When his name is added to a top-secret government list of individuals slated for assassination, counterterrorism operative Scot Harvath engages in a high-stakes cat-and-mouse game of survival while struggling to prevent a cataclysmic terrorist attack and learn who has framed him for treason.

Revealing the formative influence of 1950s leftist radicalism on African American literature and culture.

V. I. Warshawski explores secrets and betrayals that stretch across four generations in this New York Times bestselling novel from one of the most compelling writers in American crime fiction... “A thoughtful, high-tension mystery.”—The Washington Post Book World “A genuinely exciting and disturbing thriller.”—Chicago Tribune As a favor to her most important client, V. I. agrees to check up on an empty mansion. But instead of a mysterious intruder she discovers a dead man in the ornamental pond—a reporter for an African-American publication whom the suburban cops are quick to dismiss as a suicide. When the man’s shattered family hires V. I. to investigate, she is sucked into a Gothic tale of sex, money, and power, leading her back to McCarthy-era blacklists and forward to some of the darker aspects of the Patriot Act. As V. I. finds herself penned in to a smaller and smaller space by an array of people trying to silence her, and before she can untangled the sordid truth, two more people will die—and V.I.’s own life will hang in the balance.

In The Black List, twenty-five prominent African-Americans of various professions, disciplines, and backgrounds offer their own stories and insights on the struggles, triumphs, and joys of black life in America and, in the process, redefine "black list" for a new century. As seen in original portraits by renowned photographer Timothy Greenfield-Sanders and in a series of incisive interviews conducted by award-winning journalist, critic, academic, and radio host Elvis Mitchell, this group exemplifies today's most accomplished, determined African-Americans, whose lives and careers form a trail of inspiration and example for people of all races. Spanning the arts, sports, politics, and business, the diverse accomplishments and lives of these remarkable individuals create a kaleidoscope of ideas and experiences, and provide the framework for a singular conver-sation about the influence of African-Americans on this country and on our world. The Black List is: Slash - Toni Morrison - Keenen Ivory Wayans - Vernon Jordan - Faye Wattleton - Marc Morial - Serena Williams - Lou Gossett Jr. - Russell Simmons - Lorna Simpson - Mahlon Duckett - Zane - Al Sharpton - Kareem Abdul-Jabbar - William Rice - Thelma Golden - Sean Combs - Susan Rice - Chris Rock - Suzan-Lori Parks - Steve Stoute - Richard Parsons - Dawn Staley - Colin Powell - Bill T. Jones

The Gambler. Collecting together the first five issue story arc of the comic and introducing a brand new villain, created exclusively for the comic by the writers of the TV show. Someone is targeting the FBI with a series of planned attacks including framing them for the murder of a leading political activist. Red at first suspects that a dangerous, media-manipulating Blacklister know as the Lobbyist is responsible, but comes to realise that there is someone far more sinister and deadly behind the scenes manipulating events for his own nefarious purposes...

During the era often commonly known as McCarthyism, many motion picture and television creators were blacklisted for supposed communist ties. There remained, however, a creative outlet that still welcomed these artists--theatre. This book explores the role theatre played during this turbulent period, covering the formation of the Theatre Guild (which birthed the Group Theatre), the short-lived Federal Theatre Project, and the investigations of the motion picture and television industries, and Broadway, by the House Un-American Activities Committee (HUAC). Appendices discuss McCarthy's role and present the memos of investigator Dolores Faconti Scotti, along with a list of prominent witnesses in HUAC's Broadway hearings, and reactions by artists' unions in the decades following the blacklist.

Irish author Francis Stuart paints a stark portrait of an alienated man searching for wholeness and redemption. A narrator called H describes a life that includes internment during the Irish Civil War and a journey to Hitler's Germany during the 1940s. The details of H's life parallel the author's own. Stuart's work is fiction imbued with a sense of absolute truth and painful honesty. This underground masterpiece was first published in the United States in 1971 after several rejections by British and Irish publishers.

In The Banker's Blacklist, Julia C. Morse demonstrates how the Financial Action Task Force (FATF) has enlisted global banks in the effort to keep "bad money" out of the financial system, in the process drastically altering the domestic policy landscape and transforming banking worldwide. Trillions of dollars flow across borders through the banking system every day. While bank-to-bank transfers facilitate trade and investment, they also provide opportunities for criminals and terrorists to move money around the globe. To address this vulnerability, large economies work together through an international standard-setting body, the FATF, to shift laws and regulations on combating illicit financial flows. Morse examines how this international organization has achieved such impact, arguing that it relies on the power of unofficial market enforcement—a process whereby market actors punish countries that fail to meet international standards. The FATF produces a public noncomplier list, which banks around the world use to shift resources and services away from listed countries. As banks restrict cross-border lending, the domestic banking sector in listed countries advocates strongly for new laws and regulations, ultimately leading to deep and significant compliance improvements. The Bankers' Blacklist offers lessons about the peril and power of globalized finance, revealing new insights into how some of today's most pressing international cooperation challenges might be addressed.

How forty-one women—including Dorothy Parker, Gypsy Rose Lee, and Lena Horne—were forced out of American television and radio in the 1950s “Red Scare.” At the dawn of the Cold War era, forty-one women working in American radio and television were placed on a media blacklist and forced from their industry. The ostensible reason: so-called Communist influence. But in truth these women—among them Dorothy Parker, Lena Horne, and Gypsy Rose Lee—were, by nature of their diversity and ambition, a threat to the traditional portrayal of the American family on the airwaves. This book from Goldsmiths Press describes what American radio and television lost when these women were blacklisted, documenting their aspirations and achievements. Through original archival research and access to FBI blacklist documents, The Broadcast 41 details the blacklisted women's attempts in the 1930s and 1940s to depict America as diverse, complicated, and inclusive. The book tells a story about what happens when non-male, non-white perspectives are excluded from media industries, and it imagines what the new medium of television might have looked like had dissenting viewpoints not been eliminated at such a formative moment. The all-white, male-dominated Leave it to Beaver America about which conservative politicians wax nostalgic existed largely because of the forcible silencing of these forty-one women and others like them. For anyone concerned with the ways in which our cultural narrative is constructed, this book offers an urgent reminder of the myths we perpetuate when a select few dominate the airwaves.

A behind-the-scenes chronicle of the search for Saddam Hussein offers a moment-by-moment narrative account that also profiles the author's non-violent, psychological interrogation method.