A clear-eyed view of psychiatric disorders and how drugs may help, Drummond’s guide recognizes both the complexity of the subject and medicine’s inadequate understanding of the underlying physiology.
Psychiatrist Drummond points out at the start that psychiatric problems are not like other medical problems. First, there is so much unknown about causes and treatments (even the mechanisms of some treatments considered standard are not fully understood); and second, people vary infinitely both in their psyches and in their responses to treatments. Above all, considering the level of distress that is present before most people even seek out a psychiatrist, it is almost impossible to act as an informed patient. “Trying to manage their distress, talk to a doctor they’ve never met before about intimate details of their lives, understand what the doctor is saying about their problems, learn about the different treatment options, and decide between different medicines that are completely unknown is extremely difficult.” Drummond never oversimplifies here, first considering “The Myths about Medication” (media reporting on psychiatric issues is notoriously unreliable). Part II (“Is Medication for You”) makes clear the complexity of this decision and offers guidelines for the process. Part III describes the various psychiatric syndromes and their treatment, and Part IV offers a detailed, alphabetically arranged guide to the medications (including alternative remedies).
What we don’t know, what we do know, and how best to proceed—an invaluable guide for those in a supremely difficult spot.
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)