This extended autobiographical essay explains in clear, engaging terms how the role of economics and finance in the Western world has shifted in the twenty-first century, from cultivating wellbeing in society to eroding the wealth of the middle class. Just a handful of years into the new millennium, globalization has had a profound impact on economies and societies throughout Europe and America. In this accessible yet literary work, Edoardo Nesi and Guido Maria Brera illustrate its effects in Italy through the changes that occurred in their own lives: while the former was forced to sell the textile company his grandfather founded before World War II, the latter became one of the key figures in European asset management. Between Bill Clinton's remarks at the Lincoln Memorial on December 31, 1999 that closed the American Century, and Donald Trump's inauguration speech, economics and finance stopped functioning as instruments constructing a healthy society and became weapons to destroy the middle class. As demagogues seduce citizens of nations across the globe, Everything Is Broken Up and Dances tells the critical story of how we corrupted what we might in retrospect call "the best of all possible worlds"--a world without banking crises, unemployment, terrorism, and populism, in which it was impossible to think that a state might default on its debt.

This extended autobiographical essay explains in clear, engaging terms how the role of economics and finance in the Western world has shifted in the twenty-first century, from cultivating wellbeing in society to eroding the wealth of the middle class. Just a handful of years into the new millennium, globalization has had a profound impact on economies and societies throughout Europe and America. In this accessible yet literary work, Edoardo Nesi and Guido Maria Brera illustrate its effects in Italy through the changes that occurred in their own lives: while the former was forced to sell the textile company his grandfather founded before World War II, the latter became one of the key figures in European asset management. Between Bill Clinton's remarks at the Lincoln Memorial on December 31, 1999 that closed the American Century, and Donald Trump's inauguration speech, economics and finance stopped functioning as instruments constructing a healthy society and became weapons to destroy the middle class. As demagogues seduce citizens of nations across the globe, Everything Is Broken Up and Dances tells the critical story of how we corrupted what we might in retrospect call "the best of all possible worlds"--a world without banking crises, unemployment, terrorism, and populism, in which it was impossible to think that a state might default on its debt.

"James Byrne's first book to be published in America navigates personal and socio-political worlds, journeying through Burma, Libya, and Syria along with documenting the poet's years in New York City and subsequent return to England. This is a flexible poetry written 'on the hoof, ' nomadic and innovative, with imagery and language dexterously sparring. With linguistic tenacity but by tremendously varied means, Byrne shows how 'everything broken up dances.'"--Amazon.com.

Unpromisingly - for a walking book - Desire Paths begins on a hospital gurney as the author prepares for open heart surgery. Thereafter, it dances back and forth in place and time between an array of obscurely connected walks that Roy has undertaken over the years. Among the book's many characters and diversions are Wetherspoons, Capt. Picard, the Navy Cut sailor, the buried 'Spirit of Brighton', Wendy Craig, Harrods, Buddhism's Six Realms of Desire, 'Things to Do...' tourist brochures, Argleton redux, the abyss, strip-lynchets, punk residues, Milton Keynes, multiple identities and an inkling of what the future may hold for thoughtful walkers.Each chapter starts with a quote from Phil Smith's Mythogeography, specifically from the 'Legend' given in that book - 'legend' as in a set of definitions of symbols used on maps to define landscape features. Roy uses these symbols to organise the book. The main body of each chapter is an account of a walking journey he has done. These are not chronological: structuring the book around the mythogeography Legend has (dis)organised the walks into a sequence that wanders in and out of time. Towards the end of each chapter, Roy reflects on a Landscape Feature that corresponds to the Legend - exploring the workability (or playability) of mythogeographical concepts and illustrating how they have manifested in his own walking. Finally, the Jump Over the Back Fence notes in each chapter suggest further actual walks which readers could make.

This book discusses contemporary British poetry in the context of metamodernism. The author argues that the concept of metamodernist poetry helps to recalibrate the opposition between mainstream and innovative poetry, and he investigates whether a new generation of British poets can be accurately defined as metamodernist. Antony Rowland analyses the ways in which contemporary British poets such as Geoffrey Hill, J. H. Prynne, Geraldine Monk and Sandeep Parmar have responded to the work of modernist writers as diverse as T. S. Eliot, H. D. and Antonin Artaud, and what Theodor Adorno describes as the overall enigma of modern art.

Some sixteen-year-olds babysit for extra cash. Some work at the mall. Becca Williamson breaks up couples. Becca knows from experience the damage that love can do. After all, it was so-called love that turned Huxley from her childhood best friend into a social-world dictator, and love that left Becca's older sister devastated at the altar. Instead of sitting on the sidelines, Becca strikes back—for just one hundred dollars via PayPal, she will trick and manipulate any couple's relationship into smithereens. And with relationship zombies overrunning her school and treating single girls as if they're second-class citizens, business is unfortunately booming. Even Becca's best friend, Val, has resorted to outright lies to snag a boyfriend. One night, Becca receives a mysterious offer to break up the most popular couple in school: Huxley and the football team's star player, Steve. To succeed, she'll have to plan her most elaborate scheme to date—starting rumors, sabotaging cell phones, breaking into cars…not to mention sneaking back into Huxley's good graces. All while fending off the inappropriate feelings she may or may not be having for Val's new boyfriend. No one said being the Break-Up Artist would be easy.

Valued for their sensual and social intensity, Greek dance-events are often also problematical for participants, giving rise to struggles over position, prestige, and reputation. Here Jane Cowan explores how the politics of gender is articulated through the body at these culturally central, yet until now ethnographically neglected, celebrations in a class-divided northern Greek town. Portraying the dance-event as both a highly structured and dynamic social arena, she approaches the human body not only as a sign to be deciphered but as a site of experience and an agent of practice. In describing the multiple ideologies of person, gender, and community that townspeople embody and explore as they dance, Cowan presents three different settings: the traditional wedding procession, the "Europeanized" formal evening dance of local civic associations, and the private party. She examines the practices of eating, drinking, talking, gifting, and dancing, and the verbal discourse through which celebrants make sense of each other's actions. Paying particular attention to points of tension and moments of misunderstanding, she analyzes in what ways these social situations pose different problems for men and women.