Few people who have been slave to an addiction as vicious, as destructive, and as unrelenting as Colin Broderick's have lived to tell their tale. Fewer still have emerged from the darkest depths of alcoholism—from the perpetual fistfights and muggings, car crashes and blackouts—to tell the harrowing truth about the modern Irish immigrant experience. Orangutan is the story of a generation of young men and women in search of identity in a foreign land, both in love with and at odds with the country they've made their home. So much more than just another memoir about battling addiction, Orangutan is an odyssey across the unforgiving terrain of 1980s, '90s, and post-9/11 America. Whether he is languishing in the boozy squalor of the Bronx, coke-fueled and manic in the streets of Manhattan, chasing Hunter S. Thompson's American Dream from San Francisco to the desert, or turning the South into his beer-soaked playground, Broderick plainly and unflinchingly charts what it means to be Irish in America, and how the grips of heritage can destroy a man's soul. But brutal though Orangutan may be, it is ultimately a story of hope and redemption—it is the story of an Irish drunk unlike any you've met before.
A brutally honest and deeply affecting memoir about growing up in the countryside in rebel country in Northern Ireland. Colin Broderick was born in 1968 and spent his childhood in Tyrone county, in Northern Ireland. It was the beginning of the period of heightened tension and violence known as the Troubles, and Colin's Catholic family lived in the heart of rebel country. The community was filled with Provisional IRA members whose lives depended on the silence and complicity of their neighbors. At times, that made for a confusing childhood. We watch as he and his brothers play ball with the neighbor children over a fence for years, but are never allowed to play together because it is forbidden. We see him struggle to understand why young men from his community often just disappear. And we feel his confusion when he is held at gunpoint at various military checkpoints in the North. But even when Colin does ask his parents about these events, he never receives a clear explanation. Desperate to protect her children, Colin's mother tries to prevent exposure to or knowledge of the harm that surrounds them. Spoken with stern finality, "That's that" became the refrain of Colin's childhood. The first book to paint a detailed depiction of Northern Ireland's Troubles is presented against a personal backdrop and is told in the wry, memorable voice of a man who's finally come to terms with his past.
23 of today's top Irish-American authors provide personal accounts of how they found their voices in the Big Apple, and editor Colin Broderick provides background essays on Brendan Behan, Maeve Brennan, Frank McCourt, and other Irish-American writers of the past.
A brutally honest and deeply affecting memoir about growing up in the countryside in rebel country in Northern Ireland. Colin Broderick was born in 1968 and spent his childhood in Tyrone county, in Northern Ireland. It was the beginning of the period of heightened tension and violence known as the Troubles, and Colin's Catholic family lived in the heart of rebel country. The community was filled with Provisional IRA members whose lives depended on the silence and complicity of their neighbors. At times, that made for a confusing childhood. We watch as he and his brothers play ball with the neighbor children over a fence for years, but are never allowed to play together because it is forbidden. We see him struggle to understand why young men from his community often just disappear. And we feel his confusion when he is held at gunpoint at various military checkpoints in the North. But even when Colin does ask his parents about these events, he never receives a clear explanation. Desperate to protect her children, Colin's mother tries to prevent exposure to or knowledge of the harm that surrounds them. Spoken with stern finality, "That's that" became the refrain of Colin's childhood. The first book to paint a detailed depiction of Northern Ireland's Troubles is presented against a personal backdrop and is told in the wry, memorable voice of a man who's finally come to terms with his past.
Few people who have been slave to an addiction as vicious, as destructive, and as unrelenting as Colin Broderick's have lived to tell their tale. Fewer still have emerged from the darkest depths of alcoholism—from the perpetual fistfights and muggings, car crashes and blackouts—to tell the harrowing truth about the modern Irish immigrant experience. Orangutan is the story of a generation of young men and women in search of identity in a foreign land, both in love with and at odds with the country they've made their home. So much more than just another memoir about battling addiction, Orangutan is an odyssey across the unforgiving terrain of 1980s, '90s, and post-9/11 America. Whether he is languishing in the boozy squalor of the Bronx, coke-fueled and manic in the streets of Manhattan, chasing Hunter S. Thompson's American Dream from San Francisco to the desert, or turning the South into his beer-soaked playground, Broderick plainly and unflinchingly charts what it means to be Irish in America, and how the grips of heritage can destroy a man's soul. But brutal though Orangutan may be, it is ultimately a story of hope and redemption—it is the story of an Irish drunk unlike any you've met before.
This is a study of the longer-term transitions of young people living in neighbourhoods beset by the worst problems of social exclusion. Based on a rare example of longitudinal, qualitative research with 'hard-to-reach' young adults, the study throws into question common approaches to tackling social exclusion. Free PDF available at www.jrf.org.uk
The dawning era of nanotechnology promises to transform life as we know it. Visionary scientists are engineering materials and devices at the molecular scale that will forever alter the way we think about our technologies, our societies, our bodies, and even reality itself. Colin Milburn argues that the rise of nanotechnology involves a way of seeing that he calls “nanovision.” Trekking across the technoscapes and the dreamscapes of nanotechnology, he elaborates a theory of nanovision, demonstrating that nanotechnology has depended throughout its history on a symbiotic relationship with science fiction. Nanotechnology’s scientific theories, laboratory instruments, and research programs are inextricable from speculative visions, hyperbolic rhetoric, and fictional narratives. Milburn illuminates the practices of nanotechnology by examining an enormous range of cultural artifacts, including scientific research articles, engineering textbooks, laboratory images, popular science writings, novels, comic books, and blockbuster films. In so doing, he reveals connections between the technologies of visualization that have helped inaugurate nano research, such as the scanning tunneling microscope, and the prescient writings of Robert A. Heinlein, James Blish, and Theodore Sturgeon. He delves into fictive and scientific representations of “gray goo,” the nightmare scenario in which autonomous nanobots rise up in rebellion and wreak havoc on the world. He shows that nanoscience and “splatterpunk” novels share a violent aesthetic of disintegration: the biological body is breached and torn asunder only to be refabricated as an assemblage of self-organizing machines. Whether in high-tech laboratories or science fiction stories, nanovision deconstructs the human subject and galvanizes the invention of a posthuman future.
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