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Saboteurs: Wiebo Ludwig's war against big oil
Par Andrew Nikiforuk. 2002
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Prix littéraires (romans)Essais et documents primés, Ouvrages documentaires canadiens, Essais et documents généraux, Loi et crime, Crime véritable , Environnement
Audio avec voix humaine
Dutch-born Wiebo Ludwig, former leader of a Christian Reformed Church in Goderich, Ontario, and his entourage, which consisted of his…
ever-growing family and a few sympathizers, decamped for Alberta in 1985 and bought a place called Trickle Creek - in oil country. What ensued was a long, nasty, and often violent conflict between Ludwig and the oil and gas industry over its legal right to drill on private land, regardless of landowners' concerns over the contamination of air and water by the pollutants that spew out of the wells. Some strong language and descriptions of violence. Winner of the 2002 Governor General's Award for Non-fiction. 2002.Alcohol, Tobacco, and Firearms: Stories And Essays
Par Tim McLoughlin. 2022
Braille (abrégé), Braille électronique (abrégé), DAISY Audio (CD), DAISY Audio (Téléchargement Direct), DAISY Audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Littérature générale (romans), NouvellesLoi et crime, Crime véritable
Audio avec voix de synthèse, Braille automatisé
An enthralling collection of short fiction and nonfiction that draw upon McLoughlin's three-decade career in the criminal justice system. In…
Alcohol, Tobacco, and Firearms, Tim McLoughlin draws upon his three-decade career in the criminal justice system with his characteristic wit and his fascination with misfits and malfeasance. A lifetime immersed in New York City feeds short stories that evoke a landscape of characters rife with personal arrogance and misjudgment; and nonfiction essays about toeing the line when the line keeps disappearing. An opioid-addicted catsitter electronically eavesdrops on his neighbors only to hear devastating truths. A degenerate gambler stakes his life on a long shot because he sees three lucky numbers on the license plate of a passing car. In the nonfiction essays, we learn that the system plays a role in supporting vice, as long as it gets a cut. Altar boys compete to work weddings and funerals for tips in the shadow of predatory priests. Cops become robbers, and a mob boss just might be a civil rights icon. McLoughlin shines a light on worlds that few have access to. A recurring theme in his urban, often New York–centric work is chronic displacement, people standing still in a city that is always changing. These are McLoughlin’s ghosts, these casualties of progress, and he holds them dear and celebrates them.