A light, entertaining journey through the varied genres of New Age spirituality. Cohen, on assignment for New Woman (this book grew out of her article for the magazine), attempted to discover the spirit of her recently deceased mother, whose loss left her searching for meaning in her own life. Highly skeptical of the New Age movement (which is why her mystical-minded editor gave her the assignment), she approaches her subject with healthy doses of wit and suspicion. This balance of open-mindedness and skepticism serve the author well as she attempts to navigate the myriad worlds of numerology, astrology, fortune-telling, channeling, and parapsychology. She gives some sketchy historical background about each of these practices (there are important differences, for example, between mediums and psychics), and then recounts her own experiences with practitioners of these various arts. Some, like fortune-tellers, are dismissed fairly easily, while others give her pause. She claims that several mediums recited intimate facts about her mother's life (the names of her parents, the name of her sister and that she lived in Florida, the kind of hat her brother wore); a police psychic described Cohen's new puppy perfectly just from holding the small keyring Cohen grabs to take him for a walk- -without even knowing that this was the keys' only purpose. But other experiences leave her dubious, like her efforts to recover past lives. Though persuaded that there might be something to it, she claims she was fabricating a past-life scenario out of her own imagination, assisted by the strong suggestions of her regression counselor. In the end, after encountering both charlatans and genuine practitioners, Cohen is still skeptical—but her wariness has melted to the degree that the phone numbers of numerous practitioners are listed in the appendix. Somewhat self-absorbed (in keeping with much of the New Age movement) but a fun introduction to a wacky world. (Author tour)

Pub Date: March 1, 1997

ISBN: 0-517-70828-0

Page Count: 256

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 1997

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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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