An informative account of nontraditional healing methods, but one that won’t convince skeptics.

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THE SCENIC ROUTE

A WAY THROUGH MADNESS

In this debut memoir, a caring mother avidly seeks to cure her schizophrenic son by exploring both traditional and alternative healing methods.

When Forbes’ 19-year-old son, Chris, returned home to Geneva, Switzerland, in 2003 after failing his first-year courses at the University of Toronto, she noticed a drastic change in his personality—he seemed unmotivated and self-destructive. The author sought professional help for him, and before long, Chris was officially diagnosed with schizophrenia. In the first several chapters here, Forbes provides quick snapshots of Chris’ disorder, including his sense of grandiosity, hallucinations, and his feeling of being disconnected from the real world. Then she documents her own long, arduous quest to find a way to heal him. In Geneva, he attended an outpatient program that initially showed promise, but Forbes became disillusioned by the attitudes of psychiatrists who believed that schizophrenia was chronic and incurable. She began to seek out alternatives, such as consulting an American doctor who said that he could remotely diagnose Chris’s nutritional deficiencies and prescribe supplements to strengthen his energy field; visiting a doctor in England who claimed to be able to realign Chris’ “assemblage point”; investing in a magnetic mattress; and engaging in “family constellation” therapy. The book seems to move toward an ending in which Chris is healed of his schizophrenia; however, his condition seems much the same throughout the book, aside from inevitable ups and downs, which casts doubt on the various healing methods’ efficacy. Nonetheless, this eloquently written memoir provides a valuable account of the different methods at hand, as well as a close-up view of Chris’ behavior, which provides readers with a unique view of schizophrenia. The book also contains valuable insights about developing more hopeful and less fatalistic views of mental illness.

An informative account of nontraditional healing methods, but one that won’t convince skeptics.

Pub Date: Jan. 16, 2018

ISBN: 978-0-9960424-0-6

Page Count: 261

Publisher: Inspired Creations

Review Posted Online: Feb. 27, 2018

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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