Finance Fictions takes the measure of what it means to live in a world ruled by high finance by examining the tension between psychosis and realism that plays out in the contemporary finance novel. When the things traded at the center of the economy cease to be things at all, but highly abstracted speculations, how do we come to see the real? What sorts of narrative can accurately approach the actual workings of a neoliberal economy marked by accelerating cycles of market crashes, economic and political crisis, and austerity? Revisiting such twentieth-century classics of the genre as Tom Wolfe's Bonfire of the Vanities and Bret Easton Ellis’s American Psycho, De Boever argues that the twenty-first century is witnessing the birth of a new kind of realistic novel that can make sense of complex financial instruments like collateralized debt obligations, credit default swaps, and digital algorithms operating at speeds faster than what human beings or computers can record. If in 1989 Wolfe could still urge novelists to work harder to “tame the billion-footed beast of reality,” today’s economic reality confronts us with a difference that is qualitative rather than quantitative: a new financial ontology requiring new modes of thinking and writing. Mobilizing the philosophical thought of Quentin Meillassoux in the close reading of finance novels by Robert Harris, Michel Houellebecq, Ben Lerner and less well-known works of conceptual writing such as Mathew Timmons’ Credit, Finance Fictions argues that realism is in for a speculative update if it wants to take on the contemporary economy—an “if” whose implications turn out to be deeply political. Part literary study and part philosophical inquiry, Finance Fictions seeks to contribute to a new mindset for creative and critical work on finance in the twenty-first century.

Find out what Joseph Conrad, Arthur Miller, Geoffrey Chaucer, and Mark Twain can tell you about being a more effective manager. Looking for business insights? Forget the Wall Street Journal. You can learn a lesson or two from Arthur Miller and David Mamet. Put down Forbes and Fortune for once and spend an evening with Chaucer and George Bernard Shaw. Not only will you enjoy yourself, you're also likely to discover some fresh management perspectives and ideas! Written by a former CEO of a global corporation who has also been an English literature professor, this provocative new business book proves that great novels and plays are a rich, untapped resource for businesspeople looking for solutions to problems they confront on the job. Robert A. Brawer digs deeply into fictions by literary legends such as Mark Twain, Joseph Conrad, Theodore Dreiser, Sinclair Lewis, and Joseph Heller to unearth vital lessons that managers can readily apply to the real world of work. From tips on resolving office conflicts in James Thurber's "The Catbird Seat" to pointers on gaining client confidence found in Chaucer's Canterbury Tales, Brawer finds nuggets of business wisdom in places where most businesspeople never think of looking. Focusing mainly on fiction that explores business themes, Brawer uses Heller's Something Happened and Shaw's Major Barbara to illustrate the dangers of allowing excessive faith in corporate hype to impair a manager's ability to accurately assess serious problems. From Mamet's Glengarry Glen Ross and Dreiser's Sister Carrie, he infers important lessons about the art of salesmanship. He explores the problems of alienation and maintaining personal integrity in a corporate world through a close reading of Arthur Miller's Death of a Salesman and Sloan Wilson's The Man in the Grey Flannel Suit. And out of his analysis of Upton Sinclair's The Jungle and John Dos Passos's The Big Money, among other major nineteenth- and twentieth-century works, Brawer develops an inspiring discourse on self-interest and efficiency versus ethical responsibility and compassion in a Darwinian business world. As instructive as it is entertaining, Fictions of Business shows you how to take advantage of great novels and plays in solving the human problems of management. Praise for Fictions of Business "What a fabulous concept: the bringing together of great literature and management theory. This is a business book that challenges the intellect and goes about unveiling the basic principles of management in a way that forces you to think about what you know in a completely different way. It's a business book that stays with you long after you've read it." -Shelly Lazarus, Chairman and CEO, Ogilvy & Mather "A truly refreshing contribution to the multitude of books on corporate management. Brawer has cleverly crafted a set of essays that are both inspirational and practical." -Robert A. Kavesh, Professor of Finance and Economics, Leonard N. Stern School of Business, New York University. "Robert Brawer is both a successful entrepreneur and a distinguished literary scholar, and his book, Fictions of Business, is wise about both trade and fiction. Brawer writes with ironic wit and sharp observation about the culture of the corporation and the workplace." -Martin Peretz, Editor-in-Chief, The New Republic and Professor of Social Studies, Harvard University. "Brawer's message is clear and true: good literature enriches business leaders, making them more productive in their careers." -Richard D. Franke, former Chairman and CEO, John Nuveen Company. "Although commerce and literary analysis might seem worlds apart, Robert Brawer's book brilliantly weaves together fictional characters with larger-than-life figures from the corporate world. In Brawer's compelling narrative, literature offers striking models for good corporate practice." -Philip Gossett, Dean of Humanities, University of Chicago.

