Women have evolved past the need for menstruation, goes this questionable argument, and now should be relieved of the problem of an unnecessary monthly loss of blood. Coutinho (Gynecology, Obstetrics and Human Reproduction/Federal University of Bahia School of Medicine in Brazil) first advanced this startling opinion in a 1996 Portuguese edition of this work. Here he teams up with Segal (Distinguished Scientist at the Population Council in New York) to make the case that “recurrent menstruation is unnecessary and can be harmful to women. It is a needless loss of blood.” Biologically, the authors contend, women were designed to live shorter lives and to spend most of their reproductive lives pregnant or lactating, and so not ovulating. Longer human life spans and many fewer children mean more menstrual cycles, more cycle-related illnesses, an increased risk of such dangerous diseases as ovarian and endometrial cancers, and a serious worldwide problem of female anemia. “The attitude that menstruation is a ‘natural event’ and therefore beneficial to women has no basis in scientific fact,” conclude Coutinho and Segal, who therefore advise using long-acting contraceptives or continuously using oral contraceptives (with no monthly break to allow pointless bleeding) to achieve “freedom from menstruation.” “Under proper medical supervision,” they further suggest, “it can also be attained through natural means such as a conscientious regimen of rigorous exercise.” It’s difficult to imagine a world in which women would have the time for an exercise regimen of the level required to stop menstruation (literally hours each day), more difficult still to imagine this entire argument holding much appeal or even interest for readers of either sex.

Pub Date: Oct. 1, 1999

ISBN: 0-19-513021-9

Page Count: 208

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 15, 1999

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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