A Chat With Jacquie Gauthier

Jacquie Gauthier

By Debbie A. McClure

Someone told Canadian ex-radio host, Jacquie Gauthier that we all need to “Find Your Elephant!” When I heard that quote, I had to laugh. After all this is a woman who has literally learned what that means. Imagine falling in love, leaving your country of birth, and starting all over in a foreign country, and in the process, finding yourself. For many years I listened to Jacquie on the local radio station in London, Ontario, Canada, and worked with her on a local Make-A-Wish Foundation fundraiser. However, I never dreamed she’d roam so far, or that one day we’d be talking about elephants and writing books. Welcome Jacquie!

Q: Tell us a little about your books and how you got started.

A: My first book, The Gift Of An Elephant: A Story About Life, Love, and Africa, really came as a result of my Uncle Ernest, who was a missionary in Africa. When I was a little girl, he gave me an ebony elephant carving. I loved that little carving, and it sparked my life-long love of elephants and Africa. In fact, little did I know that my love for him and the seeds he planted, would sprout much later in life.As a result of my great uncle, I’ve always had an affinity for Africa, and for helping other people. 

I’ve had what I believe is a pretty bumpy ride to where I’m at now, living in Africa with my husband, and my passionate involvement with elephant and African wildlife conservation.  I wanted to share my own personal experiences in Africa and Canada, and the journey that’s lead me here, in an effort to remind people that anything, literally anything, you feel deeply about can happen. But change isn’t easy—I don’t think it’s supposed to be. There is a lot of pain along the way, but if you keep going, keep believing in yourself and pursuing what’s important to you, you can create the changes you need in your life. I also know that Africa changes how you view life, yourself, and others. It’s an incredibly unique place on this planet, and I wanted to share some of what I’ve experienced with others.

Q: Explain how you went from London, Ontario to South Africa, and why?

A: A few years ago, when I was at my personal lowest, I decided to go on a mission trip with Canadian Aid For Southern Sudan. My job there was simple. I was to help the kids create art, assist with the music camp, and help work on plays for the kids. I have to tell you, I loved every minute of it!  

One day I went with a group of people to deliver some medicines and interview refugees not far from where we were staying. That’s where I met Johann, a South African paramedic who was working on a U.N. contract at the time. He is such a wonderful man, and we connected immediately. After we got married, Johann came to Canada on Permanent Residence, but he couldn’t find a job. Oddly enough, he landed a job in Mozambique, so returned to Africa to work. We absolutely didn’t want to deal with a long-distance marriage, so I moved to Africa with him, but I didn’t have the documentation to work. This meant I was going to have a lot of time on my hands, which worried me a bit, but I figured something would come along.  

When we were preparing to move to Africa from Canada, I contacted the television show, House Hunters International. What followed was a crazy, fun experience of having our massive life overhaul and move to a new country, filmed. It was a great experience, and we still get stopped on the street by people everywhere who have seen that episode and recognize us!

The problem for me with moving to Africa was that Johann was required to be gone for as much as a month at a time. Because I had the time, I decided to pursue a long-held dream of writing a book. With the success of The Gift Of An Elephant, I was encouraged to write my second book, Twenty-Eight Elephants: And Other Everyday Miracles.  

I won’t say much about Twenty-Eight Elephants right now, except that this book talks to the many experiences, happenstances, and yes, miracles, I’ve had or heard about throughout my life that have changed me irrevocably for the better.

I also have to say that I’m forever grateful for the opportunity to observe, first hand, the unrelenting, inspiring resilience of the people of Africa who’ve been misplaced by famine, war, and drought, yet are happier than many North Americans. Why? Because they value each other. They pay attention, and care for each other—that’s all they have—each other. I’m convinced that miracles, serendipity, God, the Universe, whatever you want to call it, happen all the time.  

Q: You now collaborate on a highly successful new artistic venture with a remarkable artist in Africa to raise funds, awareness, and build a brand new business. How did you and your artistic partner, Alicia Fordyce, meet? 

A: Alicia and I met at an art show in far off and exciting Hoedspruit Limpopo. Alicia was an exhibiting visual artist, and I fell in love with her work. Long story short; we chatted, clicked, and continued to run into each other socially on several occasions after that. Then I had this crazy idea to do fine art and photography on elephant dung paper, which is an amazing product that really isn’t as gross as it sounds. I’ll explain in a moment. The key thing is that Alicia thought it was a great idea too, so we decided to collaborate on this new art project, which we entitled; Two Girls And An Elephant (see link below). The plan was to start a new business by creating original art, sell it, and at the same time, raise funds and awareness of African elephants and rhinos, who are at an alarming risk of becoming extinct if people don’t do something, like NOW!

Q: Tell us about your artwork.

A: Well, we started out thinking of doing prints of Alicia’s paintings and my photography (another passion of mine) on high quality art paper and elephant dung paper . We planned to sell the prints to tourists visiting the area. Of course Alicia and I have the original art, but we weren’t sure it would be as big a seller as it is. Actually, it’s doing exceptionally well! Some of our original art has been exhibited at the Lion Sands Ivory Lodge in Saubi Sands, an absolutely incredible hotel that’s often called “one of the best hotels in the world”, which sits right on the banks of the Sabi River .  

Q: Okay, I gotta ask; what is dung paper, and how do you use it?

A: *laughs* It’s made from elephant dung, or poop. You see, elephants have poor digestive systems, so what remains is mostly grass. The grass is boiled in caustic soda, then water is added to make a paste, which is then spread out on a screen and left in the sun to dry. As you can imagine, it’s a very organic look and is an amazing medium. We work hand-in-hand with a local paper-maker to have the it refined to our precise design specification, which is thinner than what they would normally produce. 

The advantages of this product is that it has such an organic look and texture. This makes it completely different from anything else out there. We like to tell purchasers that this is a great way to bring an authentic piece of Africa home with them, and it is!

The disadvantages of the dung paper are very few. Alicia loves painting on it, however, I will say that printing on it is a bit more difficult, and supply is limited. In addition to larger pieces, we also do greeting cards, book markers, etc., all at different price points of course.

Q: Who benefits from the sale of the artwork?

A: We donate 10% of the proceeds from sales of the artwork to Elephant’s Alive South Africa. 

I’ve also become very involved with a local (African) organization, Wild Shots Outreach, which teaches kids how to use a camera to create beautiful images. It’s imperative we educate the country’s youth about what’s happening in their own backyard regarding the elephant, rhino, and other wildlife populations. They’re the future, so if they can learn to connect to nature, they’re far less likely to be swayed into becoming poachers later in life. They’re also taught the importance of preservation, and where each animal on the planet fits in with it’s natural habitat. Every animal impacts the environment and other animals around it. It’s a domino effect that’s in serious jeopardy of collapsing in several areas.

Q: Tell us a bit about the importance of elephant conservation. Why should people outside Africa care?

A: 36,000 elephants are brutally murdered every year. That’s 96 elephants A DAY, or one every 15 minutes, which is completely unacceptable!

You see, the elephant is what is known as a “keystone” species. In other words, it’s survival impacts the other animals and habitat. When an elephant knocks down a tree, leafy greens are accessed by smaller animals who otherwise wouldn’t have that food source, and the tree itself becomes a nest or hiding refuge for other animals. When an elephant walks in mud, then that mud solidifies, it creates a natural water bowl for smaller animals. Their droppings mean new seeds are delivered to new locations, conveniently encased in fertilizer. 

There are so many ways the African elephant impacts it’s habitat in a positive manner. That’s why I’m doing what I can to raise awareness and funds to help out. Did you know that elephants cry, form complex matriarchal societies, and mourn their dead? These animals matter in a very significant way, and people can definitely do a lot to help end poaching. Can you imagine a world without these majestic, intelligent creatures?

Losing any species off our planet is scary, and potentially dangerous, in ways we can’t even predict yet, but time is our enemy. Things have to change, or in 15 years—15 years, we won’t have wild African elephants at all! A few years ago, scientists predicted that we had maybe 20 years left to protect and preserve the African wild elephant, but it’s happening much faster than originally thought. Awareness from the rest of the world is part of the answer. After all, if people don’t know there’s a problem, we don’t know how or why we need to correct it. I think the answer is in educating young people about nature and the ripple effects. The fact is, many children living close to Kruger National Park have never seen an elephant. This means they have no affinity for the animals. For the adults of a community village, poaching means money—more money than they’ve ever seen before. It’s hard or impossible to say no to that kind of offering, especially if you have a family to feed. When there’s no understanding of why the elephant is important, there’s no reason not to take the money. If people the world over would stop buying ivory, there’d be no demand, and no need to slaughter the animal. Again, it’s about education on many levels. 

Another organization that’s doing its part on behalf of education is “Nourish”. They’re working on building self-sustaining communities to banish poverty. By focusing on early childhood development, food security, English literacy, environmental education, conservation experiences, and entrepreneurial training, they’re making significant inroads with the people living in and around the wildlife areas and game reserves. Teaching the people about how they can benefit from tourism for years to come by helping to preserve it, is a key factor. 

Q: How can people reading this help?

A: *laughs* Donate! Support a charity, buy a product, (like our art) that helps the people living in and around the African elephants and other wildlife, to become more self-sustaining. When you do, you create your own ripple effect, even though you may not necessarily see it first-hand. This actually goes for all wildlife anywhere in the world. What you see us doing in South Africa, can be adapted for other areas of wildlife in need. This our planet. We created these serious problems, but we can fix it too. We just have to do it together.

By sharing my personal experiences in my books, I hope to inspire others to take on new challenges, and recognize the connectivity we are all a part of.

