Insightful parenting tips for achieving understanding, empathy and healthy human development.
In this warm, wise and often witty book, debut author Hulton offers clearheaded insights and methods she’s learned while counseling exhausted, perplexed parents as a mental health counselor and psychoanalyst. This six-part handbook’s most valuable attributes are its lack of condescension and its nonauthoritarian mission “to teach all parents to trust empathy and in so doing to break out of Parent Fatigue Syndrome.” That syndrome, she writes, is caused by relying on “conventional wisdom”—the “spare the rod, spoil the child” tradition and trendy contemporary advice that stresses achievements and can make parents feel like failures. Concise, explicit information will enable readers to develop individualized practices. The author discusses children’s essential needs, developmental milestones (such as attachment and breaking away) and ideal school experiences (such as the individualistic Reggio Emilia approach). She also includes practical, fun therapy methods (such as sock puppets and sand trays), plus an index. “There really is no one way to parent,” claims Hulton, and she sprinkles generous references throughout to works by child development experts such as Haim Ginott, Robert Karen, T. Berry Brazelton, Penelope Leach and Maggie Scarf. Mindful of recent school shootings, she stresses the importance of raising compassionate global citizens and recognizing the societal danger of “empathy erosion.” Empathy, she says, doesn’t mean excusing or accepting bad behavior: “It is the reflection of another’s emotional experience so that they feel understood—understood well enough to feel that they are part of the world in which they live so that alienation does not become a slowly spreading cancer in their soul.”
A highly recommended work that shows that parenting can be a rewarding lifetime investment that pays great dividends not only to caregivers, but also to society.
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)