Expressed in such new institutions as GATT, NAFTA, the World Trade Organizations, and Maastricht, as well as by the development schemes of the World Bank and the International Monetary Fund, economic globalization has been bulldozed through legislative bodies throughout the world, with scant public debate or discourse. These tremendous changes are hailed by their backers as leading to a new era or prosperity and peace, but is this true? Now, for the first time, we have a comprehensive point-by-point analysis of the workings of the global economy, its premises, and its dire implications told by more than forty of the world's leading social, environmental, and economic thinkers from the America's, Europe, Asia, and the Pacific. They charge that free trade and economic globalization create exactly the opposite results from what is promised. Each of the forty-three chapters in The Case Against the Global Economy takes one part of the story and delves into it, to show both the root assumptions of globalism and its multiple failures. In the end, it is clear that we need to reverse course; away from the global toward a revitalization of local political and economic control, self-sufficiency, and ecological health.

A colorful mixture of traditional English folk songs and ballads, as well as the history of many of the songs. Many English folk songs are quite familiar in America. Hundreds of them came along with the earliest settlers in the 17th century; others with the Redocoats in the 18th century; still others with the sailors and fisherman of the 19th century; and finally the doughboys and G.I.'s of two world wars have brought over the 20th century's contribution. The book includes melody line, lyrics, historical information, andguitar chords.

Eighty-six Scottish songs in three categories: traditional ballads, the Jacobite Rebellions, Songs of Robert Burns and Republican Broadsides. The songs in this collection, in some small way, tell the history of the Scottish people. Includes melody line, lyrics, guitar chords and historical content.

"Thirty years after From Rockaway ("A great first novel" --Harper's Bazaar), Jill Eisenstadt returns with a darkly funny new work of fiction that exposes a city and a family at their most vulnerable. When Sue Glassman's family needs a new home, Sue relents, after years of resisting, and agrees to convert to Judaism. In return, Sue's father-in-law, Sy, buys the family--Sue, Dan, and their two daughters--a capacious but ramshackle beachfront house in Rockaway, Queens, a world away from the Glassmans' cramped Tribeca apartment. The catch? Sy is moving in, too. And the house is haunted. On the weekend of Sue's conversion party, ninety-year-old Rose, who (literally) got away with murder on the premises years earlier, shows up uninvited. Towing a suitcase-sized pocketbook, having escaped an assisted living facility in Forest Hills, Rose seems intent on moving back in. Enter neighbor Tim--formerly Timmy (see From Rockaway), a former lifeguard, former firefighter, and reformed alcoholic--who feels, for reasons even he can't explain, inordinately protective of the Glassmans. The collective nervous breakdown occasioned by Rose's return swells to operatic heights in a novel that charms and surprises on every page as it unflinchingly addresses the perils of living in a world rife with uncertainty"--

How can Jewish values inform our work to create a just world--and help us work together for the good of all communities? "Somehow, most Jews have decided that being a 'good Jew' means adhering to rituals such as Shabbat, kashrut, and prayer. But the word halakhah, generally translated as 'Jewish law, ' literally means 'the way to walk.' Rather than a limited set of ritual laws, halakhah represents an all-encompassing way of life." --from Chapter 1 Jewish tradition compels us to protect the poorest, weakest and most vulnerable among us. But discerning how to make meaningful and effective change through social justice work--whether in community or on your own--is not always easy. This guide provides ways to envision and act on your own ideals of social justice by helping you navigate through such issues as: Creating a narrative mission statement that reflects your organization's values Balancing the needs of your community with those of other communities Weighing the pros and cons of various models of social justice work (direct service, advocacy, investment and community organizing) Expanding the impact and efficiency of your work Locating your social justice goals and methods within the context of Jewish tradition Maintaining the motivation and inspiration to continue your social justice work Each chapter includes a set of discussion questions to prompt reflection and conversation, as well as tips, tools, processes and forms for getting your social justice project off the ground.