Website: http://www.twogirlsandanelephant.com/

Facebook: https://www.facebook.com/jacquie.gauthier.5

LinkedIn: https://www.linkedin.com/in/jacquie-gauthier-10983a16/

Amazon: https://www.amazon.com/Jacquie-Gauthier/e/B014V288DS

Instagram: jacquie_gauthier_author

Nourish: http://www.nourishnpo.co.za/

Elephants Alive: http://www.elephantsalive.org/

Wildshots Outreach Facebook: https://www.facebook.com/wildshotsoutreach/

Ivory Lodge Game Reserve:  https://www.sabi-sands.com/lion-sands-ivory-lodge.html

 

 

 

 

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A Chat With Eddi Fiegel

Eddi Fiegel byline photo

The same year the United States entered World War II, a first-born baby girl named Ellen Naomi Cohen entered the lives of a Jewish family in Baltimore. Thirty-two years later, following a headlining performance at the London Palladium, the singer who had come to be known as Mama Cass was found dead at Harry Nilsson’s flat in Mayfair. As much an enigma in death as she was in life, her roller coaster journey of sex, drugs, politics and folk music became open for review in Dream a Little Dream of Me by British author and BBC correspondent Eddi Fiegel.

I met Eddi when her book first came out in 2005. Happily, we have reconnected in 2017 to chat about her latest project which focuses on the generation of young females who went crazy about one of Britain’s most popular exports, The Beatles.

Interviewer: Christina Hamlett

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Q: You belong to a generation that came into its own long after The Mamas and Papas had already disbanded. When did you first discover their music and allow it to captivate you?

A:  I loved The Beatles from an early age even though I was too young to have enjoyed them while they were still together and I soon realised that I loved the sound of other records from the ‘60s too. I remember vividly hearing The Mamas and Papas’ ‘Creeque Alley’ for the first time on the radio and immediately wanting to find out who it was by and where I could get a copy. I think it was the infectiousness of the melody and the gorgeous harmonies that just sounded so upbeat and captivating, particularly in grey London.

Q: Did you come from a musical background/childhood?

A: My mother grew up with classical music and when I was a child, she always had classical music on the radio or playing on a record. I also grew up playing piano and always loved music. Pop music, however, was my own domain, in contrast to classical which belonged very much to my parents’ world.

Q: Was music ever something you wanted to pursue as a professional career?

A:  I loved the idea of becoming a professional pianist as a child but was discouraged by my mother and a piano teacher who apparently told her I was unlikely to become a female Vladimir Ashkenazi. If I had another life, I’ve always thought it would be incredible to play a piano concerto with an orchestra.

Q: Tell us about your foray into the world of BBC reporting and how it shaped your decision to do feature interviews and biographies.

A: I worked as a BBC radio reporter for several years. I started off reporting from Spain where I was living in Barcelona at the time, doing reports on young people and music in the city. Then when I moved back to London, I began doing feature interviews with musicians and reporting from music events. I met some wonderful artists during that time. Amongst my favourites were Paul McCartney, David Bowie, Philip Glass, world music artist Anjelique Kidjo and Nitin Sawhney.

I had always wanted to write however and magazines like Mojo had begun asking me to write up some of my interviews so it was an easy progression. I also found that many of the skills I had learnt whilst training as a BBC reporter related equally to writing and were very much transferrable skills.

Q: What particularly made you want to write about the life and times of Cass Elliot?

A: I had always loved her version of ‘Dream A Little Dream of Me’. In fact I had a seven inch of it as a child and used to love singing along, as although I don’t have a voice to speak of at all, my voice could more or less match her pitch so I could sing along easily.

Then in the early 1990s I discovered Cass Elliot’s solo albums.  I particularly loved tracks like It’s Getting Better, One Way Ticket and Make Your Own Kind of Music so I started trying to find out more about her. I was amazed and intrigued by what I discovered. I found out that she was born Ellen Naomi Cohen but that she had died young in London, under ambiguous circumstances. I also learnt that during her years with The Mamas and Papas, she had been a leading light of the LA social scene, hosting unofficial salons attended by everyone from The Beatles to Hollywood A-listers like Jack Nicholson and Warren Beatty.

She was responsible for introducing David Crosby to Graham Nash and had been friends with Joni Mitchell. All this made me want to know more so I looked for a book on her life and saw that no biography had been written. I was looking for a subject for my next book around this time and I knew then that I had found it.

Q: Was this your first music biography?

A: No. I had written the biography of British film composer John Barry before. John is most famous for writing the scores to the original James Bond films as well as the Oscar winning Born Free, but he had also led a fascinating life. I have also co-written biographies of Madonna and Cher.

Q: What do you feel most distinguished her in a music industry which, at the time, was dominated by men?

A: Cass had an astounding voice and the determination to be accepted on her own terms. When she started out in music, she was constantly rejected by musicians, managers and agents who took one look at her and refused to believe that a woman of her size could become a star. As soon as they heard her sing, however, they were nearly always bowled over by her voice and charisma.

Q: What was the most astonishing takeaway you found when you were doing your research?

A: There were various points which I found fascinating in different ways. I had known that amphetamines had been routinely prescribed as a dieting aid during the 1960s but it was still alarming to hear about Cass having had them prescribed by her doctor when she was still an adolescent.  I was also fascinated to hear one of my female interviewees talk about her experience of the ‘free love’ ethos in the late 60s. She told me that she had felt there was as much pressure during that era to ‘be free’ with your love as there had been not to be free in the more buttoned up era which immediately preceded it. This seems obvious in hindsight but the way that era is presented rarely focuses on this particular female viewpoint.

Q: How long did the book take you to write?

A: Four years.

Q: Had she lived, do you think Cass Elliot would have stayed viable in the music business or done something else?

A: The 70s and early 80s were a difficult time for many performers who had become famous during the 60s, particularly those who, like Cass, didn’t write their own material. But from the mid 80s onwards, a new generation started discovering the music of the 60s and there was a renewed interest in them and their work.

I think Cass would have benefited from that and been championed by young artists and consequently the music industry itself. Musicians including Boy George, kd Lang and Antony Kiedis from The Red Hot Chilli Peppers have all talked about how much they admire her voice.

I also think she would have become successful as a TV star and possibly explored the world of politics further. She campaigned for George McGovern when he stood as presidential candidate against Nixon in the 1972 election and she talked about how she liked the idea of exploring that that area further.

Q: You have something interesting trivia to share about Cass’ high school class and the musical Grease. What is it and how does it speak to the younger generation today about trying to straddle the line between popularity and individuality?

A: Cass attended Forest Park High School in Baltimore which has often been talked about as providing part of the inspiration for the musical Grease. The musical was originally produced by two friends and ex-classmates of Cass’s– Ken Waissman and Maxine Fox, and the culture it portrays was very much the way things were for her. Classmates of hers remember the pressure amongst pupils to fit in and be liked but also to be quick-witted and smart.

The musical clearly portrays that and the idea of being yourself and having the strength to resist peer pressure is obviously still relevant today, particularly amongst high school students.

Q: You interviewed many fascinating and high profile interviewees from David Crosby and Graham Nash to the late senator and U.S presidential candidate George McGovern. Was it difficult to get interviews with some of these people and how did they respond to your request?

A: Was it difficult to get to some of the people? Yes. Getting to some of my interviews was indeed a very long drawn out process in many cases, but well worth it in the end!

David Crosby only agreed to talk to me after several people he knew and trusted had met me and presumably decided that I was ‘kosher’ and not a psychopath. Nevertheless, when Crosby finally agreed, he suggested we meet in a branch of the Coffee Bean near his home. I was surprised that we were going to conduct what I hoped would be a lengthy and in-depth interview in a café but after about 15 minutes, he suggested I follow his car to his home. I realised at this point that the café meeting had been my audition and that I had evidently passed.

The late Senator George McGovern meanwhile was someone I had initially written to requesting an interview but over a year later, I had had no reply. I had entirely given up on hearing from him, when, one night in the summer of 2003 my phone rang at around 1am. I happened to still be awake and answered the phone to find a very polite gentleman telling me down a very crackly phone line that this was George McGovern.

I can only assume he had not realised the time difference between the UK and US but he very graciously agreed to wait whilst I rushed to find my notes before we began our conversation. His memory of events some thirty years earlier was incredible and he was very complimentary in his recollections of Cass’s enthusiasm and support for his campaign and her ability to talk to supporters knowledgably.

Q: In an earlier interview I did with you, you observed that “Cass could have been Oprah before Oprah.” What did you mean by that?

A: Cass Elliot had a natural and winning way with people as well as a very quick wit, so she was perfect as a TV guest and I believe she would definitely have been offered work as a TV show host. There was in fact talk of this kind of thing with her manager and various people in TV before she died. Consequently I think had she lived, she would easily have hosted a show like Oprah’s and become equally successful doing that.

Q: What do you look for when deciding on the subjects for your books?

A: I have always tried to write books that I myself would like to read. So it has to be a person or a subject which intrigues me, that makes me want to know more.

Q: What do you think makes a great biography?

A: Good research, good writing, a passion for the subject from the author, and portraying the subject’s life in the context of the times they lived in.

Q: Your latest project is all about The Beatles. Tell us about it.

A: I’m working on a new book called She Loves You – The Girls Who Screamed for The Beatles.

We’ve all seen the newsreels and the photos of screaming girls waiting for The Beatles at Kennedy airport or at concerts both across the US and UK and we all know the story of The Beatles. What we don’t know is the story of those girls.

I want to find out who they were and how they came to be there. Did they tell their parents they were having a sleepover at a friend’s? Did they raid their pocket money savings to buy tickets? Did they wait for hours in the cold to see the group and what was it like when they did? What became of them in their lives subsequently? Did they go to college and get married?  Did they discover the women’s movement and live in a hippy commune? Where are they now and do they still love The Beatles? Do they have children or grandchildren who like The Beatles?

