In the Meantime: Finding Yourself and the Love You Want

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I read this book a while ago. I read In the Meantime while reading One Day My Soul Just Opened Up. I appreciate the way that Iyanla Vanzant walks you through the nooks and crevices of your mind to help you get clear. This is the second time that I've read those two books together.

In The Meantime by Nick Miller | Waterstones

This is, arguably, the one truly necessary book on musical theatre. It not only contains all Sondheim’s lyrics from Saturday Night to Merrily We Roll Along (a succeeding volume brings us up to date). It is, above all, a study of the craft of lyric writing: it argues that the three great principles are Content Dictates Form, Less is More and God Is in the Details and goes on to show where Sondheim himself and his fellow lyricists have succeeded and failed. If Sondheim is often harsh on others (Alan Jay Lerner is “a chameleon of one colour”, Noel Coward is “too darn chilly”) he is even harsher on himself. But the book is proof that Sondheim was throughout his life a restless perfectionist whose gnawing dissatisfaction was the source of great and enduring art. Why is Portico initially excited when his parents tell him they are getting two apartments? Why do you think he does not realize his parents are separating? Sondheim’s 80th birthday led to a wealth of celebrations. Two concerts, in particular, stand out. One was at Avery Fisher Hall in New York in March, where the stars turned out in force: Mandy Patinkin and Bernadette Peters gave us the best of Sunday in the Park With George, Elaine Stritch proclaimed I’m Still Here and Michael Cerveris wielded the razor over George Hearn, a previous Sweeney Todd, in Pretty Women. Not to be outdone, the Proms staged their own Birthday Concert in July: the highlight for me was Simon Russell Beale, Daniel Evans and Julian Ovenden rendering Everybody Ought to Have a Maid (“Fluttering up the stairway, Shuttering up the windows”) with skittish vaudevillian glee. Zola teaches Portico about meditation and yoga, two practices that help people cultivate mindfulness and reduce anxiety. Research the benefits of practicing mindfulness, and work with a group to teach your class a breathing or other mindfulness exercise. Talk about how your body feels after you complete the exercise. How do you think you would feel if you practiced a mindfulness moment before you took a test or participated in a competition? How would you feel if you started and/or ended the day with a breathing exercise?When Portico’s parents fight over him, how does it make him feel? What does it mean to say that someone feels “torn” or “torn apart”? Have you ever felt this way? What helps Portico feel better? What helped you? Why do you think Herbert Singletary was looking sad the first time Portico met him? Why do you think Herbert responded to Portico’s kindness by pushing him and calling him names when Portico was being nice to him? This award-winning HBO documentary, directed and co-produced by James Lapine, uses six classic Sondheim songs as a way of exploring his craft and examining his life. The analysis of the songs is fascinating. We learn how Something’s Coming from West Side Story was written in one heady day with Leonard Bernstein and used baseball metaphors to convey Tony’s propulsive energy. But the songs are spliced with interviews from various stages of Sondheim’s life. The verbal wit is there, as when he says “I osmosed myself into the Hammerstein household”. So too is the emotional pain as in his revelation that his mother, on the eve of open-heart surgery, sent him a note saying the only regret in her life was “giving you birth”. The truth is that love is buried in your soul, and no relationship with anyone can unearth it or activate it in your life.

In the Meantime by Iyanla Vanzant - AbeBooks

Look up the definition of community. Which part of the definition do you think describes the community that is created by the residents of Skylight Gardens? Give examples of specific ways that they demonstrate that they care and look out for each other. I’m on record as dubbing this, in 1980, “one of the two (My Fair Lady being the other) durable works of popular musical theatre written in my lifetime.” I should have added West Side Story but I stand by what I said since I’ve seen the show over the years work in countless spaces, big and small. From that first piercing industrial whistle, we are gripped by a revenge-drama that mixes rage at social injustice with romantic tenderness. All Sondheim’s emotional complexity is there – Hal Prince’s wife once said there was a touch of Sweeney in Sondheim himself – and his brilliant score has echoes of Britten, Copland and Stravinsky. Wherever it is staged, we still attend the tale of Sweeney Todd. Love is the only thing we need. Love is our peace. Love is our joy, health, and wealth. Love is our identity. We go into a relationship looking for love, not realizing that we must bring love with us. We must bring a strong sense of self and purpose into a relationship. We must bring a sense of value, of who we are. We must bring an excitement about ourselves, our lives, and the vision we have for these two essential elements. We must bring a respect for wealth and abundance. Having achieved it to some satisfactory degree on our own, we must move into relationships willing to share what we have, rather than being afraid of someone taking it. Joyful sharing and excitement. Value, purpose, and vision. That's what love is about. When we bring these things to the relationship, love becomes a great multiplier and enhances the experience of life. When we do not have these things in place, the search to find love sets up the experiences we need to discover what is true about love and what is not. The discovery process is called the meantime. Families can talk about how they react when adults argue like the parents do in Stuntboy, in the Meantime. How do you feel, and what do you do? Is there somewhere you go that makes you feel better? An allegory is a story that has more than one meaning, and in this book, the Super Space Warrior episodes can be read as an allegory for the conflict between Portico’s parents. Look up the meaning of the names “Mater” and “Pater.” How is this a clue to the allegorical meaning of Super Space Warriors? What words do the name of the show’s villains, the Irators, sound like when you say it out loud? How might Mater and Pater’s duty to protect the sun relate to Portico and his parents? If each show ended with someone telling what the moral of the story is, what do you think the moral of each of the Super Space Warriors episodes would be? How do the illustrations reinforce the allegorical connection between Mater and Pater and Mr. and Mrs. Reeves?Sondheim has yielded a fair amount of study in book form and we keenly await David Benedict’s biography. In the meantime, this excellent book offers 27 essays that combine academic and theatrical analysis. In the former category Dominic Symonds traces the connections between Oscar Hammerstein and Sondheim, showing how the palindromic structure of South Pacific – in which themes and songs are echoed and repeated – impacts on Into the Woods. Meanwhile Keith Warner, who directed Pacific Overtures for ENO, makes a passionate case for subsidised theatre embracing not just Sondheim but experimental works such as Rodgers and Hammerstein’s Allegro. A book for buffs that takes Sondheim seriously.

