FALLEN on sale on Amazon!
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FALLEN on sale on Amazon!


For one week only, FALLEN is 99 cents on AMAZON!

FALLEN is the powerful story of love at the end of times. Emma is a woman struggling to survive and keep seven children alive in a world ravaged by chaos, madness, and war.

Emma meets the charismatic Arthur, who leads a strangely well-provisioned camp of men who seek to rebuild civilization. But Arthur hides a secret. Slowly she falls for him, but can she stay with him, when his secret is revealed?


EARLY PRAISE FOR FALLEN:


Fallen is a riveting page turner. Traci L.Slatton takes the reader on a mystical odyssey where death lurks around every corner. The choices one makes determine survival. Fallen is a thoroughly absorbing read written by a master story teller.

-Mary T. Browne psychic, author, The Five Rules of Thought, Power of Karma, Life After Death
Meeting Tom Wolfe
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Meeting Tom Wolfe

The Newington-Cropsey Cultural Center Foundation held its annual award dinner last night. My husband Sabin and I are friendly with the ineluctable Jim Cooper, as we all share the same taste in art–real art, the kind that takes skill, talent, education, hard work, and an actual aesthetic to develop. Slow art, art that has meaning. Art that is beautiful to behold.

Beauty is the point, goddammit! The New York Times is irrelevant. Surf the internet for your news.
The Newington-Cropsey foundation also hosts political events sometimes, for the right. It is mystifying to me that classical art has found an audience among educated conservatives, though they don’t know what to do with it. Right now the whole political process in the US disgusts me. We don’t live in a democracy, that’s a myth carefully crafted for the unthinking masses. We live in a duopoly. “Public service” has become “public relations,” and our two parties are well-endowed firms for massaging, swaying, and shaping public opinion. And both of our monoliths have only one purpose: furthering the agenda of multinational corporations for whom the private individual is no more than a slave pocketbook for purchasing their usually deleterious products. To which end our government is printing money as if it were comic book pages, and setting us up for massive inflation and a debt that we can not possibly hope to pay off without bankrupting ourselves and our grandchildren, both financially and morally.
I loathe the Republicans and despise the Democrats, but some days I despise the Republicans and loathe the Democrats, just for the sake of fairness. Do I have a better solution? Not yet. I’m just pointing it out.
But I digress. Tom Wolfe received the award last night, and I got to meet him! Urbane and courteous, he smiled slightly when I told him I was a novelist. I hurried over that piece of embarrassment and mentioned that we were both parents from the same school. His daughter attended the school where my little one now goes. That gave us common ground, and he talked about how great the school was, and how much he and his wife and their now grown daughter loved it.
It was a keen delight to meet him, white suit and all. I was hard pressed not to swoon.
Jim read a long passage from THE PAINTED WORD upon introducing Mr. Wolfe, and I thought my husband was going to stop proceedings and embrace both Jim and Tom. Thirty five years ago, Tom Wolfe was writing about the inanity of separating art from meaning, of making art an illustration for the text of “concept” (that ugly, stupid word for which future generations will mock us.)
Tom Wolfe’s speech was wonderful, thought-provoking. He spoke of two kinds of art that currently, like a bad virus, infect the art world: “no hands” art, and tenure art. “No hands” art is the kind of schlock tchochkis made by, for example, Jeff Koons. The artist never touches it. Balloon puppets and glass figurines are made by elves somewhere, or by poorly paid grad students, and the artist sells it to his marks for hundreds of thousands of dollars.
Tenure art is when some purported artist devises a stunt which he or she calls “performance art.” It will be something utterly ridiculous, such as filling two balloons with vegetables and tying one to each end of a length of chain. The “artist” then takes a group of suckers, I mean onlookers, to a pond to entertain them by dropping the whole apparatus into the water. It sinks like a… a length of chain. But a month later, the rotting vegetables emit gasses into the polyurethane bags which drag the chain to the surface. The whole thing floats. For this bit of chicanery, the “artist” is awarded a University professorship, quickly given tenure, and is therefore financially taken care of for life.
Yale is particularly enamored of this kind of … stuff.
Mr. Wolfe mentioned “deskilled art”(!), as in a sculptor who makes bubble-wrap suits of armor for protecting his psyche. It’s hard to convey the exquisitely drollery of Mr. Wolfe’s soft-spoken voice. But Sabin Howard, my maddening husband and the greatest living sculptor of male nudes, who takes a few years to complete a piece, shook in his chair with laughter. His face turned cherry red and tears welled up in his eyes. In eleven years, I have only once seen him so overcome. He indifferently started watching Napoleon Dynamite and then literally fell off the bed laughing. He could only gasp, “The visuals, the visuals are hilarious.”
Back to careful craftsmanship. I am put in mind of an Op-Ed piece written by Denis Dutton and published by the aforementioned, and largely irrelevant New York Times. My beloved eldest daughter sent me the piece; it was assigned in her Evolutionary Biology course at Amherst. The professor was telling the students that the human species will outgrow “concept” art. It’s surprising to me that the Times, that rag of concept, that self-proclaimed, self-important arbiter of taste, published his essay. Aware of the irony, I quote some of the relevant lines:
We ought, then, to stop kidding ourselves that painstakingly developed artistic technique is passé, a value left over from our grandparents’ culture. Evidence is all around us. Even when we have lost contact with the social or religious ideas behind the arts of bygone civilizations, we are still able, as with the great bronzes or temples of Greece or ancient China, to respond directly to craftsmanship. The direct response to skill is what makes it possible to find beauty in many tribal arts even though we often know nothing about the beliefs of the people who created them. There is no place on earth where superlative technique in music and dance is not regarded as beautiful….Future generations, no longer engaged by our art “concepts” and unable to divine any special skill or emotional expression in the work, may lose interest in it as a medium for financial speculation and relegate it to the realm of historical curiosity.
Dutton, Dennis. “Has Conceptual Art Jumped the Shark Tank.” The New York Times. Print. October 15, 2009.
Bad Faith on the NY Public Library’s part: Paul Brodeur’s papers
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Bad Faith on the NY Public Library’s part: Paul Brodeur’s papers

