Speaking American – How Y’All, Youse, and You Guys Talk by Josh Katz

America may be a melting pot, but we prize our individuality and differences. These often show up in our language which has been influenced by heritage, location and history. By region, by state and even by city, these quirks and differences are shown off in Speaking American by Josh Katz.

Some of the differences are in pronunciation (for instance, how do you pronounce “caramel” – with 2 syllables or 3? If you’re from the Midwest, you probably use two. Most of the South and New England use three syllables). Other differences are in the actual word we use such as “green onion” vs “scallions”, “yard sale” vs “garage sale” vs “tag sale” (When I first heard Martha Stewart use the term “tag sale” – which is unique to the area around Connecticut – I thought it was something very fancy. I didn’t realize it was a plain old garage sale!)

Some differences are broad – most of the country pronounces aunt as “ant”, but North Dakota, most of Minnesota and New England pronounce it “ahnt” (although I had a third grade teacher that humiliated me in class for saying “ant”. She was not a good teacher.) And some differences are very fine, for instance, most of America calls a sandwich on a long roll a “sub” but from New Jersey thru Maine there are five different names other than sub – “hoagie”, “hero”, “wedge”, “grinder” and “Italian sandwich”.

I found this book utterly fascinating. I’m a born and bred Iowan so I have that Midwestern speech pattern down pat. I lived in Wisconsin for a couple of years, where they made endless fun of my saying “pop” instead of soda (this from people who call drinking fountains “bubblers”!) and I was told I had a Southern accent. Having a sister-in-law from Virginia (where I visit often), I can assure you that my accent it not, by comparison, Southern!

Speaking American is a lot fun with quick, often humorous descriptions and full color maps that show the prevalence of each word or pronunciation. A great peek into what helps make America unique!

The Alice Network by Kate Quinn

This is a book about two wars, of the price paid both by those who died and those who survived, of sisterhood and loyalty and immeasurable bravery. The Alice Network by Kate Quinn alternates between the two World Wars. The similarities are chilling with threads that tie the two together in more ways than one.

1915. Eve Gardiner is one of thousands of file clerks in London, unremarkable in appearance, quiet and demure, but because of her upbringing she speaks flawless French and German. She is bored and feels useless so when a Captain from British Intelligence recruits her to be a spy, she leaps at the chance. After a few short weeks of training, she is sent to Lille in occupied France and takes on the role of a shy, simple waitress in a restaurant that caters to German generals. The information she gleans from their overheard conversations is passed on to her contact, the “Queen of the Spies” Louise de Bettignies who becomes a bright and shining light for Eve in a dark and dangerous world. The work is exhilarating and treacherous, even more so when the owner of the restaurant takes an interest in her. One misstep and all will be lost.

1947. Charlotte (Charlie) St. Clair is young, unmarried and pregnant. Her wealthy parents send her to Switzerland to have her “Little Problem” taken care of and to preserve her (and their) reputation. Charlie is heartbroken over the recent suicide of her brother (a soldier who came home from the war but never left it) and the complete lack of information of what happened to her beloved French cousin Rose who she is convinced is still alive. In London, Charlie slips away from her Mother and contacts the one person she thinks might be able to help her – one Evelyn Gardiner. Evelyn’s hands are horribly disfigured and she is bitter and angry (the first thing she does to Charlie is to pull out a Luger and threaten to kill her) but eventually she agrees to go to France with Charlie see if they can find Rose. Accompanied by Evelyn’s driver Finn, they make their way to a France that is still torn and broken by the war. The horrors of World War II are very much still evident, but the shadows cast by World War I are still present too.

The book alternates between these two story lines, chapter by chapter. The connecting threads between the stories is gradually revealed, leading to an explosive final confrontation. It is one of those books that’s difficult to put down when you’re reading it and nearly impossible to forget about when you’re finished. I certainly found this to be true.

