Teo Degas' Books & Decks

Pinkola Estes is not only a reputed Jungian psychologist but also a natural storyteller. She is able to link and connect naturally dream themes, concrete dreams from real people, world legends, fairy tales and myths, and look at dreams as part of a whole, as a world of magic that is interrelated to other worlds of magic. She has a very mellow soothing voice, perfect for a therapist, but her whispering is not only a sweet song to your ears, but also a deep poetic and humorous exploration of our dream world. I loved some of the stories she tells, and the fact that her analysis of the motifs is really rich, deep and colorful, multifaceted, and not the usual monolithic this theme means this, and that theme means that. These themes have been discussed in many dream dictionaries and dreamwork books, but I found that Pinkola Estes's discussion about them brings many more things to the table than other analysts.  
 The themes or motifs that Pinkola Estes discusses in this book are the following: 1/Animal dreams. 2/ Flying dreams. 3/ Precognitive dreams. 4/ Snake dreams. 5/ Paralysis dreams. 6/ Incommunication dreams. 7/ Dreams of blood. 8/ Disaster dreams. 9/ End of the world dreams. 10/ Dreams about giving birth. 11/ Dreams about finding a baby. 12/ Dreams about finding of losing a treasure. 13/ Teeth dreams. 14/ Toilet dreams. 15/ Dark force dreams with a  nasty man or woman. 16/ Dreams about having an orgasm, having sex or making love. 17/ and dreams of nakedness.

The most important things that you'll learn from this work (beyond the interpretations and meanings that Pinkola Estes attaches to the discussed motifs) are the following: 1/ Your dreams are yours, and must be interpreted and be related to who you are, your life, circumstances, psyche and soul, and no cookie-cutter of an interpretation will fit two different people. Symbols are universal, but also fit into the psyche of different people in different ways because they are infused in the individual psyche they sit on. 2/ You cannot disregard or ignore the instinctive feeling you get when you have a dream about what or whom the dream relates to. In the past, I have found to be true for me.  3/ Dreams are not only individual, but relate to  themes, symbols ad stories contained in old legends and myths and they are part of an interrelated magic world that is also very real,  a world pregnant with meaning, a whispering voice that comes from your own unconscious. When your dream relates to a specific theme and that theme makes sense to you, you will get an aha moment, like two piece of a magneto getting together when put together. 4/ Finally, as the title of the book hints, dreams are like riddles, pun confusing intricate queries that are embedded with a message from your psyche to you.

The main downsides of the book are three. Firstly, Pinkola Estes' tone is a bit flat and lacks coloratura, so I found difficult to keep engaged and focused for long periods of time. Secondly, these lectures should be about themes in women's dreams, but many of the themes discussed here are not specific to women, but general dream themes that everybody has; it is not always clear in which way the discussion differs if they are dreamed by men or women and, besides, sometimes the author clearly states that the theme is universal. Thirdly, the author has a tendency to talk assuming that things in our heads are as clear regarding the connection between motifs, myths, legends and specific dreams as are in hers. Finally, the question arises, if dreams are individual and particular to each person, and myths and legends are Universal, how exactly universal themes relate differently to different individuals?

This is a very enjoyable audiobook, quick to listen to, and one of those books that you want to listen to more than once. 

This is a very enjoyable, practical and easy to read  book that gets to the core of what pushing a button is, why our buttons are pushed, and who pushes them. Although the authors are psychologists, and some of the exercises and reflections presented here use Rational Emotive Behaviour Therapy and Cognitive Behaviour Therapy, there is no theoretical mumbo-jumbo. The authors' analytical and didactic presentation makes it easy for readers to recognise what pushes our buttons and the ways to think and act when they are pushed so we don't overreact.

The core of the book is that nobody or nothing pushes our buttons, we do that ourselves, so we have to and can learn not to push them by changing our thinking and the way we react to what happens to us, or rather, by changing our thinking so our feelings are not irritated or numbed and we don't overreact or downplay what happens to us.

The main reasons why our buttons are pushed are five ways of being or feeling (1/ being excessively anxious or worried, 2/ being angry or defensive, 3/ being depressed or burnout, 4/ feeling guilty and 5/ over-reactive self-defeating behaviour) and three ways of screwball thinking (1/ catastrophising or awfulising, 2/ 'shoulding' or blaming ourselves or others, and 3/ excusing or denying  that we have a reaction when something pushes our buttons). If we control our thinking, our feelings will be under control, and we won't blow out any situation. We cannot control those people or situations that push our buttons, but we can control our reactions and the way we see, think and feel about them. And the best way to think in these situations is what the authors call 'realistic thinking', which is based on stating what we would like, want or prefer, it recognises the frustration or irritation that a given person or situation has on us, but enables us to have healthy legitimate feelings without overreacting.

