Maeve had gone to get her laptop computer and returned almost immediately with it. Her expression was also one of disbelief. “Look at the expression on that bastard’s face.” Nick said. “He knows what he’s doing. That Sonuva bitch is guilty. That’s the kind of shit that makes our job so freakin’ hard.” “Why?” was Mike’s only response. “There’s gonna be a whole lot of deep shit over this.” Nick replied. “We are going to get this crap shoved down our throats Mike. You mark my words. We are in for it.” Mike glanced sideways at his friend. He nodded, but did not reply. The News Announcer stared straight ahead, unflinchingly, at the cameras.

In 1917, Father Edward J. Flanagan founded his Home for Boys. But it became far more than a simple home for orphans because of the unique character and bold, forward-looking principles of its founder. As the reputation of Boys Town grew, Flanagan became a fierce advocate for children on the national and then international stage. In the words of Flanagan and others, this book recounts his defense of the disadvantaged in many settings - children from abusive or neglectful homes, African-Americans excluded from full rights of citizenship, young boys and girls "sentenced" to the notorious Irish industrial schools, interned Japanses-American families, and World War II orphans. The remarkable story of Father Flanagan is a legacy that has the power to inspire and instruct us yet today.

In his quintessential biography of Father Edward J. Flanagan, author Father Clifford Stevens paints an insightful, inspirational and enlightening portrait of the man who founded Boys Town and led a cultural revolution that forever changed the way children were viewed, valued, and cared for in society. Father Flanagan was a complex human being, greatly influenced by his upbringing in a loving, close-knit family, and by the countless teachers, priests, relatives, friends, and recipients of his kindness who guided and nurtured his life's journey. Father Stevens, a former Boys Town youth who knew the legendary priest, captures those experiences - the milestone moments that made the man - to create a compelling story of Father Flanagan's 61 years on earth.

This is the tale of Edward Flanagan, a young Irish lad shepherding a flock of sheep on a farm in Ballymoe, who became the famed Father Flanagan, founder of America's Boys Town, guardian of thousands of orphaned, neglected, and abandoned boys, and advisor to presidents. From a large Irish family, Flanagan suffered through ill health and setbacks to pursue his desire to join the priesthood. Following his older brother and fellow priest to the plains of Nebraska, he served several parishes and opened a hotel for homeless men before finding his life's mission to care for and give a voice to young boys whom society had despaired of and cast aside. Father Flanagan opened his home in 1917 for boys of any race and creed. In this definitive biography, the authors recount his struggles with drought, fire, lack of funds, and skeptical citizens to create a safe haven for these boys. He welcomed Hollywood to Boys Town to recount his story in two films, sent off scores of his boys to do battle in World War II, and toured the orphanages of Asia and Europe to report on the needs of children victimized by that war. At the time of his death in 1948, Father Flanagan was seen as one of the world's foremost advocates for children, especially those without parents or relatives to care for them and those judged guilty of some crime and locked away in reform schools or prisons. The legacy of Father Flanagan is one that inspires all who care for the welfare of children today.

Father Flanagan's Life and Legacy

How is decadence being staged today – as a practice, issue, pejorative, and as a site of pleasure? Where might we find it, why might we look for it, and who is decadence for? This book is the first monographic study of decadence in theatre and performance. Adam Alston makes a passionate case for the contemporary relevance of decadence in the thick of a resurgent culture war by focusing on its antithetical relationship to capitalist-led growth, progress, and intensified productivity. He argues that the qualities used to disparage the study and practice of theatre and performance are the very things we should embrace in celebrating their value – namely, their spectacular uselessness, wastefulness, outmodedness, and abundant potential for producing forms of creativity that flow away from the ends and excesses of capitalism. Alston covers an eclectic range of examples by Julia Bardsley (UK), Hasard Le Sin (Finland), jaamil olawale kosoko (USA), Toco Nikaido (Japan), Martin O'Brien (UK), Toshiki Okada (Japan), Marcel·lí Antúnez Roca (Spain), Normandy Sherwood (USA), The Uhuruverse (USA), Nia O. Witherspoon (USA), and Wunderbaum (Netherlands). Expect ruminations on monstrous scenographies, catatonic choreographies, turbo-charged freneticism, visions of the apocalypse – and what might lie in its wake.

If the frontier, in all its boundless possibility, was a central organizing metaphor for much of U.S. history, today it is arguably the border that best encapsulates the American experience, as xenophobia, economic inequality, and resurgent nationalism continue to fuel conditions of division and limitation. This boldly interdisciplinary volume explores the ways that historical and contemporary actors in the U.S. have crossed such borders—whether national, cultural, ethnic, racial, or conceptual. Together, these essays suggest new ways to understand borders while encouraging connection and exchange, even as social and political forces continue to try to draw lines around and between people.

This book undertakes a concentrated study of the impact of degraded and low-quality imagery in contemporary cinema and real-world portrayals of violence. Through a series of case studies, the book explores examples of corrupted digital imagery that range from mainstream cinema portrayals of drone warfare and infantry killing, through to real-world recordings of terrorist attacks and executions, as well as perpetrator-created murder videos live-streamed on the internet. Despite post-modernist concerns of cultural inurement during the seminal period of digitalized and virtualized killing in the 1990s, real-world reactions to violent media indicate that our culture is anything but desensitized to these media depictions. Against such a background, this book is a concentrated study of how these images are created and circulated in the contemporary media landscape and how the effect and affect of violent material is impacted by the low-resolution aesthetic.

From The New Yorker's most entertaining and acerbic wit comes a controversial reassessment of the rituals and events that shape women's lives: weddings, sex, housekeeping, and motherhood.