An enthralling reminder that behind every medical advance are the people whose lives it affects and that their stories have...

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YOU CAN STOP HUMMING NOW

A DOCTOR'S STORIES OF LIFE, DEATH, AND IN BETWEEN

An unflinching report from the front lines of critical care medicine, a technology-driven field in which doctors routinely save patients’ lives—sometimes at great cost to their physical and mental health.

Incredible advances in medical technologies and treatments have created a new class of patient: those who survived a significant illness because of an emergency intervention. Such interventions may include surgery to help your lungs breathe, your heart pump blood, or your kidneys process waste. Often, a machine keeps you alive. Only a minority of patients who undergo such procedures make it home, and even fewer return to lives that resembled those they lived before they spent time in the hospital. Yet critical care gives patients and their families hope, and many people choose without hesitation to undergo any procedure that may extend their lives. Lamas, a critical care doctor and faculty member at the Brigham & Women’s Hospital and Harvard Medical School, moves beyond the hospital to tell the stories of these survivors. Through beautiful storytelling, she traces the lives of patients after the initial relief of being alive is shadowed by the new reality of recovery and self-care. One mother waited years to receive a lung transplant and would have died waiting were it not for a machine that could oxygenate blood outside of her body, bypassing her lungs and heart. Then there is the popular neighborhood father who would do anything for a new kidney and a grandfather who plugs into the wall every night to keep his heart pumping blood so he can get to know his grandson. Without exception, each of the people the author met is exceptionally motivated to make the most of his or her second chance. Their stories are heart-rending and inspiring, and it is evident that Lamas is deeply moved by the consequences of the actions she and other doctors take every day.

An enthralling reminder that behind every medical advance are the people whose lives it affects and that their stories have impact.

Pub Date: March 27, 2018

ISBN: 978-0-316-39317-1

Page Count: 256

Publisher: Little, Brown

Review Posted Online: Dec. 24, 2017

Kirkus Reviews Issue: Jan. 15, 2018

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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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

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