Another core premise of the book is that there aren't many things that happen to us or people say or do to us that are really that awful, dramatic, damaging or disrupting for us to get upset when we think about them rationally. Throughout the book, there is a constant reminder that, if we take a step back and see things for what they are, those same people and situations won't have the same impact on us.

One of the things that I could relate the most are the ten beliefs that we use to let people and situations push our buttons, the first four being the most common. I certainly found my button-pushers reflected here. These beliefs are:  1/ worrying too much about what other people think of us. 2/ Fear of failure or of being wrong and unable to stand any criticism. 3/ Frustration intolerance, or the idea that we should always be treated fairly, even though we know that the world is unfair. 4/ The need to blame someone if any of the first three beliefs happen. 5/ The belief that worrying obsessively about something or someone will help to situations to turn out better. 6/ The belief that there is a perfect solution for every problem, and that the solution can be found immediately. 7/ The wish to avoid difficult situations and responsibilities instead of facing them. 8/ The belief that if we avoid being seriously involved in anything we will be happy or happier. 9/ Blaming the past for anything bad that happens to us in the present. 10/ The wish that bad people and things shouldn't exist, but they do and always disturb and annoy us.  

The main virtue of the book is that provides readers with a four-step process that will allow us to stop, reflect and react differently, still recognising those things that irritate and annoy us, but without over-blowing any situation. This process can be applied to any person or situation that pushes our buttons, in our personal or work relationships or in the myriad situations in which we have to deal with other people. The four steps not to have your buttons pushed (by you!) are: 1/ Ask yourself how you are dysfunctionaly feeling and acting in a given situation right now. 2/ Ask yourself what you are irrationally thinking about a) yourself b) the others in this situation c) the situation itself, to make yourself upset. 3/ Ask yourself how you can challenge and dispute your irrational thinking. And finally, 4/ ask yourself what realistic preferences you can substitute for your irrational thinking by starting by saying things like, I want, I'd Like, I'd prefer, It would be great if, I regret, I'm disappointed, I'm committed to, It's frustrating, etc. The secret is to use these steps over and over again until they become ingrained in our way of dealing with button pushers. Nobody is perfect at this kind of self-control, so the goal is to reduce our overreactions still being true to our feelings, and react less often and less intensely.

DOWNSIDE
The main thing that one can criticise this book for is for the unnecessary wordiness and an endless number of examples showing how to go through the four-step process. I confess, that it gets things sealed on your brain, because repetition really works, but so many examples are also boring and unnecessary. If you want to get a good summary of the book read the last chapter and will have everything perfectly summarised in a few words, and I think a booklet with the main points of the book might have been as successful in conveying the message as the whole book does. 

MIND
This is an updated version of the book of the edition of 1995.

TYPO
p. 57 appreicate

.

How to Integrate your Shadow is a totally misleading title for a book that deals with different facets of the Jungian Shadow. This is one of the few books written on the matter in Spanish available on Amazon, and perhaps that got me overexcited. This work  incorporates part of a previous work by the author with some corrections and enlargements.

The book reads well, is well written in a classy albeit erudite Spanish with plenty of psychological and Jungian jargon, and will certainly please people who have an interest on the Shadow and, even more, those with a previous idea of basic Jungian concepts like Shadow, Collective Unconscious, Mask, and Individuation, and want to hear a new voice. I enjoyed the author's style and reflections on the Shadow, though, and I truly enjoyed chapter six devoted to individuation following the Dark Night of the Soul by St John of Cross, and the author's digging into some of his patients' dreams.

The author says in page 12 that he expects readers to find this manual simple, practical, and an incentive to help them to integrate the dark side of their personality. However, this is not a manual, this is not a practical book, and there is no way simple mortals with a basic knowledge of the Shadow could integrate their Shadow without the help of a therapist or, at least, with a how-to book guided book, like for example David Richo's Shadow Dance: Liberating the Power & Creativity of Your Dark Side. Besides, despite being well written and really enjoyable, the book is not didactic, pedagogic or even written in an accessible language for people who aren't familiar with Jungian or Analytical Psychology. If you come/came to the text thinking that you will/would be given tools to unveil and integrate your own Shadow on your own, a sort of d.i.y. sort of book, you will be disappointed. Besides, the author himself says in pages 76-77 that not everybody is able to gather the energy necessary to face their shadow exclusively in dreams, that they also need of Active Imagination (something that is not clearly defined or explained in the book) and, most importantly, by facing consciously our repressed wishes. How can a normal person do that without the help of a therapist or without a how-to book, is left unanswered.

