Amazon.com
The late Vladimir Nabokov always did things his way, and his classic autobiography is no exception. No dry recital of dates, names, and addresses for this linguistic magician--instead, Speak, Memory is a succession of lapidary episodes, in which the factoids play second fiddle to the development of Nabokov's sensibility. There is, to be sure, an impressionistic whirl through the author's family history (including a gallery of Tartar princes and fin-de-siècle oddities). And Nabokov's account of his tenure at St. Petersburg's famous Tenishev School--where he counted Osip Mandelstam among his schoolmates--offers a lovely glimpse into the heart of Russia's silver age. Still, Nabokov is much too artful an autobiographer to present Speak, Memory as a slice of reality--a word, by the way, that he insisted must always be surrounded by quotation marks.
Book Description
Speak, Memory, first published in 1951 as
Conclusive Evidence and then assiduously revised in 1966, is an elegant and rich evocation of Nabokov's life and times, even as it offers incisive insights into his major works, including
Lolita,
Pnin,
Despair,
The Gift,
The Real Life of Sebastian Knight, and
The Defense.
Customer Reviews:
Cultured Discourse.......2007-08-13
In Speak, Memory, Nabokov, who is known for crafting memorable sentences in his novels, attempts to apply his abilities to a story that mirrors all the elegance of the New York telephone directory. And he comes up short.
If you open the book to any page, you are likely to recognize his rich writing style:
"This final dachshund followed us into exile, and as late as 1930, in a suburb of Prague (where my widowed mother spent her last years on a small pension provided by the Czech government), he could still be seen going for reluctant walks with his mistress, waddling far behind in a huff, tremendously old and furious with his long Czech muzzle of wire - an émigré dog in a patched and ill-fitting coat."
But you cannot make a silk purse out of a sow's ear. Two stars for effort.
Bewitching. .......2007-01-15
Personally, I like everything Nabokov did if only because reading him makes me a better writer. He is a "master stylist" cut from the cloth of James Joyce (in terms of his innovation and talent) who challenges his audience at every turn. When devouring his fiction, I am sure that there are many things I miss due to my being no great genius of literary analysis, but time with Nabokov is invariably time well spent. I make a point of circling those lines and turns of phrase which are strikingly original in the hopes that my own skills improve via his brilliant examples. I do the same thing with vocabulary words which was particularly the case with Speak, Memory as I bracketed off those terms with which I am not familiar. Thus, it seems that studying Nabokov is an essential tutorial for the aspiring writer. This, his autobiography, is absolutely charming and easily accessible for those readers intimidated by his other works. The author describes his early life in Russia--and vicariously, life in Tsarist Russia in general--and provides us with a captivating history of his family. Unfortunately, I found that it ended too soon. I longed for another 200 pages so his development as a novelist could be more fully explored. Nabokov, like so many writers, appears to have been the quintessential introvert and his environmental struggles are quite compelling. This is an astounding work that should be consulted repeatedly.
Perhaps The Greatest Autobiography You'll Ever Read.......2006-09-18
I re-read SPEAK, MEMORY once a year or so; on every occasion I am left in awe of Nabokov's skill as a prose stylist, and am dazzled by the memories he re-creates here.
This is notable as the work of a writer of astounding technical skill and erudition, but also the work of someone who has a well-formed regard for his audience. At the very least, Nabokov expects that his audience will also be very intelligent.
Thus, what we are left with here is something far beyond a typical "self-portrait at 20," instead we are left with recollections reframed, recalled and rendered with an adamantine clarity that shimmers and dazzles - after reading the descriptions of a youth spent on a Russian estate one can smell the frost in the air, note the detail on the wings of the butterflies oft referenced, or almost see the long, northern latitude sunsets for yourself.
Technically formidable, engrossing and magical - this is one of very few books that I think everyone should read once.
