'An amazing portrait of how grifters came to be called visionaries and high finance lost its mind.' Charles Duhigg, bestselling author of The Power of Habit The definitive inside story of WeWork, its audacious founder, and the company's epic unravelling from the journalists who first broke the story wide open. In 2001, Adam Neumann arrived in New York after five years as a conscript in the Israeli navy. Just over fifteen years later, he had transformed himself into the charismatic CEO of a company worth $47 billion. With his long hair and feel-good mantras, the six-foot-five Neumann looked the part of a messianic Silicon Valley entrepreneur. The vision he offered was mesmerizing: a radical reimagining of work space for a new generation. He called it WeWork. As billions of funding dollars poured in, Neumann's ambitions grew limitless. WeWork wasn't just an office space provider; it would build schools, create cities, even colonize Mars. In pursuit of its founder's vision, the company spent money faster than it could bring it in. From his private jet, sometimes clouded with marijuana smoke, the CEO scoured the globe for more capital but in late 2019, just weeks before WeWork's highly publicized IPO, everything fell apart. Neumann was ousted from his company, but still was poised to walk away a billionaire. Calling to mind the recent demise of Theranos and the hubris of the dotcom era bust, WeWork's extraordinary rise and staggering implosion were fueled by disparate characters in a financial system blind to its risks. Why did some of the biggest names in banking and venture capital buy the hype? And what does the future hold for Silicon Valley 'unicorns'? Wall Street Journal reporters Eliot Brown and Maureen Farrell explore these questions in this definitive, rollicking account of WeWork's boom and bust.

The picturebook is now recognized as a sophisticated art form that has provided a space for some of the most exciting innovations in the field of children's literature. This book brings together the work of expert scholars from the UK, the USA and Europe to present original theoretical perspectives and new research on picturebooks and their readers. The authors draw on a variety of disciplines such as art and cultural history, semiotics, philosophy, cultural geography, visual literacy, education and literary theory in order to revisit the question of what a picturebook is, and how the best authors and illustrators meet and exceed artistic, narrative and cultural expectations. The book looks at the socio-historical conditions of different times and countries in which a range of picturebooks have been created, pointing out variations but also highlighting commonalities. It also discusses what the stretching of borders may mean for new generations of readers, and what contemporary children themselves have to say about picturebooks. This book was originally published as a special issue of the New Review of Children's Literature and Librarianship.

The Thirteenth Member, first published in 1971, could be considered a 'cross-over' novel between the historical and fantasy genres. The subject matter is witchcraft and witch-hunts, which continued in Scotland far beyond the rest of Britain, with the last prosecution in Scotland in 1727. Mollie Hunter's work includes contemporary fiction for children and young adults, historical fiction and fantasy. Many critics regard her writing in the fantasy genre as her strongest and most influential. With its roots in recorded historical events and with the subject matter relating to the supernatural - again a major pre-occupation of Scottish Literature in general - the novel acts as a bridging text between these two major genres in the Scottish corpus. Moreover, it is one of the strongest and most unified of all Hunter's works in that it works well at both the realistic and symbolic levels, while still managing to incorporate themes of witchcraft, the supernatural, political intrigue, dishonesty, entrapment and love. This reprint includes an Afterword by Maureen Farrell.