As if history and nature had not provided wonders enough, through the ages humans themselves have contrived more marvels to deceive one another. Sometimes they have concocted evidence when none was available to prove pet theories; sometimes their intention has been to impress or defraud; sometimes they have acted merely for sport. Robert Silverberg tells the stories of a baker's dozen of these scientific hoaxers in a lively, good-humored book that ranges through time and across continents. Here are perpetual-motion machines and space rockets, men on the moon and serpents in the sea. The rogues' gallery is a varied one: Dr. Mesmer, who cast his hypnotic spell on eighteenth-century Paris; Charles Dawson, whose Piltdown Man challenged evolution; Dr. Cook, with his tale of discovering the North Pole; and many others. These are fascinating stories and more than just entertainment. The author explains the scientific background against which the hoaxes appeared and the detective work that led to their exposure. The schemers teach us to be alert, to challenge the evidence, and to appreciate the healthy skepticism that characterizes the scientific method.Robert Silverberg is the author of numerous books, including At Winter's End and The Queen of Springtime, both available in Bison Books editions, and Far Horizons: All New Tales from the Greatest Worlds of Science Fiction.

" Detecting Forgery reveals the complete arsenal of forensic techniques used to detect forged handwriting and alterations in documents and to identify the authorship of disputed writings. Joe Nickell looks at famous cases such as Clifford Irving's ""autobiography"" of Howard Hughes and the Mormon papers of document dealer Mark Hoffman, as well as cases involving works of art. Detecting Forgery is a fascinating introduction to the growing field of forensic document examination and forgery detection.

Why, Timothy Melley asks, have paranoia and conspiracy theory become such prominent features of postwar American culture? In Empire of Conspiracy, Melley explores the recent growth of anxieties about thought-control, assassination, political indoctrination, stalking, surveillance, and corporate and government plots. At the heart of these developments, he believes, lies a widespread sense of crisis in the way Americans think about human autonomy and individuality. Nothing reveals this crisis more than the remarkably consistent form of expression that Melley calls "agency panic" -- an intense fear that individuals can be shaped or controlled by powerful external forces. Drawing on a broad range of forms that manifest this fear -- including fiction, film, television, sociology, political writing, self-help literature, and cultural theory -- Melley provides a new understanding of the relation between postwar American literature, popular culture, and cultural theory.

Empire of Conspiracy offers insightful new readings of texts ranging from Joseph Heller's Catch-22 to the Unabomber "Maniffesto, " from Vance Packard's Hidden Persuaders to recent addition discourse, and from the "stalker" novels of Margaret Atwood and Diane Johnson to the conspiracy fictions of Thomas Pynchon, William Burroughs, Don DeLillo, and Kathy Acker. Throughout, Melley finds recurrent anxieties about the power of large organizations to control human beings. These fears, he contends, indicate the continuing appeal of a form of individualism that is no longer wholly accurate or useful, but that still underpins a national fantasy, of freedom from social control.

In 1936, long before the discovery of the Viking settlement at L'Anse aux Meadows, the Royal Ontario Museum made a sensational acquisition: the contents of a Viking grave that prospector Eddy Dodd said he had found on his mining claim east of Lake Nipigon. The relics remained on display for two decades, challenging understandings of when and where Europeans first reached the Americas. In 1956 the discovery was exposed as an unquestionable hoax, tarnishing the reputation of the museum director, Charles Trick Currelly, who had acquired the relics and insisted on their authenticity. Drawing on an array of archival sources, Douglas Hunter reconstructs the notorious hoax and its many players. Beardmore unfolds like a detective story as the author sifts through the voluminous evidence and follows the efforts of two unlikely debunkers, high-school teacher Teddy Elliott and government geologist T.L. Tanton, who find themselves up against Currelly and his scholarly allies. Along the way, the controversy draws in a who's who of international figures in archaeology, Scandinavian studies, and the museum world, including anthropologist Edmund Carpenter, whose mid-1950s crusade against the find's authenticity finally convinced scholars and curators that the grave was a fraud. Shedding light on museum practices and the state of the historical and archaeological professions in the mid-twentieth century, Beardmore offers an unparalleled view inside a major museum scandal to show how power can be exercised across professional networks and hamper efforts to arrive at the truth.

A private citizen discovers compelling evidence that a decades-old murder in Nashville was not committed by the man who went to prison for the crime but was the result of a conspiracy involving elite members of Nashville society. Nashville 1964. Eighteen-year-old babysitter Paula Herring is murdered in her home while her six-year-old brother apparently sleeps through the grisly event. A few months later a judge's son is convicted of the crime. Decades after the slaying, Michael Bishop, a private citizen,stumbles upon a secret file related to the case and with the help of some of the world's top forensic experts--including forensic psychologist Richard Walter (aka "the living Sherlock Holmes")--he uncovers the truth. What really happened is completely different from what the public was led to believe. Now, for the very first time, Bishop reveals the true story. In this true-crime page-turner, the author lays out compelling evidence that a circle of powerful citizens were key participants in the crime and the subsequent cover-up. The ne'er-do-well judge's son, who was falsely accused and sent to prison, proved to be the perfect setup man. The perpetrators used his checkered history to conceal the real facts for over half a century. Including interviews with the original defense attorney and a murder confession elicited from a nursing-home resident, the information presented here will change Nashville history forever.

