I read this book out loud to my roommate and we both could not believe what was happening to Wendy. When I read out loud where she was from, it shocked us even more, considering we live in the same city she did. That brought this story a lot closer to home for us.
This book shows that these things can happen to anyone, anywhere...even in your hometown. It also shows how much power those in the medical profession hold and what can happen when that power falls into the wrong hands. For seven years, I worked in the medical profession as a medical assistant and home care worker, and I too saw what sort torment many patients, especially those in long term care situations, have to endure.
I would recommend this book to anyone who has either been in this situation, is considering this situation or knows someone in this situation. This is an inspiring look at how one woman managed to survive such a situation.
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explicit violence. Rose is a very believable, likable heroine,
surrounded by an interesting supporting cast of characters. Fans of
Mary Higgins Clark's earlier books will enjoy this book.
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I am looking forward to viewing this story on the 'BIG SCREEM'
Unfortunately, unless a person is willing to spend countless shopping hours and a couple of thousand dollars building up collection of Brazilian records, he or she will gain almost no insight from this book into what the music feels like. The authors describe individual works and artists in only vague terms - terms often identical to those previously used to describe others. They beat the term "syncopation" into irrelevance - it's clear only that all Brazilian music is syncopated. The authors habitually refer to folk music genres and song forms ala "Composer X's work is all based on the Y song form..." But they provide no practical examples or definitions of those genres or forms.
The authors stridently dumb-down their text, accepting as axiom that one has to "hear it to believe it" and that it is meaningless to describe Brazilian music in technical terms. They generally refrain from even using common musical terms - bar, measure, pulse, key, etc. - to give the reader a clearer understanding of Brazilian rhythmic and harmonic structures. They use few effective musical comparisons or verbal metaphors. It is understandably difficult to describe music in writing. But it is possible. Judicious use of metaphor, comparisions, and technical descriptions would have greatly fleshed out what in the end comes off as a skeletal text.
This 1998 edition serves as the update to the first, apparently published in 1990 or 1991. However, the amendments appear to have been quite minor - embodied by an isolated paragraph here and there, and four meager pages in the final "More Brazilian Sounds" chapter. It's as if nothing has really happened in the evolution of Brazilian music since 1990 - an impression that must be wrong.
The Brazilian Sound catalogs decent research, but is neither good writing nor effective music history.
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While most books talk only about the pregnancy (which is very helpful), I need to think ahead to when the baby is here so that I don't lose it when he or she arrives. The summaries at the end of the chapters and the lists in the back of the book provide insight that I would have never thought of. Being a 'list person' myself, this is perfect!...
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Kopp shows that vision, persistence and optimism can beat the odds when it comes to a good idea. She also demonstrates that all good ideas hit big speed bumps and resiliency is key with some insightful stories.
In addition there is a fairly specific prescription for what makes for a good teacher at the end of the book. This isn't philosophical musings--this is exeperiential lessons being laid out by Kopp.
If you feel like being uplifted and gaining some knowledge on what makes a good teacher operate--read this book.
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