There are a lot of books about the World Wars, especially WWII, but The Alice Network manages to take a closer look at two lesser known subjects – the women who spied for the Allies during World War I, and the aftermath of the war in the countryside of postwar France. What really adds weight to the book though, is that many of the people and heart-stopping incidents depicted are true – there really was a network of female spies in German occupied countries during WWI and it really was called the Alice Network and was led by Louise de Bettignies, one of the most accomplished and successful spies the Allies had. Most of the things that happen in the book – the secrets the women uncovered, the danger and brutal punishments they suffered – actually happened. And in Charlie’s timeline, there is one episode that she comes across that is absolutely true (and absolutely chilling) but probably little-known outside of France. Evelyn and Charlie are fictional, but what they see and feel and experience are very real. Don’t miss the author’s notes at the end for more about these nearly forgotten heroines. And don’t miss this book.

 

 

 

The Most Dangerous Place On Earth

As someone who devours non-fiction, biography, and memoir, I was surprised to have finished this work of fiction in just shy of two days. To be fair, the book is a quick read (even for self-professed slower readers such as myself).  The Most Dangerous Place on Earth is the debut novel of Lindsey Lee Johnson with impeccable prose and superb character development.  I could even see the book being turned into a film. In a nutshell, the book is broken into  time periods: Eighth Grade, Junior Year, and Senior Year. Within those general time periods, each chapter is further subdivided with titles such as: The Note, The Lovers, The Striver, The Artist,  The Dime, The Ride, The Dancer, The Pretty Boy, and The Sleeping Lady.  Each chapter spotlights each of the core characters whose lives revolve around a tragic incident involving Tristan Bloch, an awkward but brave outcast with an overbearing mother. Over the course of four years, we follow each protagonist as s/he navigates the tough terrain of junior high and high school, further complicated  by  parents, teachers, and digital culture. In many cases, each of these young people–although living in million-dollar beach homes–is forced to establish his or her individuality and navigate adolescence while also living in the shadows of abuse, neglect, and addiction at the hands of the grown ups who are supposed to protect and guide them. As is the case with many young people, these characters can sense when things are awry at home and school; but they lack the agency to be able to articulate those experiences, sometimes in a healthy way. Always looming in this novel is what lies unspoken–what is between the lines.

At the center of this story is Molly Nicholl, a newbie teacher and transplant from central California who is hired on in the English Department at Valley High in the affluent city of Mill Valley in Northern California, roughly a 6-hour drive from Los Angeles. As Molly begins to feel out the culture at Valley High, she finds herself at odds with the other seasoned faculty who are  burnt-out on their jobs, presumably after many years teaching. As Molly reconfigures her classroom into two concentric circles (note, also, the circular themes throughout the novel) so as not to carry on her predecessor’s tradition of an authoritarian, old-school classroom, she endures pushback from teachers who believe she is crossing the line with regard to her relationship with the students. After a car crash and the exploitation of a female student on social media, Molly is questioned about the inappropriate nature of her commenting on her student’s social media threads–even though her comments stemmed from genuine concern about the well-being of her students . Early on in the book, Molly is eager to dig deeper into the lives of her students–to see them not merely as students but also as human beings who have complex lives and much promise.  Molly once asks “Isn’t it our job as teachers to help our students?” She was quickly put in her place when her co-worker says: “No, your job is to teach.” But what does it mean “to teach”? What does teaching–truly teaching–entail?

I think my teacher and parent friends would enjoy this book, especially because it sheds light on a number of questions–namely: What is the role of the teacher? How can teachers truly effect change and the lives of their students if they are forced to keep students at arm’s length? Can teachers truly be effective if they relate to their students on only the most basic, superficial levels? Is it the role of teachers to dig beneath the surface to enable students to identify and pursue their interests? Are teachers supposed to protect and help their students? How can parents and teachers be better aligned for the benefit of the student?  Must there always be such a deep and wide chasm between young people and adults–one in which “adultness” itself is often dishonest, distrustful, and cynical? I have to say that by the end of the book–and yes, it’s just the idealist in me–I feel like Molly compromised too many of her ideals in an effort to play it safe. I mean, on one hand, I can certainly see why she would opt to play it safe, given the events leading up to her transition from newbie mover-and-shaker to cautious, jaded professional.  In one particular scene, Molly receives an essay from Callista who has accepted and processed, through the therapeutic act of writing, her role in the tragedy of Tristan Bloch. This was the moment that Molly had been waiting for the past three years: to play an encouraging and inspiring role in helping  students reconcile their places in the world and hopefully help them tap into their potential. I mean, here was Callista sharing a deeply painful experience with her teacher and in a sense, looking for encouragement and validation. But Molly, perhaps afraid to assume a role other than “superior” or “teacher” misses the opportunity entirely. Instead, she writes Callista a typical response that an English teacher–not a mentor–would write. However, the implications of Callista’s writing–how she knew the fine details of the path Tristan took to the bridge–were curious, troubling. Again, the power of the unspoken demands attention.

