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Captured by Federal Authorities, Peter Baird finds himself incarcerated in a FEMA Camp run by the corrupt officials who've taken over the government. But even here he is aided by the remnants of the militia, still struggling in a seemingly hopeless battle against those who've seized power in the wake of the failed revolution. Peter joins forces with other victims of the government crack-down and plots to seize control of the camp to free them all. The only question is whether any of them will survive.
While full account is taken of authoritative secondary works, including recent scholarly controversies, the book's strength comes from the detailed illustration from original sources of its comparative analysis."--BOOK JACKET.
This book is concerned with the history of the idea of human rights. It offers a fresh approach that puts aside familiar questions such as 'Where do human rights come from?' and 'When did human rights begin?' for the sake of looking into connections between debates about the rights of man and developments within the history of capitalism. The focus is on England, where, at the end of the eighteenth century, a heated controversy over the rights of man coincided with the final enclosure of common lands and the momentous changes associated with early industrialisation. Tracking back still further to sixteenth- and seventeenth-century writing about dispossession, resistance and rights, the book reveals a forgotten tradition of thought about central issues in human rights, with profound implications for their prospects in the world today.
Who would imagine that democracy in NSW was won through fierce political battles and street rallies? The Southern Tree of Liberty sheds light on this turbulent and violent period in Australian history. For twenty years, the advocates of democracy mobilised the working class and fought hard to bring popular rule to the colony. The elites, on the other hand, used their legislative powers to halt this march towards liberty, most notably in the Constitution of 1853. There were many colourful characters involved in the push for self-government: Charles Harpur, the native-born poet who wrote ‘The Tree of Liberty (A Song for the Future)’; Johann Lhotsky, the revolutionary who spent five years in an Austrian prison; Ben Sutherland, the English upholsterer who formed the first working-class political organisation and edited its newspaper; William A Duncan, the Scots Catholic who created a network of radical intellectuals; · Henry Macdermott, the Irish-born ‘friend of the people’; and Edward J Hawksley, the radical journalist who was part of every democratic campaign from 1840. These characters and more are covered in Irving’s engagingly written and thoroughly researched book. The Southern Tree of Liberty highlights the contribution of the democrats to public life and shows how their struggles made possible the democratic advances that followed after 1856.I ask no more than “the birthright of a British subject”, namely the privilege of voting on the same grounds as would entitle me to vote in my native land … Henry Macdermott, 1842They had to decide whether they would have the rights of Britons or that vile and bastard democracy which had led to so many evil results in different parts of the world. ... James Macarthur, 1842… it is a grievance for the working man to be totally unrepresented; to have the nominal form of elective privileges whilst he is legislated for by a class entirely antagonistic to his interests and his claims. ... Guardian newspaper, 20 July 1844 A NSW Sesquicentenary of Responsible Government publication.
Margaret Plant presents a wide-ranging cultural history of the city from the fall of the Republic in 1797, until 1997, showing how it has changed and adapted and how perceptions of it have shaped its reality.
All writers and thinkers, and their works, are in a tradition that preceded them. In The Tree of Tradition, Nicholas Hagger sets out a way for all writers and thinkers to be more aware of the traditions and influences that have shaped their works in all subjects and disciplines in all civilisations, using short personal reflections on how influences shaped his own works as an example. Each discipline has metaphysical and secular traditions, and Hagger's A New Philosophy of Literature set out the fundamental theme of world literature as a perennial conflict between a Romantic individual quest for Reality, the One, and a classical condemnation of social follies and vices. Hagger's 60 Universalist works are innovatory in seeing the ultimate unity of the universe, of all disciplines and of humankind, and in reconciling Romanticism and Classicism within a unity he calls Baroque. A Universalist writer is influenced by many sub-traditions, and Hagger particularises the traditions and sub-traditions that have inspired or influenced his works in seven disciplines (mysticism, literature, philosophy and the sciences, history, comparative religion, international politics and statecraft, and world culture) and in the seven branches of literature in which he has written his works (poems and poetic epics, verse plays and masques, short stories, diaries, autobiographies, letters and his statement of the fundamental unity of world literature), which he symbolises in a stag's two seven-branched antlers. This is an inspirational book that throws light on the traditions and influences behind all works in all disciplines and civilisations, and the 109 traditions and 84 influences behind Hagger's Universalist works.
The Haitian Revolution has generated responses from commentators in fields ranging from philosophy to historiography to twentieth-century literary and artistic studies. But what about the written work produced at the time, by Haitians? This book is the first to present an account of a specifically Haitian literary tradition in the Revolutionary era. Beyond the Slave Narrative shows the emergence of two strands of textual innovation, both evolving from the new revolutionary consciousness: the remarkable political texts produced by Haitian revolutionary leaders Toussaint Louverture and Jean-Jacques Dessalines, and popular Creole poetry from anonymous courtesans in Saint-Domingue's libertine culture. These textual forms, though they differ from each other, both demonstrate the increasing cultural autonomy and literary voice of non-white populations in the colony at the time of revolution. Unschooled generals and courtesans, long presented as voiceless, are at last revealed to be legitimate speakers and authors. These Haitian French and Creole texts have been neglected as a foundation of Afro-diasporic literature by former slaves in the Atlantic world for two reasons: because they do not fit the generic criteria of the slave narrative (which is rooted in the autobiographical experience of enslavement); and because they are mediated texts, relayed to the print-cultural Atlantic domain not by the speakers themselves, but by secretaries or refugee colonists. These texts challenge how we think about authorial voice, writing, print culture, and cultural autonomy in the context of the formerly enslaved, and demand that we reassess our historical understanding of the Haitian Independence and its relationship to an international world of contemporary readers.
“A unique travelogue” that “explores the nature of terror, its place in the post-9/11 world and how it unites and galvanizes those in the throes of it” (Kirkus Reviews). Using several ageless questions—“Where do we come from? Where are we going? What shall we do?”—as his point of departure, journalist and award-winning poet Christopher Merrill explores the related issues of terror, modernity, tradition, and epochal transformation. In three extended essays, Merrill observes the performance of a banned ritual in the Malaysian province of Kelatan; traces Saint-John Perse’s epic voyage from Beijing to Ulan Bator in 1921 and relates it to the China of today; and embarks on a trip across the Levant in 2007 in the wake of the American wars in Iraq and Afghanistan. Merrill asserts that it is in this trinity of human actions—ceremony, expedition, war: all devised to keep terror at bay—that history is formed, and that the technological, political, environmental, and social changes we are witnessing now presage the end of one order and the creation of another. “Merrill is a ‘writer’s writer’: he spins sentences made of gold.” —Publishers Weekly