This book presents analyses of debt and its relationship to less developed countries. It examines the past, present, and potential future interactions between creditors and debtors. The book links together the most critical aspects of the international debt situation. .

Scholars and practitioners from the fields of economics, political science, sociology, and government discuss the nature and importance of debt in the international system and question whether international debt is a necessary element of international development or a potential root of international economic collapse (and of the demise of the dollar as denominator of the monetary realm). They then turn specifically to the impact of external debt on developing countries, exploring the potential for both positive and negative effects. In the final section of the book they look at the interactions between debtors and creditors when loans begin to sour.

Bless me, curse me. For better or worse, my fallopian fall into matter. . . After making careful preparations to ensure himself a proper reincarnation, the dying ALEISTER CROWLEY flubs one syllable of the magickal incantation . . . and comes back as ELMER FUDD.

As an immigrant artist of Jewish background, who borrowed freely from Christological, Jewish, mystical, and modernist motifs, David Aronson has been an equally acclaimed and controversial figure in the Boston Expressionist school and beyond. Defying all clear categorization, his highly evocative art moves precariously between the realms of the religious and the secular, between Judaism and humanism, tradition and modernity. This book includes rich reproductions of Aronson's works done in encaustic, pastel, charcoal, and bronze. It also contains Aronson's 1967 lecture "Real and Unreal: The Double Nature of Art," which offers a unique testimony of the intellectual background of his creative oeuvre. An interpretive essay by Asher Biemann of the University of Virginia places Aronson's work and biography in an historical, cultural, and intellectual context and comments on specific aspects of his art. Provocative and thoroughly documented, this volume will be of interest to scholars of art history, Judaism, and religion, as well as to a general audience.