-David Alston
Nostalgic & Brilliantly Written.......2006-07-30
It is known that the great author worked on this project for many years, collecting photographs, letters, scraps of unfinished poetry, searching his past in order to write a close to accurate account of his early life. In fact this autobiography is atypical, similar to a wandering mind, grasping at images, sights and smells, recollections, reminisces, rather than a chronological,'factual' version of a life lived.
The opening sentence of Speak, Memory, to my mind, is probably one of the most moving and haunting recollections in an autobiography ever read:
"The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness."
The narrator continues on to describe a young chronophobiac who experienced panic when he viewed an old home movie, seeing his mother wave from an upstairs window and below, a brand-new baby carriage standing alone, realizing that the carriage was his own days before his actual birth. This disturbed him as the feeling of peering at a world days before he came into existence, sort of a reverse course of events, was akin to staring directly into eternity.
Nabokov's childhood and adolescence was an enchanting one, part of an aristocratic family, a beautiful mother and a liberal-minded father who had a vast library, where little Vladimir would arrive home to find him practicing his fencing, the clanging of blades, with a colleague. This was a civilized existence in St. Petersburg before the onslaught of the Russian Revolution. Similar to most aristocratic families at the time, the Bolsheviks seized the family fortune, forcing the family to flee their beloved Russia to Germany. But when Nabokov looks back at this tumultuous period, he says,
"My old (since 1917) quarrel with the Soviet Dictatorship is wholly unrelated to any question of property. The nostalgia I have been cherishing all these years is a hypertrophied sense of lost childhood, not sorrow for lost banknotes."
The book is strewn with old black and white photographs of Nabokov's family. There is one particular photograph of his father and mother taken circa 1900 at their estate at Vrya, which really depicts the aristocratic demeanour and pure strength of the author's father. In the background are the birches and firs of the countryside where Nabokov discovered his life-long passion with butterfly collecting.
Even if the reader is not familiar with the great novels of Nabokov: Lolita, Pale Fire, The Eye and many others, will certainly enjoy this unique and brilliantly written autobiography by one of the greatest writers of the twentieth century.
Astonishing.......2006-07-09
This is the way memoirs ought to be written. Nabokov takes the reader on a journey of the senses, of the dim and yet luminous memories of a childhood, through the eyes of a genius with an unprecedented attention for detail. Nabokov does not walk us through every relationship, every transition, etc. Rather, he gathers and recollects the memories of color, of feeling, and learning that are most important to him. There are remarkable passages in this text, including remarkably varied intellectual topics, i.e.: literature, politics, chess, mathematics, lepidoptery, ect. There is a passage on camoflauge and Nabokov's suspicion of Darwinian evolution that I love:
"Natural selection, in the Darwinian sense, would not explain the miraculous coincidence of imitative aspect and imitative behavior, nor could one appeal to the theory of `the struggle for life' when a protective device was carried to a point of mimetic subtlety, exuberance, and luxury far in excess of a predator's power of appreciation. I discovered in nature the nonutilitarian delights that I sought in art. Both were a form of magic, both were a game of intricate enchantment and deception" (pg. 125).
And so too is, `Speak Memory' a nonutilitarian delight. It is a magical work of enormous imaginative and evocative energy.
Amazon.com
"Why," asks Jill Ker Conway, "is autobiography the most popular form of fiction for modern readers?" As the author of two stellar memoirs--The Road from Coorain and True North--Conway would seem superbly qualified to answer her own question. Her initial premise is that naturalistic fiction has lost much of its power to enchant, that the cynical readers of our fin de siecle are unwilling to suspend their disbelief for a run-of-the-mill storyteller. Only the memoirist's factual frolics can truly engage us and satisfy our craving to be "allowed inside the experience of another person who really lived and who tells about experiences which did in fact occur."
