Ex-policeman Joe Cassidy investigates the gruesome killing of a young woman, but will he learn things about those closest to him that he would rather not know? Since a tragic case went horribly wrong on his watch, Joe Cassidy has left the police force and separated from his wife. Living in a dilapidated shack on a Kent beach, Joe takes on occasional work as a private investigator. When the daughter of a wealthy zoo owner is murdered a long-owed debt is called on and Joe agrees to help solve the crime - much to the chagrin of his estranged wife who happens to be the senior investigating police officer working the case. Things become further complicated and both are conflicted when their son falls under suspicion. As Joe learns about the victim's family and unearths clues about a legacy of secrets, he must use all of his insight and experience to prevent further deaths occurring. Can the behaviour of the animals he observes offer a clue to the identity of the murderer? Perfect for fans of Peter May, Tim Weaver and Joy Ellis. Praise for Simon Booker ‘Simon Booker’s fast paced, twisting thrillers are a must-read for anyone who loves a good page turner’ Simon Kernick ‘Val McDermid meets Stephen King’ Hadley Freeman ‘First book I’ve read by this author but it won’t be the last!’ Reader review ‘Compelling and well-plotted’ Reader review of Animal Instinct
Butley 'What is so wondrous about a play so basically defeatist and hurtful is its ability to be funny. The stark, unsentimental approach to the homosexual relationship, the cynical send-up of academic life, the skeptical view of the teacher-pupil associations are all stunningly illuminated by continuous explosions of sardonic, needling, feline, vituperative and civilised lines.' Evening Standard
This book works with two contrasting imaginings of 1960s London: the one of the excess and comic vacuousness of Swinging London, the other of the radical and experimental cultural politics generated by the city's counterculture. The connections between these two scenes are mapped looking firstly at the spectacular events that shaped post-war London, then at the modernist physical and social reconstruction of the city alongside artistic experiments such as Pop and Op Art. Making extensive use of London's underground press the book then explores the replacement of this seemingly materialistic image with the counterculture of underground London from the mid-1960s. Swinging City develops the argument that these disparate threads cohere around a shared cosmology associated with a new understanding of nature which differently positioned humanity and technology. The book tracks a moment in the historical geography of London during which the city asserts itself as a post-imperial global city. Swinging London it argues, emerged as the product of this recapitalisation, by absorbing avant-garde developments from the provinces and a range of transnational, mainly transatlantic, influences.
A thrilling, unputdownable debut, with extraordinary twists and incredible action, from an incredible new voice in children's fiction. I can steal time. The most I can take at the moment is fifteen seconds, which is not a lot. Grandmother took almost three minutes once and she told me she's done more, but I never saw it. She says there are stories of someone who can take all the time in the world, but how can that be right? When Alex and his father are forced to flee their home to escape a brutal government, they begin a life-threatening journey across Europe. But when they are separated before they can reach Britain, Alex finds himself alone, with only his extraordinary gift to keep him alive. Perfect for fans of Alex Rider, Artemis Fowl, and Inception, Running out of Time is an ingenious, high-concept thriller with a twist that you won't believe.
James Kelman is Scotland’s most influential contemporary prose artist. This is the first book-length study of his groundbreaking novels, and it analyses and contextualises each in detail. It argues that while Kelman offers a coherent and consistent vision of the world, each novel should be read as a distinct literary response to particular aspects of contemporary working-class language and culture. Richly historicised through diverse contexts such as Scottish socialism, public transport, emigration, ‘Booker Prize’ culture and Glasgow’s controversial ‘City of Culture’ status in 1990, Simon Kovesi offers readings of Kelman’s style, characterisation and linguistic innovations. This study resists the prevalent condemnations of Kelman as a miserable realist, and produces evidence that he is acutely aware of an unorthodox, politicised literary tradition which transgresses definitions of what literature can or should do. Kelman is cautious about the power relationship between the working-class worlds he represents in his fiction, and the latent preconceptions embedded in the language of academic and critical commentary. In response, this study is boldly self-critical, and questions the validity and values of its own methods. Kelman is shown to be deftly humorous, assiduously ethical, philosophically alert and politically necessary.
