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SLAUGHTERHOUSE BLUES: THE MEAT AND POULTRY INDUSTRY IN NORTH AMERICA draws on more than 15 years of research by the authors, a cultural anthropologist and a social geographer, to present a detailed look at the meat and poultry industry in the United States and Canada. Following chapters on today's beef, poultry, and pork industries, SLAUGHTERHOUSE BLUES examines industry impacts on workers and on the communities that host its plants. The book details the authors' efforts to help communities plan for and mitigate the negative consequences of meat and poultry plants as well as community opposition to confined animal feeding operations. The book concludes by exploring alternatives to North America's model of industrialized meat production.
On the South Side to tour the Union Stock Yard, people got a firsthand look at Chicago's industrial prowess as they witnessed cattle, hogs, and sheep disassembled with breathtaking efficiency. At their height, the kill floors employed 50,000 workers and processed six hundred animals an hour, an astonishing spectacle of industrialized death. Pacyga chronicles the rise and fall of an industrial district that, for better or worse, served as the public face of Chicago for decades. He takes readers through the packinghouses as only an insider can, covering the rough and toxic life inside the plants and their lasting effects on the world outside. He shows how the yards shaped the surrounding neighborhoods; looks at the Yard's sometimes volatile role in the city's race and labor relations; and traces its decades of mechanized innovations.
“Not since Michael Pollan has such a powerful storyteller emerged to reform American food.” —The Washington Post Today’s optimistic farm-to-table food culture has a dark secret: the local food movement has failed to change how we eat. It has also offered a false promise for the future of food. In his visionary New York Times–bestselling book, chef Dan Barber, recently showcased on Netflix’s Chef’s Table, offers a radical new way of thinking about food that will heal the land and taste good, too. Looking to the detrimental cooking of our past, and the misguided dining of our present, Barber points to a future “third plate”: a new form of American eating where good farming and good food intersect. Barber’s The Third Plate charts a bright path forward for eaters and chefs alike, daring everyone to imagine a future for our national cuisine that is as sustainable as it is delicious.
over one hundred songs and poems and other things that nearly rhyme
From inside the chicken factory, a report on the real cost of chicken for farmers, workers, and consumers
This book explores how, and why, the blues became a central component of English popular music in the 1960s. It is commonly known that many 'British invasion' rock bands were heavily influenced by Chicago and Delta blues styles. But how, exactly, did Britain get the blues? Blues records by African American artists were released in the United States in substantial numbers between 1920 and the late 1930s, but were sold primarily to black consumers in large urban centres and the rural south. How, then, in an era before globalization, when multinational record releases were rare, did English teenagers in the early 1960s encounter the music of Robert Johnson, Blind Boy Fuller, Memphis Minnie, and Barbecue Bob? Roberta Schwartz analyses the transmission of blues records to England, from the first recordings to hit English shores to the end of the sixties. How did the blues, largely banned from the BBC until the mid 1960s, become popular enough to create a demand for re-released material by American artists? When did the British blues subculture begin, and how did it develop? Most significantly, how did the music become a part of the popular consciousness, and how did it change music and expectations? The way that the blues, and various blues styles, were received by critics is a central concern of the book, as their writings greatly affected which artists and recordings were distributed and reified, particularly in the early years of the revival. 'Hot' cultural issues such as authenticity, assimilation, appropriation, and cultural transgression were also part of the revival; these topics and more were interrogated in music periodicals by critics and fans alike, even as English musicians began incorporating elements of the blues into their common musical language. The vinyl record itself, under-represented in previous studies, plays a major part in the story of the blues in Britain. Not only did recordings shape perceptions and listening habits, but which artists were available at any given time also had an enormous impact on the British blues. Schwartz maps the influences on British blues and blues-rock performers and thereby illuminates the stylistic evolution of many genres of British popular music.
Kurt Vonnegut’s masterpiece, Slaughterhouse-Five is “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time). Selected by the Modern Library as one of the 100 best novels of all time • One of The Atlantic’s Great American Novels of the Past 100 Years Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O’Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut’s words. Jonathan Safran Foer has described Vonnegut as “the kind of writer who made people—young people especially—want to write.” George Saunders has declared Vonnegut to be “the great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.” More than fifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.
This title offers an interdisciplinary look at the rise of the slaughterhouse in 19th-century Europe and the Americas. Over the course of this period, the factory slaughterhouse replaced the hand slaughter of animals by individual butchers. A wholly modern invention, the municipal slaughterhouse was a political response to public concerns.
