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About WE WANT THEM INFECTED:
The book is a forensic analysis of the contrarians’ erroneous assumptions of safety and the damage done during a pandemic. Whilst spouting what should happen and what will happen, contrarians completely misinterpreted, downplayed, and distorted what was happening. They spouted frequent predictions of imminent herd immunity that never came. They forecasted underestimates of the mortality and from behind a desk suggested over intubation was an issue. These error-rich, self-promoting activists through their various platforms advocated that adults should be protected via an infect-the-children strategy. Unfortunately for both children and parents the hazards were real; they did get sick, they did spread the virus, and some are still paying the price. Howard kept the receipts. The distorted contrarians’ views of the situation are presented alongside the reality. The 27 reasons to not vaccinate children are scientifically dismantled. The consequences of this erroneous propagation on people compared to the contrarians is unjust.I thought the real pandemic error was getting the Mode of Transmission wrong. The evidence in this book is that the contrarians did as much damage with their erroneous assumptions of safety. Although they will never admit, apologise, nor remedy, one can only hope that registration authorities will consider action necessary.“This book is fundamentally about the obligations doctors [and nurses] have when communicating with the public [and colleagues] about a deadly virus.” I would also add and the obligations of these healthcare workers to correct erroneous statements.
Dr. Howard breaks down how certain medical community and public health professionals simply let the United States public down. Probably responsible for hundreds of thousands of Americans not making it through the pandemic.He tells the story, names the folks and brings the receipts with about 200 pages of footnotes.An amazing opportunity for readers to learn about vaccines and the price of disinformation.
Advance praise for Hard-Packed Clay
These elegiac poems plumb the depths of loss, but the beauty and craft in their making, the honoring of lived lives, achieves, as the author hopes, “the heart’s resurgent beat of hope.” Like Yeats, Joyce Brown is the rare poet whose work achieves more power after youth and middle-age. Hard-Packed Clay is a marvel.
—Ron Rash, author of Serena
Joyce Compton Brown’s captivating HardPacked Clay is a kind of family reunion, elucidating as any traditional Southern Decoration where visitation at gravesites is both with the living and the dead—“This graveyard is a storybook.” Meeting there are those of the past belonging to an incorrigible religion/community and those of the present who are more tolerant. Stories told at such gatherings involve the struggles of progenitors, duel edged with hope for a better future. Each poem holds a handful of red dirt from a farm abandoned for industrial jobs and their own brand of hardship. Eventually, sterile dirt, rejuvenated by the souls of so many, springs forth what was once removed from the old home place environment— purple irises, bluebirds, and meadowlarks.
Community?Town?Region?Cosmos?I would suggest that JoyceCompton Brown’s new collection of poems offers us the latter, in the homely guise of the first.This is indeed her scrupulous documentation of her “postage stamp of native soil,” as Faulkner described it, and it is inexhaustible, a life’s work.Male/Female, Old/Young, Quick/Dead, Calvinist/Latitudinarian, North/South, Now/Then – all these polarities, and many more, are explored in language that, while condensed and crafted, leaves plenty of room for rich, evocative description.As the first (or the second, perhaps?) poem in the book concludes, “I’d rather sing of meadowlarks and spring / but heart’s core seeks the sore that will not heal / and strings up stories for the soul to air.”“Air” can mean “to tell,” but it also means “a tune.”These are the ballads of Brown’s people and they are unforgettable.
In Hard-Packed Clay, Joyce Compton Brown delivers a meticulously detailed portrait of the South Iredell farm community where she grew up. There is beauty, heartbreak, and everything in between on these pages. Clay finds Brown at the height of her poetic power, avoiding the temptation of nostalgia, yet crafting her narratives with warmth and candor.
—Tim Peeler, author of First Season
About the Author
Joyce Compton Brown is the author of two chapbooks, Bequest (Finishing Line) and Singing with Jarred Edges (Main Street Rag) as well as Standing on the Outcrop (Redhawk Publications). She has published poetry, prose, and art. A Pushcart nominee, she wins or places in an occasional contest and has published in numerous journals. After earning degrees from Appalachian State University and the University of Southern Mississippi, she taught at Gardner-Webb University for a number of years, using summer opportunities for further study in Appalachian culture, roots music, and poetry at Berea College, Hindman Institute, and Appalachian State University. She loves the history carried in music of the commonplace and spends time sketching mostly the old and decrepit.A current major focus is the interconnectedness between ancient cultures and our own times. She lives in Troutman, NC with her husband and cat.
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