A Spectacle Of Corruption

Benjamin Weaver, the quick-witted pugilist turned private investigator, returns in David Liss’s sequel to the Edgar Award–winning novel, A Conspiracy of Paper. “[A] wonderful book . . . every bit as good as [Liss’s] remarkable debut . . . easily one of the year’s best.”—The Boston Globe Moments after his conviction for a murder he did not commit, at a trial presided over by a judge determined to find him guilty, Benjamin Weaver is accosted by a stranger who cunningly slips a lockpick and a file into his hands. In an instant he understands two things: Someone wants him to hang—and another equally mysterious agent is determined to see him free. After a daring escape from eighteenth-century London’s most notorious prison, Weaver must face another challenge: to prove himself innocent when the corrupt courts have shown they care nothing for justice. Unable to show his face in public, Weaver pursues his inquiry disguised as a wealthy merchant seeking to involve himself in the contentious world of politics. Desperately navigating a labyrinth of schemers, crime lords, assassins, and spies, Weaver learns that in an election year, little is what it seems and the truth comes at a staggeringly high cost. Praise for A Spectacle of Corruption “[A] rousing sequel of historical, intellectual suspense. ”—San Antonio Express-News “Liss is a superb writer who evokes the squalor of London with Hogarthian gusto.”—People “In Benjamin Weaver, Mr. Liss has created a multifaceted character and a wonderful narrator.”—The New York Sun

Benjamin Weaver, a Jew and an ex-boxer, is an outsider in eighteenth-century London, tracking down debtors and felons for aristocratic clients. The son of a wealthy stock trader, he lives estranged from his family—until he is asked to investigate his father’s sudden death. Thus Weaver descends into the deceptive world of the English stock jobbers, gliding between coffee houses and gaming houses, drawing rooms and bordellos. The more Weaver uncovers, the darker the truth becomes, until he realizes that he is following too closely in his father’s footsteps—and they just might lead him to his own grave. An enthralling historical thriller, A Conspiracy of Paper will leave readers wondering just how much has changed in the stock market in the last three hundred years. . . .

BONUS: This edition contains a The Devil's Company discussion guide. From the acclaimed and bestselling author of The Whiskey Rebels and A Conspiracy of Papercomes a stunning new thriller set in the splendor and squalor of eighteenth-century London. The year is 1722. Ruffian for hire and master of disguise Benjamin Weaver finds himself pitted against a mysterious mastermind who holds the lives of Weaver’s friends in the balance. To protect the people he loves, Weaver must stage a daring robbery from the headquarters of the ruthless British East India Company, but this theft is only the opening move in a dangerous game of secret plots, corporate rivals, and foreign spies. With the security of the nation—and the lives of those he loves—in the balance, Weaver must navigate a labyrinth of political greed and corporate treachery. Explosive action and utterly vivid period detail are the hallmarks of an author who continues to set the bar ever higher for historical suspense.

The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.

Edgar award-winning author of the popular historical novels A Conspiracy of Paper and A Spectacle of Corruption, David Liss showcases his amazing versatility with this brilliant new tale of contemporary suspense: a literary thriller set in Florida, where killing is a matter of conscience. No one is more surprised than Lem Altick when it turns out he’s actually good at peddling encyclopedias door to door. He hates the predatory world of sales, but he needs the money to pay for college. Then things go horribly wrong. In a sweltering trailer in rural Florida, a couple whom Lem has spent hours pitching is shot dead before his eyes, and the unassuming young man is suddenly pulled into the dark world of conspiracy and murder. Not just murder: assassination– or so claims the killer, the mysterious and strangely charismatic Melford Kean, who has struck without remorse and with remarkable good cheer. But the self-styled ethical assassin hadn’t planned on a witness, and so he makes Lem a deal: Stay quiet and there will be no problems. Go to the police and take the fall. Before Lem can decide, he is drawn against his will into the realm of the assassin, a post-Marxist intellectual with whom he forms an unlikely (and perhaps unwise) friendship. The ethical assassin could be a charming sociopath, eco-activist, or vigilante for social justice. To unravel the mystery and save himself, Lem must descend deep into a bizarre world he never knew existed, where a group of desperate–and genuinely deranged–schemers have hatched a plan that will very likely keep Lem from leaving town alive. David Liss skillfully interweaves a gallery of eccentric characters with a multilayered plot characterized by its unpredictable twists and turns. The Ethical Assassin is a brilliant, darkly comic novel that will leave readers in suspense until the very last page.

