The role of government should not decrease in a linear fashion but rather must increase at the upper middle-income stage. Economic growth at the low-income stage follows a country’s comparative advantages and does not require considerable direct government intervention. Upgrading to enter high value-added sectors may require more direct intervention by the government, such as public–private R&D consortiums, because firms at this stage face increased difficulty in terms of entry barriers, IPR disputes, and technology transfers. To overcome the challenge of strategically managing global–local interfaces, two modes of government involvement are possible. The slow but steady mode of catch-up corresponds to the case of the IT cluster in Penang, Malaysia, and the auto industry in Thailand, where the main focus of public intervention was on re-skilling and up-skilling local labor forces. The faster mode of catch-up more closely corresponds to the situation of Shenzhen and the Chinese auto sector where asymmetric intervention was mobilized to foster domestically owned firms. A final question addressed by this chapter is how to generate big businesses as an engine for growth beyond the middle-income stage, as well as how to promote the coevolution of big businesses and SMEs.

Apple Computer, Inc. released its “Think Different” campaign in 1997 to mark the return of Steve Jobs and to resurrect the struggling computer company. The Think Different campaign “got an audience that once thought of Apple as semi-cool, but semi-stupid to suddenly think about the brand in a whole new way.”1 Interestingly, be different is what Silicon Valley Bank (SVB) embraced and practiced from its beginning in 1983. The Bank distinguished itself from the crowded banking sector by serving entrepreneurs in the region since the early 1980s. At the time SVB was formed and officially named, “Silicon Valley” was considered unattractive for banking to capture the public attention and adopted the available moniker.

Often when we think about investors we think about a singular heroic individual. This lends itself well to neoliberal ways of imagining people as individual economic agents. In this way of thinking, an entrepreneur with some amount of capital is able to heroically create a business due largely to their own drive, creativity, and hustle. What this accounting misses though, are the historical contexts and social resources that entrepreneurs draw on to make their businesses work. This is a problem too, if we imagine that individual entrepreneurial action will be adequate to pull people out of poverty or to right historical wrongs. In this chapter, Beresford takes us to South Africa to show the different resources that black and white entrepreneurs have when they start their businesses. Due to the legacy of apartheid, white entrepreneurs have access to more capital and deeper support networks that allow them to navigate the earlier, vulnerable stages of a business’s life. By contrast, many black entrepreneurs face a relatively resource poor environment for starting their businesses. Altogether, Beresford shows the limits of individualized thinking when it comes to entrepreneurs, and for using entrepreneurship to lift people out of poverty. The chapter also questions the theoretical assurance of neoliberalism that government should not intervene, but rather wait for the superior knowledge embedded in the market mechanisms to weed out the bad, and adequately increase the chances that good solutions flourish.

Chapter 1 immerses the reader into the Za'atari refugee camp. Situated in Jordan just seven and a half miles south of the Syrian border, the camp – a two-square-mile rectangle divided into twelve districts – is nestled in the very heart of the Middle East. Here, in the desert heat, a community was born in the swell of crisis. The reader is immediately introduced to the book's three featured Syrian women entrepreneurs – Yasmina, Asma, and Malak – in their elements. Yasmina, a salon and wedding dress shop owner, is relaxing in the salon with her family as her client celebrates a beautiful wedding a couple of districts away. Asma, a social entrepreneur and teacher, is reading a story to a group of children – including three of her own – in her trailer, which she has converted into a magical hideout for the children. Malak, an artist, is putting the finishing touches on a series of drawings for an event at a youth center that is meant to encourage the girls in Za'atari to push against the harmful practice of child marriage.

Chapter 12 features the three entrepreneurs discussing their hopes for the future. Despite its progress, Za'atari still faces significant challenges in terms of basic resources and opportunities. So each entrepreneur represents a different hope. Yasmina, as the oldest of the group, discusses the ultimate hope within residents: that there will be lasting peace in Syria and they can return home. Asma considers another hope many have: resettlement to new communities. She talks about her potential resettlement to Canada after recently being interviewed at the embassy in Amman, and what it would mean for her children to have more consistent, higher quality education. Malak discusses the hope that, even if she is to remain in Za'atari for long, it will be better resourced so all children will have the opportunity to realize their God-given gifts. Her most recent painting of a woman, covered in vibrant colors and looking upward, represents this hope – as she accepts her life in Za'atari for now and sees her purpose as living out her gifts boldly as a role model for the children around her. In this spirit, the book ends with a poem by Asma about the hopes and dreams of Za'atari.

Chapter 4 provides an overview of today’s global refugee crisis, driven by perspectives of refugees around the world. The Syrian war has displaced a stunning half of Syria’s prewar population, with nearly 80,000 of those Syrians having fled to nearby Za'atari; the UN calls it “the biggest humanitarian and refugee crisis of our time.” But it is only a part of a broader global crisis: today, more people than at any other time in history have been forcibly displaced from their homes. More than twenty-six million refugees, over half of whom are children, have fled their home countries entirely. This chapter provides a brief exploration of the major crises causing displacement, from instability in Central America and Afghanistan, to the Rohingya genocide in Myanmar, to wars in South Sudan and Yemen. And it considers where most refugees end up: in host cities, in refugee camps, and – unfortunately only on rare occurences – resettled permanently in adoptive cities. It discusses how, due to continuing conflicts and tightening restrictions on acceptance of refugees, refugee camps are increasingly becoming like permanent settlements, despite their intended role as temporary safe havens.

