Through the life and death of her grandfather, 12-year-old Oli receives a pouch that holds the lives of abandoned, but unique coins, coins adopted by her grandfather-and now hers. Bearing their mint inscription, In God We Trust, Oli's coins entrust their lives with hers as she searches for the matters of the heart. Set in Northern Idaho, near the Clearwater Mountains, Oli's Uncommon Cents takes readers on unique journeys. These journeys introduce Oli to people who live in the back woods until winter snows drive them out, like the wildlife, all driven by hunger; these journeys introduce Oli to those who count on the charity found in Cardboard City -and journeys among ordinary people, people with scars, some hidden, some visible, and others revealed, especially after their lives become intertwined. Despite the tensions with her controlling, and egotistical father, she manages to venture on an exploration of her own, and what she discovers are people that her father scorns. Oli's explorations lead to life-changing lessons, and her most profound discovery is that some things in life have greater value than they're worth. Deborah Allen and Sophie Mattinson team up to create their first children's novel. Two newcomers to the publishing world join their gifts and offer readers lessons from the heart as money talks as never before, discovering the real value of others by learning to listen.

An examination of Herbert Marcuse’s political claim for the aesthetic dimension, focusing on defamiliarization as a means of developing radical sensibility. In Uncommon Sense, Craig Leonard argues for the contemporary relevance of the aesthetic theory of Herbert Marcuse—an original member of the Frankfurt School and icon of the New Left—while also acknowledging his philosophical limits. His account reinvigorates Marcuse for contemporary readers, putting his aesthetic theory into dialogue with antiracist and anti-capitalist activism. Leonard emphasizes several key terms not previously analyzed within Marcuse’s aesthetics, including defamiliarization, anti-art, and habit. In particular, he focuses on the centrality of defamiliarization—a subversion of common sense that can be a means to the development of what Marcuse refers to as “radical sensibility.” Leonard brings forward Marcuse’s claim that the aesthetic dimension is political because of its refusal to operate according to the repressive common sense that establishes and maintains relationships dictated by advanced capitalism. For Marcuse, defamiliarization is at the center of the aesthetic dimension, offering the direct means of stimulating its political potential. Leonard expands upon Marcuse’s aesthetics by drawing on the work of Sylvia Wynter, going beyond Marcuse’s predominantly European and patrilineal intellectual framework—while still retaining his aesthetic theory’s fundamental characteristics—toward a human dimension requiring decolonial, feminist, antiracist, and counterpoetic perspectives.

Vols. for 1853-1911 include list of members.