Vernon Sternberg of the S.I.U Press was responsible for bringing out the first edition of this collection of occasional pieces. In addition to the title piece, written in 1940, it includes other blank verses: “Machine Tools,” 1940; “The Historical Attempt by Man to Convert His Evolution from a Subjective to an Objective Process,” 1948; “Universal Requirements of a Dwelling Advantage,” 1917–62; “The Fuller Research Foundation,” 1946–51; A Comprehensive Anticipatory Design Science,” 1956; and two prose essays with geometrical diagrams and tables, “Introduction to Omnidirectional Halo,” 1959, and “omnidirectional Halo,” 1960. I once asked Fuller whether No More Secondhand God meant secondhand as in clothes or second hand as in watch? He seemed bemused by the question and answered with a casualness I found suspect—”Now that you mention it,” he said, “I suppose both.” Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller

In 1970 and 1971, Fuller was concurrently composing a poem suggested by his new Morgan sloop “Intuition” and rewriting, with my collaboration, the projected first chapter of Synergetics called “Brain and Mind.” Fuller agreed with my suggestion that this first chapter had an integrity of its own separate from the rest of the Synergetics manuscript, and he felt that both of these works had an urgency that argued for their publication at the earliest possible date. WIth the help of Bill Whitehead, our editor at Doubleday, they were combined in Intuition, the first of his two books of blank verse. Description by Ed Applewhite, courtesy of The Estate of Buckminster Fuller

When life derails, our thin view of God is challenged. We can walk away, or let our questions lead us home. As you wrestle with God, engaging Him for yourself, you--like Jacob, Job and David--will see rumors die and revelation come alive.

Stop copying someone else's religion. Start living out a faith that's all your own. A “firsthand” faith is never what somebody tells you it should be, even if that person is a parent, friend, or pastor. “Firsthand” means you went after it for yourself and now it’s all yours. That kind of faith is changes everything, but most people only find it by facing tough questions. Like: • If God is real, why does he feel far away? • Can I ever get past the dos and don’ts of church? • Why should I even try to follow God when I fail so often? • How do I experience a relationship with Christ that’s more than surface level? • Is it possible to have authentic faith when I have so many doubts? • How can I connect with others who take firsthand faith seriously? In these pages, Ryan and Josh Shook talk candidly about growing up in church only to realize that “how things are supposed to be” had stopped working for them. They set out to find what makes a young person’s faith stick—or not. Each chapter is designed to spark a discussion, and comes complete with personal inventories, Bible teaching, small-group discussion questions, and links to original video. Now includes bonus “Looking Back from Here” Q&A with the authors

This book is about using art as an instrument of personal transformation, enabling us to move from an inherited to a chosen state of being. Peter London offers inspiration and fresh ideas to artists, art students, and art teachers—as well as to people who think they can't draw a straight line but want to explore the joys of creative expression. Inside every person, he believes, there is an original, creative self that has been covered over by secondhand ideas, borrowed beliefs, and conditioned behavior. By freeing the capacity for visual expression—a natural human language possessed by everyone—we can awaken and release the full powers of that original self. Among the topics and exercises included are: • How to increase the ability to visualize, fantasize, and dream • Obstacles to the creative encounter and what to do about them • Experimenting with art media as true mediators between imagination and expression • Making masks to reveal the hidden self • Painting with "forbidden" colors • Arranging found objects as metaphors for one's life

From the New York Times bestselling author of Nickel and Dimed comes a brave, frank, and exquisitely written memoir that will change the way you see the world. Barbara Ehrenreich is one of the most important thinkers of our time. Educated as a scientist, she is an author, journalist, activist, and advocate for social justice. In LIVING WITH A WILD GOD, she recounts her quest-beginning in childhood-to find "the Truth" about the universe and everything else: What's really going on? Why are we here? In middle age, she rediscovered the journal she had kept during her tumultuous adolescence, which records an event so strange, so cataclysmic, that she had never, in all the intervening years, written or spoken about it to anyone. It was the kind of event that people call a "mystical experience"-and, to a steadfast atheist and rationalist, nothing less than shattering. In LIVING WITH A WILD GOD, Ehrenreich reconstructs her childhood mission, bringing an older woman's wry and erudite perspective to a young girl's impassioned obsession with the questions that, at one point or another, torment us all. The result is both deeply personal and cosmically sweeping-a searing memoir and a profound reflection on science, religion, and the human condition. With her signature combination of intellectual rigor and uninhibited imagination, Ehrenreich offers a true literary achievement-a work that has the power not only to entertain but amaze.