"Hungry? Check the Green Book. Tired? Check the Green Book. Sick? Check the Green Book." In the late 1930s when segregation was legal and Black Americans couldn't visit every establishment or travel everywhere they wanted to safely, a New Yorker named Victor Hugo Green decided to do something about it. Green wrote and published a guide that listed places where his fellow Black Americans could be safe in New York City. The guide sold like hot cakes! Soon customers started asking Green to make a guide to help them travel and vacation safely across the nation too. With the help of his mail carrier co-workers and the African American business community, Green's guide allowed millions of African Americans to travel safely and enjoy traveling across the nation. In the first picture book about the creation and distribution of The Green Book, author Keila Dawson and illustrator Alleanna Harris tell the story of the man behind it and how this travel guide opened the road for a safer, more equitable America.

A Smithsonian Best History Book of the Year Winner of the Littleton-Griswold Prize Winner of the Ralph Waldo Emerson Award Winner of the Order of the Coif Award Winner of the Sidney M. Edelstein Prize Winner of the David J. Langum Sr. Prize in American Legal History Winner of the Berkshire Conference of Women Historians Book Prize “From traffic stops to parking tickets, Seo traces the history of cars alongside the history of crime and discovers that the two are inextricably linked.” —Smithsonian When Americans think of freedom, they often picture the open road. Yet nowhere are we more likely to encounter the long arm of the law than in our cars. Sarah Seo reveals how the rise of the automobile led us to accept—and expect—pervasive police power, a radical transformation with far-reaching consequences. Before the twentieth century, most Americans rarely came into contact with police officers. But in a society dependent on cars, everyone—law-breaking and law-abiding alike—is subject to discretionary policing. Seo challenges prevailing interpretations of the Warren Court’s due process revolution and argues that the Supreme Court’s efforts to protect Americans did more to accommodate than limit police intervention. Policing the Open Road shows how the new procedures sanctioned discrimination by officers, and ultimately undermined the nation’s commitment to equal protection before the law. “With insights ranging from the joy of the open road to the indignities—and worse—of ‘driving while black,’ Sarah Seo makes the case that the ‘law of the car’ has eroded our rights to privacy and equal justice...Absorbing and so essential.” —Paul Butler, author of Chokehold “A fascinating examination of how the automobile reconfigured American life, not just in terms of suburbanization and infrastructure but with regard to deeply ingrained notions of freedom and personal identity.” —Hua Hsu, New Yorker

This English translation of Arthur Schnitzler’s “Der Weg ins Freie” (1908) was first published in 1913 and is one of only two novels—the other being “Therese” (1928)—by the Viennese author, who was better known for his short stories and plays, including “Reigen” (“Round Dance”), known to most English-speaking readers as “La Ronde.” “The Road to the Open” tells the story of the aristocratic young composer Georg von Wergenthin-Recco who has talent but lacks the drive to get down to work and spends most of his time socializing with members of the assimilationist, artistically sensitive Jewish bourgeoisie of Vienna and other non-Jews like himself who enjoy their company. A love affair with a Catholic lower middle class girl, combined with the author’s authentic descriptions of the milieu, the arts, the psychology of love, and the anti-Semitism that was coming to dominate so much of life and politics in the Austria-Hungary of the time, make this novel a classic. “One of the most important, representative, revelatory works of Austria at the turn of the century....The best English version of the novel.”—Marc A. Weiner, Indiana University “In Arthur Schnitzler the two strands of Austrian fin-de-siècle culture, the moralistic and the aesthetic, were present in almost equal proportions. Small wonder that Freud hailed Schnitzler as a ‘colleague’ in the investigation of the ‘underestimated and much-maligned erotic.’”—Carl Schorske, author of Fin-de-Siècle Vienna

A nomad and a swindler embark on an eccentric road trip in this picaresque, philosophical novel by the author of The Man Who Planted Trees. The south of France, 1950: A solitary vagabond walks through the villages, towns, valleys, and foothills of the region between northern Provence and the Alps. He picks up work along the way and spends the winter as the custodian of a walnut-oil mill. He also picks up a problematic companion: a cardsharp and con man, whom he calls “the Artist.” The action moves from place to place, and episode to episode, in truly picaresque fashion. Everything is told in the first person, present tense, by the vagabond narrator, who goes unnamed. He himself is a curious combination of qualities—poetic, resentful, cynical, compassionate, flirtatious, and self-absorbed. While The Open Road can be read as loosely strung entertainment, interspersed with caustic reflections, it can also be interpreted as a projection of the relationship of author, art, and audience. But it is ultimately an exploration of the tensions and boundaries between affection and commitment, and of the competing needs for solitude, independence, and human bonds. As always in Jean Giono, the language is rich in natural imagery and as ruggedly idiomatic as it is lyrical.

