Lauren Robertson is a medium with a difference. Since training as a psychic medium at the age of 14, Lauren has helped tens of thousands of people to connect with their loved ones in Spirit, and is known for her highly accurate readings and her ability to provide super-specific details from those who have crossed over. But it's Lauren's fresh, unique approach to mediumship that makes her stand out from the crowd. The Medium in Manolos tells the story of how this young woman overcame her own fears, self-doubt and self-consciousness to go from grieving granddaughter to con dent and empowered medium and coach. Discover: *How to handle your grief when a loved one dies *The three elements required to become a great Spirit communicator *Effective tools to clear your mind and elevate your consciousness so you can create a deep connection with Spirit *How to tell when a message you receive is genuine *What to do when you doubt yourself and your abilities Written with compassion, humour and warmth, this heart-warming book is both for people who have lost someone and are in the process of grieving and healing, and for those who wish to develop their own connection with Spirit and bring through messages for themselves and others.

Lauren Robertson's original study shows that the theater of Shakespeare and his contemporaries responded to the crises of knowledge that roiled through early modern England by rendering them spectacular. Revealing the radical, exciting instability of the early modern theater's representational practices, Robertson uncovers the uncertainty that went to the heart of playgoing experience in this period. Doubt was not merely the purview of Hamlet and other onstage characters, but was in fact constitutive of spectators' imaginative participation in performance. Within a culture in the midst of extreme epistemological upheaval, the commercial theater licensed spectators' suspension among opposed possibilities, transforming dubiety itself into exuberantly enjoyable, spectacular show. Robertson shows that the playhouse was a site for the entertainment of uncertainty in a double sense: its pleasures made the very trial of unknowing possible.