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In addition to a court of thirteen fairies representing each season (with a Lady, Knave, King, Queen, and Ace), there are eight fairy festival cards (Imbolc, Ostara, Beltane, Midsummer, Lughnasa, Herfest, Samhain, and Yule). It's easy to sense at a glance which fairies are good to work with and which are not, since each card conveys through use of color, expression, and lighting the feelings being described. THE FAIRY RING book further clarifies which fairies are helpful and provides advice regarding how best to obtain help from them (such as Habetrot, Asrai, the Sea Mither, Brownies and Leprechauns), and which fairies are best avoided because they are known for being treacherous, illusory, or inaccessible (such as the Changeling, Will o' the Wisp, or Jenny Greenteeth). For those who need a little help asking the fairies for guidance, nine different divinatory spreads are provided, along with a sample reading for the Fairy Market spread.
If you already feel an affinity for fairies and are willing to read through the stories and divinatory meanings for each card, this deck will quickly become an invaluable aid. I received meaningful guidance and advice from THE FAIRY RING deck after using it twice!
Ms. Franklin, a practicing pagan and high priestess, has spent more than twenty years collecting and exploring fairy lore and legends. Her time at this pleasurable occupation has been spent commendably, for she offers us a deck where each card has its legend or lore, divinatory and reversed meanings, ways to work with each fairy - or whether it is wiser not to work with them.
The cards are split into the four seasons called the courts, which I find a huge plus for not only those of the fae path but also for hedgewitches whose day to day lives are also lived by the seasons and elements. Along with the four suits of court cards, there are also the eight major fairy festival cards. This I have not seen before and I enjoy working with these as well. There are nine spreads, a sample reading and a guide for meditations for the cards. All in all, the book was written for the basic reader and is very user friendly.
Mr. Mason is truly a visionary. Using photography and artistry together, he blends the cards into a beautiful masterpiece that is his own signature. Bringing fantasy, imagination, illusion and desire into the cards, he has managed to create symmetry of grand proportions!
The Fairy Ring is one of grandeur, from the beautiful fairies to the distorted ogres, and all in between. You will want to work with the oracle on a daily basis to give you the divine inner wisdom that you seek! Anna Franklin and Paul Mason, together, have created a treasure in The Fairy Ring.
M.L. Benton, Publisher, Echoed Voices
Copyright © October 2002
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Anna-Lisa Bjorling, who was married to Jussi for 25 years, was herself a fine soprano who often partnered her husband in concert. As of this writing she is still alive at 92. Although Anna-Lisa clearly loved Jussi very deeply, she is still capable of being objective about him when required. She is a wonderful writer, providing vivid portraits not only of Jussi, herself, and their children, but just about everybody they ever came into contact with, as well as of life in Sweden in general. After reading this book, I felt like Jussi and Anna-Lisa were old friends.
Bjorling had not only what was probably the most beautiful tenor voice to ever come out of a human throat, but also a nearly perfect technique, a superb sense of style, and the ability to truly stir the souls of his listeners. While he had a reputation for being a very poor stage actor, this was at least occasionally exaggerated. Although Bjorling died tragically young at the age of 49 of heart failure, he had a magnificent and very long career which lasted 45 years, 32 as a tenor. He is probably the only opera singer whose recording career (which began when he was 9!) lasted from acoustic to electric to LP to stereo recordings. He made his stage debut at 19 as Don Ottavio at the Royal Opera, Stockholm, after having studied first with his father, his principal singing teacher, and then at the Royal Opera School with the Royal Opera's director, baritone John Forsell. His career expanded to Europe and the rest of the world very quickly. He made his Metropolitan Opera debut in 1938, and with the exception of the WWII years and several years in the 1950s due to fights with Rudolf Bing, he remained there until his death. He concentrated on about 10 or 15 Italian and French operatic roles, and was also an avid recitalist with several hundred songs in his 'inventory'.
Unfortunately, Bjorling is nearly as famous in operatic circles for his alcoholism as for his glorious singing, and I think that is appalling. In fact, the one thing this book makes very clear is that although the disease was a tragedy for him personally and traumatic for his family, it had comparatively little effect on his actual career, at least outside Sweden. Working actually kept him from drinking. Anna-Lisa offers considerable proof that many of the stories about Jussi's drinking were exaggerations, gossip or outright lies, most tellingly in the true story of the cancellation of the 'Un Ballo in Maschera' recording under Sir Georg Solti, which was a product of producer John Culshaw's malice. Nearly all his colleagues also defend him on this regard. As far as I'm concerned, the only people who have any right discussing Jussi's alcoholism are Anna-Lisa and his children, as they are the only ones who really had to deal with it. ....
