Molly Caro May grew up as part of a nomadic family, one proud of their international sensibilities, a tribe that never settled in one place for very long. Growing up moving from foreign country to foreign country, just like her father and grandfather, she became attached to her identity as a global woman from nowhere. But, on the verge of turning thirty years old, everything changed. Molly and her fiancé Chris suddenly move to 107 acres in Montana, land her family owns but rarely visits, with the idea of staying for only a year. Surrounded by tall grass, deep woods, and the presence of predators, the young couple starts the challenging and often messy process of building a traditional Mongolian yurt from scratch. They finally finish just on the cusp of winter, in a below–zero degree snowstorm. For Molly it is her first real home, yet a nomadic one, this one concession meant to be dissembled and moved at will. Yurt–life gives her rare exposure to nature, to the elements, to the wildlife all around them. It also feels contrary to the modern world, and this triggers in Molly an exploration of what home means to the emergent generation. In today's age, has globalization and technology taught us that something better, the next best thing, is always out there? How does any young adult establish roots, and how do we decide what kind of life we want to lead? How much, ever, is enough?

Like all of us, though few so visibly, Alan Greenspan was forced by the financial crisis of 2008 to question some fundamental assumptions about risk management and economic forecasting. No one with any meaningful role in economic decision making in the world saw beforehand the storm for what it was. How had our models so utterly failed us? To answer this question, Alan Greenspan embarked on a rigorous and far-reaching multiyear examination of how Homo economicus predicts the economic future, and how it can predict it better. Economic risk is a fact of life in every realm, from home to business to government at all levels. Whether we’re conscious of it or not, we make wagers on the future virtually every day, one way or another. Very often, however, we’re steering by out-of-date maps, when we’re not driven by factors entirely beyond our conscious control. The Map and the Territory is nothing less than an effort to update our forecasting conceptual grid. It integrates the history of economic prediction, the new work of behavioral economists, and the fruits of the author’s own remarkable career to offer a thrillingly lucid and empirically based grounding in what we can know about economic forecasting and what we can’t.The book explores how culture is and isn't destiny and probes what we can predict about the world's biggest looming challenges, from debt and the reform of the welfare state to natural disasters in an age of global warming. No map is the territory, but Greenspan’s approach, grounded in his trademark rigor, wisdom, and unprecedented context, ensures that this particular map will assist in safe journeys down many different roads, traveled by individuals, businesses, and the state.

Created for map lovers by map lovers, this rich book explores the intriguing stories behind maps across history and illuminates how the art of cartography thrives today. In this visually stunning book, award-winning journalists Betsy Mason and Greg Miller--authors of the National Geographic cartography blog "All Over the Map"--explore the intriguing stories behind maps from a wide variety of cultures, civilizations, and time periods. Based on interviews with scores of leading cartographers, curators, historians, and scholars, this is a remarkable selection of fascinating and unusual maps. This diverse compendium includes ancient maps of dragon-filled seas, elaborate graphics picturing unseen concepts and forces from inside Earth to outer space, devious maps created by spies, and maps from pop culture such as the schematics to the Death Star and a map of Westeros from Game of Thrones. If your brain craves maps--and Mason and Miller would say it does, whether you know it or not--this eye-opening visual feast will inspire and delight.

Why technology is not an end in itself, and how cities can be “smart enough,” using technology to promote democracy and equity. Smart cities, where technology is used to solve every problem, are hailed as futuristic urban utopias. We are promised that apps, algorithms, and artificial intelligence will relieve congestion, restore democracy, prevent crime, and improve public services. In The Smart Enough City, Ben Green warns against seeing the city only through the lens of technology; taking an exclusively technical view of urban life will lead to cities that appear smart but under the surface are rife with injustice and inequality. He proposes instead that cities strive to be “smart enough”: to embrace technology as a powerful tool when used in conjunction with other forms of social change—but not to value technology as an end in itself. In a technology-centric smart city, self-driving cars have the run of downtown and force out pedestrians, civic engagement is limited to requesting services through an app, police use algorithms to justify and perpetuate racist practices, and governments and private companies surveil public space to control behavior. Green describes smart city efforts gone wrong but also smart enough alternatives, attainable with the help of technology but not reducible to technology: a livable city, a democratic city, a just city, a responsible city, and an innovative city. By recognizing the complexity of urban life rather than merely seeing the city as something to optimize, these Smart Enough Cities successfully incorporate technology into a holistic vision of justice and equity.

"In every person's life there comes a time when it's necessary to not only step outside their comfort zone, but to also leap way from it. For Heather, her carefully ordered world is already planned out: travel with her friends after college, come back to a great career in September, and head into a life where not much is left to chance. But that was before she met Jack, who makes his own rules. Jack, who is following his grandfather's journals through Europe. Jack, who has a secret that could change everything...."--

One of the most beautiful maps to survive the Great Age of Discoveries, the 1513 world map drawn by Ottoman admiral Piri Reis is also one of the most mysterious. Gregory McIntosh has uncovered new evidence in the map that shows it to be among the most important ever made. This detailed study offers new commentary and explication of a major milestone in cartography. Correcting earlier work of Paul Kahle and pointing out the traps that have caught subsequent scholars, McIntosh disproves the dubious conclusion that the Reis map embodied Columbus's Third Voyage map of 1498, showing that it draws instead on the Second Voyage of 1493-1496. He also refutes the popular misinterpretation that Reis's depictions of Antarctica are evidence of either ancient civilizations or extraterrestrial visitation. McIntosh brings together all that has been previously known about the map and also assembles for the first time the translations of all inscriptions on the map and analyzes all place-names given for New World and Atlantic islands. His work clarifies long-standing mysteries and opens up new ways of looking at the history of exploration.

The inaugural winner of The Novel Prize, an international biennial award established by Giramondo (Australia), Fitzcarraldo Editions (UK) and New Directions (USA). Cold Enough for Snow was unanimously chosen from over 1500 entries. A novel about the relationship between life and art, and between language and the inner world – how difficult it is to speak truly, to know and be known by another, and how much power and friction lies in the unsaid, especially between a mother and daughter. A young woman has arranged a holiday with her mother in Japan. They travel by train, visit galleries and churches chosen for their art and architecture, eat together in small cafés and restaurants and walk along the canals at night, on guard against the autumn rain and the prospect of snow. All the while, they talk, or seem to talk: about the weather, horoscopes, clothes and objects; about the mother’s family in Hong Kong, and the daughter’s own formative experiences. But uncertainties abound. How much is spoken between them, how much is thought but unspoken? Cold Enough for Snow is a reckoning and an elegy: with extraordinary skill, Au creates an enveloping atmosphere that expresses both the tenderness between mother and daughter, and the distance between them. 'So calm and clear and deep, I wished it would flow on forever.' — Helen Garner 'Rarely have I been so moved, reading a book: I love the quiet beauty of Cold Enough for Snow and how, within its calm simplicity, Jessica Au camouflages incredible power.' — Edouard Louis 'Au’s prose is elegant and measured. In descriptions of bracing clarity she evokes ‘shaking delicate impressions’ of worlds within worlds that are symbolic of the parts of ourselves we keep hidden and those we choose to lay bare. Put simply, this novel is an intricate and multi-layered work of art — a complex and profound meditation on identity, familial bonds and our inability to fully understand ourselves, those we love and the world around us.' — Jacqui Davies, Books+Publishing