A smoking cessation guide with inspiring personal accounts by people who have stopped.
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.Pub Date: Dec. 8, 2019
ISBN: 978-1-944473-00-6
Page Count: 365
Publisher: Avasta
Review Posted Online: Feb. 3, 2020
Review Program: Kirkus Indie
The final third of this feminist literary study maintains the quality of volumes I (The War of the Words, 1987) and II (Sexchanges, 1989) as it looks at women writers' exploration of our century's complex and ever-shifting cultural scene, particularly the thorny question of gender. Gilbert and Gubar take a generally chronological approach, beginning with the modernists. In their analysis, Virginia Woolf sketched scenarios challenging traditional sex roles, as well as the historical settings and the social hierarchies in which they functioned. Edna St. Vincent Millay and Marianne Moore were ``female female impersonators'' who exploited femininity's artificiality in an imaginative but uncertainly empowering way. The authors then move on to the Harlem Renaissance, arguing that such writers as Nora Zeale Hurston, Jessie Redmon Faucet, and Nella Larsen worked to reveal the ``authentic (black) feminine'' behind racial stereotypes and criticized (white) feminism. Intertwining the poet and her work, a chapter on HD maintains that she produced her long poems by consciously manipulating images of herself. Moving forward to WW II, Gilbert and Gubar discuss the period's ``blitz on women'': Cheesecake pinups on tanks and VD posters conflated sex and death, while even positive images of the women left behind were tinged with resentment. They contend that metaphors from the war, transformed into images of sexual battle, haunted the poems of Sylvia Plath, who fought toward a way of being a woman beyond the old patriarchal traditions. At once playful and thoughtful, the final chapter considers the multiplicity of women's stories via the authors' several rewrites of Snow White—e.g., the no-longer-evil queen challenges gender roles by advising Snow White to ``marry the Prince but sleep with me too,'' while in another version a critically savvy queen realizes they're all ``merely signifiers, signifying nothing.'' A satisfying conclusion to an ambitious project.
Pub Date: Sept. 21, 1994
ISBN: 0-300-05631-1
Page Count: 512
Publisher: Yale Univ.
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: July 15, 1994
An expert blend of musical and social history, illuminating one of the cultural cores of America's ``Gilded Age.'' In the 1880s, as accurately depicted in Edith Wharton's Age of Innocence, the upper echelons of New York society flocked to Faust (a scene carefully retained in Martin Scorsese's recent film version). But by the 1890s, Wagner fever had overtaken America's most ardent opera patrons, and not in New York alone. This is the world that Horowitz (The Ivory Trade, 1990, etc.) reveals in his fascinating, gracefully written study of American Wagnerism. Currently executive director of the Brooklyn Philharmonic, formerly a New York Times music critic, and a long-time student of the interplay between musical art and national culture, Horowitz orders his narrative around the parallel careers of the conductor Anton Seidl and the New York Tribune critic Henry Krehbiel. He evokes an era when issues of aesthetics and musical philosophy were the common currency of middle-class discussion. From the viewpoint of today's world, in which the column inches devoted to serious arts criticism in the daily papers have shrunk to virtually nothing, fin-de-siäcle America was, musically and intellectually, an enviably lively place. Wagner's works dominated the stage, and his music and ``ideas'' were the subject of passionate debate. To this extent, Horowitz proves his thesis that the ``Gay '90s'' were not the crass, lowbrow scene its detractors have claimed. One fascinating recurrent theme in this study is the positive impact of Wagnerism on emerging feminism at the turn of the century. It appears that a majority of American Wagnerites were women, and the idea of Brunnhilde (as well as the regal dramatic sopranos who portrayed her) fit neatly with the notion of the ``New Woman'' then sweeping the nation. A work of engrossing scholarship about an important, unjustly ignored slice of our artistic past.
Pub Date: Oct. 1, 1994
ISBN: 0-520-08394-6
Page Count: 352
Publisher: Univ. of California
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1994
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