This books asks far more questions than it answers; so if you’re ok with ambiguity, you’ll love this book. I’m still wondering about these characters–what becomes of them, if they ever get to realize their true potential. Reading this book also forced me to look back on my own experiences in junior high and high school, which, like most young people, was a mixed bag of good, bad, and ugly. When I was young, I did not have vast social networks at my fingertips and cyber bullying wasn’t yet a thing. So much happens to young people online–entire worlds exist out of the reach of unwitting adults. While I tended to despise the parental and authoritarian figures in this book, I was nonetheless sickened by how these students treated each other. But unfortunately, I also got the sense that Emma, Damon, Callista, Ryan, Elisabeth, Nick, and others were just on their own, abandoned even. I certainly found fault with the parents: what is the role of the parent in providing guidance and support to their children? How can effective parenting provide a more equitable, just world? In essence, how can effective parenting be the anti-thesis to bullying, suicide, sexism, and abuse? How should parents be meaningfully involved in the lives of their children without being overbearing and suffocating? These are just some of many, many questions I have after finishing this fantastic debut by Lindsey Lee Johnson, which has drawn some comparisons to Thirteen Reasons Why.

Before We Were Yours by Lisa Wingate

What would you do if you found out the life that you were living was a lie? If the life your parents or grandparents have lived was based on a lie? What if your entire family history was based on a lie? This is the true story for some children whose parents don’t tell them that they are adopted either until later in life or after the parents die. Such events can sometimes be traumatic, but it all depends on the child’s character and the sense of identity that they have developed. Will the news that they are adopted be easily accepted or will it throw their lives into upheaval as they work to find their birth parents and their biological heritage? Those questions are all prevalent through Lisa Wingate’s newest book, Before We Were Yours.

Before We Were Yours is a work of historical fiction that delves into the shady antics of the Tennessee Children’s Home Society run by the infamous Georgia Tann. Tann ran the Tennessee Children’s Home Society for over 25 years. Between 1924 and 1950, it is estimated that Tann stole over 5,000 children from their families and that over 500 died from abuse, disease, and poor care while they were living under Tann’s care. This true story shattered so many lives. I recommend you read a little bit about Tann and the Tennessee Children’s Home Society before you pick up Before We Were Yours in order to give yourself background information (It isn’t necessary, but like a true Girl Scout and an ever researching librarian, I love to be prepared.)

Before We Were Yours begins in Memphis, Tennessee in 1936. The five Foss children are anxiously awaiting the birth of their youngest new sibling while their mom labors inside their shanty boat home. Fearing for the mom’s life, the midwife demands that she be taken to the hospital to give birth or the babies and the mom will die. Shuttling her off to the hospital in a boat, the dad tells the eldest Foss child to watch over the siblings and stay at the shanty boat until they come back. Men show up in the middle of the night however and the Foss siblings’ lives are forever changed.

Flash to the present and Avery Stafford has come home to help her parents through her father’s cancer treatment and to also be groomed to possibly take over her father’s political career. At a particularly moving photo-op in a nursing home, Avery meets a woman who immediately captures her interest. The things this woman says to her has Avery shaken to the core. Avery decides that she needs to learn more about this mysterious woman’s life and thus begins a journey that will change her family’s history forever. Secrets never really stay secrets after all.

This novel shifts back and forth between the Foss children in the 1930s and Avery Stafford in the present. I really enjoyed the flip-flop between the two stories as the story of the Foss children created a deep swirling mystery around the woman in the nursing home and Avery’s grandmother. This book had me doing two things: learning more about Georgia Tann and the Tennessee Children’s Home Society AND looking into my family’s history to see what I did not know already.


