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What Friedman means by "flat" is "connected": the lowering of trade and political barriers and the exponential technical advances of the digital revolution that have made it possible to do business, or almost anything else, instantaneously with billions of other people across the planet. This in itself should not be news to anyone. But the news that Friedman has to deliver is that just when we stopped paying attention to these developments--when the dot-com bust turned interest away from the business and technology pages and when 9/11 and the Iraq War turned all eyes toward the Middle East--is when they actually began to accelerate. Globalization 3.0, as he calls it, is driven not by major corporations or giant trade organizations like the World Bank, but by individuals: desktop freelancers and innovative startups all over the world (but especially in India and China) who can compete--and win--not just for low-wage manufacturing and information labor but, increasingly, for the highest-end research and design work as well. (He doesn't forget the "mutant supply chains" like Al-Qaeda that let the small act big in more destructive ways.)

Friedman has embraced this flat world in his own work, continuing to report on his story after his book's release and releasing an unprecedented hardcover update of the book a year later with 100 pages of revised and expanded material. What's changed in a year? Some of the sections that opened eyes in the first edition--on China and India, for example, and the global supply chain--are largely unaltered. Instead, Friedman has more to say about what he now calls "uploading," the direct-from-the-bottom creation of culture, knowledge, and innovation through blogging, podcasts, and open-source software. And in response to the pleas of many of his readers about how to survive the new flat world, he makes specific recommendations about the technical and creative training he thinks will be required to compete in the "New Middle" class. As before, Friedman tells his story with the catchy slogans and globe-hopping anecdotes that readers of his earlier books and his New York Times columns know well, and he holds to a stern sort of optimism. He wants to tell you how exciting this new world is, but he also wants you to know you're going to be trampled if you don't keep up with it. A year later, one can sense his rising impatience that our popular culture, and our political leaders, are not helping us keep pace. --Tom Nissley

Where Were You When the World Went Flat?

Thomas L. Friedman's reporter's curiosity and his ability to recognize the patterns behind the most complex global developments have made him one of the most entertaining and authoritative sources for information about the wider world we live in, both as the foreign affairs columnist for the New York Times and as the author of landmark books like From Beirut to Jerusalem and The Lexus and the Olive Tree. They also make him an endlessly fascinating conversation partner, and we've now had the chance to talk to him about The World Is Flat twice. Read our original interview with him following the publication of the first edition of The World Is Flat to learn why there's almost no one from Washington, D.C., listed in the index of a book about the global economy, and what his one-plank platform for president would be. (Hint: his bumper stickers would say, "Can You Hear Me Now?")

And now you can listen to our second interview, in which he talks about the updates he's made in "The World Is Flat 2.0," including his response to parents who said to him, "Great, Mr. Friedman, I'm glad you told us the world is flat. Now what do I tell my kids?"

The Essential Tom Friedman

From Beirut to Jerusalem

The Lexus and the Olive Tree

Longitudes and Attitudes

More on Globalization and Development

Inside The Dangerous Book for Boys

Figure 8 Knot

Sheet Bend Knot

The Battle of Waterloo

Questions for Conn Iggulden

Conn and Hal Iggulden are two brothers who have not forgotten what it was like to be boys. Conn taught for many years before becoming one of the most admired and popular young historical novelists with his Emperor series, based on the life of Julius Caesar, and his newly embarked series on Genghis Khan, while Hal is a theater director. We asked Conn about their collaboration.

Amazon.com: It's difficult to describe what a phenomenon The Dangerous Book for Boys was in the UK last year. When I would check the bestseller list on our sister site, Amazon.co.uk, there would be, along with your book, which spent much of the year at the top of the list, a half-dozen apparent knockoff books of similar boy knowledge. Clearly, you tapped into something big. What do you think it was?

Iggulden: In a word, fathers. I am one myself and I think we've become aware that the whole "health and safety" overprotective culture isn't doing our sons any favors. Boys need to learn about risk. They need to fall off things occasionally, or--and this is the important bit--they'll take worse risks on their own. If we do away with challenging playgrounds and cancel school trips for fear of being sued, we don't end up with safer boys--we end up with them walking on train tracks. In the long run, it's not safe at all to keep our boys in the house with a Playstation. It's not good for their health or their safety.

