Boggs does not sell his "money" directly, as Weschler learns, nor does he attempt to pass his drawings off as actual bills. For Boggs, the elaborate transaction of negotiation is a crucial element in his work, and the tangible proof of his success--receipts and proper change--is included in the final product. Of course, treasury departments from around the world are anything but pleased; the second half of the book deals extensively with the artist's court battle with the Bank of England. As Weschler notes, Boggs is not the first to question the value of money through art (Larry Rivers, Pablo Picasso, Timm Ulrichs, Adolf Wölfi, and Jurgen Harten are just some artists who have put currency to the test), but the author finds in Boggs's work an ideal subject for opening a probing inquiry into the economy of money, especially timely at the end of the 20th century as paper currency--which once directly represented precious-metal coins--evolves into "binary sequences of pulses racing between computers." --Kera Bolonik

Lawrence Weschler is one of the late 20th century's best journalists, a master of the profile format. He offers the reader tremendous amounts of information, including extensive historical backgrounds, without ever sacrificing any of his prose's immediacy or clarity. Given that his three subjects have each fought against oppressive regimes, it would be easy to portray them as simplistic heroes, but Weschler takes great pains to show the full complexities of their characters, even when it casts them in a less than flattering light. By reading Calamities of Exile, you will learn much about international politics, but, more importantly, you will learn much about people. --Ron Hogan