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Benjamin Stein - book author

Benjamin Stein is the author of books: The Canvas, Replay, On the Brink, Das Alphabet des Rabbi Löw, Ein anderes Blau, Ludes., Alphabet des Juda Liva: Roman, A License to Steal: The Untold Story of Michael Milken and the Conspiracy to Bilk the Nation, El lienzo, Museum of Street Art: East Village

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Author Books

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01
Loosely based on the true story of Binjamin Wilkomirski, whose fabricated 1995 Holocaust memoir transfixed the reading public, The Canvas has a singular construction—its two inter-related narratives begin at either end of the book and meet in the middle.

Amnon Zichroni, a psychoanalyst in Zurich, encourages Minsky to write a book about his traumatic childhood experience in a Nazi death camp, a memoir which the journalist Jan Wechsler claims is fiction. Ten years later, a suitcase arrives on Wechsler’s doorstep. Allegedly, he lost the suitcase on a trip to Israel, but Wechsler has no memory of the suitcase, nor the trip, and he travels to Israel to investigate the mystery. But it turns out he has been to Israel before, and his host on the trip, Amnon Zichroni, has been missing ever since. . .

A mind-bending investigation of memory, identity, truth, and delusion. The Canvas is the publishing event of the year, a novel whose meaning depends on the order in which it is read.
02
Als Ed Rosen in der Morgendämmerung erwacht und mit den Zehen wackelt, steht eines fest: der Huf, der am Fußende aus seinem Bett ragt, ist auf keinen Fall seiner. Aber da. Wie soll er sich das erklären?
Rosen, ein Software-Experte, war Mitentwickler und erster Träger des UniCom, eines Kommunikationsmittels, das als Implantat weit mehr kann als ein Smartphone – es protokolliert die Sinneswahrnehmungen seines Besitzers und macht das, was wir Realität nennen, in "Replays" unendlich wiederhol- und veränderbar: vor allem eine erotische Verlockung. Und es macht den Träger total kontrollierbar. Rosens Chef Matana und seine Firma treten einen weltweiten Siegeszug mit diesem Gerät an und nur ein paar ewiggestrige Störenfriede mahnen. Bis sich unerwartet Widerstand gegen das digitale Arkadien regt, der vielleicht auch den Huf erklärt?
05
In einer Großstadt bricht ein Bus durch die Straßendecke hindurch in einen U-Bahn-Tunnel. Mehrere Menschen sterben. Zwei von ihnen – ein Mann Mitte dreißig und eine junge Frau – können erst nach Wochen geborgen werden.

Unterdessen fristen die beiden eine Existenz in einem Reich zwischen Leben und Tod, Träumen und Ahnungen, Tanz und Taumel. Sie finden sich wieder in der dünnen Wand zwischen zwei Wohnungen, einem leeren Raum zwischen zwei fremden Leben, in dem nur sie sich bewegen können. Sie versuchen, den Abschied hinauszuzögern, den Abschied von ihren Irrtümern und sorgsam verborgenen Gefühlen, liebevollen und erschreckenden Erinnerungen. Und wenn sie auch nicht umkehren können, verändert sich auf dem letzten Stück Weg doch noch einmal ihr Leben und das der Menschen zu beiden Seiten der Wand – unbemerkt vom Rest der sie umgebenden Welt.

»Ein anderes Blau« erschien 2008 nur in einer Kleinstauflage und ist seit Jahren vergriffen. Für diese Ausgabe hat Benjamin Stein den Text komplett überarbeitet und mit einem neuen Nachwort versehen.
08
“A hard-hitting analysis.” —Kirkus Reviews

Benjamin J. Stein reveals how Michael Milken sold $200 billion of junk bonds, turned corporate America upside down, killed dozens of S&Ls, cost the taxpayers billions, and gave America a push towards the longest recession in history.

This sobering, and at times terrifying, tale reveals how Michael Milken, called upon questionable financial backers and enrolled the influence of powerful figures in journalism, academia, and politics, to convince an eager—and greedy—nation that junk bonds were the key to untold wealth. Now Stein details how Milken became so powerful, who helped him, and how his junk-bond operation really worked.
10
Editor's Note

Welcome to the Museum of Street Art (MoSA). Not within these pages, but while walking the streets, there is a chance you have been here before. The MoSA concept is intuitive, but you might not have noticed it unless you were looking for it.

A MoSA is a phenomenom that occurs when there is a high concentration of both art and local stakeholder support in a particular outdoor area. This combination creates living, breathing outdoor museums in our cities. Entry is free and daily exhibits are managed by the residents, landlords, local government, visitors, and mother nature. These stakeholders alter the exhibition every day with their competing opinions and priorities, which in turn creates one of the most dynamic and meritocratic museums in the world. MoSA explores this concept by photographing these museums in their entirety on one particular day, as a record and snapshot in time.

MoSA locations can be found in dozens of cities around the world, but in this edition, we explore the East Village in New York City on June 23, 2017. The East Village has a long history of supporting the arts and showcases a variety of mediums by a host of local and global artists. Read on to see exactly how we captured the exhibit.



METHOD

All photographs were shot sequentially in 14 hours starting at 12 AM midnight on June 23, 2017. The area of interest covers 430 acres known as the East Village, located in Manhattan, New York. Its boundaries from West to East are from Bowery/4th Ave. to East River Park. Its boundaries North to South are from 14th St. to Houston St. The editor systematically canvassed this area by bicycle to capture each piece of art. "The Streets" began at Bowery and Houston and were traversed Northward in ascending order from Houston to 14th St. "The Avenues" began on Avenue D and Houston and were traversed Westward from Avenue D to Bowery/4th Ave.



DOCUMENTATION

Artists are credited if their work can be identified. When the art can not be identified the artist is noted as "Unknown." Artists are listed in order of their position in the photograph. Artist's work can be identified from top to bottom, left to right in each photo they are credited. Some artists are credited in quotations. This notation indicates that someone else, besides the artist posted their work in the public domain.