In Twenty Years of Life, Suzanne Bohan exposes the ugly truth that health is largely determined by zip code. Life expectancies in wealthy versus poor neighborhoods can vary by as much as twenty years. Bohan chronicles a bold experiment to challenge that inequity. The California Endowment, one of the nation's largest health foundations, is upending the old-school, top-down charity model and investing $1 billion over ten years to help distressed communities advocate for their own interests. With compassion and insight, Bohan shares stories of students and parents, former street shooters, urban farmers, and a Native American tribe who are tapping into their latent political power to make their neighborhoods healthier. Their stories will fundamentally change how we think about the root causes of disease and the prospects for healing.

Life goes on for the billions left behind after the humanity-saving colony mission to Proxima Centauri leaves Earth orbit ... but what's the point? Julie Riley is two years too young to get out from under her mother's thumb, and what does it matter? She's over-educated, under-employed, and kept mostly numb by her pharma emplant. Her best friend, who she's mostly been interacting with via virtual reality for the past decade, is part of the colony mission to Proxima Centauri. Plus, the world is coming to an end. So, there's that. When Julie's mother decides it's time to let go of the family home in a failing suburb and move to the city to be closer to work and her new beau, Julie decides to take matters into her own hands. She runs, illegally, hoping to find and hide with the Volksgeist, a loose-knit culture of tramps, hoboes, senior citizens, artists, and never-do-wells who have elected to ride out the end of the world in their campers and converted vans, constantly on the move over the back roads of America. File Under: Science Fiction [ #VanLife | Driving Out and Growing Up | No (wo)man left behind | Cube Route ]

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself.

From the moment Peter Mayle and his wife, Jennie, uprooted their lives in England and crossed the Channel permanently, they never looked back. Here the beloved author of A Year in Provence pays tribute to the most endearing and enduring aspects of his life in France—the charming and indelible parade of village life, the sheer beauty, the ancient history. He celebrates the café and lists some of his favorites; identifies his favorite villages, restaurants, and open-air markets; and recounts his most memorable meals. A celebration of twenty-five years of Provençal living—of lessons learned and changes observed—with his final book Mayle has crafted a lasting love letter to his adopted home, marked by his signature warmth, wit, and humor.

Kant declared that philosophy began in 1781 with his Critique of Pure Reason. In 1806 Hegel announced that philosophy had now been completed. Eckart Förster examines the reasons behind these claims and assesses the steps that led in such a short time from Kant's "(Bbeginning" to Hegel's "(Bend." He concludes that, in an unexpected yet significant sense, both Kant and Hegel were indeed right. The Twenty-Five Years of Philosophy follows the unfolding of a key idea during this exceptionally productive period: the Kantian idea that philosophy can be scientific and, consequently, can be completed. Förster's study combines historical research with philosophical insight and leads him to propose a new thesis. The development of Kant's transcendental philosophy in his three Critiques, Förster claims, resulted in a fundamental distinction between "(Bintellectual intuition" and "(Bintuitive understanding." Overlooked until now, this distinction yields two takes on how to pursue philosophy as science after Kant. One line of thought culminates in Fichte's theory of freedom (Wissenschaftslehre), while the other--and here Förster brings Goethe's significance to the fore--results in Goethe's transformation of the Kantian idea of an intuitive understanding in light of Spinoza's third kind of knowledge. Both strands are brought together in Hegel and propel his split from Schelling. Förster's work makes an original contribution to our understanding of the classical era of German philosophy--an expanding interest within the Anglophone philosophical community.

“It was one of those periods that you got through, as opposed to enjoyed. It wasn’t an environment that . . . was nurturing, so you shut it out. You just got through it. You just took it a day at a time. You excelled if you could. You did your best. You felt as though the eyes of the community were on you.”—Glenda Wilson, East Side Junior High Much has been written about the historical desegregation of Little Rock Central High School by nine African American students in 1957. History has been silent, however, about the students who desegregated Little Rock’s five public junior high schools—East Side, Forest Heights, Pulaski Heights, Southwest, and West Side—in 1961 and 1962. The First Twenty-Five gathers the personal stories of these students some fifty years later. They recall what it was like to break down long-standing racial barriers while in their early teens—a developmental stage that often brings emotional vulnerability. In their own words, these individuals share what they saw, heard, and felt as children on the front lines of the civil rights movement, providing insight about this important time in Little Rock, and how these often painful events from their childhoods affected the rest of their lives.

A larger-than-life figure in the design community with a client list to match, Paula Scher turned her first major project as a partner at Pentagram into a formative twenty-five-year relationship with the Public Theater in New York. This behind-the-scenes account of the relationship between Scher and "the Public," as it's affectionately known, chronicles over two decades of brand and identity development and an evolving creative process in a unique "autobiography of graphic design."