Each chapter of the book will tell the individual story of a different woman, using their experience of seeing or waiting for The Beatles as the starting point. I believe this generation of women have lived through particularly fascinating times and will have had wonderful and varied life experiences.  The book will, therefore, explore not only the story of Beatlemania but the story of a generation.

This book will also be a different experience for me in terms of the publisher. My previous books have been published by traditional publishers such as Macmillan but I am writing She Loves You for the award-winning UK publisher Unbound. Since they started six years ago they have had books nominated for major literary awards such as the Man Booker prize and hit books such as The Immigrant but the way they work is different in that they are a crowdfunding publisher.

When a lot of people hear this, they assume it’s virtually the same as self-publishing and this must be the last resort for an author who can’t get published anywhere else. This is not the case at all with Unbound. They have distribution of their books through Penguin/Random House ie major publishers who ensure that Unbound’s books are available in all bookshops as well as on Amazon etc and they have a commissioning, editing and marketing process just like traditional publishers.

‘So why would an author choose them?’ you’re probably wondering. Well, the reason is because Unbound allow authors much more control and input into aspects of the publishing process such as book jacket, editing, etc than traditional publishers. Crucially, Unbound also split profits with their authors, giving them 50% of the profits. With traditional publishers authors receive an advance; i.e., money upfront for writing the book (which we don’t get with Unbound) but then only about 2 or 3% of the proceeds from the cover price of the book.

The way the crowdfunding works is that everyone who supports the book gets their name printed in every edition of the book. Pledges start from $12 / £10 and there are different pledge levels from there on with different ‘rewards’ including signed copies of She Loves You and signed copies of my previous books. You can obviously pledge in your own name but some people also like to do this as a gift for a friend or relative.

If anyone reading this likes the sound of She Loves You, it would be wonderful if you could make a pledge, however small! All the details are here: www.unbound.com/books/she-loves-you

There’s a short video of me at the top of the page talking about the book and the pledge levels are detailed below.

Q: What is it about the decade of the1960s that so appeals to you?

A: Several different things. The 60s was an incredibly creative decade. There was an extraordinary explosion of talent with groups like The Beatles, The Rolling Stones, The Kinks, The Who and The Mamas and The Papas all emerging within a few years.

You also had great fashion and social revolutions on both sides of the Atlantic. In Britain’s ‘Swinging London’ the young generation were taking over and for the first time young people of all backgrounds and social classes were becoming stars in the worlds of theatre, film, fashion and literature.

In America, the Civil Rights Movement, John F. Kennedy’s assassination, the hippie movement and the Vietnam War were all likewise momentous stages in America’s history.

I find these events fascinating in their own right and as they informed the lives of both Cass Elliot and John Barry, they have also made powerful and compelling backgrounds to their life stories. They will also have figured in the lives of the women whose stories I will be telling in She Loves You.

Q: In the 1960s, there was not as much overexposure of celebrities as there is today. What do you think she would say about the current trend of baring souls and bodies in order to dominate the Internet and appease fans?

A: Cass was full of contradictions, so I think on the one hand, she would have welcomed more openness and honesty about celebrity’s lives. She herself famously posed lying naked (stomach down) in a bed of daisies for a photograph advertising one of her albums. So in that respect she was a non-conformist who loved sticking two fingers up at the establishment and having a bit of a risqué thrill.

I also think that had she lived she may, like many people in the 70s, have explored therapy and may well have come to do some further soul-baring of her own when talking to the media.

On the other hand, that all said, she was a classy, dignified lady who had good taste and so I think she would have wanted to draw the line at a certain point and retain a certain amount of privacy for herself and her family.

Q: If there is one question you could have asked Cass Elliot personally, what would it be?

A: There are lots of things I could have asked her but in particular I would love to find out more from her about the circumstances of her death. One of the myths I dismantle in the book is that she died choking after eating a sandwich. There is no truth in this whatsoever – it was simply a case of people jumping to conclusions in the immediate aftermath of her death. The details are much more complex and I explore those but it would be great to know some of the missing details.

Q: Where can readers learn more about you and your work?

A: For She Loves You, at www.unbound.com/books/she-loves-you on my own website: www.eddifiegel.com

Q: Anything else you’d like to add?

A: No. Just to say: thank you very much for inviting me to talk about my work. I love the site and have enjoyed reading the interviews with other authors.

 

 

 

A Conversation with Don Martel

Don Martel

 

Interviewer: Debbie A. McClure

 Don Martel is a Canadian photographer who has an eye for detail, and whose work is, by any standards, outstanding. He has a way of looking at the world around him, and at life, that most of us simply don’t have. He’s also not afraid to leap outside his comfort zone, as evidenced by his recent adventure of cycling solo across Canada in a bid to raise awareness and funds for Alzheimer’s Disease. Even more surprising is the fact that until undertaking this monumental task, he hadn’t cycled since he was a child! Now, he’s written a book, Loaves and Fishes, about his incredible experience.  Welcome, Don Martel.

Q: Can you tell us how this whole incredible journey started?

A: Actually, I wasn’t intending on doing a story book at all. Initially I planned to do a Canada Coast to Coast photography book, since photography is what I know and do. The truth is, this book has been a journey. Since returning home, I often tell people that although I cycled solo, I was never alone. Loaves and Fishes is a collection of short stories about some of the miraculous events that happened to me during this epic adventure, and the wonderful people I met along the way.

Although I thought I was prepared, in fact, I knew little about cycling, especially long distance cycling, which is a whole other challenge. A chance meeting and one question started it all. I was in Temagami, Ontario for a photography workshop when I met a man, Marcel Cisv, and a woman, April Pennington, at a grocery story. They had all these bags on their bikes, so I asked them what they were doing. They explained they were cycling across the country to make memories for lost memories of those suffering from Alzheimer’s Disease. Intrigued, I invited them to the cottage I was staying at. Marcel customized his bike, and it looked awesome, so that aspect intrigued me as well. We shared a meal, talked long into the night, and in the morning we said goodbye and they headed east. That incident really sparked my imagination, so I started following their blog. They finished their journey in October 2014, and I saw on Facebook that they became engaged. I sent Marcel a note of congratulations and half-jokingly asked if they were looking for photographer. Marcel replied they were, and would love to have me out to be their photographer, but couldn’t afford to pay me my going rate. Instead, they sent me two tickets to Kelowna, B.C, and arranged for three nights in a local hotel for me. Marcel remembered how much I admired his bike, so he custom built one for me! In the meantime, a good friend’s mother was diagnosed with Alzheimer’s. That became the catalyst for my entire journey. To me, it was a no-brainer that whatever I did, it had to be for Alzheimer’s. I got the bike in September, then trained from September to April in New Brunswick’s many hills and valleys. I cycled 66 km (approx. 41 miles), even in winter, just about every day, with few exceptions. I honestly thought that would get me ready for the Rockies, but I’ve since learned that nothing prepares you for the Rockies. *laughs* It’s a much bigger hill!

On June 4th, 2015 I started out from Vancouver (mainland), British Columbia, and finished on August 15th, 2015 in Halifax, N.S. It took a whopping 76 days to complete and 8200 kilometers (approx. 5095 miles), and irrevocably changed my life.

Q: Can you tell us a little about your book, Loaves and Fishes? (www.donmartel.com)

A: It’s essentially a book about the people I met along the way, and the many crazy, sometimes miraculous adventures I had during that 76 days on the road.

I have a favourite saying that I think applies to this journey. Goethe said, “Until one is committed, there is hesitating. A chance to draw back. Always ineffectiveness. The moment one definitely commits oneself. Providence moves too. All sorts of things occur to help one, that would have otherwise not occurred, and a whole stream of events issue from the decision. Raising one’s favour all manner of unforeseen incidences and material assistance, which no man could have dreamed would come his way.”

After reading the book people often ask if these events actually took place, or did I make them up.
These things did happen! The stories in the book needed to be told. Odd as it sounds, coincidences and timing became part of a recognizable pattern. Karma? God? Angels? Synchronicity? I’ve learned that amazing things happen when you go off the path. The trip changed me. I never for a moment dreamed I’d do something like this! But then again, writing a book is another thing I never thought I’d do, yet I have.

Q: Where did the title come from?

A: The title came from actual, literal stories about loaves and fishes. Let me explain a little. Christians understand the biblical stories about loaves and fishes, and how God was able to provide both when they were most needed. You see, when you cycle long distance, you eat flat bread (it doesn’t squish). However, I’d been cycling for hours and needed to eat, but ran out of bread, and there was no flat bread available in the stores of the town I was in at the time. Of course, I could get some the next day, so I resigned myself to a meager meal of peanut butter and a few bits and pieces I had on hand, but I was hungry, so this didn’t exactly thrill me. Still, I had little choice. I was cycling down the road that night, and saw a car coming toward me at a high rate of speed. Suddenly the car pulled over. I thought the driver needed directions, so I approached the car. The driver was French, and without preamble, he begins to tell me that he’s the best baker in Quebec. He tells me, “I’m a retired baker”. I’m waiting for punch line, and wonder why he’s telling me this. Then the driver got out of his car and went to the back of his car. He reaches in, and I think, “Oh, oh!”. The driver retrieves a huge baguette (of bread), then proceeds to break it in half. He hands half of it to me. Still confused, I thanked him. The driver then abruptly gets back into his car, and drives away, leaving me standing at the side of the road with my baguette. I’m completely astounded. Is this a coincidence, that I should be hungry and was needing to buy bread earlier in the day?

