Discover an empowering new way of understanding your multifaceted mind—and healing the many parts that make you who you are.Is there just one “you”? We’ve been taught to believe we have a single identity, and to feel fear or shame when we can’t control the inner voices that don’t match the ideal of who we think we should be. Yet Dr. Richard Schwartz’s research now challenges this “mono-mind” theory. “All of us are born with many sub-minds—or parts,” says Dr. Schwartz. “These parts are not imaginary or symbolic. They are individuals who exist as an internal family within us—and the key to health and happiness is to honor, understand, and love every part.”Dr. Schwartz’s Internal Family Systems (IFS) model has been transforming psychology for decades. With No Bad Parts, you’ll learn why IFS has been so effective in areas such as trauma recovery, addiction therapy, and depression treatment—and how this new understanding of consciousness has the potential to radically change our lives. Here you’ll explore:• The IFS revolution—how honoring and communicating with our parts changes our approach to mental wellness• Overturning the cultural, scientific, and spiritual assumptions that reinforce an outdated mono-mind model• The ego, the inner critic, the saboteur—making these often-maligned parts into powerful allies• Burdens—why our parts become distorted and stuck in childhood traumas and cultural beliefs• How IFS demonstrates human goodness by revealing that there are no bad parts• The Self—discover your wise, compassionate essence of goodness that is the source of healing and harmony• Exercises for mapping your parts, accessing the Self, working with a challenging protector, identifying each part’s triggers, and moreIFS is a paradigm-changing model because it gives us a powerful approach for healing ourselves, our culture, and our planet. As Dr. Schwartz teaches, “Our parts can sometimes be disruptive or harmful, but once they’re unburdened, they return to their essential goodness. When we learn to love all our parts, we can learn to love all people—and that will contribute to healing the world.”

Catalog of Unabashed Gratitude is a sustained meditation on that which goes away—loved ones, the seasons, the earth as we know it—that tries to find solace in the processes of the garden and the orchard. That is, this is a book that studies the wisdom of the garden and orchard, those places where all—death, sorrow, loss—is converted into what might, with patience, nourish us.

"This Astaire-like glide through our not-so-idle talk is a pleasure."― Publishers Weekly Stephen Dunn experiments with short, related pieces that play off each other in the manner of jazz improvisations. The resulting pairs cover such subjects as "Scruples/Saints," "Hypocrisy/Precision," and "Anger/Generosity." The wisdom and startling turns we've come to expect from Dunn are everywhere in the ninety miniatures (forty-five pairs) that comprise this volume.

A vivid and inspiring poetry collection about what’s possible when we heed our instincts and honor our intuition, allowing ourselves to strike out for new territories of love, pleasure, and peace.   First, you must realize you’re homesick for all the lives you’re not living. Then, you must commit to the road and the rising loneliness. To the sincere thrill of coming apart.   So begins Joy Sullivan’s Instructions for Traveling West —a lush debut collection that examines what happens when we leave home and leap into the deep unknown. Mid-pandemic, Sullivan left the man she planned to marry, sold her house, quit her corporate job, and drove west. This dazzling collection tells that story as it illuminates the questions haunting us What possible futures lie on the horizon? What happens when we heed the call of furious reinvention?    A book for anyone flinging themselves into fresh starts, Instructions for Traveling West grapples with loss, loneliness and belonging. These poems teach us that naming our desire is profound alchemy. Each of us holds the power to set our own course forward.   Expansive and heart-opening—exquisite in their specificity, galvanizing in their scope—the poems in Instructions for Traveling West speak to the longing that lives within us all. They remind us that “joy is not a trick.”

After her mother died, poet Victoria Chang refused to write elegies. Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.

An intimate and expansive exploration of how and why we eat, and the relationship between food and empowerment, through the historic feasts and fasts of radicals and tyrants.Inspired by writer Amber Husain’s unorthodox route to healing from anorexia, Tell Me How You Eat examines not just how society views the refusal to eat, but how we understand the meaning and power of food. Suspecting that the standard courses of treatment—as disempowering as they are ineffective—might in fact be part of the underlying problem, Husain took part in an experimental psylocibin treatment study. Where the medical model typically tries to fix the difficult non-eater, this trial opened her mind to the idea that there might be more to fix beyond the self—that our relationship with food might be closely entwined with our outlook on the world. Through five chapters taking in hunger, restriction, gorging, feeding, and the making of political demands, Husain turns away from thinking about how people are shaped by food to think instead about how food can inspire people to reshape the world. Each chapter searches for reasons to eat and live through histories ranging from pus-drinking medieval nuns to Black Panther breakfast programs; from 1950s lesbian dinner parties to modern-day Gazan food bloggers. In a culture that insists “you are what you eat,” and makes every bite a fraught moral choice, Husain argues that we will only feel truly nourished when we can eat in the spirit of restoring a collective right to food, long eroded over centuries of systems and narratives that have normalized deprivation.

A vivid and inspiring poetry collection about what’s possible when we heed our instincts and honor our intuition, allowing ourselves to strike out for new territories of love, pleasure, and peace.   First, you must realize you’re homesick for all the lives you’re not living. Then, you must commit to the road and the rising loneliness. To the sincere thrill of coming apart.   So begins Joy Sullivan’s Instructions for Traveling West —a lush debut collection that examines what happens when we leave home and leap into the deep unknown. Mid-pandemic, Sullivan left the man she planned to marry, sold her house, quit her corporate job, and drove west. This dazzling collection tells that story as it illuminates the questions haunting us What possible futures lie on the horizon? What happens when we heed the call of furious reinvention?    A book for anyone flinging themselves into fresh starts, Instructions for Traveling West grapples with loss, loneliness and belonging. These poems teach us that naming our desire is profound alchemy. Each of us holds the power to set our own course forward.   Expansive and heart-opening—exquisite in their specificity, galvanizing in their scope—the poems in Instructions for Traveling West speak to the longing that lives within us all. They remind us that “joy is not a trick.”

Peach State has its origins in Atlanta, Georgia, the author’s hometown and an emblematic city of the New South, a name that reflects the American region’s invigoration in recent decades by immigration and a spirit of reinvention. Focused mainly on food and cooking, these poems explore the city’s transformation from the mid-twentieth century to today, as seen and shaped by Chinese Americans. The poems are set in restaurants, home kitchens, grocery stores, and the houses of friends and neighbors. Often employing forms—sonnet, villanelle, sestina, palindrome, ghazal, rhymed stanzas—they also mirror the constant negotiation with tradition that marks both immigrant and Southern experience