Bad Faith on the NY Public Library’s part: Paul Brodeur’s papers

Paul Brodeur's papers

My dear friend Paul Brodeur was a staff writer at The New Yorker for 38 years. He is a famed investigative journalist who broke the story about the asbestos health dangers and the cover-up by asbestos companies, among other stories. His work has directly helped millions of people. He has written several non-fiction books, two novels, and a book of luminous short stories called DOWNSTREAM, which, if you can get your hands on a copy, is breath-takingly worthwhile.

He recently sent me an article he wrote for the Author’s guild regarding the New York Public Library’s shameful treatment of him and his papers. I post the article below, in full.

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Paul Brodeur: A Breach of Trust at The New York Public Library

This article ran in our most recent bulletin as a contribution from a member, Paul Brodeur, a staff writer at The New Yorker for nearly 40 years.

In 1992, at the recommendation of Philip Hamburger, a colleague at The New Yorker, I donated papers relating to my 38-year career as a staff writer at the magazine to The New York Public Library. Among the papers were those connected to my investigations of the asbestos health hazard and its cover-up by the asbestos industry; the health risks posed by flesh-eating enzymes that had been introduced into household detergents; the depletion of the earth’s ozone layer by man-made chemicals; the dangers of exposure to microwave radiation; the ills caused by exposure to electromagnetic fields emitted by power lines, and the land claims of the Native People of New England. The Charles J. Liebman Curator of Manuscripts when I made my donation was Ms. Mimi Bowling. Five years later, Ms. Bowling conducted my wife and me on a tour of the Library’s Bryant Park Stack Extension, a vast underground vault beneath the park containing 42 miles of movable shelving units, where she showed us my papers, which had been processed and stored. She told us at the time that the documents we viewed constituted the permanent collection of my papers.

