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New! This book is in the same immaculate condition as when it was published 1.13

Homer’s Iliad is often considered a poem of blunt truthfulness, his characters’ motivation pleasingly simple. A closer look, however, reveals a complex interplay of characters who engage in an awful lot of lies. Beginning with Achilles, who hatches a secret plot to destroy his own people, Mark Buchan traces motifs of deception and betrayal throughout the poem. Homer’s heroes offer bluster, their passion linked to and explained by their lack of authenticity. Buchan reads Homer’s characters between the lies, showing how the plot is structured individual denial and what cannot be said.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 1.13

A depressed detective, still in mourning for his murdered wife, stumbles into a money-laundering scheme when a book is sold to him by mistake at a library book sale. The intended recipients, a trio of drug dealers, try to find him and the book. He tries to unearth the mystery of how the book came to be at the sale. It isn't easy - the book is written in Latin and Greek. The book itself, a 14th century codex, is obviously a priceless antiquity. However, as the story of the book unfolds, it slowly becomes clear that the book's value is more in its contents than its age. The story behind the book's origins begins in 1347. Commissioned by Pope Clement VI at the request of his physician, Guy de Chauliac, it travels to Hibernia to be copied by a young Irish monk. Can the monk finish in time to apply its secrets? Is Guy de Chauliac correct about the book's usefulness? Is the detective's belief in the book's contents justified? In an intricate tale that weaves back and forth between the middle ages and modern day America, a Greek physician's ancient formula provides the common thread that brings an unlikely cast of characters together. This is my first work of fiction - well, some of my memos were fiction. My hope is that you will buy it, read it and enjoy it. I do intend to write a couple more books but after the hard scrabbling with Kindle to get this one published, the muse is cowering in a corner, so it may be a while. If you have any questions or comments please feel free to send me an e-mail. Since almost all my messages are spam, anything else will make a welcome change. rhaggerty@irishcultureandcustoms.com

A depressed detective, still in mourning for his murdered wife, stumbles into a money-laundering scheme when a book is sold to him by mistake at a library book sale. The intended recipients, a trio of drug dealers, try to find him and the book. He tries to unearth the mystery of how the book came to be at the sale. It isn't easy - the book is written in Latin and Greek. The book itself, a 14th century codex, is obviously a priceless antiquity. However, as the story of the book unfolds, it slowly becomes clear that the book's value is more in its contents than its age. The story behind the book's origins begins in 1347. Commissioned by Pope Clement VI at the request of his physician, Guy de Chauliac, it travels to Hibernia to be copied by a young Irish monk. Can the monk finish in time to apply its secrets? Is Guy de Chauliac correct about the book's usefulness? Is the detective's belief in the book's contents justified? In an intricate tale that weaves back and forth between the middle ages and modern day America, a Greek physician's ancient formula provides the common thread that brings an unlikely cast of characters together. This is my first work of fiction - well, some of my memos were fiction. My hope is that you will buy it, read it and enjoy it. I do intend to write a couple more books but after the hard scrabbling with Kindle to get this one published, the muse is cowering in a corner, so it may be a while. If you have any questions or comments please feel free to send me an e-mail. Since almost all my messages are spam, anything else will make a welcome change. rhaggerty@irishcultureandcustoms.com

Paperback. Uncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenments desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art.It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to uncuration: untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution.Looking at Kara Walkers work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how the body brings us to knowledge beyond the ordinary. Playing Kate Carr and Ellen Fullman it re-examines Modernisms colonial ideology, and materialises the vibrational presence of a plural sense. Listening to Marguerite Humeau and Manon de Boer it avoids theory but agitates a direct knowing from voice and hands, and feet and ears that disorder hegemonic knowledge strands in favour of local, tacit, feminist and contingent knowledges that demand like Zanele Muholis photographs, an ethical engagement with the work/world. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

From the 1860s to the present day, these are the accounts of the Diogenes Club, whose agents solve crimes too strange for Britain's police, protecting the realm-and this entire plane of existence-from occult menaces, threats born in other dimensions, magical perfidy and the Deep Dark Deadly Ones. Kim Newman continues the series began in The Man From the Diogenes Club, revealing more mysteries of the British Empire's most secret service.