Frankie Avicious is a hard-luck fellow with a sordid past. Living in a dreary meatpacking town, stuck in a loveless marriage, and spending his days slaughtering cattle, Frankie has nothing to look forward to but his next swallow of bargain whiskey. His wife is threatening to leave him, and the local sociopath is threatening to kill him. And then there’s Scarlett Acres, a stripper with a heart of fool’s gold. Frankie can’t stop thinking about her… With the encouragement of a mysterious traveling salesman, Frankie sets out to reverse his destiny through a series of bizarre murders. The consequences of his brutality turn out to be far worse than even he could imagine. Praise for THE DISASSEMBLED MAN: “The Disassembled Man is lean and mean—with the emphasis on mean—a true psycho-noir novel that leaves the reader to work out the truth behind events we can only see from the point of view of the protagonist. The twist that comes maybe two thirds of the way through the book ups the stakes even more and those last few pages are a real mindbender. Taken as a whole, The Disassembled Man is a damn fine read; a brilliant and raw example of the Psycho Noir genre.” —Russel D. McLean, Crime Scene Scotland “For the first third of Jon Bassoff’s beautifully ugly first novel The Disassembled Man, I felt the presence of Jim Thompson. Nothing wrong with that, the tone and feel of Thompson are appropriate to the material. But then Bassoff gets going on his own and you realize that while he uses the same kind of Swiftian tone Thompson did, every nuance of ugliness writ large—I always had the feeling that Thompson used it as comic relief, a kind of fabulism if you will. Laughing past the graveyard that would all too soon claim you. I don’t get that feeling at all with the Bassoff novel. The power of this book, and it has considerable power, is that Bassoff never apologies for his people or their story. An impressive and imposing debut.” —Ed Gorman, Ed’s New Improved Blog “Jon Bassoff’s The Disassembled Man is one strictly for the purists, the basement crazies, the inmates that are so fucked up that they don’t even know they’re in the asylum—much less able to run the fucking thing. The story of a nasty fucker who only gets more pit-bull-snarling-fucking mean as the story progresses, this shit ain’t for the casual crime fans. No sir, dear readers, The Disassembled Man is for the folks who want their pulp served rare, as in still pumping steaming hot fucking blood. So yeah, you could say I dug the holy fuck out of Jon Bassoff’s debut.” —Peter Dragovich, Book Central Station Review “Bassoff has written sheer, nasty beautiful prose with this book. The wince factor is high and the characters horridly riveting. The envelope has not just been pushed, but set on fire.” —Jennifer Jordan, Crime Spree Magazine “The Disassembled Man is remarkable for its ugliness. It’s hard to think of a book with a character as despicable as Frankie Avicious. This Jim Thompson on mescaline story is not for the faint of heart.” —Nathan Cain, Independent Crime “Jon Bassoff’s novel The Disassembled Man is a wince-inducing front row seat to a soul shredding. It’s so unrelentingly dark, so hopeless and dank, that when the humor rears its fugly head you’ll want to wretch because you laughed. You will hate yourself for those laughs. But you will laugh. Whatever literary tag it’s given, The Disassembled Man is a hell of a statement.” —Jedidiah Ayers, Hardboiled Wonderland “Bassoff is good, and the things that are at the heart of a good psycho noir—great characters, lurid action and a propellant plot—are all here in abundance.” —John Kenyon, Things I’d Rather be Doing “Jim Thompson’s psychotic hell brutally collides with Bruce Jay Friedman’s absurdist humor in this shotgun blast of a novel.” —Dave Zeltserman, author of Small Crimes “Having read quite a number of psycho noirs, I’d have to say this one’s a bit special. Jon Bassoff really nails it.” —Allan Guthrie, author of Slammer “This is strong stuff, definitely not the kind of thing that you’re going to find from a mainstream publisher. If you have a taste for the off-beat, this might be just what you’re looking for.” —Bill Crider, author of Murder in Four Parts “Flexer’s gritty, nasty tale in the classic dime-novel tradition moves like a bullet from a Beretta.” —Mike Segretto, author of The Bride of Trash “The Disassembled Man is the most horrifyingly funny, perverse and shocking crime book I have ever read–and that’s saying something. It pushes way past Jim Thompson territory. It’s also amazingly well-written with characters who are utterly unique. And like the greatest noir books and films, it’s also a razor-sharp commentary on certain unsavory aspects of contemporary society.” —Ethan Goldman, screenwriter of Warner Brothers’ The Breaks
An innocent math professor runs for his life as teams of hitmen try to prevent publication of their government’s dark history… College professor Sam Teagarden stumbles upon a decades-old government cover-up when an encoded document mysteriously lands in his in-box, followed by a cluster of mini-drones programmed to kill him. That begins a terrifying flight from upstate New York, to Washington, to Key West as Teagarden must outfox teams of hitmen equipped with highly sophisticated technology. While a fugitive, he races to decode the journal, only to realize the dreadful truth—it’s the reason he’s being hunted because it details criminal secrets committed by the U.S. in the 20th Century. If he survives and publishes the decoded diary, he’ll be a heroic whistle blower. But there is no guarantee. He may also end up dead. Praise for FLIGHT OF THE FOX: “Flight of the Fox is an explosively paranoid thriller that pays homage to classics of the genre. Basnight delivers nonstop action and an everyman hero to root for.” —Joseph Finder, New York Times bestselling author “Basnight’s novel does double duty. It’s both a fast-paced and furious thriller and a thought provoking commentary on a government gone wild. Read it.” —Reed Farrel Coleman, New York Times bestselling author of What You Break “Gray Basnight has written a clever, inventive, gripping, suspenseful tale that’ll have you up nights until you reach the final page. Skillfully weaving fact with fiction, Flight of the Fox taps into our worst nightmares about the potential excesses of power.” —Charles Salzberg, author of the award-nominated Henry Swann mysteries and Second Story Man “Flight of the Fox is a quick-paced story that puts you in the passenger seat of a thrilling adventure featuring, cyber and techno villains, and a fight for justice. Great action thriller!” —Jerri Williams, retired FBI agent and author of Pay To Play