The next morning I arrived at the next town, and stopped at McDonald’s for breakfast. There, I met a man from London, Ontario, who was hitch-hiking. As we’re talking, another man approached. It’s the same man from previous night who gave me the bread! Excited, I took photo of the two men, then turned to put my camera away. When I turned back, the bread man was gone. I had no chance to ask why he stopped the night before, who he was, or where he went. When I asked, the hitch-hiker simply shrugged and said the other man said he had to get going, and walked away. Now that’s weird, and that’s part of how I got the title for the book. There are so many similar stories that it just seemed to fit.

Q: You are known for your outstanding photography, Don. What did it mean to you to be able to take this journey and really see this beautiful country, coast to coast, from a photographer’s perspective?

A: This was the original intent of the book. I’ve travelled cross-country by car and by plane, but on a bike, it’s slow. Slow is good. As a cyclist, you become aware of every crack in the highway. By cycling, you can observe things you wouldn’t ever normally see. When you go slow, you get to appreciate the small details you’d otherwise miss any other way. I was able to observe so much more of what was around me, moment by moment. When you cycle, you get to see more than just the normal tourist attractions, or destinations. I was able to see, up close and personal, that beauty is everywhere. Make no mistake, it’s a long ride, but it gave me time to take it all in. Any time I saw a potential photograph, I could stop and make the shot. Every mile, every stop, everything, was entirely up to me.

Q: This book is dedicated to everyone affected by Alzheimer’s. How has the disease affected and impacted you personally?

A: Obviously, it impacted me hugely when a friend’s mother was diagnosed. The more I talked about the disease, the more I realized just how many people are affected by it, or know someone who is affected. I hadn’t realized before how prevalent it is. Marjorie was very special to me, and it was incredibly heartbreaking to watch her decline. I wanted to do something to help make a difference.

Oddly enough, the coincidences (or whatever you want to call it) were at play from beginning to end. My birthday is May 21st. May 21st I signed the copyright for the book, and on that same day, May 21st, Marjorie Symons, my friend’s mother, passed away.

Q: What surprised you to learn about yourself while making this journey?

A: The amount of determination I had to do this trip! I don’t mind saying that it’s a huge task! I hadn’t realized I had that kind of persistence. I’m truly surprised that I was capable of it. The entire time I was cycling, I kept repeating to myself, “Keep going. You’ll get there.” Eventually I did, and I learned I’m capable of anything I truly put my mind to.

Q: What surprised you to learn about others?

A: I’m blown away by the generosity of Canadians coast to coast. So many contributed to my success. I keep saying that although I cycled alone, I was never alone. People cared about what I was trying to do. People took time to help, talk, and share what they had with me – food, stories, a warm place to sleep, whatever I needed.  I also learned that people love to tell their own stories. If you listen, they are so interesting. I also learned that laughter really is the common language, and so are tears. We are all the same. No matter who, what, or where you’re from. People actually just want to be friends and be helpful.

Q: What has been the ultimate take-away for you from this whole experience (the ride and creating the book)?

A: The greatest take-away for me is the realization that great things will happen when you get out of your comfort zone. Amazing things! It doesn’t have to be a huge coast to coast journey. It can be anything. It’s so important to be open to opportunity. Great things are possible when you get past being scared.

Q: How has your photography influenced how you see the world around you?

A: Photography forces you to change how you view the world. It forces you to go slow and really focus. You have to be willing to take the time to observe. You see, the camera sees differently from the human eye. Shadows are shown different from the naked eye. They are darker. You have to know what your camera is going to do before you make the shot. *laughs* I’ve been at this photography gig for 30 years now, but I’m still learning all the time.

Q: This is your first book. What have you learned about going through that process?

A: Oh! I’ve learned that writing a book is like having a baby! It’s a very painful process. Just when I thought it was done. It wasn’t done. I thought I knew, but I had to learn how to write. I had to learn how to write from passive voice to active voice. Writing is also very personal. It’s one thing to say you’re going to write a book, but it’s a completely different thing to actually sit down and do it. I guess you could say that the journey to write the book was similar to the cycling journey. Although I had to do write and compile it on my own, so many stepped up to help me make it the best it could be. Once it’s published, it’s fun. Now I get to talk to so many more interesting people. When people tell me they enjoy the stories, there’s absolutely nothing like it. I can honestly say that I never worried about what people would think of the book. Of course I want people to enjoy it, but I felt the material spoke for itself. They’re all amazing true stories, and people keep sharing their own remarkable, true stories with me, so I know I’m not alone.

Q: Would you publish another book? If so, what subject matter?

A: YES! I definitely do still want to do the photography book I thought I’d do when I started this whole adventure. I have literally thousands of photographs of that trip, and I want to share them with others. We live in such an incredibly diverse, beautiful country. I also want to write a book similar to this one. There are still so many more examples of amazing true life stories that have happened to me personally over the years. The truth is; the journey never ends. Maybe I’m open to it. I believe that if you aren’t out there, you can’t have the experiences.

Q: How has this experience changed your photography?

A: It’s made me slow down even more. Now, I look at things a little more carefully, and really seek the opportunities around me. They’re everywhere. Everything is more than it appears to be on the surface!

Q: When you teach photography workshops, what is the key take-away you hope people leave  with?

A: You’ll never see the same again. I have three principle elements I want people to understand. 1) Understand how the camera sees things different from your eyes. 2) The principals of visual design. The organization of shapes speaks volumes, and the art of subtraction is key. You have the whole world in front of you, but as a photographer, you have to narrow and focus on the subject. 3) Line, rhythm, dominance, balance, light, shadow, and how they all affect a photograph. Everything else is just practice, and continuing to being open to opportunities.

Q: What’s next for you, Don?

A: Maybe another ride across the country. *laughs* I want to explore new countries too, and bring new groups of people with me. I’m 59 years old now, but when I’m 65 I’d like to enter the Via Italia seniors cycling group. I may even try my hand in bike racing. Now that I’ve done it, I can’t stop cycling. I bike everywhere now. It gets in your blood. Besides, the benefits to my physical health are great. I guess I’ll keep biking, until I can’t.

Connect with Don Martel here:

Twitter: @donmartelphotography

Face Book: https://www.facebook.com/Don-Martel-Photography-359216777621/timeline/

Website: www.donmartel.com

Instagram: don_martel_photography

 

 

 

 

Pray Every Day

Pray Every Day

Where does the time go? It’s easy for our fast-paced lives to become so overstuffed with items on our To Do list that we sometimes lose sight of making the well-being of our own hearts and souls a priority. Inherent in that objective—but often lost in the shuffle—is the need to give thanks for our blessings, to ask forgiveness for our flaws, and to seek gentle guidance when personal crises overwhelm and debilitate us. EmmaLisa Hill shares insights on the development of her new book, Pray Every Day, an inspirational guidebook on learning to listen deeply to the wisdom of a higher power and to recognize that we are never truly alone.

Interviewer: Christina Hamlett

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Q: Is prayer something that was instilled in your heart at an early age or did you come by this path more recently?

A: I was taught to pray at an early age, before I started to school actually. My grandmother, my mom’s mom introduced me to the church and prayer. It was instilled in my head and as a habit, or way of life more so than in my heart.

Q: What was your inspiration to share your beliefs about prayer in a book?

A: I was diagnosed with colon cancer in November 2002. I was so depressed and disgusted with my life during that time that I decided to stop praying. After all, what good was it doing anyway? I was a “good girl,” and God let me get cancer. So, I was not going to pray any more and I wasn’t going to take the recommended treatments for cancer. I was already an ordained minister when I was diagnosed and during that time I decided God wasn’t working for me.

A minister, who was one of my teachers while I was a student in ministerial school and who also was trying to hook-up with my ex-husband at the time, heard that I had cancer and called me. She recommended a doctor who I eventually ended up working with. The doctor charged me $300.00 for one hour, and told me to talk to the cancer and meditate. Since I had given him $300.00, I thought “What the hell? What do I have to lose?” So, I talked to the cancer. However, I stop talking to people. The cancer talked back. And the word got out that the cancer said to me: decide if you want to live, laugh, and learn to love yourself.

My classmates from school, my friends, my family, my church family, and my friend’s church families were praying for me and calling. I would not take any calls. They didn’t give up on me. Everybody who had my email address started to email me prayers and jokes. I am still surprised that I read them, but for some reason I did, and I saved some of them.

God spoke to me and said write a prayer book and told me how to do it, on a Saturday in March 2010.  My response, “I will when I have time.” I didn’t feel like I was being disobedient. I didn’t say no. After all I had plans that weekend. I had things to do. As I was getting dressed, getting ready to do my thing that Sunday morning, God let me get dressed, and said, “I said write a book,” rather forcefully. That’s how this book got started.

Q: Did you perceive any risks in taking a very private mindset into a public platform?

A: I don’t think I felt like I was taking a risk. I did know I wasn’t going to respond well to criticism and judgments.

Q: The age-old question: Why do bad things happen to good people?

A: Because we, people, decide who is good. For me, I thought I was good because I obeyed people. I did what my mom, and the preachers, and teachers, and leaders told me to do, and they told me I was a good girl. I believed them. I was very obedient to human rules. They used the bargaining, bullying, deal making, and tricky techniques to get what they want from me. God wasn’t always in the picture. Emilie Cady said in her book Lessons In Truth, “Every person believes himself to be in bondage to the flesh (to people) and to the things of the flesh. All suffering is the result of this belief.”

Q: In your mind, is there a difference between being spiritual and being religious?

A: Oh yes. I have learned the difference. Being spiritual for me is listening to the God in my Being. Being religious is being in bondage to human rules. People created religion.

Q: What do you hope will be the takeaway value for your target readership?

