"If you are reading this, count yourself lucky to have found this book. It contains some of the most fascinating information and material you will ever read." -New York Times best-selling author Jack Canfield Self-Intelligence is the self-help book for people who long to transform their lives and who trust only proven scientific tools, but also prefer page-turners to dry prose. Cutting-edge brain science meets superb storytelling as readers learn proven techniques to break through inner gridlock, sustain high performance, and achieve their dreams. All of this is possible due to neuroplasticity, the revolutionary discovery that we can literally re-form our brains by strategically choosing our thoughts, actions, and experiences. First came emotional intelligence, then came social intelligence. Here, at last, Self-Intelligence provides the big picture, incorporating the latest research from diverse scientific fields. Mental coach, transformational trainer, and science addict Jane Ransom lays out for you the new Self-Intelligence (TM) model, which she has used to help countless clients achieve the positive change they previously found impossible. You'll be uplifted, motivated to move forward, and simply fascinated. The author, who also is a master hypnotist, devotes a riveting chapter to the art and science of hypnosis. Throughout the book, she shares intriguing behind-the-curtain glimpses of its applications. By following the easy, clear precepts of Self-Intelligence, you can finally achieve your true potential and take the scientific short-cuts to greater success. You'll be empowered to avert old obstacles because the five-part model addresses your entire being, from the hidden depths of your subconscious self to your striving self, who sets and achieves tangible goals.

Without Asking marks Jane Ransom’s debut as a book author, initially placing her within the poetic tradition of narrative Confessionalism. But one can already sense here the ambivalence that would lead both to a break from narrative—in her second poetry book, Scene of the Crime—and her subsequent return to narrative in Bye-Bye, her first novel. This is a writer whose epistemological inquiry continuously turns both inward and outward, from linear to non-linear and back again, in an unrelenting quest for Truth.

Scene of the Crime exposes the poet’s inner criminality, where matricide and mother tongue engage in diabolic discourse. Confessing her outlaw sexuality, Ransom grapples with feminist theory and disembowels postmodern philosophy. Delighting in the multiplicity of self, language and desire, Ransom fires puns dead-aimed to riddle any interpretive reduction.

Without Asking marks Jane Ransom’s debut as a book author, initially placing her within the poetic tradition of narrative Confessionalism. But one can already sense here the ambivalence that would lead both to a break from narrative—in her second poetry book, Scene of the Crime—and her subsequent return to narrative in Bye-Bye, her first novel. This is a writer whose epistemological inquiry continuously turns both inward and outward, from linear to non-linear and back again, in an unrelenting quest for Truth.

Scene of the Crime exposes the poet’s inner criminality, where matricide and mother tongue engage in diabolic discourse. Confessing her outlaw sexuality, Ransom grapples with feminist theory and disembowels postmodern philosophy. Delighting in the multiplicity of self, language and desire, Ransom fires puns dead-aimed to riddle any interpretive reduction.

Bye-Bye lures us into the mind of a sexually adventurous New Yorker in her mid-30s haunted by memories of her mother and of her own failed marriage. Her too-perfect husband threw her out three years before the novel opens, because of her infidelities. Partly in an effort to wrench herself out of depression, she "disappears" by changing her appearance and assuming a false identity as Rose Anne Waldin, or Rosie. Rosie boasts three lovers: two women - one an S&M pornographer, the other an aloof "Personal Ad" - and one man, whom she meets at a book-burning. The books being burned are by a celebrated Chicano poet who (an angry public has discovered) was apparently never Chicano at all. The scandal involves an elusive performance artist known only as the "Andorgenie, " whose identity-bending perversities mirror Rosie's. We gradually learn about Rosie's not-at-all-rosy past, of her compulsive, often darkly comic behavior, and of her obsession with murder. Soon it grows apparent that Rosie is preparing to commit some dramatic, possibly violent, act. Poking fun at the Soho scene, Bye-Bye explores what makes art Art at the end of the millennium. And it implicitly asks, what kind of aesthetic gesture can still deliver a serious punch in a mass-media culture infatuated with sex crimes and notoriety, without degenerating into a knee-jerk defense? Bye-Bye is itself of course one answer.