In Pieces celebrates the diversity of contemporary fragmentary writing by offering a sampling of fragments written by 37 different writers--those who are known as well as new voices. Selections from diaries, notebooks, and letters; aphorisms; short prose pieces and vignettes... These are some of the fragmentary forms represented in this unique collection, the first of its kind to present a wide range of fragmentary writing as its own genre.
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Recommendations. -- Methods. -- Background: attitudes towards policing. History of policing in pre-colonial and colonial Nigeria -- Structure and organization of the Nigerian police force. -- Deaths in police custody. -- Torture and cruel, inhuman or degrading treatment or punishment. Types of torture or cruel, inhuman, and degrading treatment -- Who is targeted: Arrest of friends or relatives of a suspect. Torture and ill-treatment of members of self-determination groups. -- The purpose -- The perpetrators --The location -- The right to freedom from torture. -- Rape by the police. -- Abusive conditions of detention and denial of medical treatment. -- Lack of due process of law. Acceptance of forced confessions -- Failure to be informed of grounds for arrest -- Absence of legal representation -- Prolonged pre-trial detention. -- Obstacles to redress. Criminal investigations and prosecutions -- Police Complaints Burea -- The 'Orderly Room Trial' -- The Police Service Commission -- National Human Rights Commission -- Inquests and autopsies -- Societal attitudes to torture and police abuses. -- Police Reform. Review of the Police Act -- Donor governments' support for police reform. -- Conclusion. -- Acknowledgements.
Si is 28 and unsure of what he wants – in his job, his love life, even just for dinner. The only thing he's certain of is his friendship with Jimmy, a late-twenties professional footballer in a career he fears has stalled. Through their uncertainty and just plain lethargy, the two men anchor each other with regular catch-ups at their local, The Feathers. But little do they know that The Feathers is more than just a great place for a pint and a chin-wag; it's also a hub for a London-based IRA cell. Plans are being formed – dangerous ones – while Si and Jimmy drink away their quarter-life crises. And just as the guys start to get everything figured out – against the roller-coaster backdrop of Manchester United's Double Double season, and the media and politics of mid-1990s Britain – something happens that threatens to blow it all up. "A wry, intelligent story of London life in the nineties" - New York Post
After the end of World War II, Clara Kirkpatrick returns from the Women's Army Corp to deliver a dying soldier's last wishes: convey his love to his young widow, Mattie, with apologies for the missed life they had planned to share. Struggling with her own post-war trauma, Clara thinks she's not prepared to handle the grief of this broken family. Yet upon meeting Mattie, and receiving a baby quilt that will never cuddle the soldier's baby, Clara vows to honor the sacrifices that family made. Now a labor and delivery nurse in her rural hometown, Clara wraps each new babe in the gifted quilt and later stitches the child's name into the cloth. As each new child is welcomed by the quilt, Clara begins to wonder whatever happened to Mattie—and if her own life would ever experience the love of a newborn. Little does she know that she will have the opportunity to re-gift the special quilt—years later and carrying even greater significance than when it was first bestowed.
Postmodernism in Pieces performs a postmortem on what is perhaps the most contested paradigm in literary studies. In the wake of a critical consensus proclaiming its death, Matthew Mullins breaks postmodernism down into its most fundamental orthodoxies and reassembles it piece by piece in light of recent theoretical developments in Actor-Network-Theory, object-oriented philosophy, new materialism, and posthumanism. In the last two decades postmodernism has collapsed under the weight of the very phenomena it set out to deconstruct: language, whiteness, masculinity, class, the academy. Recasting these categories as social constructs has done little to alleviate their material effects. Through detailed analyses of everyday objects in novels by Leslie Marmon Silko, Toni Morrison, Jonathan Lethem, John Barth, David Foster Wallace, Don DeLillo, and Julia Alvarez, Mullins argues that what makes fiction postmodern is its refusal to accept "social" explanations for problems facing a given culture, and its tendency instead to examine everyday things and people as constituent pieces of larger networks. The result is a new story of postmodernism, one that reimagines postmodernism as a starting point for a new mode of literary history rather than a finish line for modernity.
Set against the cultural and political backdrop of interwar Europe and the Americas, Poetry in Pieces is the first major study of the Peruvian poet César Vallejo (1892–1938) to appear in English in more than thirty years. Vallejo lived and wrote in two distinct settings—Peru and Paris—which were continually crisscrossed by new developments in aesthetics, politics, and practices of everyday life; his poetry and prose therefore need to be read in connection with modernity in all its forms and spaces. Michelle Clayton combines close readings of Vallejo’s writings with cultural, historical, and theoretical analysis, connecting Vallejo—and Latin American poetry—to the broader panorama of international modernism and the avant-garde, and to writers and artists such as Rainer Maria Rilke, James Joyce, Georges Bataille, and Charlie Chaplin. Poetry in Pieces sheds new light on one of the key figures in twentieth-century Latin American literature, while exploring ways of rethinking the parameters of international lyric modernity.
Within the space of a year, between 1995 and 1996, three highly unusual shows were produced by three celebrated figures in world theatre: Qui Est La, directed by Peter Brook, Elsinore, directed by Robert Lepage, and Hamlet: a monologue, directed by Robert Wilson. Each was a version-at least in part-of Shakespeare's Hamlet, although none of them treated the show in anything like an orthodox manner.
Poetry in Pieces By: Timothy John Bergel Poetry in Pieces is a collection of children’s, religious, love, feeling, humor, and sadness poetry. There is happiness, sadness, and sometimes both in the same poem.
On April 23, 2003, to the surprise of much of the world, the ceasefire line that divides Cyprus opened. The line had partitioned the island since 1974, and so international media heralded the opening of the checkpoints as a historic event that echoed the fall of the Berlin Wall. As in the moment of the Wall's collapse, cameras captured the rush of Cypriots across the border to visit homes unwillingly abandoned three decades earlier. It was a euphoric moment, and one that led to expectations of reunification. But within a year Greek Cypriots overwhelmingly rejected at referendum a United Nations plan to reunite the island, despite their Turkish compatriots' support for the plan. In The Past in Pieces, anthropologist Rebecca Bryant explores why the momentous event of the opening has not led Cyprus any closer to reunification, and indeed in many ways has driven the two communities of the island further apart. This chronicle of the "new Cyprus" tells the story of the opening through the voices and lives of the people of one town that has experienced conflict. Over the course of two years, Bryant studied a formerly mixed town in northern Cyprus in order to understand both experiences of life together before conflict and the ways in which the dissolution of that shared life is remembered today. Tales of violation and loss return from the past to shape meanings of the opening in daily life, redefining the ways in which Cypriots describe their own senses of belonging and expectations of the political future. By examining the ways the past is rewritten in the present, Bryant shows how even a momentous opening may lead not to reconciliation but instead to the discovery of new borders that may, in fact, be the real ones.