In his book Finanz Kapital, published in 1910, Austrian Marxist Rudolf Hilferding had projected that concentrated banking capital would merge with other capitals to become omnipotent: ``If you control the six Berlin banks, you control all of German industry.'' The first Frankfurt School economist, Henryk Grossman, used classical Marxist crisis theory to show Hilferding had overestimated that power, and Hilferding's two stints as finance minister for Germany's Social Democratic Party during the 1920s also proved the point.Īs Grossman predicted in his book, Law of Accumulation and Breakdown of the Capitalist System, published in March 1929 (what timing!), matters would change radically. During the golden age era of financial stability, until the early 1970s, Sweezy's tracking of intracapitalist power relations allowed him to conclude that bankers were not in control, they were mainly facilitators. The central dispute was over whether debt relationships between banks and corporations – as well as interlocking directorships and other ruling-elite relationships - translated into control by the former.Īsking ``The Resurgence of Financial Control: Fact or Fancy?'', Sweezy disdainfully answered ``fancy''. Four decades ago, Monthly Review cofounder Paul Sweezy vigorously debated financialisation of the US economy with Robert Fitch and Mary Oppenheimer, whose article ``Who Rules the Corporations?'' in the journal Socialist Revolution proved most irritating.
0 Comments
And he'll need to find a base of operations, a Safeholdian country that's just a little more freewheeling, a little less orthodox, a little more open to the new. To better deal with a medieval society, "Nimue" takes a new gender and a new name, "Merlin." His formidable powers and access to caches of hidden high technology will need to be carefully concealed. Via automated recordings, "Nimue" - or, rather, the android with the memories of Lieutenant Commander Nimue Alban - is told her fate: she will emerge into Safeholdian society, suitably disguised, and begin the process of provoking the technological progress which the Church of God Awaiting has worked for centuries to prevent. This "rebirth" was set in motion centuries before, by a faction that opposed shackling humanity with a concocted religion. In a hidden chamber on Safehold, an android from the far human past awakens. But the Gbaba can detect the emissions of an industrial civilization, so the human rulers of Safehold have taken extraordinary measures: with mind control and hidden high technology, they've built a religion in which every Safeholdian believes, a religion designed to keep Safehold society medieval forever. Earth and her colonies are now smoldering ruins, and the few survivors have fled to distant, Earth-like Safehold, to try to rebuild. Humanity pushed its way to the stars - and encountered the Gbaba, a ruthless alien race that nearly wiped us out. The alcohol had clearly been flowing freely for some time. He could hear the Bagaudasii before he could see them. Several times people stopped them, wanting to discuss the bout, but Kirit kept the conversations short, wanting to get to Cody. He wasn’t eloquent and he could admit it. “Was that a comment on my intelligence?” Kirit asked mildly. And you most certainly cannot do it with words.” You can’t penetrate Magisteri’s arrogance, you should know that by now. So, we are going to find your mate and maybe a couple of mugs of ale along the way. Then Seamus would drag me into the middle, wondering why I cannot control my own. Magisteri would poke, you would lose your temper and attack, and then Seamus would have to deal with the whole mess. “No.” Raven waited until they passed out of earshot of Magisteri before he continued. “Wait, I wasn’t finished,” Kirit protested. Raven grabbed Kirit by the shoulder and steered him past the smirking noble. “Couldn’t you use a drink? Excuse us please, Lord Magisteri.” “I could use a drink,” Raven said in a loud voice. Subterfuge was a Fae talent, not a draconic one. He could practically hear Raven willing him to walk away. Kirit scowled, searching for another veiled comment to respond with. It would be difficult at best for a human to find a place among us.” Cody has found palace life to be rather dull on occasion.” “I am glad to hear he has been enjoying himself. Kirit bared his teeth in something resembling a smile. Lords followed with the role of Wanda Woodward in John Waters' teen comedy, Cry-Baby (1990). She made her mainstream screen debut at age nineteen in a leading role in the 1988 remake of the 1957 Roger Corman science fiction film Not of This Earth. In addition, all but the last of her adult films were banned as child pornography.Īfter leaving the pornography industry two days after turning the legal age of eighteen, Lords enrolled at the Lee Strasberg Theater Institute, where she studied method acting with the intention of becoming a mainstream actress. When the FBI acted on an anonymous tip that Lords was a minor during her time in the industry, and that pornographers were distributing and selling these illegal images and videotapes, the resulting fallout led to prosecution of those responsible for creating and distributing the tapes. Lords starred in adult films and was one of the most sought-after actresses in that industry during her career. She entered the adult film industry using a fake birth certificate to conceal that she was two years under the legal age of eighteen. Traci Lords (born Nora Louise Kuzma May 7, 1968) is an American actress and singer. As old as the universe and more powerful than many gods, Dream is vain, proud, and stiff-necked. He rules over the dreaming world that mortals enter when they sleep, and he is also the patron of writers and storytellers (described as "The lord of all that is not, and shall never be."), since a story and a dream are in many ways the same thing. A prequel mini-series, The Sandman: Overture, was released in 2013, the original series' 25th anniversary, and was written by Gaiman with art by J H Williams III.