Jiri Orten was one of the great poets of the 20th century. A Czech Jew who narrowly avoided being sent to a concentration camp, Orten was hit by a speeding German car in Nazi-occupied Prague in 1941. He was refused admission to a nearby hospital and died shortly afterwards (at the age of 22) in a "Jewish Hospital" which was basically a warehouse. "Jiri Orten is a powerful, visionary poet whose work has been beautifully translated by Lyn Coffin. These are poems we can return to again and again-for their courage, for their sustenance." - Sam Hamill "Lyn Coffin's translations do justice to a great poet. I can think of no higher praise for a translation than that." - Joseph Brodsky (about Lyn's translations of Orten's Elegies) "I can now die a happy man.... These are the poems my brother would have written if he'd written in English." - Ota Ornest, Jiri Orten's brother ... How dark it is outside! What was I going to say? Oh, yes, now I remember. Because of all those hours I slept soundly through calm nights, because of all those loved ones who are deep in dreams-- Now, when everything's running short, I can't stand being here by myself. The lamplight's too strong. I am sowing grain on the headland. I will not live long.

Autobiography of Jo Davidson

READING CREASES ON SPINE. WEAR ON TOP EDGE OF COVER. NO WRITING OR MARKS ON PAGES.

"To Write Like a Woman is a rare example of a feminist tackling science fictuion using postmodern theory, which makes for a much more sophisticated and nuanced appraisal than the usual fare." ―Passion"Russ’ essays are witty and insightful. An excellent book for any writer or reader." ―Feminist Bookstore News"In her new book of essays... Russ continues to debunk and demand, edify and entertain.... Appreciative of surface aesthetics, she continually delves deeper than most critics, yet in terms so simple and accessible that her essays read like lively, angry, humorous dialogues conducted face-to-face with the author. Russ is the antithesis of the distant critic in her ivory tower." ―Paul Di Filippo, The Washington Post Book World"... 20 years of the author’s feisty reports from the front lines of literature." ―The San Francisco Review of Books"This is a book of imaginative and provoking essays, but you should read it for the sheer fun of it." ―The Women’s Review of Books"Collects more than two decades of criticism by Joanna Russ, one of the most perceptive, forthright and eloquent feminist commentators around." ―Feminist Bookstore News"... a super book....This is a book that, for once, really will appeal to readers of all kinds." ―Utopian Studies"If you enjoy science fiction, this is definitely a book that you’ll want to talk about. I found myself sneaking a few pages at times when I really didn’t have time to read." ―Jan Catano, AtlantisClassic essays on science fiction and feminism by Nebula and Hugo award-winning Joanna Russ. Here she ranges from a consideration of the aesthetic of science fiction to a reading of the lesbian identity of Willa Cather. To Write Like a Woman includes essays on horror stories and the supernatural, feminist utopias, popular literature for women (the "modern gothic"), and the feminist education of graduate students in English.

Once upon a time, a young girl ventured into a dark forest, looking for a cure for her much-loved elder sister ... A touching, tender and lyrical fable about what we do for the ones we love, and the beauty and mystery of being alive in a world in which we are part of everything, and everything is part of us. As a terrible pandemic rages through the country, a young girl, Teo, leaves her small village and sets off into the forest, in search of a cure for her sister who is infected with the pox. Her father Merdocai has surrendered himself to the evil Marquis to be experimented upon for the Greater Good; and with her mother long-dead, all Teo has to keep her going is the love of her sister, her father and her friend Rodrigo, a stuttering poet. As Teo ventures deeper into the forest, she encounters creatures and teachers who hold the answers to all the questions she has about who she is, and where she has come from. Meanwhile, out in the depths of the ocean, a whale is returning to the place he was born, to exhale his last breath. While Teo does not know this, he too holds secrets that belong to Teo's story. The Whale's Last Song is a tender, sweet and wise fable, on what we are prepared to do for those we love; a celebration of the beauty and mystery of being alive in a world in which we are part of everything, and everything is part of us; and a love song to the natural world. It is The Alchemist meets The Princess Bride meets The Little Prince. It is a little gem. 'A bright ode to all that is good and beautiful in the world. The Whale's Last Song is a timeless tale, an allegory of the heart.' Maggie Hamilton 'Fresh, exquisite, a creative tour de force ... Both challenging and reassuring, the story weaves a sense of belonging through the fallibility of being human and the mysteries of being alive.' Suzie Miller, Prima Facie

First published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.

