When her "charmingly eccentric" mother Vivian is accused of killing mousy-haired busybody Connie Grimes after they were both involved in a bit of a scuffle, Brandy Borne must find the truth, which immerses her in a scandal involving questionable antiques and dark family secrets.
The earnest warnings of an impending "solid waste crisis" that permeated the 1980s provided the impetus for the widespread adoption of municipal recycling programs. Since that time America has witnessed a remarkable rise in public participation in recycling activities, including curbside collection, drop-off centers, and commercial and office programs. Recently, however, a backlash against these programs has developed. A vocal group of "anti-recyclers" has appeared, arguing that recycling is not an economically efficient strategy for addressing waste management problems. In Why Do We Recycle? Frank Ackerman examines the arguments for and against recycling, focusing on the debate surrounding the use of economic mechanisms to determine the value of recycling. Based on previously unpublished research conducted by the Tellus Institute, a nonprofit environmental research group in Boston, Massachusetts, Ackerman presents an alternative view of the theory of market incentives, challenging the notion that setting appropriate prices and allowing unfettered competition will result in the most efficient level of recycling. Among the topics he considers are: externality issues -- unit pricing for waste disposal, effluent taxes, virgin materials subsidies, advance disposal fees the landfill crisis and disposal facility siting container deposit ("bottle bill") legislation environmental issues that fall outside of market theory calculating costs and benefits of municipal recycling programs life-cycle analysis and packaging policy -- Germany's "Green Dot" packaging system and producer responsibility the impacts of production in extractive and manufacturing industries composting and organic waste management economics of conservation, and material use and long-term sustainability Ackerman explains why purely economic approaches to recycling are incomplete and argues for a different kind of decisionmaking, one that addresses social issues, future as well as present resource needs, and non-economic values that cannot be translated into dollars and cents. Backed by empirical data and replete with specific examples, the book offers valuable guidance for municipal planners, environmental managers, and policymakers responsible for establishing and implementing recycling programs. It is also an accessible introduction to the subject for faculty, students, and concerned citizens interested in the social, economic, and ethical underpinnings of recycling efforts.
Brandy Borne finds her return home met with mayhem and murder when her mother, a larger-than-life actress and gossip, is swindled out of some priceless antiques by Clint Carson who then winds up dead, making Brandy the prime suspect in the murder investigation.
A gritty collection of graphic short stories by a Japanese manga master depicting life on the streets among punks, gangsters, and vagrants. Tadao Tsuge is one of the pioneers of alternative manga, and one of the world’s great artists of the down-and-out. Slum Wolf is a new selection of his stories from the late Sixties and Seventies, never before available in English: a vision of Japan as a world of bleary bars and rundown flophouses, vicious street fights and strange late-night visions. In assured, elegantly gritty art, Tsuge depicts a legendary, aging brawler, a slowly unraveling businessman, a group of damaged veterans uniting to form a shantytown, and an array of punks, pimps, and drunks, all struggling for freedom, meaning, or just survival. With an extensive introduction by translator and comics historian Ryan Holmberg, this collection brings together some of Tsuge’s most powerful work—raucous, lyrical, and unforgettable.
In a racy new interpretation of the traditional Japanese autobiographical novel, Amy Yamada makes her U.S. debut with a view of American urban life. Her frank portrayals of human relationships have both shocked and earned her respect in Japan, and in Trash--a mix of fantasy and authentic experience--she lives up to her reputation.
Horror meets humorous urban fantasy in third book of the White Trash Zombie series • Winner of the 2012 Best Urban Fantasy Protagonist by the RT Awards Our favorite white trash zombie, Angel Crawford, has enough problems of her own, what with dealing with her alcoholic, deadbeat dad, issues with her not-quite boyfriend, the zombie mafia, industrial espionage and evil corporations. Oh, and it’s raining, and won’t let up. But things get even crazier when a zombie movie starts filming in town, and Angel begins to suspect that it’s not just the plot of the movie that's rotten. Soon she's fighting her way through mud, blood, bullets and intrigue, even as zombies, both real and fake, prowl the streets. Angel’s been through more than her share of crap, but this time she’s in way over her head. She’ll need plenty of brainpower to fit all the pieces—and body parts—together in order to save herself, her town, and quite possibly the human race. At least for now.
Trash Fish is the story of a boy who gives himself over to his obsession with fish as an escape from the trials of growing up. Time and again, as his life unfolds to reveal his failings and foibles to those around him, he returns to the fish, which cast him a lifeline of their own. Laugh–out–loud funny yet sardonically raw to the bone, Keeler tells a whole whirlpool of a story—the women, the Peace Corps, the teaching jobs, the marriage and children, and, of course, the rod and reel. Eventually, however, his serene fishing life becomes contaminated with real–world influences: a polite society of angling purists insists that he choose between flies and bait, while his alter ego (and nemesis) begins to use fishing as an excuse to cheat on his wife. Ultimately, Keeler's fisherman must acknowledge that he can't escape down the river bend, and that in order to experience true love, he must accept the complexities within himself and within the people on land around him.