In this fresh approach to musical theatre history, Bruce Kirle challenges the commonly understood trajectory of the genre. Drawing on the notion that the world of the author stays fixed while the world of the audience is ever-changing, Kirle suggests that musicals are open, fluid products of the particular cultural moment in which they are performed. Incomplete as printed texts and scores, musicals take on unpredictable lives of their own in the complex transformation from page to stage. Using lenses borrowed from performance studies, cultural studies, queer studies, and ethnoracial studies, Unfinished Show Business: Broadway Musicals as Works-in-Process argues that musicals are as interesting for the provocative issues they raise about shifting attitudes toward American identity as for their show-stopping song-and-dance numbers and conveniently happy endings. Kirle illustrates how performers such as Ed Wynn, Fanny Brice, and the Marx Brothers used their charismatic personalities and quirkiness to provide insights into the struggle of marginalized ethnoracial groups to assimilate. Using examples from favorites including Oklahoma!, Fiddler on the Roof, A Chorus Line, and Les Misérables, Kirle demonstrates Broadway’s ability to bridge seemingly insoluble tensions in society, from economic and political anxiety surrounding World War II to generational conflict and youth counterculture to corporate America and the “me” generation. Enlivened by a gallery of some of Broadway’s most memorable moments—and some amusing, obscure ones as well—this study will appeal to students, scholars, and lifelong musical theatre enthusiasts.

In this heart-pounding and sharply written thriller from J.A. Jance, the “grand master of the genre” (The Providence Journal), Ali Reynolds’s personal life is thrown into turmoil just as two men show up on the scene—a former employee of her husband’s who has just been released from prison and a serial killer who sets his sights a little too close to home. Mateo Vega, a one-time employee of Ali Reynold’s husband, B. Simpson, has spent the last sixteen years of his life behind bars. According to the courts, he murdered his girlfriend. But Mateo knows that her real killer is still on the loose, and the first thing he’s going to do when he gets a taste of freedom is track him down. After being granted parole, a wary Mateo approaches Stu Ramey of High Noon Enterprises for a reference letter for a job application, but to his surprise, Stu gives him one better: He asks him to come on board and work for B. once again. Just as Mateo starts his new job, though, chaos breaks out at High Noon—a deadbeat tenant who is in arrears has just fled, and tech expert Cami Lee has gone missing. As Ali races to both find a connection between the two disappearances and help Mateo clear his name with the help of PI J.P. Beaumont, tragedy strikes in her personal life, and with lives hanging in the balance, she must thread the needle between good and evil before it’s too late.

Most studies of international negotiations take successful talks as their subject. With a few notable exceptions, analysts have paid little attention to negotiations ending in failure. The essays in Unfinished Business show that as much, if not more, can be learned from failed negotiations as from successful negotiations with mediocre outcomes. Failure in this study pertains to a set of negotiating sessions that were convened for the purpose of achieving an agreement but instead broke up in continued disagreement. Seven case studies compose the first part of this volume: the United Nations negotiations on Iraq, the Middle East Peace Summit at Camp David in 2000, Iran-European Union negotiations, the Cyprus conflict, the Biological Weapons Convention, the London Conference of 1830–33 on the status of Belgium, and two hostage negotiations (Waco and the Munich Olympics). These case studies provide examples of different types of failed negotiations: bilateral, multilateral, and mediated (or trilateral). The second part of the book analyzes empirical findings from the case studies as causes of failure falling in four categories: actors, structure, strategy, and process. This is an analytical framework recommended by the Processes of International Negotiation, arguably the leading society dedicated to research in this area. The last section of Unfinished Business contains two summarizing chapters that provide broader conclusions—lessons for theory and lessons for practice.

A history and social psychology of punk music.

After losing his job, Lee Kravitz, a workaholic in his midfifties, took stock of his life and realized just how disconnected he had become from the people who mattered most to him. He committed an entire year to reconnecting with them and making amends. Kravitz takes readers on ten transformational journeys, among them repaying a thirty-year-old debt, making a long-overdue condolence call, finding an abandoned relative, and fulfilling a forgotten promise. Along the way, we meet a cast of wonderful characters and travel the globe-to a refugee camp in Kenya, a monastery in California, the desert of southern Iran, a Little League game in upstate New York, and a bar in Kravitz's native Cleveland. In each instance, the act of reaching out opens new paths for both personal and spiritual growth. All of us have unfinished business-the things we should have done but just let slip. Kravitz's story reveals that the things we've avoided are exactly those that have the power to transform, enrich, enlarge, and even complete us. The lesson of the book is one applicable to us all: Be mindful of what is most important, and act on it. The rewards will be immediate and lasting.

From Adventures in Business to Marriage and Divorce, My Unfinished Business, covers a wide array of topics in short autobiographical essay form.