Ingenious automatons which appeared to think on their own. Dubious mermaids and wild men who resisted classification. Elegant sleight-of-hand artists who routinely exposed the secrets of their trade. These were some of the playful forms of fraud which astonished, titillated, and even outraged nineteenth-century America's new middle class, producing some of the most remarkable urban spectacles of the century.

In "The Arts of Deception," James W. Cook explores this distinctly modern mode of trickery designed to puzzle the eye and challenge the brain. Championed by the "Prince of Humbug," P. T. Barnum, these cultural puzzles confused the line between reality and illusion. Upsetting the normally strict boundaries of value, race, class, and truth, the spectacles offer a revealing look at the tastes, concerns, and prejudices of America's very first mass audiences. We are brought into the exhibition halls, theaters, galleries, and museums where imposture flourished, and into the minds of the curiosity-seekers who eagerly debated the wonders before their eyes. Cook creates an original portrait of a culture in which ambiguous objects, images, and acts on display helped define a new value system for the expanding middle class, as it confronted a complex and confusing world.

The nihilists are right, admits philosopher Loyal Rue. The universe is blind and aimless, indifferent to us and void of meaning. There are no absolute truths and no objective values. There is no right or wrong way to live, only alternative ways. There is no correct reading of a text or a picture or a dance. God is dead, nihilism reigns. But, Rue adds, nihilism is a truth inconsistent with personal happiness and social coherence. What we need instead is a new myth, a noble lie. Only a noble lie can save us from the psychological and social chaos now threatened by the spread of skepticism about the meaning of life and the universe.
In By the Grace of Guile, Loyal Rue offers a wide ranging look at the importance of deception in nature and in human society, concluding with an argument for a noble lie to replace the religious beliefs rejected by modern thought. Most of the book is a provocative apology for deception, illuminating its role in the shaping of history, evolution, personality, and society. Ranging from the Bible and Greek philosophy, to Saint Augustine and Montaigne, to Galileo, Kirkegaard, and Freud, Rue shows that it may be more accurate to describe the history of our culture as a flight from deception than as a quest for truth. He turns then to the natural world to reveal how deception works at every level of life, ranging from plants that mimic dung, carrion, or prey to lure insects that then spread pollen, to a remarkable African insect (Acanthaspis petax) that bedecks itself with dead ants and enters the ant colony undetected to binge at will. Moreover, he points out that psychological research has shown that strategies of deception and self-deception are essential to our personal well-being, that we sometimes shore up our self-esteem by deceptive means, by leaving others in a state of ignorance, by manipulating others into a state of false belief, by suppressing information from consciousness, and by fabricating or distorting our own sense of reality. And he argues that social coherence is achievable only within certain optimal limits of deception--the social fabric would be threatened by an overabundance of lies and false promises, of course, but it would also collapse if everyone were perfectly honest all the time. Finally, he argues that society is caught up in a Kulturkampf with nihilists promoting intellectual and moral relativism and realists defending objective and universal truths. The noble lie, says Rue, would introduce a third voice, one which first agrees with the nihilists that universal myths are pretentious lies, but then insists, against the nihilists, that without such lies humanity cannot survive.
The challenge, he concludes, is ultimately an aesthetic one: it remains for the artists, poets, novelists, musicians, filmmakers, and other masters of illusion to seduce us into an embrace with a noble lie. We need a new myth that tells us where we have come from, what our nature is, and how we should live together--a story with the courage and presumption to say how things really are and what really matters.

Texfake is the result of three years of investigation into the scandal surrounding the 1988 discovery of forged copies of the Texas Declaration of Independence. The New York Times, Texas Monthly, and The New Yorker all carried articles on the affair, but this is the definitive account of the history and impact of the Texas forger and his wares. Austin rare book dealer Taylor lays out the facts concerning the forgeries: who made them; when and how they were made; how they were discovered; and whether or not the dealers involved know what they were selling. He also reveals for the first time the devastating impact of the looting of Texas libraries by thieves in the 1960s. Taylor discusses in detail all of the printed Texas documents known to have been forged or fabricated and includes a census of every known copy, genuine or fake. The thirty-nine illustrations demonstrate how to distinguish between genuine and forged copies. Pulitzer Prize-winning novelist Larry McMurtry's introduction delivers on his promise to "slap on a little of the color that Tom Taylor has had to leave off." McMurtry offers an amusing but clear-eyed account of the principal dealers in the affair, Dorman David and John Jenkins, and their "top-speed stampede through the trade" from the perspective of a former employee of David's bookshop and later a dealer who knew both men.

This new research monograph discusses the basis of one of Ireland's most extensive (and profitable) hoaxes: the MacCarthy Mor Affair, and the attendant scandal surrounding the selling of Irish traditional titles to otherwise sane businessmen and professionals. Murphy's research covers the origins of the old Gaelic titles in pre-Norman Ireland. Principally the title of Chief, the collapse of the Gaelic order, the survival of some chiefly titles, the Gaelic Revival and the emergence of the Office of Arms. An account is given of the Office of Chief Herald as part of the new Irish state and the courtesy recognition under Dr. MacLysaght in 1944 and years that followed. Finally the emergence of one Terrence MacCarthy of Belfast as "MacCarthy Mor, Prince of Desmond" and his initial success and final unmasking is amusingly and cogently described.