Marilyn Monroe Returns
The Healing of a Soul
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- 17,99 €
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- 17,99 €
Publisher Description
A Legend Returns and a Star Is Born!
Marilyn Monroe Returns reveals provocative new evidence that the reincarnation of Marilyn Monroe is a top-of-the-charts Canadian singer named Sherrie Lea Laird, a woman who shares undeniably remarkable similarities with the legendary icon. Stunning photos throughout the book powerfully demonstrate the many characteristics these two ladies share.
In her own words, Sherrie Lea reflects on a lifetime of being Marilyn: her childhood as Norma Jean, her rise to superstardom, as well as her many loves. And, most dramatically, Sherrie Lea answers a question that has plagued Marilyn's fans for more than forty years: Was Marilyn's death truly a suicide?
From the book:
"When I was eleven or twelve, I was sitting on my aunt's knee and we were talking about the beauty mark just above my lip. I asked what it was. It looked stupid to me. She began singing, 'A kiss on the hand can be quite continental, but diamonds are a girl's best friend.' The lyrics just echoed in my head, as if coming down a long corridor of sound form the past. I asked, 'What's that?' She said it was a song from an old movie, sung by someone famous: Marilyn Monroe. My aunt only said that she was a singer, but I had this coy, sly feeling and said to myself, 'Why do I feel like she's talking about me?'"
PUBLISHERS WEEKLY
The anniversary of Marilyn Monroe's 80th birthday witnessed the publication of several new titles about her life and work. Even beside the impressive Bert Stern photo tome, Dr. Finkelstein's past-life regression therapy journal with Canadian pop singer Sherrie Lea Laird stands out: Laird firmly believes that she is the recincarnation of the 1950s screen icon, and Finkelstein, with 30 years of past-life regression work under his belt, believes she's right. Disturbed by her innate knowledge and fearing its adverse effects on herself and her singing career, Laird's struggle to come to terms with her larger-than-life ex-identity provide the book's narrative arc. Constructed of e-mail correspondence, phone call reconstructions and therapy session transcripts, as well as side-by-side images comparing Monroe's hands, feet, facial features and handwriting to Laird's, the book reads like a ready-made stage play where the actor's total conviction checks the audience's incredulity. In the first person, Laird relates Norma Jean's childhood experiences, her love affairs and her puzzling death, and works with Finkelstein to accept-rather than overcome or repress-the memories of her past life, which he sees as the only path toward healing.. Whether or not you believe them, Finkelstein and Laird must be given credit for their unparalleled take on the life and legacy of Marilyn Monroe.