This clear-cut distinction between the two forms is, of course, highly dubious, and Conway is quick to acknowledge the rather porous nature of autobiographical "truth." In fact, she argues, all memoirs tend to conform to certain narrative patterns. What's more, Conway classifies these patterns along gender lines: men produce epic adventures, in which the testosterone-driven protagonist battles against nature and society for control of his fate, while women are quicker to record the trials of domestic life and evolving consciousness. Conway draws on the entire history of autobiography for her discussion, from Saint Augustine and Germaine Greer to Vanessa Bell and Frank McCourt. (But what happened to Vladimir Nabokov's Speak, Memory, a title Conway echoes in her own?) At times her subjects stubbornly refuse to conform to the appropriate, his-and-hers pattern--suffragette Emmeline Pankhurst's My Own Story, for example, has the manly sound of "a series of communiques from a general in the field." Yet Conway's trawl through the history of the genre is full of brilliant insights as well as less known autobiographical gems, and no memoir-mad reader will want to miss it.
Book Description
J ill Ker Conway, one of our most admired autobiographers--author of The Road from Coorain and True North--looks astutely and with feeling into the modern memoir: the forms and styles it assumes, and the strikingly different ways in which men and women respectively tend to understand and present their lives.
In a narrative rich with evocations of memoirists over the centuries--from Jean-Jacques Rousseau and George Sand to W. E. B. Du Bois, Virginia Woolf, Frank McCourt and Katharine Graham--the author suggests why it is that we are so drawn to the reading of autobiography, and she illuminates the cultural assumptions behind the ways in which we talk about ourselves.
Conway traces the narrative patterns typically found in autobiographies by men to the tale of the classical Greek hero and his epic journey of adventure. She shows how this configuration evolved, in memoirs, into the passionate romantic struggling against the conventions of society, into the frontier hero battling the wilderness, into self-made men overcoming economic obstacles to create an invention or a fortune--or, more recently, into a quest for meaning, for an understandable past, for an ethnic identity.
In contrast, she sees the designs that women commonly employ for their memoirs as evolving from the writings of the mystics--such as Dame Julian of Norwich or St. Teresa of Avila--about their relationship with an all-powerful God. As against the male autobiographer's expectation of power over his fate, we see the woman memoirist again and again believing that she lacks command of her destiny, and tending to censor her own story.
Throughout, Conway underlines the memoir's magic quality of allowing us to enter another human being's life and mind--and how this experience enlarges and instructs our own lives.
From the Hardcover edition.
Customer Reviews:
Autobiography, Feminism, and the Self of Modern Fiction.......2003-03-05
This book is a fascinating, clear, balanced, and informed look at what Conway calls "the most popular form of fiction for modern readers"--autobiography. Although Conway is drawn to modern themes of race and gender, she also has a keen critical eye, balances the popular with the less-well-known, and the present with the past. She focuses on meaning making, the way people see their own lives, and the lessons they draw for others from them. For better or worse (and often worse) she argues, the Homeric Greek hero on his action packed odyssey is archetype for meaningful autobiography. Church father Augustine in his Confessions (c. 400) internalized the action, chronicling his attempts to resist temptation and submit to the will of God.Jean-Jacques Rousseau in his Confessions (1871) attempts to succeed on the temporal level, to be a worldly success in touch with self and emotions beyond society's external laws. Benjamin Franklin in his Autobiography (1818) defines such worldly success in economic terms based on diligence and delayed gratification. The analysis of 19th century women's rights leaders such as Harriet Martineau and Elizabeth Cady Stanton are artfully analyzed through their autobiographies, as are colorful female personalities less obviously political such as stepbrother-abused Virginia Wolf (1882-1941) and the hilarious Mabel Dodge Luhan (1879-1962)who was married four times (and had an affair with D.H. Lawrence) and wrote a four-volume memoirs entitled Intimate