The author also says at the beginning of the book that his approach to the different stages of how the shadow manifests and integrates differ from the more didactic approach of Dr Marie-Louise Von Franz and Wolfgan Giegerich, but his is closer to Jung's theories. Von Franz must have been quite close to Jung's intentions being a closer collaborator, friend and pupil? Just asking.

The author also states that despite the large bibliography in English about the shadow it seems that the has had little effect on the conscience of the majority of people. A statement that surprises as it comes from a psychologist, as not everybody reads English, not everybody has a comfortable life to devote their time to self-growth and exploration of the psyche, and those who have, aren't always interested in digging down into themselves and exploring their psyche.

RENDERING FOR KINDLE
The rendering for kindle, at least in my device, shows some signs of automatic conversion to digital format, as some hyphenations related to line breaks are left in unnecessary places, and some spacing necessary in the text is omitted and two words appear joined or the punctuation without previous space.

TYPO
> p. 31 resumiento should be resumiendo.

7/10

Everything is Teeth is a memoir of childhood that narrates Evie's fearful obsession and fascination with sharks during her summer holidays in Australia.

Sweet and gory at equal doses, the story transported me to the fears and monsters of my own childhood. In a way, this memoir is also a horror story as Evie had a powerful imagination and a special liking for the gory details of shark attacks.

We see a bit of Evie's adulthood, life goes on, she gets older, her family does too. I found this part beautifully captured on paper, but also a bit hurried; I kept wondering, does she still go to Australia? Does she still have a fear or not? How did her fascination with sharks evolved?

Jose Sumner does a terrific job at conveying Evie's memoir with originality and versatility, using different techniques, styles and colour schemes. Most of the book is drawn in a very sweet mix of black, white and vanilla hues, but Evie's imagination and thoughts are drawn in black, grey and mauve, while the shark attacks are depicted with almost realism in full splendour and plenty of red.

This is an original lovely graphic memoir, and really enjoyed it. I think it is good for teens and adults, and children not so much, but perhaps under parental supervision.

I read this book in the hard copy version. It is quite large in size, very well bound, so one can open it in full without difficulty, and the paper is really thick and strong. A great edition.

I had many expectations about this book, mostly because of the ratings and praise received. I'm a usual reader of graphic novels, of those that aren't of super-heroes, so I approached this book with excitement. Unfortunately, my excitement was short-lived.

I love clean imagery, polished drawing, detailed clean scenes and and minimalist landscapes. I like creative lettering and vignetting.  I always  prefer graphic novels with limited amount of words because, when there are too many bubbles in the page, they become overwhelming; one of my joys when reading graphic books is delighting at the artwork, so if there are too many bubbles, my enjoyment decreases.  I love stories that are fun and entertaining, but always favour those that make feel, think or both, and those that have great characters. I love full-colour gorgeous colours, black-and-white, and sepias of a certain hue. 

If you read the above and browse the book you know by now that I was set for disappointment.

Feiffer's is certainly a great artist, and this work has many elements to praise: His ability to do amazing things with simple pen traces and basic watercolour is incredible. He portraits movement with easiness, captures the vibrancy of life in the streets with conviction, and reproduces the ambience of the Noir movies an the  1940s-1950s with accuracy.

Having said that, I had a great difficulty finishing the book. The sketchy jazzy convoluted drawings, the hyper-filled pages, the use of redundant text and bubbles, the overall hues and tones used create a noisy feeling that I did not find enjoyable. The graphic depiction of the characters is confusing, and not polished enough either; most women in the book look alike, who is who? I kept asking myself.

This would have not mattered if the story and the characters had been better. Unfortunately, none of them  is likeable; except for Elsie, they are all really bad people: selfish, angry, manipulative, deceiving, abusive, egocentric, liars,murderers, and so on. there is not enough humour to counterbalance the overall wickedness of the characters, and not enough background for us to understand their erratic behaviour. this is especially the case with the character of Annie because, in the last pages of the book, she comes with an explanation for her behaviour with her mother, the explanation and her sudden change of heart felt psychologically and narratively is not credible. Needless to say, some of these characters are quintessentially Noir, but the balance between hero-villain is missing. I watched tons of American Noir films in my youth, read classic Noir novels, and in them there was usually a sort of soulful human being; when there was none, some of the bad guys would show a bit of soul, or we would learn something that helped us to understand why they turned out to be that bad. This does not happen here. Elsie is a naive good-hearted character, but she is the only good person in the story.  

The Gigantic Beard that Was Evil is an awesome comic book. It has all those elements that make any comic to need of capitals because it has high standards regarding the quality of the Art and an unusual but poignant story. 

