Payback has a new name: Flashfire is now a major film - 'Parker' - starring Jason Statham and Jennifer Lopez. Parker is a thief with a unique code of ethics: Don't steal from people who can't afford it and don't hurt people who don't deserve it. When he is double-crossed by his crew and left for dead, Parker is set on revenge. Assuming a new disguise and forming an unlikely alliance with a woman on the inside, he looks to hijack the score of the crew's latest heist, and put right what they took from him.

Here is a presentation of LISP which is both practical and theoretical. For the practical, the syntax of the language, the programming styles, and the semantics of computation are carefully developed. For the theoretical, the algebra of interpreters, the lambda calculus as a foundation for LISP, and the algebraic significance of LISP's approach to artificial intelligence are discussed. As the title suggests, the book reaches beyond the technical side of LISP to present colorful applications, historical comments and quotations, computational philosophy, consequences of LISP's exceptional power, and much more. The material has been designed to appeal to a variety of readers, from the bright freshman to the practicing professional, and from computer scientists and mathematicians to chemists, engineers, and philosophers.

You probably haven't ever noticed them. But they've noticed you. They notice everything. That's their job. Sitting quietly in a nondescript car outside a bank making note of the tellers' work habits, the positions of the security guards. Lagging a few car lengths behind the Brinks truck on its daily rounds. Surreptitiously jiggling the handle of an unmarked service door at the racetrack.They're thieves. Heisters, to be precise. They're pros, and Parker is far and away the best of them. If you're planning a job, you want him in. Tough, smart, hardworking, and relentlessly focused on his trade, he is the heister's heister, the robber's robber, the heavy's heavy. You don't want to cross him, and you don't want to get in his way, because he'll stop at nothing to get what he's after.Parker, the ruthless antihero of Richard Stark's eponymous mystery novels, is one of the most unforgettable characters in hardboiled noir. Lauded by critics for his taut realism, unapologetic amorality, and razor-sharp prose style - and adored by fans who turn each intoxicating page with increasing urgency - Stark is a master of crime writing, his books as influential as any in the genre. The University of Chicago Press has embarked on a project to return the early volumes of this series to print for a new generation of readers to discover - and become addicted to.Parker goes under the knife in "The Man with the Getaway Face", changing his face to escape the mob and a contract on his life. Along the way he scores his biggest heist yet: an armored car in New Jersey, stuffed with cash.

You probably haven't ever noticed them. But they've noticed you. They notice "everything." That's their job. Sitting quietly in a nondescript car outside a bank making note of the tellers' work habits, the positions of the security guards. Lagging a few car lengths behind the Brinks truck on its daily rounds. Surreptitiously jiggling the handle of an unmarked service door at the racetrack.

They're thieves. Heisters, to be precise. They're pros, and Parker is far and away the best of them. If you're planning a job, you want him in. Tough, smart, hardworking, and relentlessly focused on his trade, he is the heister's heister, the robber's robber, the heavy's heavy. You don't want to cross him, and you don't want to get in his way, because he'll stop at nothing to get what he's after.

Parker, the ruthless antihero of Richard Stark's eponymous mystery novels, is one of the most unforgettable characters in hardboiled noir. Lauded by critics for his taut realism, unapologetic amorality, and razor-sharp prose-style--and adored by fans who turn each intoxicating page with increasing urgency--Stark is a master of crime writing; his books as influential as any in the genre. The University of Chicago Press has embarked on a project to return the early volumes of this series to print for a new generation of readers to discover--and become addicted to.

In "The Jugger," Parker travels to Nebraska to help out a geriatric safecracker who knows too many of his criminal secrets. By the time he arrives, the safecracker is dead and Parker's skeletons are on the verge of escaping from their closet--unless Parker resorts to lethal measures.

