An inside look at how patients living with terminal illness created one of the country’s first medical marijuana collectives Marijuana as medicine has been a politically charged topic in this country for more than three decades. Despite overwhelming public support and growing scientific evidence of its therapeutic effects (relief of the nausea caused by chemotherapy for cancer and AIDS, control over seizures or spasticity caused by epilepsy or MS, and relief from chronic and acute pain, to name a few), the drug remains illegal under federal law. In Dying to Get High, noted sociologist Wendy Chapkis and Richard J. Webb investigate one community of seriously-ill patients fighting the federal government for the right to use physician-recommended marijuana. Based in Santa Cruz, California, the Wo/Men’s Alliance for Medical Marijuana (WAMM) is a unique patient-caregiver cooperative providing marijuana free of charge to mostly terminally ill members. For a brief period in 2004, it even operated the only legal non-governmental medical marijuana garden in the country, protected by the federal courts against the DEA. Using as their stage this fascinating profile of one remarkable organization, Chapkis and Webb tackle the broader, complex history of medical marijuana in America. Through compelling interviews with patients, public officials, law enforcement officers and physicians, Chapkis and Webb ask what distinguishes a legitimate patient from an illegitimate pothead, good drugs from bad, medicinal effects from just getting high. Dying to Get High combines abstract argument and the messier terrain of how people actually live, suffer and die, and offers a moving account of what is at stake in ongoing debates over the legalization of medical marijuana.
Action, intrigue, and magic collide in this epic fantasy following Sir Konrad Vonvalt, an Emperor's Justice, who is a detective, judge, and executioner all in one—but with rebellion and unrest building, these are dangerous times to be a Justice . . . The Empire of the Wolf simmers with unrest. Rebels, heretics, and powerful patricians all challenge the power of the Imperial throne. Only the Order of Justices stands in the way of chaos. Sir Konrad Vonvalt is the most feared Justice of all, upholding the law by way of his sharp mind, arcane powers, and skill as a swordsman. At his side stands Helena Sedanka, his talented protégé, orphaned by the wars that forged the Empire. When the pair investigates the murder of a provincial aristocrat, they unearth a conspiracy that stretches to the very top of Imperial society. As the stakes rise and become ever more personal, Vonvalt and Helena must make a choice: Will they abandon the laws they’ve sworn to uphold, in order to protect the Empire? "Richard Swan's sophisticated take on the fantasy genre will leave readers hungry for more." – Sebastien de Castell, author of Spellslinger “A fantastic debut.” – Peter McLean, author of Priest of Bones
Often we think of fairy tales as written for little children as entertainment. But fairy tales are much more and invite young and old alike to reflect on serious philosophical themes. This book offers readers opportunities to engage in philosophical dialogue over a range of important concepts such as truth, goodness, beauty, fairness, and many more. The prompts for these reflections will be fairy tales. In addition to offering guidelines for building a philosophical community with children and young people, the reader will read familiar stories with fresh eyes and encounter new ideas with surprising connections to contemporary issues and concerns. Parents will enjoy sharing a tale with their child and journeying into the big questions that fascinate children. Teens will relish the chance to revisit a favorite fairy tale but as now addressing their own questions and concerns. Finally, adults who are intrigued by philosophy can explore the power of stories, fairy tales, to bring forward serious questions of justice, identity, and meaning making. The values of doing philosophy are many: developing our critical thinking ability, learning how to question and explore alternative ideas, building good arguments for our positions, listening to those who may see the world differently than we do and learning to engage them in meaningful dialogue. The value of using fairy tales is their accessibility to a wide audience, their innate appeal to our imagination, and their magical ability to make us ponder.
The "absorbing and powerful" (Wall Street Journal) story of two pioneering suffragette doctors who shattered social expectations and transformed modern medicine during World War I. A month after war broke out in 1914, doctors Flora Murray and Louisa Garrett Anderson set out for Paris, where they opened a hospital in a luxury hotel and treated hundreds of casualties plucked from France's battlefields. Although, prior to the war and the Spanish flu, female doctors were restricted to treating women and children, Flora and Louisa's work was so successful that the British Army asked them to set up a hospital in the heart of London. Nicknamed the Suffragettes' Hospital, Endell Street soon became known for its lifesaving treatments. In No Man's Land, Wendy Moore illuminates this turbulent moment of global war and pandemic when women were, for the first time, allowed to operate on men. Their fortitude and brilliance serve as powerful reminders of what women can achieve against all odds.