This book is also available in the following formats:

The Girl Who Thought In Pictures: The Story of Dr. Temple Grandin

Written by Julia Finley Mosca and illustrated by Daniel Rieley, The Girl Who Thought In Pictures: The Story of Dr. Temple Grandin, is a children’s biography told in rhyme about the inimitable Temple Grandin. If you’re not familiar with Temple, she has single-handedly created more awareness around animal welfare (specifically the lives of farm animals) than just about any other person. She is practically a household name and tours the country giving talks and presentations. There’s even a movie about her starring Claire Danes! Grandin has long advocated  for “humane slaughter”, a phrase animal liberation advocates would argue is contradictory; but she nonetheless prescribes standards for facilities design and proper restraint and stunning techniques  that are intended to cause the least amount of pain and suffering in the animals being slaughtered. You can check out Temple’s website to learn more about the extensive work she has done in the field.

In The Girl Who Thought In Pictures: The Story of Dr. Temple Grandin, author Mosca discusses Grandin’s childhood as a person with autism and her deep connection with animals. Temple did not speak until age three or after, and, apparently, doctors initially told Temple’s mother they suspected she had “no brain activity”. Soon after being kicked out of school, Temple moves out west with her aunt, an owner of a ranch, and it isn’t long before Temple serendipitously embarks on her lifelong journey as an animal scientist and public speaker. She has worked tirelessly to create change in the practice of animal agriculture that is in compliance with the highest ethical standards after many years of communing with and studying the behavior of animals. Additionally, her persistence helps to create and foster an understanding of people who fall along the autism spectrum and to demonstrate that being autistic should not hold you back from a life of happiness and success.

The takeaways in this book are many: 

  • Humans are dismissive of what we don’t understand
  • We can learn to listen to others who speak a language that is different than our own
  • We nonetheless still have a myopic and narrow view of human intelligence and cognitive ability
  • Animals feel emotion and pain
  • We should not be defined by others but instead strive to live an authentic life
  • We can and should advocate for those whose voices are not heard
  • We should leave things better than how we found them

And last but definitely not least: persist, persist, persist! There are certainly many, many more morals of the story, but you’ll have to read the book to see for yourself. Personally, I was inspired while reading this picture book and think children would also find this an uplifting story. Plus, children are often more sensitive and receptive to the plight of animals than many adults–so we have much to learn from them!

Norse Mythology by Neil Gaiman

I love any story that has to do with mythology. I am more familiar with Greek mythology though, so when I stumbled upon Norse Mythology by Neil Gaiman, I decided to give it a go. After all, Norse mythology deals with Thor, Odin, Loki, Freya, and many other Norse gods. If you’ve watched any Marvel Avengers movie, then you’re familiar with Thor and Loki. I wanted to read this book to see how close Marvel followed the Norse mythology(laughable, yes, but nevertheless I was curious). Add in giants, dwarves, ogres, and multiple other fantastical beasts and I knew I would enjoy it.

Norse Mythology by Neil Gaiman spins the fantastical realms of the primeval Norse myths into a novel. Gaiman begins by describing the origins of the nine worlds and ends with Ragnarok, the time when the gods will die and a new world will take over. In between the beginning and decimation of all, Gaiman weaves stories of the different giants, dwarves, and deities who inhabit the nine worlds. This book was a fascinating read and Gaiman stays true to the actual Norse myths. Remember that this is a work of fiction, however, and he did recreate the characters a little bit to make it more interesting. Nevertheless, this book was a thoroughly engaging read. If you have the option to listen to it, I recommend you do because Neil Gaiman actually narrates it himself! Worth it.

Gaiman is a masterful storyteller whose lyrical thoroughness is out in full force as he breathes new life into these long-ago myths. Thor, Loki, and Odin seem to jump off the page as they fight to keep order throughout all nine worlds. Everyone manages to get into a little bit of trouble (I mean, Loki is a trickster God after all…), so you know things are going to get crazy. Each story told adds in multiple elements and different layers to the gods’ lives. I really enjoyed this book and hope you do as well!


