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In this chapter, I take a symbolic interactionist look at the anthropomorphic projections of 38 people in four large Canadian cities who report having encountered ghosts. As part of a larger project on perceived encounters with ghosts, I interviewed these people using audiotape, transcribed the interviews, and identified themes within them. Together, they mentioned 195 ghosts and described their appearances and actions. I identified anthropomorphic projections in four areas: (1) Physicality – pertaining to the bodies of the ghosts, (2) Relational – pertaining to kinship ties, e.g., mothers, fathers, grandmothers, (3) Rational – the ghosts' motivations and justifications, and (4) Affective – pertaining to the ghosts' emotions. These anthropomorphic projections were the respondents' efforts at sense making after having encountered what they believed to be phantasmal.

The contemporary practice of ‘craftivism’ – which uses crafts such as knitting, sewing, and embroidery to draw attention to ‘issues of social, political and environmental justice’ (Fitzpatrick, 2018, p. 3) – has its origins in centuries of radical craft work, where women and marginalised peoples in particular, employed crafts to protest, take a stand, or raise awareness on issues that concern them. This chapter explores how crafts are being used to highlight key social and criminal justice issues that are of concern to criminologists, including the missing and murdered, state and institutional violence, and sexual abuse and violence. In canvassing the ways in which craft is being used to draw attention to, document, memorialise, demand change, and heal, this chapter considers why criminologists would benefit from being attentive to the strategies craftivists are using to challenge the status quo and make visible the invisible.

Inequality in the creative industries often serves as the starting point for public debates over culture in the UK. Academic literature has long recognised the precarious nature of the fashion industry. This chapter offers a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK. In addressing these issues, a Foucauldian perspective is adopted. The chapter focuses on Black, Asian, and minority ethnic (BAME) fashion entrepreneurs’ challenges in promoting young designers from disadvantaged communities.

Our findings show that the BAME entrepreneurs are active agents who are essential in identifying and shaping new creative and talented young designers. The chapter contributes to the debate through a critical review of the relationships of power existing in the support offered to ethnic minorities in disadvantaged communities in the fashion and creative sectors in the UK.

Comics and graphic novels can disrupt traditional texts by challenging the “worship of the written word” (Torres, 2019), a feature of white supremacy that perpetuates textual hierarchies within educational spaces. Giving all of our students access to contemporary literature that centers Black youth perspectives is not only important in decolonizing literature education but also in presenting a holistic view of Black childhood. They can be used in the classroom as subjects to challenge stereotypical depictions by centering experiences, ideas, and concepts that are often marginalized in traditional curriculum. Within this chapter, we focus on comics and graphic novels as tools to enact students’ multiliteracies and to analyze visual stories depicting BlackBoy adolescence, using the frameworks of BlackBoy Crit Pedagogy (Bryan, 2022), an equity framework that interrogates the interdisciplinary ways that Black boy students' literacy learning can be formed through the teaching and learning of Blackness, maleness, and the schooling experiences of Black boys. We utilize this framework to analyze the use of diverse comics and graphic novels to facilitate critical conversations of bringing inclusive visual texts into the classroom. We invite practitioners to reimagine curricular ideas and content centered on empowerment and Black boy adolescence and how those ideas are presented to youth through a variety of visual narratives.