A Conversation with Richard H. Thaler & Cass R. Sunstein Authors of NUDGE: THE FINAL EDITION

The original Nudge went through major updates to create this edition—The Final Edition. What are some of the major revisions you’ve made? Why did you decide to update Nudge now?

A lot has changed since 2008 – and we can fail to appreciate, as we witness them in real time, the sheer magnitude of such changes.  Psychologists even have a name for this phenomenon: change blindness. To set the stage, when we were writing the original edition Sunstein had just gotten his first Blackberry and Thaler his first iPhone. Real estate developer and reality television star Donald Trump was proclaiming that Hillary Clinton was “fantastic” and would “make a great president.” If we want to fully appreciate how much the world has changed over these years, just think about how much worse the COVID experience would have been if it had arrived back then. Virtual meetings and teaching would have been infeasible. The science to create the Moderna and Pfizer vaccines did not exist. Worse, streaming video did not exist. What would we have done?

So, although twelve years does not seem like such a long time, when we looked through the original edition, it just felt dated. And one of us was bored during the lockdown. The time seemed right. So, we decided to give ourselves what golfers call a “mulligan,” which is a fancy term for a do-over. The world had changed so much that we felt the entire book could be improved and updated.

 During this interval, it has not just been technology that has been exploding; there has been an explosion of research that applies the concepts of psychology and behavioral economics to study numerous problems in both the public and private sectors. Over 200 so-called “Nudge Units” have been formed in countries across the globe, countless private sector firms have created in-house groups to use the same tools, and the widespread adoption of smart-phone technology has led to exponential growth of apps that help people deal with various aspects of their lives including health, fitness, diet and nearly every aspect of household finance. What these apps have in common is that they all engage in nudging! All this means that we have learned a lot in these dozen years, and we wanted to share a bit of what we had learned.  

What does the book’s title Nudge refer to? When do we need a Nudge?

First things first, let’s make sure we get the pronunciation right. To clear this up early in the book we quote from William Safire, who for many years had a weekly column devoted to language in the New York Times.

The “Yiddishism noodge” is “a noun meaning ‘pest, annoying nag, persistent complainer’ . . . To nudge is ‘to push mildly or poke gently in the ribs, espe­cially with the elbow.’ One who nudges in that manner—‘to alert, remind, or mildly warn another’— is a far geshrei from a noodge with his incessant, both­ersome whining.” Nudge rhymes with judge, while the oo sound in noodge is pronounced as in book

That settled, in our usage, a nudge is anything that steers people in a particular direction, but does not interfere with freedom of choice. A warning is a nudge (THIS PRODUCT CONTAINS SHELLFISH!); so is a calorie label; so is a reminder (YOUR BILL IS DUE TOMORROW). A GPS device nudges you. The key to all these examples is that the receiver of the nudge is free to ignore it, but still gets some help.

People can benefit from a nudge whenever they are likely, without the nudge, to make what they will consider to be a mistake. We might need a nudge to find the best way to a restaurant in an unfamiliar neighborhood. We might need a nudge to attend to an emerging health problem (such as heart disease). Sometimes we need nudges to eat better, or get more exercise, or to remember to take our medicine. We need nudges when we are required to make decisions in complex settings such as choosing a health plan, a mortgage, or saving for retirement. 

There’s a new chapter on Sludge. What is Sludge?

A basic principle of nudging is that if you want to encourage people to do something, you should remove the barriers that impede them. Our mantra is Make It Easy. But sometimes doing the right thing is complicated. Sludge consists of frictions that make it harder for you to get where you want to go. Paperwork is sludge. Waiting time is sludge. Forms are sludge. Confusing websites have plenty of sludge.

Sometimes sludge is introduced intentionally by firms seeking to make a profit. Rebates are notoriously difficult to redeem. Governments can introduce sludge to make it hard for people to get things – licenses, permits, visas, health care, money. All the required steps are sludge. And the same tools that can be used for good, such as automatic enrollment in retirement savings plans, can be used in self-serving ways.  It has become common for firms to make it easy to start a subscription or membership but difficult to cancel. This is intentional sludge. We try to alert readers to sludge traps and encourage the creators of sludge to clean up their acts. And there’s plenty of unintentional or inadvertent sludge out there – we want governments and companies (and the rest of us) to reduce it.

How do “Humans” and “Econs” differ from each other?

