The pharmaceutical industry, long thought of as a recession-proof investment, now faces a day of reckoning. The reasons for this impending downfall are not hard to discern. The prices the industry charges for its prescription drugs have escalated at four to five times the cost-of-living increases during the past two decades and have reached a point where 30% of Americans must choose between filling a prescription, paying for housing, and buying food. This has brought about public pressure on governments around the world to control drug prices, yet the world's twenty largest pharma companies realized 80% of their growth as a result of exorbitant price hikes. Pharma currently enjoys its extraordinary profitability by exploiting the world's most vulnerable populations. Yet even their ability to increase prices in the face of falling demand does not satisfy their profit demands. The breadth and depth of pharma's marketing transgressions exceed those of any other industry and have now reached a point where authorities around the world have found it necessary to take legal action against its violations. Drastic change is needed if the pharmaceutical industry can equitably advance the health of the world's population and regain public esteem. This book illustrates the range and extent of pharma's violations and addresses the actions that should be implemented in order to make the drug industry a more constructive, less venal part of contemporary society. It will be of interest to researchers, academics, practitioners, and students with an interest in the pharmaceutical industry, healthcare management, regulation, and bioethics.

The pharmaceutical industry, long thought of as a recession-proof investment, now faces a day of reckoning. The reasons for this impending downfall are not hard to discern. The prices the industry charges for its prescription drugs have escalated at four to five times the cost-of-living increases during the past two decades and have reached a point where 30% of Americans must choose between filling a prescription, paying for housing, and buying food. This has brought about public pressure on governments around the world to control drug prices, yet the world's twenty largest pharma companies realized 80% of their growth as a result of exorbitant price hikes. Pharma currently enjoys its extraordinary profitability by exploiting the world's most vulnerable populations. Yet even their ability to increase prices in the face of falling demand does not satisfy their profit demands. The breadth and depth of pharma's marketing transgressions exceed those of any other industry and have now reached a point where authorities around the world have found it necessary to take legal action against its violations. Drastic change is needed if the pharmaceutical industry can equitably advance the health of the world's population and regain public esteem. This book illustrates the range and extent of pharma's violations and addresses the actions that should be implemented in order to make the drug industry a more constructive, less venal part of contemporary society. It will be of interest to researchers, academics, practitioners, and students with an interest in the pharmaceutical industry, healthcare management, regulation, and bioethics.

Brotherly Love Daniel Hoffman "An astonishing feat of historical and literary imagination."--Monroe K. Spears, "Washington Post" "A spectacular achievement which handles brilliantly the mysterious relationship between spirit and flesh, history and vision, intent and act, dream and reality."--Anthony Hecht "Hoffman's "Brotherly Love" is his finest work, itself a trope of the city whose history it makes myth of, and redeems, urbanizing the wilderness of history and its fables. A grand poem in the American grain."--John Hollander "A beautiful and important book which has the markings of ... a landmark in our culture."--Frederick Morgan "I have never before seen such a connection between the historical and the imaginative, nor have I encountered in many a long day such a strong and pertinent lyricism within a larger dramatic compass."--James Dickey "Though grounded firmly in historical fact, "Brotherly Love"] is very original in conception and quite effectively expresses the dreams and despairs of those who lived this history as well as our own contemporary need to understand the past as 'we clatter down the rigid rails' into the future."--"Library Journal" "Brotherly Love" is a long poem that evokes William Penn's luminous vision of America and shows what has become of it as the intractable conflicts of our history--struggles over the land, keeping faith with the Indians, the uses and abuses of power--threaten Penn's ideal. Daniel Hoffman began writing "Brotherly Love" while he was Poet Laureate of the United States, in 1973-74 (the appointment then called Consultant in Poetry of the Library of Congress). Widely hailed, the book was a finalist for both the National Book Award and the National Book Critics Circle Award in 1981. It is adapted as the libretto for Ezra Laderman's music in the oratorio "Brotherly Love," premiered by the Philadelphia Singers in March 2000. Author of eight other books of poetry, Daniel Hoffman has published several critical studies, of which the best known may be "Poe Poe Poe Poe Poe Poe Poe," also a finalist for the National Book Award. Hoffman taught for ten years at Swarthmore College and then, for twenty-seven, at the University of Pennsylvania, where he is Poet in Residence and Felix E. Schelling Professor of English Emeritus. From 1988 to 1999, he served as Poet in Residence of the Cathedral of St. John the Divine in New York City and administered the American Poets' Corner. In 2004 he received the Aiken Taylor Award for Modern American Poetry, the seventeenth poet so recognized by "The Sewanee Review," America's oldest literary quarterly. Pennsylvania Paperbacks 2000 192 pages 6 1/8 x 9 1/4 4 illus. ISBN 978-0-8122-1736-0 Paper $17.95s 12.00 World Rights Poetry, American History Short copy: A modern long poem, focusing on William Penn, Quaker origins of American ideals, and subsequent history, Native American and European American.

Crane's personal life is related to his work in this evaluation of his sensibility.