You only have to push a boy on a swing to see how much enjoys the thrill of danger. It's hard-wired. Remove any opportunity to test his courage and they'll find ways to test themselves that will be seriously dangerous for everyone around them. I think of it like playing the lottery--someone has to say "Look, you won't win--and your children won't be hurt. Relax. It won't be you."

I think that's the core of the book's success. It isn't just a collection of things to do. The heroic stories alone are something we haven't had for too long. It isn't about climbing Everest, but it is an attitude, a philosophy for fathers and sons. Our institutions are too wrapped up in terror over being sued--so we have to do things with them ourselves. This book isn't a bad place to start.

As for knockoff books--great. They'll give my son something to read that doesn't involve him learning a dull moral lesson of some kind--just enjoying an adventure or learning skills and crafts so that he has a feeling of competence and confidence--just as we have.

Amazon.com: You made some changes for the U.S. edition, and I for one am sorry that you have removed the section on conkers, if only because it's such a lovely and mysterious word. What are (or what is) conkers?

Iggulden: Horse chestnuts strung on a shoelace and knocked against one another until they shatter. In the entire history of the world, no one has ever been hurt by a conker, but it's still been banned by some British schools, just in case. Another school banned paper airplanes. Honestly, it's enough to make you weep, if I did that sort of thing, which I try not to. Reading Jane Austen is still allowed, however.

Amazon.com: What knowledge did you decide was important to add for American boys? I notice in both editions you have an excellent and useful section on table football, as played with coins. Is paper football strictly an American pastime? I'm not sure I could have gotten through the fourth grade without it.

Iggulden: I like knowing the details of battles, so Gettysburg and the Alamo had to go in, along with the Gettysburg address, stickball, state capitals, U.S. mountains, American trees, insects, U.S. historical timelines, and a lot of others. Navajo code talkers of WWII is a great chapter. It probably helps that I am a huge fan of America. It was only while rewriting for the U.S. that I realized how many positive references there already are. You have NASA and NASA trumps almost anything.

As for paper football, ever since I thought of putting the book together, people keep saying things like "You have rockets in there, yes? Everyone loves rockets!" Paper football is the first American one, but there will be many others. No book in the world is long enough to put them all in--unless we do a sequel, of course.

Amazon.com: Do you think The Dangerous Book for Boys is being read by actual boys, or only by nostalgic adults? Have you seen boys getting up from their Xboxes to go outside and perform first aid or tan animal skins or build go-carts?

Iggulden: I've had a lot of emails and letters from boys who loved the book--as well as fathers. I've had responses from kids as young as ten and an old man of 87, who pointed out a problem with the shadow stick that we've since changed. The thing to remember is that we may be older and more cynical every year, but boys simply aren't. If they are given the chance to make a go-cart with their dad, they jump at it. Mine did. Nothing gives me more pleasure than to know the book is being used with fathers and sons together, trying things out. Nothing is more valuable to a boy than time with his dad, learning something fun--or something difficult. That's part of the attitude too. If it's hard, you don't make it easy, you grab it by the throat and hang on for as long as it takes.

The book is often bought by fathers, of course. Their sons don't know Scott of the Antarctic is a great adventure story. How could they if it isn't taught any more? Good, heroic stories don't appear much in modern school curriculums--and then we wonder why boys don't seem interested.

Amazon.com: And finally, on to the important questions: Should Pluto still be a planet? And what was the best dinosaur?

Iggulden: Pluto is a planet. I know there are scientists who say it isn't, but it's big enough to be round and it has a moon, for crying out loud. Of course it's a planet. Give it ten years and they'll be agreeing with me again.

As for the best dinosaur, it depends what you mean by best. For sheer perfection, it probably has to be the shark and the crocodile. Modern ones are smaller but their record for sheer survival is pretty impressive. I only hope humanity can do as well. The only thing that will stop us is worrying too much.

Amazon Exclusive: Macaulay's Sketches for The Way We Work
(CLICK on Images to Enlarge)

Explore author-artist David Macaulay's creative imagination at work in this collection of intriguing early sketches for the book. Each drawing--which is rendered in colored pencils-- lays out the story of a different system of the body through surprising shifts of scale, color, texture, the insertion of figures, and other intriguing spatial relationships on the page.