Holt says that he wrote the book over a period of 10 years. Let’s hope for a shorter duration before we next hear from this...



Think you've heard it all about the grueling, fatigue-driven years suffered by interns and residents once they get their degrees? Think again.

Holt (In the Valley of the Kings: Stories, 2009) came 20 years later to medicine than most of his peers, choosing a writing career first. Whatever the reasons for that latter-day commitment, the result is a beautiful, riveting book that puts readers on the spot in the ward, in the ICU, making the rounds, talking to families, making hospice calls and participating in the “bedlam” of a “Code Blue” resuscitation. What Holt set out to do was to convey the “un-narratibility” of hospital life (“too manifold, too layered, too many damn things happening one on top of the other”) in parables that would condense and transform the experience, as he himself was transformed. To that end, he uses composites of many different cases. In the process, he has created unforgettable portraits of the gravely ill or dying: the obese woman hospitalized for a “tune-up” to rid her body of excess fluids; the young woman who should have died from too many Tylenols but was saved by a liver transplant; the hospice patient whose face was covered by a surgical mask to conceal the loss of most of her lower face to cancer. “Nothing happens in these pages that doesn’t happen every day in a variety of ways in hospitals everywhere,” writes the author. “I have had to simplify what defied narrative form, and alter or suppress whatever might have compromised the respect patients deserve. But in making sense of residency within the constraints of narrative form and human decency, I have hewed as closely as possible to the lived reality of the hospital.”

Holt says that he wrote the book over a period of 10 years. Let’s hope for a shorter duration before we next hear from this gifted writer/physician.

Pub Date: Sept. 29, 2014

ISBN: 978-0-87140-875-4

Page Count: 240

Publisher: Liveright/Norton

Review Posted Online: July 27, 2014

Kirkus Reviews Issue: Aug. 15, 2014

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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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