A compact resource that addresses the typical concerns of those who care for the elderly.
Edwards (Flip Flap Floodle, 2004) draws on 14 years of personal experience caring for her aged mother, plus additional research, to provide a survey of issues that affect people thrust into similar roles. She poses questions and discusses the factors that affect what level of care an elder needs. However, when she tackles the subject of assisted-living and skilled-nursing facilities, it highlights the inherent challenge of writing this type of book. Regulation of such facilities varies from state to state, limiting how detailed and specific such advice can be, and there’s similar variation regarding medical care, insurance, wills, probate, and other, related matters. Edwards plows many furrows, most not very deeply. Twenty-one brief chapters span the logistical, medical, financial, legal, interpersonal, social, emotional, and spiritual issues that arise when one adult becomes responsible for another. Sometimes they cover subjects in only one sentence: “Support Groups: People join support groups to share experiences and common concerns, learn coping skills, and to give each other emotional support and comfort.” As a result, this is really a book of lists with some items expounded upon a bit more fully. Edwards offers readers dozens of sources for additional reading and provides endnotes; an appendix includes charts and forms to log information regarding schedules and medications. Overall, the book is strongest when the author shares tips from her own experience providing in-home care and when discussing communication—between the caregiver and elder, with health providers, and with substitute caregivers. In these moments, she effectively shares practical methods and systems that worked for her. The prose is conversational in tone, breezy at times, but clear throughout; readers who have already used hospice care, for example, will find her descriptions spot-on. She approaches every discussion, from relationships to religion, in an inclusive, nonjudgmental manner, and her hard-earned empathy shines through.
A quick, accessible introduction for new caregivers.
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)