Here are 100 books that John Law fans have personally recommended if you like
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There’s something clinical and yet human about big financial crises, especially those that involve some kind of trickery or fraud. I’ve always been fascinated by this dark side of the world of money, and have been fortunate enough in my career to have had ring-side seats at a few such events in rich and poor countries. Fraud is not at the heart of the “social contrivance of money” but the monetary system is built on an edifice of trust that can all too easily be abused by scammers. From these episodes, we can learn a lot about people, credit, and society’s ways of protecting itself.
From my reading of Frank Partnoy’s book, I get the impression that Swedish celebrity financier Ivar Kreuger did really start out as a skillful and legitimate businessman, negotiating exclusive rights to sell matches in a range of central and Eastern European countries in the 1920s and early 1930s.
But, as so often happens, when business became more difficult in the 1930s, his elaborate financial activities gradually morphed into recklessness and fraud.
At the height of the roaring '20s, Swedish emigre Ivar Kreuger made a fortune raising money in America and loaning it to Europe in exchange for matchstick monopolies. His enterprise was a rare success story throughout the Great Depression. Yet after his suicide in 1932, it became clear that Kreuger was not all he seemed: evidence surfaced of fudged accounting figures, off-balance-sheet accounting, even forgery. He created a raft of innovative financial products, many of them precursors to instruments wreaking havoc in today's markets. In this gripping financial biography, Frank Partnoy recasts the life story of a remarkable yet forgotten…
There’s something clinical and yet human about big financial crises, especially those that involve some kind of trickery or fraud. I’ve always been fascinated by this dark side of the world of money, and have been fortunate enough in my career to have had ring-side seats at a few such events in rich and poor countries. Fraud is not at the heart of the “social contrivance of money” but the monetary system is built on an edifice of trust that can all too easily be abused by scammers. From these episodes, we can learn a lot about people, credit, and society’s ways of protecting itself.
I found this book to be not only an astonishing story of outright fraud and theft, but one which raises unexpected questions about the nature and function of money.
A confidence trickster managed to persuade the eminent banknote printing company Waterlow to reprint and give him a large stock of Bank of Portugal escudo banknotes, which he proceeded to spend.
Learning how the scam was uncovered is fascinating in itself, but even more intriguing is the question of who lost from this scam, and by how much.
There’s something clinical and yet human about big financial crises, especially those that involve some kind of trickery or fraud. I’ve always been fascinated by this dark side of the world of money, and have been fortunate enough in my career to have had ring-side seats at a few such events in rich and poor countries. Fraud is not at the heart of the “social contrivance of money” but the monetary system is built on an edifice of trust that can all too easily be abused by scammers. From these episodes, we can learn a lot about people, credit, and society’s ways of protecting itself.
I was an eye-witness as every single one of the banks serving the Irish economy effectively failed during the crisis of 2008-10.
Some were bailed out by their foreign shareholders, some by the Irish Government, which in turn had to be bailed out by the IMF and European Union. Worst of all, by a long distance, was Anglo Irish Bank, whose buccaneering executives lent billions to over-optimistic property developers, distorting economic activity and luring the other banks into unwise lending also.
Eventually, their desperate last-ditch attempts to save the bank and its shareholders led top management into illegal share support activities. Simon Carswell captures well the social dynamics involved.
As late as 2007, Anglo Irish Bank was a darling of the markets, internationally recognized as one of the fastest growing financial institutions in the world. By 2008, it was bust. The Irish government's hopeless attempts to save Anglo have led the state to ruin - culminating in a punitive IMF bailout in late 2010 and threatening the future of the euro.
Now, for the first time, the full story of the Anglo disaster is being told - by the journalist who has led the way in coverage of the bank and its many secrets. Drawing on his unmatched sources…
I started writing about bitcoin and cryptocurrency for the funny dumb crook stories. It was ridiculous and arrogant in a particular way that needed and needs puncturing. Somehow this turned into a second job as a finance journalist specialising in the area. The crypto promoters are reprehensible, but their self-sabotaging foolishness makes their comeuppance extremely satisfying. I feel I’m making the world a better place with this.
Davies’ Lying For Money lays out a taxonomy of fraud, illustrated with amazing stories of real-life frauds.
Per Davies: “A long firm makes you question whether you can trust anyone. A counterfeit makes you question the evidence of your eyes. A control fraud makes you question your trust in the institutions of society and a market crime makes you question society itself.”
Davies’ key trick to spotting a fraud: look at something that’s growing unusually quickly, and examine it in some way it hasn’t been examined before.
