This eloquent work speaks of the centrality of imagination in the life of the spirit. Ann and Barry Ulanov describe the imagination as a bridge between the psyche and the spirit. Using rich imagery drawn from literature, film, and their own experience as therapists, they unlock for us the healing power of our imagination. "Imagination heals by building a bridge sturdy enough to link us up, each of us, to the river of being already present in us, to the currents flowing through us and among us in our unconscious life." After describing this healing power of imagination, the authors go on to show how it is vital in the spiritual life: in preaching, prayer, teaching, counseling, and politics.

In this delightful, phenomenological account, Kittelson writes in lively pursuit of the language of hearing, an ode to the persistent primacy of the ear. It's right here, she says, just around the corner from our noses.

There are no fish, in the future. We killed them. But it's not just the ghosts of the shoals making artist Cally Dune unhappy. Her husband has gone. Vanished, after being called up for the President's new 'Training Scheme'. "No body ever comes back the same." Worried whispers drift through the pubs, gathering like rainclouds to drip their paranoia into Cally's mind, which is already marinaded in grief for Simon and fear about being called to Training herself. Letting the wine flow into the places where it hurts, Cally stumbles into the arms of a clammy banker and unwittingly discovers a disturbing and painful secret. She is propelled on a journey through the dust of Africa and the hidden tunnels deep below London...unravelling the fading scrolls of the ancient Egyptians and illuminating their lurid hieroglyphics. And ultimately towards a heartbreaking choice...to save her marriage or save her soul. Because now there's something else at stake. They are coming for it. And it's inside her.

Sounding Like a No-No traces a rebellious spirit in post–civil rights black music by focusing on a range of offbeat, eccentric, queer, or slippery performances by leading musicians influenced by the cultural changes brought about by the civil rights, black nationalist, feminist, and LGBTQ movements, who through reinvention created a repertoire of performances that have left a lasting mark on popular music. The book's innovative readings of performers including Michael Jackson, Grace Jones, Stevie Wonder, Eartha Kitt, and Meshell Ndegeocello demonstrate how embodied sound and performance became a means for creativity, transgression, and social critique, a way to reclaim imaginative and corporeal freedom from the social death of slavery and its legacy of racism, to engender new sexualities and desires, to escape the sometimes constrictive codes of respectability and uplift from within the black community, and to make space for new futures for their listeners. The book's perspective on music as a form of black corporeality and identity, creativity, and political engagement will appeal to those in African American studies, popular music studies, queer theory, and black performance studies; general readers will welcome its engaging, accessible, and sometimes playful writing style, including elements of memoir.

Includes material on B. B. King, Nina Simone, and Aretha Franklin.

"Author Harold Klemp, spiritual leader of Eckankar, shows how HU, the sacred name for God, is woven into the language of life"--

A photographic celebration of musicians, artists, and everyday scenes from the Twin Cities African American community of the 1970s and '80s by a renowned local photographer.