An imaginative approach to spiritual practice in difficult times, through the Buddhist teaching of the six paramitas or "perfections"—qualities that lead to kindness, wisdom, and an awakened life. In frightening times, we wish the world could be otherwise. With a touch of imagination, it can be. Imagination helps us see what’s hidden, and it shape-shifts reality’s roiling twisting waves. In this inspiring reframe of a classic Buddhist teaching, Zen teacher Norman Fischer writes that the paramitas, or “six perfections”—generosity, ethical conduct, patience, joyful effort, meditation, and understanding—can help us reconfigure the world we live in. Ranging from our everyday concerns about relationships, ethics, and consumption to our artistic inspirations and broadest human yearnings, Fischer depicts imaginative spiritual practice as a necessary resource for our troubled times.

An imaginative approach to spiritual practice in difficult times, through the Buddhist teaching of the six paramitas or "perfections"—qualities that lead to kindness, wisdom, and an awakened life. In frightening times, we wish the world could be otherwise. With a touch of imagination, it can be. Imagination helps us see what’s hidden, and it shape-shifts reality’s roiling twisting waves. In this inspiring reframe of a classic Buddhist teaching, Zen teacher Norman Fischer writes that the paramitas, or “six perfections”—generosity, ethical conduct, patience, joyful effort, meditation, and understanding—can help us reconfigure the world we live in. Ranging from our everyday concerns about relationships, ethics, and consumption to our artistic inspirations and broadest human yearnings, Fischer depicts imaginative spiritual practice as a necessary resource for our troubled times.

A law has been passed. There will be no more genders. Everyone must appear gender neutral. No more boys. No more girls. Just ... Otherwise. Same bland clothes. Same fuzzy heads. “Spark” dreads the countdown leading up to the finality of the new law’s passage. Her parents are for it. They’re tired of conforming to society’s standards. But they allow her to take off for a quick camping trip to gather her thoughts. At the campsite, she meets “Whistler.” And the attraction is instant and mutual. But who is Whistler? And what is Whistler? Boy? Or girl? This gender-bending story in verse will make readers question everything they thought they knew about love, chemistry, and cultural norms. Just like prose, a novel in verse tells a story. But verse is unique because readers access the text through short “chapters,” or poems. The varying lengths of the chapters are ideal for a struggling reader, giving them breaks to collect their thoughts, to imagine the characters in their mind’s eye, and to set the scene—like a frame in a movie. The structure of poetry makes the books appear less intimidating, with plenty of airy white space. Moreover, the depth and substance conveyed in verse is every bit as deep and real as in a Gravel Road prose novel.

Sheila Tubman sometimes wonders who she really is: the outgoing, witty, and capable Sheila the Great, or the secret Sheila, who's afraid of the dark, spiders, swimming, and dogs. When her family spends the summer in Tarrytown, Sheila has to face some of her worst fears. Not only does a dog come with the rented house, but her parents expect Sheila to take swimming lessons! Sheila does her best to pretend she's an expert at everything, but she knows she isn't fooling her new best friend, Mouse Ellis, who happens to be a crackerjack swimmer and a dog lover. What will it take for Sheila to admit to the Tarrytown kids -- and to herself -- that she's only human?

Prejudice is often not a conscious attitude: because of ingrained habits in relating to the world, one may act in prejudiced ways toward others without explicitly understanding the meaning of one’s actions. Similarly, one may know how to do certain things, like ride a bicycle, without being able to articulate in words what that knowledge is. These are examples of what Alexis Shotwell discusses in Knowing Otherwise as phenomena of “implicit understanding.” Presenting a systematic analysis of this concept, she highlights how this kind of understanding may be used to ground positive political and social change, such as combating racism in its less overt and more deep-rooted forms. Shotwell begins by distinguishing four basic types of implicit understanding: nonpropositional, skill-based, or practical knowledge; embodied knowledge; potentially propositional knowledge; and affective knowledge. She then develops the notion of a racialized and gendered “common sense,” drawing on Gramsci and critical race theorists, and clarifies the idea of embodied knowledge by showing how it operates in the realm of aesthetics. She also examines the role that both negative affects, like shame, and positive affects, like sympathy, can play in moving us away from racism and toward political solidarity and social justice. Finally, Shotwell looks at the politicized experience of one’s body in feminist and transgender theories of liberation in order to elucidate the role of situated sensuous knowledge in bringing about social change and political transformation.

This is a book of failure and mistakes; it begins with what is stolen from us and proposes only an invitation to imagine. In these playful written experiments, Lola Olufemi navigates the space between what is and what could be. Weaving together fragmentary reflections in prose and poetry, this is an exploration of the possibility of living differently, grounded in black feminist scholarship and political organising. Olufemi shows that the horizon is not an immaterial state we gesture toward. Instead, propelled by the motion of thinking against and beyond, we must invent the future now and never let go of the otherwise.

Etta is tired of dealing with all of the labels and categories that seem so important to everyone else in her small Nebraska hometown.