'I have spent almost 33 of the last 53 years in and out of prison, but mainly in. I was a juvenile offender back in the mid 1970s and went on to become an adult prisoner in the 1980s and beyond. My shortest prison sentence was 7 days (for criminal damage) and my longest sentence was life (for bank robbery and possession of firearms). I have 58 criminal convictions for everything from attempted theft to armed robbery and prison escape, and I was a career criminal for most of my life. What I do not know about criminal and prison slang could be written on the back of a postage stamp and still leave room for The Lord's Prayer ...' From ex-professional bank robber and bestselling author Noel Smith, this is the most authoritative dictionary of criminal slang out there - and an unmissable journey, through words, into the heart of the criminal world.
In this book Paolo Sachet provides a detailed account of the attempts made by the Roman Curia to exploit printing in the mid-sixteenth century, after the Reformation but before the implementation of the ecclesiastical censorship. Conventional wisdom holds that Protestant exploitation of printing was astute, active and forward-looking, whereas the papacy was inept, passive and reactionary in dealing with the relatively new medium of communication. Publishing for the Popes aims to provide an impartial assessment of this assumption. By focusing on the editorial projects undertaken by members of the Roman Curia between 1527 and 1555, Sachet examines the Catholic Church’s attitude towards printing, exploring its biases and tactics. See inside the book.
Au lendemain du cyclone mange monde qui a ravagé l'Archipel, alors que les uns et les autres, encore sous le choc, commentent la dernière calotte infligée par la nature à notre pays. Man Vertulise, une vieille négresse usée à l'art du tomber-lever, fait sans l'avoir voulu la découverte d'une source de joie intarissable. Pour les voisins, amis, camarades, compères et commères, c'est là un mystère qu'ils n'arrivent pas à élucider. Cette soudaine félicité intrigue et fait délier les langues jusqu'à ce que le bruit par Radio bois patate interposée se mette à courir... La rumeur prétend que la bonne-maman a fait trouvaille d'un trésor du temps des flibustiers. Et dès lors, de la kyrielle d'îles que compte l'Archipel, des illustres inconnus attirés comme mouches à miel par le sirop des jarres fabuleuses, viennent visiter la Mabo...
Adrian Mole's first love, Pandora, has left him; a neighbor, Mr. Lucas, appears to be seducing his mother (and what does that mean for his father?); the BBC refuses to publish his poetry; and his dog swallowed the tree off the Christmas cake. "Why" indeed.
"The book is like a dream you want to last forever" (Roberta Silman, The New York Times Book Review), now with a gorgeous new cover by the famed designer Peter Mendelsund A masterwork of W. G. Sebald, now with a gorgeous new cover by the famed designer Peter Mendelsund The Rings of Saturn—with its curious archive of photographs—records a walking tour of the eastern coast of England. A few of the things which cross the path and mind of its narrator (who both is and is not Sebald) are lonely eccentrics, Sir Thomas Browne’s skull, a matchstick model of the Temple of Jerusalem, recession-hit seaside towns, wooded hills, Joseph Conrad, Rembrandt’s "Anatomy Lesson," the natural history of the herring, the massive bombings of WWII, the dowager Empress Tzu Hsi, and the silk industry in Norwich. W.G. Sebald’s The Emigrants (New Directions, 1996) was hailed by Susan Sontag as an "astonishing masterpiece perfect while being unlike any book one has ever read." It was "one of the great books of the last few years," noted Michael Ondaatje, who now acclaims The Rings of Saturn "an even more inventive work than its predecessor, The Emigrants."
This broad-ranging text offers a comprehensive outline of how visual images, language and discourse work as `systems of representation'. Individual chapters explore: representation as a signifying practice in a rich diversity of social contexts and institutional sites; the use of photography in the construction of national identity and culture; other cultures in ethnographic museums; fantasies of the racialized `Other' in popular media, film and image; the construction of masculine identities in discourses of consumer culture and advertising; and the gendering of narratives in television soap operas.
"Profound, funny ... wild and moving ... heartbreaking accounts of a lonely black childhood.... Brown sees racial oppression in national and global context; every political word she writes pounds home a lesson about commerce, money, racism, communism, you name it ... A glowing achievement.” —Los Angeles Times Elaine Brown assumed her role as the first and only female leader of the Black Panther Party with these words: “I have all the guns and all the money. I can withstand challenge from without and from within. Am I right, Comrade?” It was August 1974. From a small Oakland-based cell, the Panthers had grown to become a revolutionary national organization, mobilizing black communities and white supporters across the country—but relentlessly targeted by the police and the FBI, and increasingly riven by violence and strife within. How Brown came to a position of power over this paramilitary, male-dominated organization, and what she did with that power, is a riveting, unsparing account of self-discovery. Brown’s story begins with growing up in an impoverished neighborhood in Philadelphia and attending a predominantly white school, where she first sensed what it meant to be black, female, and poor in America. She describes her political awakening during the bohemian years of her adolescence, and her time as a foot soldier for the Panthers, who seemed to hold the promise of redemption. And she tells of her ascent into the upper echelons of Panther leadership: her tumultuous relationship with the charismatic Huey Newton, who would become her lover and her nemesis; her experience with the male power rituals that would sow the seeds of the party's demise; and the scars that she both suffered and inflicted in that era’s paradigm-shifting clashes of sex and power. Stunning, lyrical, and acute, this is the indelible testimony of a black woman’s battle to define herself.