Īt the center of the series is Dream, also known as Morpheus, the Sandman, and dozens of other titles. The series lasted for 75 issues, from January 1989 to March 1996, with a one-shot special in November, 1991. Historical figures were common, as were allusions and homages to many classic works of fiction, such as the Arabian Nights and the plays of William Shakespeare. Described as "a story about stories," The Sandman was a comic series that could tell any tale, in any time period, in any style or setting. The Sandman is a Comic Book series published by DC Comics (with later issues released under the Vertigo imprint), written by Neil Gaiman and drawn by a revolving group of artists, chronicling the story of the King of Dreams and his family of fantastic anthropomorphic personifications of cosmic powers. The series was quite popular, often getting the cover illustration. The Telzey stories were originally published in Analog Science Fiction and Fact between 19. The series features one of the few imaginings (the "ComWeb") of the internet before its existence-although the system takes a half-hour to download a document of modest length. The series ends inconclusively in the last story, a villain makes a duplicate of her, who gains a separate identity and name. Eventually she teams up with the redheaded secret agent Trigger Argee. A major pattern in the stories is the development of her powers. Upon her return to her home planet, her abilities are recognized by a mechanism at the spaceport reentry gate and she is effectively made an agent of the Psychology Service. Through interaction with alien psychic animals on a resort planet, she discovers that she has psychic powers. She is introduced as a fifteen-year-old genius, a first-year law student, living on the human-settled planet Orado (whose name comes from Eldorado by a pun). Schmitz, taking place in his "Federation of the Hub" fictional universe, presumably in the mid-4th millennium. Telzey Amberdon is a fictional character in a series of science fiction short stories and two short novels by James H. The highest (but also greatest) variability in the prevalence of spin was present in trials. The nature of spin varied according to study design. We included 35 reports, which investigated spin in clinical trials, observational studies, diagnostic accuracy studies, systematic reviews, and meta-analyses. We used meta-analyses to analyse the association of spin with industry sponsorship of research. Results were grouped inductively into themes by spin-related outcome and are presented as a narrative synthesis. Two independent coders extracted data on the characteristics of reports and their included studies and all spin-related outcomes. We searched MEDLINE, PreMEDLINE, Embase, Scopus, and hand searched reference lists for all reports that included the measurement of spin in the biomedical literature for at least 1 outcome. This systematic review aims to explore the nature and prevalence of spin in the biomedical literature. The presence of spin in biomedical research can negatively impact the development of further studies, clinical practice, and health policies. In the scientific literature, spin refers to reporting practices that distort the interpretation of results and mislead readers so that results are viewed in a more favourable light. Whipple attended Blackburn High School and the Convent of Notre Dame from 1905-1911. Between 19 she published over 40 stories in the paper. Whipple’s first published story appeared in the Blackburn Weekly Telegraph in 1905 when the author was just 12 years old. Whipple’s self-regard as a writer reveals her literary inspirations and aspirations as well as her clearly feminist outlook.įrom an early age, Dorothy Whipple (neé Stirrup) wrote stories, largely for the amusement of her five siblings at their family home in Blackburn, Lancashire. This exhibition of Whipple’s writing life through notebooks, drafts and correspondence with publishers, reviewers and contemporary authors, reconsiders the ‘Whipple Line’. ‘The Whipple line’ became a Virago inhouse measure for manuscripts under consideration those that fell below the ‘Whipple line’ were deemed unacceptable. Whipple’s popularity waned in the 1950s, and her novels were famously rejected by the editors of the nascent Virago Press. First editions of her books are scarce, having been read to extinction through circulation via lending libraries. Opening at 48 Bedford Square from 15th September - 10th October 2022.ĭorothy Whipple (1893–1966) was an immensely popular author of eight best-selling novels, two memoirs and numerous short stories and children’s books. An exhibition celebrating the life and works of Dorothy Whipple The main character of Lerner's novel is an unhappy young poet named Adam Gordon, who's been awarded a prestigious fellowship to study in Spain. It's too ironic and intellectual to be the kind of novel that really moves readers, but it's also flip, hip, smart, and very funny, albeit in a glum way. I'm probably making Leaving the Atocha Station sound like a call to duty rather than pleasure: in truth, it's both. These thoughts aren't, to quote the novel, just "the bland connective tissue between more eventful times" they a re the events. But Lerner's offbeat little novel manages to convey what everyday life feels like before we impose the structure of plot on our experience.Īlmost everything that happens here happens inside the main character's head, which runs day and night like one of those loop-the-loop computer screen savers, constantly generating digressions, fibs, self-criticisms and doubts. Austen and Dickens and Hammett got to me early and spoiled me: I like plot. Ordinarily, I'm not a fan of this kind of spinning-one's-wheels-in-the-sand fiction. How?īen Lerner's debut novel, Leaving the Atocha Station is one of the most compelling books about nothing I've ever read. Your purchase helps support NPR programming. Close overlay Buy Featured Book Title Leaving the Atocha Station Author Ben Lerner The enduring romance of his life was Africa, as a new edition of the definitive monograph of his work, Peter Beard, makes clear. As his friend Bob Colacello described him, Beard was “half Tarzan, half Byron.” He would eventually settle down in the mid ’90s with Najma Beard, his third wife, but not before he had a near-death experience with an elephant on the Kenya-Tanzania border. Girlfriends were legion, among them Candice Bergen, Carole Bouquet, Lee Radziwill, and the model Barbara de Kwiatkowski, who left her husband for Beard, causing a minor New York scandal (he was with Radziwill at the time). His movie star looks and restless nature (friends called him “Walkabout”) made for a complicated love life. His taste for wine, women, illegal substances, and acts of physical recklessness (often involving a camera and a charging elephant or two) remained undiminished even in old age. The world famous photographer, artist, naturalist, and playboy, described recently by the Observer as “the last of the adventurers,” had a lust for life which propelled him into the clubs of downtown Manhattan and across the savannas of East Africa. All across the city and on the far end of Long Island, New Yorkers are telling tales of Peter Beard, a man who packed many lives into his one. |