The signs and signals of criminal communication How do criminals communicate with each other? Unlike the rest of us, people planning crimes can't freely advertise their goods and services, nor can they rely on formal institutions to settle disputes and certify quality. They face uniquely intense dilemmas as they grapple with the basic problems of whom to trust, how to make themselves trusted, and how to handle information without being detected by rivals or police. In this book, one of the world's leading scholars of the mafia ranges from ancient Rome to the gangs of modern Japan, from the prisons of Western countries to terrorist and pedophile rings, to explain how despite these constraints, many criminals successfully stay in business. Diego Gambetta shows that as villains balance the lure of criminal reward against the fear of dire punishment, they are inspired to unexpected feats of subtlety and ingenuity in communication. He uncovers the logic of the often bizarre ways in which inveterate and occasional criminals solve their dilemmas, such as why the tattoos and scars etched on a criminal's body function as lines on a professional résumé, why inmates resort to violence to establish their position in the prison pecking order, and why mobsters are partial to nicknames and imitate the behavior they see in mafia movies. Even deliberate self-harm and the disclosure of their crimes are strategically employed by criminals to convey important messages. By deciphering how criminals signal to each other in a lawless universe, this gruesomely entertaining and incisive book provides a quantum leap in our ability to make sense of their actions.

Perpetual scaredy-cat Conor O'Neill has the fright of his life when a banshee girl named Ashling shows up in his bedroom. Ashling is--as all banshees are--a harbinger of death, but she's new at this banshee business, and first she insists on going to middle school. As Conor attempts to hide her identity from his teachers, he realizes he's going to have to pay a visit to the underworld if he wants to keep his family safe. "Got your cell?" "Yeah . . . . Don't see what good it'll do me." "I'll text you if anything happens that you should know." "Text me? Javier, we'll be in the afterlife." "You never know. Maybe they get a signal." Discover why Kirkus has called Booraem's work "utterly original American fantasy . . . frequently hysterical." This totally fresh take on the afterlife combines the kid next door appeal of Percy Jackson with the snark of Artemis Fowl and the heart of a true middle grade classic.

Young readers are introduced to some of the most exciting figures in Greek mythology in this vibrant new series. Each title describes the responsibilities and characteristics of a featured god or goddess. A detailed mythological family tree also provides useful background information. The Gods and Goddesses of Ancient Greece series is sure to inspire a fascination for mythology and a love of reading. Each Gods and Goddesses of Ancient Greece title features easy-to-read text, stunning visuals, and a challenging educational activity. Gods and Goddesses of Ancient Greece is a series of AV2 media enhanced books. A unique book code printed on page 2 unlocks multimedia content. These books come alive with video, audio, weblinks, slide shows, activities, hands-on experiments, and much more.

The object of the volume is the analysis of the main dictionaries and glossaries of the canting language (the particular jargon spoken by thieves and vagabonds) that appeared in the 17th and 18th centuries. The scholars' attention has mostly concentrated on the earliest publications - particulary those appearing in the Elizabethan period -, while relatively little research has investigated subsequent canting dictionaries and glossaries. The aim of the present volume is to fill this gap. The main works on canting published in the 17th and 18th centuries are analysed in chapters 3 to 10. The first two chapters provide a necessary introduction to the investigation carried out in the subsequent sections, examining the great increase in the numbers of vagabonds and criminals in England in that period from a sociohistorical perspective and reviewing the 16th-century English literature about the underworld. The subsequent eight chapters give a detailed analysis of the main works on canting which appeared in the second part of the 17th century and during the whole of the 18th century. The specific features of each publication are identified, as well as the method adopted by its author in the compilation of his dictionary/glossary and the most likely sources of its entries, in order to determine the degree of novelty and relevance that his contribution has brought to this field. The final chapter deals with the evolution in the meaning of the term 'cant' itself in the period taken into consideration.

This volume presents a case for how and why people in archaic and classical Greece worshipped Underworld gods. These gods are often portrayed as malevolent and transgressive, giving an impression that ancient worshippers derived little or no benefit from developing ongoing relationships with them. In this book, the first book-length study that focuses on Underworld gods as an integral part of the religious landscape of the period, Mackin Roberts challenges this view and shows that Underworld gods are, in many cases, approached and ‘befriended’ in the same way as any other kind of god. Underworld Gods in Ancient Greek Religion provides a fascinating insight into the worship of these deities, and will be of interest to anyone working on ancient Greek religion and cult.

The English language in the Renaissance was in many ways a collection of competing Englishes. Blank investigates the representation of alternative vernaculars in both linguistic and literary works of the time.