In this debut study guide for medical students and professionals who specialize in clinical radiology, a doctor compiles multiple-choice questions to simulate an examination.
In his book, Mahmud simplifies exam preparation. Each section of this work, formatted like a modern-day medical exam, is broken down by clinical radiology topic, from “trauma cases followed by oncology staging as well as congenital anomalies.” The purpose of the volume is to test “clinical and radiological knowledge of a wide variety of conditions.” According to Mahmud, his guide “will be of great value to medical practitioners of all levels,” from interns to experienced radiologists, seeking to either familiarize themselves with a new area of radiology or looking for a refresher on the subject. But because this book is strictly a set of multiple-choice questions relating to clinical radiology, it does not contain in-depth explanations or research into the topic for the novice student. Rather, it presents questions that only a medical professional would be able to answer. Helpfully, Mahmud includes a detailed answer key after each multiple-choice question section so students and practitioners using this manual will be able to correct their answers after taking the practice tests for an even more comprehensive exploration of the subject matter. For example, for each question, he reveals the right answer and then explains why it is correct. The only problem is that the answer section is slightly confusing because he uses a “true/false” format for the answer key, even if the original question itself wasn’t formatted as a “true/false” one. It would have been clearer if he had labeled the answers as “correct/incorrect.” But overall, this is a valuable book for anyone studying to become a radiologist who needs a comprehensive guide to the field or for an experienced medical practitioner wanting to acquire a new skill. It should certainly aid both. Laypersons looking to merely learn about radiology are better off starting with a simpler, narrative-based text.
A useful study tool for medical students and experienced doctors alike.
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)