Informers

From the New York Times bestselling author of American Psycho and Less Than Zero comes a nihilistic novel set in the early eighties that portrays a chilling descent into the abyss beneath L.A.'s gorgeous surfaces. • “Skillfully accomplishes its goal of depicting a modern moral wasteland…. Arguably Ellis's best.” —The Boston Globe The basis of the major motion picture starring Billy Bob Thornton, Kim Basinger and Mickey Rourke, The Informers is a seductive and chillingly nihilistic novel, in which Bret Easton Ellis, returns to Los Angeles, the city whose moral badlands he portrayed so unforgettably in Less Than Zero. This time is the early eighties. The characters go to the same schools and eat at the same restaurants. Their voices enfold us as seamlessly as those of DJs heard over a car radio. They have sex with the same boys and girls and buy from the same dealers. In short, they are connected in the only way people can be in that city. Dirk sees his best friend killed in a desert car wreck, then rifles through his pockets for a last joint before the ambulance comes. Cheryl, a wannabe newscaster, chides her future stepdaughter, “You're tan but you don't look happy.” Jamie is a clubland carnivore with a taste for human blood. Look for Bret Easton Ellis’s new novel, The Shards!

The police rely heavily on paid and unpaid informers: without them clear-up rates would plummet, and many crimes would remain undetected. Yet little is known about the informer system and how it works, for example: who are these informers? how are they recruited? how are they handled? who handles them? what sort of information do they provide? Recent high profile cases have drawn attention to the use of informers, there has been a growing debate about the subject, and many feel that stricter controls are needed - but how is this to be achieved without undermining the effectiveness of the system? This is the first book of its kind on informers in Britain, providing an invaluable source of information and analysis from key authorities in the field.

Informers are generally reviled. After all, 'snitches get stitches.' Informers who report to repressive regimes are particularly disdained. While informers may themselves be victims enlisted by the state, their actions cause other individuals to suffer significant harm. Informers, then, are central to the proliferation of endemic human rights abuses. Yet, little is known about exactly why ordinary people end up informing on--at times betraying--other people to state authorities. Through a case-study of Communist Czechoslovakia (1945-1989) that draws from secret police archives, oral histories, and a broad gamut of secondary sources, this book unearths what fuels informers to speak to the secret police in repressive times and considers how transitional justice should approach informers once repression ends. This book unravels the complex drivers behind informing and the dynamics of societal reactions to informing. It explores the agency of both informers and secret police officers. By presenting informers up close, and the relationships between informers and secret police officers in high resolution, this book centres the role of emotions in informer motivations and underscores the value of dignity and reconciliation in transitional reconstruction. This book also leverages research from informing in repressive states to better understand informing in so-called liberal democratic states, which, after all, also rely on informers to maintain law and preserve order.

Stories of plots, sham plots, and the citizen-informers who discovered them are at the center of Rachel Weil's compelling study of the turbulent decade following the Revolution of 1688. Most studies of the Glorious Revolution focus on its causes or long-term effects, but Weil instead zeroes in on the early years when the survival of the new regime was in doubt. By encouraging informers, imposing loyalty oaths, suspending habeas corpus, and delaying the long-promised reform of treason trial procedure, the Williamite regime protected itself from enemies and cemented its bonds with supporters, but also put its own credibility at risk.

Informers have been active during many periods of unrest in Ireland but, until Tudor times, they had never been an organized phenomenon until the twentieth century. The decision (or refusal) to inform is dangerous—thus the motives of the informers are compelling, as is their ability to deceive themselves. Drawing on firsthand and newspaper accounts of the Easter Rising and other events, this book provides a history of the gradual development of informing in Ireland. Each informer’s story details their life and secrets and the outcome of their actions. All of them have shared two experiences: the accusation of informing, whether true or false, and betrayal, whether committed or endured.

A brilliant debut from 'one of the most original new voices of Latin American literature' (Mario Vargas Llosa) 'For anyone who has read the entire works of Gabriel García Márquez, The Informers is a thrilling new discovery' Colm Toibin, Guardian 'One of this year's outstanding books' Financial Times When Gabriel Santoro publishes his first book, a biography of a Jewish family friend who fled Germany for Colombia shortly before World War Two, it never occurs to him that his father will write a devastating review in a national newspaper. Why does he attack him so viciously? Do the pages of his book unwittingly hide some dangerous secret? As Gabriel sets out to discover what lies behind his father's anger, he finds himself undertaking an examination of the guilt and complicity at the heart of Colombian society, as one treacherous act perpetrated in those dark days returns with a vengeance half a century later.

Have you ever wondered what was really going on in the inner-plays, secret overhearing, and tacit observations of early modern drama? Taking on the shadowy figure of the early modern informer, this book argues that far more than mere artistic experimentation is happening here. In case studies of metadramatic plays, and the devices which Shakespeare and Jonson constantly revisit, this book offers critical insight into intrinsic connections between informers and authors, discovering an uneasy sense of common practice at the core of the metadrama, which drives both its self-awareness and its paranoia. Drama is most self-revealing at these moments where it reflects upon its own dramatic register: where it is most metadramatic. To understand their metadrama is therefore to understand these most seminal authors in a new way.