A young woman is found brutally murdered, and the main suspect is the victim's fiancé, a hideously scarred Iraq War vet known as the Burned Man. But railroad police Special Agent Sydney Rose Parnell, brought in by the Denver Major Crimes unit to help investigate, can't shake the feeling that larger forces are behind this apparent crime of passion. In the depths of an icy winter, Parnell and her K9 partner, Clyde, both haunted by their time in Iraq, descend into the underground world of a savage gang of rail riders. There, they uncover a wide-reaching conspiracy and a series of shocking crimes. Crimes that threaten everything Parnell holds dear. As the search for the truth puts her directly in the path of the killer, Parnell must struggle with a deadly question: Can she fight monsters without becoming one herself?

“We are not worth more, they are not worth less.” This is the mantra of S. Brian Willson and the theme that runs throughout his compelling psycho-historical memoir. Willson’s story begins in small-town, rural America, where he grew up as a “Commie-hating, baseball-loving Baptist,” moves through life-changing experiences in Viet Nam, Nicaragua and elsewhere, and culminates with his commitment to a localized, sustainable lifestyle. In telling his story, Willson provides numerous examples of the types of personal, risk-taking, nonviolent actions he and others have taken in attempts to educate and effect political change: tax refusal—which requires simplification of one’s lifestyle; fasting—done publicly in strategic political and/or therapeutic spiritual contexts; and obstruction tactics—strategically placing one’s body in the way of “business as usual.” It was such actions that thrust Brian Willson into the public eye in the mid-’80s, first as a participant in a high-profile, water-only “Veterans Fast for Life” against the Contra war being waged by his government in Nicaragua. Then, on a fateful day in September 1987, the world watched in horror as Willson was run over by a U.S. government munitions train during a nonviolent blocking action in which he expected to be removed from the tracks and arrested. Losing his legs only strengthened Willson’s identity with millions of unnamed victims of U.S. policy around the world. He provides details of his travels to countries in Latin America and the Middle East and bears witness to the harm done to poor people as well as to the environment by the steamroller of U.S. imperialism. These heart-rending accounts are offered side by side with inspirational stories of nonviolent struggle and the survival of resilient communities Willson’s expanding consciousness also uncovers injustices within his own country, including insights gained through his study and service within the U.S. criminal justice system and personal experiences addressing racial injustices. He discusses coming to terms with his identity as a Viet Nam veteran and the subsequent service he provides to others as director of a veterans outreach center in New England. He draws much inspiration from friends he encounters along the way as he finds himself continually drawn to the path leading to a simpler life that seeks to “do no harm.&rdquo Throughout his personal journey Willson struggles with the question, “Why was it so easy for me, a ’good’ man, to follow orders to travel 9,000 miles from home to participate in killing people who clearly were not a threat to me or any of my fellow citizens?” He eventually comes to the realization that the “American Way of Life” is AWOL from humanity, and that the only way to recover our humanity is by changing our consciousness, one individual at a time, while striving for collective cultural changes toward “less and local.” Thus, Willson offers up his personal story as a metaphorical map for anyone who feels the need to be liberated from the American Way of Life—a guidebook for anyone called by conscience to question continued obedience to vertical power structures while longing to reconnect with the human archetypes of cooperation, equity, mutual respect and empathy.

An in-depth, eyewitness account of the creation of one of Bob Dylan's most celebrated, anguished albums, written by the album's guitarist and an acclaimed journalist

Discover the captivating treasures buried in the British Library's archives. Largely inaccessible to the public until now, these enduring classics were written in the golden age of detective fiction. "This is the perfect volume for fans of short, high-quality, fair-play detective fiction." —Publishers Weekly "Never had I been given a tougher problem to solve, and never had I been so utterly at my wits' end for a solution." A signalman is found dead by a railway tunnel. A man identifies his wife as a victim of murder on the underground. Two passengers mysteriously disappear between stations, leaving behind a dead body. Trains have been a favourite setting of many crime writers, providing the mobile equivalent of the "locked-room" scenario. Their enclosed carriages with a limited number of suspects lend themselves to seemingly impossible crimes. In an era of cancellations and delays, alibis reliant upon a timely train service no longer ring true, yet the railway detective has enjoyed a resurgence of popularity in the twenty-first century. Both train buffs and crime fans will delight in this selection of fifteen railway-themed classic mysteries, featuring some of the most popular authors of their day alongside less familiar names. This is a classic short story collection to beguile even the most wearisome commuter. These fascinating mystery stories are: For fans of Agatha Christie and Anthony Horowitz Perfect for readers of Classic Crime Fiction and Golden-Age Murder Mysteries Also in the British Library Crime Classics: Smallbone Deceased The Body in the Dumb River Blood on the Tracks Surfeit of Suspects Death Has Deep Roots Checkmate to Murder

Bob Dylan's 1975 album Blood On The Tracks is considered by many to be his masterpiece. Routinely labelled "Dylan's Divorce Album," it is also widely taken as a painfully autobiographical account of the deterioration of his first marriage: "the greatest break-up record of all time." But the reality behind the making of the record is far more complex, and the result of a struggle that saw Dylan attempting to rediscover his own art on his own terms, after a long period away from the rock and roll fray, during which, for many, he seemed to turn his back on the implications of his own 1960s work.How difficult a struggle that turned out to be is borne witness by the fact that, just days before Blood On The Tracks was due to be released, Dylan suddenly decided to halt the presses, scrap half the tracks, and return to the studio to quickly record them again. In Back In The Rain, Doc Pasquale vividly positions Blood On The Tracks not simply in the context of Dylan's marriage, but his long "retreat" from rock and roll and public life: the big silence that lasted from his 1966 motorcycle crash, to his return to touring in 1974.Peeling back the layers in an extensive track-by-track analysis, he also examines the differences between the version of Blood On The Tracks that Dylan originally recorded and the version that he eventually released, and what those differences reveal about this album that won't let go.

