Bücher von Daniel Friedman

DON''T EVER GET OLD was one of mystery-publishing''s biggest critical successes, earning starred reviews from every major trade publication, garnering nominations for the Edgar, Thriller, and Anthony awards, and winning the Macavity Award for Best First Novel. The producer of four Harry Potter films and the Sherlock Holmes sequel, Lionel Wigram, is set to produce the film version.In Daniel Friedman''s new novel, set in Memphis, Tennessee, and four months after the events of DON''T EVER GET OLD, eighty-eight-year-old Buck Schatz is reluctantly coming to terms with the fact that he can only move around with the aid of a walker, and his dementia seems to be getting worse. So when one of Buck''s long-time foes, a bank-robber named Elijah, comes to Buck looking for protection from mysterious pursuers, Buck wavers. In the end, his desire to cement his legacy by closing out a series of long-unsolved robberies overwhelms his usual antipathy toward doing favors for people he dislikes. Buck agrees to broker Elijah''s surrender to the authorities, if Elijah will promise to confess to his long-ago crimes. But nothing involving Elijah, or Buck, is ever simple, and Elijah''s plans for Buck are more sinister than they first appeared. Written in Buck''s signature voice and featuring a mystery that will knock your socks off, DON''T EVER LOOK BACK takes a decades-old feud between two dangerousΓÇöand now elderlyΓÇömen and brings it to a final, explosive conclusion.

This collection of papers focuses on markets organized as double auctions. In a double auction, both buyers and sellers can actively present bids (offers to buy) and asks (offers to sell) for standardized units of well-defined commodities and securities.

"For several decades, the orthodox economics approach to understanding choice under risk has been to assume that each individual person maximizes some sort of personal utility function defined over purchasing power. This new volume contests that even the best wisdom from the orthodox theory is inadequate, and proposes the return to a simpler sort of scientific theory of risky choice"--

This collection of essays defines and explores American theatres that consciously appealed primarily to workers. The scope of the book extends from the 1830s to the 1980s. Different authors focus on how various plays related to the audience as a class, the historically dynamic interaction between spectators and actors, and why certain plays gained popularity. The collection encompasses essays concerning New York theatre in the 1830s and 1840s, Pittsburgh theatre in the 1870s, various immigrant productions of the late nineteenth and early twentieth century, the politically radical theatre of the 1930s, a concluding section on recent and contemporary theatre for workers, and an overview of the history, politics, and aesthetics of theatres doing shows for working-class audiences today. An original and comprehensive bibliographical essay regarding the history of theatres for workers in the United States completes the volume.