"Whatever Stark writes, I read. He's a stylist, a pro, and I thoroughly enjoy his attitude."--Elmore Leonard

"Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible."--"Washington"" Post Book World"

"Donald Westlake's Parker novels are among the small number of books I read over and over. Forget all that crap you've been telling yourself about "War and Peace" and Proust--these are the books you'll want on that desert island."--Lawrence Block

By the time Richard Stark sat down to write "Deadly Edge" in 1971, he'd been chronicling the adventures of his antihero, Parker, for nearly a decade. But it turns out he was just warming up: the next three "Parker" novels would see Stark crank everything up a notch - tightening the writing, heightening the violence, and, most of all, hardening the deadly heister at the books' heart. "Deadly Edge" kicks things off by bidding a brutal adieu to the 1960s: Parker robs a rock concert, but the heist goes sour, and he finds himself - and his woman, Claire - menaced by a pair of sadistic, drug-crazed hippies. Slayground turns the hunter into prey, as Parker gets trapped in a shuttered amusement park, besieged by a bevy of local mobsters. He's low on bullets - but, as anyone who's crossed his path knows, that definitely doesn't mean he's defenseless. Finally, in Plunder Squad, job after job disintegrates into failure and violence, and a rare act of mercy from earlier in the series comes back to bite Parker - hard. These books by Stark reveal a master craftsman working at the height of his powers, and they deserve a place on the bookshelf of every fan of crime fiction.

You probably haven't ever noticed them. But they've noticed you. They notice "everything." That's their job. Sitting quietly in a nondescript car outside a bank making note of the tellers' work habits, the positions of the security guards. Lagging a few car lengths behind the Brinks truck on its daily rounds. Surreptitiously jiggling the handle of an unmarked service door at the racetrack.

They're thieves. Heisters, to be precise. They're pros, and Parker is far and away the best of them. If you're planning a job, you want him in. Tough, smart, hardworking, and relentlessly focused on his trade, he is the heister's heister, the robber's robber, the heavy's heavy. You don't want to cross him, and you don't want to get in his way, because he'll stop at nothing to get what he's after.

Parker, the ruthless antihero of Richard Stark's eponymous mystery novels, is one of the most unforgettable characters in hardboiled noir. Lauded by critics for his taut realism, unapologetic amorality, and razor-sharp prose-style--and adored by fans who turn each intoxicating page with increasing urgency--Stark is a master of crime writing; his books as influential as any in the genre. The University of Chicago Press has embarked on a project to return the early volumes of this series to print for a new generation of readers to discover--and become addicted to. This season's offerings include volumes 4-6 in the series: "The Mourner," "The Score," and "The Jugger."

"The Mourner "is a story of convergence--of cultures and of guys with guns. Hot on the trail of a statue stolen from a fifteenth-century French tomb, Parker enters a world of eccentric art collectors, greedy foreign officials, and shady KGB agents. Next, Parker works with a group of professional con men in "The Score" on his biggest job yet--robbing an entire town in North Dakota. In "The Jugger," Parker travels to Nebraska to help out a geriatric safecracker who knows too many of his criminal secrets. By the time he arrives, the safecracker is dead and Parker's skeletons are on the verge of escaping from their closet--unless Parker resorts to lethal measures.

"Whatever Stark writes, I read. He's a stylist, a pro, and I thoroughly enjoy his attitude."--Elmore Leonard

"Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible."--"Washington"" Post Book World"

""

"Donald Westlake's Parker novels are among the small number of books I read over and over. Forget all that crap you've been telling yourself about "War and Peace" and Proust--these are the books you'll want on that desert island."--Lawrence Block

By the time Richard Stark sat down to write "Deadly Edge" in 1971, he'd been chronicling the adventures of his antihero, Parker, for nearly a decade. But it turns out he was just warming up: the next three "Parker" novels would see Stark crank everything up a notch - tightening the writing, heightening the violence, and, most of all, hardening the deadly heister at the books' heart. "Deadly Edge" kicks things off by bidding a brutal adieu to the 1960s: Parker robs a rock concert, but the heist goes sour, and he finds himself - and his woman, Claire - menaced by a pair of sadistic, drug-crazed hippies. Slayground turns the hunter into prey, as Parker gets trapped in a shuttered amusement park, besieged by a bevy of local mobsters. He's low on bullets - but, as anyone who's crossed his path knows, that definitely doesn't mean he's defenseless. Finally, in Plunder Squad, job after job disintegrates into failure and violence, and a rare act of mercy from earlier in the series comes back to bite Parker - hard. These books by Stark reveal a master craftsman working at the height of his powers, and they deserve a place on the bookshelf of every fan of crime fiction.

