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The secret insights of economics, translated for the rest of us.
 
Should I buy or rent? Do I ask for a promotion? Should I tell people I’m pregnant? What salary do I deserve? Should I just quit this job? Common anxieties about life are often grounded in economics. In an increasingly win-lose society, these economic decisions—where to work, where to live, even how to live—have a way of feeling fixed and mistakes terminal.
 
Daryl Fairweather is no stranger to these dynamics. As the first Black woman to receive an economics PhD from the famed University of Chicago, she saw firsthand how concepts of behavioral economics and game theory were deployed in the real world—and in her own life—to great effect. Hate the Game combines Fairweather’s elite knowledge of these principles with her singular voice in describing how they can be harnessed. Her great talent, unique among economists, is her ability to articulate economic trends in a way that is not just informative, but also accounts for life’s other anxieties.
 
In Hate the Game, Fairweather fixes her expertise and service on navigating the earliest economic inflection points of adult life: whether to go to college and for how long; partnering, having kids, both, or neither; getting, keeping, and changing jobs; and where to live and how to pay for it. She speaks in actionable terms about what the economy means for individual people, especially those who have the sneaking suspicion they’re losing out. Set against her own experiences and enriched with lessons from history, science, and pop culture, Fairweather instructs readers on how to use game theory and behavioral science to map out options and choose directions while offering readers a sense of control and agency in an economy where those things are increasingly rare.

Love was a central theme of Ernest Hemingway’s major works. And although his passages on sexual love and on romantic love may be widely remembered and frequently quoted, says Robert W. Lewis in this scholarly and detailed consideration, Hemingway’s later work revealed his ultimate belief that brotherly love was the supreme love of mankind. Eros, Hemingway concluded, was a neutral value, neither good nor bad in itself, but yet capable of complementing agape in giving man pleasure.

By examining the forms and essences of the various kinds of love, Hemingway worked out an explanation and tentative solution to the troubles of the human condition. The tradition of romantic love that had prevailed in Western literature had challenged sexual love and brotherly love and had been confused with them since the Middle Ages. Hemingway’s early work was destructive of romantic love, says Lewis; the work of his middle career was crucial in his exploration for the supreme love and the means to whatever peace and happiness man may achieve. By the time he wrote The Old Man and the Sea, his ethic was formulated and he could write conclusively of the trial and lesson of love in Western civilization in a way that reflected his discovery that true love must be a reciprocal blend of eros and agape between man and woman, man and man, and man and his world.

The Hollywood blacklist, which began in the late 1940s and ran well into the 1960s, ended or curtailed the careers of hundreds of people accused of having ties to the Communist Party. Bernard Gordon was one of them. In this highly readable memoir, he tells a engrossing insider's story of what it was like to be blacklisted and how he and others continued to work uncredited behind the scenes, writing and producing many box office hits of the era.

Gordon describes how the blacklist cut short his screenwriting career in Hollywood and forced him to work in Europe. Ironically, though, his is a success story that includes the films El Cid, 55 Days at Peking, The Thin Red Line, Krakatoa East of Java, Day of the Triffids, Earth vs. the Flying Saucers, Horror Express, and many others. He recounts the making of many movies for which he was the writer and/or producer, with wonderful anecdotes about stars such as Charlton Heston, David Niven, Sophia Loren, Ava Gardner, and James Mason; directors Nicholas Ray, Frank Capra, and Anthony Mann; and the producer-studio head team of Philip Yordan and Samuel Bronston.