An intriguing collection of short testimonials from successful women about their morning rituals and practices.




In this debut guide, a group of women share ideas on how to start the day in a centered, strong, and compassionate way.

In the spirit of collaboration, Brown curates the contributions of writers, artists, mothers, entrepreneurs, coaches, and other successful women that describe their morning rituals and traditions. Employing the premise that these busy women have discovered ways to forge balanced lives and perspectives, Brown creates a window for readers to peer into their routines to find recommendations about self-care, mental rejuvenation, and mindfulness. The author begins with the concept that there is no single “right way” to “transform your life.” Brown then presents 20 chapters, each one dedicated to a particular woman and her thoughts about meditating, eating, and other practices that ensure a high quality of life even when she’s feeling swamped by obligations. For example, author Keri Wilt writes that she begins each morning with tea and journaling, foregoing the news and TV to avoid any negativity. Another chapter focuses on Cynthia Morris, “an author, artist, speaker, and creativity coach,” who starts her day with meditation. She discusses how the practice reveals the power of her own thoughts: “I have a short fuse and can get angry easily; this morning I got upset about the traffic. I did some deep breathing and the anger went away. It was interesting to notice how my thoughts triggered the angry reaction.” Life coach Anna Kunnecke deftly describes a morning ritual of “dumping” her thoughts, dreams, and ideas into a notebook and then concentrating on tarot cards to examine what “message” they might contain. In fact, several women relate that they open a random book, select a tarot card, or read a quote to discover a “message” to guide the day. The beauty of Brown’s manual lies in its power to illustrate many methods so that readers may dabble in different techniques to craft their own morning rituals. Each chapter ends with a useful suggestion for reflection, calling on readers to jot down what they liked and disliked about the passage and any ideas that materialized. The lucid book stacks up as one of the more distinctive titles in the self-improvement genre. Overall, readers should find a wealth of valuable advice to guide them on their own paths toward a more purposeful day.

An intriguing collection of short testimonials from successful women about their morning rituals and practices.

Pub Date: Feb. 9, 2018

ISBN: 978-0-9995101-1-7

Page Count: 210

Publisher: Leo Press LLC

Review Posted Online: March 12, 2018

Kirkus Reviews Issue: May 15, 2018

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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