This entertaining memoir takes the reader at pace through Dr Gabriel Symonds’s unusual career as an English doctor in Japan, but there is much to his story before he got there: hitch-hiking to India on leaving school, disturbing incidents in the dissecting room at medical school, the antics of an eccentric bisexual fellow student, trials of life as a junior hospital doctor, attack by a drunken Irish colleague, and work in ‘heartsink’ general practices in deprived areas of London.
Life in Japan is equally eventful, and includes encounters with incompetent physicians and a Japanese surgeon known as ‘the butcher’.
This is contrasted with the ‘ideal’ practice he eventually set up, the Tokyo British Clinic, where we meet a host of colourful characters: minor royalty, a clutch of ambassadors, visiting pop singers, and a famous pianist—as well as many ordinary patients with extraordinary stories.
Of particular interest are Dr Symonds’s perhaps outspoken views on general check-ups, statins, animal experiments, psychiatry, and smoking.
Although it may raise a few hackles, he does not shy away from discussing controversial issues such as circumcision, female genital mutilation, and his critical observations on terminal care in Japanese hospitals.
Reviews...
5 out of 5 stars What is your doctor really thinking?
Reviewed in Japan on December 14, 2020
Verified Purchase I've always wondered what goes on inside the head of a physician. Obviously professional ethics prevents them from discussing patients and their problems by name. But Dr. Gabriel Symonds has found a way to tell his story while maintaining confidentiality, and it's quite a story. Only a small number of foreign physicians have practiced medicine in Japan during the post-WW2 period, and even fewer (if any) have spun together such an informative package. Symonds, a London native, has strong feelings about various aspects of diagnosis and treatment, and doesn't pull any punches when it comes to discussing shortcomings of the Japanese health care system. The result is a book that is inspiring, entertaining and enlightening. What's more, An English Doctor in Japan turned out to be a great read while stuck at home during the pandemic!
By Patience and Perseverance and a Bottle of Sweet Oil
Grandpa’s War, Volume 1
Edited by Effie Cadwallader
By Patience and Perseverance and a Bottle of Sweet Oil is the first volume of an account of an ordinary soldier`s experiences during World War 2, one man`s course through seven years of activity not of his own choosing, recounting episodes, individuals and activities in extraordinary detail.
We follow George West from the shock of being transformed from a teenage accounts clerk into a soldier before war broke out in 1939, through the confusion of the Phoney War to the horror of Dunkirk and its aftermath.
George`s story isn`t really about fighting or regimental business; it is a chronological account of the incidents and elements of his daily life, described in interesting detail, with a few adventures and some odd characters thrown in.
There are simmering feuds, romantic dalliances, humanitarian rescues and comic moments, as well as the inevitable fear and danger.
George matures from an innocent nineteen-year-old driver into a highly competent, resourceful and inventive Sergeant Mechanic, Royal Engineers.
Volume 2, “The Snail, at Length, Reached Jerusalem” covers the second part of George`s war, from North Africa, through Sicily, D Day, “A Bridge Too Far” and Belsen, to demob in 1946.
George West was brought up in South Shields. His mother died in childbirth and his father disappeared to Australia, so he was adopted by his mother`s elder sister and her husband who were late middle-aged when they took the baby. His upbringing was strictly Methodist and difficult, but he spent a great deal of his childhood with his close friend Bill Sharp whose family was open, loving and lively. After the war George married Bill`s younger sister, Kathleen.
George qualified as a primary school teacher soon after demob and had a successful career back in South Shields, specialising in teaching literacy and numeracy and, of course, drawing and painting, before retiring to live with Kathleen in Shropshire.
The Snail, at Length, Reached Jerusalem
Grandpa's War - Volume 2
Edited by Effie Cadwallader
The Snail, At Length, Reached Jerusalem is the second volume of the memoir of an ordinary soldier`s experiences during World War 2, one man`s course through seven years of activity not of his own choosing, describing episodes, individuals and activities in extraordinary detail.
