Strong customer-focused companies have a clear, relevant promise which they obsessively deliver day-in, day-out. At the same time, they relentlessly drive the market by evolving the offer in the face of market developments and opportunities. Because they meet customer needs better than the competition, again and again, they are able to generate sustainable, profitable, market-leading organic growth. The problem the book addresses is how to achieve this. The authors identify five key steps using their framework for success: Offer a clear, relevant customer promise Build customer trust by reliably delivering that promise Continuously improve the promise, while still reliably delivering it Drive the market by innovating beyond the familiar Support all this with an open organization that promotes frank discussion based on clear facts and market feedback. Above all the book runs counter to the fashionable claim that the starting-point for business success should be to find a 'blue-sky', 'out-of-the-box' breakthrough innovation. Barwise and Meehan use many compelling cases to illustrate how managers can find ways within their existing network and organization to achieve long term growth.

A fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

I was a young man at the time, and intimately acquainted with some of the actors in this strange tale; the impression which its incidents made on me, therefore, were deep, and lasting. I shall now endeavour, with precision, to relate them all, combining, of course, in the narrative, whatever I have learned from various sources, tending, however imperfectly, to illuminate the darkness which involves its progress and termination.

Where the New World Is assesses how fiction published since 1980 has resituated the U.S. South globally and how earlier twentieth-century writing already had done so in ways traditional southern literary studies tended to ignore. Martyn Bone argues that this body of fiction has, over the course of some eighty years, challenged received readings and understandings of the U.S. South as a fixed place largely untouched by immigration (or even internal migration) and economic globalization. The writers discussed by Bone emphasize how migration and labor have reconfigured the region’s relation to the nation and a range of transnational scales: hemispheric (Jamaica, the Bahamas, Haiti), transatlantic/Black Atlantic (Denmark, England, Mauritania), and transpacific/global southern (Australia, China, Vietnam). Writers under consideration include Zora Neale Hurston, Nella Larsen, John Oliver Killens, Russell Banks, Erna Brodber, Cynthia Shearer, Ha Jin, Monique Truong, Lan Cao, Toni Morrison, Peter Matthiessen, Dave Eggers, and Laila Lalami. The book also seeks to resituate southern studies by drawing on theories of “scale” that originated in human geography. In this way, Bone also offers a new paradigm in which the U.S. South is thoroughly engaged with a range of other scales from the local to the global, making both literature about the region and southern studies itself truly transnational in scope.