Strange is not a word he should use (it’s not quite politically correct), but sometimes Joel Yanofsky can think of no other way to describe life with his son, Jonah—life with autism. Jonah is “on the spectrum” of Autism Spectrum Disorders (ASD), but knowing the correct terminology makes it no easier for Yanofsky to understand his ten-year-old son’s complicated relationship with the world. While his wife, Cynthia, an art therapist, assumed the burden of researching ASD and investigating effective treatments for Jonah, Yanofsky tried other approaches. In this funny and moving account of a year in their life together, he chronicles his struggle to enter his son’s world using the materials he knows best: self-help books, feel-good memoirs, and literary classics ranging from the Old Testament to Dr. Seuss, as well as knock-knock jokes, riddles, and puns—all the wacky routines Yanofsky calls schtick. Told with candour, insight, and compassion, Bad Animals is not only about autism; it’s about the things that make life worth living.

The Land that Touches Mine is the sixth novel by John Sanford, author of The Old Man's Place and Make My Bed in Hell. It is a gritty, hard-boiled tale about an army deserter, who hooks up with a carhop during World War Two, amid the brutal 100-degree heat of the California desert summer. Not only is the man on the run from the army; he's on the run from his own past. The novel, crackling with tough dialog, speeds toward a climactic choice: will he let the woman help him across the border to freedom in Mexico before his luck runs out? First published in 1953 by Doubleday (U.S.) and Jonathan Cape (U.K.), The Land that Touches Mine is arguably the finest of Sanford's eight published novels. The New York Times lauded the book's "muscular and economic prose," stating that "John Sanford makes a powerful bid for top billing in current fiction [with this] poetic, tragically intense tale," and concluded, "It is an absorbing narrative by a writer of great distinction and ability, guaranteed to hold the interest of every reader interested in the individual isolations and distortions of our modern world." In England, the New Statesman compared Sanford's use of language to William Faulkner's Soldier's Pay and Malcolm Lowry's Under the Volcano, highlighting "the italicized flashbacks that Mr. Sanford uses with such skill." And the Manchester Guardian wrote that "the combination of the tough and the tender in the texture of the book is curiously real and satisfying."

Title: A Geographical and Historical View of the World: exhibiting a complete delineation of the natural and artificial features of each country, etc.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The GENERAL HISTORICAL collection includes books from the British Library digitised by Microsoft. This varied collection includes material that gives readers a 19th century view of the world. Topics include health, education, economics, agriculture, environment, technology, culture, politics, labour and industry, mining, penal policy, and social order. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification:++++ British Library Bigland, John; Morse, Jedidiah; 1811. 5 vol. ; 8º. 10006.dd.13.

This study of dramatic theory and technique was first published in 1936, in the midst of the social and theatrical upheaval that Harold Clurman calls The Fervent Years. Today, the arts display less fervor, and far less interest in social significance. The transition in dramatic thought from Waiting for Lefty to Waiting for Godot is almost as sweeping as the changes that have taken place among the world's peoples and powers. There are those who regard the culture of the thirties as dead and best forgotten. The question need not be debated here except insofar as this book offers testimony to the contrary. My beliefs have not Changed, nor has my fervor abated. I can hope that my understanding has ripened. But I see no need to modify or revise the theory of dramatic art on which this work is based. The theory holds that the dramatic process follows certain general laws, derived from the function of drama and its historical evolution. A play is a mimed fable, an acted and spoken story. The tale is presented because it has meaning to its creator. It embodies a vision, poses an ethical or emotional problem, praises heroes or laughs at fools. The playwright may not be conscious of any purpose beyond the telling of a tale. He may be more interested in box-oflice receipts than in social values. Nonetheless, the events taking place on the stage embody a point of View, a judgment of human relationships. Conceptual understanding is the key to mastery of dramatic technique. The structure of a play, the design of each scene and the movement of the action to its climax, are the means by which the concept is communicated.