A consideration of blandness not as the absence of defining qualities but as the harmonious union of all potential values--an infinite opening into human experience.

An exploration of the central role of indirect modes of expression in ancient China. In what way do we benefit from speaking of things indirectly? How does such a distancing allow us better to discover--and describe--people and objects? How does distancing produce an effect? What can we gain from approaching the world obliquely? In other words, how does detour grant access? Thus begins Francois Jullien's investigation into the strategy, subtlety, and production of meaning in ancient and modern Chinese aesthetic and political texts and events. Moving between the rhetorical traditions of ancient Greece and China, Jullien does not attempt a simple comparison of the two civilizations. Instead, he uses the perspective provided by each to gain access into a culture considered by many Westerners to be strange--"It's all Chinese to me"--and whose strangeness has been eclipsed through the assumption of its familiarity. He also uses the comparison to shed light on the role of Greek thinking in Western civilization. Jullien rereads the major texts of Chinese thought--The Book of Songs, Confucius's Analects, and the work of Mencius and Lao-Tse. He addresses the question of oblique, indirect, and allusive meaning in order to explore how the techniques of detour provide access to subtler meanings than are attainable through direct approaches. Indirect speech, Jullien concludes, yields a complex mode of indication, open to multiple perspectives and variations, infinitely adaptable to particular situations and contexts. Concentrating on that which is not said, or which is spoken only through other means, Jullien traces the benefits and costs of this rhetorical strategy in which absolute truth is absent.

A philosophical inquiry into how to "feed life," or nourish it, draws from early Chinese thinker Zhuanghi to explore notions of breath, energy, and immanence.

From two-time Caldecott Winner author-illustrator Sophie Blackall! If You Came to Earth is a glorious guide to our home planet, and a call for us to take care of both Earth and each other. This stunning book is inspired by the thousands of children Sophie Blackall has met during her travels around the world in support of UNICEF and Save the Children. • An engaging storybook about a single curious and imaginative child • Simultaneously funny and touching • Carries a clear message about the need to care for the earth and each other If you come to Earth, there are a few things you need to know. . . We live in all kinds of places. In all kinds of homes. In all kinds of families. Each of us is different. But all of us are amazing. And, together, we share one beautiful planet. This masterful and moving picture book is a visually comprehensive guide to the earth, imbued with warmth and humor. • Ideal for children ages 3 to 5 years old • A great pick for teachers looking for a crowd-pleasing picture book about the world for little students • Perfect for parents, grandparents, and caregivers • You'll love this book if you love books like The Travel Book by Lonely Planet Kids, Atlas of Adventures by Rachel Williams, and If You Lived Here: Houses of the World by Giles Laroche.

A wide-ranging, controversial collection of critical essays on the political mania plaguing the West by one of the most important public intellectuals of our time. In America and in England, faltering economies at home and failed wars abroad have generated a political and intellectual hysteria. It is a derangement manifested in a number of ways: nostalgia for imperialism, xenophobic paranoia, and denunciations of an allegedly intolerant left. These symptoms can be found even among the most informed of Anglo-America. In Bland Fanatics, Pankaj Mishra examines the politics and culture of this hysteria, challenging the dominant establishment discourses of our times. In essays that grapple with the meaning and content of Anglo-American liberalism and its relations with colonialism, the global South, Islam, and “humanitarian” war, Mishra confronts writers such as Jordan Peterson, Niall Ferguson, and Salman Rushdie. He describes the doubling down of an intelligentsia against a background of weakening Anglo-American hegemony, and he explores the commitments of Ta-Nehisi Coates and the ideological determinations of The Economist. These essays provide a vantage point from which to understand the current crisis and its deep origins.

Danny Bland’s fictional prose novel about a doomed junkie couple is given depth by his first hand experiences in the ’90s grunge rock scene. “It wasn’t the pounding headache or the all too familiar taste of blood in my mouth that woke me that morning, but the stink of cat piss. They all have cats. Cats and bad tattoos and mops of dyed black hair that reek of cigarettes and watermelon Bubblicious.” This debut novel by veteran Seattle musician Danny Bland follows a pair of outsiders who find themselves locked in the palpable, dizzy grunge-rock scene of early-’90s Seattle. Vulnerable to the high relief of heroin addiction, Bland’s characters ― Charlie Hyatt and Carrie Finch ― are unapologetic protagonists whose epiphanies are as blinding as their weaknesses. Finch, 21, beautiful and dangerous, drowns out the voices in her head and the consequences of a misled life with electric guitars, booze and petulant misbehavior. Her single abiding faith takes the form of an unlikely savior ― ’60s psychedelic musician Roky Erikson. At the ripe old age of 28, Hyatt attempts to make sense of the cards he has been dealt: a miserable job in a porn shop, a drug habit he cannot afford and the wildly unstable woman he had chosen to love. Two damaged people can balance a seesaw for a long time, even finding the illusion of safety; but when one gets off unannounced, the other will fall. As Finch finds sobriety, her sanity and her relationship with Hyatt falter until an inevitable event brings the two back together a decade later.

In premodern China, painters used imagery not to mirror the world, but to evoke unfathomable experience. Considering this art alongside the philosophical traditions that inform it, this book explores the 'nonobject', a notion exemplified by paintings that do not seek to represent observable surroundings.