Melander likes to do things flashy. When Parker finds himself working with Melander on a bank heist in a mid-sized midwestern city, his job is throwing a Molotov cocktail into a gas station. The resulting explosion sends the cops and fire trucks to the east side of town, while Melander and his gang plunder the bank on the west side. But Parker doesn't care for Melander's plan for a new heist, one that will clean out Palm Beach of a lot of very expensive jewelry. What Parker really dislikes is Melander's intention to use the proceeds from the bank job to capitalize the Palm Beach job...including Parker's cut. Melander is very polite about Parker's disinterest, and very sincere about paying him his share...with interest...after the jewelry job goes down. But that's not the way Parker works. Now he's tailing the gang down South, with a plan for getting his own back...and the entire swag of gems besides.

Bank robberies should run like clockwork, right? If your name's Parker, you expect nothing less. Until, that is, one of your partners gets too greedy for his own good. The four-way split following a job leaves too small a take for George Uhl, who begins to pick off his fellow hoisters, one by one. The first mistake? That he doesn't begin things by putting a bullet in Parker. That means he won't get the chance to make a second. One of the darkest novels in the series, this caper proves the adage that no one crosses Parker and lives

"Whatever Stark writes, I read. He's a stylist, a pro, and I thoroughly enjoy his attitude."--Elmore Leonard

"The non-hero: the ruthless, unrepentant, single-minded operator in a humorless and amoral world. . . . No one depicts this scene with greater clarity than Richard Stark."--"The New York Times"

Parker, the ruthless antihero of Richard Stark's eponymous mystery novels, is one of the most unforgettable characters in hardboiled noir. Lauded by critics for his taut realism, unapologetic amorality, and razor-sharp prose style--and adored by fans who turn each intoxicating page with increasing urgency--Stark is a master of crime writing, his books as influential as any in the genre. The University of Chicago Press has embarked on a project to return the early volumes of this series to print for a new generation of readers to discover--and become addicted to.

In "The Seventh," the heist of a college football game goes bad, and the take is stolen by a crazed, violent amateur. Parker must outrun the cops--and the killer--to retrieve his cash.

"Parker . . . lumbers through the pages of Richard Stark's noir novels scattering dead bodies like peanut shells. . . . In a complex world he] makes things simple."--William Grimes, "New York Times"

"Whatever Stark writes, I read. He's a stylist, a pro, and I thoroughly enjoy his attitude."--Elmore Leonard

"Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible."--"Washington Post Book World"

"Donald Westlake's Parker novels are among the small number of books I read over and over. Forget all that crap you've been telling yourself about "War and Peace" and Proust--these are the books you'll want on that desert island."--Lawrence Block

The sixteenth Parker novel, "Butcher's Moon" is more than twice as long as most of the master heister's adventures and absolutely jammed with the action, violence, and nerve-jangling tension readers have come to expect. Back in the corrupt town where he lost his money, and nearly his life, in Slayground, Parker assembles a stunning cast of characters from throughout his career for one gigantic, blowout job: starting - and finishing - a gang war. It feels like the Parker novel to end all Parker novels, and for nearly twenty-five years that's what it was. After its publication in 1974, Donald Westlake said, "Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone." And readers waited. But nothing bad is truly gone forever, and Parker's as bad as they come. According to Westlake, one day in 1997, "suddenly, he came back from the dead, with a chalky prison pallor" - and the resulting novel, "Comeback", showed that neither Stark nor Parker had lost a single step. Knocking over a highly lucrative religious revival show, Parker reminds us that not all criminals don ski masks - some prefer to hide behind the wings of fallen angels. Backflash followed soon after, and it found Parker checking out the scene on a Hudson River gambling boat. Parker's no fan of either relaxation or risk, however, so you can be sure he's playing with house money - and he's willing to do anything to tilt the odds in his favor. Featuring three new introductions by Westlake's close friend and writing partner Lawrence Block, these classic Parker adventures deserve a place of honor on any crime fan's bookshelf.

