In this guidebook, a spiritual healer offers advice for helping owners and horses live better lives.
Debut author McCann, who has been healing people and horses for 10 years, offers this book as “a journey for you and your horse to achieve peace and love.” She begins by explaining the reciprocity between human emotions and a horse’s condition: “He will react to pain, discomfort, stress, anxiety or depression in your energy field.” McCann underlines that owners should first call a veterinarian if a horse is unwell, but “we must also look at the cause.” For example, “If your horse has a condition with its heart, ask yourself how much you are not allowing love into your life.” McCann describes her experience with energy healing (usually but not exclusively hands-on) and some cases she’s worked on as an energy healer. She explains how to become more connected with one’s inner guidance through techniques such as meditation, a balanced diet, moderate exercise, and self-acceptance. Twelve monthly guided meditations and affirmations are included. McCann’s more common-sense recommendations might be seen in any wellness guide, and horse trainers have long known that horses react to human emotions. Her preference for owners being present at healings suggests that she’s treating stressed-out humans, too, not just their horses. McCann’s proof is anecdotal, while possible objections are swept away. For example, some owners and horses are meant to be together: “horses connect with the real you, the one that lies inside you.” However, she writes, “Not everyone will experience the connection between themselves and a horse, simply because they were not chosen by God to embrace his divine creation.” As for skeptics, the book’s message “won’t be heard by everyone.” Nevertheless, McCann’s caring and empathy are evident, and whether or not you believe in spiritual healing, surely there is nothing wrong with owners working to become more attuned to their unhappy horses.
Like-minded readers may find this spiritual approach useful.
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)