This book is also available in the following formats:

How to Hygge: The Nordic Secrets to a Happy Life by Signe Johansen

 

Spending more time in nature. Cuddling up on the couch with a good mystery. Taking breaks for cake and coffee. Lighting candles.Between fall weather finally approaching and the busy school year settling in, I’m trying to remind myself to make time for rest and comfort. How to Hygge, by Signe Johansen explains the Danish and Norwegian word hygge (pronounced hoo-guh) doesn’t have an exact translation in English, but it suggests coziness and slowing down to enjoy life. Johansen applies the lessons she learned growing up in Norway to her busy life in London, as well as how people from other cultures can adapt the philosophy of hygge to their lives.

The book doesn’t offer all of the answers to life’s problems, but a lot of little ways to be happier. The author offers her own stories balancing being a high achiever with hygge, such as her father making her take a break from studying for important high school exams to gather wild lilies of the valley. She didn’t think she had time to fit everything in, but after taking time to slow down, she was able to put her exams into perspective and resume her studies more focused and less stressed out.

The advice Johansen offers is easy to apply in small doses until they become habits. One I’ve taken to heart was to take time to exercise in nature. I took a (very slow) job along the Mississippi the next day, and came back with my mind clear and ready take on the rest of my day. To counteract some of that exercising, the book  includes over 90 pages of recipes for comfort food (I had to smile at a cocktail recipe that involved sparkling wine and gummi bears.) It’s heavy on home care and decorating suggestions, that tend to favor easy to clean, simple items.

However, as the book continues, it moves past cooking and decorating tips to sections about how connect more with the people we care about and prioritize the things that make us happy. In the end, the message is to focus on the little details that make your life warmer and cozier.

How to Hygge is available at all three branches of the library. If you are interested in learning about the concept from another point of view, we also have The Little Book of Hygge: Danish Secrets to Happy Living by Meik Wiking.

Kesha’s Kaleidoscopic Album”Rainbow” is a Work of Catharsis and Transformation

At first, Old Flames (Can’t Hold A Candle To You)” was my favorite song on the album. In a waltz with the one and only Dolly Parton, Kesha’s resonant vocals are set against a meandering pedal steel guitar which is decidedly “country”; yet the underlying  near heavy-metal downpicking and tambourine on the chorus elevates the tune to “not your grandmother’s”  country shuffle. Kesha and Parton’s vocals complement each other beautifully as a faint doo-wop piano adds to the nostalgia of unparalleled love. Lyrically, love is likened to a flame, of course; but embers, fires, and candles are also invoked to describe the type of love about which singer-songwriter Patricia Rose Sebert and Hugh Moffatt wrote in 1978. “Old Flames (Can’t Hold a Candle to You”) is the only cover song on the album: Kesha does her own writing, which is another reason to love this deeply-personal album.

As it turns out, “Spaceship”, track number 14, is my absolute favorite song on the album.  Kesha’s voice is paired with a banjo (and also a mandolin?) on the verses as she sings:  “I always said when I’m gone, when I’m dead / Don’t lay me down with the dirt on my head / You won’t need a shovel, you don’t need a cold headstone / You don’t need to cry, I’m gon’ be going home.” Due to the minimalism of the song, I am able to hear the beautiful timbre in her voice which is not buried (but instead enhanced) by the stripped-down instrumentation. “Spaceship” is essentially a dirge about how the narrator wants to be treated at the time the she departs the earth. I can think of no creative act on par with the self-penned elegy that is perhaps the penultimate act of staking one’s little claim on this spinning earth. The elegy song is basically akin to a living will for artists and one of the greatest works they can write.  The narrator of the song laments her life on Earth and states that she’s from another galaxy and will one day return home. Note the ethereal backing vocals on the chorus and how they creates a ghostly ambience that is not quite of this world. In my lil humble opinion, “Spaceship” is the best song on the album, because in a really beautiful, inventive way the artist confronts her mortality, contemplates her place in the world, and explores her interest in what lies beyond. The existential lyrics contemplating one’s mortality on “Spaceship”  immediately liken the mundane verse in “Tik Tok” to mere fodder for some otherworldy sacred cow.

