Is it possible to be spiritual without being religious? Can spirituality be separated from the complications of religious institutions"? Convert and theologian Reid Blackmer Locklin thinks not. Combining personal experience with insights from Hindu and Christian traditions, Locklin offers a highly personal guide to religious commitment in a world characterized by religious pluralism. Locklin demonstrates, through his *spirituality of institutional commitment, - that a religious institution is simply a meeting point of spiritual seekers and teachers, which is both natural and indispensable when seeking holiness. Both an invitation and response, Locklin's guide is informed by ancient sources as well as contemporary experience.Spiritual but Not Religious? offers a fresh and personally engaging view of the Christian Church as a raft - not an obstacle - on the journey to the farther spiritual shore.

Chapters are: *Introduction - Raising the Question, - *Chapter 1 - On Seekers, - *Chapter 2 - On Teachers, - *Chapter 3 - On a Shared Communion, - *Chapter 4 - On the Mystery of Others, - and *Conclusion - Filling in the Gaps. - Also includes an index.

Reid B. Locklin, PhD, teaches in the Christianity and culture program at Saint Michal's College and the University of Toronto. His research publications include ventures into comparative theology and inter religious dialogue, as well as Christian ecclesiology.

The 100 block of Vancouver's West Hastings Street is the gateway to one of the most contested and controversial inner-city neighborhoods in North America—Vancouver's infamous and impoverished downtown eastside.

Using the work of one of the art world's most celebrated visual artists—Stan Douglas—the book unravels the dynamics of history and sociology, combined with photography and art, to create a compelling and visually arresting document that informs our understanding of what makes a neighborhood.

The book is based on a monumental-sized print of 100 West Hastings by Douglas, who photographed each building and composited the individual prints to assume a fantastic, impossible perspective. The print is reproduced in the book as a removable full-color poster.