“Econs” are fictional creatures that exist only in economics textbooks, classrooms, and journal articles. These “agents” (as economists call them) can solve even the most complex economic calculation (such as choosing among a slew mutual funds), have perfect memories, no emotions, and never suffer from self-control problems. “Humans” are the people we deal with daily. They have trouble with long division if they don’t have a calculator, they forget birthdays and appointments, and they sometimes eat or drink too much and exercise too little. Humans can often use a little help. Or a nudge.

What is Choice Architecture?

Choice architecture is the term we coined to describe the setting in which people make decisions. When you go to a restaurant, the chef has decided what items she wants to offer to her guests, but someone has to design the menu. That menu designer is a choice architect. He has to decide how many categories there should be (are soups a separate category?), in what order the options appear, whether some options combined into pre-theater special, and so forth. Book authors are choice architects too. In what order should the topics be covered? How long should the chapters be? Doctors are choice architects, and so are lawyers. Parents are choice architects. So are website designers.

One problem is that people don’t recognize that they are choice architects. One of us recently filled out an on-line three-page financial disclosure form in order to participate in a research project. At the end of the form there was a button labeled FINISH. He clicked that button, and figured he was done. Wrong! He got an email the next day from an administrator saying that the form had not been received. It turns out that to complete the form you have to go back to the first page and press a button labeled “SUBMIT”. An inquiry revealed that half the people who fill out this form miss this step. Like us, perhaps they thought that the definition of the word “finish” was “bring a task to an end; complete”. This is a choice architecture failure of which there are all too many examples. Some of those failures have big consequences, preventing many deserving people from getting access to some benefit that could change the lives of their families.

What are “default options” and how should they be used with regard to choices like organ donation? 

A default is simply what happens when you do nothing. On some streaming networks, when an episode of a show ends, the next one starts unless the viewer takes an action. Since Humans are good at doing nothing, defaults can have powerful effects. But, as we stress in the Final Edition, defaults are not the solution to every problem. For example, it surprises many people, sadly including some who have read Nudge, that when it comes to encouraging organ donations we do not favor the policy called “presumed consent” in which people are deemed to have agreed to be willing to be donors, unless they explicitly opt out. Although it is true that few people opt out, we favor what we call “prompted choice”, in which people are asked whether they wish to be donors at convenient times. Our new chapter on this topic explains why this seemingly obvious application of nudge principles is ill-advised.

Who do you see as the primary reader of the book? Are there any groups in-particular that you hope will read Nudge?

We do not have a “target audience.” Something like 2 million people around the world have read the original book in a multitude of languages, and they come from every walk of life. Some are government officials. Some are students who have gotten hooked on behavioral economics. Some are policy wonks interested in new approaches to dealing with society’s major problems. Some are folks in the business world who want their organization to run more smoothly and take better care of both their customers and their employees. Some just read it for the fun of it. Our rule when we decided to rewrite the book from beginning to end was that we would only keep working on if it were fun. (We have a bunch of abandoned chapters – abandoned because at least one of us cried out, “Not fun!”) We followed that rule, and even included a section on how fun can be used as a nudge. (Hint: people like fun.) 

What are your recommendations to human resources departments on how they can make employee benefits decision making easier?

It is hard to know even where to start. Maybe our first bit of advice would be for the managers to put themselves through the “onboarding process” every step of the way, and experience first-hand how much sludge is in the system.  (And, maybe start by changing the name? Onboarding in not very enticing. How about the employee welcome program?)  In many organizations, the process of choosing a health care plan is so tortuous that it might well be categorized as a human rights violation. (For the record: Sunstein does not think so.) Create good default options. Remove bad options. Help people re-evaluate periodically. How about creating some software to take a look at each employee’s current selections and suggest better ones? (There is enormous inertia in employee choices.) And don’t get us started on the hiring process itself.

What are some of the pitfalls you mention regarding mortgages and credit cards? What biases come into play with both of them?

 People are spending thousands of dollars unnecessarily in both of these domains. We distinguish between the difficulties of “choosing” and “using.” With mortgages choosing the right one is hard, but once you get it, there is not much to master going forward except to pay your bills on time. With credit cards families make mistakes on both fronts. American families have an average of $6000 in credit card debt and collectively pay over $120 billion in interest and fees per year. We think that technology can be a big help in these domains. We suggest ways that disclosures can be machine readable to better enable FinTech apps help people make better choices and use their cards more wisely. We think there are enormous business opportunities in creating what we call “choice engines” in various domains to make picking a credit card or mortgage as easy as finding a flight from Chicago to Boston.