Following that tour, I donated a small amount of additional material to the Library, but was never contacted by anyone there until I received a letter from William Stingone, the present Charles J. Liebman Curator of Manuscripts, on April 23, 2010-18 years after my original donation. In his letter, Stingone informed me that, “As you know, we did a preliminary inventory of your papers soon after they first arrived at NYPL in 1992,” and “I am happy to report that we’ve now completed the final processing of those papers and your subsequent donations.” In the course of final processing, he said, “we identified a substantial amount of material that we chose not to incorporate into the collection.” He offered to send it to me within a month or, if I chose, he would “dispose of the material here.” “Over the past several years,” he explained, “we have had to become even more discerning as to what we retain. As I’m sure you understand, we need to manage our ever-diminishing resources, including space, even as our collection grows.”

Shortly after receiving Stingone’s letter, I contacted Ms. Bowling, who had left the Library in 2001, after 13 years as Curator of Manuscripts. (She is now a consult ing curator in private practice, as well as a member of the faculty at Long Island University’s Palmer School of Library and Information Science.) In an e-mail sent April 29, 2010, I told her that I had been surprised by Stingone’s assertion that only a preliminary inventory of my papers had been undertaken during her tenure as curator, and that their permanence was in fact pro visional. “I was never given any reason by you or your successors to know or understand either of those as sertions,” I wrote, and went on to remind her that, “when you showed me the display of my papers in or about 1998, you indicated and I had every reason to be lieve that the display constituted the final collection of my papers.”

On May 31, Ms. Bowling sent me an e-mail saying that she was “at something of a loss for words…. As far as I am concerned, it did not, in fact, take eighteen years to arrange and describe your papers and make them accessible for research. At least those of your pa pers that were accessioned in 1992 were judged by me and my superiors to be worth retaining and were, in my estimation, satisfactorily processed and shelved in the Bryant Park Stack Extension, where you saw them.”

Later in her e-mail, Ms. Bowling informed me that she had met Stingone for lunch several weeks previ ously, had told him of my shock at the deletions he had made in my collection, and had been assured by him that he would respond to me directly. (He never did.) She also said he “confirmed that your previously processed papers had been reviewed and a substantial quantity of materials removed.”

“Here is where I pretty much run out of words,” Ms. Bowling declared, “except to say that I am dis mayed. I had and continue to have the greatest admi ration for your work as an investigative journalist, and the senior Library staff who participated in acquisition decisions (none of whom, unfortunately, are still at the Library) concurred.”

Sometime in early June, I received a call from a woman named Victoria Steele, Director of Collections Strategy at the Library, who said she wished to discuss what had happened to my collection. Because I was in the middle of a meeting that could not be interrupted, I excused myself for not being able to talk with her. On June 12, I informed Ms. Bowling by e-mail of Steele’s telephone call and received a reply on the same day in which she declared once again that, “I valued your pa pers and considered them fully processed during my tenure…. Having expressed my shock and dismay to him [Stingone] and to you, I must now leave it to you and the NYPL to sort out this unhappy mess, but please do keep me posted from time to time.”

On June 20, I wrote a letter to Ms. Steele in which I said I assumed that Stingone “has informed you of Ms. Bowling’s shock and dismay over the continued culling of my papers many years after she showed me what she described as the final collection in the Bryant Park Stack Extension in the late 1990s.” I told her that “I no longer have confidence in The New York Public Library’s stewardship of the papers I donated more than 18 years ago,” and requested that she “return all my papers to me.”

On June 25, Ms. Steele telephoned me again to say she was sorry that there had been a “misunderstand ing.” At this point, I told her that the importance of the issues raised by Stingone in his letter to me of April 23 and in my letter to her of June 20 could not be ade quately addressed over the phone, and required the professional etiquette of a written response. In a letter to Ms. Steele on June 28, I reiterated this position and asked that she respond to my previous request for the return of my donation.

