A strong autobiography recounts one woman’s road to spiritual enlightenment.



In this debut memoir, a psychologist shares the wisdom she received by opening her mind.

Sanderson is no stranger to the concepts of self-awareness and spirituality. As a psychologist who helps others cope during crisis situations and discover meaning in the most intense human experiences, she deftly writes about the mind’s often complex routes to finding inner fulfillment, peace, and enlightenment. This work is unusual in the way that it honestly shares a woman’s path to becoming a “medium” of sorts, tapping into the messages being distributed by energy sources around her. The author is open from the beginning about the shocking and uncomfortable nature of this transition, and invites readers to travel from the practical and research-based realm to the nonmaterial world of energy exchange. Sanderson repeatedly refers to “PoE,” which means “point of existence.” This idea involves using the heart to perceive events rather than simply employing the senses. For example, in a discussion of music, the author writes: “If humans would allow the music to flow through the heart centers, there would be a shift to a state of expanded awareness, which would allow for a fuller, richer experience than what the sense of hearing allows. The music carries the listener to a realm of expanded awareness where the energy of love allows emotional reactions to certain pieces of music.” This notion appears throughout the book, encouraging readers to draw on the heart to clear the mind’s “chatter” and embrace the world rather than simply relying on hearing, seeing, tasting, etc. Perhaps Sanderson’s greatest strength here is taking topics that might feel difficult for some readers to grasp—such as expanded awareness—and making them feel comfortable, accessible, intriguing, and engaging. The book will likely speak to those ready to take leaps of faith in their own odysseys to the unknown, tapping into new senses and experiences that question their past perceptions and limitations. If nothing else, readers should be inspired by the author’s bravery and candor in revealing the riveting details of her journey.

A strong autobiography recounts one woman’s road to spiritual enlightenment.

Pub Date: June 23, 2018

ISBN: 978-0-9996427-0-2

Page Count: 246

Publisher: Clark Press

Review Posted Online: Nov. 11, 2018

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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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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