This concluding chapter underscores the book’s central claim: the city is an imagined coherence, produced our collective imagination, which operates as a social practice. Drawing on Orhan Pamuk and Italo Calvino, the book uses other cities from different temporal and spatial orders as a critical lens to explore the psycho-social realities of urban Dhaka. The chapter summarises the main premise of the book, which foregrounds everyday imagination as an integral part of our perception of the urban world rather than something extraneous to it. Accordingly, it examines two forms of popular imagination: popular images and the imaginary. Using AppaduraiAppadurai’s (1996) view of imaginationimagination as a social practice, and de Certeau’s (1984) insights into the power and politics of daily spatial practices, it challenges the hegemony of the inherited Western epistemological tradition and its tendency to conflate the rational with the modern. The other cities, on the other hand, show a contrary yet persistent drift towards the magical, a re-enchantment of sorts, not as a regression but as a linchpin making urban experience meaningful. The book, therefore, unapologetically reclaims the imaginary worldimaginary world, and its oneiric logic as legitimate ways to perceive and engage with the city. This creative and constructive realm of everyday imagination is what remains dhaka, beneath the Dhaka being written about, the book argues. The hidden Dhakas are important not only in themselves but for their ability to alter our vision, values and understanding of the world—especially those aspects we overlook because they exist outside our conventional “knowledge” of the “urban.”