In the majority of cases individuals diagnosed as "brain dead" are the source of the organs without which transplants could not take place. In this compelling and provocative examination, Margaret Lock traces the discourse over the past thirty years that contributed to the locating of a new criterion of death in the brain, and its routinization in clinical practice in North America. She compares this situation with that in Japan where, despite the availability of the necessary technology and expertise, brain death was legally recognized only in 1997, and then under limited and contested circumstances. Twice Dead explores the cultural, historical, political, and clinical reasons for the ready acceptance of the new criterion of death in North America and its rejection, until recently, in Japan, with the result that organ transplantation has been severely restricted in that country. This incisive and timely discussion demonstrates that death is not self-evident, that the space between life and death is historically and culturally constructed, fluid, multiple, and open to dispute. In addition to an analysis of that professional literature on and popular representations of the subject, Lock draws on extensive interviews conducted over ten years with physicians working in intensive care units, transplant surgeons, organ recipients, donor families, members of the general public in both Japan and North America, and political activists in Japan opposed to the recognition of brain death. By showing that death can never be understood merely as a biological event, and that cultural, medical, legal, and political dimensions are inevitably implicated in the invention of brain death, Twice Dead confronts one of the most troubling questions of our era.

    It combines a detailed textbook that emphasizes clinical and functional correlates of histology with a beautifully illustrated atlas featuring full-color digital micrographs of the highest quality.This edition includes over 100 new illustrations, more Clinical Correlation boxes on the histology of common medical conditions, and new information on the molecular biology of endothelial cell function. Terminology throughout the text is consistent with Terminologia Anatomica.A powerful interactive histology atlas CD-ROM for students is included with the book and features all of the plates found in the text with interactive functionality.

    Written expressly for "anyone who believes there are big questions out there, but does not know how to approach them," Think provides a sound framework for exploring the most basic themes of philosophy, and for understanding how major philosophers have tackled the questions that have pressed themselves most forcefully on human consciousness.

    Includes tables to compare different agents within a given class of drugs. For use as a review for Boards, self-testing, or reference. Previous edition: c1997.

    Applying the same objective criteria to legal and illegal substances, an argument is made that legality is not a clear measure for harm. Tackling a variety of questions, such as Which is more harmful—Ecstasy or alcohol? Can addiction be cured? and Does the "War on Drugs" have serious unintended effects that can hurt children?, this analysis equips readers with the ability to make educated decisions regarding drugs both personally and in their communities. Broadening the scope of the discussion, a framework is explored for formulating national drug policies that will minimize a myriad of harms—social, medical, criminal, financial, and environmental.

    Its colorful design and conversational writing style make it appealing and accessible to students and has made it the leading Nutrition text for the non-majors or mixed majors/non-majors introductory course.

    The text is written in straightforward language and is complemented by extensive clear, full-colour illustrations. Each chapter provides an explanation of the normal structure and functions of the human body and what occurs when disease or illness disrupts the normal processes.Carefully refined, clear and unambiguous textExcellent layout ensures the text and relevant illustrations are close togetherHighly illustrated with clear line diagrams, mostly in colourText uses regular sequences of headings, lists, and bullet points to help with learning and revisionOmits the unnecessary detail which can confuse the student new to the subjectA glossary of common prefixes, suffixes and roots commonly used in anatomy and physiologyAn Appendix containing useful biological values for easy referenceLearning outcomes related to the sections within each chapterAccompanying Colouring and workbook that facilitates structured learning and revision of the material in this bookAccess to an Evolve companion website offering animations, MCQs, a full image bank, an audio pronunciation guide as well as useful web links.- text revised and updated, including one chapter integrating the musculoskeletal system and a new chapter on genetics to reflect the increasing importance of this topic - new and revised artwork/illustrations - enhanced features on the Evolve website for students: -High quality animations -Multiple-choice questions -Web links to supplementary websites -An audio pronunciation guideand for Lecturers: -Image bank: the complete collection of images from the book.

    The book has the hallmark features for which Lippincott's Illustrated Reviews volumes are so popular: an outline format, over 600 full-color illustrations, end-of-chapter summaries, review questions, plus an entire section of clinical case studies with full-color illustrations. This edition's medical/clinical focus has been sharpened to provide a high-yield review. Five additional case studies have been included, bringing the total to nineteen. Review questions have been reformatted to comply with USMLE Step 1 style, with clinical vignettes.

    Now with a built-in Resource Manual and Study Guide, Language, Culture, and Society is the teaching text for the linguistic anthropology course.

    

    Some of these drugs are truly transformative, offering major improvements in how long patients live or how they feel--but what is often missing from the popular narrative is that, far too often, these new drugs have marginal or minimal benefits. Some are even harmful. In Malignant, hematologist-oncologist Dr. Vinayak K. Prasad writes about the many sobering examples of how patients are too often failed by cancer policy and by how oncology is practiced. Throughout this work, Prasad illuminates deceptive practices which- promote novel cancer therapies long before credible data are available to support such treatment; and- exaggerate the potential benefits of new therapies, many of which cost thousands and in some cases hundreds of thousands of dollars.Prasad then critiques the financial conflicts of interest that pervade the oncology field, the pharmaceutical industry, and the US Food and Drug administration.This is a book about how the actions of human beings--our policies, our standards of evidence, and our drug regulation--incentivize the pursuit of marginal or unproven therapies at lofty and unsustainable prices. Prasad takes us through how cancer trials are conducted, how drugs come to market, and how pricing decisions are made, asking how we can ensure that more cancer drugs deliver both greater benefit and a lower price. Ultimately, Prasad says,- more cancer clinical trials should measure outcomes that actually matter to people with cancer;- patients on those trials should look more like actual global citizens;- we need drug regulators to raise, not perpetually lower, the bar for approval; and- we need unbiased patient advocates and experts.This well-written, opinionated, and engaging book explains what we can do differently to make serious and sustained progress against cancer--and how we can avoid repeating the policy and practice mistakes of the past.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    We may feel tired, cynical, numb, or like we can never do enough. These, and other symptoms, affect us individually and collectively, sapping the energy and effectiveness we so desperately need if we are to benefit humankind, other animals, and the planet itself. Through Trauma Stewardship, we are called to meet these challenges in an intentional way--not by becoming overwhelmed but by developing a quality of mindful presence. Joining the wisdom of ancient cultural traditions with modern psychological research, Lipsky offers a variety of simple and profound practices that will allow us to remake ourselves--and ultimately the world.

    Drawing on momentous (yet dimly remembered) historical epidemics, contemporary analyses, and cutting-edge research from a range of scientific disciplines, bestselling author, physician, sociologist, and public health expert Nicholas A. Christakis explores what it means to live in a time of plague—an experience that is paradoxically uncommon to the vast majority of humans who are alive, yet deeply fundamental to our species.Unleashing new divisions in our society as well as opportunities for cooperation, this 21st-century pandemic has upended our lives in ways that will test, but not vanquish, our already frayed collective culture. Featuring new, provocative arguments and vivid examples ranging across medicine, history, sociology, epidemiology, data science, and genetics, Apollo's Arrow envisions what happens when the great force of a deadly germ meets the enduring reality of our evolved social nature.

    Weight gain and obesity are driven by hormones—in everyone—and only by understanding the effects of insulin and insulin resistance can we achieve lasting weight loss.In this highly readable and provocative book, Dr. Jason Fung sets out an original, robust theory of obesity that provides startling insights into proper nutrition. In addition to his five basic steps, a set of lifelong habits that will improve your health and control your insulin levels, Dr. Fung explains how to use intermittent fasting to break the cycle of insulin resistance and reach a healthy weight—for good.