Only the second chapter is about cryptocurrency specifically, but understanding how frauds think is fabulously useful in understanding how crypto works. Not even crypto’s frauds are new.
Davies used different stories in the UK and US editions of the book – so get both.
Financial crime seems horribly complicated but there are only so many ways you can con someone out of what's theirs. In fact, there are four. A veteran regulatory economist and market analyst, Dan Davies has years of experience picking the bones out of some of the most famous frauds of the modern age. Now he reveals the big picture that emerges from their labyrinths of deceit.
Along the way you'll find out how to fake a gold mine with a wedding ring, a file and a shotgun. You'll see how close Charles Ponzi, the king of pyramid schemes, came to…
In Egypt, we did not have our own Arab comics, but different worlds came to us from translated comics, American (Disney and superheroes), and French comics. I did not like superhero comics, I loved Disney comics and French comics, and n addition to my passion for reading history, some French series combine this, such as the Alix series. I would have loved to have a historical background to the events that prompted me to read more about them and get to know the real characters, how they lived, and how they ended.
This comic book is one of the best-selling books in France, and it has won several awards.
Here we will find more historical facts than fiction. The book tells about the life of Joseph Joanovici, a Jew of Romanian origin who immigrated to France, became one of the wealthy, and experienced one of the darkest periods.
French history, which is the Nazi invasion of France, and in order to survive the horrors of this period, he had to deal with everyone, friends and enemies, until people were confused in judging him, was he loyal to his people or was he a traitor.
What I liked about this book is the wonderful scenario and the cinematic style, this series consists of five parts that you will never forget after you finish reading it.
Based on a true story, Once Upon a Time in France follows the life of Joseph Joanovici, a Romanian Jew who immigrated to France in the 1920s and became one of the richest men in Europe as a scrap-metal magnate. During the German occupation of France, he thought his influence could keep his family safe, but he soon finds that the only way to stay one step ahead of the Nazis is to keep his friends close and his enemies closer. Though he plays both sides of the fence as…
I’m a historian who is endlessly curious about the past lives of the things that I love. My fondness for wine began when I lived in Paris after finishing my PhD, and it deepened when I taught in Cambridge and sampled my college’s vast cellar. My first books were on imperial history and this perspective made me wonder: was it a coincidence that New World wine producers are former European colonies? I spent a decade researching Imperial Wine, consulting archives in five countries, and proved that wine was an arm of colonial strategy. I’m a Professor of History at Trinity College in Connecticut, USA, and I love teaching wine and history.
Ludington’s book is exciting because it disproves pervasive ideas about wine consumption. One of the big assumptions in the history of commodities is that middle-class people want to imitate elites, and that taste trickles down the social ladder.
Ludington shows that the opposite was true 250 years ago in England and Scotland: aristocrats started changing their wine-buying habits to appear more sympathetic to the middling sort. This trickle-up is an eighteenth-century equivalent of affluent hipsters drinking Pabst Blue Ribbon or fashionistas buying $400 jeans.
I’m the type of reader who finishes each sentence thinking yeah, but how do we know that?, so I find Ludington’s generous footnotes and detailed cellar inventories to be deeply satisfying. This is not an easy read, but it’s a thoroughly enriching one.
A unique look at the meaning of the taste for wine in Britain, from the establishment of a Commonwealth in 1649 to the Commercial Treaty between Britain and France in 1860 - this book provides an extraordinary window into the politics and culture of England and Scotland just as they were becoming the powerful British state.
Sometimes I wonder how I ended up writing so many books about spirituality and religion. I started out in journalism, after all, driven by an endless curiosity about people and the planet. I wanted to tell all the untold stories! Funny thing, chasing those stories deeper and deeper eventually led me to write about spirituality, and ultimately, prayer. I picked up an MA in pastoral ministry, spent a few years editing high school religion textbooks for Saint Mary’s Press, and then started writing my own books. Most of what I write is aimed at helping beginners learn to pray, which is why I made this list.
Let’s take things in a different direction with Story of a Soul, the spiritual autobiography of a French nun who died in cloistered obscurity in 1897 at the age of 24. Like a lot of people, I was initially skeptical about what wisdom this sheltered, middle-class young woman would have to offer; at first blush, her piety seemed conventional and old-fashioned. But the more I read, the more she won me over: underneath the sometimes-flowery language I discovered a fierce passion (all those exclamation marks!), a refreshing forthrightness, and cunning wisdom that actually subverts conventional piety with its “littleness.” Story of a Soul isn’t an instruction manual; rather, it’s the very personal, joyful account of one young woman’s “little way” to Jesus—a way so simple, anyone can follow it.
