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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

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.

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

This volume is about the long-neglected, but decisive influence of Uygur patrons on "Dunhuang" art in the tenth and eleventh centuries. Through an insightful introduction to the hitherto little-known early history and art of the Uygurs, the author explains the social and political forces that shaped the taste of Uygur patrons. The cultural and political effects of Sino-Uygur political marriages are examined in the larger context of the role of high-ranking women in medieval art patronage. Careful study of the iconography, technique and style sheds new light on important paintings in the collection of the British Museum in London, and the Musee national des Arts asiatiques-Guimet, in Paris, and through comparative analysis the importance of regional art centres in medieval China and Central Asia is explored. Richly illustrated with line drawings, as well as colour and black-and-white plates.

At first glance, Samuel Beckett's writing - where scenes of violence and cruelty often provide the occasion for an unremittingly bleak comedy - would seem to offer the reader few examples of "ethical" conduct. However, following the recent "ethical turn" in critical theory, there has been growing interest in the "ethicality" of Becketta??s work. Following Alain Badiou's highly influential claim for Beckett as essentially an ethical thinker, it is time to ask: What is the relation between Beckett's work and the ethical? Is Beckett's work profoundly ethical in its implications, as both humanist and deconstructionist readings have insisted in their different ways? Or does Beckett's work in some way call into question the entire notion of the ethical? This provocative collection of essays seeks to map out this emerging debate in Beckett criticism. It will be a landmark contribution to an exciting new field, not only in Beckett Studies, but in literary studies and critical theory more broadly.