By examining the rise of life insurance institutions in 18th-century England, this book offers fresh insight into the history of a commercial society learning to apply speculative techniques to the management of risk.

A study of the early years of the life insurance industry in 19th century America. Investing in Life considers the creation and expansion of the American life insurance industry from its early origins in the 1810s through the 1860s and examines how its growth paralleled and influenced the emergence of the middle class. Using the economic instability of the period as her backdrop, Sharon Ann Murphy also analyzes changing roles for women; the attempts to adapt slavery to an urban, industrialized setting; the rise of statistical thinking; and efforts to regulate the business environment. Her research directly challenges the conclusions of previous scholars who have dismissed the importance of the earliest industry innovators while exaggerating clerical opposition to life insurance. Murphy examines insurance as both a business and a social phenomenon. She looks at how insurance companies positioned themselves within the marketplace, calculated risks associated with disease, intemperance, occupational hazard, and war, and battled fraud, murder, and suicide. She also discusses the role of consumers?their reasons for purchasing life insurance, their perceptions of the industry, and how their desires and demands shaped the ultimate product. Winner, Hagley Prize in Business History, Hagley Museum and Library and the Business History Conference Praise for Investing in Life “A well-written, well-argued book that makes a number of important contributions to the history of business and capitalism in antebellum America.” —Sean H. Vanatta, Common Place “An intriguing, instructive history of the establishment and development of the life insurance industry that reveals a good deal about changing social and commercial conditions in antebellum America . . . Highly recommended.” —Choice

The Wall Street Journal, USA Today, and BusinessWeek bestseller Bank On Yourself: The Life-Changing Secret to Growing and Protecting Your Financial Future reveals the secrets to taking back control of your financial future that Wall Street, banks, and credit card companies don’t want you to know. Can you imagine what it would be like to look forward to opening your account statements because they always have good news and never any ugly surprises? More than 100,000 Americans of all ages, incomes, and backgrounds are already using Bank On Yourself to grow a nest-egg they can predict and count on, even when stocks, real estate, and other investments tumble. You’ll meet some of them and hear their stories of how Bank On Yourself has helped them reach a wide variety of short- and longterm personal and financial goals and dreams in this book.

Robert Louis Stevenson: Writer of Boundaries reinstates Stevenson at the center of critical debate and demonstrates the sophistication of his writings and the present relevance of his kaleidoscopic achievements. While most young readers know Robert Louis Stevenson (1850–1894) as the author of Treasure Island, few people outside of academia are aware of the breadth of his literary output. The contributors to Robert Louis Stevenson: Writer of Boundaries look, with varied critical approaches, at the whole range of his literary production and unite to confer scholarly legitimacy on this enormously influential writer who has been neglected by critics. As the editors point out in their Introduction, Stevenson reinvented the “personal essay” and the “walking tour essay,” in texts of ironic stylistic brilliance that broke completely with Victorian moralism. His first full-length work of fiction, Treasure Island, provocatively combined a popular genre (subverting its imperialist ideology) with a self-conscious literary approach. Stevenson, one of Scotland’s most prolific writers, was very effectively excluded from the canon by his twentieth-century successors and rejected by Anglo-American Modernist writers and critics for his play with popular genres and for his non-serious metaliterary brilliance. While Stevenson’s critical recognition has been slowly increasing, there have been far fewer published single-volume studies of his works than those of his contemporaries, Henry James and Joseph Conrad.