 Many of the emotional saliencies which are attached, socially or only individually, to specific bodily features are damaging and destructive. There are many damaging imaginaries of women’s bodies, gay bodies, black bodies, or those imagined as disabled. It therefore seems imperative that such ways of thinking/feeling specific corporeal features can be subject to change. The matter becomes complex once we recognize that the affective salience which our bodies bear may not be available to reflective scrutiny, but nonetheless reveals itself in the habitual perceptual practices to which Alcoff drew our attention. To effect change we need to offer alternative pictures which make emotional (imaginative) and not only cognitive sense. This is a crucial issue for all writers who want to provide an account of corporeal identities in terms of affectively laden body images, or bodily imaginaries. We can see this process at work in the rewriting of the female body offered by Irigaray, and in the re-imagining of the black body which we find in writers such as hooks, where the skin of the man lying next to her, “soot black like my grand-daddy’s skin” can return her to “a world where we had a history … a world where … something wonderful might be a ripe tomato, found as we walked through the rows of Daddy Jerry’s garden” (hooks 1990: 33; see also Tate 2009). Feminist theorists of the body, working with the notion of the bodily imaginary, therefore see creative acts directed at alterations in our mode of perceiving bodies, as central to the process of political and social transformation. (Lennon 2015).