“Woman” is a righteous, feisty song and gives voice to female empowerment and staking your ground,  dominant themes of Rainbow.  A saxophone full of attitude paves the way for the famed Dap-Kings horn section (who backed the inimitable, late Sharon Jones). Kesha sings: “I buy my own things/ I pay my own bills / These diamond rings / My automobiles /  Everything I got I bought it / Boys can’t buy my love/ Buy my love, yeah / I do what I want / Say what you say / I work real hard everyday / I’m a motherfucking woman, baby alright.” The song is part cabaret, part pop, and all sass, and Kesha sprinkles in some expletives for good measure (and I’m not mad at her for it). In fact, I love her for it because artistic integrity is not sanitized and flawless. Kesha is the antithesis to the Insta-world where all things appear perfect but are far from it: she is the raw and the real. In other words, beauty lies in imperfection. Sometimes, what is most real is disheveled and rough-around-the-edges. Check out “Boots”, which is a little bit like the “answer” to “Woman” and “Hunt You Down”, a pantomimic ballad about murdering a lover who has done you horribly wrong. Either way, this kaleidoscopic genre-bending album showcases Kesha’s dynamic vocal ability and range.

Forgiveness, prayer, and redemption from suffering (at the hands of loved ones) are also major themes of Rainbow. You’ve likely heard “Praying” at this point, which was released with a stunning,  video depicting a narrator who is letting go of the pain of all of those who have wronged her. If you haven’t seen her late night television performance of “Praying”, it is an awe-inspiring performance. The use of repetition andguttural belting of the lyrics “praying” and “changing” make it the centerpiece of the album, no doubt. But “Rainbow”the song after which the album has been named–has quickly become another of my absolute favorites. Kesha wrote “Rainbow” when she was in rehab  for an eating disorder, so this song both embodies and symbolizes healing, growth, and survival.  “Rainbow”–with its swelling string arrangements–evoke the magic of a Disney scene in which the lead character performs her triumphant soliloquy in a sunlit forest. Kesha sings: “I used to live in the darkness / dress in black / act so heartless / but now I see that colors are everything.” Thematically, colors  are a key vehicle for communicating personal transformation, and if you’ve seen the album artwork, you know what I mean. “Rainbow” signifies a new beginning or a re-birth while “Spaceship”–a song contemplating mortality–is the perfect final cut.

And that leaves “Bastards” which was described in the Rolling Stone review as a “ballad ripe for a campfire singalong”. And I couldn’t agree more. In fact, “Bastards” echos the sentiment my father still eschews to his kids today. This pep-talk of a title track is Kesha’s inner dialogue turned outward: ” Don’t let the bastards get you down, oh no / Don’t let the assholes wear you out /Don’t let the mean girls take the crown / Don’t let the scumbags screw you ’round / Don’t let the bastards take you down.” And that’s pretty solid advice.

I haven’t heard much of Kesha’s work aside from her 2010 album, Animal; but after listening to Rainbow, I’d count myself among the ranks of her adoring fans. After just a few spins of the album, there are some standout tracks that I would say are “great”, due either to the result of her collaborations with other (great) artists, her emotive shapeshifting vocals, or how content/lyrics, vocals, instrumentation, and overall production quality culminate in beautifully-crafted songs. As it turns out, the punchy, poppy dance tunes are my least   favorite songs but are catchy in their own right.  The songs I am drawn to and that have the most substance, in terms of lyrical content, also happen to be the most minimally arranged.

In general, Kesha really shines when her emotive voice gets to take center stage without competing with a spastic instrumental backdrop (“Boogie Feet” comes to mind). It’s easy to pass judgement on an artist like Kesha who has achieved the all-too-evasive super-stardom; but check out some of her live performances from “Rainbow” and if you’re like me, you’ll be moved by how she has completely lived the experiences about which she sings. “Spaceship”, “Old Flames (Can’t Hold a Candle To You)”, “Rainbow”, “Bastards”, and “Praying” are beautiful and honest songs that I will return to again and again. If you’re the least bit privy to the legal battles and alleged abuse she suffered at the hands of her former producer, “Dr. Luke”, it’s not difficult to see that Rainbow  is a work of catharsis and metamorphosis. It’s fantastic to witness her return to her country roots because, yes, she isn’t merely a manufactured pop-star: not only does she write her own songs, but she can really sing. Check her out!

