patient and health care provider. The first chapter provides an overview of “relationship-centered communication,” citing the work of the Cleveland Clinic Center for Excellence in Healthcare Communication, which developed the “relationship establishment, development, and engagement” model for communication. The REDE model highlights “the developmental nature of relationships and recommends specific skills to foster a personal connection” between doctor and patient. For example, the REDE model advises providers to show empathy using SAVE—support (“I’m here for you”), acknowledge (“This has been hard for you”), validate (“Anyone in your position would feel upset”) and emotion naming (“You seem sad”). The remaining chapters discuss time and emotional management in the medical interview; how to assess a patient’s health literacy; how to use Electronic Health Record technology without harming the doctor-patient relationship; how to interview a patient when his or her companion is present; and how to screen for violence and demonstrate cultural sensitivity. Each chapter also includes a skills checklist, guiding questions and a topical summary, making this a quick and practical resource for providers. Not intended to replace textbooks on patient communication, this well-footnoted guide nevertheless serves as a handy reference that will remind health care professionals of the best approaches to take with their patients. The quick tips, mnemonic acronyms and mantras—e.g., find the “heart of the visit”—will make the medical interview and doctor-patient relationship seem natural and easy.
An invaluable guide to acquiring the kind of bedside manner that fosters happier and healthier patients, not to mention gratified health care providers.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)