Stephen Collins has a great drawing technique that mixes naturalistic drawing, illustration an vector-like images with cartoonish characters. Everything is drawn with precise lines, very tidy even when the story gets messy, but the use of charcoal pencil gives it texture, softness, chiaroscuro and warmth. I absolutely loved the framing and compositing of the vignettes and lettering, and how the text spreads organically throughout the page and the vignettes in unconventional ways. 

What makes this book special to me, is that it has that little-something that elevates any graphic book from the cute and fun quality on to the excellent and timeless quality, and that's the story and the narrative. The book is well written, with a very concise and precise style, and takes readers into a humorous slightly Kafkaesque ride.  

The Gigantic Beard... is a wonderful brilliant fable about how Society and Culture react to change, differences and "the other". It shows how Society fears people who are different because, by being so, they question the values and ways of life on which the majority stands; so Society will react badly to any person who deviates from the standards regarding behaviour, sexual orientation, gender role, or religious beliefs.

At the same time, it shows how Society hates and fears any transformation that shakes its core and questions its foundations. Surprisingly enough, History proves time and time again that, once those changes occur and the interrupters provoke the change, Society will come to recognise how important their disruption was for Society to advance; yet, Society criticised, ostracised, mocked, persecuted and/or killed those very people who were the engines of social change. Just two examples. The impressionist painters of the 19the century and the cubists and abstracts painters of the early 20th century were heavily criticised, disregarded and their talent questioned,  but hey are the masters we all admire nowadays. The suffragists of the early 20th century were ridiculed, jailed and considered crazy for saying that women had a brain and were perfectly able and capable to decide and cast a vote on their own. 

Finally, the story also tells us that, at times, change begins with one person changing, the rest will eventually follow up. 

I read this book in the hard-copy edition, which is great. Very good quality thick grainy paper, well bound so one can openly comfortably without worry, and it's really durable.

I loved this book and the artwork. Original, enjoyable, thought-provoking and wonderful black-and-white Art.

This is a graphic adaptation of L'Engle's classic book, originally published in 1962. It tells the story of siblings Meg & Charles who, with their recently befriended Calvin, start an unintended time-travel adventure in search of the siblings long-time missing physicist father, Dr Murray.

If you grew up with this novel, you will certainly approach this graphic adaptation and the whole reading experience very differently from how I approached it, as I read this novel as an adult and have no childhood emotional attachment to it.

The first thing I noticed about this novel, unaware of the original publication date, was that the kids and society shown in the story don't know the Internet, don't have mobile phones, tablets or super-duper  gadgets, something that millennial kids might find odd. However, this novel is wonderfully imaginative, fun, and is embedded with values and lessons of which any pre-teen or early teen will benefit: 

> It is OK to be different, you have to accept yourself the way you are right now. 

> You should not care about what other people think of you, and don't give them power over your own inner voice to dictate your self-worth. 
> Having a family that is different from the norm is OK, as long as the family unit is filled with love and the right values.   

> You have to learn to accept your part of responsibility for your own actions.

> Part of growing up involves you loving your parents but also finding a voice that's distinct and separate from them.

> Sometimes you have to trust people who are more mature than you, and need to believe that they know better.
> When you grow up, risk-taking is unavoidable. 

> You have to learn to be an individual, still being part of a community without giving too much power to your individuality or the power of the community.
> There are things in life that cannot be explained, but are real.

The novel also captures things that are very important when  growing up and approaching adulthood: the power of mateship, the value of trust, the first love, the importance of having a father and/or authority figure in your life. One of the most interesting parts of the novel is the visit to Planet Camazotz, as it teaches young readers important lessons: the difference between individuality and selfishness, the difference between a society in which the individuals are equal and have the same rights, and a society in which everybody is demanded to be and behave the same without deviation from a standard imposed over them; there is also a nice reflection on what true happiness is.

This is a science-fiction fantasy novel, so if I had read this in the 1960s, I would have been thrilled. However, this is year 2017 and it is a bit dated, to me. Science-fiction has had an amazing development and revolution since the book was written, mostly due to the proliferation of amazing original films, of our gaining knowledge about what is possible and impossible in Science, and because of the unbelievable world changes derived from the digital revolution. Modern readers have a more-scientific accurate idea of what time-travel implies, what makes possible life on other planets, and of other scientific facts that were unknown or poorly known at the time L'Engle wrote this book. Having said that, I found the concept of a five-dimensional Universe really brilliant. In the end, this is a fantasy novel, so let our imagination go wild and imagine the impossible.