A day later, I decided that there seemed to be little use in dealing with junior officials at The New York Public Library. On June 29, I wrote to Paul LeClerc, President and Chief Executive Officer of the Library, describing what had occurred to the collection of pa pers I had donated and enclosing copies of relevant documents-among them Stingone’s letter to me of April 23, Bowling’s e-mails to me of May 31 and June 12, and my letters to Steele of June 20 and 28. In the fi nal paragraph of my letter to LeClerc, I said that I hoped the return of my donation could be arranged “at our mutual convenience,” and that he would read the enclosed letters and e-mails, “for they provide in sight into the workings of the Library’s Manuscripts and Archives Division that may well concern scholars and authors who are considering donating their pa pers to the Library.”

I sent my letter and enclosures to LeClerc from my local post office on Cape Cod by overnight mail and was surprised to receive an e-mail from him the next afternoon. “I can certainly understand your reaction to having it suggested that a very substantial portion of your archives, which you gave to the Library in the early 1990s, be returned to you,” he wrote. “And I apologize for the distress that this has undoubtedly caused you to suffer.

“If you would consider having a conversation between the two of us,” he added, “-at your conven ience and on Cape Cod if you like-before any deci sion is made about the archive, that is something I would very much appreciate. I’ve admired your work for years and hope that you will accept to meet with me to talk through this further.”

That same day, I sent an e-mail to LeClerc thanking him for his invitation and telling him I would be pleased to meet with him either on Cape Cod if he was planning to visit during the summer or when I next came down to New York City. He replied that he was not planning to visit the Cape but would make a spe cial trip if I so desired. During the next few days, I considered LeClerc’s offer in two lights. On the one hand, I had no doubt of its sincerity. On the other hand, it seemed strange to me that high officials-in this case, LeClerc and Steele-of an institution es teemed throughout the world as a repository for the written word should be so loathe to use it, and would seek to resolve the issue at hand through talk and con versation instead. For this reason, I decided to pursue the matter the way it had begun-in the epistolary form.

On July 4, I again wrote LeClerc, telling him that when I retired from The New Yorker in 1996 it gave me pleasure to look down upon Bryant Park from my of fice on 42nd Street and know that the papers relating to my 38-year career at the magazine resided in the Stack Extension below ground. I wrote that he was “right to assume that the Draconian deletions made from my donation to the Library … have caused me distress,” and went on to say, “It would appear that the Library has instituted a policy allowing continued reprocessing of a donor’s papers according to the dic tates of a succeeding curator, who is free to depart from the precedent set by a predecessor (in my case Curator Mimi Bowling) and to do so in drastic fashion and without any notice given to the donor either be fore his or her gift is bestowed or the deletions made.”

I also reminded LeClerc that Bowling and her su periors had judged my papers to be worth retaining and to have been satisfactorily processed and shelved in the Bryant Park Stack Extension at the time I saw them in 1997. I proposed that my collection be restored to the state Bowling described, and that my attorney and a representative of the Library draw up a letter of agreement defining the conditions under which it would remain in the Library’s Manuscripts and Archives Division. In closing, I said I hoped he would agree that this proposal might “constitute an equitable solution to the problem that has arisen.”

When a month had passed without reply, I wrote LeClerc another letter, telling him that I was disap pointed not to have heard from him, and that it had become difficult for me to have confidence in the Library’s stewardship of my papers. With regard to the Library’s policy allowing continued reprocessing of a donor’s papers by succeeding curators, I wrote, “I truly doubt that any present or prospective donor would regard such a policy as being in his or her best interest.” I concluded the letter by requesting that if his response to the proposal in my letter of July 4 was negative, he have one of his representatives contact me about the return of my entire collection.

As it happened, LeClerc had written in reply to my letter of July 4 on August 4, the same day I wrote and sent my final letter to him. His letter had all the ear marks of having been dictated by the Library’s legal staff, which probably accounted for the month-long delay. LeClerc apologized “for any miscommunica tions that may have been made by current or former staff of the Library.” The second paragraph was sur prising, to say the least, because it impugned Mimi Bowling’s grasp of how the Library’s Manuscript and Archives Division functioned, her professional good sense, and, in light of her e-mails to me of May 31 and June 12, her probity. “When Ms. Bowling showed you the collection at the Library, it appears that she did not make it clear that it had not yet been processed,” LeClerc wrote. “That seems, unfortunately, to have contributed to the impression that the collection had gone through our archival processing procedures and that it would be retained in its entirety.”

