by Caroline Gutmann ‧ RELEASE DATE: Aug. 1, 2001
A revelatory look into Lamaze writ large—the man and the arduous process that gave birth to his pain-reducing approach....
An unexpectedly engrossing portrait of Fernand Lamaze and the road he took to make universal his method of painless childbirth, fashioned in novelistic style by his granddaughter Gutmann.
Working from interviews, family documents, letters, diaries, and notebooks, Gutmann has drawn an intriguing picture of Lamaze, starting with his move from Nancy to Paris as a young medical student and following him through the absinthe-and-brothel nights that preceded his years in the army, his service in WWII, and his return to Paris and subsequent marriage to Louise. Penury forced Lamaze to abandon the study of neurology and take up obstetrics. Although he became a notorious philanderer, his heart was clearly in the right place as far as his work was concerned, and he financed his treatment of poor and working-class women through the success of his growing practice among the city’s wealthy. Gutmann is plainly fascinated by Lamaze’s extramarital activities—at one point the good doctor had a several mistresses living in his apartment building (and dining at his table) at the same time, because he preferred to be honest about the whole situation—but Lamaze’s conviction that the pain of childbirth could be all but eliminated without chemical intervention is the story’s focus. Hints came to Lamaze when he learned that women in Hawaii actually gave birth with a smile on their lips; he also discovered that in the Soviet Union a painless-birthing technique was being developed that took its cues from the research into reflexive conditioning of Pavlov and Velvoski. Petty rivalries in the medical profession slowed him, as did the Cold War—but Lamaze’s greatest obstacle was the deeply held belief that suffering had to attend childbirth: So inoculated for generations, women inevitably created a uterine contraction that was painful. Gutmann also makes it clear that the Lamaze method is not an easy six-step technique, but a pregnancy-long humanistic process involving the doctor, midwife, and partner—and that insurance companies are not prepared to pay for.
A revelatory look into Lamaze writ large—the man and the arduous process that gave birth to his pain-reducing approach. (8-page b&w photo insert)Pub Date: Aug. 1, 2001
ISBN: 0-312-26190-X
Page Count: 240
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2001
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by Robert Heide & John Gilman ‧ RELEASE DATE: Dec. 2, 1994
Dedicated to the great merchandising empire of The Mouse between 1928 and 1958, this book looks at Mickey Mouse books and magazines (yeah, watches, too); Donald Duck castile soap figures; Bambi pencil sharpeners (ouch); rubber Dopey dolls; and Goofy wind- up action toys. And it does it with a straight face, which the gazillions of dollars spent on the stuff no doubt warrants. The authors, who write frequently on pop culture, tell the story of Disney merchandising and how the company used its characters during WW II for army training films and for morale on the home front. (The illustration for the sheet music of Oliver Wallace's ``Der Fuehrer's Face'' shows the intrepid Donald Duck flinging a giant tomato, pow!, right in der Fuehrer's face.) A time capsule of images and characters that are an integral part of American culture, the book is a testament to an even more integral part- -merchandising (exemplified by the book's publisher itself; Hyperion is a division of Disney Book Publishing).
Pub Date: Dec. 2, 1994
ISBN: 0-7868-6054-5
Page Count: 200
Publisher: Hyperion
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1994
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by Wynton Marsalis & Frank Stewart ‧ RELEASE DATE: Dec. 1, 1994
Marsalis writes as elegantly as he plays the trumpet, so fans will doubtless enjoy his atmospheric musings on playing jazz across America, nicely complemented by photographer/filmmaker Stewart's glamorously black-and-white photos. Less indulgent readers may notice that there's not much new here: the usual tributes to band members (``one of the finest musicians in the world,'' ``a great jazz musician,'' etc.), remarks on the grinding travel routine (``the road is an endless series of `Are we here?' ''), and bouquets to the audience (``What I really love about meeting people we have played for is the range of personalities''). Also not new are Marsalis's bad-tempered putdowns of popular culture other than jazz—music videos are ``visual projections of the purest ignorance and worst intentions,'' and he decries ``young sensibilities slowly destroyed by the alpha-wave onslaught''—though he claims to like rap. Marsalis is a lot more appealing when he gets off his soapbox and concentrates on extolling (with considerable eloquence) the music he loves.
Pub Date: Dec. 1, 1994
ISBN: 0-393-03514-X
Page Count: 192
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1994
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