First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

The results of macroeconomic policy are often unpredictable. One of the major reasons for this is the importance of confidence and expectations in economic affairs. For a government's economic policies to succeed they must gain and maintain economic credibility, which many governments are finding increasingly difficult. "Confidence, Credibility and Macroeconomic Policy" explores the interaction between fiscal and monetary stabilization, confidence and expectations, and the credibility of the government's financial policies. The volume is divided into three parts. Part I begins with an overview of the inter-relationship between fiscal policy, credibility and inflation and presents two pioneering, experimental studies that explore the effects of macroeconomic policies on expectations. Part II focuses on empirical research and presents historical as well as contemporary evidence on the importance of public confidence and expectations to the success of fiscal and monetary policy. Part III covers the definition and functions of consumer confidence as it is measured today.

The companion to Lorraine Clarke's first major UK exhibition since returning from Italy in 2000, this book explores the mysterious link between magic, medicine, and religion. Providing a full-color record of the show, it also includes a statement from the artist and an essay by medical historian Dr. Ruth Richardson. Clarke's work is an excavation of the human being, exploring the history of our bodily awareness and addressing contemporary issues.

Gray's Anatomy is probably one of the most iconic scientific books ever published: an illustrated textbook of anatomy that is still a household name 150 years since its first edition, known for its rigorously scientific text, and masterful illustrations as beautiful as they are detailed. The Making of Mr Gray's Anatomy tells the story of the creation of this remarkable book, and the individuals who made it happen: Henry Gray, the bright and ambitious physiologist, poised for medical fame and fortune, who was the book's author; Carter, the brilliant young illustrator, lacking Gray's social advantages, shy and inclined to religious introspection; and the publishers - Parkers, father and son, the father eager to employ new technology, the son part of a lively circle of intellectuals. It is the story of changing attitudes in the mid-19th century; of the social impact of science, the changing status of medicine; of poverty and class; of craftsmanship and technology. And it all unfolds in the atmospheric milieu of Victorian London - taking the reader from the smart townhouses of Belgravia, to the dissection room of St George's Hospital, and to the workhouses and mortuaries where we meet the friendless poor who would ultimately be immortalised in Carter's engravings. Alongside the story of the making of the book itself, Ruth Richardson reflects on what made Gray's Anatomy such a unique intellectual, artistic, and cultural achievement - how it represented a summation of a long half century's blossoming of anatomical knowledge and exploration, and how it appeared just at the right time to become the 'Doctor's Bible' for generations of medics to follow.

The recent discovery that as a young man Charles Dickens lived only a few doors from a major London workhouse made headlines worldwide, and the campaign to save the workhouse from demolition caught the public imagination. Internationally, the media immediately grasped the idea that Oliver Twist's workhouse had been found, and made public the news that both the workhouse and Dickens's old home were still standing, near London's Telecom Tower. This book, by the historian who did the sleuthing behind these exciting new findings, presents the story for the first time, and shows that the two periods Dickens lived in that part of London - before and after his father's imprisonment in a debtors' prison - were profoundly important to his subsequent writing career.

The recent discovery that as a young man Charles Dickens lived only a few doors from a major London workhouse made headlines worldwide, and the campaign to save the workhouse from demolition caught the public imagination. Internationally, the media immediately grasped the idea that Oliver Twist's workhouse had been found, and made public the news that both the workhouse and Dickens's old home were still standing, near London's Telecom Tower. This book, by the historian who did the sleuthing behind these exciting new findings, presents the story for the first time, and shows that the two periods Dickens lived in that part of London - before and after his father's imprisonment in a debtors' prison - were profoundly important to his subsequent writing career.

Underway is the dawning of a new day, as the bright morning sun - representing "the sun of prophecy (Micah 3: 6)," lights the night - the darkness by which prophecy is often explained. With the light of Jesus shining brightly on the explanation of prophecy - "For the testimony of Jesus is the spirit of prophecy (Revelation 19:10)," we understand it and the rest of the Bible clearly. "Truth to Share," this book's logo, is almost unseen. The title, arched overhead, represents a rainbow full of promise.
The cover art is by the writer, inspired by a friend's visualization.
The title itself is a word-for-word "given," as is the final section, "The Rainbow," in chapter seven. "The Camel We Christians Have Swallowed," as stated in the introduction, is not the well-known "eye of the needle" camel. It is from Matthew (23:23-24) where Jesus accused the Pharisees of straining out a gnat and swallowing a camel, neglecting the weightier matters of the law, justice, mercy and faith. (More explanation of this title is in the introduction and chapter one.)

In the early nineteenth century, body snatching was rife because the only corpses available for medical study were those of hanged murderers. With the Anatomy Act of 1832, however, the bodies of those who died destitute in workhouses were appropriated for dissection. At a time when such a procedure was regarded with fear and revulsion, the Anatomy Act effectively rendered dissection a punishment for poverty. Providing both historical and contemporary insights, Death, Dissection, and the Destitute opens rich new prospects in history and history of science. The new afterword draws important parallels between social and medical history and contemporary concerns regarding organs for transplant and human tissue for research.