Diego Luna directs this biographical drama based on the life and achievements of Mexican American civil rights activist and labour movement leader Cesar Chavez. The film shows how Chavez (Michael Peña) went from being just another Latino American farm worker to a passionate and respected spokesperson whose embrace of non-violent means of protest led to the securing of a living wage for workers like himself.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This is a coming of age story about a young man, Carson Longworth, who will come to discover he knows virtually nothing about what's happening in the world around him. In high school his life consists of music, dance, dating, and good times. Set in the 1960's early 1970's when the Vietnam War is beginning to heat up, Carson has not given a good deal of thought to anything beyond the here and now and much less to what is happening around him. Having grown up "under a lucky star," he just assumes that he merely needs to exist and good things will happen to him. Carson wrestles with his personal demons and the general inanity of the world. When he leaves high school and attempts to tackle the world at large, though, he finds the relative freedom outside the cocoon somewhat more than he can handle. Carson's "relative world of plenty" and his historical insulation from the "real world" contributes to the perception that he is aloof. In reality, he just doesn't know how to relate to people. He has no childhood memories of any close friendships, as he found himself in a new place every few years. As such, his outlook on life has been shaped somewhat differently from his peers. This holds particularly true for his relationships with women. He simply had little idea how to relate to women in any meaningful manner until he met Kathy Wilkerson. After high school, Carson spent two academically forgettable, but socially memorable, years in college. He was eventually drafted by the Army, but joined the Marine Corps, because he 'wanted to be a man', an experience that shaped him indelibly. His experiences in the Vietnam War helped create his antagonistic outlook. He could not come to terms with the intent of the war nor the manner in which it was being conducted. He found himself on the outside looking in. He became, contrary to most who join the Marine Corps, a liberal thinker and a skeptic who became increasingly frustrated with the inconsistencies that he observed in the conduc

New risky fiction — with no names attached. If authors could write their sex scenes anonymously, would they be less reticent? Would they include the stuff they didn’t want their mom, or the newspapers, to read? Here are twenty-four original short pieces of fiction on the theme of sex, by twenty-four prominent authors living in Canada. Heather O’Neill, Lisa Moore, Michael Winter, Zoe Whittall, Pasha Malla, Francesca Ekwuyasi, Drew Hayden Taylor, Tamara Faith Berger, and Susan Swan are among these. But we won’t tell you who wrote what. The pieces are uncensored, unpredictable; they veer from graphic to subtle to surreal. There is straight sex and gay sex. There is frustrated sex. There is sex that happens entirely through text messages. Secret Sex is a book of erotic imaginings by some of Canada’s most sophisticated and respected writers, working in total freedom, secretly. Featuring Angie Abdou, Jean-Marc Ah-Sen, Tamara Faith Berger, Jowita Bydlowska, Xaiver Campbell, K.S. Covert, francesca ekwuyasi, Anna Fitzpatrick, Drew Hayden Taylor, Victoria Hetherington, Marni Jackson, Andrew Kaufman, Michael LaPointe, Pasha Malla, Sophie McCreesh, Lisa Moore, Heather O’Neill, Lee Suksi, Susan Swan, Heidi von Palleske, Aley Waterman, Zoe Whittall, David Whitton, Michael Winter A RARE MACHINES BOOK

In the year 15540 the earth is quite different. The few humans that survived "Pollution man's" poisoning of the earth have evolved into specialized creatures but now only living off what nature offers. But through all the changes the earth and its creatures have seen, does divine intervention still exist? As Singer starts her extraordinary journey she shows us that indeed that was the one thing that never changed.

Rediscover the pleasure you got from childhood drawing, before you became too self-conscious and self-critical to enjoy it. Most children draw. Before we can write, even, we scribble and sketch and create. But somehow that gets lost as we get older. We learn that Being An Artist is hard and complicated, and that there are technical rules to choosing colour and perfecting your perspective. This book is here to remind you of the joy you once found in creating, scribbling, getting something down on paper - and that it's really about the process and nothing to do with how technically brilliant the finished 'artwork' is. In this accessible guide, largely self-taught artist Jen Russell-Smith takes beginners by the hand and breaks down the barriers we face around sketching, and shows you how to begin with quick, loose sketches building your confidence and skills to draw spontaneously, with nothing more than the things around you for inspiration. With simple exercises that anyone can follow, Jen shows you how to sketch the things and the places around you from life, using simple watercolour techniques to add vibrancy to your work.

This book, first published in 1965, describes the British penal system as it existed in the 1960s. It describes how the system defined, accounted for, and disposed of offenders. As an early work in criminology, it focuses on differences between, and changes in, the views held by legislators, lawyers, philosophers, and the man in the street on the topic of crime and punishment. Walker is interested in the extent to which their views reflect the facts established and the theories propounded by psychologists, anthropologists, and sociologists. The confusion between criminologists and penal reformers was initially encouraged by criminologists themselves, many of whom were penal reformers. Strictly speaking, penal reform, according to Walker, was a spare-time occupation for criminologists, just as canvassing for votes is an ancillary task for political scientists. The difference is that the criminologist's spare-time occupation is more likely to take a ""moral"" form, and when it does so it is more likely to interfere with what should be purely criminological thoughts. The machinery of justice involves the interaction of human beings in their roles of victim, offender, policeman, judge, supervisor, or custodian, and there must be a place for human sympathy in the understanding, and still more in the treatment, of individual offenders. This book is concerned with the efficiency of the system as a means to these ends. One of the main reasons why penal institutions have continued to develop more slowly than other social services is that they are a constant battlefield between emotions and prejudices. This is a great empirical study; against which the policy-maker and criminologist can measure progress or regression in British criminals and punishments.

Crime and Custom in Savage Society represents Bronislaw Malinowski's major discussion of the relationship between law and society. Throughout his career he constructed a coherent science of anthropology, one modeled on the highest standards of practice and theory. Methodology steps forward as a core element of the refashioned anthropology, one that stipulates the manner in which anthropological data should be acquired. Malinowski's choice of law was not inevitable, but neither was it unmotivated. Anyone interested in understanding the social structure and organization of societies cannot avoid dealing with the concept of "law," even if it is to deny its presence. Law and anthropology have shown a natural affinity for one another, sharing a beneficial history of using the methods and viewpoints of one to inform and advance the other. The best lesson Malinowski provides us with comes in the last paragraphs of Crime and Custom in Savage Society: "The true problem is not to study how human life submits to rules; the real problem is how the rules become adapted to life." On that question, he has left us richly inspired to continue the quest.