Making A Real Killing

A chilling, fast-moving study of the nuclear weapons plant in the Denver suburbs, told through the experiences of managers, workers, activists, and neighbors who were all so deeply affected by the hazardous plant.

In the years between 1940 and 2000, the American Far West went from being a relative backwater of the United States to a considerably more developed, modern, and prosperous region—one capable of influencing not just the nation but the world. By the dawn of the twenty-first century, the population of the West had multiplied more than four times since 1940, and western states had transitioned from rural to urban, becoming the most urbanized section of the country. Massive investment, both private and public, in the western economy had produced regional prosperity, and the tourism industry had undergone massive expansion, altering the ways Americans identified with the West. In The Mobilized American West, 1940–2000, John M. Findlay presents a historical overview of the American West in its decades of modern development. During the years of U.S. mobilization for World War II and the Cold War, the West remained a significant, distinct region even as its development accelerated rapidly and, in many ways, it became better integrated into the rest of the country. By examining events and trends that occurred in the West, Findlay argues that a distinctive, region-wide political culture developed in the western states from a commitment to direct democracy, the role played by the federal government in owning and managing such a large amount of land, and the way different groups of westerners identified with and defined the region. While illustrating western distinctiveness, Findlay also aims to show how, in its sustaining mobilization for war, the region became tethered to the entire nation more than ever before, but on its own terms. Findlay presents an innovative approach to viewing the American West as a region distinctive of the United States, one that occasionally stood ahead of, at odds with, and even in defiance of the nation.

In 'Making a Killing', Ashcroft provides a first-hand view of the secret world of private security in Iraq where ex-soldiers employed to protect US and British interests can make up to $1000 a day. But he also reveals a new kind of warfare where the rules are still being written. Originally published: 2006.

Over 7,000 people have been legally executed in the United States this century, and over 3,000 men and women now sit on death rows across the country awaiting the same fate. Since the Supreme Court temporarily halted capital punishment in 1972, the death penalty has returned with a vengeance. Today there appears to be a widespread public consensus in favor of capital punishment and considerable political momentum to ensure that those sentenced to death are actually executed. Yet the death penalty remains troubling and controversial for many people. The Killing State: Capital Punishment in Law, Politics, and Culture explores what it means when the state kills and what it means for citizens to live in a killing state, helping us understand why America clings tenaciously to a punishment that has been abandoned by every other industrialized democracy. Edited by a leading figure in socio-legal studies, this book brings together the work of ten scholars, including recognized experts on the death penalty and noted scholars writing about it for the first time. Focused more on theory than on advocacy, these bracing essays open up new questions for scholars and citizens: What is the relationship of the death penalty to the maintenance of political sovereignty? In what ways does the death penalty resemble and enable other forms of law's violence? How is capital punishment portrayed in popular culture? How does capital punishment express the new politics of crime, organize positions in the "culture war," and affect the structure of American values? This book is a timely examination of a vitally important topic: the impact of state killing on our law, our politics, and our cultural life.

Johnny Liddell goes to the races -- and finds fast horses, crooked gamblers, and a very suspicious fire.

In the bitter cold of 1985, two buddies embark on a hunting trip from suburban Detroit to rural Michigan, unaware they would soon become the hunted. Darker than Night tells the chilling true story of the mystery that haunted a community and baffled the police for two decades. The eerie silence surrounding their sudden disappearance is broken after nearly two decades when a relentless investigator inspires a terrified witness to break her silence. The witness narrates a haunting scene that had unfolded years back, pointing fingers at the prime suspects–the Duvall brothers. With no bodies unearthed, the justice system is riveted by the startling revelations during an electrifying trial in 2003. The brothers, Raymond and Donald Duvall, had bragged about the murders, evocatively explaining how they dismembered their victims and fed them to pigs. Despite the shocking confession, the case holds its ground purely on a single witness's account, taking the courtroom through a labyrinth of dark secrets and sinister acts. This gripping thriller presents a vivid tale of crime that reveals the devastating power of evil.

'A terrifying story of profit before patients, and a chilling glimpse of what can happen when private companies are allowed to take charge of healthcare.' Gavin Francis Six decades ago, researchers achieved the impossible: developing a treatment that transformed kidney failure from a death sentence to a manageable condition. Yet, in the hands of a predatory medical industry, this triumph led to skyrocketing costs and worsening care. A gripping account of privatised healthcare gone wrong, How to Make a Killing recounts how the optimism of the 1950s and 1960s - when transplants and dialysis machines offered hope - gave way to anguished debates about the ethics of rationing and profiting from life-saving care, and how Big Dialysis proliferated at the expense of its patients. A triumph of investigative research, Tom Mueller's book features an unforgettable cast of characters: CEOs who dress as musketeers to exhort more aggressive profit-seeking, nephrologist insiders who reveal the substandard care this causes, and heroic patients who risk their lives to reveal the truth.

Children choose their heroes more carefully than we think. From Pokemon to the rapper Eminem, pop-culture icons are not simply commercial pied pipers who practice mass hypnosis on our youth. Indeed, argues the author of this lively and persuasive paean to the power of popular culture, even violent and trashy entertainment gives children something they need, something that can help both boys and girls develop in a healthy way. Drawing on a wealth of true stories, many gleaned from the fascinating workshops he conducts, and basing his claims on extensive research, including interviews with psychologists and educators, Gerard Jones explains why validating our children's fantasies teaches them to trust their own emotions, helps them build stronger selves, leaves them less at the mercy of the pop-culture industry, and strengthens parent-child bonds. Jones has written for the Spider-Man, Superman, and X-Men comic books and created the Haunted Man series for the Web. He has also explored the cultural meanings of comic books and sitcoms in two well-received books. In Killing Monsters he presents a fresh look at children's fantasies, the entertainment industry, and violence in the modern imagination. This reassuring book, as entertaining as it is provocative, offers all of us-parents, teachers, policymakers, media critics-new ways to understand the challenges and rewards of explosive material. News From Killing Monsters: Packing a toy gun can be good for your son-or daughter. Contrary to public opinion, research shows that make-believe violence actually helps kids cope with fears. Explosive entertainment should be a family affair. Scary TV shows can have a bad effect when children have no chance to discuss them openly with adults. It's crucial to trust kids' desires. What excites them is usually a sign of what they need emotionally. Violent fantasy is one of the best ways for kids to deal with the violence they see in real life.