Search results for ""Author Paul Carter""

A take-no-prisoners approach to life has seen Paul Carter heading to some of the world's most remote, wild and dangerous places as a contractor in the oil business. Amazingly, he's survived (so far) to tell these stories from the edge of civilization. He has been shot at, hijacked and held hostage; almost died of dysentery in Asia and toothache in Russia; watched a Texan lose his mind in the jungles of Asia; lost a lot of money backing a scorpion against a mouse in a fight to the death, and been served cocktails by an orangutan on an ocean freighter. And that's just his day job. Taking postings in some of the world's wildest and most remote regions, not to mention some of the roughest rigs on the planet, Paul has worked, got into trouble, and been given serious talkings to, in locations as far-flung as the North Sea, Middle East, Borneo and Tunisia, as exotic as Sumatra, Vietnam and Thailand, and as flat-out dangerous as Columbia, Nigeria and Russia, with some of the maddest, baddest and strangest people you could ever hope not to meet.

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Oi, mate, is that monstrosity diesel? From the author of the bestsellers Don't Tell Mum I Work on the Rigs, She Thinks I'm a Piano Player in a Whorehouse and This Is Not a Drill, this is the eagerly awaited next installment of Paul Carter's rollicking life.Take one mad adventurer and a motorbike that runs on bio fuel (cooking oil i.e. chip fat to you and me) and send them with one filmmaker on a road trip around Australia just to see what happens. What you get is a story full of outback characters, implausible (but true) situations, unlikely events and unfortunate breakdowns, all at a break neck pace. Never one to sit still for long, this is what Paul Carter did next.Whether you've been shocked, delighted, entertained, horrified - or all of the above - by Paul's stories whether from oil rigs or the road one thing is for sure, they are always high octane adventures.

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The outrageous sequel to Don't Tell Mum I Work on the Rigs (She Thinks I'm a Piano Player in a Whorehouse) brings more great stories from the far side of civilization - hilarious, full of humour, colourful characters and dramatic action! Just another glorious day in the oilfield for Paul Carter! He's stuck in the middle of the Russian sea on a rig staffed by a crew from Azerbaijan. The choppers are older than him and can only fly by line of sight, turning back regularly due to the weather which gets particuarly interesting when they are past the point of no return with half there fuel gone and they are committed to finding the rig in a fog that's thicker than a Big Brother housemate. The closest thing to a hotel for miles around is the Asylum, a former soviet mental institution that now houses offshore personnel en-route to the rig, where his room mates are Vodka Bob - who drinks Guinness for breakfast when he's not on the rig - Sick Boy, who snores like a pit bull being hot-waxed and Sealbasher. In his inimitable style Paul Carter regales us with his colourful adventures from the front line of thee oil industry and the far side of civilization!

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In this remarkable and often dazzling book, Paul Carter explores the conditions for sociability in a globalized future. He argues that we make many assumptions about communication but overlook barriers to understanding between strangers as well as the importance of improvisation in overcoming these obstacles to meeting. While disciplines such as sociology, legal studies, psychology, political theory, and even urban planning treat meeting as a good in its own right, they fail to provide a model of what makes meeting possible and worth pursuing: a yearning for encounter.The volume’s central narrative—between Northern cultural philosophers and Australian societies—traverses the troubled history of misinterpretation that is characteristic of colonial cross-cultural encounter. As he brings the literature of Indigenous and non-Indigenous anthropological research into dialogue with Western approaches of conceptualizing sociability, Carter makes a startling discovery: that meeting may not be desirable and, if it is, its primary objective may be to negotiate a future of non-meeting. To explain the phenomenon of encounter, Carter performs it in differing scales, spaces, languages, tropes, and forms of knowledge, staging in the very language of the book what he calls “passages.” In widely varying contexts, these passages posit the disjunction of Greco-Roman and Indigenous languages, codes, theatrics of power, social systems, and visions of community. In an era of new forms of technosocialization, Carter offers novel ways of presenting the philosophical dimensions of waiting, meeting, and non-meeting.

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ATTEMPTING 300KPH on an untested experimental motorcycle could be considered a perfect way to kill yourself, but Paul Carter is still, well, PAUL CARTER and danger at high speed is his second name. Whether discovering that being dyslexic means delivering your lines to camera back to front in the midst of filming a TV series, or starting a new business and travelling the world, or dealing with life's more sober moments like the birth of a son or the loss of a father, Paul Carter is still the funniest man in the bar and the nicest 'alpha male' you'll ever meet as he risks all for the sake of a cracking yarn. SO STRAP YOURSELF IN and HOLD ON TIGHT for his FOURTH BOOK - we just have to hope that he won't be institutionalised before completing his fifth!