A brilliant and defiant celebration of driving as a unique pathway of human freedom, by "one of the most influential thinkers of our time" (Sunday Times) "Why We Drive weaves philosophers, thinkers, and scientific research with shade-tree mechanics and racers to defend our right to independence, making the case that freedom of motion is essential to who we are as a species. ... We hope you'll read it." —Road & Track Once we were drivers, the open road alive with autonomy, adventure, danger, trust, and speed. Today we are as likely to be in the back seat of an Uber as behind the wheel ourselves. Tech giants are hurling us toward a shiny, happy “self-driving” future, selling utopia but equally keen to advertise to a captive audience strapped into another expensive device. Are we destined, then, to become passengers, not drivers? Why We Drive reveals that much more may be at stake than we might think. Ten years ago, in the New York Times-bestselling Shop Class as Soulcraft, philosopher-mechanic Matthew B. Crawford—a University of Chicago PhD who owned his own motorcycle shop—made a revolutionary case for manual labor, one that ran headlong against the pretentions of white-collar office work. Now, using driving as a window through which to view the broader changes wrought by technology on all aspects of contemporary life, Crawford investigates the driver’s seat as one of the few remaining domains of skill, exploration, play—and freedom. Blending philosophy and hands-on storytelling, Crawford grounds the narrative in his own experience in the garage and behind the wheel, recounting his decade-long restoration of a vintage Volkswagen as well as his journeys to thriving automotive subcultures across the country. Crawford leads us on an irreverent but deeply considered inquiry into the power of faceless bureaucracies, the importance of questioning mindless rules, and the battle for democratic self-determination against the surveillance capitalists. A meditation on the competence of ordinary people, Why We Drive explores the genius of our everyday practices on the road, the rewards of “folk engineering,” and the existential value of occasionally being scared shitless. Witty and ingenious throughout, Why We Drive is a rebellious and daring celebration of the irrepressible human spirit.

A year out of high school in the early 1950s, New Jersey mechanic Buddy Palumbo falls in love with two things at once: race car driving with its speed and adventure, and his boss' niece, Miss Julie Finzio

After the end of World War II, the American road trip began appearing prominently in literature, music, movies, and photography. Many photographers embarked on trips across the U.S. in order to create work, including Robert Frank, whose seminal 1955 road trip resulted in The Americans. However, he was preceded by Edward Weston, who traveled across the country taking pictures to illustrate Walt Whitman's Leaves of Grass; Henri Cartier-Bresson, whose 1947 trip through the American South and into the West was published in the early 1950s in Harper's Bazaar; and Ed Ruscha, whose road trips between Los Angeles and Oklahoma later became Twentysix Gasoline Stations. Hundreds of photographers have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato and Nico Krebs. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany's introduction to the genre and eighteen chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts, highlighting some of the most important bodies of work made on the road from The Americans to present day.

WINNER OF THE PULITZER PRIZE • NATIONAL BESTSELLER • A searing, post-apocalyptic novel about a father and son's fight to survive, this "tale of survival and the miracle of goodness only adds to McCarthy's stature as a living master. It's gripping, frightening and, ultimately, beautiful" (San Francisco Chronicle). • From the bestselling author of The Passenger A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other. The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.

Fans of Cheryl Strayed’s Wild, Bill Bryson’s A Walk in the Woods, and Elizabeth Gilbert’s Eat, Pray, Love will enjoy author Toby Neal’s road trip travel memoir of self-discovery as she and her husband journey through the National Parks! I had a dream to live a “normal” life and I attained it; but along the way, I lost myself. My story began in Freckled: a Memoir of Growing up Wild in Hawaii, but it continued after I married the man of my dreams, completed my education with multiple degrees, had a successful career, and raised two beautiful children. I sacrificed to get to where I was. Though I didn’t regret anything, flat on my back in the doctor’s office on the cusp of my fiftieth birthday, my health was crumbling. I no longer recognized myself. I turned my head and saw a calendar on the wall: Bryce Canyon National Park in Utah beckoned me with its mysterious sandstone hoodoos. A road trip traveling through the National Parks was just what I needed to rediscover the girl I’d been; it could help me turn a corner into my new career as a writer, and my husband would enjoy a chance to photograph the natural wonders we saw. Sometimes, a twelve-thousand-mile road trip is also a personal quest. An absorbing travel narrative about defining and facing the limitations and opportunities of midlife.An absorbing travel narrative about defining and facing the limitations and opportunities of midlife. —Kirkus Reviews