Librería Samer Atenea
Librería Aciertas (Toledo)
Kálamo Books
Librería Perelló (Valencia)
Librería Elías (Asturias)
Donde los libros
Librería Kolima (Madrid)
Librería Proteo (Málaga)
Let’s dive down into our relationship to the universe’s creative impulse, creative energy - the energy that can move mountains, can explode cities-through our common affinity for and content of . . . ELECTRICITY. Electricity 'Transport Trains' presents 'some personally experienced secrets of how we get roped into the universe’s scenes and stories.' Margaret A. Harrell spent the decade of the 1990s at her computer, but it was no ordinary experience. The computer worked with her, in what is called 'computer PK.' In this parapsychological phenomenon, the computer repeatedly restructured portions of a whole page of text that was on-screen, reducing it to mouthfuls. No page printed the same way twice. This was a collaborative experience between artist and, if you will, spirit illustrator (humorously put). With piles of examples of this type of refocusing, not only did she have her consciousness altered and expanded, but she used the illustrations in her Space Encounters series, some of which are reproduced in Electricity 'Transport Trains.' The Space Encounters series was published in Romania while she lived in Belgium. Resurfacing out of this ten years of seclusion and artistic hermitage in 2001, she relocated in the United State with a shipping container that held many examples of this nonstop ten years of creativity, all supported, or instigated, by 'the spirit world.' Blinking in the light of returned-to everyday reality, she published more books, but shifted focus. Now she is aiming for short, easily accessible, entertaining books that have a very deep undertone. In addition, she brings insights into how human electricity interacts with the electricity-filled universe that she learned but did not understand in an initiation in 1985. Decades later, it’s all so clear. And she shares it in this book. Al Miner, the late channel to Lama Sing, saw in her writing a 'spirit soaring through the nuances of finiteness, . . . a sense of timeless joy.'