A New York Times Book Review Editors' Choice. One of Library Journal's Best Books of 2020. One of our most beloved writers reassess the electrifying works of literature that have shaped her life I sometimes think I was born reading . . . I can’t remember the time when I didn’t have a book in my hands, my head lost to the world around me. Unfinished Business: Notes of a Chronic Re-reader is Vivian Gornick’s celebration of passionate reading, of returning again and again to the books that have shaped her at crucial points in her life. In nine essays that traverse literary criticism, memoir, and biography, one of our most celebrated critics writes about the importance of reading—and re-reading—as life progresses. Gornick finds herself in contradictory characters within D. H. Lawrence’s Sons and Lovers, assesses womanhood in Colette’s The Vagabond and The Shackle, and considers the veracity of memory in Marguerite Duras’s The Lover. She revisits Great War novels by J. L. Carr and Pat Barker, uncovers the psychological complexity of Elizabeth Bowen’s prose, and soaks in Natalia Ginzburg, “a writer whose work has often made me love life more.” After adopting two cats, whose erratic behavior she finds vexing, she discovers Doris Lessing’s Particularly Cats. Guided by Gornick’s trademark verve and insight, Unfinished Business is a masterful appreciation of literature’s power to illuminate our lives from a peerless writer and thinker who “still read[s] to feel the power of Life with a capital L.”

A penetrating critique tracing how under-regulated trading between European and U.S. banks led to the 2008 financial crisis--with a prescription for preventing another meltdown There have been numerous books examining the 2008 financial crisis from either a U.S. or European perspective. Tamim Bayoumi is the first to explain how the Euro crisis and U.S. housing crash were, in fact, parasitically intertwined. Starting in the 1980s, Bayoumi outlines the cumulative policy errors that undermined the stability of both the European and U.S. financial sectors, highlighting the catalytic role played by European mega banks that exploited lax regulation to expand into the U.S. market and financed unsustainable bubbles on both continents. U.S. banks increasingly sold sub-par loans to under-regulated European and U.S. shadow banks and, when the bubbles burst, the losses whipsawed back to the core of the European banking system. A much-needed, fresh look at the origins of the crisis, Bayoumi's analysis concludes that policy makers are ignorant of what still needs to be done both to complete the cleanup and to prevent future crises.

For the past fifteen years, Hans Haacke's work has been concerned with issues that are at the core of postmodern investigations - the nature of art as institution, the authorship of the artist, the social behavior of the art world, the network of cultural policies such as the role and function of the museum, the critic, and the public, and many other sociological problems. This book is based on a major retrospective exhibition of Haacke's work, the first in an American museum. The works selected show the different ways in which he has addressed the social and political concerns affecting art production. By laying bare the explicit functioning and interconnectedness of systems of finance, social organization, and representations, Haacke demonstrates how these employ art and other forms of presentation and representation as formalized means of power and coercion. In this important respect, his work has set a precedent for that of many younger, social concerned artists. A group of significant essays by Leo Steinberg, Fredric Jameson, Rosalyn Deutsche, and an introduction and overview by Brian Wallis place Haacke's work in a larger social and aesthetic context. Hans Haacke was born in Cologne, Germany, in 1936 and, since 1967, has taught at the Cooper Union in New York. Earlier retrospective exhibitions of his work have been held at the Museum of Modern Art, Oxford, the Tate Gallery, London, and museums in Berlin and Bern. His work has also been included in many major international group exhibitions, including the Tokyo Biennal, the Venice Biennale, and Documenta. Brian Wallis is Adjunct Curator at The New Museum of Contemporary Art, New York, and editor of Art after Modernism: Rethinking Representationand of the magazine Wedge. Hans Haackeis copublished with The New Museum of Contemporary Art and distributed by The MIT Press.

In this fresh approach to musical theatre history, Bruce Kirle challenges the commonly understood trajectory of the genre. Drawing on the notion that the world of the author stays fixed while the world of the audience is ever-changing, Kirle suggests that musicals are open, fluid products of the particular cultural moment in which they are performed. Incomplete as printed texts and scores, musicals take on unpredictable lives of their own in the complex transformation from page to stage. Using lenses borrowed from performance studies, cultural studies, queer studies, and ethnoracial studies, Unfinished Show Business: Broadway Musicals as Works-in-Process argues that musicals are as interesting for the provocative issues they raise about shifting attitudes toward American identity as for their show-stopping song-and-dance numbers and conveniently happy endings. Kirle illustrates how performers such as Ed Wynn, Fanny Brice, and the Marx Brothers used their charismatic personalities and quirkiness to provide insights into the struggle of marginalized ethnoracial groups to assimilate. Using examples from favorites including Oklahoma!, Fiddler on the Roof, A Chorus Line, and Les Misérables, Kirle demonstrates Broadway’s ability to bridge seemingly insoluble tensions in society, from economic and political anxiety surrounding World War II to generational conflict and youth counterculture to corporate America and the “me” generation. Enlivened by a gallery of some of Broadway’s most memorable moments—and some amusing, obscure ones as well—this study will appeal to students, scholars, and lifelong musical theatre enthusiasts.