This paper investigates the “sense of place” that residents in Ninth Ward New Orleans neighborhoods identify in their narratives about their pre- and post-Hurricane Katrina experiences.

Stanford University student and Cuban American tennis prodigy Ramon Fernandez is outraged when a nearby mega-store hikes its prices the night of an earthquake. He crosses paths with provost and economics professor Ruth Lieber when he plans a campus protest against the price-gouging retailer--which is also a major donor to the university. Ruth begins a dialogue with Ramon about prices, prosperity, and innovation and their role in our daily lives. Is Ruth trying to limit the damage from Ramon's protest? Or does she have something altogether different in mind?

The Copyright Office has submitted a report to Congress outlining the extent of the orphan works problem and recommending a legislative solution. Orphan works are creative works the authors of which cannot be ascertained. If a work's copyright owner cannot be found to secure their permission to use the work, then no one will ultimately use the work lest they risk liability for copyright infringement. An efficient solution to the orphan works problem will create an incentive for would-be users of a work to take every reasonable step, in good faith, to identify the work's copyright owner in order to acquire permission to use the work. Perfunctory attempts to seek permission, or sham attempts made in bad faith, should not qualify a user for protection.

Creative Destruction brings not stale suppositions but an economist's eye to bear on an age-old question: Are market exchange and aesthetic quality friends or foes? On the whole, argues Cowen in clear and vigorous prose, they are friends.