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Critical Condition includes Carla Kirkwood's autobiographical performance monologue about a girl, sexually abused by the men in her family, who becomes a feminist activist in the '70's, and an artist in the '90's. In impassioned poetry, Wanda Coleman takes a look at the embattled lives of African-Americans, particularly in Los Angeles. Sapphire's searing poems about race and self-realization exposé the fallacy of the nuclear family and the vicious cycle of domestic violence. The Theory Girls' performance script, 'If You Were like the Heroine in a Country and Western song, ' is both detailed expose and black comedy framing the relationship between Aileen Wuornos and Arlene Pralle (the born-again Christian who became enamored of Wuornos after her conviction) within the context to Hollywood's fascination for women with guns.
A strung-out waif-cum-ace auto mechanic, Munch Mancini is trying to get clean and get her act together. But temptation and problems keep pushing her closer to the edge. Like the murder of her abusive father, "Flower George." The cops have her pegged for the crime, and now she's got to stay out of sight of a certain cop named Mace St. John. At first it's easy because Mace isn't looking that hard. But when his prime suspect becomes linked to the gruesome murders of several not-so-innocent women, the wearily homicide detective goes into overdrive. If Mace wants to solve these murders, he'll have to find Munch. And if Munch wants a new life, she's got to find a way to cut a deal. But as they will both discover, there's a precarious line between trust and betrayal-- and the temptation to cross it may be too strong to resist.
Booklist Top of the List Reference Source The heir and successor to Eric Partridge's brilliant magnum opus, The Dictionary of Slang and Unconventional English, this two-volume New Partridge Dictionary of Slang and Unconventional English is the definitive record of post WWII slang. Containing over 60,000 entries, this new edition of the authoritative work on slang details the slang and unconventional English of the English-speaking world since 1945, and through the first decade of the new millennium, with the same thorough, intense, and lively scholarship that characterized Partridge's own work. Unique, exciting and, at times, hilariously shocking, key features include: unprecedented coverage of World English, with equal prominence given to American and British English slang, and entries included from Australia, New Zealand, Canada, India, South Africa, Ireland, and the Caribbean emphasis on post-World War II slang and unconventional English published sources given for each entry, often including an early or significant example of the term’s use in print. hundreds of thousands of citations from popular literature, newspapers, magazines, movies, and songs illustrating usage of the headwords dating information for each headword in the tradition of Partridge, commentary on the term’s origins and meaning New to this edition: A new preface noting slang trends of the last five years Over 1,000 new entries from the US, UK and Australia New terms from the language of social networking Many entries now revised to include new dating, new citations from written sources and new glosses The New Partridge Dictionary of Slang and Unconventional English is a spectacular resource infused with humour and learning – it’s rude, it’s delightful, and it’s a prize for anyone with a love of language.
Rev. ed of: Dictionary of slang and unconventional English / by E. Partridge. 8th ed.1984.
Winner of the 2015 Book Prize for the Promotion of Social and Personality Science (Society for Personality and Social Psychology) Why are we sometimes blind to the minds of others, treating them like objects or animals instead? Why do we talk to our cars, or the stars, as if there is a mind that can hear us? Why do we so routinely believe that others think, feel, and want what we do when, in fact, they do not? And why do we think we understand our spouses, family, and friends so much better than we actually do? In this illuminating book, leading social psychologist Nicholas Epley introduces us to what scientists have learned about our ability to understand the most complicated puzzle on the planet—other people—and the surprising mistakes we so routinely make. Mindwise will not turn others into open books, but it will give you the wisdom to revolutionize how you think about them—and yourself.
