Deceptive Fictions: Narrating Trauma and Violence in Contemporary Writing explores the widespread narrative concern with trauma and violence, and their interactions with identity, meaning, ethics, history, memory and various other related issues in a selection of novels by prolific contemporary British and Irish writers. Interrogating the strategic functions of trauma and violence, the book argues that these texts can be read as counter-narratives to, or a backlash against, still-prevalent critical paradigms informed by poststructuralist and postmodern thought. Trauma and violence are invoked as narrative tools to communicate the centrality of the body and of biological and material constraints on human actions. This emphasis on reality and the experiential ties in with the novels’ consistent focus on the individual as an ethical agent and originator of meaning. In so doing, they signal a move in contemporary fiction towards a textual practice that can most fruitfully be approached along the lines of an individualistic, evolutionary, corporeal and experiential narratology, which self-consciously reflects on the manipulative potentials of narrative.

Philosophy as Fiction seeks to account for the peculiar power of philosophical literature by taking as its case study the paradigmatic generic hybrid of the twentieth century, Marcel Proust's In Search of Lost Time. At once philosophical--in that it presents claims, and even deploys arguments concerning such traditionally philosophical issues as knowledge, self-deception, selfhood, love, friendship, and art--and literary, in that its situations are imaginary and its stylization inescapably prominent, Proust's novel presents us with a conundrum. How should it be read? Can the two discursive structures co-exist, or must philosophy inevitably undermine literature (by sapping the narrative of its vitality) and literature undermine philosophy (by placing its claims in the mouth of an often unreliable narrator)? In the case of Proust at least, the result is greater than the sum of its parts. Not only can a coherent, distinctive philosophical system be extracted from the Recherche, once the narrator's periodic waywardness is taken into account; not only does a powerfully original style pervade its every nook, overtly reinforcing some theories and covertly exemplifying others; but aspects of the philosophy also serve literary ends, contributing more to character than to conceptual framework. What is more, aspects of the aesthetics serve philosophical ends, enabling a reader to engage in an active manner with an alternative art of living. Unlike the "essay" Proust might have written, his novel grants us the opportunity to use it as a practice ground for cooperation among our faculties, for the careful sifting of memories, for the complex procedures involved in self-fashioning, and for the related art of self-deception. It is only because the narrator's insights do not always add up--a weakness, so long as one treats the novel as a straightforward treatise--that it can produce its training effect, a feature that turns out to be its ultimate strength.

English society in the late seventeenth and early eighteenth centuries was fascinated by deception, and concerns about deceptive narratives had a profound effect on reading practices. Kate Loveman's interdisciplinary study explores the ways in which reading habits, first developed to deal with suspect political and religious texts, were applied to a range of genres, and, as authors responded to readers' critiques, shaped genres. Examining responses to authors such as Defoe, Swift, Richardson and Fielding, Loveman investigates reading as a sociable activity. She uncovers a lost critical discourse, centred on strategies of 'shamming', which involved readers in public displays of reason, wit and ironic pretence as they discussed the credibility of oral and written narratives. Widely understood by early modern readers and authors, the codes of this rhetoric have now been forgotten, to the detriment of our perception of the period's literature and politics. Loveman's lively book offers a striking new approach to Restoration and eighteenth-century literary culture and, in particular, to understanding the development of the novel.

In 1965, the authors of The Ugly American published the novel Sarkhan, a book which they felt had an even more dramatic message than their great best-seller. Sarkhan was greeted with high praise, was a selection of both the Literary Guild and the Reader's Digest Condensed Book Club.

This book presents the first reference exposition of the Cyber-Deception Chain: a flexible planning and execution framework for creating tactical, operational, or strategic deceptions. This methodology bridges the gap between the current uncoordinated patchwork of tactical denial and deception (D&D) techniques and their orchestration in service of an organization’s mission. Concepts for cyber- D&D planning operations and management are detailed within the larger organizational, business, and cyber defense context. It examines the necessity of a comprehensive, active cyber denial scheme. The authors explain the organizational implications of integrating D&D with a legacy cyber strategy, and discuss trade-offs, maturity models, and lifecycle management. Chapters present the primary challenges in using deception as part of a security strategy, and guides users through the steps to overcome common obstacles. Both revealing and concealing fact and fiction have a critical role in securing private information. Detailed case studies are included. Cyber Denial, Deception and Counter Deception is designed as a reference for professionals, researchers and government employees working in cybersecurity. Advanced-level students in computer science focused on security will also find this book useful as a reference or secondary text book.

Kyra Davis, the New York Times bestselling author of Just One Night, returns with book one in the thrillingly erotic Pure Sin series featuring a beautiful young woman out for revenge—until she falls in love with the one man whose secrets are as dangerous as her own. (Note: this volume collects Parts 1 - 3 of the previously serialized Deceptive Innocence ebook series.) Ever since Bell’s mother died while serving time for a murder she didn’t commit, Bell’s been focused on one thing: revenge. She knows her mother was set up by Jonathon Gable, the head of both the powerful Gable family and an international banking corporation. Now she’s determined to take him down—from the inside. Bell needs access to the Gable home and offices, so she poses as a bartender to seduce her way into the bed—and life—of Jonathon’s rebellious youngest son, Lander. He’s not a typical Gable, spending more time in the dive bars of Harlem than the posh cocktail lounges of the Upper East Side. He has an attraction to danger, a vulnerability Bell isn’t shy about exploiting. It should be easy to uncover the secrets she needs to destroy his family and clear her mother’s name. But it turns out Lander is much more complicated than she ever imagined. He’s enticing, intelligent, mysterious—plus their sexual chemistry is off the charts. Even though Bell knows he’s the enemy, she can’t help but be moved, both physically and emotionally, by the man she swore was just a target. When he finds out the truth she’s sure both their hearts and her plan will be crushed...until she begins to realize that Lander might be hiding his own secrets, darker than she ever imagined.

"We tell ourselves stories in order to live," Joan Didion observed inThe White Album. Why is this? Michael Austin asks, inUseful Fictions. Why, in particular, are human beings, whose very survival depends on obtaining true information, so drawn to fictional narratives? After all, virtually every human culture reveres some form of storytelling. Might there be an evolutionary reason behind our species' need for stories? Drawing on evolutionary biology, anthropology, narrative theory, cognitive psychology, game theory, and evolutionary aesthetics, Austin develops the concept of a "useful fiction," a simple narrative that serves an adaptive function unrelated to its factual accuracy. In his work we see how these useful fictions play a key role in neutralizing the overwhelming anxiety that humans can experience as their minds gather and process information. Rudimentary narratives constructed for this purpose, Austin suggests, provided a cognitive scaffold that might have become the basis for our well-documented love of fictional stories. Written in clear, jargon-free prose and employing abundant literary examplesfrom the Bible toOne Thousand and One Arabian NightsandDon QuixotetoNo ExitAustin's work offers a new way of understanding the relationship between fiction and evolutionary processesand, perhaps, the very origins of literature.