From the creator of HBO's The Wire, the classic book about homicide investigation that became the basis for the hit television show The scene is Baltimore. Twice every three days another citizen is shot, stabbed, or bludgeoned to death. At the center of this hurricane of crime is the city's homicide unit, a small brotherhood of hard men who fight for whatever justice is possible in a deadly world. David Simon was the first reporter ever to gain unlimited access to a homicide unit, and this electrifying book tells the true story of a year on the violent streets of an American city. The narrative follows Donald Worden, a veteran investigator; Harry Edgerton, a black detective in a mostly white unit; and Tom Pellegrini, an earnest rookie who takes on the year's most difficult case, the brutal rape and murder of an eleven-year-old girl. Originally published fifteen years ago, Homicide became the basis for the acclaimed television show of the same name. This new edition—which includes a new introduction, an afterword, and photographs—revives this classic, riveting tale about the men who work on the dark side of the American experience.
This book is a sociological study of a societal grouping that has the popular title ’middle class’. It argues that it is more precise to describe the middle classes as dominant groupings, and the book draws upon a wide range of characters from such groupings. In a detailed analysis of cultural practices, those making an appearance include omnivores, carnivores, herbivores, the middle-brow, traditional culture vultures, middle class plunderers, the urban arts eclectic and the English gentleman. There is a particular focus on those expressing the ’silver disposition’; predominantly affluent, middle-aged and white, with a taste for conspicuous consumption and established cultural forms. The book brings together a range of disparate sources on the middle classes and offers a sustained engagement with the concept of ’culture’. It illustrates the extent to which social groups utilize the various assets at their disposal and seek to maintain the legitimacy of their cultural practices. The findings emphasise the continuing link between class and taste. Culture and the Middle Classes will be of interest to those working in the fields of class and culture across a range of disciplines, including sociology, cultural studies, social theory, media studies and cultural anthropology.
Lonnie Johnson is a blues legend. His virtuosity on the blues guitar is second to none, and his influence on artists from T-Bone Walker and B. B. King to Eric Clapton is well established. Yet Johnson mastered multiple instruments. He recorded with jazz icons such as Duke Ellington and Louis Armstrong, and he played vaudeville music, ballads, and popular songs. In this book, Julia Simon takes a closer look at Johnson’s musical legacy. Considering the full body of his work, Simon presents detailed analyses of Johnson’s music—his lyrics, technique, and styles—with particular attention to its sociohistorical context. Born in 1894 in New Orleans, Johnson's early experiences were shaped by French colonial understandings of race that challenge the Black-white binary. His performances call into question not only conventional understandings of race but also fixed notions of identity. Johnson was able to cross generic, stylistic, and other boundaries almost effortlessly, displaying astonishing adaptability across a corpus of music produced over six decades. Simon introduces us to a musical innovator and a performer keenly aware of his audience and the social categories of race, class, and gender that conditioned the music of his time. Lonnie Johnson’s music challenges us to think about not only what we recognize and value in “the blues” but also what we leave unexamined, cannot account for, or choose not to hear. The Inconvenient Lonnie Johnson provides a reassessment of Johnson’s musical legacy and complicates basic assumptions about the blues, its production, and its reception.
Even the most inventive and revolutionary architects of today owe debts to the past, often to the distant past when architecture really was being invented for the first time. Architects depend on their own imaginations for personal insights and originality but their ideas may be stimulated (consciously or subliminally) by particularly powerful buildings from history. The Ten Most Influential Buildings in History: Architecture’s Archetypes identifies ten architectural archetypes that have been sources of inspiration for architects through the centuries. Each archetype is analysed through distinctive examples, following the methodology established by the author in his previous books. The variety of 'lines of enquiry’ each archetype has provoked in latter-day architects are then explored by analysing their work to reveal ideas inspired by those earlier buildings. Archetypes have a timeless relevance. In adopting this approach, The Ten Most Influential Buildings in History is as pertinent to contemporary practice as it is to understanding buildings from antiquity, and offers insights into the bridges of influence that can operate between the two.
The first book-length critical and historical account of an ultramodern architectural movement of the 1960s that advocated "living equipment" instead of buildings. In the 1960s, the architects of Britain's Archigram group and Archigram magazine turned away from conventional architecture to propose cities that move and houses worn like suits of clothes. In drawings inspired by pop art and psychedelia, architecture floated away, tethered by wires, gantries, tubes, and trucks. In Archigram: Architecture without Architecture, Simon Sadler argues that Archigram's sense of fun takes its place beside the other cultural agitants of the 1960s, originating attitudes and techniques that became standard for architects rethinking social space and building technology. The Archigram style was assembled from the Apollo missions, constructivism, biology, manufacturing, electronics, and popular culture, inspiring an architectural movement—High Tech—and influencing the postmodern and deconstructivist trends of the late twentieth century. Although most Archigram projects were at the limits of possibility and remained unbuilt, the six architects at the center of the movement, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, became a focal point for the architectural avant-garde, because they redefined the purpose of architecture. Countering the habitual building practice of setting walls and spaces in place, Archigram architects wanted to provide the equipment for amplified living, and they welcomed any cultural rearrangements that would ensue. Archigram: Architecture without Architecture—the first full-length critical and historical account of the Archigram phenomenon—traces Archigram from its rediscovery of early modernist verve through its courting of students, to its ascent to international notoriety for advocating the "disappearance of architecture.