In "No Humans Involved: An Open Letter to My Colleagues," Jamaican writer and theorist Sylvia Wynter critiques the social and human sciences for perpetuating social hierarchies, particularly through the Western humanist framing of "Man" as the universal representation of humanity. Human development theories revolve around this concept, necessitating acquiescence to the category Man to claim humanity. But Blackness complicates and unsettles these terms in ways the fields of higher education and educational research are in many ways just beginning to confront. On Blackness, Liveliness, and What It Means to Be Human extends Wynter's critique to human development and academic knowledge production, arguing that Black specificity can create new possibilities for Black being. Wilson Kwamogi Okello closely examines holistic development theory, aiming not to reform but to reimagine the "self" it presupposes. Taking what he describes as a multimodal and multisensory approach, Okello engages a chorus of writers, thinkers, and cultural workers—Baldwin, Bambara, Brand, Hartman, Lorde, Sharpe, Spillers, Wilderson, and more—to reframe Blackness as a social, political, and historical matrix, going beyond the study of Black experiences, biology, or culture. Punctuated throughout by stunning images from artist Mikael Owunna's "Infinite Essence" series, the book proposes and enacts a methodological attunement to Blackness that can guide theory, policy, and practice toward an alternative praxis for the benefit of Black living.
The essays in Killing Women: The Visual Culture of Gender and Violence find important connections in the ways that women are portrayed in relation to violence, whether they are murder victims or killers. The book’s extensive cultural contexts acknowledge and engage with contemporary theories and practices of identity politics and debates about the ethics and politics of representation itself. Does representation produce or reproduce the conditions of violence? Is representation itself a form of violence? This book adds significant new dimensions to the characterization of gender and violence by discussing nationalism and war, feminist media, and the depiction of violence throughout society.
In a poor West Virginia town decimated by the opioid epidemic, teenagers Henry and Jane have it worse than most. Their father is Hollis Lusher, a convicted serial killer known as “the Blind Spot Slasher.” Despite being bullied and ostracized, the siblings maintain their father’s innocence. But now, a popular true-crime podcast is coming to town, and their presence turns all eyes to the Blind Spot Slasher’s case . . . and Henry and Jane. Meanwhile, an eager young officer, Lieutenant Elena Garcia, is put on the case of a missing girl. Despite warnings from her superiors, Garcia begins to dig deeper into the case and realizes there may be other mysteries buried in the flood of opioid-related crimes. With many deaths quickly labeled as overdoses, or “No Human Involved,” she fears the drug epidemic has created the perfect storm for a Blind Spot Slasher copycat to thrive. Unless that is, they never caught the real Blind Spot Slasher. An amateur private investigator is also on the case: Henry’s new friend, Otis. A home-schooled genius with his own family issues and a suspicion their father might be innocent, Otis makes it his mission to help Henry and Jane find the real killer. As the three probe into the evidence, they discover a possible connection between the killings and a doomsday, snake-handling cult—propelling them all down the dark backroads of Appalachia to find justice for Hollis and themselves.
One of the New York Times' 6 New Paperbacks to Read Now in paperback and with new material, a 2021 Kirkus Best Book of the year in both Nonfiction and Current Events, the book Naomi Klein called: “a triumph of political imagination and a tremendous gift to all movements struggling towards liberation.” For more than a century, activists in the United States have tried to reform the police. Millions of people continue to protest police violence because these "solutions" do not match the problem: the police cannot be reformed. In her critically acclaimed first book Becoming Abolitionists, Purnell draws from her experiences as a lawyer, writer, and organizer initially skeptical about police abolition. She saw too much sexual violence and buried too many friends to consider getting rid of police in her hometown of St. Louis, let alone the nation. But the police were a placebo. Calling them felt like something, and something feels like everything when the other option seems like nothing. Purnell details how multi-racial social movements rooted in rebellion, risk-taking, and revolutionary love pushed her and a generation of activists toward abolition. The book travels across geography and time, and offers lessons that activists have learned from Ferguson to South Africa, from Reconstruction to contemporary protests against police shootings. Here, Purnell invites readers to envision new systems that work to address the root causes of violence. Becoming Abolitionists shows that abolition is not solely about getting rid of police, but a commitment to create and support different answers to the problem of harm in society, and, most excitingly, an opportunity to reduce and eliminate harm in the first place.