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There’s a pervasive sense of betrayal in areas scarred by mine, mill and factory closures. Steven High’s One Job Town delves into the long history of deindustrialization in the paper-making town of Sturgeon Falls, Ontario, located on Canada’s resource periphery. Much like hundreds of other towns and cities across North America and Europe, Sturgeon Falls has lost their primary source of industry, resulting in the displacement of workers and their families. One Job Town takes us into the making of a culture of industrialism and the significance of industrial work for mill-working families. One Job Town approaches deindustrialization as a long term, economic, political, and cultural process, which did not begin and simply end with the closure of the local mill in 2002. High examines the work-life histories of fifty paper mill workers and managers, as well as city officials, to gain an in-depth understanding of the impact of the formation and dissolution of a culture of industrialism. Oral history and memory are at the heart of One Job Town, challenging us to rethink the relationship between the past and the present in what was formerly known as the industrialized world.
Absentee owners. Single-minded concern for the bottom line. Friction between workers and management. Hostile takeovers at the hands of avaricious and unaccountable multinational interests. The story of America's industrial decline is all too familiar - and yet, somehow, still hard to fathom. Jamie Sayen spent years interviewing residents of Groveton, New Hampshire, about the century-long saga of their company town. The community's paper mill had been its economic engine since the early twentieth century. Purchased and revived by local owners in the postwar decades, the mill merged with Diamond International in 1968. It fell victim to Anglo-French financier James Goldsmith's hostile takeover in 1982, then suffered through a series of owners with no roots in the community until its eventual demise in 2007. Drawing on conversations with scores of former mill workers, Sayen reconstructs the mill's human history: the smells of pulp and wood, the injuries and deaths, the struggles of women for equal pay and fair treatment, and the devastating impact of global capitalism on a small New England town. This is a heartbreaking story of the decimation of industrial America.
Communities need many types of workers. Some people provide goods. Some people provide services. They all help their communities."--Page [4] cover.
2017 Winner of the Sunburst Award Society's Copper Cylinder Adult Award 2017 Canada Reads Finalist 2017 Locus Award Finalist for Science Fiction Novel Category 2017 Sunburst Award Finalist for Adult Fiction 2017 Aurora Awards Finalist for Best Novell Madeline Ashby's Company Town is a brilliant, twisted mystery, as one woman must evaluate saving the people of a town that can't be saved, or saving herself. "Elegant, cruel, and brutally perfect, Company Town is a prize of a novel." —Mira Grant, New York Times Bestselling and Hugo-Award nominated author of the Newsflesh series New Arcadia is a city-sized oil rig off the coast of the Canadian Maritimes, now owned by one very wealthy, powerful, byzantine family: Lynch Ltd. Hwa is of the few people in her community (which constitutes the whole rig) to forgo bio-engineered enhancements. As such, she's the last truly organic person left on the rig—making her doubly an outsider, as well as a neglected daughter and bodyguard extraordinaire. Still, her expertise in the arts of self-defense and her record as a fighter mean that her services are yet in high demand. When the youngest Lynch needs training and protection, the family turns to Hwa. But can even she protect against increasingly intense death threats seemingly coming from another timeline? Meanwhile, a series of interconnected murders threatens the city's stability and heightens the unease of a rig turning over. All signs point to a nearly invisible serial killer, but all of the murders seem to lead right back to Hwa's front door. Company Town has never been the safest place to be—but now, the danger is personal. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Winner of the 2021 Rachel Carson Environmental Book Award Winner of the 2021 Maine Literary Award for Nonfiction Finalist for the 2020 National Book Critics John Leonard Prize for Best First Book Finalist for the 2021 New England Society Book Award Finalist for the 2021 New England Independent Booksellers Association Award A New York Times Editors’ Choice and Chicago Tribune top book for 2020 “Mill Town is the book of a lifetime; a deep-drilling, quick-moving, heartbreaking story. Scathing and tender, it lifts often into poetry, but comes down hard when it must. Through it all runs the river: sluggish, ancient, dangerous, freighted with America’s sins.” —Robert Macfarlane, author of Underland Kerri Arsenault grew up in the small, rural town of Mexico, Maine, where for over 100 years the community orbited around a paper mill that provided jobs for nearly everyone in town, including three generations of her family. Kerri had a happy childhood, but years after she moved away, she realized the price she paid for that childhood. The price everyone paid. The mill, while providing the social and economic cohesion for the community, also contributed to its demise. Mill Town is a book of narrative nonfiction, investigative memoir, and cultural criticism that illuminates the rise and collapse of the working-class, the hazards of loving and leaving home, and the ambiguous nature of toxics and disease with the central question; Who or what are we willing to sacrifice for our own survival?
This is a biographical and historical account of the recording of David Bowie's albums 'Low', ''Heroes'' and 'Lodger'. Set against the backdrop of post-war Berlin it features a cast of characters including Iggy Pop, Kraftwerk and Robert Fripp. It also looks at the influence Bowie's 'Berlin Trilogy' has exerted on other musicians.
Blade Runner meets Sling Blade in the weirdest Southern Gothic ever. Far into the future, in the nuclear bowels of post-apocalyptic Dixie, there is a town. A town of derelict mobile homes, ancient junk, and mutant wildlife. A town of slack jawed rednecks who bask in the splendors of moonshine and mud boggin'. A town dedicated to the bloody and demented legacy of the Old South. A TOWN CALLED SUCKHOLE But all is not well for the last remnant of hillbilly society. Suckhole's annual "Hell-Yeah Heritage Jamboree" is suddenly threatened by a string of gruesome murders. The town's sheriff, an illiterate yokel with a cleft pallet, is at his extremely limited wit's end, and he knows there is only one man smart enough to solve the mystery: Dexter Spikes, a monstrous missing link between swamp and man brought to life by natural evolution. He lives in the swamps alone, shunned by the simple townsfolk of Suckhole who don't believe in the wicked sciencery of his existence. If Dexter takes the sheriff's case, he'll have to face the undead culprits behind the murders, who are determined to bring about the next apocalypse. If he refuses the job, the town will be doomed to a vicious slaughter. "A Town Called Suckhole is the finest post-apocalyptic southern gothic mudpunk buddy-cop blow-out ever put to print. Which is to say this mutant motherfucker of a debut novel lands with serious world-inventing swagger and marks David W Barbee as a go-to Bizarro writer for outrageously over-the-top action, big laughs and surprising heart." -JEREMY ROBERT JOHNSON, author of We Live Inside You and Angel Dust Apocalypse "With the manic intensity of a tent revival on fire and the stupefying mendacity of a snake oil peddler on peyote, Barbee builds a rich, grimy world so steeped in rampaging Confederate id that for long stretches, I could not see it clearly through my red, blinding rage at not having written it, myself." -CODY GOODFELLOW, author of Perfect Union