A bold, epic debut novel set during the war and financial crisis that defined the beginning of our century One September morning in 2008, an investment banker approaching forty, his career in collapse and his marriage unraveling, receives a surprise visitor at his West London townhouse. In the disheveled figure of a South Asian male carrying a backpack, the banker recognizes a long-lost friend, a mathematics prodigy who disappeared years earlier under mysterious circumstances. The friend has resurfaced to make a confession of unsettling power. In the Light of What We Know takes us on a journey of exhilarating scope--from Kabul to London, New York, Islamabad, Oxford, and Princeton--and explores the great questions of love, belonging, science, and war. It is an age-old story: the friendship of two men and the betrayal of one by the other. The visitor, a man desperate to climb clear of his wrong beginnings, seeks atonement; and the narrator sets out to tell his friend's story but finds himself at the limits of what he can know about the world--and, ultimately, himself. Set against the breaking of nations and beneath the clouds of economic crisis, this surprisingly tender novel chronicles the lives of people carrying unshakable legacies of class and culture as they struggle to tame their futures. In an extraordinary feat of imagination, Zia Haider Rahman has telescoped the great upheavals of our young century into a novel of rare intimacy and power.

The way we conceptualise the economy and ourselves as homo economicus has profound consequences for our lives. The contributions to this anthology take debates about the financial crisis, about recent austerity measures or about the Brexit referendum a step further. A common denominator of these dynamics are underlying ideas of »the economy«. Each author identifies a facet of Britain's imagined economies. They connect seemingly separate fields such as finance and fiction in order to better understand current political changes. In addition, the book offers an urgently needed interdisciplinary view on the performative power of economic thought - and in this respect moves far beyond merely British perspectives.

In the United States, the early years of the war on terror were marked by the primacy of affects like fear and insecurity. These aligned neatly with the state’s drive toward intensive securitization and an aggressive foreign policy. But for the broader citizenry, such affects were tolerable at best and unbearable at worst; they were not sustainable. Figuring Violence catalogs the affects that define the latter stages of this war and the imaginative work that underpins them. These affects—apprehension, affection, admiration, gratitude, pity, and righteous anger—are far more subtle and durable than their predecessors, rendering them deeply compatible with the ambitions of a state embroiling itself in a perpetual and unwinnable war. Surveying the cultural landscape of this sprawling conflict, Figuring Violence reveals the varied mechanisms by which these affects have been militarized. Rebecca Adelman tracks their convergences around six types of beings: civilian children, military children, military spouses, veterans with PTSD and TBI, Guantánamo detainees, and military dogs. All of these groups have become preferred objects of sentiment in wartime public culture, but they also have in common their status as political subjects who are partially or fully unknowable. They become visible to outsiders through a range of mediated and imaginative practices that are ostensibly motivated by concern or compassion. However, these practices actually function to reduce these beings to abstracted figures, silencing their political subjectivities and obscuring their suffering. As a result, they are erased and rendered hypervisible at once. Figuring Violence demonstrates that this dynamic ultimately propagates the very militarism that begets their victimization.

Fictions of Finance at the End of an American Century explores how an economy determines the language of those who live among its imperatives—and how it makes available to them the stories that they can and cannot tell, and the manner of their telling. Read closely, fictional narrative may expose the historical structures that determine literary language use, and that of language more generally. The study, the fourth in a quartet of studies addressing the emergence and decline of a Fordist regime of capitalist accumulation, offers an account of 'the sub-semantic whispering' that haunts the literature of the financial turn—which is to say, an account of how the complexities of words and their histories register an expanding industrial economy's organizing contradictions and failures. Reading in the light of deindustrialization and the rise of US finance capital after 1973, it deploys and elaborates on a materialist theory of language that explains how syntactic as well as semantic structures register a financializing economy's core contradictions, those associated particularly with debt, risk, and volatility. The volume listens for the under-heard syntactical breaks that punctuate language under the global hegemony of finance, breaks that express the unuttered in all utterance, taking as its exemplary texts primarily works by Bret Easton Ellis, Jayne Anne Phillips, and David Foster Wallace.

INTERNATIONAL BESTSELLER • “Grisham meets Ludlum on Wall Street . . . a fast-paced roller coaster of love and lust, murder and betrayal, politics and business.”—USA Today “Entertaining and energetic . . . superbly taut . . . Frey keeps up the suspense right to the end.”—Financial Times Investment banker Andrew Falcon is spearheading the biggest hostile takeover in Wall Street history—and counting on a staggering five-million-dollar fee if he can pull it off. But Falcon doesn't realize that he has stumbled onto the secret power of a shadowy organization known only as The Sevens. He discovers a scheme so interwoven in financial and political sabotage, so vast and brilliantly designed, that it staggers the imagination. His only chance to stop it depends on taking overwhelming risks—and learning which of the two beautiful women in his life can be trusted. Andrew Falcon's struggle for survival begins as he tries to outwit his betrayers—and a hidden enemy whose hatred is implacable.