How can individuals, companies, and governments be nudged to reduce climate change, global warming, and greenhouse gas emissions?

Fighting climate change will be the defining challenge of the next couple of decades. We have good news and bad news about that. The bad news is that we cannot deal with climate change just by nudging. The most important step is to get the incentives right, which would mean, ideally, that there would be a carbon tax, ensuring that those who emit greenhouse gases pay a corresponding price.

It is no secret that open bars and all you can eat buffets lead to overconsumption, and right now polluters often bear no financial costs for the greenhouse gases they emit. What makes setting these prices correctly is that it requires global coordination. But an understanding of behavioral economics can help by showing ways that free riding can be discouraged. We spell that out.

The good news is that there are important roles for nudging, and we need every possible strategy to deal with this crisis. A few examples: In some places – including some countries - people are automatically enrolled in green energy! That is, they are getting electricity that was created with solar or wind energy – unless they opt out and say, please create my power with coal. This policy works. Another nudge-based policy is to disclose the emissions from large emitters. Many consumers will be willing to shift their business to companies that have cleaned up their acts. And, as it true in every domain, technology can help. On very hot days households could be reminded how much money they could save by turning up their thermostats, or even switching off the AC. Of course, people could opt out of such reminders. Someone who sends out too many nudges can become a noodge.

A Conversation with Kate Reed Petty, author of True Story

The question at the heart of this book—what really happened on the way home from a high school party, and how four characters grapple with the fallout—touches issues that feel so timely and topical in the post-2016 election, post #MeToo era. But you actually began writing TRUE STORY in 2015. What compelled you to write this novel, and how do you see it resonating with our current moment? 

I’ve been angry for a long time about the ways credible allegations of sexual assault get silenced, twisted, and manipulated into blame for the victim. During my senior year of college, for example, there was a spate of rapes reported on campus in a few short months, and it sparked a toxic debate about the victims’ credibility. When charges in one of the rape cases were dropped, due to a lack of evidence, someone anonymously covered the campus in flyers that revealed the victim’s name and called her a liar: “I know what you did last semester. Care to revise your statement?” TRUE STORY was inspired in part by my frustration with people like that, who believe false accusations are a bigger problem than rape (and who use lame movie references to make their point).

Now, in the wake of the #MeToo movement, it’s especially exciting to publish this book because more people (especially men) are opening their minds to the reality of rape culture and the scope of the problem. But I’m also nervous that the ongoing backlash to #MeToo could set us back; because there’s a conception that it is now “easier” for victims to come forward, there are new risks of being disbelieved and shamed. I hope TRUE STORY is part of conversations that help dismantle preconceived notions about men and women and keep pushing the work of #MeToo forward.

You worked as a ghostwriter for 10 years, and ghostwriting plays a key role in your book. How did that influence your work as a novelist, and why did you choose this career for Alice?

I loved being a ghostwriter. I know some writers prefer to use a different part of their brain in their day job, but I’ve always seen my freelance work as cross-training for my fiction. Ghostwriting has made me a more flexible ventriloquist and expanded my range of voice and character. As a craft, it also made me interested in the ways that we all refine and polish our personal stories for public consumption—which is a big theme in TRUE STORY.

For Alice, who has always wanted to be a writer, ghostwriting is a way to make a living within the safety of telling other people’s stories. Her voice has been silenced in multiple ways throughout her life, and in some ways her choice of this career path is another kind of silence. But importantly, Alice’s success as a ghostwriter is also a testament to her talent, showing that she is able to convincingly tell stories from other people’s perspectives, which becomes important later on.  

Your book takes a deep dive into the mind of Nick, a high school lacrosse player. Nick and his teammates embody toxic masculinity and white male privilege, yet Nick is depicted with great nuance and sensitivity. How did you tap into the ethos of this group of young men? And how do you feel Nick differs from the bunch?

I was SO surprised when I found myself writing in Nick’s voice! Nick is the kind of guy that terrifies me—he’s the embodiment of “locker room talk.” But, to my dismay, it turned out that channeling the groupthink and masculine norms that guide Nick’s life came fairly naturally, probably because those norms have been so well-covered by the books and movies I grew up with.

