An uplifting account of a mother’s spiritual connection to her son.

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IT'S LIKE HERE ONLY BETTER

Landry (The Fall of Atlantis, 2012, etc.) remembers the teenage son she lost and catalogs the messages he sends from the spiritual beyond.

On Aug. 7, 2009, Tim Landry lost control of the truck he was driving, was propelled through the window, and died. He was 19. The author heard the sorrowful news while vacationing with her husband on their boat, and her life irrevocably changed. Following the funeral, she attempted to return to quotidian affairs and vowed that her traumatic loss would not define her family’s future, refusing to succumb to her deadening grief. And then it started: Tim began to appear in the dreams of those who loved him. His sister Kelsey dreamed that he suddenly appeared to participate in a game of billiards. Randy, one of Tim’s friends, dreamed of waking up to find Tim standing above him watchfully. Tina, Tim’s hairdresser since he was 5, received a message from him through a psychic. Confident reassurance was a recurrent theme in the communications Tim conveyed—an extension of the kindness he showed those around him before his accident. He even dispensed counsel. Two of his friends, Jillian and Sarah, had a fight, and Tim visited their dreams on the same night, urging them to reconcile. Landry, a licensed hypnotherapist who has been studying the spiritual realm for more than 30 years, deeply reflects on what she believes is Tim’s new life on a different plane of existence. She finds consolation in the imperishability of his soul. The tender, elegant prose conveys both the anguish Landry experienced when her son died and the joy of knowing he continues on in whatever form. Not all readers will find the evidence she offers for his communications persuasive—a glitch in her car might simply be that and not an electrical disturbance caused by her son. Also, the spiritual cosmology she describes is a little fuzzy—apparently mankind is entering a golden age where light overtakes darkness. Nonetheless, this is a moving remembrance beautifully told.

An uplifting account of a mother’s spiritual connection to her son.

Pub Date: July 13, 2014

ISBN: 978-1-5004-8538-2

Page Count: 98

Publisher: CreateSpace

Review Posted Online: Nov. 1, 2017

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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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