A corrupt African colonel has converted half his country's wealth into diamonds and smuggled them to a Manhattan safe house. Four upstanding citizens plan to rescue their new nation by stealing the diamonds back--with the help of a "specialist"--Parker, that is. He has the best references in town. Will Parker break his rule against working with amateurs and help them because his woman would be disappointed if he doesn't? Or because three hired morons have threatened to kill him and his woman if he does? They thought they were buying an advantage, but what they get is a predated death certificate.

"Crime fiction stripped down--as it was meant to be. . . . Oh, how the pages keep turning."--"Philadelphia"" Inquirer"

"Old master that he is, Stark does all of them one better."--"Los Angeles"" Times"

Here's Parker--planning to steal the entire payroll of an Air Force base in upstate New York, with help from Marty Fusco, fresh out of the pen, and a smart aleck finance clerk named Devers. Holed up with family in a scrappy little town, the hoisters prepare for the risky job by trying to shorten the odds. But the ice is thinner than Parker likes to think--and Marty's ex-wife is much more complicated.

"Parker is refreshingly amoral, a thief who always gets away with the swag."--Stephen King, "Entertainment Weekly"

"Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible."--"Washington"" Post Book World"

Parker, the ruthless antihero of Richard Stark's eponymous mystery novels, is one of the most unforgettable characters in hardboiled noir. Lauded by critics for his taut realism, unapologetic amorality, and razor-sharp prose style--and adored by fans who turn each intoxicating page with increasing urgency--Stark is a master of crime writing, his books as influential as any in the genre. The University of Chicago Press has embarked on a project to return the early volumes of this series to print for a new generation of readers to discover--and become addicted to.

In "The Handle," Parker is enlisted by the mob to knock off an island casino guarded by speedboats and heavies, forty miles from the Texas coast." "

"Parker . . . lumbers through the pages of Richard Stark's noir novels scattering dead bodies like peanut shells. . . . In a complex world he] makes things simple."--William Grimes, "New York Times"

"Whatever Stark writes, I read. He's a stylist, a pro, and I thoroughly enjoy his attitude."--Elmore Leonard

"Westlake knows precisely how to grab a reader, draw him or her into the story, and then slowly tighten his grip until escape is impossible."--"Washington Post Book World"

"Donald Westlake's Parker novels are among the small number of books I read over and over. Forget all that crap you've been telling yourself about "War and Peace" and Proust--these are the books you'll want on that desert island."--Lawrence Block

By the time Richard Stark sat down to write "Deadly Edge" in 1971, he'd been chronicling the adventures of his antihero, Parker, for nearly a decade. But it turns out he was just warming up: the next three "Parker" novels would see Stark crank everything up a notch - tightening the writing, heightening the violence, and, most of all, hardening the deadly heister at the books' heart. "Deadly Edge" kicks things off by bidding a brutal adieu to the 1960s: Parker robs a rock concert, but the heist goes sour, and he finds himself - and his woman, Claire - menaced by a pair of sadistic, drug-crazed hippies. Slayground turns the hunter into prey, as Parker gets trapped in a shuttered amusement park, besieged by a bevy of local mobsters. He's low on bullets - but, as anyone who's crossed his path knows, that definitely doesn't mean he's defenseless. Finally, in Plunder Squad, job after job disintegrates into failure and violence, and a rare act of mercy from earlier in the series comes back to bite Parker - hard. These books by Stark reveal a master craftsman working at the height of his powers, and they deserve a place on the bookshelf of every fan of crime fiction.

