Jonathan has found a way out: out of a loveless marriage, a dead-end job and financial ruin. All he needs now is the means to support himself in his new-found freedom. And he's got a plan.
Rebecca, however, has other ideas. Beautiful, but mercenary, she will stop at nothing to make sure that she gets what she wants - even if it means murder. But how do you make sure that the dead stay dead?
Enter Bob Donaldson - ex-copper turned PI and walking midlife crisis; and his incongruous accomplice Tanner - heavyweight London gangster with retirement plans.
In a madcap cat and mouse game of misadventures and infidelities, this bizarre cast of misfits and miscreants fight tooth and claw for the ultimate prize - a quarter of a million pounds life insurance payout - with deadly consequences.
No one is immune and one by one they discover the true cost of greed in this comic thriller from Paul Endersby.
Grasping. Avarice. Covetousness. Miserliness. Insatiable cupidity. Overreaching ambition. Desire spun out of control. The deadly sin of Greed goes by many names, appears in many guises, and wreaks havoc on individuals and nations alike.
In this lively and generous book, Phyllis A. Tickle argues that Greed is "the Matriarch of the Deadly Clan," the ultimate source of Pride, Envy, Sloth, Gluttony, Lust, and Anger. She shows that the major faiths, from Hinduism and Taoism to Buddhism and Christianity regard Greed as the greatest calamity humans can indulge in, engendering further sins and eviscerating all virtues. As the Sikh holy bookAdi Granth asks: "Where there is greed, what love can there be " Tickle takes a long view of Greed, from St. Paul to the present, focusing particularly on changing imaginative representations of Greed in Western literature and art. Looking at such works as the Psychomachia, or "Soul Battle" of the fifth-century poet Aurelius Clemens Prudentius, the paintings of Peter Bruegel and Hieronymous Bosch, the 1987 filmWall Street, and the contemporary Italian artist Mario Donizetti, Tickle shows how our perceptions have evolved from the medieval understanding of Greed as a spiritual enemy to a nineteenth-century sociological construct to an early twentieth-century psychological deficiency, and finally to a new view, powerfully articulated in Donizetti's mystical paintings, of Greed as both tragic and beautiful.
Engaging, witty, brilliantly insightful, Greed explores the full range of this deadly sin's subtle, chameleon-like qualities, and the enormous destructive power it wields, evidenced all too clearly in the world today.
