The second title of the I Am the City series stops in London. Stunning colour illustrations by Carlo Stanga lead the reader into a virtual tour of the city that narrates and reveals landmarks, tales, lifestyle, architecture as well as secrets. From the Tower Bridge to the brutalist Trellick Tower, a never seen before fully comprehensive illustrated journey of London town. 112 pages on 140 gsm ivory

I AM THE CITYCities have always been important protagonists in our history, but now, more than ever, they are taking the leading role in our developing culture. The intensified urbanization and increasing importance of cities like London, Paris, New York and Mexico, which are becoming through their assets and appeal more prominent than the nations they belong to, is evident to us all.In this series, the most prominent cities in the world are given a chance to reassert their unique personalities and show us their individuality via a pictorial tour and compelling anecdotes. They can show off their exceptional monuments, both historical and contemporary, their particular ambience and flavor, their visual and cultural singularity - the things that mark them out in the face of the encroaching tide of homogeneity.The series brings not only revelation and discovery to new visitors, but also rediscovery and renewed enthusiasm to the cities? inhabitants, too easily blinded by their frenetic lifestyles to the extraordinary monuments, visual panoramas and street life they live amongst. "It?s a pleasure to meet you, city!"

Alex John London defends a conception of the common good that grounds a moral imperative with two requirements. The first is to promote research that enables key social institutions to effectively, efficiently and equitably safeguard the basic interests of individuals. The second is to ensure that research is organized as a voluntary scheme of social cooperation that respects its various contributors' moral claim to be treated as free and equal. Connecting research to the goals of a just social order grounds a framework for assessing and managing research risk that reconciles these requirements and justifies key oversight practices in non-paternalistic terms. The result is a new understanding of research ethics that resolves coordination problems that threaten these goals and provides credible assurance that the requirements of this imperative are being met.--

There were eccentric characters in the hotel. The Paris slums are a gathering-place for eccentric people—people who have fallen into solitary, half-mad grooves of life and given up trying to be normal or decent. Poverty frees them from ordinary standards of behaviour, just as money frees people from work. Some of the lodgers in our hotel lived lives that were curious beyond words. There were the Rougiers, for instance, an old, ragged, dwarfish couple who plied an extraordinary trade. They used to sell postcards on the Boulevard St Michel. The curious thing was that the postcards were sold in sealed packets as pornographic ones, but were actually photographs of chateaux on the Loire; the buyers did not discover this till too late, and of course never complained. The Rougiers earned about a hundred francs a week, and by strict economy managed to be always half starved and half drunk. The filth of their room was such that one could smell it on the floor below. According to Madame F., neither of the Rougiers had taken off their clothes for four years.

Describes a walking tour in London, off the beaten path, and shares observations on British customs and history, and points of interest along the way.

Ian Fleming. John le Carré. Len Deighton. Mick Herron. The brilliant plotting of Herron’s twice CWA Dagger Award-winning Slough House series of spy novels is matched only by his storytelling gift and an ear for viciously funny political satire. “Mick Herron is the John le Carré of our generation.”—Val McDermid At MI5 headquarters Regent’s Park, First Desk Claude Whelan is learning the ropes the hard way. Tasked with protecting a beleaguered prime minister, he’s facing attack from all directions: from the showboating MP who orchestrated the Brexit vote, and now has his sights set on Number Ten; from the showboat’s wife, a tabloid columnist, who’s crucifying Whelan in print; from the PM’s favorite Muslim, who’s about to be elected mayor of the West Midlands, despite the dark secret he’s hiding; and especially from his own deputy, Lady Di Taverner, who’s alert for Claude’s every stumble. Meanwhile, the country’s being rocked by an apparently random string of terror attacks. Over at Slough House, the MI5 satellite office for outcast and demoted spies, the agents are struggling with personal problems: repressed grief, various addictions, retail paralysis, and the nagging suspicion that their newest colleague is a psychopath. Plus someone is trying to kill Roddy Ho. But collectively, they’re about to rediscover their greatest strength—that of making a bad situation much, much worse. It’s a good thing Jackson Lamb knows the rules. Because those things aren’t going to break themselves.

This book tells the history of the London black music culture that emerged in post-colonial London at the end of the twentieth century; the people who made it, the racial and spatial politics of its development and change, and the part it played in founding London's precious, embattled multiculture. It conceives of the linked scenes around black music in London, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, to dubstep and grime of the 2000s, as demonstrating enough common features to be thought of as one musical culture, an Afro-diasporic continuum. Core to this idea is that this dance culture has been ignored in history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art.