Memories. More familiar feminists such as Australian Germain Greer, Gloria Steinem ("full-time feminist leader, slipping into the role of caregiver for the feminist movement and unable to care for herself") are also analyzed with a critical focus of Conway's refreshingly non-monolithic feminism. Because of her rare combination of empathy and critical clarity, Conway excels when she is examining more marginal characters such as lesbian May Sarton's 1968 Plant Dreaming Deep, the 1974 Flying by lesbian Kate Millet (who appeared on the cover of Time),black lesbian Audre Lorde's 1982 Zami, A New Spelling of My Name, and so on. Conway also analyzes gay male autobiographies such as historian Martin Duberman's 1991 Cures, and A Different Person (1993) by James Merril (son of Charles E. Merril, one of the founders of Merril Lynch). She examines James/Jan Morris's transexual account in Conundrum, and decides that such stories are intrinsically more essentialist (structurally sexist)than simple gay and lesbian autobiographies. I am not sure I agree with all of Conway here--her definition of postmodernism seems too simple, and it is not clear that the true goal of autobiography writing is to own up to ourselves as significant actors in the drama of our own existence, rather than victimlike or overly modest ("feminine") being to whom things happen. To know that we would have to know the status of free will, which we don't, and there is the added danger (also an artistic one, although it can have comic effects) of the egotistic memoirist who takes credit for all sorts of things that were not related to his actions or decisions. So there is a continuum between active/egotistic/sellable autobiography and passive/modest/marketplace-challenged memoirs that needs to be carefully navigated by any aspiring autobiographer.But what is good about Conway is she is nice without pulling any critical punches. She shows how even the most successful feminists can hurt their cause by the way they report their story, and she ends with the striking image of a man (French journalist Jean-Dominique Bauby--The Diving Bell and the Butterfly, 1997)paralyzed in all but one eye from a stroke, telling his story by blinking as a devoted helper goes through the alphabet until arriving at the correct letter. Although nominally about autobiography, and a brilliant work of feminism, this book may perhaps be of most use to creative writers.
Book Description
After a brilliant literary career in Russian, Vladimir Nabokov came to the United States and went on to an even more brilliant one in English--earning a place as one of the greatest writers of his adopted home. Between 1941 and 1974 he published the autobiography and eight novels now collected by The Library of America in an authoritative three-volume set. "The Real Life of Sebastian Knight" is a tantalizing literary mystery in which a writer's half brother searches to unravel the enigma of the famous novelist's life. "Bend Sinister," Nabokov's most explicitly political novel, is the haunting, dreamlike story of a quiet philosophy professor caught up in the bureaucratic terror of a totalitarian police state. "Speak, Memory" is the dazzling memoir of Nabokov's childhood in imperial Russia amd exile in Europe. The texts in this volume have been corrected based on the author's own copies. Two companion volumes collect "Lolita," "Pnin," "Pale Fire," and "Lolita: A Screenplay," and "Ada," "Transparent Things," and "Look at the Harlequins!"
Customer Reviews:
Real Nabokov.......2005-07-05
It's a sad fact that Vladimir Nabokov is still thought primarily as the guy who wrote a book about a middle-aged man's crush on a preteen girl. What that fails to note is that Nabokov, a Russian expatriate who spent many years in America, also wrote many other novels that were often even more groundbreaking than "Lolita."
Three of them were compiled into "Novels and Memoirs 1941-1951": the horrifying political satire "Bend Sinister," the entertainingly offbeat "Real Life of Sebastian Knight," and the unique memoir "Speak Memory." These three each demonstrate why Vladimir Nabokov was one of the best writers of the 20th century.
"Bend Sinister" is the most obviously political of all the novels Nabokov wrote.
It tells the story of Krug, a philosopher in the land of Padukgrad, who is dealing with the death of his wife, and having to raise his young son alone. To make things worse, an inept inventor's son named Paduk, has become the dictator. Worse, Krug is somehow in Paduk's way -- and Paduk will do anything to get Krug to endorse him. Literally, anything.