Before Ms. Bowling became Charles J. Liebman Curator of Manuscripts at the New York Public Library, she served for 10 years as the Reference Librarian for Manuscripts at Columbia University, fol lowed by five years as Archivist and Supervisory Museum Curator at the Edison National Historic Site, which is part of the Department of Interior’s National Park Service. After her 13-year tenure at the NYPL, she became Director of Archives at Random House. To suggest that a curator and archivist of her experience did not know what she was doing in her job, and to try to make her a scapegoat for a situation that the President and Chief Executive Officer of the Library seemed anxious to resolve by offering to travel from New York City to Cape Cod in order “to talk through this further,” seems deliberately disingenuous.

Whatever the case, the input of the Library’s legal staff became additionally apparent in the fifth para graph of LeClerc’s letter: “The Deed of Gift you signed on March 21, 1993 (copy enclosed) is clear and unam biguous in the Library’s view and is not subject to renegotiation.” (Paragraph 6. of the Deed of Gift de clared that, “The Library reserves the right to return to Donor any item that it does not choose to retain in the Papers,” and that “If Donor (or, if Donor is deceased, Donor’s estate) declines to accept such items, the Library may dispose of the same as the Library deter mines in its sole discretion.”)

LeClerc offered to hold the material the Library had decided not to retain for my review, but for no longer than a year from the date of the letter. He also suggested that if my attorney wished to discuss the matter, he should contact the Library’s Deputy General Counsel. Having handed me my head on a legally en graved platter, and indicated that the Library would play dog-in-the-manger with my papers, he concluded by assuring me that “I look forward to meeting you in person, not only to explain in greater detail the Library’s policies and procedures but also to have a chance to converse with a journalist whose work I greatly admire.”

In retrospect, it seems clear that I should not have donated my papers to an institution whose lust for ac quisition places previous gifts at risk of drastic dele tion, and whose highest official apparently thinks nothing of making the Orwellian claim that the Li brary’s former Curator of Manuscripts did not make it clear that my collection of papers had not yet been processed when she showed it to me 13 years ago, even though he had been sent two e-mails written by her a few weeks earlier-the first stating that she considered my papers to have been “satisfactorily processed and shelved in the Bryant Park Stack Extension, where you saw them,” the second declaring that she considered them to have been “fully processed during my tenure.”

In September, I wrote Ms. Bowling to bring her up to date on what had transpired between the Library and me during the summer. She replied in a letter dated September 29, in which she said that she wished to comment on the portion of LeClerc’s letter of August 4, “implying that I knew but did not tell you that the collection that I showed you in 1997 was not processed. That, as you and I both know, is simply not true: the collection was, in fact, processed.”

At this point, I have come to the conclusion that I should have given my papers to an environmental or­ganization, a school of journalism, or a small univer sity-any of which might have been more appreciative of them than The New York Public Library. However, that is water over the dam. The fact is that anyone signing the Deed of Gift to The New York Public Library (or a similar deed of gift to any institution) should consider the possibility that future curators may undo assurances made at the time of donation by their predecessors. Rather than place one’s trust in such institutional assurances, donors would be well advised to dictate the terms of a donation agreement with the assistance of an attorney, in order to protect the integrity of the donation in the years to come. Otherwise, five, ten, 18 (as in my case) or 30 years down the road, one-or one’s heirs-risks receiving the kind of letter Curator Stingone wrote me on April 23,2010.

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Paul Brodeur was a staff writer at The New Yorker for nearly 40 years. His articles won many awards and fellowships-among them a National Magazine Award, an American Association for the Advancement of Science Award, a Guggenheim Fellowship, and an Alicia Patterson Foundation Fellowship-and resulted in his being elected to the United Nations Environ mental Program’s Honour Roll for outstanding envi ronmental Achievement. He is also a short story writer and novelist.

