A Canadian faces a midlife health crisis in this debut memoir.
For athletes, there can be no greater loss than their physical abilities. This is what happened to Sutherland, a healthy, fit amateur runner who, at 48 and after completing his fifth marathon, suddenly took ill. His first diagnosis—multiple sclerosis—was shocking enough, but that was just the beginning in a sequence of perplexing medical complications that, for years, defied a single label. With rare honesty and eloquence, Sutherland (Quebec City Restaurant Guide 2017, 2016) chronicles his experiences, recounting in personal and intimate detail the impact his chronic, debilitating condition had on himself and his family. At one point, Sutherland admitted to wanting to end his life; on the verge of doing so, however, he had an epiphany. He realized that, as difficult as his situation was, he must not lose his “mental toughness.” Sutherland literally had a conversation with himself: “You’ll get through this like you’ve gotten through adversity your whole life. You’ll muscle through it one day at a time, one hour at a time…and if you have to, one agonizing minute at a time. You will do what it takes!” While this is the turning point in Sutherland’s story, it is really just a telling example of the multitude of remarkable challenges the author faced. Along the way, he learned much about the things that really mattered in his life—mostly friends and family—and he also realized how much was out of his control. There is no storybook ending—Sutherland finally received a more accurate diagnosis but was never cured, and yet he demonstrated his courage, fortitude, and, ultimately, his positive attitude in valiantly continuing on and making the best of the situation. Clearly, this emotionally charged book is cathartic for Sutherland, but it should also prove highly instructive and motivational for anyone who faces a serious illness, disability, or other life-altering event. As the author concludes, his story is about “perseverance. Once I had accepted my new reality, I saw the value of experiencing again all that life has to offer—its good and its bad.”
A heart-wrenching and at times shattering tale of an ailing athlete that turns uplifting in the end.
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)