Perhaps overly expository for casual readers, but the intricate details of the author’s experience are riveting and...

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CONCUSSION IS BRAIN INJURY

TREATING THE NEURONS AND ME

A brush with a life-threatening accident spurs a writer to investigate the “hidden epidemic” of debilitating brain trauma.

In this revised version of her original 2012 publication, Canadian novelist and biographer Jeejeebhoy (Aban’s Accension, 2013, etc.) enhances the text with expanded personal detail, creating an immersive, multifaceted memoir. The author had studied neurophysiology as part of her collegiate curriculum at the University of Toronto, so she was well-versed in the consequences of brain injuries when she was involved in a major car collision in 2000. Before the accident, Jeejeebhoy was completing the manuscript for her debut biography, and her injuries put that project—and much more—on indefinite hold. These included apparent sprains and nerve problems, but investigation into nagging, chronic migraines and dizzy spells resulted in a diagnosis of mild traumatic brain injury. This led to months of experimental drug treatments with a two-year duration: either the therapies would work by then, or Jeejeebhoy would likely have to endure her maladies forever. The author painfully describes the toll that her injuries took on her relationship with her husband, Mistral; her panic at losing the ability to read; and other cognitive impairments. Desperate to return to her normal life, she became intensely motivated to find a reason and resolution for her injury through determined research and treatment alternatives. Jeejeebhoy’s harrowing journey takes on new characteristics when she weaves comprehensive clinical information into her recollections. She also effectively dispels the myth that a concussion is a mild affliction and shows that secondary symptoms, such as anger and fatigue, can indeed endure for many years. She’s uniformly candid when writing about a year of devastating setbacks, which she says felt like “a massive plough that trenches through your established networks.” Toward the end of the book, she delves even deeper into the scientific neuropathological data of her treatment plan and further developments of her “labyrinthine recovery.”

Perhaps overly expository for casual readers, but the intricate details of the author’s experience are riveting and enlightening.

Pub Date: Oct. 17, 2017

ISBN: 978-0-9919698-6-9

Page Count: 484

Publisher: CreateSpace

Review Posted Online: Nov. 9, 2017

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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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