Mating Season by Jon Loomis
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Mating Season by Jon Loomis

Mating Season by Jon Loomis
Mating Season (Frank Coffin Series #2) by Jon Loomis: Book Cover
The Provincetown Library was closed, so I betook myself across the street to the bookstore. I rummaged around and my curious fingers landed on HIGH SEASON by Jon Loomis. Next to it was its brother, MATING SEASON.
“Great books, FAB-u-lous books,” said the frilly man at the cash register. “So much fun to try to figure out where he’s writing about, here in town! We’re all waiting for the third book.”
So I bought the books. (Attention: I did not have a discount card, go Independent Bookstores!) Unexpected treasures: funny, beautifully written, sharply drawn characters, decently plotted. Loomis is a poet as well as a novelist and his prose is at its finest when he’s describing landscapes and sky, ocean and beach. But the prose doesn’t slouch anywhere. And there’s a strong, sticky sense of place, with the kind of deep saturation usually only seen in a Southern novel–except that Provincetown is not Southern. Provincetown is, well, uniquely Provincetown.
I most enjoyed Loomis’ obvious affection for the foibles and frailties of his all-too-human characters, and the charitable and amused tolerance with which the author seems to regard the human species in general. The protagonist Frank Coffin, with his eye tic and his flaccidity in the face of his girlfriend’s desire to get pregnant, his fear of death after his stint as a Baltimore cop, and his aversion to boats that flies in the face of his seafaring heritage–well, Coffin is rueful and heroic and decent without being either an anti-hero or a Captain America.
Several scenes made me laugh out loud–and I really love to laugh out loud while reading. The murder mysteries are absorbing and reflective of human vice. I recommend these books. They’re great: buy them, and enjoy.
The Power by Rhonda Byrne
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The Power by Rhonda Byrne

The Power by Rhonda Byrne

Rhonda Byrne, author of The Secret and now The Power, is close to people who are close to my husband, so I had the good fortune to meet her. She was lovely, with the contained grace that I associate with people who live from a strong sense of purpose.

Byrne advised me to read The Kybalion by the Three Initiates and The Secret Teachings of All Ages by Manly Hall. With my insatiable reading lust, I acquired the books immediately. I devoured them promptly. I’m glad I did; the old Hermetic teachings have a lot to offer. The sense of paired, complementary qualities reminded me of the Kabbalistic Sephiroth winding along the Tree of Life. I love these ancient, eternal paradigms of thought!