Praised by the Chicago Tribune as "thoroughly and compellingly detailed history," Volumes I and II of Maury Klein's monumental history of the Union Pacific Railroad covered the years from 1863-1969. Now the third and final volume brings the story of the Union Pacific--the oldest, largest, and most successful railroad of modern times--fully up to date. The book follows the trajectory of an icon of the industrial age trying to negotiate its way in a post-railway world, plagued by setbacks such as labor disputes, aging infrastructure, government de-regulation, ill-fated mergers, and more. By 1969 the same company that a century earlier had triumphantly driven the golden spike into Promontory Summit--to immortalize the nation's first transcontinental railway--seemed a dinosaur destined for financial ruin. But as Klein shows, the Union Pacific not only survived but is once more thriving, which proves that railways remain critical to commerce and industry in America, even as passenger train travel has all but disappeared. Drawing on interviews with Union Pacific personnel past and present, Klein takes readers inside the great railroad--into its boardrooms and along its tracks--to show how the company adapted to the rapidly changing world of modern transportation. The book also offers fascinating portraits of the men who have run the railroad. The challenges they faced, and the strategies they developed to meet them, give readers a rare glimpse into the inner workings of one of America's great companies. A capstone on a remarkable achievement, Union Pacific: The Reconfiguration will appeal to historians, business scholars, and transportation buffs alike.

Listen to every side: “Gorgeously rendered. . . . a unique spin on the discography.” —Booklist Covering each of Bob Dylan’s thirty-six studio LPs, this book brings rock ‘n’ roll musicians, songwriters, and critics together to sound off about each release, discussing and debating not only Dylan’s extraordinary musical accomplishments but the factors in his life that influenced his musical expressions. Beautifully illustrated with LP art and period photography, as well as performance and candid backstage images, the book also contains liner notes-like details about the recordings and session musicians, and provides context and perspective on Dylan’s career—in a one-of-a-kind retrospective of the life and music of an American legend. Commentators include Questlove of the Roots and the Tonight Show with Jimmy Fallon, Rodney Crowell, Jason Isbell, Suzanne Vega, Ric Ocasek of the Cars, Wesley Stace (aka John Wesley Harding), longtime Dylan pal Eric Andersen and Minnesota musicians Tony Glover and Kevin Odegard, both of whom have been in the studio with Dylan. Other well-known voices in Dylan: Disc by Disc include Robert Christgau, Anthony DeCurtis, Alan Light, Joe Levy, Holly George-Warren, Joel Selvin, Jim Fusilli, Geoffrey Himes, Charles R. Cross, and David Browne, among others.

Journalism Practice and Critical Reflexivity is a theoretical- and practice-based response to the crisis of mission and credibility in journalism studies that is heightened by online and social media. It describes, analyses and offers new approaches and models for critically reflexive journalism research, practice and education. With specific theoretical and conceptual approaches employed, such as Pierre Bourdieu’s reflexive sociology along with the analytical, practice-based, reflective and narrative techniques of Donald Schön and autoethnography, this book provides possible responses to these crises of purpose and legitimacy, and to transformation, in Western corporate journalism. With journalists working in mainstream media under increasing pressure, the book considers the possibility of either slowing journalism down or having elements of a more reflexive journalism practice set alongside other routine practices. It proposes reciprocity as a core value to guide much investigative and news journalism. Scholars and practitioners of journalism, researchers and post-graduate students interested in journalism, critical reflexivity and reflective practice in relevant disciplines can apply the concepts and techniques of critical reflexivity in their own research or teaching. Journalists, criminologists and others concerned with Indigenous deaths in custody, prisons, the institutional duty of care, social and/or legal justice and effective government administration will also find the study rewarding.

The Bootleg Guide is the ultimate in reference works for the 1960s and the 1970s bootleg recordings. Within these pages lies a history of rock at its best, as performed on stage or in the studio. Each entry is catalogued by title, date, featured tracks, and contains a quality rating and comments on the nature and origin of the recording. Cross-references are provided to other titles and extensive information is available on alternate titles of bootlegs. In many cases, quirky facts about a particular title are given-something that in itself may make a title a highly desirable and sought-after 'rarity' amongst collectors. Limited editions are listed to help the reader and collector develop a clearer picture of just how obtainable a bootleg may be. Bootlegs are unofficial 'live' and studio recordings of artists and bands that are released onto vinyl, tape or CD. By definition, most are so rare that they change hands only for vastly inflated sums or are traded by networks of dedicated collectors worldwide. Serious fans and collectors have been known to spend as much as $225 for an original, scratchy vinyl recording of bands like Deep Purple and the Grateful Dead dating back to the early seventies. The rarest of all are akin to valuable paintings as far as collectors and traders are concerned.