A Cruise In An Opium Clipper By Captain Lindsay Anderson

An EXACT reproduction from the original book A CRUISE IN AN OPIUM CLIPPER by Captain Lindsay Anderson first published in 1891. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Excerpt from A Cruise in an Opium Clipper The Opium trade, and there is the vessel, pointing towards a moderately sized, trim-looking schooner lying at anchor in the river not far from where we were standing. She looked a perfect beauty as she lay there, with her boarding nettings triced up all round her, and her guns run out and shining in the rays of the sun, so brightly were they polished. Her booms were also swung out for the various boats to hang on to, for there was more room in the river then, than there is now. I doubt much if the increased traffic would admit of vessels having boat booms swung out nowadays. I had heard a good deal about this opium trade, one way and another. Some condemned it, while others laughed at their conscientious scruples. I was young and eager for adventures out of the ordinary way of a seafaring life, so I replied to my questioner that I. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Inaugurated in 1984, America's "War on Drugs" is just the most recent skirmish in a standoff between global drug trafficking and state power. From Britain's nineteenth-century Opium Wars in China to the activities of Colombia's drug cartels and their suppression by U.S.-backed military forces today, conflicts over narcotics have justified imperial expansion, global capitalism, and state violence, even as they have also fueled the movement of goods and labor around the world. In Drug Wars, cultural critic Curtis Marez examines two hundred years of writings, graphic works, films, and music that both demonize and celebrate the commerce in cocaine, marijuana, and opium, providing a bold interdisciplinary exploration of drugs in the popular imagination. Ranging from the writings of Sigmund Freud to pro-drug lord Mexican popular music, gangsta rap, and Brian De Palma's 1983 epic Scarface, Drug Wars moves from the representations and realities of the Opium Wars to the long history of drug and immigration enforcement on the U.S.-Mexican border, and to cocaine use and interdiction in South America, Middle Europe, and among American Indians. Throughout Marez juxtaposes official drug policy and propaganda with subversive images that challenge and sometimes even taunt government and legal efforts. As Marez shows, despite the state's best efforts to use the media to obscure the hypocrisies and failures of its drug policies-be they lurid descriptions of Chinese opium dens in the English popular press or Nancy Reagan's "Just Say No" campaign-marginalized groups have consistently opposed the expansion of state power that drug traffic has historically supported. Curtis Marez is assistant professorof critical studies at the University of Southern California School of Cinema-Television.

Historians of piracy examine piracy in the Caribbean and Atlantic, the Mediterranean, and East Asia, asking whether pirates were outlaws or counterculture social bandits. They demonstrate that pirate ships were often microcosms of democracy, and that crews of pirate vessels knew that majority rule, racial equality, and equitable division of spoils were crucial for their survival. The book includes bandw historical illustrations. Pennell teaches Middle Eastern history at the University of Melbourne. c. Book News Inc.