In-depth heartfelt documentary of a family who lives in an old converted school bus parked in Los Angeles

Over the past seven years I've lived in more places than I can remember. I lived and worked in Shanghai, New York, Berlin, Bangkok, Munich and a few more places, not including the dozens of places I've stayed at for just a few days or weeks.While writing these lines I'm in a small town in Malaysia.I've basically lived out of a backpack for the past seven years. And the longer I'm doing this, the less stuff I need. Right now I carry less than 10 items around with me in a carry on backpack that weighs less than 10kg. I go wherever I want to go. I currently spend less than $800 a month. Including everything. My most precious possession is a $300 Acer laptop.I've started a clothing company in China, for the Chinese market, which failed miserably. I've launched more than 10 websites, some of them made some money, some of them didn't. I shut down all of them. I've written seven books (this is my eighth). None of them was a bestseller. I write a blog where I published more than 500 articles so far. I've more than 100,000 monthly readers spread across multiple platforms.I'm by no means successful. Or rich. But I have more than enough, by all means. I have access to everything I need. And I can buy and afford everything I need.I'm not a minimalist. Or a digital nomad. Or an entrepreneur. Or a blogger. Or an author.I'm mostly trying to just be myself. I'm trying to be myself in a world where it gets harder and harder every single day to just be yourself.It's not always been easy. As a matter of fact it's probably been hard more often than it's been easy. But every day of struggle and doubt has been worth it. Being yourself and creating your own life instead of just living a life is always worth the struggle.This right here is my story. This is what I've learned about life, myself and the world around me.I'm everywhere and nowhere. And I own nothing and everything...

The classic novel of freedom and the search for authenticity that defined a generation On the Road chronicles Jack Kerouac's years traveling the North American continent with his friend Neal Cassady, "a sideburned hero of the snowy West." As "Sal Paradise" and "Dean Moriarty," the two roam the country in a quest for self-knowledge and experience. Kerouac's love of America, his compassion for humanity, and his sense of language as jazz combine to make On the Road an inspirational work of lasting importance. Kerouac’s classic novel of freedom and longing defined what it meant to be “Beat” and has inspired every generation since its initial publication more than fifty years ago. This Penguin Classics edition contains an introduction by Ann Charters. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

From the #1 New York Times bestselling author of This Is Where It Ends comes another heartbreaking, emotional and timely page-turner that will keep you on the edge of your seat. The Hope Juvenile Treatment Center is ironically named. No one has hope for the delinquent teenagers who have been exiled there; the world barely acknowledges that they exist. Then the guards at Hope start acting strange. And one day...they don't show up. But when the teens band together to make a break from the facility, they encounter soldiers outside the gates. There's a rapidly spreading infectious disease outside, and no one can leave their houses or travel without a permit. Which means that they're stuck at Hope. And this time, no one is watching out for them at all. As supplies quickly dwindle and a deadly plague tears through their ranks, the group has to decide whom among them they can trust and figure out how they can survive in a world that has never wanted them in the first place. Also by Marieke Nijkamp: This Is Where It Ends Even If We Break Before I Let Go Praise for Marieke Nijkamp: "Immersive and captivating. Thrilling in every sense of the word."—Karen M. McManus, #1 New York Times bestselling author of One of Us is Lying on Even If We Break "With exceptional handling of everything from mental illness to guilt and a riveting, magic realist narrative, this well wrought, haunting novel will stick with readers long after the final page."—Booklist on Before I Let Go *STARRED REVIEW* "A compelling, brutal story of an unfortunately all-too familiar situation: a school shooting. Nijkamp portrays the events thoughtfully, recounting fifty-four intense minutes of bravery, love, and loss."—BookRiot on This Is Where It Ends

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

Noah Thorpe is spending the school term in Kangiqsualujjuaq, in Quebec's Far North, where his dad is an English teacher in the Inuit community. Noah's not too keen about living in the middle of nowhere, but getting away from Montréal has one big advantage: he gets a break from the bully at his old school. But Noah learns that problems have a way of following you—no matter how far you travel. To the Inuit kids, Noah is a qallunaaq—a southerner, someone ignorant of the customs of the North. Noah thinks the Inuit have a strange way of looking at the world, plus they eat raw meat and seal blubber. Most have never left the George River area—and it doesn't even have its own doctor, let alone a McDonald's. But Noah's views change when he goes winter camping and realizes he will have to learn a few lessons from his Inuit buddies if he wants to make it home.

The title of this book is a phrase often used to describe the fate of the Jewish people in the world and invokes one of the central arguments for the creation of the state of Israel. In this thoughtful collection of essays, Kim Chernin suggests that the Zionist struggle has left the Palestinian people in a similar predicament; now they, too, are merely guests in their former homeland. Confronting her own uncritical support of Israel, Chernin tries to reconcile her desire for a Jewish homeland with the reality of the violence carried out in order to secure it. Following an in-depth examination of the perspectives of both Jews and Palestinians, Chernin writes eloquently of the process by which she gradually learned to hear once-ignored Palestinian voices. By combining her knowledge of Jewish history with her insights as a psychotherapist, Chernin discovers the psychological mechanisms that have kept her and other Jews from fully comprehending the suffering of both parties in this seemingly endless conflict. She argues persuasively that by overcoming the mental blocks that prevent so many from seeing the Palestinian point of view, Jews can learn to feel empathy for them without diminishing their love and support for Israel.

We Are Everywhere is a whirlwind collection of writings, images and ideas for direct action by people on the frontlines of the global anticapitalist movement. This is a movement of untold stories, because those from below are not those who get to write history, even though we are the ones making it. We Are Everywhere wrenches our history from the grasp of the powerful and returns it to the streets, fields and neighbourhoods where it was made.