Showing posts sorted by relevance for query greed. Sort by date Show all posts
Showing posts sorted by relevance for query greed. Sort by date Show all posts

Monday, June 4, 2012

The Big Con by David W. Maurer

Maurer, David W.  The Big Con: The Story of the Confidence Man.  1940.  New York: MJF, 2009.

Even as it was coming off the press in 1940, The Big Con was describing history.  The confidence game described by David W. Maurer had evolved with the times, opportunities, and creativity of the con men, and it surely didn’t stop evolving 70 years ago.  Even so, it’s an interesting history.


Maurer was a linguist who studied the jargon of criminals.  The book includes a glossary of terms used by con artists in the early 20th Century.  If you want to talk like a character in a hardboiled crime story, check it out.

This study led him to the culture and methods of confidence men.  Con men were the kings of grifters. The grift involved nonviolent crimes, in contrast to the heavy rackets.  The confidence game was the highest grift because the marks would give their money to the grifter.  It was a game of intelligence and acting (and deceit) that tripped up the greedy.  Con men had to be able to mix with legitimate society and seem to fit in with people who had regular jobs, legitimate business, and money.  The appearance of respectability was so important that con men avoided the company of other criminals and cultivated associations with straight citizens (maybe just a little bent).

The Big Con is not a textbook for running a con game.  It does give you a pretty good idea of how con men worked.  Maurer concentrates on the big cons: the wire, the rag, and the pay-off.  These games all convince the mark to get involved in a crooked scheme for sure-thing bets on horses or stocks.  They give him a taste of winning, and then send him off to get all the money he can get his hands on.  When the big money is in, the scheme falls apart and everybody needs to skip town to escape suspicion.  A hooked mark is convinced he was onto something and may come back to try again.  Even if he is suspicious, he has little recourse because turning in the con men means admitting involvement in something shady and possibly criminal.

Maurer summarizes several short cons, too.  Some of these may still be around.  I saw a version of the wipe depicted on and episode of CSI: New York.  Because it was a CSI: show, the con artist was murdered; obviously not part of the plan.

The big cons are not one man operations.  Maurer describes the con mob.  He also discusses the relationship between con artists and crooked officials and other criminals.  He is interested in culture as well as methods.

Maurer comes off as having some a fascination with the con men, even a kind of admiration.  I don’t think he admired what they did.  He seemed to respect the skill it took to pull a successful con, especially to do it over and over.   The con men come off as charming, probably because they were.  They had to be charming, they had to be able to read people, and they had to recognize people who had the right combination of money and greed to make a good mark.

If you’re interested in this book, you may also be interested in
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Saturday, December 10, 2016

Amos

Amos was a shepherd in Judah who God called to deliver a message to his nation, its sister nation Israel and the surrounding countries. His tenure as a prophet occurred during the reigns of Uzziah in Judah and Jeroboam in Israel. His message had three components: an indictment of the nations for their sins, a warning of the oppression to come from occupying nations and a hopeful vision of the kingdom to come.

Amos warned the people, and particularly called out the leaders of the nations, that God saw their sins and He would not tolerate them forever. In particular, greed was rampant. People used dishonesty and force to gain wealth, especially to exploit those who were already poor. The leaders of the nations were complicit and expanded their own wealth by these means.

The luxurious lifestyles of these aristocrats was not to last. Amos warned them of the judgment to come in the form of subjugation to a foreign empire. That empire would be Babylon.

Like many of his contemporaries, Amos had a vision of a future restoration. Israel would be restored to nationhood for a while after the end of its occupation by Babylon (and later Persia), but these prophetic visions also extended the unending kingdom of Christ.

If you’re interested in this book, you may also be interested in


Amos. The Holy Bible. New King James Version. Nashville, TN: Thomas Nelson, 1982.