A: First of all, I hope they will learn to listen to the voice coming from within, and not only listen but act on what they hear. Jesus said, “My sheep know my voice.” No matter what’s going on in my life, I recognize THAT voice when it speaks.

Alexandra K. Trenfor said, “The best teachers are those who show you where to look, but don’t tell you what to see.” I hope my readers learn that faith comes by hearing the Voice of God within.

Q: You’ve indicated that the book teaches people how to pray. Is this to suggest there is a right and wrong way to go about connecting with a higher power?

A: I hope I have not tried to teach people how to pray. I believe the “right or wrong” way to pray has caused suffering. I believe praying based on what’s in your heart and the way you need to pray at the time is sufficient to connect to a higher power. My intention in writing this book was to just encourage people to pray.

Q: How did you go about collecting prayers from total strangers?

A: Many of the prayers in my book did not come from total strangers. The ones that came from people I have never met I read them some place or took them from some books. They spoke to me in some way at the time. Many of the prayers are just straight out of the Bible.

Q: Is there a favorite prayer or author that stood out and had an influence on you?

A: Yes, there is. The favorite prayer is on page 165, May 18th, it’s titled “The Truth About ‘Me’ and My Future,” written by Doctor Ruth M Mosley and her son, Doctor Bill Mosley. Rev. Ruth Mosley is the founder of the Detroit Unity Urban Ministerial School and author of many prayer books. Other than God, she had the greatest influence on me becoming an ordained Unity Minister as well as writing.

Q: Why did you feel the time was right to develop and publish this book?

A: Everything just came together for me this year. The book was already finished just over a year ago, in March, I might add. I had the money to pay the editor. I had the time to proof and work with the editor. The cover was complete. The High Desert California’s Writers Club was sponsoring a lot of events that influenced me to move forward with the publishing. All these things contributed to me releasing this great work into the world at this time.

Q: Like many authors, you opted to go the route of self-publishing. Why?

A: There are a lot of things I don’t know about the publishing business. I have written and written but never taken the next step to publish my work. I didn’t feel I had the money needed to publish a book. I feared no one would pay me for my work. I feared no one wanted to hear what I had to say. I felt unworthy. I wanted to finally complete an assignment God had given me. Self-publishing feels right for me doing this time. As I learn to follow God’s promptings.

Q: What did you learn during that process?

A: All things are truly possible. I learned to listen to the experts and let people help me. I learned God will put what and who you need in your life at the time you need it. I had to examine the real reason I am writing this book. I wrote the whole book and completed it without thinking about selling it, until a friend made light of the fact that no one was going to buy it. “Okay, you are going to sell ten copies,” she said. Why are you doing this? That’s when I really had to deal with my reasons for writing and publishing this book. Writing satisfies me. Writing gives me a voice. I learned it is okay to share me with the world. I felt so good and high when I held the first proof copies in my hands. I really learned how much I rely on an inner guide for directions in my life.

Q: What are you doing to market and promote the book, and what methods have been the most effective for you?

A: I have participated in many of the events The Writer’s Club has sponsored. However, so far the most effective marketing has been Facebook and word of mouth. I want to reach new people. So, marketing is something else I have to learn.

Q: To be candid, it strikes me that a list price of $25 could put your title out of reach for some of the people who might need it the most (i.e., students, the unemployed, retirees on a fixed income). Your thoughts on that?

A: If I can be candid also, I don’t think we can decide that a person who can afford the book needs it any less then the ones who can’t afford it. Needing prayer doesn’t have anything to do with a dollar amount. I believe God makes a way for the person who desires or want a copy to get one, whether it’s through buying or a gift.

I have already given away as many copies as I have sold. For three days on my birthday weekend on all three of my sites I gave away Kindle copies for free to anyone who wanted to download a copy. Most students only do electronic books. The book is now available on Kindle for $9.99. I have also given away many hard copies, not to people who I necessarily thought could not afford the book, but to people who I thought would appreciate it or could use it. I offer copies, as I am led, and give the person the opportunity to accept it or not. I try not to force my views, opinions, and choices on other.

Q: What are some ways people can make the time to pray every day when their schedules are already overstuffed?

A: I think one can pray as they go about their day. “God help,” is a prayer. “Thank You God,” is a prayer. “Lord guide me in this,” is a prayer. This belief that prayer has to be done a certain way at a certain time will keep a person from praying. It did me. I hope I properly dealt with this myth in Pray Every Day. A person has to want a relationship with God to pray. When I want some divine intervention, I pray. I don’t put aside a time to pray. I pray right where I am in the mist of what I am doing.

Praying is us talking to God. Meditating is us turning our minds off and listening to God. I have done this sitting on the toilet.

Q: Is the content specific to a Christian perspective or are there elements that other religions could embrace?

A: There is content that any and every one can embrace. The content is not specific to a Christian or religion. My purpose in writing this book was to encourage people to pray. Prayer is one of the tools that can be used to connect with a higher aspect of the self. I call it God. “God is Love.” When we pray, we don’t pray to a Love outside of ourselves. We pray to a God within. Jesus was not a Christian. He was a teacher who taught LOVE. Christianity started after Jesus left the planet.

Q: What would readers be the most surprised to learn about you?

A: LOL. I don’t know the answer to that question. I have put forth an effort to live a more authentic life by honoring myself since cancer. So, this is something I have to learn as people become more willing to share their opinions of me with me.

Q: What’s next on your plate?

A: I am praying this book makes the New York Times bestseller list. So, learning how I can get this book in the hands of more people. I would love to see something about prayer on that list that I wrote. I am working on writing two more books. I would like to dance on “Dancing With The Stars.” I would like to do more traveling and speaking about living, laughing, and loving, and getting paid very well for my gifts.

Q: Where can readers learn more about you?

A: The direct URL for my CreateSpace eStore and Amazon detail pages are:

https://www.createspace.com/7296986
http://www.amazon.com/dp/1548453145

Follow me on facebook @Love EmmaLisa

Also on Instagram: hillemmalisa

Twitter @RevELH

Email: emmalisahill@gmail.com

 

 

Off-Screen with Loretta Swit

SWITHEART

It’s a fact of life. At 79, there is no one on the planet who can rock a tube of red lipstick better than Loretta Swit. Although she’s well known by many for her roles in stage, film and television productions (most notably Major Margaret Houlihan in M*A*S*H), it’s almost eclipsed by her passionate talent for painting and her international reputation as an advocate for animal rights. Art and activism find a happy marriage in the release of her new book, SwitHeart, a coffee table edition of 65 full-color paintings and drawings, 22 photographs, and anecdotes about the furry and feathered friends that inspire her.

As she confided in our recent interview, “The toughest part of the book was deciding which images to use. My publisher, Mies (Hora), and I have concluded that we’re just going to have to do another one so as to fit everyone in!”

Proceeds from the book (which is available at SwitHeart.com) are donated to her ongoing campaign to end animal cruelty and suffering across the country and around the world.

Interviewer: Christina Hamlett

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Q: You first discovered your passion for painting when you were six. How have you sustained that passion for all of these years?

A:  By painting, of course, you silly twit! If I’m sitting still, I’m doodling. Constantly! I had a touch of insomnia last night and was thinking about the latest painting I’m working on. I was up until 3 am. Sometimes things just happen. They occur. It could be a stroke or a color or even a background that suddenly makes a painting pop in a way it wouldn’t have in any other context. It’s an incredible journey for me and I sustain my love for painting … by painting! If I’m away from it or if I’m busy traveling, as soon as I can I get back down to it, it’s the first thing I want to do. It’s really not anything regimented. I see something, I’m moved by it, and it becomes my next project.

Q: After you won your first prize for art at such a young age, did you ever think of making that your career?

A: Looking back, it was kind of a cartoony sort of thing. I stalked my mother through the house until she finally agreed to submit my drawing. The next thing I knew, I won! My prize was a cute little pirate’s chest bank. I kept it for years—it was really adorable. It was thrilling for me at six years old to be recognized. As for thinking art could be my career, though, no. Never. Art is something I do the same way I breathe or sleep and it will always be a part of my life. But I also always knew I wanted to be an actor. This is what I wanted, this is what I’m doing and I can say that I’m living the dream. Other people go on vacations. What I do is my vacation because I love being there so much. Sometimes I’m lucky enough to combine wonderful travel with my work. When you’re doing evening work like being in a play, you have time during the day to paint and that’s where you’ll find me.

Q: How does your approach to painting compare/contrast with your approach to acting from a preparation and emotional perspective?

A: For me, they’re different but they both require craft. For instance, I’m a self-taught painter and I’m a hard-working, craft-oriented teacher. I believe in having a strong foundation of craft for your method, for your approach to whatever work you’re doing. There’s nothing mystical about acting but it’s infinitely interesting to me because it’s the study of human behavior. You never really know yourself inside and out because there’s always some new discovery for you. You evolve, you change, you’re affected. When it comes to painting, I very often feel that a higher power reaches out and guides you. For example, I only paint in watercolor and I feel that with watercolor you need the discipline to step back and quit. Otherwise, you can muddy and actually ruin your painting. Not so with oil painting where you have lots of do-overs.

I have had the almost spiritual feeling of something being produced by inspiration and intuition, tweaking colors here and there and then saying, “Did I just do that? That’s really good.” That said, I’m a very harsh critic of my own work. Maybe more lenient as I get older but I’m always taking into consideration that I am self-taught and have learned quite a lot over the years. I think if you’re earnest and committed and it’s a sincere effort, there is always even a small part of every painting that will speak to you and affect you. I compare this to movies. Maybe the movie overall isn’t that great but there’s a moment in it—even a small moment or scene—that stays with you long after it’s over.

