Steal This University explores the paradox of academic labor. Universities do not exist to generate a profit from capital investment, yet contemporary universities are increasingly using corporations as their model for internal organization. While the media, politicians, business leaders and the general public all seem to share a remarkable consensus that higher education is indispensable to the future of nations and individuals alike, within academia bitter conflicts brew over the shape of tomorrow's universities. Contributors to the volume range from the star academic to the disgruntled adjunct and each bring a unique perspective to the discussion on the academy's over-reliance on adjuncts and teaching assistants, the debate over tenure and to the valiant efforts to organize unions and win rights.

Welcome to academia in the 21st century, where 60% of tenured professors have been supplanted by underpaid graduate students or part-time adjuncts. The professoriate is no longer a "community of scholars" that governs itself, but a group of employees whose work is reviewed by administrators who cut deals to put cheaply packaged courses on-line for worldwide consumption. Where have the ivy-covered walls, tweedy professors, and genteel university presidents gone? Replaced, say the authors of this provocative work, by markets, profits, and computers.

Steal This University documents the rise of the corporate university over the past twenty years as well as the academic labor movement that has developed in response. Universities are increasingly looking to corporations as their model for reform, investing in merit-pay packages, partnerships with hi-tech companies, and anything that will reap profits from their creations. With controversial, personal stories of workplace exploitation, tenure battles, and union organizing, the book shows the challenges of working within this new system and explains the countermovement working to restore independence to university teachers. From New York University's outrageous union-busting techniques to the rise of for-profit schools like the University of Phoenix, Steal This University is both an indictment of current trends and a blueprint for combating them.

The centenary of Patrick Kavanagh's birth in 2004 provides the ideal opportunity to reappraise one of modern Ireland's greatest poets. From a harsh, humble background that he himself described so brilliantly, Kavanagh burst through immense constraints to redefine Irish poetry - a poetry appropriate for a fully independent country, both politically and culturally. Moving beyond Irish verse's preoccupation with history, national politics and identity, he turned to the land and scenery of his native Inniskeen, portraying the closely-observed minutiae of everyday rural and urban life in an uninhibited, groundbreaking style. Lucid, various, direct and engaging, Kavanagh's poems have a unique place in the canon and a unique accessibility. This major new edition is the culmination of many years of work by Antoinette Quinn in creating authoritative texts for Kavanagh's poetry - from his early works such as 'Inniskeen Road: July Evening' to his masterpiece, the epic 'The Great Hunger', allowing us to see the development of Kavanagh's genius as never before.

One of the major figures in the modern Irish poetic canon, Patrick Kavanagh (1904-67) released Anglo-Irish verse from its prolonged obsession with history, ethnicity and national politics. Instead his poetry, written in an uninhibited vernacular style, focuses on closely observed images of rural life, where 'ordinary things wear lovely wings'. This selection ranges from Kavanagh's early poems such as 'Tinker's Wife' and 'Inniskeen Road: July Evening', to his tragic masterpiece 'The Great Hunger' and his celebratory later verse 'To Hell with Common Sense' and 'Come Dance with Kitty Stobling'. The first comprehensive selection of Kavanagh's poetry to be published, this volumes offers a timely reassessment of a poet unfairly neglected outside Ireland.

'I have lived in important places, times When great events were decided . . .' By turns comical, grouchy and exalted, and including his tragic masterpiece 'The Great Hunger', some of the key poems by the writer who transformed Anglo-Irish verse. Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

A man's mother can be a terrible burden sometimes. For Tarry Flynn - poet, farmer and lover-from-afar of beautiful young virgins - the responsibility of family, farm, poetic inspiration and his own unyielding lust is a heavy one. The only solution is to rise above all - or escape over the nearest horizon.

Like The Green Fool, his autobiography, Patrick Kavanagh's Tarry Flynn is an idyllic and beautifully evocative account of life as it was lived in Ireland earlier this century.

Time hardly mattered in the village of Mucker, the birthplace of poet and writer Patrick Kavanagh. Full of wry humour, Kavanagh’s unsentimental and evocative account of his Irish rural upbringing describes a patriarchal society surviving on the edge of poverty, sustained by the land and an insatiable love of gossip. There are tales of schoolboy skirmishes, blackberrying and night-time salmon-poaching; of country-weddings and fairs, of political banditry and religious pilgrimages; and of farm-work in the fields and kicking mares.

Kavanagh’s experiences inspired him to write poetry which immortalized a fast-disappearing way of life and brought him recognition as one of Ireland’s great poets.

Patrick Kavanagh's imagery is drawn from the life of the Irish country poor, which he shared at first hand, and an inner landscape of pain and self-knowledge. His is a unique voice in modern lyrical poetry—ferociously independent, by turns ironic, colloquial, lyrical.