Paul Farmer brings his considerable intellect, empathy, and expertise to bear in this powerful and deeply researched account of the Ebola outbreak that struck West Africa in 2014. It is hard to imagine a more timely or important book. --Bill and Melinda Gates
[The] history is as powerfully conveyed as it is tragic . . . Illuminating . . . Invaluable. --Steven Johnson, The New York Times Book Review
The Uses of Haiti tells the truth about uncomfortable matters--uncomfortable, that is, for the structures of power and the doctrinal framework that protects them from scrutiny. It tells the truth about what has been happening in Haiti, and the US role in its bitter fate.--Noam Chomsky, from the introduction
In this third edition of the classic The Uses of Haiti, Paul Farmer looks at what has happened to the health of the poor in Haiti since the coup.
Winner of a McArthur Genius Award, Paul Farmer is a physician and anthropologist who has worked for 25 years in Haiti, where he serves as medical director of a hospital serving the rural poor. He is the subject of the Tracy Kidder biography, Mountains Beyond Mountains.
As a child of the 70's...
...Nick loved Jailhouse Rock.
What if Elvis hadn't died?
It's 2010, he's in his forties and Nick is throwing everything he had into his new app. An adventure game where the player can use time travel to try to change history and he's sure it will be a hit. As he loads in important dates in history, something unexpected happens.
He's gone back in time.
August 13, 1977, Memphis, Tennessee, not far from Graceland, Nick tries to come to grips with the impossible. Maybe he has been working too hard and it's a dream? Can it be real?
It didn't matter.
Nick knew he had just three days to save the King.
What's his first move?
You'll love this time-travel thriller because Paul Farmer gives us the perfect mix of tension, humor, and twists to keep you turning the pages.
Get it now.
In this rich memoir, the first of two volumes, Paul Farmer traces the story of A39, the Cornish political theatre group he co-founded and ran from the mid-1980s to the early 1990s. Farmer offers a unique insight into A39's creation, operation, and artistic practice during a period of convulsive political and social change.
The reader is plunged into the national miners' strike and the collapse of Cornish tin mining, the impact of Thatcherism and 'Reaganomics', and the experience of touring Germany on the brink of reunification, alongside the influence on A39 of writers Bertolt Brecht, John McGrath and Keith Johnstone. Farmer, a former bus driver turned artistic director, details the theatre group's inception and development as it fought to break down social barriers, attract audiences, and survive with little more than a beaten-up Renault 12, a photocopier and two second-hand stage lights at its disposal: the book traces the progress from these raw materials to the development of an integrated community theatre practice for Cornwall.
Farmer's candour and humour enliven this unique insight into 1980s theatre and politics. It will appeal to anyone with an interest in theatre history, life in Cornwall, and the relationship between performance and society during a turbulent era.
In this rich memoir, the first of two volumes, Paul Farmer traces the story of A39, the Cornish political theatre group he co-founded and ran from the mid-1980s to the early 1990s. Farmer offers a unique insight into A39's creation, operation, and artistic practice during a period of convulsive political and social change.
The reader is plunged into the national miners' strike and the collapse of Cornish tin mining, the impact of Thatcherism and 'Reaganomics', and the experience of touring Germany on the brink of reunification, alongside the influence on A39 of writers Bertolt Brecht, John McGrath and Keith Johnstone. Farmer, a former bus driver turned artistic director, details the theatre group's inception and development as it fought to break down social barriers, attract audiences, and survive with little more than a beaten-up Renault 12, a photocopier and two second-hand stage lights at its disposal: the book traces the progress from these raw materials to the development of an integrated community theatre practice for Cornwall.
Farmer's candour and humour enliven this unique insight into 1980s theatre and politics. It will appeal to anyone with an interest in theatre history, life in Cornwall, and the relationship between performance and society during a turbulent era.