Based on an actual wildcat strike that occured in 1979, There Ain’t No Justice, Just Us tells the story of a middle-aged college professor, and former seventies radical, who finds himself caught in the web of a mid-life crisis and a decaying marriage. In his search for a more authentic identity, he winds up leading a wildcat strike in a gritty South Chicago factory. Along the way he encounters a variety of leftists and African-American and Mexican industrial workers who lead genuine, if impoverished, lives. The wildcat strike becomes the psychological gauntlet through which the characters must pass to achieve personal integration. The professor’s quest for internal wholeness leads to a love affair with a radical feminist attorney and activist. In the end, the professor must choose between authenticity and love, or continuing his sedate, middle-class life. Ancillary characters, including Cecelia Sanchez, a Mexican-American college student, find themselves drawing psychological strength from the unfolding battle and engaging in their own liberation struggles—in her case, trying to find the inner spirit to move out on her own, away from her patriarchal family.

Selected and edited by the award-winning American playwright Reginald Edmund, who produced Black Lives, Black Words across the US, which premiered in Chicago, July 2015. The international project has explored the black diaspora’s experiences in some of the largest multicultural cities in the world, Chicago, Minneapolis, Cleveland, Toronto and London. Over sixty Black writers from the UK, USA, and Canada have each written a short play to address Black issues today. "I started Black Lives, Black Words because I felt there needed to be an opportunity for me as a playwright to speak out against the sins committed in this world inflicted upon black bodies: Michael Brown, Trayvon Martin, Rekia Boyd, Sandra Bland, Tamir Rice, and the countless many others. This in turn caused me to wonder what other artists were out there that possess this overwhelming desire to speak out for the unheard voices. Companies in Minneapolis with Guthrie Theatre, Carlyle Brown and Company, Bedlam Theatre, Freestyle Theatre, the Million Artist Movement, in Maryland – Columbia Arts Festival, Chicago – Polarity Ensemble Theatre, Toronto – Obsidian Theatre, Buddies and Bad Times Theatre, and the National Arts Centre, along with many others joined us and now, two years later we have given voice to over sixty Black Playwrights and over a hundred performers. From city to city, Black Lives, Black Words has remained an event that is accessible and affordable to all. Embraced by a wide range of different theatres that vary in capacity, playing to houses from 70 to 300 audience members. Selling out in every venue. I collected these works showcased at BLBW events from all over in hopes that the narratives that have been placed in here speaks to the Black Struggle, Black Achievement, Black Love, Black Aspirations, Black Hopes, Black Dreams, BLACK EVERYTHING. I hope that the narratives amplify the importance of the Black Lives Matter Movement, that these plays find themselves in theatres both community and regional, in classrooms and libraries, church houses, and communal gathering serving as a rallying cry for those that are artists and even those who are not that OUR BLACK LIVES MATTER, individually, globally, and spiritually." - Reginald Edmund, Managing Curating Producer, Black Lives, Black Words Featured in this collection are: Reginald Edmund, Idris Goodwin, James Austin Williams, Rachel Dubose, Becca C. Browne, Marsha Estell, Aaron Holland, Loy A. Webb, Lisa Langford, Christina Ham, Harrison David Rivers, Dominique Morisseau, Winsome Pinnock, Trish Cooke, Mojisola Adebayo, Rachel De-Lahay, Max Kolaru, Yolanda Mercy, Somalia Seaton, Courttia Newland, Luke Reece, Tawiah BenEben M’Carthy, Jordan Laffrenier, Meghan Swaby, Mary Ann Anane, Allie Woodson, Elliot Sagay, Amira Danan, Cat Davidson, Noelle Fourte, Kori Alston

Gee Brooks is a young, idealistic probation officer in Maryland who wants to make a difference. She's one of the few officers who doesn't think a new case is a new burden. Gee believes most offenders have positive attributes, but she is caught in a criminal justice system that tries to catch offenders failing and then send them back to prison. Harsh punishment for offenders is the norm-the accepted culture. A tragic event with a parolee under her supervision propels Gee to confront both the system and the emotional scars buried within her. Enraged by the external tragedy, she erupts into an abrasive public confrontation with a powerful state parole commissioner. Gee and her officer friends-Huggie, Pepe, and Hattie-known as the Cuatro Amigos, spontaneously forge an unstoppable grassroots uprising. The humanistic revolution, as it's sarcastically referred to by the press, is on. The Cuatro Amigos hope to survive the punishment that managers and state officials have planned for them long enough to gain the support of the community. A story of friendship, healing, and leaning into conflict, Justice...Is Just Us demonstrates the power of support in changing behavior-from the mighty to the meek.

