A practical guide to preparatory end-of-life and post-mortem care for Canadians.
Hartung’s insightful, personal approach to the somber realities of “deathcare” provides essential and motivational reading. In a heartfelt introduction, the author, a former aerospace engineer and IBM executive,notes that her life changed drastically after her mother died. The event “forced me to face grief in a way that I’d never experienced before and handed me a troubled project I was not expecting,” she candidly reveals, and she goes on to share the intimate details of her journey. Although she was dealing with crushing sadness, she ran through a checklist of tasks that were necessary for her mother’s proper cremation and her estate’s dispensation and settlement. The author writes that no one can ever be fully prepared for a death in the family; her mother’s death came during an exceptionally stressful period, she says, when her career was in flux, her home required a “long, muddy, messy and expensive drainage project,” and she’d recently undergone a cancer scare. Readers should keep in mind that laws differ from country to country, and Hartung’s text is specifically tailored toward Canadians. However, the author offers successive chapters of critical advice on estate administration, including the complexities of digital-age aspects of the process, and comprehensively examines the complexities of wills and executorship. Her linear explanations and thorough research ultimately take much of the guesswork out of interment, philanthropy, taxes, and probate laws. Charts, tables, and sidebars offer additional graphic elucidation. In a book about an industry that traditionally focuses on unsentimental legalities, Hartung infuses some much-needed humanity. Her perspective will be welcomed by readers in similar situations.
A durable course on the legal nuances of survivorship and the importance of preplanning.
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)