From the author of The Forgotten Plague (1993), which sounded an alarm about the resurgence of tuberculosis, comes another dire warning, this time about the threat of new plagues from emerging viruses. Ryan, a member of both the Royal College of Physicians and the New York Academy of Medicine, painstakingly chronicles numerous outbreaks, including those of hantavirus in the American Southwest in 1993, Ebola virus in Sudan and Zaire in 1976 and in Reston, Va., in 1989, and, of course, HIV. In addition to recounting the grim details, he examines the circumstances under which these new, lethal viruses have emerged and proposes an intriguing explanation of what is going on. Ryan's theory is that viruses have co-evolved with their feral hosts, with which they have developed a symbiotic relationship. When a rival species, such as humankind, intrudes on the host's environment, the virus attacks the invader. Vast numbers of viruses exist in the rainforests of the world, as well as in the grasslands and the oceans, and as deforestation, agricultural intrusion, and coastal pollution continue, humans can expect to encounter them. As yet, no new virus has been both lethal and highly infectious; however, if one were to emerge that combined these two characteristics—as deadly, say, as HIV and as contagious as the common cold—the result could be a pandemic of catastrophic proportions. He urges increased international cooperation to reduce abuse of the environment, and he calls on governments and the medical profession to get ready now for the very real danger posed by a new viral pandemic. Detailed, Berton RouechÇstyle accounts of medical detection in support of a powerful doomsday warning. (8 pages b&w photos, not seen) (Radio satellite tour)

Pub Date: Feb. 3, 1997

ISBN: 0-316-76383-7

Page Count: 448

Publisher: Little, Brown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 15, 1996

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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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