Q: Which do you feel is more of a challenge – to act in a live play where there are no “do-overs” in front of an audience (no matter what goes wrong) or to act in a TV series where storylines are not only shot out of sequence but the same scenes are done multiple times as well?

A: They’re both challenging and they both have different rewards. I prefer the stage because I love the size of it. I love the feeling that I’m shot out of a cannon! I love to journey with the audience and feel that we experience all of those moments together and for the very first time. Therein lies tremendous challenge because even if you’re in a long-running show and have been saying the same lines over and over, the people in those seats are seeing and hearing something that’s brand new to them. What you’re creating is an intimate love story that invites them to get to know your character and witness how that character grows and evolves from start to finish.

In film, you’re shooting a character’s growth and feelings out of order, and it’s a huge challenge to know how it all works out without betraying that knowledge in the flow of nuance and energy the camera is capturing. Really good actors also don’t rely on the fact they can shoot a scene over and over until they get it right. I remember a story about Joanne Woodward where she was shooting a particularly emotional scene and something went wrong that required that entire scene to be reshot. She groaned about having to dig down to her toes and pull up all the energy again to re-deliver this highly-charged, high-voltage piece but that’s just what actors do. She was good, she was brilliant, and she was faithful to her craft.

Let me give you another example about attitude from a brilliant actor. Alan Alda. Alan and I were doing a scene we thought was really good. We finished and looked at each other, cheering about the moment of completion. Except something technical went wrong. We were directed to take the scene over again from the very top. We were so sure it was perfect. Arghghghgh! I couldn’t believe this was happening. Alan nudged me with his elbow and said, “Great! We get another chance to do it even better!” Now that’s a winning attitude I appreciate and I try to apply it to everything I do. You can always, always do it better the next time around.

Q: Actors are often warned against acting with children and animals because they will be ruthlessly upstaged. What, then, was it like for you to be a guest on The Muppet Show?

A: It’s like I died and went to Heaven! Seriously, the creativity was so thick and amazing that you couldn’t help but have a wonderful time. They flew me to London, put me up at the Dorchester, and I got to sing and dance around with a bunch of pieces of fur and felt and have the time of my life. I could rave about them forever.

Q: Favorite play you ever acted in?

A: It’s always whatever play I’m doing at the moment. Isn’t that what every actor says? Well, it’s true. I’m very fickle about that. I have a list of favorite plays, things I’ve loved that I completely adored. There are roles like Shirley Valentine that I went after before I had even closed the script. It’s a remarkable piece of theater written for a woman. I also loved doing Same Time, Next Year. Bernard Slade, in fact, wrote the first film I ever did so he really had me pegged to do the play. I loved the female character in it and, at that time, the play was very current in its notions about marriage and relationships. Too much has happened in our world since then to have the play current now but as a timepiece it’s an absolute jewel.

I also played Sister Aloysius in Doubt and Agnes Gooch in Mame and you couldn’t have had two characters farther apart! I think the more you have to stretch in different roles, the more fun it is for both you and the audience. I enjoyed doing Love Letters and The Vagina Monologues and Love, Loss and What I Wore—all fun stuff that was a joy to do and that I’d do all over again. It goes without saying that I loved M*A*S*H, too, because it was like doing a sweet little play every week with writers and actors I adored. It gave me the opportunity to work on a single character for an awfully long time and fortunately I had visionaries as producers who allowed me to continue to grow within that character. It was the first time in television that this actually happened, that Margaret continued to evolve, mindful of reruns and the order in which viewers would be catching the episodes.

Jeff and Loretta

Loretta at a Southern California book-signing with friend and actor Jeff Maxwell (aka Private Igor, the 4077th doofy cook).

Q: Had you seen the film version of M*A*S*H prior to the audition that won you the role of “Hot Lips?”

A: No, and it’s a funny story actually. I was in Hawaii at the time working with Jack Lord on Hawaii 5-0. By the time I came back, a lot of the flap about casting the TV version of M*A*S*H had already died down and I didn’t know they had already seen 200-300 women trying out for the part of Hot Lips. My then-agent called and asked me if I had seen the movie. When I told him I hadn’t, he said, “Great. No problem. Doesn’t matter.” He set up an appointment for me to meet Gene Reynolds, Larry Gelbart and Burt Metcalfe. He told me there wasn’t anything to prepare for or read and that it was just to show up.

My agent, meanwhile, had an offer for me to do a film with Olivia de Havilland which put me in orbit because I had always admired her. Out of courtesy, he called Fox to tell them he had had an offer for me to do a movie and that we were going to go for it if I didn’t get cast in the show because there was a conflict of dates.

Gene Reynolds told him, “Oh, we were just going to call you. We’ve decided to go with Loretta.” Anyway, I’ve been told that our series was closer to the book in terms of characters and episodic and, thus, closer than we ever were to the movie. After I got cast, there wasn’t really any reason for me to watch the film. Now and again I’ll be channel-surfing and catch what looks like the 4077th but it’s not really my M*A*S*H and I keep on going.

Q: In addition to an endearing ensemble cast, top-notch scripts and an artful blend of comedy and drama, M*A*S*H has the distinction of lasting longer on the air than the actual war it was depicting. Well over 30 years after the series finale, it’s still possible to channel-surf on any given day and find it playing in syndication. In your opinion, what accounts for the longevity of the show and its ability to resonate with viewers of all ages (even those too young to have watched it the first time around)?

A: Well, for one thing, the writing was superb and it just kept getting better and better. They also never repeated themselves. They kept coming up with one luscious idea after another and matching some of us together to see what would happen. Next came the extraordinary group of actors who also loved each other. You can always work on friendship and politeness but love is something that’s either there or it isn’t. It happened so deeply that, to this day, it’s the closest family I personally have ever had. We have always been there for each other. On the sad occasions when one of our own has passed away, we mourn them just as we would a flesh and blood family member and cry and hug and share favorite stories. That bond came across very clearly and without working at it in every episode we did. And audiences knew that.

There were also the core values the producers put forth, timeless values that hit people at just the right time and mindset to produce synchronicity. They were ready for a show about peace even though the backdrop of M*A*S*H was about war. Integrity, love, friendship, ambition—M*A*S*H had all of these things. It was about experts—expert doctors and expert nurses—doing their very best under the worst of circumstances. To be able to laugh at their clowning which was a relief for them and at the same time get a lump in the throat when things went wrong—it was a beautiful balance. Families could watch this show together because they trusted us and they trusted the writers to deliver something that was real, that was authentic and that reinforced the message we are all human.

Because we were on the air for so long, the children in those families grew up, got married, had children of their own and yet M*A*S*H is still a family thing. Our fan mail always reflected that. Little girls, for instance, who grew up to become nurses after the years of watching me play-act. For all intents and purposes, M*A*S*H was a sitcom—and I hate that word—but it was so much more. It was a slice of life and its own category that audiences trusted because everyone involved was giving their heart and soul.

It’s also funny that occasionally when I’m channel-surfing and I come across an episode, it instantly seduces me. I can sit there and recall in amazing clarity everything we were doing that day—whether I was needlepointing a pillow or Alan was playing chess with Mike. Sometimes I’ll even call my fellow actors and say, “Wow! Guess what I’m watching! Was this a great episode or what?” It’s almost like I’m seeing everything again for the first time and appreciating it even more.

Q: When actors play a particular role on TV for a long time, they can become so closely identified with their fictional personas that it can be challenging for audiences to accept them as anyone else. As the iconic “Hot Lips,” for instance, you were starring on Broadway in Same Time, Next Year at the same time M*A*S*H was on the air. Did you ever get a sense that the audience was murmuring, “Does Frank know about this?”

A: Never. Ever. Ever. And I can point to several reviews that support that. I remember one in particular—and I have to mention I was never someone caught up in reviews of my work—where a gentleman came up after a performance of Shirley Valentine and said, “I understand you don’t always read reviews. Well, I’d like you to read this one.” And it began, “If you’re headed to the theater in the hopes of seeing Margaret Hot Lips Houlihan, you’ll be disappointed in that way but joyous in being riveted for two hours and fifteen minutes by an actor on stage bringing so many different characters to life.” He took exception to people liking to come to the theater to see a television icon, but this goes back to my own relationship with the audience. If I believe in the character I’m playing, an audience will be swept along and believe it, too. If I do my best, the audience will respond to it.

Q: Speaking of painting, let’s talk about the gorgeous animals that fill the pages of your new book.

A: Yes, let’s. Enough about me. Let’s talk about them.

Q: Since furry and feathered subjects can’t sit still for a studio portrait like their human counterparts, tell us a little about the process you go through to capture their essence.

A: It’s a number of things, actually. It’s memory, it’s imagination. It’s doing a sketch of something I’ve seen, as well as working from photographs. Sometimes I’ll start a new project based on friends’ snapshots of their pets. Other times, I’ll draw inspiration from a picture in a calendar. Every painting in the book is accompanied by short stories about what inspired them.

The cover of the book, for instance, is my painting of a Jack Russell. He was a rescue pup from BIDE-A-WEE, which is the oldest animal rescue organization in Manhattan. I just can’t say enough good things about the remarkable work they do. Anyway, I was the recipient of five lovely little “mistakes” by two uneducated youngsters who knew nothing about spaying and neutering. Believe me, they know now! I took them to BIDE-A-WEE and they were fantastic in terms of giving them their shots, socializing them, and happily, placing them in forever homes. They scrutinize every adoption request thoroughly. In fact, it’s probably harder to adopt a dog from BIDE-A-WEE than it is to adopt a child from Russia.

Q: I’m assuming you had beloved pets when you were growing up?