"The Real Life of Sebastian Knight" has a lighter tone than "Bend Sinister," with an unnamed narrator searching for clues about the true persona of his brother, Sebastian Knight, a famed writer. It ends up becoming a superb satire/detective story, looking at the faint traces that biographers snatch at, but which can only give a tiny look at the whole.
"Speak Memory" is an entirely different kind of book -- it's all about Nabokov himself. He reexamines his colorful life, but not so much through basic experiences and facts. Instead, he looks at how he made sense of the world, whether as a privileged child, a man torn up by the Russian Revolution, and finally finding sanctuary in another land.
It might come as a surprise that the famous "Lolita," which caused such a scandal at the time, is actually one of Nabokov's less complex books. He dabbled in metafiction, existentialism, autobiography, and almost always in satire. And there are almost always layers on layers of meaning in his books -- these aren't the exception.
His writing is dense, lush and detailed, and he seems almost to blur the line between fantasy and reality, especially since "Bend Sinister" takes little bits from various totalitarian governments. Even stranger, Krug apparently discovers that he is actually Nabokov's creation, and has an existential crisis. And Nabokov's self-examination is as fascinating as any bestselling novel, where he revisits those bizarre thoughts that we all have as children.
A harrowing political thriller, an amusing satire, and an intriguing autobiography make up "Novels and Memoirs 1941-1951." A writer like no other, and three books like no other.
Incredible writer doesn't deserve dirty old man rep.......2000-08-31
Picture Vladimir Nabokov. In the hall of mirrors that is popular culture, he is the dirty man who wrote the dirty book "Lolita," about a 12-year-old "nymphet" -- he invented the term, by the way -- and her affair with an older man.
Angle the mirror another way, and he is one of the founders of the modernist novel, which to some people -- myself included -- that's a damning phrase. "Modernist" and "post-modernist" literature seems a) self-referencing to the point of egotism; b) dedicated to the advancement of decedent themes, and to score big points as a writer, pile it on, brother; and c) obsessed with the discovery that the "arts" -- whether books, pictures or movies -- are artificial, and that we use them to create, well, books, pictures and movies.
Unless you think I am making it up, here's an example drawn from real life: a few years back, a Charlotte museum mounted an exhibition of a painter's work, one of which was a canvas whose front side was turned toward the wall, exposing a paint-stained frame. A newspaper reviewer breathlessly informed the reading public that the artist did this "to inform the viewer that most paintings are recetangular."
Now, a reasonably intelligent person could probably reach that conclusion without much effort, but discoveries like these seem to drive those who tread into the "modern" era of art.
So Vlaidmir Nabokov's reputation is caught between two very opposing poles. He either panders to the worst tastes of man, or the worst tastes of art.
Fortunately, he is neither, and the Library of America agrees. The non-profit publisher throws its reputation behind Nabokov as a writer worth reading by publishing all of his English-language novels in three volumes. The first volume covers his work from 1941 to 1951: "The Real Life of Sebastian Knight," "Bend Sinister," and his memoir, "Speak, Memory." The middle work contains the notorious "Lolita," "Pale Fire," "Pnin," and the "Lolita" screenplay Nabokov wrote for Stanley Kubrick. The concluding volume contains "Ada," "Transparent Things," and "Look at the Harlequins!"
But of these works, only "Lolita" stands alone. It is not a dirty book, and one should pity those American and British tourists who, in the mid-1950s, bought the pale olive-green two-volume paperbacks published in Paris by the notorious Olympia Press. Those expecting frankly pornographic stories like "The Story of O" and "How to Do It" would have been sorely disappointed in Humbert Humbert's self-confessed defense of his rape (not "seduction," which implies a willingness to be seduced) and exploitation of Delores Haze, "Lolita, light of my life,fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta."
Even Olympia's publisher was taken in, telling a mutual friend that he though Nabokov was Humbert, and that he was attempting to popularize nymphet love.