 

Charlatans by Robin Cook

Medical school is daunting, add in the added responsibility you take on the further and further you go in teaching hospitals and even before residents are hired on as staff, they are forced to make tough decisions. Robin Cook’s newest medical suspense novel, Charlatans, deals with the tough calls that doctors have to make on a day-to-day basis and just who is around to make sure those doctors stay honest. No one knows this more than the newly minted chief resident at Boston Memorial Hospital, Noah Rothauser. His new super chief position means that he is now responsible for all the surgical schedules, the training of the new residents, and handling the Morbidity and Mortality conferences that happen every time a patient dies. Noah is hopeful that the recent updates to the BMH’s operating rooms will be positive and will decrease the number of deaths that happen during surgery. After all, Boston Memorial Hospital is a famed teaching hospital that is known for being at the top in terms of medical advances and is also known for hiring only the best of the best. Updating those operating rooms will only help, not hinder.

That’s what Noah thinks anyway. All is going well until the death of a healthy hospital employee during a routine procedure. An anesthesia error seems to be the cause of death, but Noah doubts that. He believes that Dr. William Mason, a world-class surgeon, juggled patients and made a fatal error during the surgery that cost the patient his life. Mason won’t go down without a fight however and blames the anesthesiologist, Dr. Ava London. Noah isn’t sure who to believe, but does his due diligence into the background of this case to find out what really happened.

Thinking this case is behind him, Noah tries to move on. More anesthesia-related deaths occur however, and Noah finds himself having to question everyone that was involved in each case. Secrets come out and Noah finds himself getting to know Dr. Ava London more closely as he works with her to find out what really happened to cause those deaths.

Noah has to figure out what happened quickly because he soon realizes that there is much more to Ava than he originally thought. His own job and credibility are soon put to the test. Noah’s search for the truth is at an all time high as he works to figure out who really is at fault surrounding those three deaths and who is really telling the truth. After all, we all have something to hide, don’t we?


This book is also available in the following formats:

Kendrick Lamar’s DAMN.

When fans say Kendrick Lamar is the Tupac of our time, it’s an understatement that his music has already made a profound socio-political and aesthetic impact. Let’s not forgot that “Alright,” a song from his 2015 masterpiece album To Pimp A Butterfly (TPAB) became a rallying cry for unity within the Black Lives Matter Movement and acknowledges the epidemic of police shootings that disproportionately targets  Black Americans.   TPAB fuses multiple-genres and voices while the finely-crafted DAMN, by contrast, is am exercise in minimalism. Repetition and reverse instrumentation perfectly reinforce the cyclical  format of the album and the album’s themes after which the songs are named (BLOOD, DNA, FEAR, LOVE, GOD, HUMBLE, LOYALTY, etc).  Where some artists overcomplicate and muddy their waters, Lamar expertly tells stories that perfectly accentuate the cerebral/mundane & sacred/profane dichotomies present in his lyricism. And he often does so with painful self-awareness and contradiction (good & evil, dark and light). Check out some of the reviews of Lamar’s 2017 masterpiece, easily my favorite album of 2017.

