Raymond “Red” Reddington voluntarily surrenders to the FBI after eluding capture for decades. He has a list of the most dangerous criminals in the world and is willing to guide FBI operations in exchange for immunity. However, he insists on exclusively working with a rookie profiler by the name of Elizabeth Keen. A tragic warehouse fire in Turkey, a mine collapse in South Africa, a capsized ferry disaster in Indonesia: devastating mishaps, or something more sinister? Red knows these were collateral damage in a highly lucrative and deadly game known as the Dead Ring–anything but accidental. The only way to stop the ring is to destroy it from within. Keen must go undercover and play the game, knowing that in the Dead Ring there can only be one survivor.

In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, centered in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the “uncooperative” witnesses as a crime against an American identity based on self-repudiation and the willingness to “name names.” Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.

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...

A brand-new original The Blacklist novel. Raymond Reddington brings Elizabeth Keen a new Blacklister: the Bodysnatcher, an unnamed, unknown man who has turned kidnapping into an art form. But when Lizzie and the team move to intercept the Bodysnatcher, they discover that he is not their real target. Their real target is much more sinister and it will take all their strength and dedication to resist him - and to discover what Reddington is really after.

Offers a look at the causes and effects of poverty and inequality, as well as the possible solutions. This title features research, human stories, statistics, and compelling arguments. It discusses about the world we live in and how we can make it a better place.

'Blown to Bits' is about how the digital explosion is changing everything. The text explains the technology, why it creates so many surprises and why things often don't work the way we expect them to. It is also about things the information explosion is destroying: old assumptions about who is really in control of our lives.

While Americans are generally aware of China's ambitions as a global economic and military superpower, few understand just how deeply and assertively that country has already sought to influence American society. As the authors of this volume write, it is time for a wake-up call. In documenting the extent of Beijing's expanding influence operations inside the United States, they aim to raise awareness of China's efforts to penetrate and sway a range of American institutions: state and local governments, academic institutions, think tanks, media, and businesses. And they highlight other aspects of the propagandistic “discourse war” waged by the Chinese government and Communist Party leaders that are less expected and more alarming, such as their view of Chinese Americans as members of a worldwide Chinese diaspora that owes undefined allegiance to the so-called Motherland.Featuring ideas and policy proposals from leading China specialists, China's Influence and American Interests argues that a successful future relationship requires a rebalancing toward greater transparency, reciprocity, and fairness. Throughout, the authors also strongly state the importance of avoiding casting aspersions on Chinese and on Chinese Americans, who constitute a vital portion of American society. But if the United States is to fare well in this increasingly adversarial relationship with China, Americans must have a far better sense of that country's ambitions and methods than they do now.

The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.

In Killing Hope, William Blum, author of the bestselling Rogue State: A Guide to the World's Only Superpower, provides a devastating and comprehensive account of America's covert and overt military actions in the world, all the way from China in the 1940s to the invasion of Iraq in 2003 and - in this updated edition - beyond. Is the United States, as it likes to claim, a global force for democracy? Killing Hope shows the answer to this question to be a resounding 'no'.