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Italy in the early 1960s: a dying painter considers the sacrifices and losses that have made him an enigma, both to strangers and those closest to him. He begins his last life painting, using the same objects he has painted obsessively for his entire career - a small group of bottles. Not long afterwards, a blind girl tends his grave, trying to understand the world she can no longer see, and wondering whether the presence she feels nearby is the 'Bestia', the monstrous creature depicted in the altar of painting of her local church. In Cumbria thirty years later, a landscape artist - who once wrote letters to the Italian recluse - finds himself trapped in the extreme terrain that has made him famous. And in present-day London, his daughter is struggling with the sudden loss of her twin brother while trying to curate an exhibition about the lives of the twentieth-century European masters, and finds herself drawn into a world of darkness and sexual abandon. Covering half a century, Sarah Hall's fourth novel is a fierce and brilliant study of art and its place in our lives. Written with passionate understanding for both the grand artistic folly and the small-scale creative triumph, How to Paint a Dead Man is a luminous and searching novel of extraordinary power.

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The state of the nation has changed. With much of the country now underwater, assets and weapons seized by the government - itself run by the sinister 'Authority' - and war raging in South America and China, life in Britain is unrecognisable.

Communal living --- Women prisoners --- Communal living. --- Women prisoners. --- Cumbria (England) --- England

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"Respatialising finance positions international financial centres as vital, but often overlooked, analytical lenses through which to understand the changing position of Chinese finance within the international financial system and specifically the internationalisation of its currency, the renminbi (RMB). In so doing, I develop a revitalised reading of financial centres that places questions of the state, politics and power more centrally in both their own internal dynamics and in their role in shaping global finance. Since the 2007-8 financial crisis, the growing internationalisation of the RMB has been one of the most significant development within global monetary relations. Indeed, in 2014, Deutsche Bank argued that the internationalisation of the RMB was the most significant development in international monetary affairs since the launch of the Euro in 1999 (Deutsche Bank, 2014). It refers to the relatively rapid and recent transformation in the geography of the Chinese currency facilitated through Chinese state support in the form of the People's Bank of China in particular. This geography has been transformed from a situation in the early 2000s in which flows of RMB in and out of mainland China were heavily restricted to one in which by July 2020, it was the fifth most commonly used currency for payments internationally behind the US dollar, sterling, the Euro and the Yen (Swift, 2020). Meanwhile, the growing international status of the RMB was also reflected in the International Monetary Fund including the RMB in its basket of special drawing rights (SDR) from October 2016 together with the US dollar, the euro, the yen and sterling. Kirschner (2014 p.220) provides a valuable summary of the early motivations and uncertainties surrounding RMB internationalisation."--

Renminbi --- Finance