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My life in farming was a hard toil, it was made worse by the tormenting and strange characters that came my way. My gas-tight farmer colleagues were decades behind the times and the awkward and peculiar people who I worked with belonged in a bygone era.I fell into a unique niche, a crack in time where these characters still existed, the old farming world was struggling to work in parallel with modern times. The townspeople were too far removed from the old simple ways to appreciate country ways, and it caused problems. They plagued me whilst I worked, they got in the way and caused a load of confusion. They would ask stupid questions and had no common sense. The old farm scene made me hard-faced and then it dwindled away, leaving me floundering between two worlds. I was cheated by fate. I then went to work in the town for a while, this made me realize how my old life had made me different. Farmers are different from the masses. I have written about the differences and trouble it causes. The farmer types I write about in this book are the hard life types who were born into it. I do not write about gentleman or landlord farmers, or the romantics who draw attention to how lovely their farm is. I write about the ones in overalls and ragged overcoats who dressed for necessity and who were dirty from work, they would have a pained look on their face. The farmer can be difficult to approach, making him or her appear cold, or even ignorant. They can come across as dismissive and suspicious, even hateful, and ruthlessly blunt to the point of being belittling. I have been on the receiving end of it and, later in life, I would be the one dishing it out. I now understand the reasons why and it's these reasons I hope to explain.
The behind-the-scenes story of the making of the iconic movie Network, which transformed the way we think about television and the way television thinks about us "I'm mad as hell, and I'm not going to take this anymore!" Those words, spoken by an unhinged anchorman named Howard Beale, "the mad prophet of the airwaves," took America by storm in 1976, when Network became a sensation. With a superb cast (including Faye Dunaway, William Holden, Peter Finch, and Robert Duvall) directed by Sidney Lumet, the film won four Academy Awards and indelibly shaped how we think about corporate and media power. In Mad As Hell, Dave Itzkoff of The New York Times recounts the surprising and dramatic story of how Network made it to the screen. Such a movie rarely gets made any more—one man's vision of the world, independent of studio testing or market research. And that man was Paddy Chayefsky, the tough, driven, Oscar-winning screenwriter whose vision—outlandish for its time—is all too real today. Itzkoff uses interviews with the cast and crew, as well as Chayefsky's notes, letters, and drafts to re-create the action in front of and behind the camera at a time of swirling cultural turmoil. The result is a riveting account that enriches our appreciation of this prophetic and still-startling film. Itzkoff also speaks with today's leading broadcasters and filmmakers to assess Network's lasting impact on television and popular culture. They testify to the enduring genius of Paddy Chayefsky, who foresaw the future and whose life offers an unforgettable lesson about the true cost of self-expression.
This is the hilarious and sometimes poignant account of the life, training, and travels 'round the world on luxury liners of a British Hairstylist in Post-WWII England. An entertaining and enlightening saga.
This is an unvarnished look at the trucking world as seen through the eyes of one who experienced it. It especially applies to the area of trucking known as “Long-Haul”, for that is what the author was for a long time. This is not a “pretty” book, nor is it “politically correct”, as it speaks of the raw realities that are, and not those things we wish them to be. The drivers face these head-on, alone, and if they didn’t, you would have to. Upon reading this, you should have a much better understanding of why there are trucker’s resistance movements in both Canada and the United States. As one driver phrased it when hearing that this was in the works, “Please hurry. We are dying out here.” However, it does have large doses of the humor that he needs, to survive in this strange world where few others can.
A time-travel story that is both a poignant exploration of human identity and an absorbing tale of suspense. It’s natural to feel a little out of place when you’re the new girl, but when Charlotte Makepeace wakes up after her first night at boarding school, she’s baffled: everyone thinks she’s a girl called Clare Mobley, and even more shockingly, it seems she has traveled forty years back in time to 1918. In the months to follow, Charlotte wakes alternately in her own time and in Clare’s. And instead of having only one new set of rules to learn, she also has to contend with the unprecedented strangeness of being an entirely new person in an era she knows nothing about. Her teachers think she’s slow, the other girls find her odd, and, as she spends more and more time in 1918, Charlotte starts to wonder if she remembers how to be Charlotte at all. If she doesn’t figure out some way to get back to the world she knows before the end of the term, she might never have another chance.
