‘Negligence’ is frightening to think about, but accepting the possibility of making mistakes as lawyers does not mean we ought to give up on a desire to perform to the best of our ability, and at the peak of our moral consciousness. This chapter applies morality to our technical competence. In the hothouse atmosphere of competitive law firms, the underlying conflict between commercialism and professionalism leads to moral as well as financial risk. Only true professionalism – which emphasizes the dual virtues of integrity and competence – will sustainably support your future. Too much concentration on the business of law and profit can and does lead to the temptation to ‘borrow’ clients’ money and to carelessness. There are extensive conduct and accounting rules that focus on accounting honestly for clients’ money, especially for lawyers who practise across international borders, and we should back that up by arranging professional indemnity (malpractice) insurance against any negligence. In addition, risk management, continuing legal education and specialist accreditation courses are all available through the internet to support you, even if not available through a bar association

Wallace’s landscapes are haunted by capitalist interventions in the natural world, from the black sand of the Great Ohio Desert to the Great Convexity/Concavity that sits like a pustule between the United States and Canada. This chapter considers Wallace’s writing as an ecocritical gesture that connects human solipsism, hypercapitalism and the despoiling of the natural world. In tracing this connection, the chapter operates on the central theme of disgust, a recurrent and powerful motif throughout Wallace’s body of work. Working alongside the chapter on regional geographies, the chapter shows how Wallace troubled and complicated the regional archetypes that populate his writing by using images of the unheimlich and the grotesque, uniting the threatening, the decomposing and the simply absurd to highlight the depredations of the late capitalist system on the (American) landscape.

This chapter considers the “globalization” of magical realism in the 1980s and its relationship to the consolidation of postcolonial literary studies in the same moment. Even as Latin America was being progressively marginalized in favor of taxonomic accounts of magical realism as a signature postcolonial style, Salman Rushdie and other South Asian authors became “pilgrims.” They use textual journeys to Latin America to declare the centrality of that tradition to their own forays into literary magic. Through references to Alejo Carpentier, Gabriel García Márquez, and others, Rushdie and Zulfikar Ghose pose Latin America as a funhouse mirror that reflects back a hyperbolically distorted but ultimately referential image of postcolonial political life. Ghose is joined by Anita Desai in his approach to Latin America as a concave mirror, one that allows inverting the implied political meaning of institutional affiliation in “America” by redirecting their attachment southward. Finally, Sunny Singh interrogates the postcolonial critical desire for magical realism to act as a transparent window onto traditions of home, framing it instead as a looking glass – both opposite and identical.

This chapter examines how a variety of twentieth-century popular forms – circus, Las Vegas spectacles, the modern pop/rock concert, living history museums, and theme parks – created new languages of performance and expanded the realm, scale, and scope of spectacle by borrowing and reshaping past forms and methodologies. These new languages of popular entertainment performance engage most directly with threads of technology, narrative, authenticity, and audience engagement. These threads in turn come to characterize the popular and influence contemporary traditional theatre practice, both nationally and internationally.