A psychotherapist’s self-help book offers a variety of tools to help women overcome pain, anxiety, and depression.
In an introduction, Schoen (Buddha Betrayed,
2013, etc.) frames this book as a healing manual for women, who, she says, too often “give away too much of their energy to others, and neglect their own purpose and desire.” She also suggests that such healing is particularly important “in a time where feminine qualities like empathy, inclusivity and wisdom are urgently needed.” The pages that follow explore stresses and self-doubts that are common to many women and present ways to make positive changes. Module 1, “Healing and Calming the Hurt Mind,” outlines how strong belief can influence one’s view of the world and of oneself. Module 2, “Resilience & Empowerment,” suggests that meditation and other cognitive techniques may be effective in improving body image, financial well-being, and relationships with others. Module 3, “Transforming,” encourages women to find ways to “step up and into your power.” Sections of explanatory text are followed by workbook exercises, which include questions such as “What are your beliefs about intimate relationships?” and “When in the past have you made decisions that showed self respect?” Many sections also include links to online audio-meditation narratives (not reviewed). Schoen’s style is compassionate and conversational, and she offers helpful insights into the causes of painful and destructive emotions. Although some readers may find her references to “superpowers that most women possess simply because we are female” to be overly gendered, she convincingly analyzes the cultural tendency of women to direct their caretaking energies outward. She uses examples from scientific studies and evolving psychological theories to effectively support her ideas, and the workbook sections allow readers to immediately apply learned concepts to their own lives.
A useful guide for women that focuses on compassion and empathy.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
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)