Stuntboy, in the Meantime Book Review | Common Sense Media Stuntboy, in the Meantime Book Review | Common Sense Media

We enter relationships looking for love, expecting someone to love us or accept us lovingly. This makes perfectly good sense if you consider that we are each born to express and receive love. In some unfortunate situations, we can want love or acceptance so badly that we will do almost anything to get it. We break love's rules. We disregard love's house. We forget to set love boundaries. We allow people to step in, be in, move in, live in our lives in ways that have nothing to do with love. Even when we have boundaries or standards clearly defining what we will do, how we will do it in the name of love, and what we expect in return, there never seems to be enough love to fill the void we have all, at one time or another, felt in our hearts. When we believe we do not have enough love in our lives, we enter the meantime. What we fail to understand is that we are the love we seek. Until, however, we can recognize ourselves as love and live in harmony with our true identity, the void grows deeper, wider, and more painful. How can I stay and not get hurt? How can I go without hurting? You cannot answer these questions if you are in pain. What you can do is make the effort to discover the truth about love, because it is the only thing that can help you move through the experience. In the meantime, if we can remain loving of ourselves and toward other people by staying in conscious and honest communication, a disruption, snag, or delay in a relationship becomes a healing process. When we cannot, we engage in meantime behavior— hurting, fighting, not telling the truth, and moving forward in confusion. Confusion begets confusion. Living Through the Meantime: Learning to Break the Patterns of the Past and Begin the Healing Process (Fireside book) They were at it again! He and she both knew that they needed to make a swift but loving departure from the relationships they were in. Neither of them had the courage, strength, or presence of mind to do so. He didn't leave because his attachment had been so good to him. In the three-plus years they had been together, they had really been through a lot — a lot of hysteria about whether or not they should stay together! In the end, they stayed together because they had nowhere else to go. She stayed with her attachment to avoid facing the fear of spending time alone. She had been there and done that so many times before. It was not a very pleasant possibility to look forward to, and she surely did not want to subject herself to it voluntarily. In the meantime, she kept hoping against hope that somehow, some way, her attachment would miraculously disappear or become the love man of her dreams, meaning that she would live happily ever after. That's how she convinced herself, time and time again, to stay. In the meantime, she kept looking elsewhere for something else, although she was not quite sure what it was she was looking for.Zola’s mother says, “Life is just a TV show, and we’re all characters in it.” If your life was a TV show, what kind of show would you want it to be? In the style of Stuntboy, in the Meantime, write and illustrate a story that imagines one of your experiences as an episode of your own TV show. The interference from my relationship channel was creating static on every other channel of my life. Book Genre: Education, How To, Inspirational, Nonfiction, Personal Development, Philosophy, Psychology, Relationships, Self Help, Spirituality

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What event leads to Herbert becoming friends with Zola and Portico? Why do you think Portico is finally able to feel sad about his parents’ separation? How do his friends let him know that they will be there for him? Why do you think he decides not to run in and stop his parents from fighting this time? I tend to cherish my original cast recordings of Sondheim shows – although here he was purely the lyricist, with Jule Styne writing the score and Arthur Laurents the book – but this is one occasion where the revival outstrips its predecessor. Angela Lansbury was so forceful as Momma Rose in 1973 that you felt the character would have been a Broadway star. But Jonathan Kent’s 2014 Chichester production made total dramatic sense. Imelda Staunton was the eternal bustling showbiz wannabe, even popping up on stage during her daughter’s big audition. Yet when it came to the solo numbers that end each act, Staunton unforgettably suggested a woman on the verge of a nervous breakdown. LIVING THROUGH THE MEANTIME Learning to Break the Patterns of the Past and Begin the Healing Process Living Through the Meantime : Learning to Break the Patterns of the Past and Begin the Healing ProcessWhen Portico’s mother tells him to go see what Zola is up to “in the meantime,” he thinks she says, “the mean time.” Why is “the mean time” a good name for what is happening in Portico’s apartment? Using words that sound alike to suggest a different meaning is called a play on words or a pun. Look for other times when Jason Reynolds uses a play on words. What do Portico and Zola learn about Herbert’s family and what is behind the half door? When Zola tells her mother that Herbert hides in the room behind the half door, Mrs. Brawner says, “We’re all hiding from something.” Sometimes people hide from their true feelings. What feelings do you think Herbert is hiding by being mean? What feelings do you think Portico’s parents are hiding from when they act out in anger toward each other?