A: I did indeed. My first little dog was named Cheetah. Seriously. Today I share my home with my little Yorkie and two 15-year-old cats. I was told the latter were littermates. My vet thought this was hilarious and said there was no way that cat parents could have produced a Siamese and a black and white tuxedo. I call Nubie—the black and white—my Velcro cat because he attaches himself to me and likes to just hang there while I walk around.

Q: Your love for animals and your passion to advocate for them go hand in hand. In general, how are we progressing in the fight to stop animal abuse, and if you could change any one aspect of this issue, what would it be?

A: First thing on the agenda would be to erase every single puppy and kitten mill off the map. It’s as disgusting as a bloodsport and a boil on the complexion of our society that we continue to allow these places to exist. Whenever we hear about one, we shut them down. Just as quickly, though, they pop up somewhere else. I have a friend who adopted a Yorkie that had been in a puppy mill. For the first couple of years, this poor little thing kept walking around in circles. They realized she was walking the perimeter of the cage she had grown up in through her whole ordeal as a baby machine. It’s a horror and the conditions are even more horrible.

Laws also need to be more stringent on what’s done with the “discards” from breeders, the dogs that don’t meet all of the standards to be show quality. This also goes along with the elimination of “backyard breeding”—another horrible and sad practice. Professional breeders have to pay a license to breed dogs but, of course, this doesn’t stop people from doing this in their basement and trying to make a profit from excessive inbreeding.

We need to step up in terms of educating people about the important of spaying and neutering. On top of that, if we can’t reach people on a compassionate level, it’s also costing tax-dollars every time an animal has to be euthanized. Multiply that by the millions of animals we put to death every year. We also need to ban the practice of selling dogs and cats at pet stores, many of which have come from mills. There’s no vetting of strangers who come in off the street and want to buy a live animal from a shop at the mall. Will those owners be responsible or will those “purchases” end up dead through no fault of their own?

Q: Tell me about the concept behind SwitHeart Animal Alliance and how your partnership with Mies Hora came about.

A: I absolutely adore Mies, mostly because he never disagrees with me! He’s a brilliant designer and editor and publisher and we couldn’t be prouder of this book. Funny story—Mies is Czech but for some reason I always assumed he was Dutch. Through the course of getting the book out there, I introduced him as Dutch. Well, he let me do it a few times and finally one day he said, “You know, I’ve been meaning to tell you that I’m actually Czech.” Down the road we were working on some marketing ideas and very mildly arguing about whose idea was better. “As a joke, I said, ‘you know, I think I really liked you better when you were Dutch!’ and we laughed and everything was fine from there. It has become our running gag and whenever we hit a roadblock, I tell him that I wish he was Dutch.

As for how it began, we met on a private plane on the way to Florida where I was receiving the Red Cross Humanitarian Award. I had my iPad out and he happened to notice some of my paintings. He asked if he could see it. He really loved them, we got to talking and everything just sprouted from there. The whole process took about a year—to me, it really doesn’t seem that long—but every bit of it was exciting in picking, choosing, writing, and defining what we wanted this book to say. Work is in progress on a second edition and—like the first one—proceeds from sales will go to give a voice to those who can’t speak for themselves.”

Sacramento Baseball

Sacramento Baseball

While it’s common knowledge that baseball is America’s favorite pastime, lesser known is that the sport was being played in California’s capitol, Sacramento, ever since the days of the Gold Rush. When the country’s first professional team, the Cincinnati Red Stockings, came to play against the locals in 1869, it was just the beginning of the Delta community’s love affair with the game, a passion that still exists today in everything from neighborhood t-ball tryouts for tykes to The Sacramento River Cats, a minor league team with legions of fans. Whether you have ever played in a game, cheered in the bleachers, overindulged on hot dogs and peanuts, or just get weepy whenever Roy Hobbs puts the fictional New York Knights on the front pages in The Natural, Bill McPoil’s debut book, Sacramento Baseball, is a must-read history for sports enthusiasts’ favorite season.

Interviewer: Christina Hamlett

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Q: In the realm of small world coincidences, you first came on the radar screen of You Read It Here First through a mutual friend that you and I have known for years. Tell us about who he is and in what capacity the two of you came to meet each other.

A: Ernie Daniels and I met when we both worked at the Sacramento Police Department. He came on a short time after me and though we never worked as partners, we worked around each other extensively. We really got to know each other during “Pig Bowl V”. (This was an annual football game between the Police Department and the Sheriff’s Department.)  Ernie was one of the veterans of the team and it was my first, and last game; I found out I was made for baseball, not football.

Q: Following retirement, where did your career path take you?

A: After a little over thirteen years on the department I was forced to retire because of injuries I sustained making an arrest – I tackled a guy running from me and broke both my knees. My last few years on the department I served on the police union’s board of directors and as Vice President. When I retired I went back to school to finish my college degree with the intention of becoming a teacher. Right before I finished my degree a friend, and former president of the police union, who owned a labor relations firm called and asked if I might be interested in coming to work for him. The paycheck and the work sounded good so I did. I made arrangements with a couple of my professors to finish my classes while I traveled for the job – the firm represented over 60 public employee unions in California and Nevada doing contract negotiations, and representing employees in grievances and disciplinary proceedings – and although I did finish, it took an extra semester. I still had that teaching thing in the back of my mind so I went on, continuing to work between fifty and sixty hours a week, and got a master’s degree.

Q: Did you always have in mind that your love of history would one day lead you to write a book?

A: In graduate school I had to write a publishable article for my second graduate course. Since my emphasis as an undergraduate was military and naval history I decided to write about the development of Wake Island prior to World War II. The research took me to the National Archives Annex in San Bruno, about a two hour drive from Sacramento. When I finished the era search and the article, which I got an A- on, I submitted it to a couple of military journals and received rejections. Then I submitted it to Prologue: The National Archives Quarterly and they accepted it. That gave me the writing bug. I wrote a couple of more articles for periodicals, and though I thought one day I might write a book, I never really had time.

Q: What was the inspiration that caused you to say, “The time to start writing is right now?”

A: I retired from labor relations in 2007 following a heart attack so suddenly I had a lot of time on my hands. I thought about the book idea again, but didn’t really have a focus. Over Christmas, 2014, I was visiting my son and his family in Colorado when I went into one of my favorite book stores there and stumbled across an Arcadia book about baseball in Colorado Springs. When I returned home I started looking for the Sacramento version and found out there wasn’t one. I sent an email to Arcadia, not really expecting to hear from them, and received a return email the next day with a 12 or 14 page proposal package for “my book.”

Q: Did you have any writing experience prior to this particular venture?

A:  Only the articles I mentioned above and legal briefs I wrote following arbitrations. I also wrote and copywrote a training manual for labor unions while I was at the labor relations firm.

Q: Covering a century of local baseball and curating over 200 accompanying images sounds like a daunting amount of work (especially acquiring the photographs)! How did you go about collecting and organizing all of your research?

A: When I was filling out the proposal package they asked me where I would get the photos. I had no Idea so I just pulled ideas out of the air – friends, relatives, the library. When they approved the proposal, I pretty much just started panicking and scrambling. In the end I found photos from a lot of great people, the Sacramento Public Library, and the California State University, Sacramento Special Collections Archives.

Q: From the inception of the idea to its completion, how long did it take you to put the whole thing together?

A: About a year and a half – two years if you included the editing that took place after submission.

Q: Did you allow anyone to see your work-in-progress or did you make everyone wait until you were done?

A: I had a friend, who is a Sacramento Solons expert, proof the book’s introduction and the introduction to the Solon’s chapter, but other than that, my wife was the only person who saw everything that was going into it along the way.

Q: What governed your decision to make Sacramento Baseball a photo history rather than a manuscript?

A:  The fact that we didn’t have one, and to document amateur and professional baseball in a way that anyone, not just baseball historians, could enjoy.

Q: Sacramento has a rich history of adventurers, politicians and diverse industries. What made you choose baseball above all else as the topic for your book?

A: I played baseball as a youngster and have been a S.F. Giants fan since they moved to the West Coast in 1958. I went to Sacramento Solons’ games when I was eight and nine years old, and went to my first Giants game at Seals Stadium in 1959 and then to Candlestick Park the first year it opened in 1960. I “knew” Sacramento was a baseball town, but some guy on a local radio show, as I was thinking about writing this book, tried to prove it really wasn’t. By documenting the history in more than a hundred years’ worth of photos I think I proved him wrong.

Q: Did you play baseball when you were growing up? If so, what position?

A:  Only Little League, Colt League, and sandlot. I was a catcher and occasionally played center field.

Q: What’s the first pro baseball game you ever attended (and did your team win)?

A: The San Francisco Giants in 1959. I don’t remember if they won or not – too many years ago.

Q: Favorite team of all time?

A: San Francisco Giants

Q: Favorite player of all time?

A: Willie Mays

Q: Favorite movie about baseball?

A:  It’s a toss-up between A League of Their Own and Bull Durham.

Q: If you could have lunch with any famous baseball player (living or dead), who would it be and what question would you most like to ask?

A: Willie Mays. “Could I have your autograph?”  (I’ve read all of his biographies.)

Q: Just for fun, if you could be the owner/manager of a new baseball team, what name would you give them?

A: Wow, I don’t know. Maybe the Spaldings if it’s allowed. The first catcher’s mitt I owned was a Spalding.

Q: Share with us some trivia about baseball that most people wouldn’t know.

A:  In 1951 the New York Giants were trailing the Brooklyn Dodgers 3-2 in the third game of a three game play-off for the National League Championship and the right to go to the World Series. With two men on base in the bottom of the ninth inning the Giants third baseman, Bobby Thompson, came to the plate and hit a three run home run to win the game. Almost every baseball enthusiast could tell you that. But, who was on deck and would have come to bat had Thompson made an out?  A twenty year old rookie named Willie Mays, in his first year of Major League Baseball.