“Luminous... a beautiful book.” – Carolyn See For Vietnam veteran Jesse Pasadoble, now a defense attorney living in San Francisco, the battle still rages: in his memories, in the gang wars erupting on Potrero Hill, and in the recent slaying of two women: one black, one Vietnamese. While seeking justice for the young man accused of this brutal double murder, Jesse must walk with the ghosts of men who died on another hill... men who were his comrades and friends in a war that crossed racial divides. Gods Go Begging is a new classic of Latino literature, a literary detective novel that moves seamlessly between the jungles of Vietnam and the streets of modern day San Francisco. Described as “John Steinbeck crossed with Gabriel García Márquez”, Véa weaves a powerful and cathartic story of war and peace, guilt and innocence, suffering and love - and of one man’s climb toward salvation.

Ryder Challenges Readers to Enjoy a Twist of Meno's Paradox. Ryder places the inaccuracies of words into Meno's terms. How can you use words to express, when we have different points of reference to establish from?

I LOST MY HEART IN HOLLYWOOD chronicles the strangest case yet in the so-called career of Vic Valentine, Private Eye, as an unlikely tryst with the B movie scream queen of his dreams, Velma Vale, leads him down a dark, twisted path of paranoia, voyeurism, degradation and death. The bizarre action heats up even as his burning loneliness and simmering sexual obsessions flare at the forefront of his tormented consciousness, with caution and common sense cooling idly on the back burner. Plus! DIARY OF A DICK tells further tantalizing tales of Vic chasing tail while allegedly on the trail of True Love, all the way to New Orleans and back again, as the femme fatales of his past and present suddenly converge with prurient promises of promiscuity. As always, strings are attached to these erotic escapades, but the ties that bind begin rapidly unraveling, and Vic is left hanging by a thread like a doomed puppet. The mysteries of love have never been more elusive.

For some legal philosophers, if a law is procedurally correct, enacted in ways constitutionally recognised and agreed upon, then the content is of no significance. It is a “good” law, no matter what it does or justifies. The question of one's consent or opposition to any particular law is extraneous to the legality and is regarded merely as a political matter. The assumption is that a certain procedure and logic in law creation has taken place, and the law can be altered by a change in political leaders in a subsequent political election. However, this view and assumption obscure an uncomfortable fact. Some laws can be “bad” or “immoral.” Critical legal theory suggests that there are often two (or more) sets of laws, and it makes no difference if Lady Justice is blindfolded or not. Laws change in the process of history, in part, because societal norms change. As common understandings of morality evolve, law adapts itself to the new moral environment. Norms can change slowly or rapidly, even within a lifetime. This book examines both social and legal norms and theories of how they are both created. Christine M. Hassenstab investigates how laws on sterilization, birth control and abortion were created, by focusing on the act of legislation; how the law was driven by scientific and social norms during the first and closing decades of the 20th century in the USA (especially in the state of Indiana) and Norway. The primary focus of Body Law and the Body of Law is the sociology of law and how and why the law changes. The author develops the notion “body law” for reproductive policies and uses sociological theories to untie the various strands of social history and legal history and looks at two cases of legislation. The book is divided in to two main sections. The first examines eugenic laws in the USA state of Indiana and Norway during the first decades of 20th century. The second part is about the birth control and abortion debate in both countries throughout the late 1960s and 1970s. Christine M. Hassenstab is a lawyer and sociologist. She served as a criminal defense attorney for 15 years (1987—2001) in Seattle, Washington. Currently, she is an adviser in the EU Grants Office at the Norwegian University of Science and Technology in Trondheim, Norway.