In 1878, two young stage magicians clash in a darkened salon during the course of a fraudulent séance, and from this moment they try to expose and outwit each other at every turn.

In The Prestige of Violence Sally Bachner argues that, starting in the 1960s, American fiction laid claim to the status of serious literature by placing violence at the heart of its mission and then insisting that this violence could not be represented. Bachner demonstrates how many of the most influential novels of this period are united by the dramatic opposition they draw between a debased and untrustworthy conventional language, on the one hand, and a violence that appears to be prelinguistic and unquestionable, on the other. Genocide, terrorism, war, torture, slavery, rape, and murder are major themes, yet the writers insist that such events are unspeakable. Bachner takes issue with the claim made within trauma studies that history is the site of violent trauma inaccessible to ordinary representation. Instead, she argues, both trauma studies and the fiction to which it responds institutionalize an inability to address violence. Examining such works as Vladimir Nabokov's Pale Fire, Thomas Pynchon's The Crying of Lot 49, Norman Mailer's Armies of the Night, Margaret Atwood's Surfacing, and Philip Roth's The Plot Against America, Bachner locates the postwar prestige of violence in the disjunction between the privileged security of wealthier Americans and the violence perpetrated by the United States abroad. The literary investment in unspeakable and often immaterial violence emerges in Bachner's readings as a complex and ideologically varied literary solution to the political geography of violence in our time.

This is a book about one of the great untold stories of modern cultural life: the remarkable ascendancy of prizes in literature and the arts. Such prizes and the competitions they crown are almost as old as the arts themselves, but their number and power--and their consequences for society and culture at large--have expanded to an unprecedented degree in our day. In a wide-ranging overview of this phenomenon, James F. English documents the dramatic rise of the awards industry and its complex role within what he describes as an economy of cultural prestige. Observing that cultural prizes in their modern form originate at the turn of the twentieth century with the institutional convergence of art and competitive spectator sports, English argues that they have in recent decades undergone an important shift--a more genuine and far-reaching globalization than what has occurred in the economy of material goods. Focusing on the cultural prize in its contemporary form, his book addresses itself broadly to the economic dimensions of culture, to the rules or logic of exchange in the market for what has come to be called "cultural capital." In the wild proliferation of prizes, English finds a key to transformations in the cultural field as a whole. And in the specific workings of prizes, their elaborate mechanics of nomination and election, presentation and acceptance, sponsorship, publicity, and scandal, he uncovers evidence of the new arrangements and relationships that have refigured that field.

If wars are costly and risky to both sides, why do they occur? Why engage in an arms race when it’s clear that increasing one’s own defense expenditures will only trigger a similar reaction by the other side, leaving both countries just as insecure—and considerably poorer? Just as people buy expensive things precisely because they are more expensive, because they offer the possibility of improved social status or prestige, so too do countries, argues Lilach Gilady. In The Price of Prestige, Gilady shows how many seemingly wasteful government expenditures that appear to contradict the laws of demand actually follow the pattern for what are known as Veblen goods, or positional goods for which demand increases alongside price, even when cheaper substitutes are readily available. From flashy space programs to costly weapons systems a country does not need and cannot maintain to foreign aid programs that offer little benefit to recipients, these conspicuous and strategically timed expenditures are intended to instill awe in the observer through their wasteful might. And underestimating the important social role of excess has serious policy implications. Increasing the cost of war, for example, may not always be an effective tool for preventing it, Gilady argues, nor does decreasing the cost of weapons and other technologies of war necessarily increase the potential for conflict, as shown by the case of a cheap fighter plane whose price tag drove consumers away. In today’s changing world, where there are high levels of uncertainty about the distribution of power, Gilady also offers a valuable way to predict which countries are most likely to be concerned about their position and therefore adopt costly, excessive policies.

One fateful night in the club leads to more than Claire ever could have imagined...Claire Evans is going places. She's moving up the ranks as a PR strategist for the rich and famous, and she's more than happy to put her personal life on the back burner while she focuses on her career. Go figure that the one time she does something impulsive and sleeps with a gorgeous stranger, said stranger walks into her office the next day--as her newest client.Arianna King is a rock star with a reputation. The rumors are out of control, and she needs help taking back control of the narrative about who she is and how she lives her life. But she wasn't banking on a PR strategist like Claire...Two careers hang in the balance, but the tension between the two women is undeniable. As time goes on, the lines between professional and personal begin to blur...but will they be able to turn their fling into something more? Or are they destined for heartbreak?

Investigating a murder committed in the style of a famous magic trick, Detective Inspector Edgar Stephens reconnects with an illusionist friend from World War II to uncover links to their special ops service.

This volume deals with the pagan prophet Balaam who figures in the book of Numbers. By the very nature of his stature as a non-Israelite, pagan prophet, the figure of Balaam raises important questions with regard to the nature of prophecy and the relation between the Israelite God and the pagan nations. The conflicting stories and potent oracles of Balaam in Numbers 22-24 and other parts of the Jewish Scriptures prompted extensive reflection on this ambiguous figure. Thus the leading perspective developed in this volume is the often simultaneous praise and criticism of Balaam as a prestigious pagan prophet throughout ancient Judaism, early Christianity and the early Koranic commentaries. The papers are clustered in four sections which deal with (1) Balaam in the Old Testament and the Ancient Near East, and comparable figures in Ancient Greece; (2) Balaam in Ancient Judaism; (3) Balaam in the New Testament & Early Christianity; and (4) Balaam in the Koran and early Koranic commentaries. The reception of this enigmatic figure can be characterized as the simultaneous praise and criticism of a pagan prophet. The book is particularly useful as it also contains Émile Puech’s newly reconstructed text, translation and commentary of the first combination of the Deir ‘Alla inscriptions which contain an excerpt of the book of the historical Balaam. Combined with the other papers, the volume pictures a fascinating continuum between paganism, Judaism, Christianity, and Islam.

Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. From Following (1998) to Interstellar (2014), Christopher Nolan's films explore philosophical concerns by experimenting with nonlinear storytelling while also working within classical Hollywood narrative and genre frameworks. Contextualizing and closely reading each of his films, this collection examines the director's play with memory, time, trauma, masculinity, and identity, and considers the function of music and video games and the effect of IMAX on his work.

A bloody body hung on a cross and they wondered what God was doing. Then, on Sunday morning, they said, Ah! The Prestige! Jesus told simple stories called parables. We hear them and hear them. Suddenly they begin to unravel, light floods in, and we say, Ah! The Prestige!,/p>

Additional Contributors Are Mary Chapman, Barbara Conner, Barbara Lamb, Barbara Marshall, Eva Meyer, Elena Schueller, And Marina S. Tinkoff. Introduction By Bernard Berelson.