Together at last. Under the pseudonym Richard Stark, Donald E. Westlake, one of the greats of crime fiction, wrote twenty-four fast-paced, hard-boiled novels featuring Parker, a shrewd career criminal with a talent for heists and a code all his own. With the publication of the last four Parker novels Westlake wrote--Breakout, Nobody Runs Forever, Ask the Parrot, and Dirty Money--the University of Chicago Press pulls the ultimate score: for the first time ever, the entire Parker series will be available from a single publisher. With Parker locked up and about to be unmasked, Breakout follows his Houdini-like escape from prison with a team of convicts. But when a new heist and new dangers--con artists, snitches, busybodies, eccentrics, and cops--loom among the dark alleys and old stone buildings of the big city to which they've fled, Parker soon learns that not all prisons have bars. Featuring new forewords by Chris Holm, Duane Swierczynski, and Laura Lippman--celebrated crime writers, all--these masterworks of noir are the capstone to an extraordinary literary run that will leave you craving more. Written over the course of fifty years, the Parker novels are pure artistry, adrenaline, and logic both brutal and brilliant. Join Parker on his jobs and read them all again or for the first time. Just don't talk to the law.

Title: The office and authority of a justice of peace explained and digested, under proper titles: to which are added, full and correct precedents of all kinds of process necessary to be used by magistrates: in which also the duty of sheriffs, and other publick officers, is properly discussed.Author: Richard StarkePublisher: Gale, Sabin Americana Description: Based on Joseph Sabin's famed bibliography, Bibliotheca Americana, Sabin Americana, 1500--1926 contains a collection of books, pamphlets, serials and other works about the Americas, from the time of their discovery to the early 1900s. Sabin Americana is rich in original accounts of discovery and exploration, pioneering and westward expansion, the U.S. Civil War and other military actions, Native Americans, slavery and abolition, religious history and more.Sabin Americana offers an up-close perspective on life in the western hemisphere, encompassing the arrival of the Europeans on the shores of North America in the late 15th century to the first decades of the 20th century. Covering a span of over 400 years in North, Central and South America as well as the Caribbean, this collection highlights the society, politics, religious beliefs, culture, contemporary opinions and momentous events of the time. It provides access to documents from an assortment of genres, sermons, political tracts, newspapers, books, pamphlets, maps, legislation, literature and more.Now for the first time, these high-quality digital scans of original works are available via print-on-demand, making them readily accessible to libraries, students, independent scholars, and readers of all ages.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++SourceLibrary: Huntington LibraryDocumentID: SABCP03313300CollectionID: CTRG00-B925PublicationDate: 17740101SourceBibCitation: Selected Americana from Sabin's Dictionary of books relating to AmericaNotes: Includes index.Collation: 356 p.; 22 cm

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++<sourceLibrary>Library of Congress<ESTCID>W002459<Notes>Running title: The Virginia justice.<imprintFull>Williamsburg Va.]: Printed by Alexander Purdie and John Dixon, M, DCC, LXXIV. 1774]. <collation> 4],353, 3]p.; 8

The Mystery Fancier, Volume 8 Number 2, March-April 1984, contains: "The Morals of Parker," by Frank D. McSherry, Jr., "Violence and Gunplay in Crime Fiction," by Robert E. Skinner and "A Report from Scandinavia," by K. Arne Blom.

Between Parker's 1961 debut and his return in the late 1990s, the world of crime changed considerably. Now fake IDs and credit cards had to be purchased from specialists; increasingly sophisticated policing made escape and evasion tougher; and, worst of all, money had gone digital--the days of cash-stuffed payroll trucks were long gone.But cash isn't everything: "Flashfire" and "Firebreak" find Parker going after, respectively, a fortune in jewels and a collection of priceless paintings. In "Flashfire," Parker's in West Palm Beach, competing with a crew that has an unhealthy love of explosions; when things go sour, Parker finds himself shot and trapped--and forced to rely on a civilian to survive. "Firebreak" takes Parker to a palatial Montana "hunting lodge" where a dot-com millionaire hides a gallery of stolen old masters--which will fetch Parker a pretty penny if his team can just get it past the mansion's tight security. The forests of Montana are an inhospitable place for a heister when well-laid plans fall apart, but no matter how untamed the wilderness, Parker's guaranteed to be the most dangerous predator around. "Like all of Stark's Parker novels, "Firebreak" is a brutal yet compelling glimpse into the amoral world of crime and revenge."--"Booklist" "The action in "Flashfire"] is nonstop. . . . The awful fascination in these Parker tales comes from knowing the protagonist will always do whatever is necessary to protect himself and to achieve his goals."--"Wall Street Journal"