I enjoyed the graphic adaptation of the book. I cannot comment on whether this is a good adaptation or not as I haven't read the original. The graphics are rendered in black, white and sky blue, which is a pity, because I thought this would have been a wonderful book to have it full colour, as the characters' facial expressions would have benefited and be more powerful, and some of the landscapes depicted would have been awesome  in colour. However, Larson has captured the spirit of the novel, the characters' personality, and the 1960s flare. I especially loved Larson's rendering of Aunt Beast, the in-between time-travel transitions, and the depiction of events happening in the narrative past.

Overall, this is a lovely book for children approaching adulthood, as it is  both fun and wise. As an adult reader, however, I found this graphic book OK, not too exciting and a bit outdated. If your experience is different, well, good on you :).
 

A feature film based on the novel will be released in 2018.
 

The Twits is just a delightful story about a couple of disgusting but hilarious-to-watch married couple, the Twits. They have a malicious baleful irksome behaviour towards each other and other people, and towards animals in general and the family of monkeys they keep in their garden in particular. You will hate the Twits from the very beginning because they are true mongrels; however, you will also love them because they allow you to hate them fully (they deserve it!) but they also make you laugh.  And, of course, you will cheer for the monkeys, they are the only ones with common sense in the Twit household!

Unlike other books by Dahl, the Twits is less metaphorical and fable-ish and more fun. The main two lessons you will learn in the book are, firstly, that if you are ugly in your soul, that shows in your face; and, secondly, that if you treat other people and animals without respect, you will end badly. The language used is Dahl's usual mix of straightforward narration, play of words, and whimsical adjectives and interjections.

Quentin Blake's illustrations are an essential part of this book. Unlike his illustrations for other Dahl's novels, which are secondary to the novel, those for the Twits are intertwined with Dahl's narration; thus, this book is rightly both Dahl & Blake's. The way Dahl describes the Twits and the way Blake draws them in his usual sketchy nervous-like style really go together in my head. Some of Blake's images in this book are really hilarious, like the depiction of Mr Twit's beard, or the bird pie, just to mention two.

This is mostly a book for children, but adults will also enjoy it. .

 

ABOUT THE GOSPEL OF THOMAS

The Gospel of Thomas is one of the main non-Canonical texts, a collection of about 150 sayings probably originated amid the Syrian Early Christian Church.This Gospel is contemporary to Mark's but a precedes it, and it was written about the year 62 AD; therefore, some of the sayings, about half of them, can be found in Mark's, Luke's and Matthew's, but they came to be gathered not from the Canonical Gospels but from other sources, and they are in a more primitive or less elaborate state in Thomas'.  You will immediately recognise some of them. Yet, read within the context of this Gospel, they are charged with new meanings, and they are not in the same sequence as they appear in the Canon The main difference with the Canonical Gospels are in the absence of references to the crucifixion and resurrection, they don't present Jesus as the Messiah, the theme of sin-salvation is absent here, and the Kingdom of God is not about the clouds but in the here and now. 

Although usually called a Gnostic Gospel, the nature, format and themes of this Gospel aren't Gnostic at all. However, the fact that was discovered in 1945 with a bunch of properly Gnostic texts made the association easily.

This is one of those texts necessary to understand early Christianity and get a view of Jesus and of his message that is similar to the Canonical texts but essentially divergent from those. These sayings are intended to be cryptic on purpose so as to facilitate believers 's reflection, introspection and initiation into what is supposed to be the real message of Jesus.

 In the Gospel of Thomas, Jesus reveals his mysteries obliquely, indirectly, through parables and proverbs and obscure statements. Those worthy of the mysteries, therefore, are those who have proved themselves able to fathom them, seek their meaning, and find their interpretation. Jesus does not reveal his mysteries to you; he reveals the opportunity for you to find the meaning of those mysteries on your own." (p. 82).

THE BEAUTY OF THIS GOSPEL, TO ME

The Gospel of Thomas is very fresh and intimate. The canonical contextualisation we find in the other Gospels is absent from these sayings, so we have a rawer material and a rawer Jesus in a way. One feels as those disciples might have felt when hearing a remarkable man speaking in mysterious but profound ways.

The beauty of this Gospel also relies on the fact that it requires the reader's complete involvement. The aim of this Gospel is not to that of lecturing you on what to do, what not to do, good and evil, the aim is to make readers find our own way to enlightenment.

If one sets aside that these sayings are Jesus', the text still has great spiritual and intellectual juice. One of the most remarkable things about this Gospel, to me, is its modernity, and how can connect with modern spiritual seekers but also with old traditional forms of spirituality, as the wisdom of embedded in this Gospel has a Universal nature.  Agnostics, liberal Christians, mainstream Christians, Buddhists, Sufis and Native Indian Americans, among others, will certainly have no problems with the main messages conveyed by this collection of sayings. Conservative and fundamentalist Christians will have problem digesting these texts, so beware.

