Provides eyewitness accounts and personal stories demonstrating how nurses turn the awesome into the routine. Chambliss shows how patients-- many weak and helpless--too often become objects of the bureaucratic machinery of the health care system, and how ethics decisions--once the dilemmas of troubled individuals--become the setting for political turf battles between occupational interest groups. The result is a combination of realism with a theoretical argument about moral life in large organizations. --From publisher description.

Paul Graham's Beyond Caring published in 1986 is now considered one of the key works from Britain's wave of "New Color" photography that was gaining momentum in the 1980s. While commissioned to present his view of "Britain in 1984," Graham turned his attention towards the waiting rooms, queues and poor conditions of overburdened Social Security and Unemployment offices across the United Kingdom. Photographing surreptitiously, his camera is both witness and protagonist within a bureaucratic system that speaks to the humiliation and indignity aimed towards the most vulnerable end of society. Books on Books #9 presents every page spread of Graham's controversial book along with a contemporary essay by writer and curator David Chandler.--Publisher.

Vividly documenting the real world of the contemporary hospital, its nurses, and their moral and ethical crises, Dan Chambliss offers a sobering revelation of the forces shaping moral decisions in our hospitals. Based on more than ten years' field research, Beyond Caring is filled with eyewitness accounts and personal stories demonstrating how nurses turn the awesome into the routine. It shows how patients, many weak and helpless, too often become objects of the bureaucratic machinery of the health care system and how ethics decisions, once the dilemmas of troubled individuals, become the setting for political turf battles between occupational interest groups. The result is a compelling combination of realism and a powerful theoretical argument about moral life in large organizations.

I'm a hard worker. I don't push him to the . . . You know I don't go out for breaks when I'm not supposed to. I don't stay in the loo when I'm not supposed to. If I was that kind of person I could have him done for discrimination . . . I just get on with things you know. Four people arrive to work the night shift in a meat factory. They meet for the first time. They are employed as cleaners by a temp agency. They are all on zero-hours contracts. Every shift, they clean. Every four hours, they take a break. They drink tea or coffee together. They read magazines. They chat. As it gets light, they go home or to another job. The cycle goes on. And on. Strangers. Until something stirs, until isolated people get too close to one another, too fast. Alexander Zeldin's brutally honest and darkly humorous play, written through devising with the ensemble of the premiere production, exposes stories of an invisible class. It received its world premiere at The Yard on 1 July 2014 and transferred to the National Theatre's Temporary Theatre on 28 April 2015.

I'm a hard worker. I don't push him to the . . . You know I don't go out for breaks when I'm not supposed to. I don't stay in the loo when I'm not supposed to. If I was that kind of person I could have him done for discrimination . . . I just get on with things you know. Four people arrive to work the night shift in a meat factory. They meet for the first time. They are employed as cleaners by a temp agency. They are all on zero-hours contracts. Every shift, they clean. Every four hours, they take a break. They drink tea or coffee together. They read magazines. They chat. As it gets light, they go home or to another job. The cycle goes on. And on. Strangers. Until something stirs, until isolated people get too close to one another, too fast. Alexander Zeldin's brutally honest and darkly humorous play, written through devising with the ensemble of the premiere production, exposes stories of an invisible class. It received its world premiere at The Yard on 1 July 2014 and transferred to the National Theatre's Temporary Theatre on 28 April 2015.

At a lush villa on the sun-soaked island of Madeira, Martin Radford is given a second chance. His life ruined by scandal, Martin holds in his hands the leather-bound journal of another ruined man, former British cabinet minister Edwin Strafford. What’s more, Martin is being offered a job—to return to England and investigate the rise and fall of Strafford, an ambitious young politician whose downfall, in 1910, is as mysterious as the strange deaths that still haunt his family. Martin is intrigued by Strafford’s story, by the man’s overwhelming love for a beautiful suffragette, by her inexplicable rejection of him and their love affair’s political repercussions. But as he retraces Strafford’s ruination, Martin realizes that Strafford did not fall by chance; he was pushed. Suddenly Martin, who has not cared for many people in his life, cares desperately—about a man’s mysterious death and a family’s terrible secret, about a love beyond reckoning and betrayal beyond imagining. Most of all Martin cares because the story he is uncovering is not yet over—and among the men and women still caught in its web, Martin himself may be the most vulnerable of all….

Suggests child-rearing techniques that can reduce or prevent sibling conflicts, and offers tips on how to eliminate stress among children.