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Paint Your Town Red tells the story of how one city in the north of England decided to level up without waiting for Whitehall. Across the world, there is a growing recognition that a new kind of economy is needed: more democratic, less exploitative, less destructive of society and the planet. Paint Your Town Red looks at how wealth can be generated and shared at a local level through the experience of one of the main advocates of the new Democratic Economy, Matthew Brown, the driving-force behind the world-recognized Preston Model. Using analysis, interviews and case studies to explain what Matthew and Preston City Council have done over the last decade in order to earn Preston the title of Most Improved City, the book shows how the model can be adapted to fit different local circumstances, as well as demonstrating how Preston itself adapted economic and democratic experiments in ‘community wealth-building’ from elsewhere in the US and Europe. Preston’s success shows that the ideas of community wealth-building work in practice and have the capacity to achieve a meaningful transfer of wealth and power back to local communities. A lot of recent coverage and references have tended to oversimplify the Preston Model, which is not just about ‘buying local’ but a comprehensive project, which envisions local and regional discussions and collaboration adding up to a wholesale transformation of our currently failing economic systems.
Discover hundreds of entertaining and often hilarious etymological journeys, by the bestselling author of Can Holding in a Fart Kill You? English is filled with curious, intriguing and bizarre phrases. This book reveals the surprising, captivating and even hilarious origins behind 400 of them, including: • Read between the Lines • Cat Got Your Tongue? • Put a Sock in It • Close, but No Cigar • Bring Home the Bacon • Caught Red-Handed • Under the Weather • Raining Cats and Dogs Perfect for trivia and language lovers alike, this entertaining collection is the ultimate guide to understanding these baffling mini mysteries of the English language.
Brian Meeks's novel begins with the release from jail of a young Rastafarian who was involved in the political violence that erupted when forces hostile to the radical socialist currents within the 1972 Manley administration sought to destabilize Jamaican society. As Mikey takes a minibus through Kingston, his story is told as a series of carefully crafted flashbacks. A series of encounters and the memories they provoke reveal that few have escaped unscathed from those years: there are the dead, the imprisoned, the maddened, the turncoats, and those like Mikey who carry the burden of those times. One of the encounters is, we learn in a postscript to the novel, with Rohan who, at the time of Mikey's imprisonment, is a youth in a family with which Mikey is involved, particularly Rohan's sister, who is killed in the shootout. Rohan has suffered this loss deeply, but has survived to move forward, while Mikey, with the stigma of his imprisonment, is trapped in the past. It is Rohan, we discover, who is telling Mikey's story, a revelation that casts a reflexive light not only on the relationship between the actual author and the events he fictionalizes, but the relationship between the novelist who, whatever his origins, writes from a position of relative security in comparison to the lives that form his subject.
Entry includes attestations of the head word's or phrase's usage, usually in the form of a quotation. Annotation ©2006 Book News, Inc., Portland, OR (booknews.com).