Excerpt from Ruminations: Prose d'un SolitaireLes maternités et les perfidies, les charmes et les horreurs de la nature sont des contrastes nécessaires à l'homme, ce Protée volage de sen sations, de jugements et de pensées, toujours ballotté entreles extrêmes, tiraillé par les con traires, retourné par les inverses, pratiquant tour à tour avec la même courte illusion la croyance et le doute, l'enthousiasme et le de goût, la logique et l'inconséquence.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Inch High, diminutive operative of the Finkerton Detective Agency, stands tall against the forces of perfidy, making Saturday mornings safe for all good citizens from the halcyon year of 1973 to today. Ably aided by niece Lori, her hulking boyfriend Gator and his loyal dog Braveheart, Inch High uses his pint-sized stature to foil the most complex and nefarious of schemes. Whether battling Spumoni the Great, Mr. Midas, or King Ra, or teaming up with the likes of Super Flea and Goldie, the world's

Cridilla, the youngest daughter of Leir Blatonikos, grows to womanhood in a magnificent land, learns the lost secrets of the Goddess from Crow, and must face her own sister's perfidy. Reprint.

Recent studies have examined martyrdom as a means of constructing Christian identity, but until now none has focused on Stephen, the first Christian martyr. For the author of Luke-Acts, the stoning of Stephen-- even more than the death of Jesus-- underscores the perfidy of non-believing Jews, the extravagant mercy of Christians, and the inevitable rift that will develop between these two social groups. Stephen's dying prayer that his persecutors be forgiven-the prayer for which he is hailed in Christian tradition as the "perfect martyr" plays a crucial role in drawing an unprecedented distinction between Jewish and early Christian identities.Shelly Matthews deftly situates Stephen's story within the emerging discourse of early Christian martyrdom. Though Stephen is widely acknowledged to be an actual historical figure, Matthews points to his name, his manner of death, and to other signs that his martyrdom was ideally suited to the rhetorical purposes of Acts and its author, Luke: to uphold Roman views of security and respectability, to show non-believing Jews to disadvantage, and to convey that Christianity was an exceptionally merciful religion. By drawing parallels between Acts and stories of the martyrdom of James, the brother of Jesus, Matthews challenges the coherent canonical narrative of Acts and questions common assumptions about the historicity of Stephen's martyrdom. She also offers a radical new reading of Stephen's last prayer, showing the complex and sometimes violent effects of its modern interpretations. Perfect Martyr illuminates the Stephen story as never before, offering a deeply nuanced picture of violence, solidarity, and resistance among Jews and early Christians, a key to understanding the early development of a non-Jewish Christian identity, and an innovative reframing of one of the most significant stories in the Bible.

From the 1860s to the present, these are the accounts of the Diogenes Club, whose agents solve crimes too strange for Britain's police, protecting the realm and this entire plane of existence from occult menaces, threats born in other dimensions, magical perfidy and the Deep Dark Deadly Ones. Kim Newman continues the series began in The Man From the Diogenes Club, revealing more of the secrets of the British Empire's most secret service.

This time Amelia and her dashing husband Emerson set off for a promising archaeological site in the Sudan, only to be unwillingly drawn into the search for an African explorer and his young bride who went missing twelve years back. They survive the rigours of the desert, the death of their camels, and the perfidy of their guides, only to find themselves taken prisoner in a lost city and civilisation. Amelia and Emerson must bravely continue making archaeological finds while doing their best to rescue the innocent...and themselves.

From the 1860s to the present, these are the accounts of the Diogenes Club, whose agents solve crimes too strange for Britain's police, protecting the realm and this entire plane of existence from occult menaces, threats born in other dimensions, magical perfidy and the Deep Dark Deadly Ones. Kim Newman continues the series began in The Man From the Diogenes Club, revealing more of the secrets of the British Empire's most secret service.