When Tessa's big-city plans take the A Train to disaster, she lands in her sleepy hometown, smack in the middle of the most unlikely love triangle ever to hit Pennsylvania's Amish Country. Hot-shot Dr. Richard Bruce is bound to Green Ridge by loyalty that runs deep. Deeper still is Jonas Rishel's tie to the land and his family's Amish community. Behind the wheel of a 1979 camper van, Tessa idles at a fork in the road. Will she cruise the superhighway to the future? Or take a slow trot to the past and a mysterious society she never dreamed she'd glimpse from the inside?
"Wendy Lesser's extraordinary alertness, intelligence, and curiosity have made her one of America's most significant cultural critics," writes Stephen Greenblatt. In Why I Read, Lesser draws on a lifetime of pleasure reading and decades of editing one of the most distinguished literary magazines in the country, The Threepenny Review, to describe her love of literature. As Lesser writes in her prologue, "Reading can result in boredom or transcendence, rage or enthusiasm, depression or hilarity, empathy or contempt, depending on who you are and what the book is and how your life is shaping up at the moment you encounter it." Here the reader will discover a definition of literature that is as broad as it is broad-minded. In addition to novels and stories, Lesser explores plays, poems, and essays along with mysteries, science fiction, and memoirs. As she examines these works from such perspectives as "Character and Plot," "Novelty," "Grandeur and Intimacy," and "Authority," Why I Read sparks an overwhelming desire to put aside quotidian tasks in favor of reading. Lesser's passion for this pursuit resonates on every page, whether she is discussing the book as a physical object or a particular work's influence. "Reading literature is a way of reaching back to something bigger and older and different," she writes. "It can give you the feeling that you belong to the past as well as the present, and it can help you realize that your present will someday be someone else's past. This may be disheartening, but it can also be strangely consoling at times." A book in the spirit of E. M. Forster's Aspects of the Novel and Elizabeth Hardwick's A View of My Own, Why I Read is iconoclastic, conversational, and full of insight. It will delight those who are already avid readers as well as neophytes in search of sheer literary fun.
A New York Times Notable Book and a San Francisco Chronicle Book of the Year: A look at the pleasures and surprises of rereading. Compared with reading, the act of rereading is far more personal—it involves a complex interaction of our past selves, our present selves, and literature. With candor and humor, this “inspired intellectual romp, part memoir, part criticism” takes us on a guided tour of the author’s own return to books she once knew—from the plays of Shakespeare to twentieth-century novels by Kingsley Amis and Ian McEwan, from the childhood favorite I Capture the Castle to classic novels such as Anna Karenina and Huckleberry Finn, from nonfiction by Henry Adams to poetry by Wordsworth—as she reflects on how the passage of time and the experience of aging has affected her perceptions of them (Lawrence Weschler). A cultural critic and the acclaimed author of Why I Read, Wendy Lesser conveys an infectious love of reading and inspires us all to take another look at the books we’ve read to find the unexpected treasures they might offer. “Delightful.” —Diane Johnson, author of Le Divorce “Anyone who has ever approached a once favorite book later in life . . . will find in this memoir moments of bittersweet recognition.” —The New York Times Book Review “Reflect[s] deeply and candidly on how a reader’s life experiences alter her perceptions of literature . . . [Lesser] has truly fascinating and original things to say about a compelling assortment of writers, including George Orwell, George Eliot, D. H. Lawrence, Dostoyevsky, and Shakespeare.” —Booklist
This book by the International Game Developers Association (IGDA) Game Writing Special Interest Group focuses on various aspects of working as a professional game writer, including how to break in to game writing, writing manuals, narrative design, writing in a team, working as a freelancer, working with new intellectual property, and more. It incl