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This renowned therapist explores the issue that drives couples apart and shows how money becomes entangled with the struggles of love, self-esteem, independence and commitment. Dr. Forward explains how to overcome feelings of dependency and inadequacy if your spouse earns more money than you, and why many smart women fall for money-reckless men.
A lively, original, and challenging history of stock market speculation from the 17th century to present day. Is your investment in that new Internet stock a sign of stock market savvy or an act of peculiarly American speculative folly? How has the psychology of investing changed—and not changed—over the last five hundred years? In Devil Take the Hindmost, Edward Chancellor traces the origins of the speculative spirit back to ancient Rome and chronicles its revival in the modern world: from the tulip scandal of 1630s Holland, to “stockjobbing” in London's Exchange Alley, to the infamous South Sea Bubble of 1720, which prompted Sir Isaac Newton to comment, “I can calculate the motion of heavenly bodies, but not the madness of people.” Here are brokers underwriting risks that included highway robbery and the “assurance of female chastity”; credit notes and lottery tickets circulating as money; wise and unwise investors from Alexander Pope and Benjamin Disraeli to Ivan Boesky and Hillary Rodham Clinton. From the Gilded Age to the Roaring Twenties, from the nineteenth century railway mania to the crash of 1929, from junk bonds and the Japanese bubble economy to the day-traders of the Information Era, Devil Take the Hindmost tells a fascinating story of human dreams and folly through the ages.
Hot, needy, alluring... No other words can describe Clent's encounter with the devil.'Lucifer's hand tightened around him. "You can't come yet, boy. I want to play with you more." No one said getting your college degree would be easy. Clent knows that better than anyone. He has been working himself ragged for a while, so when his roommate suggests a night off, Clent is all for it. A night to party, to forget all worries, and just be free. Except that's not how Clent's night goes. Who in their right mind would try and face the devil? Clent obviously isn't in his right mind because that's exactly what he plans to do. Easier said than done. Isn't the devil suppose to be scary and hellish? So why can't Clent get Lucifer out of his head? The devil is sex on two legs and he knows it. Deals will be made and wishes granted. How do you beat the devil at his own game?
In New Hell, only the monsters survive. Eden Alvaro is a licensed Vulture, picking through the aftermath of violence in demon-plagued LA, and fencing her finds to help support her family. But when a crooked cop reports her for a salvage she didn’t take, all hell breaks loose. Stripped of her license, Eden finds herself with a price on her head. When the mercenaries hunting her raid her home, brutalize her family and abduct one of her sisters, Eden turns to the enigmatic Bishop—a man with a reputation for violence who, for the right price, can find just about anything or anyone. With time running out to find her sister before she’s sold into slavery, Eden is determined to get her back—even if she has to slaughter her way through a gang affiliated with the traffickers and face down one of the powerful demons in control of the city. She’ll need every bit of her burgeoning magical powers to bring her sister back alive—and she’ll need to put herself in debt to Bishop. But when it comes to her family, no price is too high for Eden to pay.
Post-Cinematic Affect is about what it feels like to live in the affluent West in the early 21st century. Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.
“It’s such a pity! I, too used to think of money and love as entirely separate things.” So begins this popular autobiographical novel, written by litterateur, inventor, and business tycoon Chen Diexian (1879–1940), a remarkable intellectual whose life spanned the old China and the new. Chen’s novel is the story of his youth, and in it he chooses to focus on his amorous and erotic development—a rare subject in Chinese literature—revealing his passage from innocent boy, surrounded by females, to young man, armed with a new attitude toward money, business, and the women in his life. Chen’s unusual narrative, intimately combining romance and exhibitionism, unfolds to us an intriguing material reality as well as a powerful emotional world and may well be the first extended account of Chinese childhood and youth. The novel is built on our narrator’s relationships with the central women in his life: his mother; an affectionate nanny; his devoted wife by an arranged marriage; a tragic peasant girl; and above all, the girl next door and his most enduring love, known—after the instrument she plays—as Koto. Patrick Hanan’s graceful translation brings us Chen’s story at its disarming best, a popular romance that is at the same time original and distinctive in both voice and theme. First serialized in Shanghai in 1913, The Money Demon appears in English for the first time; included in an appendix is “The Koto Story,” a short epilogue to the novel.
Explores debt as a central historical component of religion, literature, and societal structure, while examining the idea of humanity's debt to the natural world.
A hitman navigates a seedy London shot through with dark magic, demons, and angels in this wickedly hilarious urban fantasy series debut Meet Don Drake: a profane, alcoholic hitman . . . and summoner of demons. Drake owes a gambling debt to one such demon. Forced to carry out one more assassination to clear his debt, Don unwittingly kills an innocent child and brings the Furies of Greek myth down upon himself. Rescued by an almost-fallen angel called Trixie, Don and his magical accomplice, The Burned Man—an imprisoned archdemon—are forced to deal with Lucifer himself whilst battling a powerful evil magician. Now Don must foil Lucifer’s plan to complete Trixie’s fall and save her soul whilst preventing the Burned Man from escaping and wreaking havoc on the entire world. “What connects [Raymond] Chandler, Guy Ritchie, Harry Potter and Buffy the Vampire Slayer? ‘Not much’ is probably the answer, until now. A punchy debut novel.” —SFX Magazine
Why our addiction to debt caused the global financial crisis and is the root of our financial woes Adair Turner became chairman of Britain's Financial Services Authority just as the global financial crisis struck in 2008, and he played a leading role in redesigning global financial regulation. In this eye-opening book, he sets the record straight about what really caused the crisis. It didn’t happen because banks are too big to fail—our addiction to private debt is to blame. Between Debt and the Devil challenges the belief that we need credit growth to fuel economic growth, and that rising debt is okay as long as inflation remains low. In fact, most credit is not needed for economic growth—but it drives real estate booms and busts and leads to financial crisis and depression. Turner explains why public policy needs to manage the growth and allocation of credit creation, and why debt needs to be taxed as a form of economic pollution. Banks need far more capital, real estate lending must be restricted, and we need to tackle inequality and mitigate the relentless rise of real estate prices. Turner also debunks the big myth about fiat money—the erroneous notion that printing money will lead to harmful inflation. To escape the mess created by past policy errors, we sometimes need to monetize government debt and finance fiscal deficits with central-bank money. Between Debt and the Devil shows why we need to reject the assumptions that private credit is essential to growth and fiat money is inevitably dangerous. Each has its advantages, and each creates risks that public policy must consciously balance.
Capitalism has become a system of economic revenge, meted out against oppressed populations around the globe.