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"An astonishing, soaring and seizing novel that means no less than to explain human culture. A detective story with a real detective and a real thief—and yet all the while it is the mind that is being plundered of its own frights."—Cynthia Ozick "[Acts of Theft] ranges from the lost world of the Austrian aristocracy . . . to a thick-walled hacienda in the jungles of Mexico in the 1950s. . . . Cohen has resurrected the special man, the one for whom experience is a search an an intellectual problem, the man who deceives himself grandly and discovers the fact when it may be too late. . . . Cohen's writing is as beautiful and complicated as it is possible for writing to be. Rarely, these days, do novelists risk so much so successfully."—K. Deborah Taub, Baltimore Sun "One of the rare novels that one can begin to reread as soon as the last page is finished. By unfolding the drama of an artist obsessed by the authenticity and perfection of his work, Arthur A. Cohen recalls to us, in fact, the destiny of all human existence. Acts of Theft ranks with the best novels of the post-war period."—Mircea Eliade "Acts of Theft is a very elaborate story of cops and robbers—but it aspires to much more and its aspirations are largely fulfilled. The parallels that spring to mind are Crime and Punishment and Les Mesérables."—Joseph McLellan, Washington Post
Smith's Law of Theft has long been established as the definitive work on the subject and is frequently cited in the appellate courts. Now in its ninth edition, the book provides a detailed and critical account of the law of theft and related dishonesty offences. It contains the full, amended text of relevant legislation (notably, the Theft Acts 1968, 1978, and 1996) together with a detailed analysis of the provisions of the statutes and the extensive case law which has grown up around them. This new edition has been comprehensively rewritten and updated to take full account of the Fraud Act 2006, which has replaced the deception offences with new fraud offences. There have been major changes in other areas of law besides fraud, and the authors offer expert analysis of case law developments such as Hinks in the House of Lords on theft and gift, jurisdictional issues arising from Smith ; and of procedural changes introduced by the fraud protocol and the imminent introduction of judge only trials. A whole new chapter on conspiracy to defraud is included in the new edition, and the full text of the Fraud Act and the fraud protocol are included in the appendices.
Committee Serial No. 2.
The uncontested center of the black pulp fiction universe for more than four decades was the Los Angeles publisher Holloway House. From the late 1960s until it closed in 2008, Holloway House specialized in cheap paperbacks with page-turning narratives featuring black protagonists in crime stories, conspiracy thrillers, prison novels, and Westerns. From Iceberg Slim’s Pimp to Donald Goines’s Never Die Alone, the thread that tied all of these books together—and made them distinct from the majority of American pulp—was an unfailing veneration of black masculinity. Zeroing in on Holloway House, Street Players explores how this world of black pulp fiction was produced, received, and recreated over time and across different communities of readers. Kinohi Nishikawa contends that black pulp fiction was built on white readers’ fears of the feminization of society—and the appeal of black masculinity as a way to counter it. In essence, it was the original form of blaxploitation: a strategy of mass-marketing race to suit the reactionary fantasies of a white audience. But while chauvinism and misogyny remained troubling yet constitutive aspects of this literature, from 1973 onward, Holloway House moved away from publishing sleaze for a white audience to publishing solely for black readers. The standard account of this literary phenomenon is based almost entirely on where this literature ended up: in the hands of black, male, working-class readers. When it closed, Holloway House was synonymous with genre fiction written by black authors for black readers—a field of cultural production that Nishikawa terms the black literary underground. But as Street Players demonstrates, this cultural authenticity had to be created, promoted, and in some cases made up, and there is a story of exploitation at the heart of black pulp fiction’s origins that cannot be ignored.

Pet Theft Act of 1988

United States. Congress. House. Committee on Agriculture. Subcommittee on Department Operations, Research, and Foreign Agriculture

Published: 1989

Total Pages: 160


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A companion to Smith and Hogan: Criminal Law this work provides all thenecessary materials; cases, statutes, reports, extracts from books and articles,for an in-depth study of the general principles of criminal law. This editionhas been updated to incorporate new legislation such as the Sexual Offences Act2003 and relevant new case law.
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