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Highly illustrated, with images drawn from a wide range of cultures, historical periods and media, Paul Carter's "Parrot" is a roller-coaster ride through parrots in literature, jokes, folklore, mythology, film, TV and children's stories worldwide, as well as an examination of parrot conservation, talking bird experiments and parrot portraiture. Parrot is a fascinating natural and cultural history. The book covers three broad areas: Parrotics' the historical, cultural and scientific classifications of parrots; Parroternalia' the association of parrots with the different languages, ages, tastes and dreams of society; and Parrotology' the mimicry of parrots and what that can tell us about our own systems of communication. This book differs from previous histories, which have treated parrots as subjects of curiosity and a pretext for elegy. A new kind of animal history, Parrot is philosophical and poetic: it takes seriously the critical and ironic mirror that parrots hold up to human society. Humorously written and wide-ranging in scope, Parrot will have broad appeal, and will be of interest to parrot enthusiasts and specialists, as well as a general readership.

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Modern biographies of Richard Nixon have been consumed with Watergate. All have missed arguably the most important perspective on Nixon as California’s native son, the only U.S. president born and raised in California. In addition, Nixon was also a son, brother, friend, husband, father, uncle, and grandfather. By shifting the focus from Watergate and Washington to Nixon’s deep, defining roots in California, Paul Carter boldly challenges common conceptions of the thirty-seventh president of the United States. More biographies have been written on Nixon than any other U.S. politician. Yet the territory traversed by Carter is unexplored, revealing for the first time the people, places, and experiences that shaped Richard Nixon and the qualities that garnered him respect from those who knew him well. Born in Yorba Linda and raised in Whittier, California, Nixon succeeded early in life, excelling in academics while enjoying athletics through high school. At Whittier College he graduated at the top of his class and was voted Best Man on Campus. During his career at Whittier’s oldest law firm, he was respected professionally and became a chief trial attorney. As a military man in the South Pacific during World War II, he was admired by his fellow servicemen. Returning to his Quaker roots after the war, he was elected to the U.S. House of Representatives, the Senate, and the vice presidency, all within six short years. After losing to John Kennedy in the 1960 presidential campaign, Nixon returned to Southern California to practice law. After losing his gubernatorial race he reinvented himself: he moved to New York and was elected president of the United States in 1968. He returned to Southern California after Watergate and his resignation to heal before once again taking a place on the world stage.Richard Nixon: California’s Native Son is the story of Nixon’s Southern California journey from his birth in Yorba Linda to his final resting place just a few yards from the home in which he was born.

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Generating a new understanding of the past--as well as a vision for the future--this path-breaking volume contains essays written by playwrights, scholars, and critics that analyze African American theatre as it is practiced today. Even as they acknowledge that Black experience is not monolithic, these contributors argue provocatively and persuasively for a Black consciousness that creates a culturally specific theatre. This theatre, rooted in an African mythos, offers ritual rather than realism; it transcends the specifics of social relations, reaching toward revelation. The ritual performance that is intrinsic to Black theatre renews the community; in Paul Carter Harrison's words, it "reveals the Form of Things Unknown" in a way that "binds, cleanses, and heals." Author note: Paul Carter Harrison is playwright in residence at the Theatre Center, Columbia College, Chicago. He is the author of several books including, The Drama of Nommo and the editor of several play anthologies. His play, The Great MacDaddy, received an Obie Award for playwriting. Victor Leo Walker is Chief Executive Officer of the African Grove Institute for the Arts, Inc. and the author of The Cultural MatriX: Los Angeles Inner City Cultural Center, 1965 to 1998 (forthcoming). Gus Edwards teaches Film Studies and directs a multi-ethnic theatre program at Arizona State University. He has published two volumes of monologues from his plays including The Offering, Black Body Blues, and Louie & Ophelia. He is coeditor with Paul Carter Harrison of the anthology, Classic Plays from the Negro Ensemble Company.

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Few subjects in European welfare history attract as much attention as the nineteenth-century English and Welsh New Poor Law. Its founding statute was considered the single most important piece of social legislation ever enacted, and at the same time, the coming of its institutions – from penny-pinching Boards of Guardians to the dreaded workhouse – has generally been viewed as a catastrophe for ordinary working people. Until now it has been impossible to know how the poor themselves felt about the New Poor Law and its measures, how they negotiated its terms, and how their interactions with the local and national state shifted and changed across the nineteenth century. In Their Own Write exposes this hidden history. Based on an unparalleled collection of first-hand testimony – pauper letters and witness statements interwoven with letters to newspapers and correspondence from poor law officials and advocates – the book reveals lives marked by hardship, deprivation, bureaucratic intransigence, parsimonious officialdom, and sometimes institutional cruelty, while also challenging the dominant view that the poor were powerless and lacked agency in these interactions. The testimonies collected in these pages clearly demonstrate that both the poor and their advocates were adept at navigating the new bureaucracy, holding local and national officials to account, and influencing the outcomes of relief negotiations for themselves and their communities. Fascinating and compelling, the stories presented in In Their Own Write amount to nothing less than a new history of welfare from below.

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