George`s story isn`t really about fighting or regimental business; it’s more an account of the incidents and elements of his daily life, described in interesting detail, with quite a few adventures thrown in. There are simmering feuds, romantic dalliances, humanitarian rescues and comic moments, as well as the inevitable fear and danger. In this volume, George has matured from an innocent nineteen-year-old driver into a highly competent, resourceful and inventive sergeant mechanic, Royal Engineers.
There are simmering feuds, romantic dalliances, humanitarian rescues and comic moments, as well as the inevitable fear and danger.
George matures from an innocent nineteen-year-old driver into a highly competent, resourceful and inventive Sergeant Mechanic, Royal Engineers.
George West was brought up in South Shields. His mother died in childbirth and his father disappeared to Australia, so he was adopted by his mother`s elder sister and her husband who were late middle-aged when they took the baby. His upbringing was strictly Methodist and difficult, but he spent a great deal of his childhood with his close friend Bill Sharp whose family was open, loving and lively. After the war George married Bill`s younger sister, Kathleen.
George qualified as a primary school teacher soon after demob and had a successful career back in South Shields, specialising in teaching literacy and numeracy and, of course, drawing and painting, before retiring to live with Kathleen in Shropshire.
Shifting Classes in Twentieth Century Britain
From Village Street to Downing Street
Martin Minogue
An unconventional family story, told with warmth and humour, this account details the mixed fortunes of a rural labouring family, a neglected group in British working-class history.
The author’s progress from farmworker’s tied cottage to Cambridge University then to a Foreign Office flat in Downing Street is remarkable, as is the heroism of the working-class parents who made that transition possible.
The description of shifts in social relations produced by such sharp movements between different classes illuminates current debates about the persistence of centuries-long inequalities.
Martin Minogue was educated at King James Grammar School, Knaresborough then at Cambridge University, graduating in History. In 1962 he entered the Foreign and Commonwealth Office in Whitehall where he held posts as a Resident Clerk, and as Private Secretary to successive Secretaries of State (Duncan Sandys and Arthur Bottomley). He subsequently pursued an academic career in politics and government at the Universities of Kent, then Manchester, where he became Director of University’s International Development Centre. He held consultancies for the World Bank, the United Nations Development Programme, the UK Department for International Development and the British Council. Now retired, he lives in Wales.
Reviews...
Professor Quentin Skinner, School of History, Queen Mary University of London A memoir of general and even exemplary significance, Shifting Classes begins in a Yorkshire village and ends amid the mandarins and politicians of Westminster and Whitehall. While both settings give rise to some marvellous comic set-pieces, the North-country background also provides a shocking account of deprivations endured and opportunities denied. There have been few accounts of rural working-class life and conditions in twentieth century Britain, and nothing that matches Shifting Classes for its vividness of detail and its power to reveal the injustices that kept the class-system in place.
Fred Inglis, Emeritus Professor of Cultural Studies, University of Sheffield This is a rare, truthful and utterly appealing memoir, a ‘condition of England’ book that is at the same time a happy book, entirely without rancour.'
Born in 1782, Charles Waterton was the eldest child of Thomas and Anne Waterton, of Walton Hall in the West Riding of Yorkshire. Based on extensive research, Barbara Phipps's fascinating, fictionalised biography show us an intelligent, and fearless man, one gifted with humour and strongly held opinions. His early love of nature, especially of birds, meant he was often in trouble as a tree-climbing, bird-nesting boy. He travelled extensively, seeking to show others all he had observed by publishing his notes and preserving specimens. His method of taxidermy has never been bettered. He survived yellow fever and malaria, earthquakes and shipwreck, and many accidents both at home and abroad.
By building a wall around his parkland, and banning the gun, he created a sanctuary for all creatures with the exception of the fox and the rat, having a particular dislike of the latter. His book, ‘Wanderings in South America, the North-West of the United States and the Antilles,’ has never been out of print.
Waterton can justifiably be given credit for creating the first nature reserve. It is a concept that has spread, not just around Britain, but also right across the world. Bill Oddie
Reviews...
28.6.2019 - Amazon, five star: Great Story Telling Took me back to my own childhood, a lovely read. Anyone with a love of nature will identify with Charles Waterton.
