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Communism must kill what it cannot control. So for a century, it has killed artists, writers, musicians, and even dancers. It kills them secretly, using bioweapons and poison to escape accountability. Among its victims was Anna Pavlova, history’s greatest dancer, who was said to have God-given wings and feet that never touched the ground. But she defied Stalin, and for that she had to die. Her sudden death in Paris in 1931 was a mystery until now. The Dancer and the Devil traces Marxism’s century-long fascination with bioweapons, from the Soviets’ leak of pneumonic plague in 1939 that nearly killed Stalin to leaks of anthrax at Kiev in 1972 and Yekaterinburg in 1979; from the leak of a flu in northeast China in 1977 that killed millions to the catastrophic COVID-19 leak from biolabs in Wuhan, China. Marxism’s dark past must not be a parent to the world’s dark future. COMMUNIST CHINA PLAYED WITH FIRE AND THE WORLD IS BURNING Nearly ten million people have died so far from the mysterious Covid-19 virus. These dead follow a long line of thousands of other brave souls stretching back nearly a century who also suffered mysterious “natural” deaths, including dancers, writers, saints and heroes. These honored dead should not be forgotten by amnesiac government trying to avoid inconvenient truth. The dead and those who remember and loved them deserve answers to two great questions. How? Why? The Dancer and the Devil answers these questions. It tracks a century of Soviet and then Chinese Communist poisons and bioweapons through their development and intentional use on talented artists and heroes like Anna Pavlova, Maxim Gorky, Raoul Wallenberg and Alexis Navalny. It then tracks leaks of bioweapons beginning in Saratov, Russia in 1939 and Soviet Yekaterinburg in 1979 through Chinese leaks concluding in the recent concealed leak of the manufactured bioweapon Covid-19 from the military lab in Wuhan, China. Stalin, Putin, and Xi, perpetrators of these vast crimes against humanity itself, should not be allowed to escape responsibility. This book assembles the facts on these cowardly murderers, calling them to account for their heartless crimes against man concluding in Covid-19.
 In June 1866, an 800-man contingent of the Irish Fenian Brotherhood invaded Canada from Buffalo, New York, in an effort to free Ireland from British rule. The force was led by Irish-born John Charles O'Neill, a veteran of the Union Army's 5th Indiana Cavalry. The three-day invasion was a military success but a political failure, yet O'Neill was celebrated for his leadership and humanity. Elevated to the presidency of the Fenian Brotherhood, "General" O'Neill would again lead Irish nationalists against Canada in 1870. Jailed and later pardoned by President U.S. Grant, O'Neill left the Fenians and attempted a third, futile attack into Canada. O'Neill then became a colonizer, urging Irish Americans to abandon cities in the East to settle on the fertile plains of the West. O'Neill City, Nebraska, is named in his honor. This first full-length biography covers the rise, fall and resurgence of a remarkable figure in American and Irish history.
The first comprehensive inside look at the investigation into Al Qaeda, and at John O፥ill, the FBI counter–terrorism agent who warned that an attack like September 11 was imminent. For many people, September 11 was the day ೨e unimaginableߨappened. But one FBI agent, John O፥ill, had repeatedly warned the US Government that such an attack was possible. Ironically, O፥ill lost his own life on September 11, just days after beginning a new job as head of security for the World Trade Center. As one of the FBI's foremost counter–terrorism experts, John O፥ill played a leading role in almost every major investigation of terrorism against Americans in the past decade. O፥ill was a dashing, larger–than–life character who irritated many members of US and foreign governments with his aggressive, hands–on tactics and his insistent, repeated warnings about the possibility of an attack on US soil. Disillusioned by his experiences with the FBI, O፥ill left governmental service to assume the position of chief of security for the Twin Towers in August 2001. Full of twists and turns, John O፥ill's tragic story reveals how one man's unheeded warnings came back to haunt the country he worked so hard to defend.
This book brings together key essays from the career of social theorist John O’Neill, including his uncollected later writings, focusing on embodiment to explore the different ways in which the body trope informs visions of familial, economic, personal, and communal life. Beginning with an exploration of O’Neill’s work on the construction of the biobody and the ways in which corporeality is sutured into social systems through regimes of power and familial socialisation, the book then moves to concentrate on O’Neill’s career-long studies of the productive body and the ways in which the working body is caught in and resists disciplinary systems that seek to rationalise natural functions and control social relations. The third section considers O’Neill’s concern with the ancient, early modern, and psychoanalytic sources of the post-modern libidinal body, and a final section on the civic body focuses specifically on the ways in which principles of reciprocity and generosity exceed the capitalist, individualist body of (neo)liberal political theory. The volume also includes an interview with O’Neill addressing many of the key themes of his work, a biographical note with an autobiographical postscript, a select bibliography of O’Neill’s many publications, and an extensive introduction by the editors. A challenging and innovative collection, Writing the Body Politic: A John O’Neill Reader will appeal to critical social theorists and sociologists with interests in the work of one of sociology’s great critical readers of classical and contemporary texts.
A masterly collection of eleven stories about the way we live now from the best-selling author of Netherland. From bourgeois facial-hair trends to parental sleep deprivation, Joseph O’Neill closely observes the mores of his characters, whose vacillations and second thoughts expose the mysterious pettiness, underlying violence, and, sometimes, surprising beauty of ordi­nary life in the early twenty-first century. A lonely wedding guest talks to a goose; two poets struggle over whether to participate in a “pardon Edward Snowden” verse petition; a cowardly husband lets his wife face a possible intruder in their home; a potential co-op renter in New York City can’t find anyone to give him a character reference. On the surface, these men and women may be in only mild trouble, but in these perfectly made, fiercely modern stories O’Neill reminds us of the real, secretly political consequences of our internal monologues. No writer is more incisive about the strange world we live in now; the laugh-out-loud vulnerability of his people is also fodder for tears.
"At the O'Neill, we were all engaged with full-hearted passion in sometimes the silliest of exercises, and all in service of finding that wiggly, elusive creature, a new play."—Meryl Streep "I would not be who or where I am today without the O'Neill."—Michael Douglas As the old ways of the commercial theater were dying and American playwriting was in crisis, the Eugene O’Neill Theater Center arose as a midwife to new plays and musicals, introducing some of the most exciting talents of our time (including August Wilson, Wendy Wasserstein, and Christopher Durang) and developing works that went on to win Pulitzer Prizes and Tony Awards. Along the way, it collaborated with then-unknown performers (like Meryl Streep, Michael Douglas, Courtney Vance, and Angela Bassett) and inspired Robert Redford in his creation of the Sundance Institute. This is the story of a theatrical laboratory, a place that transformed American theater, film, and television.