By Kevin Hazzard
A former paramedic’s visceral, poignant, and mordantly humorous account of a decade spent on Atlanta’s suggest streets saving lives and connecting with the drama and low good looks that lies inside of catastrophe.
In the aftermath of Sept. 11 Kevin Hazzard felt that whatever used to be lacking from his life—his days have been too secure, too regimen. A failed salesman grew to become neighborhood reporter, he desired to try himself, see how he may well reply to strain and probability. He signed up for emergency scientific education and have become, at age twenty-six, a newly minted EMT working calls within the worst sections of Atlanta. His existence entered a distinct realm—one of blood, violence, and awesome grace.
Thoroughly intimidated initially and often terrified, he skilled on a nightly foundation the adrenaline rush of strolling into chaos. yet in his downtime, Kevin mirrored on how people’s facades drop away whilst disaster moves. As his hours at the activity piled up, he learned he used to be commencing to see into the reality of items. there isn't any pretense 5 beats right into a chest compression, or in an alley subsequent to a crack den, or on a dimly lit road the place vehicles have collided. finally, what had before everything appeared most unlikely occurred: Kevin received mastery. And within the technique he used to be in a position to parent the pro variations among his freewheeling friends, what marked each—as he termed them—as “a tourist,” “true believer,” or “killer.”
Combining indelible scenes that remind us of life’s fragile good looks with laugh-out-loud moments that continue us smiling in the course of the worst, A Thousand bare Strangers is an soaking up examine one man’s trip of self-discovery—a journey that still teaches us approximately ourselves.
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Extra resources for A Thousand Naked Strangers: A Paramedic’s Wild Ride to the Edge and Back
Sample text
While most of us feel confident about whether something is or is not funny, do we find it funny only because we notice our laughter or because of cognitions that we monitor independent of our laughter? Studies of children's humor have demonstrated that jokes or cartoons that pose some moderate level of effort for comprehension are judged to be funnier than those that are either very easily understood or understood only with extreme effort (McGhee, 1976; Zigler, Levine, & Gould, 1966, 1967). It is not clear whether these children (school-aged) were aware of the difficulty they had in understanding the material presented, but this would appear to be a good starting point for studying metacognitive determinants of judgments of funniness.
Psychological Bulletin, 1975,82,87-103. Das, J. , Kirby, J. , & Jarman, R. F. Simultaneous and successive cognitive processes. New York: Academic Press, 1979. , & Devine, J. Humor by violating an existing expectancy. Journal of Psychology, 1981, 108 107-110. , & Kizer, P. Humor and the incongruity hypothesis. Journal ofPsychology, 1975,90, 215-218. Flavell, J. Metacognition and cognitive monitoring: A new arena of cognitive developmental inquiry. American Psychologist, 1979, 34, 906-911. , & August, D.
Research completed in the 1970s by Howard Leventhal and his associates underscores the importance of initiating the study of metacognitive processes in humor. Their data suggest that males and females differ in the information (at least regarding laughter) used to make decisions about funniness. When shown either a slapstick film or cartoons accompanied by a laugh track, both high school (Leventhal & Mace, 1970) and college students (Cupchik & Leventhal, 1974) showed increased laughter, relative to a non-laugh-track condition.