15.4.2020 - Amazon, five star: Easy Read An interesting book about a fascinating if accident prone man. The author writes through Waterton’s eyes bringing alive his adventures in an easy to read manner.
A Sheffield Turner's Tale
Life with an Unsung Hero of Steel
When the Sheffield steel industry dramatically collapsed in the 1980s the stories of its highly-skilled workforce were lost. People left the city in their thousands or disappeared into the army of unemployed. The part they had played in the building of the city became, overnight, unconsidered and unvalued. It has taken a generation for the city to begin to reclaim the stories of the men and women of steel.
This is the tale of one of them, Frank Allott, a lad from the east end of Sheffield who began his working life as an apprentice turner on the eve of war and rose to become Manager of the vast and complex Heavy Machine Shops at Firth Brown. In his forty-four years in the firm he acquired a unique range of experience and knowledge, appreciated by those he worked with not only in Sheffield, but in Canada, Turkey and Brazil.
A self-taught engineer and linguist, amateur singer and artist, and Football League linesman, he was widely known and loved not merely for his outstanding skills but also for his extraordinary humanity and humour. It is a portrait not only of a remarkable man, but also of the times in which he lived, the historic company he served and the city that made them both.
Reader Reviews...
Mary Buckley, Professor, Cambridge university Beautifully written and hard to put down, this is an engrossing and touching personal story of a father’s encouraging relationship with his daughter and of his working life in different phases of Sheffield’s steel industry. Sue Allott traces the impact on one family’s life of how and why the steel industry grew and declined as they moved from the closely-knit community of back-to-back housing, to new council house and finally to a purchased semi-detached. It is an important economic and social history of industry and life whose details and emotions should not be lost.
It is also a compelling tribute to a father from a proud daughter. It is a must-read for all only children who were daughters who had loving fathers in the 1950s and 1960s who spurred them on. It includes delightful details of the early student exchanges to Russia, essential reading for anyone who was sent on one and for those who were not.
Derek Reed, economist A Sheffield Turner’s Tale is a moving and hilarious mixture of social history and the biography of a remarkable man. The backdrop of industrial Sheffield from the 1950s to the 1990s will strike a chord with anybody who has memories either of the working class life and upward social mobility of the fifties, sixties and seventies, or of the economic wrecking ball of the Thatcher years.
As for the book’s principal hero, Frank Allott, his humour, integrity, intellectual curiosity and occasional cussedness, as he rose from the shop floor to weighty management responsibilities in the Sheffield steel industry, no doubt bore the stamp of South Yorkshire, but there’s enough in his character and in his story to make him immediately recognisable to anyone who grew up working class in any other corner of industrial Britain. It is the story of a man who was at once unique and yet emblematic of a time and place that, just a few decades later, seem like another world.
From doomed East Prussia to Tunbridge Wells
A young boy's escape across war-torn Europe
Dieter Teubler was just nine years old when he and his family left their farm in Memelland for the last time. Along with thousands of other terrified refugees from East Prussia, their only aim was to head west as Stalin’s vengeful Red Army forces surged in from the east. The perilous journey, which included a thirty-hour trek across cracking ice on a frozen lagoon, took five months and left the young boy with horrific images of death and suffering which would haunt him for the rest of his life.
With their mother Erna, Dieter and his younger brother and three sisters eventually found refuge in the quiet seaside town of Laboe on the German Baltic Coast. But their day-to-day struggle to survive in a country still reeling from the impact of war continued long after the war ended in 1945. Food was scarce, many local people resented the huge influx of refugees and the family was almost penniless.
However the persistent dream of a fresh start in America would change the young man’s life in a way he could never have envisaged. He had intended to spend time in England simply to learn the language, but the appearance of a young national tennis player from Tunbridge Wells would turn his world upsidedown. In 1960, he and Susan Waters were married, and the country boy from East Prussia began a new life in the heart of middle England.
Now a father of four and with twelve grandchildren, Dieter Teubler’s dramatic story of loss and renewal continues to resound amid the human challenges of a new century.
Roger Ordish was a producer in what was then called ‘Light Entertainment’ firstly with B.B.C. Radio and then for thirty years with B.B.C. Television.