What does become apparent after reading through the volumes (and aided by an excellent two-volume biography by Brian Boyd) is that there is much more to Nabokov than meets the eye. Delving deeper in his works reveals a funhouse hall of mirrors that can lead to a definitive end, and there's not much in modernist fiction that could substantiate that claim.
What sets Nabokov off from other writers is his use of the language. Raised in Tsarist Russia, Nabokov was a child prodigy who was taught Russian, French and English at an early age. His prose is elegent, his command of English astounding. It's close to the prose of Henry James, but except for the foreign phrases, which the Library editions provide translations and explanations, far more understandable.
Descriptions pulled at random from "Lolita" ring as if English was a newly minted language, capable of expressing humor ("The bed was a frightful mess with overtones of potato chips") and snobbish anger ("Lo had grabbed some comics from the back seat and, mobile white-bloused, one brown elbow out of the window, was deep in the current adventure of some clout or clown").
Even, when Humbert meets his Lolita long after she escaped his clutches, when he believes that he still loves her, heart-rending: "In her washed-out grey eyes, strangely spectacled, our poor romance was for a moment reflected, pondered upon, and dismissed like a dull party, like a rainy picnic to which only the dullest bores had come, like a humdrum exercise, like a bit of dry mud caking her childhood."
This is not casual reading, but neither is it reading-as-masochistic exercise, with furrowed brows and an exasperated flipping of once-read pages. There is a surface meaning that is easily accessible, but there are deeper meanings, in-jokes, ironies and moral questions worthy of consideration.
The best volume of the three is the second, which contains "Lolita," the screenplay he wrote for Stanley Kubrick (which was not used), the comic novel (for Nabokov at least) "Pnin" and "Pale Fire."
But good works can be found in the other volumes as well. "The Real Life of Sebastian Knight," in the first volume, is the author's account of his biographical research on his half-brother, the brilliant writer Sebastian Knight, who had died recently of a heart condition after writing a half-dozen novels. It bears all the hallmarks of the post-modernist novel replete with a self-absorption with writers, spurious biography, an unreliable narrator and ironical references. "Speak, Memory," also in the first volume, is Nabokov's memoirs about growing up in Russia.
Indeed, the only disadvantage to reading Nabokov is that it may cause a nagging niggling in the back of your head, while reading novels in the future, that they just cannot compare to those composed by the American from Russia.
Nabokov!.......2000-04-20
This collection of novels and a memoir is a must for anyone interested in twentieth century literature. Nabokov is a giant, a superstar, a Freud-bashing genius--order now!
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Artists Speak: A Sketchbook
Eric Maisel
Manufacturer: HarperCollins
ProductGroup: Book
Binding: Hardcover
 General
| Reference
| Arts & Photography
| Subjects
| Books
Blank Books
| Journals
| Accessories
| Formats
| Books
ASIN: 0062508814 |
Book Description
In pocket-size and journal-size editions, this sketchbook of inspiring quotes from artists in every field helps the reader connect with his or her own creative process.
Customer Reviews:
a very special gift.......2000-04-03
This book is so beautiful that I could hardly write in it, even though it's a journal! The quotes are special--hundreds of them--and the book is a terrific present to give yourself or someone you really care about.
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Dickson's How to Speak in Public
Henry Dickson
Manufacturer: Kessinger Publishing
ProductGroup: Book
Binding: Paperback
Memory Improvement
| Self-Help
| Health, Mind & Body
| Subjects
| Books
Memory Improvement
| Stress
| Personal Health
| Health, Mind & Body
| Subjects
| Books
General
| Reference
| Subjects
| Books
Public Speaking
| Words & Language
| Reference
| Subjects
| Books
ASIN: 0766177998 |
Book Description
Professor Dickson's contains valuable instruction by this famous memory expert. He has done his work well, and has shown a charming insight into the heart of his subject. As Appendices to this work are "Self Improvement Through Public Speaking" and "If You Can talk Well" by Dr. Orison Swett Marden, being a lecture on memory delivered by Dickson before the Metaphysical Society. Within are over one thousand topics for orations, speeches, essays, etc., also model questions for debate and preparation of programs.
