Even though I’ve researched and sampled almost every trauma therapy there is, even though I’ve published stories about some of the amazing new healing modalities, even though I’ve experienced occasional instant releases from fear through EMDR and EFT (see more on these on my Art of Collapsing blog from 2009 and the attached article, Radical Change Through Radical Disruption), I was skeptical that the Thundershirt™ would calm my dog Maya’s terror at thunder, vacuum cleaner, and rain-on-the-roof noises.
“Pressure has been used to successfully reduce anxiety for many years for both animals and humans,” says the package copy. But $43 for a little grey cotton (55 percent), polyester (35 percent), and spandex (10 percent) garment with velcro-attached straps? Despite the fact that I was near-comatose from an all-nighter of futilely trying to wrap myself around Maya as she shook uncontrollably from the noise of rain hitting solid surfaces, I was reluctant to spend so much money. “You can bring it back within 30 days,” said the store clerk. “It works for almost everybody. Just make sure it’s snug.” Read More
I think I was inadvertently and divinely prepped before seeing the Off-Broadway play Blood from a Stone by Tommy Nohilly last night. For the last few weeks I’ve been editing some stunning books about life and death, anger and forgiveness, and compassion. I’ve also been speeding down a runway to a “big” birthday—eliciting my keen awareness of how fleeting our time is and how I don’t want to squander it feeling lousy. And I’ve been inexplicably waking at 3 a.m., getting up, and spontaneously meditating. I recommend all of these preparations before seeing Blood from a Stone. Or none.
I have an ambiguous relationship with the language police. On one hand, I appreciate that discouraging the use of belittling, offensive, or just plain inaccurate language can move our culture toward inclusiveness and respect. I lived through the days of being called a “my girl” when what my boss meant was that I typed for him, and even before anybody thought there was something wrong with that, it used to make my skin crawl. But I used the phrase myself when writing about that period in my novel, 
I came to the TV series Mad Men late. Although I'd heard about it from friends, it wasn't until a few months ago that I began borrowing the first three seasons from the library. I thought I'd be interested in it because of my background in advertising. My father was an account executive, my mother was one of the first female copywriters, and briefly toward the end of the seventies, I entered the family trade as a secretary and production assistant (material I put to good use in my novel 
I’ve just finished reading The Holy Woman, the self-published third book of Susan Trott’s formerly commercially published “The Holy Man” trilogy. Like the first two books (The Holy Man and The Holy Man’s Journey), The Holy Woman is deceptively simple and charming. But what a complex story about our human drive to “get,” to achieve status or stuff, to win.
Recently I’ve been experiencing a dilemma about how to react in many areas of my life, which tells me I should pay attention. 
For a person who’s not really into acquiring things, I’m amazed at how much stuff I have: a whole wall of books, three file cabinets of manuscripts, and then there’s the music — the tapes and CDs, not to mention my collection of 33 1/3 records that take up two feet of floor in my bedroom and simply cannot be discarded.
We begin at the end of Manhattan’s West Side — 547 West 27th Street, a pretty rough part of Chelsea that is in the process of gentrification. As usual, the art community is already there amidst the blasting, construction, and street mess. But up one flight in the Ceres Gallery, a cooperative supported by and supporting female artists, there is a whole other world. We’ve come after seeing this fractured face in a story about sculptor Cynthia Eardley (