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This playful and profound French bestseller about finding the miraculous in the mundane offers 101 experiments in the philosophy of everyday life.
Hipness has been an indelible part of America's intellectual and cultural landscape since the 1940s. But the question What is hip? remains a kind of cultural koan, equally intriguing and elusive. In Dig, Phil Ford argues that while hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, music has consistently been the primary means of resistance, the royal road to hip. Hipness suggests a particular kind of alienation from society--alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. From the vantage of hipness, the dominant culture constitutes a system bent on excluding creativity, self-awareness, and self-expression. The hipster's project is thus to define himself against this system, to resist being stamped in its uniform, squarish mold. Ford explores radio shows, films, novels, poems, essays, jokes, and political manifestos, but argues that music more than any other form of expression has shaped the alienated hipster's identity. Indeed, for many avant-garde subcultures music is their raison d'être. Hip intellectuals conceived of sound itself as a way of challenging meaning--that which is cognitive and abstract, timeless and placeless--with experience--that which is embodied, concrete and anchored in place and time. Through Charlie Parker's "Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of a Thin Man," and a range of other illuminating examples, Ford shows why and how music came to be at the center of hipness. Shedding new light on an enigmatic concept, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century. Publication of this book was supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Ulrich L. Lehner reintroduces Christians to the true God—not the polite, easygoing, divine therapist who doesn’t ask much of us, but the Almighty God who is unpredictable, awe-inspiring, and demands our entire lives. Stripping away the niceties with a sling blade, Lehner shows that God is more strange and beautiful than we imagine, and wants to know and transform us in the most intimate way. With his iconoclastic new book God Is Not Nice, Lehner, one of the most promising young Catholic theologians in America, challenges the God of popular culture and many of our churches and reintroduces the God of the Bible and traditional Christianity. As Lehner writes in the book’s introduction, "We all need the vaccine of the true transforming and mysterious character of God: The God who shows up in burning bushes, speaks through donkeys, drives demons into pigs, throws Saul from his horse, and appears to St. Francis. It’s only this God who has the power to challenge us, change us, and make our lives dangerous. He sweeps us into a great adventure that will make us into different people." This book is not safe. It may startle and annoy many people—including those who purport to teach and preach the Gospel, but are missing it, according to Lehner. God Is Not Nice intends to overthrow all of our popular misconceptions about God, inviting us to ask deeper questions about the nature of our lives and our relationship with him. When you're finished with God Is Not Nice, you may find the idols you constructed in God’s name smashed, replaced with a God who will ask you to live an entirely different life full of hope and transformation.
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.

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