Seminar paper from the year 2013 in the subject Didactics for the subject English - Literature, Works, grade: 1,0, University of Tubingen (Philosophische Fakultät), course: Popular Culture, language: English, abstract: Representing the Holocaust in a comic book is a daring enterprise; doing it with animal figures is even bolder. Spiegelman's work Maus braves many conventions of dealing with the Holocaust but reconstructs it in an unprecedented and unique manner. By exceeding literary boundaries and generic expectations, it is thus an essential addition to Holocaust literature. [...] This paper analyzes the animal metaphor in Spiegelman's Maus. It examines and discusses the different spheres in which the functions of the animal metaphor become evident. First, this paper traces back to the origins of using animals in literature. After a brief historical introduction of the sources and the development of animal figures, chapter 2 explains their literary function and their significance in comic books. Chapter 3 delivers a brief overview of Maus. It includes a synopsis of the comic's plot as well as a summary of its reception. Chapter 4, the main part of this paper, investigates the various functions and receptions of the animal metaphor in Maus from different perspectives. In chapter 4.1, Spiegelman's personal explanations reveal how Maus's animal characters function for him as a second generation witness. Chapter 4.2 focuses upon these implications brought into play with the use of the mask. A further subject, discussed in chapter 4.3, is how the animal imagery serves as a distancing and defamiliarizing device in order to deal with the horror of the Holocaust. Chapter 4.4 discusses the interconnection between both features. In chapter 4.5, the examination tries further to comprehend how the animal metaphor contributes to the reconstruction of ethnicity and identity in Maus. Since any analysis of a comic book must not neglect its visual dimension, chapter 4.6 considers Maus's drawing style and the significance of its visual representation. Maus has attracted many critics and its reception has been diverse and manifold. Target of the criticism has been especially the use of animals as substitutes for human beings. Chapter 4.7 examines and discusses Maus's animal device from a critical point of view regarding its incongruities and problems brought into play with the association of human beings and animals. The last chapter summarizes the insights of the analysis and discusses in what way Maus's animal metaphor strikes a new path in the conception and reconstruction of the Holocaust.
In The Sleeping Army, Freya went to Hel and back. She fought dragons, fled fire and outwitted giants - all to restore eternal youth to the Norse Gods. But now they're back, does anyone care? The Gods' popularity on earth is waning, and without regular worship, their powers are fading fast and their ancient enemies, the Frost Giants, are stirring. So the Gods hatch a plan - they'll come back down to earth, and they'll pursue a very different kind of popularity. They're going to become celebrities. A rollicking, thrilling and hilarious ride, The Lost Gods takes up where the Sleeping Army left off and takes us back to Simon's brilliantly-imagined modern Norse England.
This book covers every aspect of the informant and cooperating witness dynamic a controversial technique shrouded in secrecy and widely misunderstood. Quoted routinely in countless newspaper and magazine articles, the first edition was the go-to guide for practical, effective guidance on this tricky yet powerful tactic. Extensively updated, topics in this second edition include changes in the FBI's informant program, changes brought on by immigration reforms, recent high-profile cases, and the changing nature of compensation and cooperation fees. It also examines the management of informant-driven search warrants and challenges posed by fabricated information.
Based on case histories from nine Third World countries, this study examines the successful cooperation between private agribusiness firms and small farmers to increase agricultural production and income in developing countries. In such ventures, small farmers are organized around a core private company that buys their output and provides manageria
In 1979, Christopher Lasch published the epochal The Culture of Narcissism warning of the normalizing of narcissism in our society. Lasch may have understated it. 35 years later, in the Obama era—with its parade of endless, often inexplicable, scandals—we have a full blown epidemic of what has recently been called Moral Narcissism. Forget Narcissus and his reflection, Moral Narcissism—the almost schizophrenic divide between intentions and results now pervading our culture—is the new method for feeling good about yourself. It no longer matters how anything turns out as long as your intentions were good, that you were “moral.” And, just as importantly, the only determinant of those intentions, the only one who defines that morality, is you. I Know Best goes beyond Lasch to lay bare how this moral narcissism is behind all those scandals from Obamacare to the Veteran's Administration to the IRS, Benghazi, Bergdahl, Syria and beyond. Everything the Obama administration did and does was about making them feel good about themselves—the results be damned. And they have as their allies those supreme moral narcissists in the academy, media and Hollywood, ever willing to ratify those good intentions and ignore those same results. But I Know Best is not just about the Left. Moral Narcissism affects the right as well, even when they don’t realize it. It is a true epidemic that must be cured in order to save our democratic republic and our futures.