Book Description
Similar to becoming "sweet sixteen," turning 30 is often seen as a pivotal birthday. Twenty-one-year-olds are "legal" adults, while becoming 30 places you at the next stage of womanhood. No longer a twenty-something seeking the pleasures and benefits of the adult world, the thirty-something woman is establishing herself in her profession, working towards financial independence, often married, possibly considering motherhood, if not there already. Her focus shifts to the bigger issues of partnering, parenting, fulfillment, balance and spirituality, to name a few. She wants to be a self-aware woman of depth and substance.
For this becoming-wise younger woman, this lovely journal offers words of wisdom from women who have already experienced many of life's challenges and can now reflect upon their meaning for women of all generations. Wise Women Speak is a beautifully illustrated collection of women's wisdom meant to challenge and reassure an emerging woman and give her room to reflect her own wise words. It is a thoughtful and interactive gift book, sure to become a treasured heirloom.
Customer Reviews:
Astounded.......2004-10-30
I'm astounded to see several good reviews of this book on amazon.com. From my perspective, it is a waste of money. There is very little text; most pages contain a sentence or possibly two, and every dozen pages or so, you will find two facing pages with no text whatsoever. The creators of this volume try to pass this off as space in which to write down your own wisdom, but if you want blank pages to write in, buy a notebook at the drugstore for 75 cents!
The "wisdom" contained in this slim volume is dispensed in the form of banalities ("Always tell the truth"; "Have faith"; "Give more than you take") attributed to supposed women with names like "Mary M", "Jean A", and "Peggy S" (I particularly grew to hate Peggy).
I did find the little watercolor illustrations of bunnies and flowers charming. Until I started noticing them repeating! Someone should clue the illustrator in to the fact that one usually does not recycle illustrations over and over in the same book.
I can't believe trees had to die for this. I can't believe I have to give this an entire star in order to post a review. Two thumbs down. Actually, I really need to grow more thumbs so I can point even more of them down.
DELIGHTFUL, UPLIFTING,.......2002-08-30
Great job, what a delightful, wonderful book. I ordered one for myself, and now I am going to buy the book for my daughters and my grand daughters. I will enter my thoughts on the pages for each of my girls, an give them as Christmas gifts. I will keep my grand daughters books for a while and write wonderful things about life for them and give to each of them as they mature.
There is alot to absorb in this adorable book, each page can be put to everyday use.
Carolyn
These Wise Women Speak to Women of All Ages.......2002-08-22
I know that the title of this book implies that it is only meant for women turning 30. My mom got me this book as a gift and I found it to be very uplifting and helpful, even as a 16 year old. I think that the same advice applies to all women who are reaching turning points in their lives, young and old, and I stronly recommend this book to anyone. I know that more books are coming out in the series too, so keep a lookout!
Sage Advice for Women of All Ages.......2002-05-20
Although the title indicates that the book contains advice for the woman entering her fourth decade of life, actually the wise women quoted therein speak to women of all ages.
The perfect gift, extremely reader-friendly with beautiful illustrations, full of witty aphorisms from worldly-wise, everyday women, the book will be a great addition to any woman's library shelf.
Sage Advice for Women of All Ages.......2002-05-20
Although the title indicates that the book contains advice for the woman entering her fourth decade of life, actually the wise women quoted therein speak to women of all ages.
The perfect gift, extremely reader-friendly with beautiful illustrations, full of witty aphorisms from worldly-wise, everyday women, the book will be a great addition to any woman's library shelf.
