bookshelf

WHITE COAT BLACK HAT

Name: WHITE COAT BLACK HAT
Author: Carl Elliott
ISBN: 978-0-8070-6142-8

ADVENTURES ON THE DARK SIDE OF MEDICINE

by Carl Elliott ‧ RELEASE DATE: Sept. 14, 2010

The author provides little information that informed readers don’t already know, but the gripping anecdotal evidence has...

bookshelf

Elliott (Bioethics/Univ. of Minnesota; Better than Well: American Medicine Meets the American Dream, 2003, etc) examines the part played by the pharmaceutical industry in constructing “a medical system in which deception is often not just tolerated but rewarded.”

While some abuses—including the use of subjects to test drugs without informed consent—are not new, these practices continue despite the existence of regulatory institutional-review boards set up by Congress, because these too have now become profit centers. Elliott writes that pharmaceutical companies hire PR specialists who not only supply educational materials to promote products, they also train medical professionals to be “opinion leaders” and even write papers in their name. In 1998, the Journal of the American Medical Association “found evidence of ghost authorship in 11 percent of articles published in six major American medical journals.” In the late-’90s, articles touting the benefits of the weight-loss drug Fen-Phen—later taken off the market because of potentially fatal side effects—were a key piece in a “complex multimillion-dollar public relations strategy” that minimized worries about the safety of the drug. Market-research firms, writes the author, profile doctors as a preliminary to major sales campaigns offering them tickets to sports events and inviting them on junkets in order to persuade them to become advocates for new drugs. Further, medical professionals are offered research grants and paid large honorariums for speaking engagements and other events. Disguised marketing is even more insidious—e.g., treating menopause as a disease that transforms a woman into a “dull-minded but sharp-tongued caricature of her former self” in order to promote estrogen-replacement therapy.

The author provides little information that informed readers don’t already know, but the gripping anecdotal evidence has important societal implications.

Pub Date: Sept. 14, 2010

ISBN: 978-0-8070-6142-8

Page Count: 224

Publisher: Beacon Press

Review Posted Online: June 3, 2010

Kirkus Reviews Issue: May 15, 2010

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE OCCASIONAL HUMAN SACRIFICE
by Carl Elliott

- BOOK REVIEW
BETTER THAN WELL
by Carl Elliott

bookshelf

NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

bookshelf

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

bookshelf

TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

bookshelf

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.