As a child, Elias Chacour lived in a small Palestinian village in Galilee. When tens of thousands of Palestinians were killed and nearly one million forced into refugee camps in 1948, Elias began a long struggle with how to respond. In Blood Brothers, he blends his riveting life story with historical research to reveal a little-known side of the Arab-Israeli conflict, exploring whether bitter enemies can ever be reconciled. This book offers hope and insight to help each of us learn to live at peace in a world of tension and terror.

James Baker Hall's blackly comic coming-of-age novel has been denied, by unfortunate circumstances surrounding its original 1964 publication, its rightful place alongside classics such as Catcher in the Rye and One Flew over the Cuckoo's Nest in the canon of essential late-twentieth-century American fiction.

Set in Lexington, Kentucky, the story unfolds through the eyes of thirteen-year-old Yates Paul. He becomes consumed with revelations about his inattentive father's loneliness, his grandmother's stormy relationship with his boisterous alcoholic uncle, and the frustration of being the best photography assistant in town when no one else knows it. In pursuing his career and falling in love with women twice his age, the precocious Yates falls back on Walter Mittyesque day-dreams to cope with a frequently humorous, sometimes dark, world.

Long respected among literary insiders, sought after but nearly impossible to obtain, this "lost" classic will finally reach the wider audience it deserves.

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis - a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.

The isolation of graphene in 2004 by two scientists at the University of Manchester-a breakthrough later recognised by the Nobel Prize for physics-revealed to the world a brand new 'wonder material' which had been 'completely hidden from science'. Graphene, the world's first two-dimensional material, promises huge opportunities for a range of sectors, from aerospace to energy to biomedical. But how can the UK be known for 'Made in Britain' as well as discovered in Britain? As an answer, this book explores how the Manchester model of innovation has evolved to not only support great science but also accelerate the adoption of graphene into real-world products and anchoring an innovation ecosystem in the place of UK discovery. This book features first-hand experience, case studies and interviews with key strategic players in the graphene story to illustrate how Manchester has built a unique model of collaboration with industry to create an ecosystem that features a supply chain of companies not only producing graphene material but also starting to disrupt the marketplace with new products and application as we approach the tipping point of commercialisation.

Composed while Wendell Berry looked out the multipaned window of his writing studio, this early sequence of poems contemplates Berry's personal life as much as it ponders the seasons he witnessed through the window.First designed and printed on a Washington handpress by Bob Barris at the Press on Scroll Road, this book includes elegant wood engravings by Wesley Bates that complement the reflective and meditative beauty of Berry's poems.

Nationally acclaimed poet, photographer, filmmaker, and novelist James Baker Hall has long been regarded as one of Kentucky's most profound artists. Hall's growing body of work is an essential part of Kentucky's literary tradition, and yet his poetry in particular transcends the borders of the Commonwealth.

The Total Light Process collects poems spanning Hall's celebrated career as well as new poems that have never before been published. The subjects of Hall's poems range from humorous and revealing portraits of his fellow writers and friends Wendell Berry, Ed McClanahan, and Gurney Norman, to the traumatic experience of his mother's suicide when he was eight years old, to the Israeli-Palestinian conflict and the tragic murder of Matthew Shepherd.

James Baker Hall, the former Kentucky Poet Laureate and a native of Kentucky, has taught creative writing at the University of Kentucky since 1973. He is the recipient of numerous awards, including a National Endowment for the Arts Fellowship in poetry and a Wallace Stegner Fellowship in creative writing at Stanford. Hall is the author of five volumes of poetry, two novels, and four collections of photography. His works include Praeder's Letters; Yates Paul, His Grand Flights, His Tootings; and Tobacco Harvest.

Many informal organisations around the world are making a positive impact on the environment and their communities by turning waste into a resource, increasing the social capacity of their community and reducing the amount of pollution in their environment. Ending Plastic Waste: Community Actions Around the World presents a collection of stories, advice and information from experts in the fields of waste management, plastic pollution and environmental finance to give a broad outlook on how 19 programs from 14 different countries are protecting our planet. By sharing these journeys, the authors hope to encourage others to take a community approach to ending plastic waste. Perfect for decision-makers working in environmental and marine fields, industry stakeholders, and citizen scientist groups, this book provides guidance on how to successfully implement a new program, what resources are needed and the lessons learned by the people behind these programs in overcoming barriers.

This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis - a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.