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“A rollicking tale that is one part The Sting, one part The Great Gatsby, and one part The Devil in the White City.” —Karen Abbott, author of Liar, Temptress, Soldier, Spy In a time of unregulated madness, nowhere was it madder than in Chicago at the dawn of the Roaring Twenties. It was the perfect place for a slick, smooth-talking, charismatic lawyer named Leo Koretz to entice hundreds of people to invest as much as $30 million--upwards of $400 million today--in phantom timberland and nonexistent oil wells in Panama. It was an ingenious deceit, one that out-Ponzied Charles Ponzi himself. In this rip-roaring tale of greed, financial corruption, dirty politics, over-the-top and under-the-radar deceit, illicit sex, and a brilliant and wildly charming con man on the town and then on the lam, Empire of Deception proves that the American dream of easy wealth is truly a timeless commodity. “Captivating . . . Dean Jobb tells the story of Leo Koretz, a legendary con artist of Madoffian audacity, with terrific energy and narrative brio.” —Gary Krist, author of Empire of Sin “A brilliantly researched tale of greed, ambition, and our desperate need to believe in magic, it’s history that captures America as it really was--and always will be. A great read.” —Douglas Perry, author of Eliot Ness “Reads like a Gatsby-Ponzi mashup . . . Kudos to Jobb for unearthing this overlooked story and bringing to life a charming, witty, naughty, iconic American crook.” —Neal Thompson, author of A Curious Man “The granddaddy of all con men, Leo Koretz gives Jobb the opportunity to exhibit his impressive research and storytelling skills . . . A highly readable, entertaining story.” —Kirkus Reviews
With historical and explanatory notes, and an appendix.
This is the first book-length study of Tennyson's record of publication in Victorian periodicals. Despite Tennyson's supposed hostility to periodicals, Ledbetter shows that he made a career-long habit of contributing to them and in the process revealed not only his willingness to promote his career but also his status as a highly valued commodity. Tennyson published more than sixty poems in serial publications, from his debut as a Cambridge prize-winning poet with "Timbuctoo" in the Cambridge Chronicle and Journal to his last public composition as Poet Laureate with "The Death of the Duke of Clarence and Avondale" in The Nineteenth Century. In addition, poems such as "The Charge of the Light Brigade" were shaped by his reading of newspapers. Ledbetter explores the ironies and tensions created by Tennyson's attitudes toward publishing in Victorian periodicals and the undeniable benefits to his career. She situates the poet in an interdependent commodity relationship with periodicals, viewing his individual poems as textual modules embedded in a page of meaning inscribed by the periodical's history, the poet's relationship with the periodical's readers, an image sharing the page whether or not related to the poem, and cultural contexts that create new meanings for Tennyson's work. Her book enriches not only our understanding of Tennyson's relationship to periodical culture but the textual implications of a poem's relationship with other texts on a periodical page and the meanings available to specific groups of readers targeted by individual periodicals.