A friendly guide to helping kids achieve dry nights and happier mornings.
With more than 40 years’ experience as a physician, Robson (Stop Washing the Sheets, 2011) has worked with many children and parents to help them overcome the frustration of waking up with drenched sheets. This how-to can be read in an afternoon, and is divided into 10 succinct chapters, beginning with an explanation of why children wet the bed. The average age when parents seek his advice, writes Robson, is when a child is about 7 or 8, an age when bladder capacity is often lower than the norm.He says that thiscan often be improved with time and behavioral changes. Parents may be surprised to read, for example, that they should encourage kids to drink fluids in the evening; according to the author, good hydration promotes good bowel health, which is the first step toward improving bladder capacity and preventing bedwetting. A morning “poop time” is crucial, writes Robson: “You need to finesse the cooperation of your child to sit on the toilet for ten minutes (use a timer) after breakfast.” He also recommends “alarm therapy” for retraining the brain to recognize the signal to get up and urinate. Although some readers may balk at the idea of clipping an alarm to their child’s underwear at night, the author’s gentle tone makes the therapy seem less clinical; for instance, he playfully encourages parents to help kids learn to “Beat the Buzzer.” In lieu of excessive medical jargon, Robson’s down-to-earth language (including words such as “pee” and “poop”) makes for breezy reading. Parents will also relate to his analogies; for example, he likens the feeling of a child’s full bowel and cramped bladder to a mother’s constant urge to urinate during pregnancy. This slim edition is also an insightful eye-opener, as it refutes several myths, including the idea that bedwetting is a psychological problem. The book concludes with a brief appendix featuring a few easy-to-interpret tables, including one detailing the fiber content of common foods.
Sensible techniques to combat bedwetting, to be used in conjunction with a trip to the pediatrician.
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)