For sixty years Daniel Hoffman has drawn on a lifetime of experiences to engage readers with his powerful imagination. The poems in Next to Last Words- illuminated by the poet's unique vision and leavened by touches of humor- continue this tradition. Equally skilled in formal and free verse, Hoffman explores our place in the cosmos, our kinship with nature, the violent world in which we must live, and the intense love and grief common to everyone's life.

Accepting an award for poetry from the American Academy of Arts and Letters, Daniel Hoffman wrote, "Amid private sufferings and outrage at the brutalities of public life, it is gaiety that sustains us, and love, and the imagination's power to create from both deprivation and delight." This collection embodies those emotions and that imaginative power. Hoffman's verse has always exulted in the resources of language, as sensuous in sound as in response to the natural world. Beyond Silence, to be published on Hoffman's eightieth birthday, presents his shorter poems culled from eight previous collections, plus several new poems. Here, rather than in chronological order, they appear thematically and invite the reader to partake of the pleasures that characterize this distinguished poet's verse: "clarity, grace where desired, accuracy of visual detail and dialogue, and a formal mastery so deft that playfulness comes easily" (Fred Chappell).

Arriving at last. It has stumbled across the harshStones, the black marshes. True to itself, by what craftAnd strength it has, it has comeAs a sole survivor returns. From the steep pass.Carved on memory's staffThe legend is nearly decipherable.It has lived up to its vowsIf it enduresThe journey through the dark placesTo bear witness, Casting is messageIn a sort of singing.

-- "The Poem"

Daniel Hoffman's bold new readings reveal unsuspected dimensions in Faulkner's The Unvanquished, The Hamlet, and Go Down, Moses. He shows how these works, often regarded as disunified collections of short stories and novellas, are coherent and successful experiments in novelistic form. These last three novels of Faulkner's great period are striated with folklore and structured with myths. They teem with folk motifs of comic exaggeration, deception, horse-trading, tall-tale humor. Hitherto, critics unversed in folklore have been able to treat these aspects only in generalities. Here, drawing on fieldwork from the Mississippi Writers Project in the 1930s, the author of Poe Poe Poe Poe Poe Poe Poe and the influential Form and Fable in America Fiction demonstrates in detail Faulkner's ironical, subversive, and transformative appropriations of folklore plots, characters, comedy, language, and the style of oral tale-telling, setting these in the full complexity of the works they animate. Hoffman, shows, too how in imagining his dynastic novels, Faulkner interprets myth as history, history as myth. He challenges recent deconstructive, post-Marxist and structuralist readings of ""The Bear,"" and demonstrates the necessity on the reader's part for an historical imagination to complement Faulkner's own. Written with verve, Faulkner's Country Matters enriches our reading of Faulkner by presenting his work in its necessary settings of southern history and culture. Faulkner's modernism is restated as a continuance of the great American fiction tradition of Hawthorne, Melville, and Mark Twain.

First published in 1961, this book has survived radical changes in the study of literature. Combining the disciplines of folklore and literary criticism in his readings of works by Irving, Hawthorne, Melville and Mark Twain, Daniel Hoffman demonstrates how these authors transformed materials from both high and popular culture, from their European past and their American present, in works that helped to form American national consciousness. In a new preface, Hoffman describes the evolution of his critical method and suggests the book's value for contemporary readers.

"Hang-Gliding from Helicon" presents more than forty new poems by Daniel Hoffman and a generous selection from six of his previous books.

Hoffman's poetry is a celebration of life, yet some of his poems have dark implications. "The City of Satisfactions" is a journey into the haunted heart of the American dream. "The Center of Attention" portrays a suicidal man being taunted by a crowd to jump from a bridge, and "Witnesses" explores the aftermath of a car wreck on a desolate stretch of rural highway.

Each of Hoffman's poems represents a striking response to the moments of being alive. "Hang-Gliding from Helicon" affirms the power of poetry to make possible the acceptance and transformation of life. Daniel Hoffman has given us the remarkable statement of his deep poetic faith.

What is flirtation, and how does it differ from seduction? In historical terms, the particular question of flirtation has tended to be obscured by that of seduction, which has understandably been a major preoccupation for twentieth-century thought and critical theory. Both the discourse and the critique of seduction are unified by their shared obsession with a very determinate end: power. In contrast, flirtation is the game in which no one seems to gain the upper hand and no one seems to surrender. The counter-concept of flirtation has thus stood quietly to the side, never quite achieving the same prominence as that of seduction. It is this elusive (and largely ignored) territory of playing for play's sake that is the subject of this anthology. The essays in this volume address the under-theorized terrain of flirtation not as a subgenre of seduction but rather as a phenomenon in its own right. Drawing on the interdisciplinary history of scholarship on flirtation even as it re-approaches the question from a distinctly aesthetic and literary-theoretical point of view, the contributors to Flirtations thus give an account of the practice of flirtation and of the figure of the flirt, taking up the act's relationship to issues of mimesis, poetic ambiguity, and aesthetic pleasure. The art of this poetic playfulness-often read or misread as flirtation's "empty gesture"-becomes suddenly legible as the wielding of a particular and subtle form of nonteleological power.