The INS on the Line: Making Immigration Law on the US-Mexico Border, 1917-1954 offers a comprehensive history of the INS in the southwestern borderlands, tracing the ways in which local immigration officials both made and enforced the nation's immigration laws.
Line in the Sand details the dramatic transformation of the western U.S.-Mexico border from its creation at the end of the Mexican-American War in 1848 to the emergence of the modern boundary line in the first decades of the twentieth century. In this sweeping narrative, Rachel St. John explores how this boundary changed from a mere line on a map to a clearly marked and heavily regulated divide between the United States and Mexico. Focusing on the desert border to the west of the Rio Grande, this book explains the origins of the modern border and places the line at the center of a transnational history of expanding capitalism and state power in the late nineteenth and early twentieth centuries. Moving across local, regional, and national scales, St. John shows how government officials, Native American raiders, ranchers, railroad builders, miners, investors, immigrants, and smugglers contributed to the rise of state power on the border and developed strategies to navigate the increasingly regulated landscape. Over the border's history, the U.S. and Mexican states gradually developed an expanding array of official laws, ad hoc arrangements, government agents, and physical barriers that did not close the line, but made it a flexible barrier that restricted the movement of some people, goods, and animals without impeding others. By the 1930s, their efforts had created the foundations of the modern border control apparatus. Drawing on extensive research in U.S. and Mexican archives, Line in the Sand weaves together a transnational history of how an undistinguished strip of land became the significant and symbolic space of state power and national definition that we know today.
The authors set out each of the scarcities that could limit China's power and stall its progress. Beyond scarcities of natural resources and public goods, they explore China's persistent poverties of individual freedoms, institutions, and ideological appeal--and the corrosive loss of values among a growing middle class shackled by a parochial and inflexible political system.
“A twisty, dark psychological thriller that will leave you guessing til the very end."—Teen Vogue “[A] riveting read…"—NPR The line between best friend and something more is a line always crossed in the dark. Jess Wong is Angie Redmond’s best friend. And that’s the most important thing, even if Angie can’t see how Jess truly feels. Being the girl no one quite notices is OK with Jess anyway. If nobody notices her, she’s free to watch everyone else. But when Angie begins to fall for Margot Adams, a girl from the nearby boarding school, Jess can see it coming a mile away. Suddenly her powers of observation are more a curse than a gift. As Angie drags Jess further into Margot’s circle, Jess discovers more than her friend’s growing crush. Secrets and cruelty lie just beneath the carefree surface of this world of wealth and privilege, and when they come out, Jess knows Angie won’t be able to handle the consequences. When the inevitable darkness finally descends, Angie will need her best friend. “It doesn’t even matter that she probably doesn’t understand how much she means to me. It’s purer this way. She can take whatever she wants from me, whenever she wants it, because I’m her best friend.” A Line in the Dark is a story of love, loyalty, and murder. ★ "Mesmerizing."—Kirkus, starred review.
Factory you shall never have my soul I am here And I count for so much more than you And I count so much more because of you Thanks to you Unable to find work in his field, Joseph Ponthus enlists with a temp agency and starts to pick up casual shifts in the fish processing plants and abattoirs of Brittany. Day after day he records with infinite precision the nature of work on the production line: the noise, the weariness, the dreams stolen by the repetitive nature of exhausting rituals and physical suffering. But he finds solace in a life previously lived. Shelling prawns, he dreams of Alexandre Dumas. Pushing cattle carcasses, he recalls Apollinaire. And, in the grace of the blank spaces created by his insistent return to a new line of text – mirroring his continued return to the production line – we discover the woman he loves, the happiness of a Sunday, Pok Pok the dog, the smell of the sea. In this French bestseller, translated by Stephanie Smee, Ponthus captures the mundane, the beautiful and the strange, writing with an elegance and humour that sit in poignant contrast to the blood and sweat of the factory floor. On the Line (À la ligne) is a poet’s ode to manual labour, and to the human spirit that makes it bearable. Winner of: Grand Prix RTL-Lire, Prix Régine Deforges, Prix Jean Amila-Meckert, Prix du premier roman des lecteurs des bibliothèques de la Ville de Paris, Prix Eugène Dabit du roman populiste ‘From the uniformity and repetition of the production line Joseph Ponthus finds humour, grace and humanity. A unique and deeply affecting novel.’ —Ryan O’Neill
"Steinberg's first book is a collection of about 200 ... drawinsg, with one or two words thrown in. Many of the drawings first appeared in The New Yorker; there is also a generous selection of drawings which he made while he was with the armed forces in North Africa, Italy, China and India."--Book jacket.
NAMED A TOP 10 BOOK OF 2018 BY NPR and THE WASHINGTON POST WINNER OF THE LOS ANGELES TIMES BOOK PRIZE IN CURRENT INTEREST FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE NONFICTION AWARD The instant New York Times bestseller, "A must-read for anyone who thinks 'build a wall' is the answer to anything." --Esquire For Francisco Cantú, the border is in the blood: his mother, a park ranger and daughter of a Mexican immigrant, raised him in the scrublands of the Southwest. Driven to understand the hard realities of the landscape he loves, Cantú joins the Border Patrol. He and his partners learn to track other humans under blistering sun and through frigid nights. They haul in the dead and deliver to detention those they find alive. Plagued by a growing awareness of his complicity in a dehumanizing enterprise, he abandons the Patrol for civilian life. But when an immigrant friend travels to Mexico to visit his dying mother and does not return, Cantú discovers that the border has migrated with him, and now he must know the full extent of the violence it wreaks, on both sides of the line.
This volume aims to fill two gaps in pragmatic research into English as a lingua franca (ELF): the investigation of conflict talk and the incorporation of a multimodal perspective into the analysis of ELF interactions. To this end, multimodal conversation analysis is used, combined with the perspective of politeness theory. The author shows how interactants use multimodal resources to manage competitive overlaps, disagreement, and third-party complaints in casual ELF conversations among friends. In doing so, the notion of cooperativeness is re-examined, and the appropriateness of an intercultural approach to analyzing multimodal resources in ELF interactions is demonstrated.