National Book Award winner M. T. Anderson returns to future Earth in a sharply wrought satire of art and truth in the midst of colonization. When the vuvv first landed, it came as a surprise to aspiring artist Adam and the rest of planet Earth — but not necessarily an unwelcome one. Can it really be called an invasion when the vuvv generously offered free advanced technology and cures for every illness imaginable? As it turns out, yes. With his parents’ jobs replaced by alien tech and no money for food, clean water, or the vuvv’s miraculous medicine, Adam and his girlfriend, Chloe, have to get creative to survive. And since the vuvv crave anything they deem classic Earth culture (doo-wop music, still life paintings of fruit, true love), recording 1950s-style dates for the vuvv to watch in a pay-per-minute format seems like a brilliant idea. But it’s hard for Adam and Chloe to sell true love when they hate each other more with every passing episode. Soon enough, Adam must decide how far he’s willing to go — and what he’s willing to sacrifice — to give the vuvv what they want.

Identity crises, consumerism, and star-crossed teenage love in a futuristic society where people connect to the Internet via feeds implanted in their brains. Winner of the LA Times Book Prize. For Titus and his friends, it started out like any ordinary trip to the moon - a chance to party during spring break and play around with some stupid low-grav at the Ricochet Lounge. But that was before the crazy hacker caused all their feeds to malfunction, sending them to the hospital to lie around with nothing inside their heads for days. And it was before Titus met Violet, a beautiful, brainy teenage girl who knows something about what it’s like to live without the feed-and about resisting its omnipresent ability to categorize human thoughts and desires. Following in the footsteps of George Orwell, Anthony Burgess, and Kurt Vonnegut, Jr., M. T. Anderson has created a brave new world - and a hilarious new lingo - sure to appeal to anyone who appreciates smart satire, futuristic fiction laced with humor, or any story featuring skin lesions as a fashion statement.

The global financial crisis and recession have placed great strains on the free market ideology that has emphasized economic objectives and unregulated markets. The balance of economic and noneconomic goals is under the microscope in every sector of the economy. It is time to re-think the objectives of the employment relationship and the underlying assumptions of how that relationship operates. Invisible Hands, Invisible Objectives develops a fresh, holistic framework to fundamentally reexamine U.S. workplace regulation. A new scorecard for workplace law and public policy that embraces equity and voice for employees and economic efficiency will reveals significant deficiencies in our current practices. To create one, the authors—a legal scholar and an economics and industrial relations scholar—blend their expertise to propose a comprehensive set of reforms, tackling such issues as regulatory enforcement, portable employee benefits, training programs, living wages, workplace safety and health, work-family balance, security and social safety nets, nondiscrimination, good-cause dismissal, balanced income distributions, free speech protections for employees, individual and collective workplace decision-making, and labor unions. Invisible Hands, Invisible Objectives is not just another book that sketches a reform agenda. The book provides the much-needed rubric for how we think about employment policy specifically, but also economic policy more generally. It is a must-read in these most critical times.

Invisible Gardens is a composite history of the individuals and firms that defined the field of landscape architecture in America from 1925 to 1975, a period that spawned a significant body of work combining social ideas of enduring value with landscapes and gardens that forged a modern aesthetic. The major protagonists include Thomas Church, Roberto Burle Marx, Isamu Noguchi, Luis Barragan, Daniel Urban Kiley, Stanley White, Hideo Sasaki, Ian McHarg, Lawrence Halprin, and Garrett Eckbo. They were the pioneers of a new profession in America, the first to offer alternatives to the historic landscape and the park tradition, as well as to the suburban sprawl and other unplanned developments of twentieth-century cities and institutions. The work is described against the backdrop of the Great Depression, the Second World War, the postwar recovery, American corporate expansion, and the environmental revolution. The authors look at unbuilt schemes as well as actual gardens, ranging from tiny backyards and play spaces to urban plazas and corporate villas. Some of the projects discussed already occupy a canonical position in modern landscape architecture; others deserve a similar place but are less well known. The result is a record of landscape architecture's cultural contribution - as distinctly different in history, intent, and procedure from its sister fields of architecture and planning - during the years when it was acquiring professional status and struggling to define a modernist aesthetic out of the startling changes in postwar America.

Girl in Landscape is a daring exploration of the violent nature of sexual awakening, a meditation on language and perception, and an homage to the great American tradition of the Western. • "Jonathan Lethem's imagination [is]...marvelously fertile." --Newsday The heroine is young Pella Marsh, whose mother dies just before her family flees a post-apocalyptic Brooklyn for the frontier of a recently discovered planet. Hating her ineffectual father, and troubled by a powerful attraction to a virile but dangerous loner who holds sway over the little colony, Pella sets out on a course of discovery that will have tragic and irrevocable consequences for the humans in the community and the ancient inhabitants, known only as archbuilders. Girl in Landscape finds Jonathan Lethem twisting forms and literary conventions to create a dazzling, completely unconventional tale.

The Invisible Hand? offers a radical departure from the conventional wisdom of economists and economic historians, by showing that 'factor markets' and the economies dominated by them — the market economies — are not modern, but have existed at various times in the past. They rise, stagnate, and decline; and consist of very different combinations of institutions embedded in very different societies. These market economies create flexibility and high mobility in the exchange of land, labour, and capital, and initially they generate economic growth, although they also build on existing social structures, as well as existing exchange and allocation systems. The dynamism that results from the rise of factor markets leads to the rise of new market elites who accumulate land and capital, and use wage labour extensively to make their wealth profitable. In the long term, this creates social polarization and a decline of average welfare. As these new elites gradually translate their economic wealth into political leverage, it also creates institutional sclerosis, and finally makes these markets stagnate or decline again. This process is analysed across the three major, pre-industrial examples of successful market economies in western Eurasia: Iraq in the early Middle Ages, Italy in the high Middle Ages, and the Low Countries in the late Middle Ages and the early modern period, and then parallels drawn to England and the United States in the modern period. These areas successively saw a rapid rise of factor markets and the associated dynamism, followed by stagnation, which enables an in-depth investigation of the causes and results of this process.

From the author of We Are the Ants comes “another winner” (Booklist, starred review) about a boy who believes the universe is slowly shrinking as the things he remembers are being erased from others’ memories. Tommy and Ozzie have been best friends since the second grade, and boyfriends since eighth. They spent countless days dreaming of escaping their small town—and then Tommy vanished. More accurately, he ceased to exist, erased from the minds and memories of everyone who knew him. Everyone except Ozzie. Ozzie doesn’t know how to navigate life without Tommy, and soon he suspects that something else is going on: that the universe is shrinking. When Ozzie is paired up with the reclusive and secretive Calvin for a physics project, it’s hard for him to deny the feelings developing between them, even if he still loves Tommy. But Ozzie knows there isn’t much time left to find Tommy—that once the door closes, it can’t be opened again. And he’s determined to keep it open as long as possible.