Spectacle 2.0 recasts Debord's theory of spectacle within the frame of 21st century digital capitalism. It offers a reassessment of Debord’s original notion of Spectacle from the late 1960s, of its posterior revisitation in the 1990s, and it presents a reinterpretation of the concept within the scenario of contemporary informational capitalism and more specifically of digital and media labour. It is argued that the Spectacle 2.0 form operates as the interactive network that links through one singular (but contradictory) language and various imaginaries, uniting diverse productive contexts such as logistics, finance, new media and urbanism. Spectacle 2.0 thus colonizes most spheres of social life by processes of commodification, exploitation and reification. Diverse contributors consider the topic within the book’s two main sections: Part I conceptualizes and historicizes the Spectacle in the context of informational capitalism; contributions in Part II offer empirical cases that historicise the Spectacle in relation to the present (and recent past) showing how a Spectacle 2.0 approach can illuminate and deconstruct specific aspects of contemporary social reality. All contributions included in this book rework the category of the Spectacle to present a stimulating compendium of theoretical critical literature in the fields of media and labour studies. In the era of the gig-economy, highly mediated content and President Trump, Debord’s concept is arguably more relevant than ever.

“Enthralling . . . [a] sly, rich and swift novel of vengeance and rough justice.”—The Seattle Times NAMED ONE OF THE BEST BOOKS OF THE YEAR BY LIBRARY JOURNAL Sebastião Raposa is only thirteen when his parents are unjustly imprisoned by the Inquisition, and he is forced to flee Portugal or face the same fate. But a decade in exile only whets his appetite for vengeance—transforming a once frightened boy into a dangerous man, determined to right unforgivable wrongs with unrelenting fury. Well schooled by his benefactor, bounty hunter Benjamin Weaver, in the use of wits and fists alike, Sebastião returns to Lisbon—in the guise of English businessman Sebastian Foxx—to stalk the ruthless Inquisitor priest Pedro Azinheiro. But in a city ruled by terror and treachery, no enemy can be underestimated, nor any ally trusted. As Foxx is drawn into the struggles of old friends, confronted by new foes, and forced to play a game of deception, he finds himself befriended, betrayed, tempted by desire, and tormented by personal turmoil. And when a twist of fate turns his plans to chaos, he must choose between surrendering to bloodlust or serving the cause of mercy. Praise for The Day of Atonement “One of the masters of the historical thriller, Liss is back with yet another highly entertaining novel. . . . [The Day of Atonement] paints a vivid picture of the waning days of the Inquisition, and of the truly evil religious leaders who led it. One of Liss’s best books.”—Minneapolis Star Tribune “Foxx is reminiscent of Lee Child’s Jack Reacher: a man with his own moral code who takes on multiple adversaries simultaneously. . . . Liss has the start of another solidly researched, action-packed historical series here.”—Booklist (starred review) “[An] action-packed novel.”—The Wall Street Journal “Snappy dialogue and convincing atmosphere . . . The plot moves swiftly to a shattering climax.”—The Washington Post “Another intriguing thriller set against historical events for Liss, who has a knack for period detail, breakneck plots and characters we want to root for.”—San Antonio Express-News “Fans of [David] Liss know well his mix of dark arts and historical detail.”—New York Daily News

Pulitzer prize–winner Chris Hedges charts the dramatic and disturbing rise of a post-literate society that craves fantasy, ecstasy and illusion. Chris Hedges argues that we now live in two societies: One, the minority, functions in a print-based, literate world, that can cope with complexity and can separate illusion from truth. The other, a growing majority, is retreating from a reality-based world into one of false certainty and magic. In this “other society,” serious film and theatre, as well as newspapers and books, are being pushed to the margins. In the tradition of Christopher Lasch’s The Culture of Narcissism and Neil Postman’s Amusing Ourselves to Death, Hedges navigates this culture — attending WWF contests as well as Ivy League graduation ceremonies — exposing an age of terrifying decline and heightened self-delusion.