I was also surprised by how much affection I developed for Nick. Originally, he had so much airtime in the book because I wanted to explore the role that bystanders play in toxic environments; the way that Nick starts to wrestle with his own responsibility reflects what I think our society is starting to do now, in the wake of #MeToo. In the end, I feel tenderly toward Nick because he’s trying, although he’s a difficult character to defend on paper. And I’m not sure he differs that much from the bunch—he would like to think that he is different, and he’s very good at justifying his actions to himself, but ultimately I wouldn’t call him a good guy. At least not yet! But he is learning!

TRUE STORY is a novel that defies genre. It is part literary fiction, part noir thriller, part horror, and spliced through with “found documents” like screenplays and drafts of a college admissions essay. Can you talk about the role that form plays in the novel?

You can interpret a lot of different meanings in how TRUE STORY plays with structure and genre. One simple answer is that the book mirrors the way rumors about sexual assault are often presented, pieced together, and evaluated in the public narrative. For example, I was stunned when Brett Kavanaugh produced his high school calendar as “evidence” of his own innocence; it felt eerily like something that would have happened in TRUE STORY.

Also, I just love genre fiction, and I wanted TRUE STORY to be that compulsively readable. Playing with the narrative and structure let me steal a bunch of the juicy tricks that make the best genre books so magnetic.  

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One of the main characters, Alice, uses horror movies to process her trauma, and TRUE STORY incorporates different horror elements into the story. What attracts you to the horror genre? How does horror operate as a coping mechanism?

I’m drawn to horror movies and also terrified of them. I’m a total fraidy cat. I’m usually a nervous wreck walking into a theater, but once the movie starts, it’s exhilarating. Watching a horror movie is such a physical, visceral experience. It’s obviously not for everyone, but for Alice, it’s a deeply satisfying catharsis to face a stylized, over-the-top version of fear while knowing that it’s just a movie.

I’m also interested in horror because it’s a genre that is sanctioned “for men” but that has so much space for women characters with rich emotional lives. There are so many horror movies from the ‘60s, ‘70s, and ‘80s pass the Bechdel test, for example. For all the overt misogyny that exists in horror, there are also many serious and subversive explorations of gender and sexual politics.

One book that influenced my thinking on this is “Men, Women and Chainsaws.” In it, Carol Clover coins the term “Final Girl,” which is the single female character who fights her way to survival at the end of a slasher film (à la Jamie Lee Curtis in the Halloween movies). Clover argues that horror films invite male audiences to identify with the Final Girl’s pain and suffering, because most of the shots are from the POV of the victim, looking at the monster; Clover says horror is a way for young men to experience a masochistic fantasy of suffering by identifying with the victim without threatening their masculinity. Those horror movies don’t have an explicit feminist mission—the Final Girl is usually just a cipher—but in writing TRUE STORY, and thinking about how to get through to men, I was attracted to the idea of horror as a Trojan horse that could sneak in empathy and understanding for women’s experiences.  

A portion of TRUE STORY is made up of short movie scripts written by two characters in middle school. Do you have a background in filmmaking or screenwriting?

My older brother, JT Petty, is a director and screenwriter; when we were kids, I used to act in the horror movies he made on our dad’s camcorder. Those home movies were some of the most fun I’ve ever had in my life, and they’re the inspiration behind the home movies in the book.

Screenwriting is such a fun and precise art form, and I really enjoy it. JT and I wrote a screenplay together that has attracted some interest—Simon Pegg and J.K. Simmons have signed on to star in the film—called My Only Sunshine. It’s a bank heist story, inspired by “Who’s Afraid of Virginia Woolf,” where a married couple robs a bank then gets into a vicious, marriage-ending fight while holding everyone hostage. It also has a dramatic, genre-bending plot twist, which makes it kin to TRUE STORY.

Truth is malleable in your book, constantly shifting and evolving depending on the perspective of each chapter. How do you define the nature of truth in the book and its relationship to power – and to the question of who gets to tell the story, and why?

This is a difficult question to answer, but one thing I’ve been thinking about lately is Rashomon, the classic film told through multiple people’s perspectives, which is about the essential unreliability of eyewitnesses. The point of that movie is well-made, but I think TRUE STORY is the opposite of Rashomon. While TRUE STORY challenges readers to question what is “real” and “true” throughout the book, it lands on an answer at the end, and ultimately reaffirms the possibility of finding the truth. This was important to me, because I wanted the book to defy the modern version of Rashomon, which is too often a “he said, she said” story.