As a lover of Zen and of Jungian literature, I thought that some of these sayings are very Jungian; or said differently,  having a general knowledge of Jungian Psychology sheds light on some of the most obscure sayings At the same time, the sayings share some similarity with the puzzling shocking nature of  koans, as are they designed to appear nonsensical, shock and make you question what you are reading or hearing, question reality itself.

THIS EDITION

1/ INTRODUCTION

The introductory part has different parts. Preface, Foreword, About the Gospel of Thomas, Introduction and Cast of Characters.

I personally find the foreword by Andrew Harvey especially inspired, as he's able to connect this Gospel with different spiritual movements. The proper introduction is aimed to the general public, therefore, it covers all the basic one needs to know but without providing details or scholarly stuff to back up some of the things said. Nothing overly complicated is mentioned, but all the basics you know to know about this Gospel are there, and those would be more than enough for most people. I thought that the Introduction was acceptable and helpful.

Issues

 ⤐ I found  all the structure of the introductory part a bit chaotic. To me, it would have make more sense to start with the introduction, continue with the foreword and preface. However, that is impossible because there are at least two people writing the introductory bits, separately and without much communication among them, as some things are repeated. I would have eliminated the 'cast of characters' part (which is superficial and unnecessary unless you are totally unfamiliar with Christianity) and incorporated the part called the 'Gospel of Thomas' into the introduction. I would have also incorporated into the Introduction all the considerations that Davis makes in the notes devoted to the characteristics of the Gospel and not to the saying being commented upon; I would also do the same with the quotes by scholars that relate to the Gospel not to the saying commented, which happen to be included also in the notes.
⤐  It's not clear who has written what. The foreword is by Andrew Harvey while the translation and notes are by Davis, so who wrote the rest? Ron Miller? The Cover of the hard-copy seems to indicate that, but the book I have in my Kindle doesn't mention Ron Miller at all. I found all of this a bit confusing a a total turn off.
⤐ Although the authors mention that they don't want to interpret the sayings for us, as this goes against the original nature of this Gospel, Harvey does the contrary in part of the foreword and Davis does the same, many times, in his commentary.

2/ THE TRANSLATION

The translation presented in this edition was done using the original Coptic and Greek manuscripts, so it is not a translation of a translation, as many others are. That is great. I found the translation acceptable and readable. I am not a translator of Greek or Coptic, of our Early Christian texts, but I'm familiar with translation and I know how difficult and frustrating is interpreting texts with anacolutha and/or destroyed parts of the text when no further context is available. Some of the notes point out the difficulties found by the translator (Davis in this case) to properly translate and interpret the sayings.

3/ ANNOTATIONS AND COMMENTARY

Generally speaking, I found Davis' annotations helpful for the lay reader and for the general public. I especially like those notes that provide cross-references between themes, messages and episodes in the Gospel that relate to others mentioned in the canonical Gospels. I also liked that Davis was able to read the text as a whole, and give some interpretations taking into account the semantic integrity of the text as a whole.

Issues

 I found some of Davis' annotations preposterous, speculative, contradictory between themselves, and off point. Some of the notes extend unnecessarily explaining things that seem to be quite straightforward, while others that are not so as presented as such. Other times the sayings are taken literally and therefore the author finds himself with contradictions where there is none. In other occasions, the explanations aren't satisfactory, perhaps because they seem to be lacking something or perhaps because Davis has in mind something he is familiar with but is not explaining to the reader.

I will provide some samples of comments that I found, just to give you a taste of what you might find:

BAD RENDERING FOR KINDLE

A d-i-s-a-s-t-e-r for Kindle on Android, way better on Kindle Paperwhite or Kindle for PC.
⤐   Kindle for Android. The endnotes  are not linked forward, just backwards, from the note to the text and not vice versa. To check any note you have to go to the general index, press annotations and manually find the note of you interest. As there are 100+ notes, you can imagine how bothersome this can be. Besides, the call numbers in the body of the text appear partially hidden by the text when they are located at the end of a paragraph. In Kindle Paperwhite and Kindle for PC the notes are properly linked, but I cannot highlight or introduce my own notes in the note area! The call numbers appear where they should.
⤐ KA: The whole pagination system is messed up. The introductory chapters have no pagination. The pages with the sayings are all no. 1. The pages with the annotations are numbered, but not according to correlative or natural numeration, as the sequence in pagination is not correct. Location numbers would have been more helpful, but they are nowhere to be found. Terrible! KP: no numeration, just locations, which is fine with me. &PC: locations + pagination, but the pagination suffers from the same problem as the KA.
⤐ All formats: The Lateral menu has a typo, as well, charactrs instead of characters.