Tuesday, October 28, 2008

Dreams of Iron and Steel by Deborah Cadbury & The Lighthouse Stevensons by Bella Bathurst

In Dreams of Iron and Steel (New York: HarperCollins, 2004), Deborah Cadbury tells the stories of seven great works that cover over a century of engineering history. Originally published in Great Britain as Seven Wonders of the Industrial World, the book was a companion to a BBC television series. The projects covered vary widely from a sewer built under a metropolis to a bridge that towered above the skyline of its day.

The oldest of these (still standing like all but one of the other projects) is the Bell Rock lighthouse. The Bell Rock sank many ships that sought shelter from North Sea storms in Scotland’s Firth of Forth. Robert Stevenson, grandfather of author Robert Louis Stevenson, designed and oversaw the construction of a tower on it. The rock was a formidable construction site. It sat eleven miles from land. High tide covered it with as much as 16 feet of water. Low tide exposed an area only 250 by 130 feet. Yet Stevenson and his men built a 100-foot, stone tower on it. They did it 200 years ago.

By the middle of the nineteenth century, several wonders were built almost at once. The Great Eastern, built by Isambard Kingdom Brunel, was twice the size of any other ship. Though a commercial failure, it set the standard for the next generation of ships.

Brunel launched his ship into a dirty and diseased Thames. Joseph Bazalgette sought to make the river safer for London residents. He built sewers under an ancient city that had grown to 2.5 million people and sprawled over 80 square miles.

In the American West, rival firms raced across the continent to build a railroad that would unite a nation recovering from civil war. In New York, John and Washington Roebling tackled the broad East River with their Brooklyn Bridge. They risked their lives and reputations on the longest span of the day and a material untested in bridges—steel.

The twentieth century inaugurated bigger feats. First proposed in 1879 by Vicomte Ferdinand de Lesseps of France, builder of the Suez Canal, the Panama Canal defeated most of those tried to build it. Even the United States poked at the mountains in futility until John Stevens, a railroad engineer, upgraded the infrastructure and equipment. When Stevens left the canal, a frustrated Theodore Roosevelt put military officers in charge. Lieutenant Colonel George Goethels, an engineer with extensive lock and dam experience, saw the canal through to its completion shortly before World War I.

The final project, America’s “damn big dam”, was build during the Depression. Hoover Dam was huge and constructed under difficult conditions. But construction engineer Frank “Hurry up” Crowe pushed and planned to get it done early and under budget.

Cadbury treats each project separately. However, they are linked by common elements.

Tragedy and setbacks touched each one. Thousands of men, usually poor laborers and sometimes children, were killed or injured to make these huge structures. They were beset by lack of financing, reluctance to try new methods and materials, bankrupt contractors, political opposition, corruption, greed, prejudice, and other human imperfections.

At their best, these engineers and their wonders are linked by the same qualities that appear in the best of engineering today. They had a vision to make people safer, healthier, richer, and freer. They created solutions to immense problems.

Robert Stevenson’s triumph at Bell Rock won the confidence of the Northern Lighthouse Board. It also launched an association between the Stevenson family and Scottish lighthouses that lasted four generations. During their tenures in the office of engineer for the board, Stevenson and his sons dominated the design, construction, and operation of the lights. Bella Bathurst tells their story in The Lighthouse Stevensons (New York: HarperCollins, 1999).

This book has its own kind of variety: technical, professional, and personal. It covers the construction and technology of several lighthouses, the masterpieces of Robert and his three sons. They not only built towers, but also improved their design and the design of the lamps, reflectors, optics, and mechanical systems that operated in them. One even studied the waves that assaulted their works.

It shows that engineering is more than simply design and construction. The Stevensons were also managers, fundraisers, businessmen, public servants, purchasing agents, manufacturers, contractors, and more. Their work included a broad section of what engineers do.