“He said, she said” is a defeatist genre that lets justice off the hook, because we can never know what really happened. The structure of this kind of story creates the impression that we’re hearing different perspectives on equal footing. But there’s usually an inherent power imbalance. If it’s the word of a woman against that of a man, for example, her side of the story is dragged down by generations of myths and pop culture tropes about the motivations and inherent untrustworthiness of women. Calling it “he said, she said” disguises the unfairness of the storytelling exercise.

And this is especially important now, because that blueprint is being applied across the political landscape—the idea of listening to “both sides” has been weaponized to give voice to hate speech and extremist points of view. As a country, we have to do a better job of recognizing bias, because we’re not yet very good at truly and fairly listening to the testimonies of people who are speaking out from positions of less power against those with more power. 

TRUE STORY is your debut novel. What was your writing process like? How do you feel about having it out in the world?

I spent the whole time I was writing this book telling myself I was crazy. I didn’t think anyone would ever want to read such a crazy book. I kept writing at first because I was enjoying it so much; later on, when I got to the point where I worried I’d had too much fun and there were too many different voices and twists, I kept writing because I wanted to prove to myself that I could pull it off. My plan was always to finish the book, put it away, and then write a normal book that I could publish.

 I finished a first draft in 2017 and shared it with some friends, who—hooray!—liked it. At that point, I started a long process of editing; the basic construction of the book hasn’t changed, and the voices are largely the same, but it took a lot of thinking (and wonderful editorial guidance) to get all of the loose corners tucked in.

What do you hope readers will take away from TRUE STORY?

I hope the experience of reading TRUE STORY is first and foremost a delight. I hope it’s the kind of book you can’t put down. But I also hope the story is something readers thinking about, and that people want to talk about, for a long time afterwards.

Memoirist Neill McKee on Dealing with Tricky Topics - Giveaway Included!

Today I welcome Neill McKee, whose memoir, Guns and Gods in My Genes, which walks the through 400 years and 15,000 miles of an on-the-road adventure, discovering stories of his Scots-Irish ancestors in Canada, while uncovering their attitudes towards religion and guns.

Writing about your own family and history can become sticky. We all have the stories we want to tell... but maybe not everyone wants them to be shared. Did you run across any reticent family members, or those who preferred some stories be left in the shadows?

I began in 2013, after I retired from my 45-year career, to research and write two 200-page documents on both my fathers' side (the McKees) and my mother's side (the Neills). I collected stories, photos and dates from many cousins. One Neill cousin, to whom the book is dedicated, provided me with a lot of the American history she had found, including the Mayflower connection. She had never proved it or put it together though, just different finding is email messages. I sent out drafts of these documents for comment, corrections, and more stories. (Through my work as an international development communication expert, I knew that pretesting is important.) I put last appendices in these documents on my living cousins (my generation) and their families that could be updated easily. Then, in 2016, on the McKee side where there has been more division in my father's generation, I organized the renovation of our 2nd great-grandparent's tombstone and the ceremony and family reunion in Chapter 1. (I continue to manage the email list and news updates for both sides of the family, almost all in Canada, from New Mexico.) 

The point is, by doing these documents and the celebration first, I probably took care of most disagreements. There still may be disagreements about versions of stories that were passed on, like how the death of my grandfather McKee happened on that hay wagon in 1933, which is described at the end of Chapter 2. There, I took my Uncle John's side of the story against my father's. I did not check with my siblings in this case. I used my memory and imagination to try to understand why my dad was such a cautious driver. Since he passed away in 2007, I couldn't ask him. Anyway, that's the job of a creative nonfiction writer, I believe.

 You focus on your ancestors and their relationship with guns due to your own early experience hunting, which left you not-so-in-love with gun culture. Of course, gun ownership can quickly become a hot topic. How did you go about writing respectfully on something that can be so divisive?

This is true. In fact, one brother and his sons in Ontario are great hunters and don't like some of Canada's gun control laws. By doing this book, I hope to educate gun lovers on the evolution of how the people of North America have brought guns into their cultures, and the big difference between Canada and the US. In an earlier draft, I had quite a different last chapter. I read two good books on the history of the 2nd Amendment (Winkler, Adam and Waldman, Michael in the Suggested Readings p.332). But writer, Gayle Lauradunn and libertarian neighbor, Charles Rolison, both of whom endorsed the book in the inside front cover pages, commented on that chapter and advised me to change it. 