Q: Long before The Sacramento River Cats, the capitol’s baseball claim to fame was The Solons, a team that underwent multiple moves and name-changes. What can you tell us about them and do they still exist somewhere?

A: No, they no longer exist except in the hearts and minds of baseball historians and Sacramentans over the age of sixty. As the Sacramento Senators they were charter members of the Pacific Coast League (PCL) when it was formed in 1903. Until the Giants and the Dodgers moved west in 1958, the PCL was the professional baseball league on the West Coast. As the Senators they were often referred to by sports writers as the Solons in deference to the fact that Sacramento is the state capital and the legislators were referred to as Solons at the time. They finally got the Solon name officially in 1935 and stayed that way until 1960 when they moved to Hawaii to become the Islanders. For three years in the late 1970’s a team called the Solons tried to reclaim Sacramento, but it just didn’t take because they couldn’t come up with a suitable place to play.

Q: Back in the days when I was in theatre, it was often said that Sacramento couldn’t be taken seriously in the performing arts because of the city’s proximity to San Francisco. Could the same argument be made about sports and, specifically, baseball? 

A: Sort of. That’s why the Solons moved out in 1960. With the Giants only ninety miles away and games beginning to be televised, attendance and revenues declined so much they just couldn’t be supported here. But now we have the River Cats and they have been setting PCL records for over half of their time here. We also have the Sacramento Kings basketball team and The Sacramento Republic, our professional soccer team that we believe will become a MLS team soon.

Q: What’s next on your plate?

A: I’ve started doing research for a manuscript about the SF Giants and the Oakland A’s in the context of the turmoil in the Bay Area in the 1960’s. I’m just doing secondary research now, but I think I’ll be going into primary research in the fall at least for the first chapter which will cover the Giants and the HUAC Hearings in San Francisco in May, 1960.

Q: Where can readers learn more about you and your work?

A: I don’t know. I’m not very public. I like getting the book the publicity you and others are giving it, but I really don’t think I’m that interesting. People in Sacramento can find me at Peet’s Coffee at 38th & J most afternoons working towards the next book. Other than that, it’s baseball season and every night there’s a River Cats game I’ll be sitting behind home plate.

 

The New Eve Fertility Method for Getting Pregnant After a Miscarriage or Stillbirth.

bridget-osho

What a pleasure it is to welcome Bridget Osho, who has just released her new book, The New Eve Fertility Method for Getting Pregnant After a Miscarriage or Stillbirth. Bridget is more than a writer, she’s a woman with a mission to help other women overcome the difficulties facing them after pregnancy loss. For any woman who has undergone this traumatic experience, this book, and perhaps the institute she founded in the UK, Cherie Mamma, may be a wonderful new direction to consider. Welcome Bridget!

Interviewer: Debbie A. McClure

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Q: What is the Cherie Mamma Institute?

A: The Cherie Mamma Institute is an organization designed to help women heal from pregnancy loss so that they can conceive healthy babies. We do this by helping them create healing lifestyles and regain their natural feminine balance, usually disrupted by pregnancy loss.

The primary mission of the Institute is to help women who have lost pregnancies grow healthy and happy families. Part of our mission also includes research into the understanding and prevention of pregnancy loss and bringing the topic into the public domain so that it stops being a taboo subject.

Q: When you lost a pregnancy at seven months gestation, that event changed your life on many levels. What would you say has been the most profound lesson you’ve learned in your journey so far?

A: My pregnancy loss led to me to seek a deeper meaning to my life, my calling, and the calling of every woman. I have learned so many life lessons on this journey, but I think that the most profound lesson I have learned is that every woman is called to achieve her emotional, mental, and physical potential. Once she does this, she can be happy and fulfilled.

I believe that it is not just that women can have it all, it is that women need to have it all, and many fertility problems would be prevented if women achieved optimal physical, mental, and emotional well-being. We cannot give what we do not have. Out of the fullness of potential we can become mums, grow our families, and make an impact in the world. That is why it is so important that women who have lost their pregnancies are given the support they need to heal and become the best versions of themselves.

Q: What unexpected lessons have you learned from the women you’ve helped?

A: I have learned that it is not enough to know what to do to help them, you also have to know how to help in a way that empowers them. Many women who have been trying to conceive or lost pregnancies would do anything to have their healthy babies, but after trying different solutions for so long with little success, they can start to lose faith in themselves, which translates to loss of faith in other solutions.

It is an unconscious way of protecting themselves from false hope. In order to help them—and this applies to everybody who needs any form of transformation, such as weight loss, career growth, etc.—one needs to help them believe in themselves again. People need to believe that what they want can still happen for them and they cannot give up. It is about empowering them with hope.

Q: When you wrote your latest book, The New Eve Fertility Method, what were you hoping to accomplish that the Institute couldn’t or hadn’t?

A: I am well aware that not every woman who needs to heal from pregnancy loss will be able to get direct support through the Institute. Through the book, more women will get to know that they can truly heal from pregnancy loss and grow their families.

Q: Could you explain what a rainbow and an angel baby are?

A: An angel baby is what some people call babies who have been lost during pregnancy. They are believed to be little angels in heaven. Some people go as far as to see them as their little guardian angels who are alive, well, and happy. It is a great source of comfort to families who have lost pregnancies if they believe in life after death. I know this helped me a lot when I lost my pregnancy. It still does.

A rainbow baby is what some people call babies conceived after a pregnancy loss and who was born alive and healthy. It denotes the rainbow after a storm in the same way we see rainbows in the sky during/after the rain.

Q: What is the difference between the method you outline in the book and other methods women may have tried?

A: There are two major differences between the New Eve Fertility Method and many other methods.

The first is the emphasis on the totality of what goes into making a woman herself. Too often other fertility methods and approaches focus mainly on the woman’s body. The New Eve Fertility Method is based on the principle that when a woman loses a pregnancy, it is her whole world that has been affected; from her mind, to her emotions, to her body, her relationships, and even her work. This method focuses on helping her to pick up the pieces in all these aspects of her life so that she can truly heal.

The second difference that sets The New Eve Fertility Method apart is the emphasis on trying to heal naturally. Our bodies are naturally designed to conceive and give birth to healthy babies. It is when our natural balance is compromised that fertility becomes a struggle. For many women, this imbalance can be corrected naturally, and even when medical solutions are needed, a natural approach can make them even more effective.

Q: Writing a non-fiction book is quite an undertaking. What have you learned about the processes of non-fiction writing and publishing that you didn’t know before?

A: There is a lot more to writing a book than having ideas! For one, you need to make sure that you can guide a reader from little or no knowledge on the topic to being very knowledgeable. It means you need to be able to put yourself in the shoes of your reader.

Another thing is that you cannot do it on your own, you need at least another pair of eyes to read your work and you also need to have an effective marketing plan, otherwise your book will not get into the hands of the people who really need it.

Q: What do you estimate is the success/failure rate for women who come to you and the Institute for help?

A: It is difficult to look at my work in terms of rates, since women who approach us have different needs. Some women need to heal physically, e.g. improve their menstrual cycles. Some women need the emotional support to help them heal from pregnancy loss. While we support women to conceive healthy babies, our primary focus is to help them heal emotionally, physically, and mentally from pregnancy loss.

To this end, we have had women whose menstrual cycles have resumed after months of no periods, women who have conceived and delivered healthy babies, and women who feel that they have been given a new lease of life and hope.

Q: What would you say is the biggest misconception many women and health care providers believe about fertility and conception that is not true?

A: I think the biggest misconception that women and health care providers have is ignoring the influence of lifestyle in conception efforts. I have found that there is a large dependency on medications and/or supplements and not enough on wholesome diets, stress management, mental healing, and so on. I believe this is the reason so many women struggle with little success to conceive.

Q: Have you encountered any push-back from the medical community, or are they supportive of your efforts to help educate women regarding fertility and conception?

A: I have not experienced any push-back from the medical community. I am not expecting to, since my work does not replace their work. If anything, our work complements theirs. Most women who need medical solutions will benefit from the support the Institute gives in terms of stress management, natural diets, and exercises, among other things. I have had the support of a few doctors who understand what I am doing and know that women benefit from it.

Q: In your book you address fear and guilt. In your opinion, how prevalent are these feelings in women who have not been able to successfully carry a pregnancy to term? Is it a reflection of societal or personal issues?

A: Fear and guilt are very prevalent in women who have experienced pregnancy loss. There is the fear that they might never carry a baby to term and never have a baby. There is also the guilt that something they did or didn’t do contributed to the loss of their baby, since they were their baby’s primary caregivers.

In my opinion, the fear and guilt that many women after pregnancy loss experience is largely a reflection of their understanding that as a mother they feel responsible for their children. That is not a bad thing. Every mum feels this way. Most women would feel guilty if their children had an accident at home, even if it was clearly not their fault. The problem arises when the woman is not able to move on from that guilt and recognize that these problems are not their fault.

I think society can help women with this. The fact that women find it hard to talk about pregnancy loss exacerbates the fear and guilt. They can come to believe that something is really wrong with them and they just might be bad mums.

Q: What’s next for you, Bridget?

A: Simply to reach out to more women who can benefit from the New Eve Therapy Method. I am working on collaborating with more people to spread the message to every woman who has lost her pregnancy and let her know that she can still create the family she wants. I hope to do so by guest-posting, interviews like this one, seminars, and joint venture programs.

You can contact/reach Bridget at the following links:

Facebook: www.facebook.com/cheriemamma

LinkedIn: www.linkedin.com/company/the-cherie-mamma-institute

Website: www.cheriemamma.org

Twitter: @cheriemamma

Amazon: https://www.amazon.co.uk/dp/153974096X/