I paid 13+ bucks, but this is still ripping off customers who pay for an e-book and get lazy editors doing nothing to convert a normal book into electronic format.

MY SUGGESTIONS

↬ Read the sayings per se, on their own, without any commentary, before reading the introduction and the annotations (endnotes). Do your own digging, spiritual or intellectual that might be on your own, as this is the primal intention of the Gospel. Then, read the book as a whole.
↬ As this book is directed to the general public, it needs to be simple. You might want to get this Gospel properly contextualised in history and see how it fits in the history of Early Christianity.  If that is your case, I highly recommend one of the Great Courses,  Gnosticism: From Nag Hammadi to the Gospel of Judas, which is not only rigorous but very entertaining. On the other hand, as the Gospel itself is a translation, and biblical texts are far from being straightforward or easy to translate, I would recommend reading a work from a biblical translator, who highlights the difficulties and distortions that biblical translations can create; it is not devoted to this Gospel, but worth a read if you are the curious type: The Bible doesn't say that.

IN SHORT

This edition and translation of the Gospel of Thomas is good overall for the general public. If you want something approachable and easy to understand, this edition will serve you fine.  I have a preference for properly scholar books and editions, especially when talking about anything related to religious texts; if this is also your case, avoid this book. The book would have benefited from peer-reviewing before publishing, because it seems the editorial house published the book after basic editorial work. Sadly, some of the criticism is well-grounded. If you are just interested in the sayings per se, without further reading or noting, this will be a good book to start with, as I found the translation acceptable.

 Laurie Nadel, a psychoanalyst pioneer in the mind-body relation and intuition, wrote this book in 1990, but it feels as relevant, fresh and serious in year 2017 as it was then. The edition I am reviewing is the re-edition of 2006 in audible format.

Sixth Sense is structured in four parts. The first part tries to define intuition and discusses the difference between intuitive knowing with precedent and without precedent.

The second part offers many examples on how intuition enhances our life, problem solving, health recovery, learning and creativity, and what to do to favour intuition.

The third part discusses how different parts of the brain relate to different parts of our being, and how they manifest in our daily behaviour and thinking and the way that intuition works. There is a strong focus on letting readers recognise how intuition speaks to them, specifically, with many exercises to facility just that.

The fourth part examines the cutting edge of the science of intuition and Consciousness, and discusses at length Remote Viewing, Psychotronics, intuitive consensus, some of the experiments carried out by the Institute of Noetic Sciences among other things.

The epilogue or appendix, added in 2006, updates some of the things said in the first edition. 

The title of the book is somewhat deceptive because its main aim is not just to help us recognise and develop our intuition, but also to integrate all the parts of our brain and facilitate intuition so that logical thinking and intuition get integrated in our daily lives in an organic way.

Core Premises of the Book

We have multiple intelligences as our brain is structured in different sections, all of which contribute to generating knowledge. Our brain is like a triptych: the reptilian brain creates patterns, habits, routines and instinctive behaviour as well as our sense of territory and safety. The limbic system is where all the emotions come from. The neocortex is divided into left and right hemisphere or brains, the right part being devoted to creativity and intuition, and the left to logical and analytical thinking. Intuitive and rational thought are both natural abilities and functions of the brain, they work together (but in different ways) to provide us with different types of knowledge if we let them both speak to us and if we develop both of them. Intuition connects different parts of the brain, it is scientifically measurable, it is custom-made (i.e. each person experiences intuition in different ways), and is part of us, even if we don't believe it exists or is helpful or produces knowledge. Some people are naturally more intuitive than others, but we can all develop our intuition. We should strive to use all capabilities of the brain instead of doing what has happened until now in our culture, i.e. that one part is good and the other is useless or nonsensical. 

Yummy Nuggets

> Our brain is like a computer screen with four open windows and software devoted to different tasks depending on what we need to do. We switch from window to window depending on what we are working on. What separates a normal person from a genius is the ability to move across all the windows/parts of the screen/brain with easiness, not our IQ.
> First impressions are gut feelings too.
> People with similar professions tend to have similar brain profiles.
> It is important to let a child know that being intuitive or intuition are all right, that they aren't weirdos just because they are specially intuitive. Intuition, after all, is another life skill. 
> The main element to favour our intuitive process when we are stuck is basically physical and/or and relaxation activities.
> The main characteristics or qualities that an intuitive person has vary from person to person. To develop your intuition we need to become aware of which elements are specific to us, in which forms and parts of the body or the mind our intuition shows up. Some of the qualities associated with intuitive people are curiosity, being open to new experiences, willing to experiment new things, being adventurous and decisive, acting on what we know without knowing, but there are many others. Nadel provides us with a long list of qualities, a data-bank, from us to go through and choose from, because some qualities will resonate more than others with us, and they are the way we experience intuition individually.

