One of the most absorbing and empowering science histories to hit the shelves in recent years.

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THE DEATH OF CANCER

AFTER FIFTY YEARS ON THE FRONT LINES OF MEDICINE, A PIONEERING ONCOLOGIST REVEALS WHY THE WAR ON CANCER IS WINNABLE—AND HOW WE CAN GET THERE

One of the world's most renowned and forward-thinking oncologists recounts 35 years of cancer research and tells us why we should be optimistic about the future.

In the last 20 years, cancer survival rates have skyrocketed thanks to the innovative researchers and physicians pioneering effective therapies. Leading this “war on cancer” is DeVita (Medicine and Epidemiology and Public Health/Yale School of Medicine), whose career credentials include stints as director of the National Cancer Institute, president of the American Cancer Society, and director of the Yale Cancer Center. Even more impressive: he developed a cure for Hodgkin’s lymphoma, the first true cure for any form of cancer and the first of many successes to come in the field of combination chemotherapy. In each chapter, the author deftly navigates the many nuances of cancer research and treatment using accessible language to describe exciting technological advances while also providing a gritty look at the uneasy relationship between government and science. On one hand, writes DeVita, programs like the NCI exist because of federal funding, and many of America’s cancer centers are among the best in the world. However, the author also delivers a no-holds-barred analysis of bureaucracy’s weakness: it remains challenging to get new treatments approved, even in an era in which many cancer drugs show incredible promise. DeVita reports on this and myriad other issues facing cancer doctors and the patients they care for, imbuing his superb science writing with an emotional back story—including his own cancer diagnosis—that enriches the joys and struggles he has faced in his long career. This book is also far more than a history: it’s a manifesto in which the author states plainly what needs to be done to eradicate the disease. In the meantime, he arms readers with behind-the-scenes details about where to seek treatment, insisting that we’ve arrived at “the beginning of the end” of the disease.

One of the most absorbing and empowering science histories to hit the shelves in recent years.

Pub Date: Nov. 3, 2015

ISBN: 978-0-374-13560-7

Page Count: 320

Publisher: Sarah Crichton/Farrar, Straus and Giroux

Review Posted Online: Aug. 9, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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