For twenty years he was the only producer of the hugely successful ‘Jim’ll Fix It’ programmes. Then in 2012 the shock revelations of Savile’s misdeeds changed everything.
The Dame Janet Smith inquiry on Savile cleared Roger of having ‘turned a blind eye’ to Savile’s paedophilia but in his own words “Despite having frequently topped the combined B.B.C/I.T.V. audience charts, the very existence of the programme has been airbrushed from the B.B.C.s Kremlin balcony”.
From memories of wartime in Kent, Roger goes on to describe working with such names as Bruce Forsyth, Kenneth Williams, Michael Parkinson, Paul Daniels, Helen Fielding,
Terry Wogan, Stephen Fry and Hugh Laurie, with delightful anecdotes about Edith Evans, Sammy Davis Junior, Gina Lollobrigida, John McEnroe and Princess Margaret and others. In 1968 he was one of a trio of B.B.C. producers, who posed as the Albanian entrants for the Eurovision Song Contest in a hoax that dumbfounded their boss.
Roger Ordish was a television producer for thirty years, producing ‘Parkinson’, ‘Wogan’, ‘A Bit of Fry and Laurie’ ‘Paul Daniels Magic Show’ and many other successful shows.
Reviews...
Tim Waterstone, founder of Waterstone's Bookshops. If I Remember Rightly arrived yesterday, and I started reading it this morning, at 6.30 am, over my first-of-the-day mug of tea. Thereafter I couldn't put it down, effectively reading it all through at one sitting.Roger - I really loved it. And, perhaps more importantly, really admired it, and indeed, from it, you. We were such close friends as teenagers, and it is a real pleasure for me to now realise, more fully perhaps than I had before, what a wonderfully rich and rewarding career, and life, that you have led. Your description of it absolutely holds the reader. And you write so well - the 'voice' is delightful - sometimes very funny indeed - (my absolute favourite of all your wonderful anecdotes being the little Ken Dodd piece) - sometimes unexpectedly vulnerable and exposed. Ace stuff, all of it.So well done, my friend.
When you have produced the final draft of your book, it is always advisable to have the text read and checked by a professional editor or proof reader.
You may have friends that are willing and competent to do this and we can advise you on the type of editing that is required.
We can offer four levels of editing as well as proof-reading.
You choose which, if any, are appropriate in your case: 1. Edit of sample pages and short report (£30)
We will edit a few pages to highlight editorial issues so that you can look for similar problems throughout the book.
This will reduce the amount of further copy-editing required when the book is finished. 2. Broad structural editing and criticism (£5 per thousand words)
A structural review is particularly relevant for works of fiction.
The structural reviewer will address the following main areas and produce a short report for the author ” Read More 3. Copy editing (£10 per thousand words)
A copy-editor takes a close look at your text, line by line, with an eye to grammatical errors, repetition, inconsistency and lack of clarity. The copy editor will make changes to the text, with suggestions for rewriting, grammar, and punctuation. When you receive the edited version, you have the final choice about accepting of rejecting the individual changes. 4. Proof Reading (£8 per thousand words)
Proof reading is a line-by-line check that the book is ready for publication. Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself. 5. Consistency Scan
If you decide your book doesn’t need a full proof reading, we offer an electronic scan to search for common errors and inconsistencies. This looks at issues such as inconsistent spelling and inconsistencies of hyphenation and capitalisation.
We can also identify inconsistencies in the spelling of proper names. 6. Cover text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we can work with you to make sure that these are correct and effective.
Copy Edit
Copy-editors get the raw material into shape for publication i.e they edit the copy.
When they have finished, the designer can lay out or typeset the book and produce a proof.
It is quite normal for the author to make additional changes after a book has been copy-edited.
Working through the material, the copy-editor may identify errors in spelling, punctuation, grammar, style and usage, but also very long sentences and overuse of italic, bold, capitals and exclamation marks.
They should correct or query doubtful facts, weak arguments, plot holes and gaps in numbering.
In fiction, they should also check that characters haven’t changed their name or hair colour, look for sudden changes from first to third person among other things.