The process of listening to DAMN.  has been both discursive and linear, which is to say I’ve listened from beginning to end, end to beginning, and most points in between . The rewards of mindful listening –keener insights into social and cultural references, for example–inspired me to look further into the literary references in Lamar’s work. As an album, DAMN. is particularly circular as well, which is to say the album doesn’t have a definitive beginning or end.   DAMN. is a departure from the ventriloquism of TPAB,  but it nonetheless features what could be construed as Lamar’s conscious and subconscious “voices”. For example, “FEAR”–easily one of my top 3 favorite tracks on the album– is an examination of life told from a few different standpoints. Charles Edward Sydney Isom Jr’s voice can be heard early on in the song asking: “Why God, why God do I gotta suffer? / Pain in my heart carry burdens full of struggle/ Why God, why God do I gotta bleed? / Every stone thrown at you restin’ at my feet.” One fan noted that this particular stanza could function to represent Lamar’s subconscious inner dialogue. But there is a second movement in the tune in which Lamar shape-shifts into the persona of (his) mother: “I beat yo’ ass, keep talkin’ back/I beat yo’ ass, who bought you that?/You stole it, I beat yo’ ass if you say that game is broken/I beat yo’ ass if you jump on my couch/I beat yo’ ass if you walk in this house with tears in your eyes”. This movement in the song continues for 23 more stanzas before transitioning into another “movement” wherein Lamar lays bare his anxieties about how he might die: “I’ll prolly die from one of these bats and blue badges / Body slammed on black and white paint, my bones snappin’ /Or maybe die from panic or die from bein’ too lax / Or die from waitin’ on it, die ’cause I’m movin’ too fast.”

I’m astounded by how Lamar crafts songs that build great intensity and ferocity through the sheer volume of lyrical stanzas alone: strip away all of the layered instrumentation and the lyricism–poetry–would stand independently of its own accord. “FEEL” is another standout song on this album because Lamar utilizes a “stream-of-consciousness” approach set against a dreamy, synth-n-bass backdrop. Lamar is righteously vulnerable in this song and lays bare his anxieties, summons his heroes, and appears to turn his anger inward for a moment. On a really simple level, “FEEL” is a song about anxieties: “Look, I feel like I can’t breathe
Look, I feel like I can’t sleep/Look, I feel heartless, often off this/Feelin’ of fallin’, of fallin’ apart with/Darkest hours, lost it/Fillin’ the void of bein’ employed with ballin’/Streets is talkin’, fill in the blanks with coffins/Fill up the banks with dollars/Fill up the graves with fathers/Fill up the babies with bullshit/Internet blogs and pulpit, fill ’em with gossip/I feel like this gotta be the feelin’ what ‘Pac was
The feelin’ of an apocalypse happenin’…I feel like the whole world want me to pray for ’em / But who the fuck prayin’ for me?”  Something that is conceptually remarkable about DAMN. is that it is an honest exploration of what it means to be human. It is considerably difficult for an artist to not only tap into but to give voice to the wide spectrum of emotion without censoring oneself.  Lamar goes into the depths of his soul in this album, which is an act of bravery unto itself. When asked what he would do differently the second time around?: “I’d go deeper”,  he tells Rick Rueben in a fantastic interview.

“DNA” is my favorite song on the album because of it’s unapologetic boldness in which Lamar attacks the microphone and takes no prisoners. For the reason that hip -hop allows the artist to re-fashion him or herself into the larger-than-life master of her own destiny, I am perpetually drawn back into its magic again and again. Unlike other musical genres, the best hip-hop acts as a springboard not only for reflection but for personal (and thus social) revolution and transformation not lost on Lamar: “I got power, poison, pain and joy inside my DNA/ I got hustle though, ambition, flow, inside my DNA.”  If you watch the official music video for “DNA”, you’ll see an incredible performance between Don Cheadle and Lamar that features Lamar administering a lie detector test to Cheadle. A sample of a Fox news brief features two news pundits mocking Lamar’s massive hit song “Alright” that calls out police brutality. I personally love how Lamar takes these two news pundits to task and challenges their snap-judgements and assumptions.  Like Nina Simone said, it is an artist’s job to “reflect the times.” Lamar does just that.

DAMN. becomes more revolutionary the more you listen and allow yourself to be awash in the poetry, politics, and existential philosophy. Having listened to DAMN. at least twenty-five times, I am amazed by Lamar’s “fast and furious” lyricism. A Pitchfork reviewer who gave the album a heavy-weight champion score of 9.2 opines that  “Lamar’s recitation is so effortless you wonder where he breathes, or if he does at all.”     Indeed, I also wondered when, exactly, he would find the space to take a breath during the recitation of his lyrics. If you haven’t heard this album yet, just listen with an open mind, which is to say with a neuroplastic mind, since we now know that the brain is not fixed but rather capable of change and charting new territory.

 

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