It is a common—and fundamental—misconception that Paul told people how to live. Apart from forbidding certain abusive practices, he never gives any precise instructions for living. It would have violated his two main social principles: human freedom and dignity, and the need for people to love one another. Paul was a Hellenistic Jew, originally named Saul, from the tribe of Benjamin, who made a living from tent making or leatherworking. He called himself the “Apostle to the Gentiles” and was the most important of the early Christian evangelists. Paul is not easy to understand. The Greeks and Romans themselves probably misunderstood him or skimmed the surface of his arguments when he used terms such as “law” (referring to the complex system of Jewish religious law in which he himself was trained). But they did share a language—Greek—and a cosmopolitan urban culture, that of the Roman Empire. Paul considered evangelizing the Greeks and Romans to be his special mission. “For you were called to freedom, brothers and sisters; only do not use your freedom as an opportunity for self-indulgence, but through love become slaves to one another. For the whole law is summed up in a single commandment, ‘You shall love your neighbor as yourself.’” The idea of love as the only rule was current among Jewish thinkers of his time, but the idea of freedom being available to anyone was revolutionary. Paul, regarded by Christians as the greatest interpreter of Jesus’ mission, was the first person to explain how Christ’s life and death fit into the larger scheme of salvation, from the creation of Adam to the end of time. Preaching spiritual equality and God’s infinite love, he crusaded for the Jewish Messiah to be accepted as the friend and deliverer of all humankind. In Paul Among the People, Sarah Ruden explores the meanings of his words and shows how they might have affected readers in his own time and culture. She describes as well how his writings represented the new church as an alternative to old ways of thinking, feeling, and living. Ruden translates passages from ancient Greek and Roman literature, from Aristophanes to Seneca, setting them beside famous and controversial passages of Paul and their key modern interpretations. She writes about Augustine; about George Bernard Shaw’s misguided notion of Paul as “the eternal enemy of Women”; and about the misuse of Paul in the English Puritan Richard Baxter’s strictures against “flesh-pleasing.” Ruden makes clear that Paul’s ethics, in contrast to later distortions, were humane, open, and responsible. Paul Among the People is a remarkable work of scholarship, synthesis, and understanding; a revelation of the founder of Christianity.
This comprehensive guide is an ideal reference work for film specialists and enthusiasts. First published in 1984 but continuously updated ever since, CineGraph is the most authoritative and comprehensive encyclopedia on German-speaking cinema in the German language. This condensed and substantially revised English-language edition makes this important resource available to students and researchers for the first time outside its German context. It offers a representative historical overview through bio-filmographical entries on the main protagonists, from the beginnings to the present day. Included are directors and actors, writers and cameramen, composers and production designers, film theorists and critics, producers and distributors, inventors and manufacturers. An appendix includes short introductory essays on specific periods and movements, such as Early Film, Weimar, Nazi Cinema, DEFA, New German Cinema, and German film since unification, as well as on cinematic developments in Austria and Switzerland. Sections that crossreference names around specific professional groups and themes will prove equally invaluable to researchers.
Winning came naturally for Al Unser, Jr. He had a gift for finding the fast line on the track and he possessed a boisterous and lovable personality. Fans and the press adored him. Behind this affable persona, an appetite for drugs and alcohol was destroying his private life. Unser's battle to climb out of that cave is one of the great stories in motorsports. A Checkered Past is an unblinking story of triumph, tragedy, and the road to recovery.
We’ve all heard that the American Dream is vanishing, and that the cause is rising income inequality. The rich are getting richer by rigging the system in their favor, leaving the rest of us to struggle just to keep our heads above water. To save the American Dream, we’re told that we need to fight inequality through tax hikes, wealth redistribution schemes, and a far higher minimum wage. But what if that narrative is wrong? What if the real threat to the American Dream isn’t rising income inequality—but an all-out war on success? In Equal is Unfair, a timely and thought-provoking work, Don Watkins and Yaron Brook reveal that almost everything we’ve been taught about inequality is wrong. You’ll discover: • why successful CEOs make so much money—and deserve to • how the minimum wage hurts the very people it claims to help • why middle-class stagnation is a myth • how the little-known history of Sweden reveals the dangers of forced equality • the disturbing philosophy behind Obama’s economic agenda. The critics of inequality are right about one thing: the American Dream is under attack. But instead of fighting to make America a place where anyone can achieve success, they are fighting to tear down those who already have. The real key to making America a freer, fairer, more prosperous nation is to protect and celebrate the pursuit of success—not pull down the high fliers in the name of equality.
The New York Times bestseller and basis for the Tony-winning hit musical, soon to be a major motion picture starring Cynthia Erivo and Ariana Grande With millions of copies in print around the world, Gregory Maguire’s Wicked is established not only as a commentary on our time but as a novel to revisit for years to come. Wicked relishes the inspired inventions of L. Frank Baum’s 1900 novel, The Wonderful Wizard of Oz, while playing sleight of hand with our collective memories of the 1939 MGM film starring Margaret Hamilton (and Judy Garland). In this fast-paced, fantastically real, and supremely entertaining novel, Maguire has populated the largely unknown world of Oz with the power of his own imagination. Years before Dorothy and her dog crash-land, another little girl makes her presence known in Oz. This girl, Elphaba, is born with emerald-green skin—no easy burden in a land as mean and poor as Oz, where superstition and magic are not strong enough to explain or overcome the natural disasters of flood and famine. Still, Elphaba is smart, and by the time she enters Shiz University, she becomes a member of a charmed circle of Oz’s most promising young citizens. But Elphaba’s Oz is no utopia. The Wizard’s secret police are everywhere. Animals—those creatures with voices, souls, and minds—are threatened with exile. Young Elphaba, green and wild and misunderstood, is determined to protect the Animals—even if it means combating the mysterious Wizard, even if it means risking her single chance at romance. Ever wiser in guilt and sorrow, she can find herself grateful when the world declares her a witch. And she can even make herself glad for that young girl from Kansas. Recognized as an iconoclastic tour de force on its initial publication, the novel has inspired the blockbuster musical of the same name—one of the longest-running plays in Broadway history. Popular, indeed. But while the novel’s distant cousins hail from the traditions of magical realism, mythopoeic fantasy, and sprawling nineteenth-century sagas of moral urgency, Maguire’s Wicked is as unique as its green-skinned witch.