Two experts on tobacco treatment—Harris, a nurse, and Brunetta (Pulmonary/Univ. of California, San Francisco), a doctor and lung cancer specialist—collect former smokers’ stories of how they quit and offer strategies for others who’d like to break the habit.
While working together at the San Francisco Medical Center’s Chest Clinic, Harris and Brunetta bonded over their passion for helping patients quit smoking. Together, they founded the UCSF Tobacco Education Center, which hosts a stop-smoking program and a weekly Freedom From Smoking Support Group, and they build on what they’ve learned from those experiences in this new edition of a 2018 book. They begin with brief profiles of former smokers they met through the support group, photographed by Harding (Streets of Discontent, 2018, etc.), then move on to 235 pages of engaging personal stories by members. Their former smokers had different reasons for quitting, so the accounts vary widely. Each story, however, explores an open-ended question like, “Who would you be without cigarettes?” or “What is your denial story?” in an effort to motivate and inspire readers. For example, one former smoker’s “denial story” was that she believed incorrectly that she could not have a heart attack because she didn’t smoke very much, remained active, and was a woman. The book subsequently asks readers to think about their own denial stories and provides space in which they can jot down their notes on the subject. The authors go on to explore how smoking relates to health, covering topics like the effects of smoking on lung function and of nicotine on the brain. There’s also a timely section on vaping and e-cigarettes. Throughout the book, there are helpful images by debut illustrator Marhofer and tables featuring such things as a comparison of the temporal cortexes of a smoker and nonsmoker and information on nicotine replacement therapies. Useful as that information is, the personal stories—told in former smokers’ own words—are what set this book apart from other guides to quitting smoking. Readers who would like to hear from real people who have successfully quit smoking will benefit from it.
A smoking cessation guide with inspiring personal accounts by people who have stopped.
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)