The book is also a biography of these four men that reveals the dynamics of the family. Robert insisted his sons join the family profession and business. Only one, David, seemed to take to it naturally. Only David’s sons filled the next generation of lighthouse Stevensons. Alan and Tom were more inclined to work in literature and the arts. Alan proved himself to be a capable engineer by building a 138-foot light at Skerryvore that could withstand the elements and exhibit a simple beauty. He became so disabled by disease, Bathurst suggests it was muscular sclerosis, that he gave up his work with the lighthouses. He managed to work irregularly as a writer. His works include and encyclopedia article on lighthouses and a translation of Greek poems. Tom shared Alan’s artistic leaning, but not his intensity and focus. He and David eventually divided the engineering work for the Northern Lights.

Not everyone is cut out to be an engineer, of course. As Robert Louis Stevenson said about his internship in the profession, “He is a wise youth, to be sure, who can balance one part of genuine life against two parts of drudgery between four walls and for the sake of one, manfully accept the other.” But some managed to catch what Marion Allen, a laborer on the Hoover Dam, called constructitis. “Sometimes one thinks he is cured,” said Allen, “only to have a relapse when he goes by fresh concrete or catches the smell of fresh sawdust from new lumber. Anyone with this affliction has to start construction of some kind, even of only to dig a hole and fill it up again.”

Order this book here.

Sunday, April 12, 2015

The Picture of Dorian Gray by Oscar Wilde

Oscar Wilde’s novel The Picture of Dorian Gray is a classic of English literature. I’m writing a review of it because I want some horror to feature on Halloween.

Dorian Gray is, in my mind, a weird tale. Wilde produces a sense of creepiness that begins even in the seemingly light and hopeful first chapter. The title portrait is a supernatural object that horrifies and fascinates Gray. He is preserved in youth and beauty, and possibly even saved from the consequences of evil deeds, but the portrait become a mirror to his dark and sinful soul, something that eventually becomes too horrible for him to endure.

In addition to being a weird tale, it is a moral tale. Gray has beauty, wealth, and status, but he gives himself over to any kind of wickedness if their might be pleasure in it. At first, it is the infatuation of a hollow love for the actress Sibyl Vane. When she disappoints him on the stage by failing to present an ideal picture of love because acting it seems shallow compared to her real passion, he rejects her. Her suicide nearly turns him off the path he is pursuing, but when the thrill of the moment passed, he nearly forgot her. The sins of youth and ignorance turn more willful as he falls into using drugs and prostitutes. Eventually he murders a man. The book hints at other wrongdoing, possibly homosexuality, affairs with married women, seduction for the sake of its own pleasure, gossip, excessive drink, greed, blasphemy and leading  others into all these things.

The book could be a social commentary on the upper class of his time. With all the advantages they had, they were still corrupt. A fortunate life is not a sign of a good person. As with Job, poverty and hardship are not indications of an evil life.

Some think Wilde is exploring own life in the book. One can read hints of homosexuality in Basil Hallward’s feelings toward Gray (Basil paints the portrait), and in Gray’s feelings toward Lord Henry Wotton. Possibly Wilde was critiquing his own aestheticism, finding that it did not necessarily lead to a higher morality, but could as easily lead one to an immoral, selfish, and consuming pleasure-seeking.

In the book, Wilde never comes out and says what his intentions are, if he has any at all in terms of exploring himself, his society, or notions of beauty, art and morality. It seems clear, though, the Wilde suggests a person cannot be separated from his deeds and his consequences as Gray is with the aid of his magical painting. A man, his deeds, and their consequences may not be the same thing, but they are linked in a powerful way. When Gray tries to destroy the painting that bears the ugliness of his soul, he plunges the knife into his own heart.

Though some have accused Wilde of writing an immoral book, one could as easily argue that he wrote a very moral book. Gray is sympathetic to a degree, but he is an evildoer destroyed by the evil he did. The reader can contemplate issues of art, beauty, and morality for himself. Along the way, he can enjoy a creepy thrill.

If you’re interested in this book, you may also be interested in


Wilde, Oscar. The Picture of Dorian Gray1890. New York: Barnes & Noble, 2003.