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Speak, Memory an Autobiography Revisited
Manufacturer: G. P. Putnam's Sons
ProductGroup: Book
Binding: Hardcover
Nabokov, Vladimir
| Classics
| United States
| World Literature
| Literature & Fiction
| Subjects
| Books
ASIN: B000I3JQ68 |
Average customer rating:
- LIFE ALTERING
- Infant trauma revealed through dreams
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If Someone Speaks, It Gets Lighter: Dreams and the Reconstruction of Infant Trauma
Lynda Share
Manufacturer: The Analytic Press
ProductGroup: Book
Binding: Hardcover
Dreams
| Mental Health
| Health, Mind & Body
| Subjects
| Books
Interpersonal Relations
| Relationships
| Health, Mind & Body
| Subjects
| Books
Child Psychology
| Psychology & Counseling
| Health, Mind & Body
| Subjects
| Books
| Development
| Psychology
General
| Psychology & Counseling
| Health, Mind & Body
| Subjects
| Books
Psychoanalysis
| Psychology & Counseling
| Health, Mind & Body
| Subjects
| Books
Psychotherapy, TA & NLP
| Psychology & Counseling
| Health, Mind & Body
| Subjects
| Books
Consciousness
| By Topic
| Psychology & Counseling
| Health, Mind & Body
| Subjects
| Books
Dreams
| By Topic
| Psychology & Counseling
| Health, Mind & Body
| Subjects
| Books
Dreams
| Self-Help
| Health, Mind & Body
| Subjects
| Books
ASIN: 0881631825 |
Book Description
In this fascinating integration of developmental psychology and contemporary psychoanalytic theory, Share argues that the impact of early infantile trauma can become accessible through disciplined analytic inquiry. Demonstrating her point with vivid clinical case reports, she emphasizes the special value of dream interpretation in recovering the full psychological impact of events that occurred in the first few years of life. When trauma can be reexperienced meaningfully in treatment, both behavioral reenactments and trauma-related transference issues can be dramatically clarified.
Customer Reviews:
LIFE ALTERING.......2006-02-25
TO READ THIS BOOK IS TO DELVE INTO TRUTH. THE EVIDENCE IS IRREFUTABLE, YOUR UNCONCIOUS MIND REMEMBERS EVERYTHING FROM IN UTERO ONWARDS.IF YOU WORK WITH YOUR DREAMS YOU CAN TAP INTO ALL YOU NEED TO KNOW TO BE AN HEALTHY ADULT. SHARE'S BOOK IS A PATHWAY OUT OF THE JUNGLE. A MUST READ FOR ANY PROFESSIONAL, AND AN INSIGHT TO ANY LAYMAN.
Infant trauma revealed through dreams.......2002-02-22
One of a kind. An excellent overview of dream analyis. Share believes in the reality of dream-memories for recapturing actual infant memories of traumatic experiences. If you've had enough of Elizabeth Loftus and her bogus research on "recovered memories," this work is a superb antidote. As one who has been through the mill, I can attest to its validity and insights. When I was less than three years old, I was raped by my father. For two years, the child within me, sent me concrete and detailed dreams of the rape and the scene of the crime. I have been looking for research that validates infant memory of trauma and I have found that research in Lynda Share's excellent book. Look carefully at her bibliography for addditional research material. There are people there I have never heard about, especailly Ella Sharpe and Phyllis Greenacre. Thank you, Lynda.
Books:
- Spectroscopic Methods in Bioinorganic Chemistry (Acs Symposium Series)
- Speed Dating (Harlequin Nascar)
- Tess of the D'Urbervilles (Penguin Classics)
- The 7 Habits Of Highly Effective Teens
- The Adventures of Huckleberry Finn (The Classic Collection)
- The Africans Who Wrote the Bible
- The Air I Breathe: Worship as a Way of Life
- The Best American Essays 2004 (The Best American Series)
- The Best American Science Writing 2003 (Best American Science Writing)
- The Canterbury Tales: (original-spelling edition) (Penguin Classics)
Books Index
Books Home
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Pale Fire
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Invitation to a Beheading
