Bad Paper

The Federal Trade Commission receives more complaints about rogue debt collecting than about any activity besides identity theft. Dramatically and entertainingly, Bad Paper reveals why. It tells the story of Aaron Siegel, a former banking executive, and Brandon Wilson, a former armed robber, who become partners and go in quest of "paper"—the uncollected debts that are sold off by banks for pennies on the dollar. As Aaron and Brandon learn, the world of consumer debt collection is an unregulated shadowland where operators often make unwarranted threats and even collect debts that are not theirs. Introducing an unforgettable cast of strivers and rogues, Jake Halpern chronicles their lives as they manage high-pressure call centers, hunt for paper in Las Vegas casinos, and meet in parked cars to sell the social security numbers and account information of unsuspecting consumers. He also tracks a "package" of debt that is stolen by unscrupulous collectors, leading to a dramatic showdown with guns in a Buffalo corner store. Along the way, he reveals the human cost of a system that compounds the troubles of hardworking Americans and permits banks to ignore their former customers. The result is a vital exposé that is also a bravura feat of storytelling.

NEW YORK TIMES BESTSELLER • “From The New Yorker’s beloved cultural critic comes a bold, unflinching collection of essays about self-deception, examining everything from scammer culture to reality television.”—Esquire Book Club Pick for Now Read This, from PBS NewsHour and The New York Times • “A whip-smart, challenging book.”—Zadie Smith • “Jia Tolentino could be the Joan Didion of our time.”—Vulture FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE’S JOHN LEONARD PRIZE FOR BEST FIRST BOOK • NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE NEW YORK PUBLIC LIBRARY AND HARVARD CRIMSON AND ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • Time • Chicago Tribune • The Washington Post • NPR • Variety • Esquire • Vox • Elle • Glamour • GQ • Good Housekeeping • The Paris Review • Paste • Town & Country • BookPage • Kirkus Reviews • BookRiot • Shelf Awareness Jia Tolentino is a peerless voice of her generation, tackling the conflicts, contradictions, and sea changes that define us and our time. Now, in this dazzling collection of nine entirely original essays, written with a rare combination of give and sharpness, wit and fearlessness, she delves into the forces that warp our vision, demonstrating an unparalleled stylistic potency and critical dexterity. Trick Mirror is an enlightening, unforgettable trip through the river of self-delusion that surges just beneath the surface of our lives. This is a book about the incentives that shape us, and about how hard it is to see ourselves clearly through a culture that revolves around the self. In each essay, Tolentino writes about a cultural prism: the rise of the nightmare social internet; the advent of scamming as the definitive millennial ethos; the literary heroine’s journey from brave to blank to bitter; the punitive dream of optimization, which insists that everything, including our bodies, should become more efficient and beautiful until we die. Gleaming with Tolentino’s sense of humor and capacity to elucidate the impossibly complex in an instant, and marked by her desire to treat the reader with profound honesty, Trick Mirror is an instant classic of the worst decade yet. FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY

Experts estimate that as many as 98,000 people die in any given year from medical errors that occur in hospitals. That's more than die from motor vehicle accidents, breast cancer, or AIDSâ€"three causes that receive far more public attention. Indeed, more people die annually from medication errors than from workplace injuries. Add the financial cost to the human tragedy, and medical error easily rises to the top ranks of urgent, widespread public problems. To Err Is Human breaks the silence that has surrounded medical errors and their consequenceâ€"but not by pointing fingers at caring health care professionals who make honest mistakes. After all, to err is human. Instead, this book sets forth a national agendaâ€"with state and local implicationsâ€"for reducing medical errors and improving patient safety through the design of a safer health system. This volume reveals the often startling statistics of medical error and the disparity between the incidence of error and public perception of it, given many patients' expectations that the medical profession always performs perfectly. A careful examination is made of how the surrounding forces of legislation, regulation, and market activity influence the quality of care provided by health care organizations and then looks at their handling of medical mistakes. Using a detailed case study, the book reviews the current understanding of why these mistakes happen. A key theme is that legitimate liability concerns discourage reporting of errorsâ€"which begs the question, "How can we learn from our mistakes?" Balancing regulatory versus market-based initiatives and public versus private efforts, the Institute of Medicine presents wide-ranging recommendations for improving patient safety, in the areas of leadership, improved data collection and analysis, and development of effective systems at the level of direct patient care. To Err Is Human asserts that the problem is not bad people in health careâ€"it is that good people are working in bad systems that need to be made safer. Comprehensive and straightforward, this book offers a clear prescription for raising the level of patient safety in American health care. It also explains how patients themselves can influence the quality of care that they receive once they check into the hospital. This book will be vitally important to federal, state, and local health policy makers and regulators, health professional licensing officials, hospital administrators, medical educators and students, health caregivers, health journalists, patient advocatesâ€"as well as patients themselves. First in a series of publications from the Quality of Health Care in America, a project initiated by the Institute of Medicine

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Recounts the events of a day when everything goes wrong for Alexander. Suggested level: junior, primary.

“It can start with a knock on the door one morning. It is the local Indian agent, or the parish priest, or, perhaps, a Mounted Police officer.” So began the school experience of many Indigenous children in Canada for more than a hundred years, and so begins the history of residential schools prepared by the Truth & Reconciliation Commission of Canada (TRC). Between 2008 and 2015, the TRC provided opportunities for individuals, families, and communities to share their experiences of residential schools and released several reports based on 7000 survivor statements and five million documents from government, churches, and schools, as well as a solid grounding in secondary sources. A Knock on the Door, published in collaboration with the National Research Centre for Truth & Reconciliation, gathers material from the several reports the TRC has produced to present the essential history and legacy of residential schools in a concise and accessible package that includes new materials to help inform and contextualize the journey to reconciliation that Canadians are now embarked upon. Survivor and former National Chief of the Assembly First Nations, Phil Fontaine, provides a Foreword, and an Afterword introduces the holdings and opportunities of the National Centre for Truth & Reconciliation, home to the archive of recordings, and documents collected by the TRC. As Aimée Craft writes in the Afterword, knowing the historical backdrop of residential schooling and its legacy is essential to the work of reconciliation. In the past, agents of the Canadian state knocked on the doors of Indigenous families to take the children to school. Now, the Survivors have shared their truths and knocked back. It is time for Canadians to open the door to mutual understanding, respect, and reconciliation.

You could describe D.H. Lawrence as the great multi-instrumentalist among the great writers of the twentieth century. He was a brilliant, endlessly controversial novelist who transformed, for better and for worse, the way we write about sex and emotions; he was a wonderful poet; he was an essayist of burning curiosity, expansive lyricism, odd humor, and radical intelligence, equaled, perhaps, only by Virginia Woolf. Here Geoff Dyer, one of the finest essayists of our day, draws on the whole range of Lawrence’s published essays to reintroduce him to a new generation of readers for whom the essay has become an important genre. We get Lawrence the book reviewer, writing about Death in Venice and welcoming Ernest Hemingway; Lawrence the travel writer, in Mexico and New Mexico and Italy; Lawrence the memoirist, depicting his strange sometime-friend Maurice Magnus; Lawrence the restless inquirer into the possibilities of the novel, writing about the novel and morality and addressing the question of why the novel matters; and, finally, the Lawrence who meditates on birdsong or the death of a porcupine in the Rocky Mountains. Dyer’s selection of Lawrence’s essays is a wonderful introduction to a fundamental, dazzling writer.