This slim but potent book is tremendously important and informative not only for those considering nasal surgeries, but for...

READ REVIEW

HAVING NASAL SURGERY?

DON'T YOU BECOME AN EMPTY NOSE VICTIM!

School psychologist Martin explores a little-known condition that has lifelong detrimental effects.

In direct, instructive language, Martin examines the devastation of Empty Nose Syndrome (ENS), a term coined by a Mayo Clinic physician in 1994. ENS is characterized by a “cluster of symptoms” that occur after too much of the airflow-regulating bony structures in the nasal cavity called turbinates are surgically removed, usually from efforts to assuage sinus pressure, headaches or nasal stuffiness (“turbinate reduction” surgery). The author believes that post-surgery, people with ENS go on to experience a wide array of harrowing symptoms including nasal dryness, sleep disturbances, excessive mucus, nosebleeds, diminished sense of smell and fatigue. Martin became an ENS sufferer after an overly aggressive partial turbinectomy performed in his late teens to improve a chronic nasal inflammatory condition. But before his ENS diagnosis, Martin endured numerous allergy injections, CAT scans, bacterial infections and the possibility of additional surgery. Determined to find answers, the author channeled his disillusionment, anger and psychological distress into increasing awareness about the condition and by positively dedicating (and educating) himself on the possibly devastating side-effects of nasal surgery. His comprehensive research has produced illustrations, tips, charts, glossaries and case studies about ENS, all presented in a straightforward manner, making the information more accessible to average readers with limited medical knowledge or experience. Martin smartly counterbalances the negative experiences (and clinical politics) of ENS with a host of beneficial natural remedies (chicken soup, humidifier, etc.), non-surgical options, as well as a chapter on the author’s own approach after suffering the debilitating effects of ENS. He had enlisted an ear, nose and throat physician to attach two restorative implants inside his nasal cavities, a procedure he advocates as beneficial in improving his own quality of life.

This slim but potent book is tremendously important and informative not only for those considering nasal surgeries, but for the specialists who perform them.

Pub Date: Aug. 30, 2007

ISBN: 978-1-58385-197-5

Page Count: 236

Publisher: N/A

Review Posted Online: May 23, 2010

Did you like this book?

No Comments Yet

DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

Did you like this book?

No Comments Yet

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

Did you like this book?

more