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Poetry. "In reading Casey's poems we ought to remember that poetry often arises from an exhilaration and even an intoxification with the sounds of speech."--Ted Kooser "If poetry were the singular truth of a poet, Casey's MILLRAT would be a masterpiece."--Harvard Review"
Most of Richard Dorson's thirty years as folklorist have been spent collecting tales and legends in the remote backcountry, far from the centers of population. For this book he extended his search for folk traditions to one of the most heavily industrialized sections of the United States. Can folklore be found, he wondered, in the Calumet Region of northwest Indiana? Does it exist among the steelworkers, ethnic groups, and blacks in Gary, Whiting, East Chicago, and Hammond? In his usual entertaining style, Dorson shows that a rich and varied folklore exists in the Region. Although it differs from that of rural people, it is equally vital. Much of this urban lore finds expression in conversational anecdotes and stories that deal with pressing issues: the flight from the inner city, crime in the streets, working conditions in the steel mills, the maintenance of ethnic identity, the place of blacks in a predominantly white society. The folklore reveals strongly held attitudes such as the loathing of industrial work, resistance to assimilation, and black adoption of middle-class-white values. Miliworkers and mill executives, housewives, ethnic performers, storekeepers, and preachers tell their stories about the Region. The concerns that occupy them affect city dwellers throughout the United States. Land of the Millrats, though it depicts a special place, speaks for much of America.
Before the era of gigantic shopping malls, big-box stores, and online shopping, the commercial centers of major American cities were located in areas often referred to as downtown. In blue-collar industrial cities such as Gary, Indiana, downtown was the social, cultural, and political center of the community. From the 1920s through the 1960s, people from throughout the Calumet Region flocked to the Steel City's popular stores, theaters, and restaurants by car, bus, and the South Shore Railroad. For many, Gordon's, Lytton's, Sears, and Goldblatt's bring back memories of window-shopping, making layaway plans, visiting Santa, and being asked "May I help you?" by courteous employees. Downtown Gary: Millrats, Politics, and US Steel provides a glimpse not only at the stores of yesteryear but also the politics, churches, schools, and of course, United States Steel Corporation and the millrats.
Through the prism of one turn-of-the-century factory-city, Tamara Hareven and Randolph Langenbach have captured the historic experience of millions of Americans. We hear for the first time the eloquent voices—sometimes elegiac, sometimes bitter, yet always powerful—of immigrant being turned into Americans as they worked the machines which were themselves transforming this country. The book focuses on the Amoskeag Manufacturing Company, once the largest textile factory in the world. The shells of its awesome mills still extend for two miles along the Merrimack Rover in Manchester, New Hampshire. Never before have we known so vividly what it was like to live a life in the closed world of a single gigantic industrial entity, from the first moment a child set foot in a mill carrying his father’s or mother’s lunchpail to the moment he retired or was laid off sixty years later. Amoskeag moves through layer after layer of mill life, from the elegant world of Boston-based executives to the cramped quarters of the families of messenger boys, Boston Brahmins and Scottish weaving girls, French-Canadian dirt farmers and Irish immigrants, bosses and workers, create and unforgettable vision of shared experiences and ethnic rivalries, of company loyalty and butter strikes, of back-breaking work and momentary delights in industrializing America. Over seventy photographs, ranging from classic shots by Lewis Hine to modern portraits of the interviewees, help reconstruct the reality that was Amoskeag.
America as seen through the eyes of its young founders. Seventeen-year-old Patrick O'Neall dreams of going to college one day and becoming a famous writer--until news arrives of his father's death in a place called Gettysburg. Forced off their farm, the family migrates north, hoping to find work in the booming mill towns of industrial New England. What they find in the factory town of Leeland is not a better life, but drudgery and poverty and heartache. Patrick and his family must work long hours in dangerous conditions for miserable pay. They are no better off than slaves. Patrick's friend has found a shortcut to the good life: robbing the wealthy mill owners. And he wants Patrick to join his gang. Patrick must choose. He wants to believe in America as the land of opportunity, but is the price of his dream too high? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
In 2009, theatre artist Aaron Landsman was dragged by a friend to a city council meeting in Portland, Oregon. At first he was bored, but when a citizen dumped trash in front of the council in order to show how the city needed cleaning up, he was intrigued. He began attending local government meetings across the country, interviewing council members, staffers, activists, and other citizens. Out of this investigation, Landsman and director Mallory Catlett developed a participatory theatre piece called City Council Meeting. The City We Make Together looks at how we make art with communities, how we perform power and who gets to play which roles, and how we might use creativity and rigorous inquiry to look at our structures of democracy anew.