Homicide, the celebrated true crime book from the creator of HBO's The Wire, is reenvisioned as a gritty, cinematic graphic novel duology. This thrilling second volume concludes the saga. A woman is stabbed and left to die in her bedroom. A taxi cab driver is killed for a handful of jewelry. A man is gunned down over a debt of $8. As the board fills with red ink, the pressure rises. All the while, Detective Pellegrini is haunted by the murder of eleven-year-old Latonya Wallace, a case that is getting colder by the day. Originally published in 1991, Simon’s Homicide became the basis for the acclaimed television show Homicide: Life on the Streets and inspired HBO’s The Wire. Now, this true-crime classic is reenvisioned as a gritty two-part graphic novel series.
We have continued to evolve the structure and content of this textbook in step with the rapidly changing world of international business. This includes completely revising several key chapters, including Chapter 6, on International Trade. This is entirely updated and includes new case studies covering both the trade-war between the US and China and the complex Brexit process. These and other real-world developments have made a wide range of stakeholders much more aware of the significance of global trade interdependencies than in the past. Chapter 16 on the European Union is also entirely updated to take account of Brexit and a range of new socio-political and economic events in Europe. Chapter 11 ('MNEs as Responsible Stakeholders') has been removed, making this edition more consolidated,with 20 rather than 21 chapters. In place of Chapter 11 we have inserted new sections, frameworks and case studies on responsible business throughout the book as a fundamental dimension of international businesstheory and practice across all the other chapters. New case studies, such as 'Businesses and NGOs working together on climate change' in Chapter 4, provideadditional material on this topic. Chapter 14, on 'Political risk and negotiation strategy' also features new case studies on the 'US-Venezuela oil dispute' and 'Huaweiaccused of spying
Ever wondered how many aircraft were converted into Japanese Zeroes and torpedo bombers for Tora! Tora! Tora! or how French Gazelle helicopters were modified for the title role in Blue Thunder? This first of its kind reference book lists aircraft featured in 350 films and television shows, providing brief individual histories, film locations, serial numbers and registrations. Aircraft are also cross-referenced by manufacturer. Appendices provide brief bios on pilots and technicians, information on aircraft collections owned by Tallmantz Aviation and Blue Max Aviation and film credits for U.S. aircraft carriers.
Inspiring' - Cathy Rentzenbrink, author of Write It All Down 'Fascinating and useful' - Joe Moran, author of First You Write A Sentence Bestselling and award-winning authors share the secrets to their success, and the hard lessons they have learnt along the way. Where do the best ideas come from? How do you stay motivated? What does it take to become a published author? And how do you actually make money from your writing? For over five years the hosts of Always Take Notes podcast have posed their nosiest questions to some of the world's greatest writers. The result is a compendium of frank and frequently entertaining guidance for living a creative life. From the early failures that shaped them to the daily challenges of writing and the habits that keep them on track, literary luminaries offer guidance to inspire. Featuring: Alexander McCall Smith, Anne Enright, Candice Carty-Williams, Christina Lamb, Colin Thubron, Colum McCann, David Mitchell, Elif Shafak, George Packer, Hadley Freeman, Hollie McNish, Ian McEwan, Ian Rankin, Irvine Welsh, Jeffrey Archer, Joanne Harris, Kate Mosse, Kiran Millwood Hargrave, Kit de Waal, Louise Doughty, Lucy Hughes-Hallett, Maggie Fergusson, Mark Haddon, Marlon James, Max Hastings, May Jeong, Merve Emre, Monica Ali, Niall Ferguson, Nikesh Shukla, Oliver Bullough, Orlando Figes, Patrick Kingsley, Rory Stewart, Rosie Nixon, Ruth Ozeki, Ruth Padel, Sam Knight, Samanth Subramanian, Samira Shackle, Sara Baume, Sebastian Junger, Simon Lancaster, Simon Scarrow, Stig Abell, Terri White, Tessa Hadley, Tim Rice, Toby Young, Tracy Chevalier, William Boyd, William Dalrymple, and many more...
