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Only once in a great while does a writer come along who defies comparison -- a writer so original he redefines the way we look at the world. Neal Stephenson is such a writer and Snow Crash is such a novel, weaving virtual reality, Sumerian myth, and just about everything in between with a cool, hip cybersensibility to bring us the gigathriller of the information age.

In reality, Hiro Protagonist delivers pizza for Uncle Enzo's CosaNostra Pizza Inc., but in the Metaverse he's a warrior prince. Plunging headlong into the enigma of a new computer virus that's striking down hackers everywhere, he races along the neon-lit streets on a search-and-destroy mission for the shadowy virtual villain threatening to bring about Infocalypse. Snow Crash is a mind-altering romp through a future America so bizarre, so outrageous... you'll recognize it immediately.

"Stephenson has not stepped, he has vaulted onto the literary stage with this novel."
LOS ANGELES READER

"A cross between Neuromancer and Thomas Pynchon's Vineland. This is no mere hyperbole."
SAN FRANCISCO BAY GUARDIAN

"Fast-forward free-style mall mythology for the 21st century."
WILLIAM GIBSON

"Brilliantly realized... Stephenson turns out to be an engaging guide to an onrushing tomorrow."
THE NEW YORK TIMES BOOK REVIEW

Confronted with a killer from beyond the grave, Detective Peter Sebeck comes face-to-face with the full implications of our increasingly complex and interconnected world--one where the dead can read headlines, steal identities, and carry out far-reaching plans without fear of retribution. Sebeck must find a way to stop Sobol's web of programs--his Daemon--before it achieves its ultimate purpose. And to do so, he must uncover what that purpose is . . .

Fans of D.J. MacHale's Pendragon series will enjoy this latest entry, and look forward to the forthcoming fifth title. The attraction of the series is not so much great writing or character development as fast-paced action and edge-of-seat danger. (Ages 9 to 12) --Emilie Coulter

Cooper, who designed Visual Basic (the programming environment Microsoft promotes for the purpose of creating good user interfaces), indulges in too much name-dropping and self-congratulation (Cooper attributes the quote, "How did you do that?" to Microsoft chairman Bill Gates, upon looking at one of Cooper's creations)--but this appears to be de rigueur in books about the software industry. But those asides are minor. More valuable is the discourse about software design and implementation ("[O]bject orientation divides the 1000-brick tower into 10 100-brick towers."). Read this book for an idea of what's wrong with UI design. --David Wall

Topics covered: User interfaces--good ones and bad ones--and where they come from. Also, how to improve the ones you create.

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Imagine, at a terrifyingly aggressive rate, everything you regularly use is being equipped with computer technology. Think about your phone, cameras, cars - everything - being automated and programmed by people who in their rush to accept the many benefits of the silicon chip, have abdicated their responsibility to make these products easy to use. The Inmates are Running the Asylum argues that, despite appearances, business executives are simply not the ones in control of the high-tech industry. They have inadvertently put programmers and engineers in charge, leading to products and processes that waste money, squander customer loyalty, and erode competitive advantage. Business executives have let the inmates run the asylum! In his book The Inmates Are Running the Asylum Alan Cooper calls for revolution - we need technology to work in the same way average people think - we need to restore the sanity. He offers a provocative, insightful and entertaining explanation of how talented people continuously design bad software-based products. More importantly, he uses his own work with companies big and small to show how to harness those talents to create products that will both thrill their users and grow the bottom line.

Cited by the L.A. Weekly as "the culture's foremost spokesman for the psychedelic experience," Terrence McKenna is an underground legend as a brilliant raconteur, adventurer, and expert on the experiential use of mind-altering plants.

In these essays, interviews, and narrative adventures, McKenna takes us on a mesmerizing journey deep into the Amazon as well as into the hidden recesses of the human psyche and the outer limits of our culture, giving us startling visions of the past and future.

Millions of people around the world today spend portions of their lives in online virtual worlds. Second Life is one of the largest of these virtual worlds. The residents of Second Life create communities, buy property and build homes, go to concerts, meet in bars, attend weddings and religious services, buy and sell virtual goods and services, find friendship, fall in love--the possibilities are endless, and all encountered through a computer screen. Coming of Age in Second Life is the first book of anthropology to examine this thriving alternate universe.

Tom Boellstorff conducted more than two years of fieldwork in Second Life, living among and observing its residents in exactly the same way anthropologists traditionally have done to learn about cultures and social groups in the so-called real world. He conducted his research as the avatar "Tom Bukowski," and applied the rigorous methods of anthropology to study many facets of this new frontier of human life, including issues of gender, race, sex, money, conflict and antisocial behavior, the construction of place and time, and the interplay of self and group.

Coming of Age in Second Life shows how virtual worlds can change ideas about identity and society. Bringing anthropology into territory never before studied, this book demonstrates that in some ways humans have always been virtual, and that virtual worlds in all their rich complexity build upon a human capacity for culture that is as old as humanity itself.

The wholly virtual world known as Second Life has attracted more than a million active users, millions of dollars, and created its own—very real—economy.

The Making of Second Life is the behind-the-scenes story of the Web 2.0 revolution's most improbable enterprise: the creation of a virtual 3-D world with its own industries, culture, and social systems. Now the toast of the Internet economy, and the subject of countless news articles, profiles, and television shows, Second Life is usually known for the wealth of real-world companies (Reuters, Pontiac, IBM) that have created "virtual offices" within it, and the number of users ("avatars") who have become wealthy through their user-created content.

What sets Second Life apart from other online worlds, and what has made it such a success (one million-plus monthly users and growing) is its simple user-centered philosophy. Instead of attempting to control the activities of those who enter it, the creators of Second Life turned them loose: users (also known as Residents) own the rights to the intellectual content they create in-world, and the in-world currency of Linden Dollars is freely exchangeable for U.S. currency. Residents have responded by generating millions of dollars of economic activity through their in-world designs and purchases—currently, the Second Life economy averages more than one million U.S. dollars in transactions every day, while dozens of real-world companies and projects have evolved and developed around content originated in Second Life.

Wagner James Au explores the long, implausible road behind that success, and looks at the road ahead, where many believe that user-created worlds like Second Life will become the Net's next generation and the fulcrum for a revolution in the way we shop, work, and interact. Au's story is narrated from both within the corporate offices of Linden Lab, Second Life's creator, and from within Second Life itself, revealing all the fascinating, outrageous, brilliant, and aggravating personalities who make Second Life a very real place­—and an illuminating mirror on the real (physical) world. Au writes about the wars they fought (sometimes literally), the transformations they underwent, the empires of land and commerce they developed, and above all, the collaborative creativity that makes their society an imperfect utopia, better in some ways than the one beyond their computer screens.