How and why your rights as a patient are eroding as the professional autonomy of physicians has declined and the power of bureaucratic overseers has grown. The ``enemies'' of the title may be an overstatement, but Macklin (Bioethics/Albert Einstein University; Mortal Choices, 1987) has chosen the term not for precision but to emphasize the adversarial roles that may be played by, among others, hospital administrators, risk managers, insurance companies, government regulators, attorneys, judges, and even physicians. She points out that, theoretically at least, physicians are guided by two principles: beneficence, which directs them to do good; and respect for autonomy, which recognizes the right of patients to take part in treatment decisions. But although these principles may coincide, they also may conflict; furthermore, physicians' personal values may conflict with those of patients, and pressures from various hospital and governmental bureaucracies may interfere with physicians' roles as their patients' advocates, putting the doctors into the position of ``enemies.'' Macklin presents specific cases that serve as models of representative situations. Among them are cases that examine do- not-resuscitate policies; the rights of Jehovah's Witnesses to refuse life-saving blood transfusions; the conflicts between the rights of pregnant women and those of fetuses; the refusal of doctors to treat certain patients; the rights of patients competing for scarce resources; and the right to die. Many of the cases are familiar, but what is unique is the author's marvelously clear ethical analysis following each one, as she presents conflicting positions fairly and tells where she stands and why. Highly recommended for anyone concerned about the care of patients and the protection of their rights. (For a fuller discussion of physicians' obligations toward patients, see Marc A. Rodwin's Medicine, Money, and Morals, reviewed below.)

Pub Date: May 1, 1993

ISBN: 0-19-507200-6

Page Count: 320

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 1993

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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