> Our world is heavily sided on the use and development of left brain, when it should be balanced in the use of both parts of the neocortex.
> There is a direct correlation between the change in the functioning of the nostrils and the changes in the functioning of the brain,  between the side on which we sleep and changes in the activity of our brain. That is scientifically proven. It blew me away!
> There are ways for us to recognise which parts of our behaviour and daily life show different parts of our brain at work: the reptilian brain, the limbic system and the neocortex. Discovering my reptilian me gave me great pleasure!
>  Learning can be favoured and increased by the use of both logic and intuition.
> The scientific study of Consciousness is directly related to that of intuition, as intuition is part of consciousness.
> The mind is not limited to the four dimensions of space-time, that's why the mind is capable of knowing things that the brain's sensory system does not pick up. Spice and time are bounded by our ability to conceptualise them but, as the right neocortex does not measure space and time, it isn't impossible that our brain's intuitive abilities can function outside the space-time continuum that only our left neocortex perceives. That would explain, for example, premonitory dreams or premonitions in general. Uber-cool.

The Exercises

There is a good number of exercises in this book, but chapter 13 (17 in the audible format) is totally devoted to exercises and journaling. I found the exercises very good, easy to do on our own, and many of them new to me. Many of the exercises try to get you to connect different parts of the brain to intuition, therefore, they are not "divinatory" in nature. Herewith a list of some of the exercises provided in the book: ➞ Inner resource exercise. ➞ Visualise yourself in the future exercise. ➞ Take a picture of your imagination exercise. ➞ The room of your mind exercise. ➞ The switch exercise. ➞  Find your reptilian energy exercise. ➞ Your sanctuary exercise. ➞ Love yourself exercise. ➞ The voice of reason exercise. ➞ The voice of intuition exercise. ➞ Intuition store exercise.  ➞ "What I am" exercise. ➞ "I trust myself because..." exercise. ➞ "Love your reptilian self and have a reptilian day" exercise. ➞ Locating a lost object using your reptilian intelligence exercise. ➞ Your limbic-emotional brain exercise. ➞ Make your limbic music library exercise. ➞ I 'want' exercise. ➞ Associational  word exercise , ➞ Decision making exercise. ➞ Visualise intuition exercise. ➞ Intuition hall of fame exercise, ➞ Mind-mapping. ➞ Make your treasure map aka vision board.

So-so

Something I didn't like in the book was the number of examples given, especially in the first and second part. Too many for my taste and not always needed. I would have rather devoted that space to exercises or to discuss some other things at length. 

Research on the brain and Consciousness has developed greatly since the book was first written. Even the addenda in the 2006 edition falls short. Nowadays, scientists seem not to be so focused on the differences between right-left brain, and some people even call it a myth. See this article, for example. 

The Audible Version

I read this book in audible version because it is not available in Kindle format. I try to avoid academic and scientific books on Audible in general, and especially if they aren't narrated by professors or teachers, who have a clear understanding of how their energy, enthusiasm and voice inflections help to convey a given message, not matter how complex it is. I have mixed feelings about the narrator David Stifel, an actor by trade. On one hand he has a very clear diction, performing abilities, so he can switch voices and play different people. He is also very good at reading in a way that sounds as if he was the author, and as if he was speaking not reading a book. That is great. I also like the tone of his voice, which is very soothing. I found him especially good when reading the footnotes, that is a lot of talent you need so make something as boring sound interesting and clear, if you want to take some notes. Perhaps the pace and energy weren't there for me, and the inflections of the voice not well marked, so I felt sleepy quite often despite the book being quite interesting.  I think the narrator would be great for fiction, for academic or scientific reading he is just all right.

In Short

This is a very good helpful book to understand intuition. One of the best I have read. The book will please those people, like me, who want to approach intuition with an open mind but without having to swallow tons of New Age religious spiritual mumbo-jumbo to explain something that is really natural and devoid of whohas. I would recommend getting the hard copy, to benefit from the figures, consult the notes, and bookmark the exercises; although you can bookmark the text in Audible,  their bookmarking system is not as good as one might wish. The book is certainly not up to date with the latest research on brain and consciousness. This is year 2017, the book was written at the beginning of the 1990s, and science and research haven evolved and improved, and the study of the brain has given us amazing surprises. Yet, if your interest is intuition, the book is still very good. If your interest is the functioning of the brain in general, perhaps not as much.