A balanced, informative handbook appropriate for any woman concerned about her breast health.

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IT'S YOUR BODY...ASK

YOUR GUIDE TO TALKING WITH YOUR DOCTOR ABOUT BREAST CANCER

A surgeon offers a guide to talking to a doctor about breast cancer.

Although a woman has a 12.5 percent chance of developing breast cancer in her lifetime, relatively few are prepared to discuss their own breast health with their doctors. Goodson (The Blue Eyed Girl, 2014), a Harvard Medical School graduate and breast cancer expert, aims to give women the information they need to have productive conversations with their physicians and make informed decisions about their health. The updated second edition of the book is divided into three sections: questions for healthy women to ask their doctors, questions to ask if a mammogram or exam reveals a possible problem, and questions to ask if one has been diagnosed with cancer. Each section covers common concerns, from “Do I need a mammogram?” to “Should I join a clinical trial?” Goodson’s answers to these questions are clear and precise, as he distills complicated medical concepts and terminology to their essentials. Particularly useful are a discussion of current breast cancer screening recommendations and a review of the most up-to-date treatment options. He also helpfully cuts through some of the misinformation about breast cancer and risks, clarifying that while “most risk factors are useful for the scientific study of breast cancer…they have very limited meaning for an individual woman.” (In other words, women shouldn’t panic about the latest study they read about in a newspaper.) Throughout this brief but comprehensive manual, Goodson stays focused on his ultimate goal of empowering patients to make wise, informed decisions about their care. He reminds women that they can seek second opinions after a diagnosis and that they can typically wait several months to consider their treatment options without endangering their health. Less attention is paid to coping with the emotional aspects of a cancer diagnosis, though the author is keen to bust the myth that positive thinking will speed cancer recovery, noting that “you will do best if you acknowledge your own feelings” rather than trying to suppress fear or anger.

A balanced, informative handbook appropriate for any woman concerned about her breast health.

Pub Date: Nov. 21, 2016

ISBN: 978-0-9977054-8-5

Page Count: 134

Publisher: Fort Alexander Press

Review Posted Online: Jan. 6, 2017

Kirkus Reviews Issue: Feb. 1, 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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