A book of vintage tattoo flash made by the tattoo supply company of tattooer Percy Waters.

The New York Times bestselling novel that has been called “a tour de force” (Wall Street Journal), “unputdownable” (The Washington Post), “a delicious hothouse of a novel” (USA Today), “effortless” (The Economist), “seductive” (Vanity Fair) and “pitch perfect” (Salon) “Superb, bewitching…Forget about Fifty Shades of Grey; this novel is one of the most sensual you will ever read, and all without sacrificing either good taste or a "G" rating” – NPR “One of the year’s most engrossing and suspenseful novels…a love affair, a shocking murder, and a flawless ending … Will keep you sleepless for three nights straight and leave you grasping for another book that can sustain that high.” — Entertainment Weekly (A rating) “Volcanically sexy, sizzingly smart, plenty bloody and just plain irresistible." —USA Today (4 stars) It is 1922, and London is tense. Ex-servicemen are disillusioned; the out-of-work and the hungry are demanding change. And in South London, in a genteel Camberwell villa—a large, silent house now bereft of brothers, husband, and even servants—life is about to be transformed as impoverished widow Mrs. Wray and her spinster daughter, Frances, are obliged to take in lodgers. With the arrival of Lilian and Leonard Barber, a modern young couple of the “clerk class,” the routines of the house will be shaken up in unexpected ways. Little do the Wrays know just how profoundly their new tenants will alter the course of Frances’s life—or, as passions mount and frustration gathers, how far-reaching, and how devastating, the disturbances will be. Short-listed for the Man Booker Prize three times, Sarah Waters has earned a reputation as one of our greatest writers of historical fiction, and here she has delivered again. A love story, a tension-filled crime story, and a beautifully atmospheric portrait of a fascinating time and place, The Paying Guests is Sarah Waters’s finest achievement yet.

A lively, richly illustrated family biography of pioneering Boston tattoo artists Edward "Dad" Liberty and his sons Frank, Harold, and Ted. Accompanied by a lush catalogue of historic tattoo flash art. Through the complex, deeply human story of an iconic family of Boston tattooers, Loud, Naked, & in Three Colors forges a deeper understanding of the history of a vernacular art form and the folk who made a living from its subversive attractions. From the 1910s until 1962, when Massachusetts banned tattooing statewide, Edward "Dad" Liberty and his three sons held a near-monopoly on the Boston tattoo scene from their shops in Scollay Square, the city's gritty entertainment district. Over their lifetimes, the Liberty men accumulated an unmatched collection of hand-painted tattoo flash art, photographs, machines, shop signs, correspondence, ephemera, and family memorabilia. Loud, Naked, & in Three Colors brings together this evocative, sometimes eye-popping material to create a groundbreaking visual and narrative history of tattooing in Boston. It is an appealing work for general readers and tattoo enthusiasts, as well as a definitive resource for tattoo artists and historians of popular culture. Loud, Naked, & in Three Colors presents nearly 700 never before published tattoo designs, known as "flash," passed down through the Liberty family. Painted on sheets, boards, books, window shades, and scraps of repurposed paper, these works represent nearly a dozen tattoo artists who plied needle and ink from the first years of the 20th century through the early 1960s. Highlights include artwork by early Boston tattoo artist and showman Frank Howard, Ed Smith, and tattoo luminary Ben Corday. Also featured are over 70 illustrations of newly-discovered art and artifacts owned by the Libertys and many of the tattooers in their orbit, including Detroit's Percy Waters; Portland, Oregon's "Sailor" George Fosdick; Los Angeles' Ben Corday; Honolulu's "Long Tom" and "Sailor" Jerry Collins; and Boston's Fred McKay, James Fraser, Lawrence Davis, Oscar Bouchard, Jack Redcloud, Harvey Chanarkar, and Frank Harrington. Also represented is a host of material from Ted Liberty's time in Baltimore and later Vancouver, Canada and Harold Liberty's time in Salem, New Hampshire.

An ethnography of the tattoo community, tracing the practice's transformation from a mostly male, working-class phenomenon to one adapted and propagated by a more middle-class movement in the period from the 1970s to the present.