Disagreements over the true meaning and evolution of the meaning of the 2nd Amendment is too baked into present social division in America, and I am not an expert, so I decided not to go there. I'd focus instead of the tremendous difference between Canada and the US, two countries with similar gun ownership per household. I quote the mass shootings toll in the US in 2019 and mention the statistics, at the time of writing, in the US in 2020, which turned out even worse than I mentioned on the bottom of page 286.

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The Supreme Court's 2008 decision on making the 2nd Amendment an individual right, does not prohibit stricter gun control laws, like Canada's, and the majority of American's want it. It will happen with time. As I mention on page 287, “America, a relatively young country, is behaving like a grumpy old man, when it has so much more potential in the modern world.” The Constitution really needs to be revised in so many ways, in my humble opinion, after reviewing thousands of pages of North American history.

Genealogy is endlessly interesting... mostly to those of us who actually do it. Telling a riveting tale of finding that 1836 tax return that itemized how many cows your gr-gr-gr-gr-grandfather had might not be so entertaining to everyone else. (I know the feeling. I've combed wills to find out what happened to someone's hairbrush). How do you take such a niche topic and bring it to a larger audience? *Did you mean "not"? 

I only included two tables (2 and 7) on my ancestor's wealth, at the time of their deaths, to further the stories I told, and those were placed at the end of the book along with the genealogical tables, so as not to break up the continuity of the narrative. I wanted to write a book with wide appeal to anyone interested in genealogy and history, or searching their own family's roots. I decided to do it on the theme of "guns and gods" and by "gods" I mean different interpretations of religion - largely Christianity - in North American history, and my discovery of some "godly" ancestors in my genes, as well as a real "rowdy man" and some who killed and enslaved Indians in New England in the 1600s. So, I believe focusing on a theme or a couple of themes is important. There are a lot of family stories that I left out. They were entertaining but not part of the themes I chose. (Note that the number of cows or a hairbrush could be part of the larger theme a writer chooses. There may be important stories behind them.)

This story is obviously of a personal nature. Do you have any plans to continue writing? Or was this a one and done?

Since 2015, after I moved to New Mexico, I have been writing three memoirs. My first came of in 2019, Finding Myself in Borneo https://www.neillmckeeauthor.com/finding-myself-in-borneo.

It has won three awards. The second is Guns and Gods in My GenesSimultaneously, I have been writing a memoir on my childhood and youth in a small Ontario town, and university years, by the working title of Kid on the Go! Memoir of my life before Borneo. (See description below.) I hope to release it in mid-2021. Now I have started writing a memoir with the working title of Memoir of an International Filmmaker: My Travels After Borneo. It's a good theme to write on while Covid-19 is still locking us down. When we are able to travel again, I hope to write some travel memoirs on the American Southwest and Rocky Mountains. There's a lot to write on here, as mentioned in the last few pages of Guns and Gods in My Genes

Kid on the Go! Memoir of my life before Borneo is Neill McKee’s third work in creative nonfiction. It will be a prequel to his first work in the genre, the award-winning Finding Myself in Borneo: Sojourns in Sabah. In this short book, McKee takes readers on a journey through his childhood, early adolescence, and teenage years, while growing up in the small industrially-polluted town of Elmira in Southern Ontario, Canada—now infamous as one of the centers for production of Agent Orange during the Vietnam War. Each chapter is set to a different theme on how he learned to keep “on the go” to escape the smells coming from the town’s chemical factory and other pollutants, including manure from surrounding farms. McKee’s vivid descriptions, dialog, and self-drawn illustrations, provide much humor and poignant moments in his stories of growing up in a loving family. In a way, the book is a travel memoir through both mental and physical space—a study of a young boy’s learning to observe and avoid dangers; to cope with death in the family; to fish, hunt, play cowboys; to learn the value of work and how to build and repair “escape” vehicles. The memoir explores his experiences with exploding hormones, his first attraction to girls, dealing with bullying, how he rebelled against religion and authority and survived the conformist teenager “rock & roll” culture of the early 1960s, coming out the other side with the help of influential teachers and mentors. After finally leaving his hometown, McKee describes his rather directionless but intensely searching years at university. Except for an emotional afterword and revealing postscript, the story ends when he departs to become a volunteer teacher on the Island of Borneo—truly a “kid on the go!”