Pope Benedict XVI Encourages Reading "Story of a Soul"
The Story of a Soul conveys St Therese of Liseux's "Little Way" of spiritual childhood - her "elevator" to Heaven, as she called it. This method was approved by Pope Pius XI as a way for all to grow in holiness through unfailing confidence and childlike delight in God's merciful love.
Again and again in this book, St. Therese shows us how her "Little Way" of love and trust comes straight from Sacred Scripture.
This book belongs in every Catholic home, for Pope St Pius X stated St. Therese of Liseux…
I worked for ten years as a guard at the Metropolitan Museum of Art, as narrated in my memoir, All the Beauty in the World. I’ve found that readers are fascinated by the art in the Met but also by the “living museum,” which includes five hundred security guards keeping watch over millions of visitors each year. I’ve read a variety of workplace memoirs to study how authors depict the rhythms of work and the feel of particular workplaces. I’m especially passionate when there are larger themes at play and thus clear reasons why we should care.
This is a workplace memoir in part because of the engaging, disgusting scenes where he labors as a plongeur (dishwasher) in a grimy French restaurant. But in a broader sense, it’s a book about the hard work of being poor.
Every sentence is intelligent and the overall thrust is deeply moral—Orwell’s calling card.
From the author of 1984, the classic semi-autobiographical story about the adventures of a penniless British writer in two cities.
Down and Out in Paris and London follows the journey of a writer among the down-and-out in two great cities. Without self-pity and often with humor, this novel is Orwell at his finest-a sobering, truthful protrayal of poverty and society.
My passion for old-school genre fiction began as that of a writer learning to write. What started out as self-education soon turned into a love of all things thrilling and fantastic. I was able to truly enjoy reading, something I felt discouraged from in school (beyond the classics and a few exceptions). I discovered a great many works and writers in my studies who I look up to now, for they taught me some key ingredients, from creating intelligent, dynamic heroes to captivating world-building to, above all else, well-paced prose, whether in action, dialogue, or exposition. These five are not only great teachers; they are simply great fun.
I felt my net worth increase 25% just from reading this book, for Ian Fleming lavishes his world of French casinos and international crime in such opulence that you can feel the velvet smoking jacket slip over your shoulders with each turn of the page.
The debut of super-spy extraordinaire James Bond is so far removed from the celluloid pandemonium we all know and love that one would be forgiven for thinking MI6 veteran and fellow writer John le Carré was the real man behind the typewriter.
Fleming’s Bond is a cold, calculating career agent but also a human being, one with genuine weaknesses and failings that spoil the otherwise glamorous countenance of his operation but which also make the victories that much sweeter. Nobody does it better!
In the novel that introduced James Bond to the world, Ian Fleming’s agent 007 is dispatched to a French casino in Royale-les-Eaux. His mission? Bankrupt a ruthless Russian agent who’s been on a bad luck streak at the baccarat table.
One of SMERSH’s most deadly operatives, the man known only as “Le Chiffre,” has been a prime target of the British Secret Service for years. If Bond can wipe out his bankroll, Le Chiffre will likely be “retired” by his paymasters in Moscow. But what if the cards won’t cooperate? After a brutal night at the gaming tables, Bond soon…
As a young boy, I dreamed of becoming a novelist. I was fascinated and inspired by Les Années Folles, The Crazy Years of 1920’s Paris, when artists of all disciplines, from countries all around the world came together electrifying the City of Lights with an artistic passion. My mother was French. France is my 2nd country, where I spend a portion of each year. While researching my novel, The Memory of Love, I stayed in the actual atelier of my protagonist Chrysis Jungbluth, a young, largely unknown painter of that era. I visited, too, the addresses of dozens of the artists who bring the era alive again in our imagination.
This is a terrific coffee table-sized book with wonderful photographs of the sundry characters and vivid reproductions of paintings and other images. Here you’ll find a young, muscular Pablo Picasso with hair—on the beach in his bathing suit in front of Gerald & Sara Murphy’s villa on the Côte d’Azur. This privileged couple—he a fine avant-garde artist in his own right, and she, who became Picasso’s muse, a refined and elegant hostess—were patrons of the arts who surrounded themselves at their home with the young luminaries of the Jazz Age. Chapter headings in this stunning volume tell the tale.
At 174 large pages, this is a beautifully rendered and specific encapsulation of les années folles, from start to finish.
A panorama of the arts scene in Jazz Age France draws on letters, diaries, journals, photo albums, and private archives, in a visual exploration that includes unpublished paintings by Picasso and Leger, previously unknown works by e. e. cummings and John Dos Passos, and more. 15,000 first printing.