Sharp, funny and clever . . . What a pleasure to re-encounter a play that combines unabashed intelligence and zinging wit with a rare generosity of spirit.' Daily Telegraph on The Common Pursuit 'Gray's stature as one of the handful of great tragi-comic English dramatists of the second half of the twentieth century would appear now to be undisputed.' Howard Jacobson, Critical Quarterly Hidden Laughter 'A sad divine comedy, superbly written. Gray nurses his characters and cares for them, but he never pampers them, or pities them, or presumes to use them as his spokesman. In this respect, he has become an English Chekhov... At the same time, Gray dispenses some of the incandescent malice and moral savagery of Coward at his acid best... But, of course, comparisons can only help you get your bearings. Gray is entirely his own man in this painful, querulous, warm, hard and mature play.' Sunday Times
Europe stretches to the Alleghenies, America lies beyond." - Ralph Waldo Emerson "They are my people and this is my town and it does my heart good just to be here." - Art Rooney Sr. What does it mean to be from Pittsburgh? Author Ed Simon explores the nature of the Yinzer and how the Steel City shapes anyone who is fortunate to call it home.
This title was first published in 2001. Literary critics, textual editors and bibliographers, and historians of publishing have hitherto tended to publish their research as if in separate fields of enquiry. The purpose of this volume is to bring together contributions from these fields in a dialogue rooted in the transmission of texts. Arranged chronologically, so as to allow the use of individual sections relevant to period literature courses, the book offers students and teachers a set of essays designed to reflect these approaches and to signal their potential for fruitful integration. Some of the essays answer the demand "Show me what literary critics (or textual editor; or book historians) do and how they do it", and stand as examples of the different concerns, methodologies and strategies employed. Others draw attention to the potential of the approaches in combination.
A gripping new psychological thriller from the highly acclaimed author of WITHOUT TRACE Booker's fast paced, twisting thrillers are a must-read for anyone who loves a good page turner' Simon Kernick 'A must-read' Mark Billingham 'Val McDermid meets Stephen King' Hadley Freeman Karl Savage is dead. He must be. His ex, Anjelica, is in prison for murdering him in an arson attack. Multiple forensic experts testified to finding his charred remains. So when Anjelica begs investigative journalist Morgan Vine to prove her innocence, it seems an impossible task. It doesn't matter that Karl was abusive. That Anjelica has a baby to care for. That she's petrified of fire. The whole world knows Karl is dead. Then he turns up outside Morgan's window . . . Praise for KILL ME TWICE and Simon Booker 'Full of twists, turns, surprises. Everything you want in a pacy, page-turning thriller' Neil Dudgeon, Midsomer Murders 'Booker's long experience in writing for television has granted him a sure grasp of character, and his skills do not desert him in Kill Me Twice . . . Vine is a distinctive heroine' Best Thrillers Roundup, Guardian 'Unputdownable. A mercilessly gripping read, and such a pleasure to meet Morgan Vine again' Deborah Moggach 'Another brilliant, edge of your seat thrill ride' Kate Rhodes 'A cracking crime novel with everything you want from a thriller' Martyn Waites
Her daughter missing, her childhood sweetheart the only suspect: a gripping and suspenseful debut thriller YOUR DAUGHTER IS MISSING. WHO CAN YOU TRUST? A gripping psychological thriller for fans of Tom Bale, Harlan Coben and Angela Marsons. Morgan Vine has devoted her years of her life to campaigning for Danny Kilcannon's release, after his dubious conviction for his wife's murder. At long last, he's released. With nowhere to go, Danny comes to rely on Morgan and her impetuous teenage daughter, Lissa. Then Lissa goes missing. When it's your own child on the line, who can you trust? SEE WHAT PEOPLE ARE ALREADY SAYING ABOUT THIS GRIPPING PSYCHOLOGICAL THRILLER! 'A cracking debut. A real page-turner with a compelling central character' - Mark Billingham 'Val McDermid meets Stephen King' Hadley Freeman 'An atmospheric thriller with real end-of-the-pier-at-midnight scariness. Excellent!' Kate Rhodes 'Fiendishly clever - cliffhanger after cliffhanger' Deborah Moggach 'Cracking crime novel with everything you want from a thriller. And a great lead character' Martyn Waites 'Just devoured the novel and thought it was a terrific and wonderfully sustained novel of huge suspense and credibility. I loved it and believed it. Terrific!' Frances Fyfield
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