Overall, Jussi comes across as a beautiful human being - simple, warmhearted and lovable, a wonderful husband and father, adored by almost everybody who worked with him or knew him. The book is full of stories about his kindness and generosity to colleagues. He was also an avid pike fisherman who loved westerns and was unbeatable at arm wrestling. He basically had only three serious flaws as a human being: impulsiveness that on occasion bordered on irrationality, stubbornness, and what Anna-Lisa calls, for lack of a better term, a deep inner restlessness - the inner demon that drove him to drink.
I only wish 'Jussi' could have been longer. A year before it was published, I spoke with leading Bjorling authority Cantor Don Goldberg, one of the book's proofreaders. He told me that the first draft was 1100 pages. As the final copy is only 520 pages, I wonder what was cut besides the many laudatory comments from colleagues that were considered repetitive. I was surprised that there wasn't more information about Jussi's brothers once they reached adulthood, especially Gosta, who was so close to Jussi that they had an almost telepathic relationship. And while this book does full justice to such fundamental influences on Jussi's singing as his father, John Forsell (who emerges as quite a character!), and Tullio Voghera, I would have liked a bit more on Nils Grevilius, who conducted nearly every recording Jussi made before 1950. There is also virtually nothing about Hjordis Schymberg, the fine Swedish soprano who partnered Jussi over 100 times in Stockholm. More mention of his recordings besides the complete opera sets would have been welcome, although I am aware that his recordings are covered in the companion volume 'A Jussi Bjorling Phonography'. Finally, while I am aware this would have added to the price of the book, there are so few color photos of Bjorling that I think they should have had one on the cover.
'Jussi' is essential reading for anyone with any interest in good music, let alone opera. It is the definitive biography of one of the most magnificent singers and human beings ever to appear on an opera or concert stage. If you haven't heard this man sing, remedy that immediately!
So it was a great pleasure to discover this excellent biography, which illuminates not only his life but also the opera world from the 20s through the 50s. His early life and training from his father are particularly interesting if you wonder how such a great talent was discovered and developed. (The only question in my mind not answered is the extent to which his children inherited the incredible musical talent that was in his family for generations; that they perform is mentioned but never elaborated on.) The book is well documented with quotes from his peers, and the authors do a splendid job of presenting the entire person with his strengths and weaknesses in a very objective way that holds the reader's interest from beginning to end.
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The book is divided into three sections: Relating to Yourself, Dealing With Your Spouse, and Interacting With the Kids. The experiences and suggestions in each part are practical and encouraging. You'll respond to the stories with warm familiarity, or you'll wish they could be your own.
A couple of my favorite suggestions include: (1) Learning how to use -- and trust -- your intuition. Here, the authors encourage the stepparent to get to know her stepchildren and then to use that knowledge to improve the relationship and intuitively work through the problems that inevitably arise. (2) Solving problems with stepkids directly. This suggestions points out how much power stepparents actually have in getting their stepkids to cooperate with them. Following the advice here, it will be hard to tell who benefits more -- the stepchild or the stepparent, but it's a great way to approach conflicts for everyone involved.
I would suggest that anyone getting married to (or even seriously involved with) someone with children buy this little gem.
And even though I'll be the official stepparent, I plan to have my fiance read it, too!
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I particularly enjoyed the fact that every perspective wasn't devoted to the USA, corporate, we are the chosen children of capitalism viewpoint. Instead, we're treated to far more objective looks at the events (and the provocations) which led up to them.
Finally, we're shown a glimpse of what is to come. Offering some astrological probabilities of upcoming aspects, we are invited to see fresh possibilities and insights.
I enjoyed this book far more than I usually do, when several astrologers get together and caucus over the same bit of information. The repetition we may see only serves to reinforce particular ideas and the articles are woven together into a seamless and unified whole.
Astrologically the main emphasis is on interpretations of the charts of the events in September, together with related charts such as those of the United States, George W. Bush and, to some extent, Osama Bin Laden. Many other charts are also considered such as the World Trade Centre bombing in 1993 and the national chart for Israel. Interpretations of the Saturn-Pluto opposition transit through 2001 and 2002 receive particular attention throughout the book.
The astrology is continually placed in a broad context, with extensive considerations of the historical, political, and economical background to the attacks, together with similar perspectives on the consequences. Many questions are asked. Did the perpetrators use astrology? Did the terrorists intend to crash into the White House? Where do we go from here? Very occasionally some of the views appear rather fanciful, but overall this is superb stuff that does intelligent justice to modern astrology.
Thanks for this excellent resource!
to see what happens read the book! it's soooooooo good!
This was a great book! Iwould recamend it to anyone who loves romance just as much as i do.Kathreyn Smith is a true genius and i HOPE that she will write many more avan true romance stories not only for me but all the others who have loved ANNA AND THE DUKE..........................
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