So, being favorably impressed with Byrne, and wanting to support her because she’s friendly with some of my husband’s favorite people, I ran out and purchased two copies of The Power. One for me, and one for my husband, who refuses to share both food and books. The first bit of territorial prerogative always surprises me. I had my oldest daughter twenty years ago and I haven’t eaten an entire plate of food by myself since 1990. Someone is always sticking a fork in and grabbing a bite. Lunch is my happy time, when I’m alone in the apartment. I can eat standing up and walking around, which I prefer, and enjoy my tuna and peanut butter sandwich in peace, with no grimy fingers trying to steal some.
But I understand why Sabin won’t share a book with me. I use them up. I ravish them. Books are comestibles and I scribble in the margins, apply post-its, and turn down corners. Once I’m done with a book, it wants to take a shower and a nap.
The Power is no exception. It’s juicy and interesting, ripe for plundering. There’s a lot here, most of it good stuff. Opening the mind and heart to love can only benefit people. Thinking in positive ways about what you want is wholesome. When you ride a horse, you have to look where you want to go, and that is subtly communicated to the animal, who then goes there. It’s the same way with your mind and your life. Your mind has to focus on what you want and love, and then the great beast of your life can trot in that direction.
In general, I like this “New Age” the Secret and positive vibrational stuff. It’s got flaws, like everything else in this marvelous, imperfect, blissful, agonizing world. Gossip claims that one of the guys from the original movie of The Secret is in jail. And there’s sometimes a lack of groundedness in these teachings; elements of fantasy creep in. “Blame the victim” arises.
My most serious qualm with this school of thought has to do with karma. As I currently understand it, Karma is a complex law with a long, long arc. I’m not so certain that it works so simply as “Do good and think nice, and because you’re sending good and nice vibrations out into the universe, good and nice will come back to you.” I think that sometimes what you did twenty-five years ago, or twenty-five centuries ago as a temple dancer in Egypt, can come back to bite you in the tushie. Sometimes we reap the fruit of a seed we planted eons ago.
Then there’s the relational dynamic. We have karma not just as individuals, but as members of our family, our generation, our country, our religion. We also have dyad karma. I am stretching the meaning of karma here to apply to the invisible field of thought and feeling, emotion and expectation and communication within which two members of a couple live. Eg, if you’re married to someone who thinks badly of you, or who is convinced that you embody a certain negative trait (which is probably their shadow anyway), it’s hard to overcome the stickiness of that. It’s easy to get trapped like a butterfly in a spider web. It can be just as toxic within a family or any other community, like a school. Structures of thought and connection arise, and they can be cages.
Still, The Power is full of truth and light. It is passionate in its desire to give to the reader and to improve the reader’s lot. I’m writing my personal reservations in the margins, but it’s worth reading. It’s always helpful to return to the fundamental touchstone of life: am I acting out of love or out of fear? That’s the choice. Love or fear. I like to read these kinds of books at night, so I’m uplifted in the hypnogogic state. I like to think that the positive impact on me will be more profound, if words about love and joy and peaceful abundance are sailing through my dreams.
I also recommend Mary T. Browne’s The Five Rules of Thought and Geshe Michael Roach’s The Diamond Cutter. Like Byrne’s book, they give to the reader. What all three books share, though The Diamond Cutter approaches it differently, is the need to discipline the thoughts. We spend decades learning how to read, write, and cipher, but we have to seek out the knowledge of how to use our own minds constructively. The Power can help with that.
IMMORTAL en francais, and Two great new blog posts
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IMMORTAL en francais, and Two great new blog posts

IMMORTAL en francais

IMMORTAL en francais, and Two great new blog posts

Voila, IMMORTEL

What an awesome cover! I love it. It reminds me of 1940’s pulp sci-fi, a genre I sorely miss. Reminds me of the juicy fun covers of Edgar Rice Burroughs books, when I used to save up money from my allowance and my paper route to buy books. To the French illustrator: my compliments!

Certainly, my French translator did an amazing and meticulous job of translation. He kept emailing me with questions until he really grokked everything I was trying to say. So, for all you French speakers: Buy this book!

The journey of this novel has been an extraordinary gift. The most interesting people respond to the book. Sometimes they contact me, sometimes they don’t.

Laura Faeth, herself the noted author of the visionary memoir I Found All the Parts: Healing the Soul through Rock ‘n’ Roll, recently emailed to tell me that she’d enjoyed the book. Her comments were thoughtful and she asked if she could send questions for me to answer for her blog, Rock ‘n’ Reincarnation. “Yes, please!” I replied.

Laura’s questions were intriguing, as expected from a close reader with a unique and self-aware perspective. Her deep sense of the soul of mysticism informs her writing. She posted my replies… So take a look at Rock ‘n’ Reincarnation.

Then sometimes something about Immortal pops up on the internet, unexpected and delightful. I set up google alerts to notify me, and something fun came through: a great review on The Bookworm’s Library. A reader named Lisa posted a review: “This is a great, unexpected treasure of a story that I came across, while I was looking for something else in the library recently…. This book offers a tremendous historical fiction of a fascinating time in history….This story is an amazing read… We are challenged to find that the most important thing in this life is the true nature of the self… I loved this book, this one is a great read!”

Lisa wrote several paragraphs. Like Laura, Lisa read passionately and thought carefully. It’s a blessing and a joy to have such readers.

So, thank you to Laura and to Lisa, and take a peek at the blogs…

Rock ‘n’ Reincarnation and also Sound of your Soul by Laura Faeth

The Bookworm’s Library which seems to be by AbbyW, Lisa, and Nikki.