The Copy-editor is not a proof reader and should not be expected to find all of the errors in the text particularly if the text is badly written to start with.
This is the job of the proof reader.
The final proof should be checked by a proof reader or an experienced reader friend before going to print.
It is almost inevitable (and acceptable) to miss a few errors which can be corrected in a later edition.
Proof Reading
Proof reading is a line-by-line check that the book is ready for publication.
Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself.
If you have decided to complete this stage of the process yourself, we will send a detailed check-list to help you.
We ask you to try and ensure that the book is completely ready before we start the layout.
Once the layout has started, we expect that you might want to to make a small number of amendments but
if there are a significant number, we may need to charge for the extra time it takes to change the layout
so best to discuss this with us first.
Structural Review
In fiction, the main areas that a structural editor will address are:
Plot: Does the plot make sense? Is it believable? Is it satisfying or does it leave the reader frustrated? Themes: Are the themes effectively handled? Are there so many that the book lacks focus? Do they interfere with the plot or complement it?
Characterisation: Are your characters well developed and believable? Are they cast in a role that fits their personality? Do they sometimes behave out of character? Point of view/voice: Is the voice consistent or is it sometimes confused? Is the voice authentic? Are you using too many or too few POVs? Pace: Does the plot move forward at an appropriate pace? Should you cut that preface? Should the action happen sooner or should the tension build more slowly? Dialogue: Do your characters sound real when they speak? Is your dialogue cluttered with adverbs and beats? Do you use clunky dialogue to move the plot forward? Flow: Is the narrative interrupted by dead-ends and tangents? Is there so much back story that the main plot is dwarfed? Are there missing plot points that would give the narrative greater integrity?
In non-fiction, the principle is the same, but the specific issues are slightly different:
Thesis: Is your thesis relevant? Is it clearly defined or is it lost among marginal issues? Exposition: Are your arguments clear and cogent? Are they well researched and properly supported? Do they have a clear relationship with your thesis? Content: Are all the necessary topics sufficiently dealt with? Are the chapters weighted correctly? Is there superfluous content? Organisation: Is the information organised logically? Are tables and illustrations used appropriately? How many levels of subheads do you need and how should they be arranged? Tone: Is the tone appropriate for the audience? Do you need to eliminate jargon? Is the text accessible? Pace: Are there passages that are bogged down in detail? Do you spend too long on detail irrelevant to the main thesis? Are there areas that need further exposition lest they be skipped over?
Cover Text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we work with you to make sure that these are as effective as possible.
Consistency check
If you decide your book doesn’t need a full proof reading, we can run an electronic scan to search for common errors and inconsistencies.
This looks at issues such as inconsistent spelling, hyphenation and capitalisation.
It also checks for consistent formatting of numbers and dates as well as undefined abbreviations.
Full Script Edit
The script that you deliver to us will probably constitute what the industry would classify as the ‘Initial Rough Draft’, i.e. a full screenplay written without any other professional input or advice, and probably without a great deal of rewriting. We work through your draft, line by line, scene by scene, and come back to you with a comprehensive set of notes from which you can then work towards the official ‘1st Draft’. Some of our notes will be broad and general, dealing with such areas as the overall shape and structure, pacing, plot and character development; others will be far more specific, with corrections, clarifications and suggested cuts etc. It is of course entirely up to you whether or not to take these suggestions on board, and to what extent.
Subsequent Script Edit
It is very normal and generally beneficial for the script-editing process to go through at least a couple of cycles
i.e. the rewritten draft to be worked through once again by an experienced script practitioner – though this would be entirely at the discretion and behest of the writer.
Ongoing Support
We aim to make your self-publishing venture an enjoyable and rewarding experience.
Publishing is a complex business and we treat every book as a separate project.
We explain all of the stages at the outset and we manage the project schedule for you. This will include all of the expert services you have requested for editorial, design, printing, distribution and collection of royalties, keeping in close contact with you throughout the process.
You will be allocated a project-sheet on the YouCaxton website so that you can monitor progress and ensure that all stages are properly completed.
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go to My project on the menu and enter…
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