An often lyrical work that offers more meditation than instruction.

White Moon in a Powder Blue Sky


Dargis (Pit Stop in the Paris of Africa, 2013) explores the concepts of healing energy, quantum theory, and the higher self through memoir, prose, and poetry.

When the author began studying integral health at the California Institute for Human Science in Encinitas, she struggled to keep up. With no background in science, she realized that only through poetry could she understand the material. She synthesized the information through the process of writing sonnets, which informs the poetry in this primer. It will be hard for readers who are new to quantum theory to see the science in Dargis’ ruminations. Still, there’s plenty of lyricism for the layman to appreciate. She structures her observations into three sections, mimicking the three-card spread she uses during an oracle-card reading. The first section covers the subject of trauma and Dargis’ humanitarian work with African refugees. In a prose piece, “Bound by my Footsteps,” she describes walking past a war memorial at night, sharing a moment with a man “presumably from a different place and a different time, our expressions seemed eerily the same.” Much is made of unspoken bonds between people, and this section is the most firmly grounded in everyday reality. In the second section, however, Dargis explores the infinite possibilities of the present moment. Poems here run the gamut, discussing meditative feelings during yoga or musing on the power of the mind to transform things. The third section highlights intuitive communication with the spirit world; in the titular poem, a woman crosses an intersection and observes the moon hanging in a sunlit sky, joyous to have worked a half-day. In Dargis’ descriptions, fleeting feelings loom large, as does the importance of being in the present moment. In “Fun with Physics,” for example, she describes a truck arriving at her doorstep; the driver opens the hatch and “Inside lay millions / Of multicolored puzzle pieces. None / Were boxed.” Much like the woman who receives this mysterious trove, readers will find much beauty in this book, but little guidance. As a whole, though, she presents a meditative but fast-moving snapshot of her spiritual journey, creating an effect like skipping stones in water.

An often lyrical work that offers more meditation than instruction. 

Pub Date: July 28, 2016

ISBN: 978-0-692-69197-7

Page Count: 78

Publisher: Indie House Pres

Review Posted Online: Oct. 19, 2016

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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