Chapter 9 is about the present impact of the three entrepreneurs’ ventures, alongside many others, on the Za'atari community. A far cry from its makeshift origins, Za'atari is now much like a city. The Shams-Élysées, the Saudi Market, and other areas are buzzing as more than 3,000 businesses generate about $13 million in revenue a month and serve community members. These include bird shops, a cinema, sustainable farming solutions, and, of course, the ventures launched by Yasmina, Asma, and Malak. Yasmina is bringing profound joy into the lives of women across Za'atari. She helps brides feel special, valued, and beautiful, sometimes after a long period of feeling forgotten. Asma is uplifting Za'atari's children to reach for their highest aspirations. Much to her delight, her apprentice Nawara creates her own version of the storytelling initiative that is widely attended. In addition to running her studio with Treza, Malak repeatedly uses her art to empower the children around her, especially on the issue of child marriage. She designs twenty powerful drawings that are presented to girls during a workshop, empowering them to push back against such arrangements.

Chapter 8 describes the extraordinary obstacles facing refugee entrepreneurs and explains why – despite these challenges – refugees excel as entrepreneurs. Refugees face the steepest of uphill climbs, dealing with everything from trauma to a lack of access to credit to discrimination to limited networks. Still, they are much more likely to be entrepreneurs than native-born citizens. Refugees’ sparks are not accidental; they have unique qualities based on their experiences that make them more likely to come up with, and successfully see through, startup ideas. First, many refugees innovate because it is their only way to survive, and are thus immensely committed. For Yasmina, innovating was a requirement to feed her children. Second, refugees benefit from exposure to other cultures' ideas and markets. One appeal of Malak's work is her ability to infuse Syrian flair. Third, refugees, far from home, are often intensely motivated to meet the needs of their new neighbors and find innovations to do just that – as Asma did for Za'atari. Fourth, they are often pushed to entrepreneurship by employment discrimination. Fifth, they have an unmatched level of resilience.

Chapter 2 goes back in time to the three entrepreneurs’ lives in a peaceful prewar Syria, and their flights to safety in Za'atari. All three lead comfortable lives before the sudden, life-altering events of the Arab Spring: protests in Dara'a, the Syrian government’s violent response, and families fleeing homes amid subsequent fighting. Yasmina is living out her childhood passion, running a salon and wedding shop in Dara'a. Her family flees when she is seven months pregnant; on the way to Za'atari, they shelter in others' homes and abandoned schoolhouses, and her son is born premature. Asma grew up adoring school, but her lack of confidence and the busyness of raising a family kept her from her dream of teaching. Still, living in a large house with an olive tree in Dara'a, Asma enjoys her days reading to her children, Tamara, Ashraf, and newborn Maya. Just twenty days after Maya’s birth, Asma's family flees. Only a teenager and the youngest of thirteen siblings, Malak leads a joyful life filled with art, family, and friends in Damascus. She cries with her sisters just before leaving, unwilling to accept that the next morning she would wake up in a tent within a refugee camp.

Chapter 11 discusses the economic, social, spiritual, and personal impact of refugee entrepreneurship around the world. Za'atari is but one example: camps across the globe – from Kutupalong in Bangladesh, to Skaramagas in Greece, to Dadaab in Kenya – have emerged as hubs of entrepreneurship, to the surprise of those who imagine refugees in camps as passively reliant on aid. And refugees have ignited significant positive change in refugee-welcoming cities around the world as well – from Bosnian, Burmese, and Somali refugees revitalizing the once-declining Rust Belt city of Utica, New York, to long-persecuted Hazara refugees creating new ventures to revive the community of Port Adelaide, Australia. While there is an up-front economic cost to welcoming refugees into cities from camps like Za'atari, that investment is clearly a positive one thanks to refugees' contributions in the form of business growth, social innovation, and cultural enrichment. This is not to mention the quiet moments of love, comfort, and togetherness created by refugees’ very presence as neighbors, colleagues, and friends in communities around the world.

Chapter 5 describes the moments that the three Za'atari entrepreneurs push beyond their darkness to find their ideas – each tapping into their childhood passions through different catalyzing events. Yasmina helps prepare her cousin for her wedding in Za'atari, receives rave reviews, and sees her passion rekindled. Determining that she needed to help support her children, she makes the monumental decision to sell her rings, necklace, and bracelet for startup capital. She plans for the launch of a salon and wedding dress store from her home trailer. After her son’s death, Asma resolves to treat the children in Za'atari as if they are her own. Much to her joy, she attends a teacher training program sponsored by an NGO and comes home with educational books that she can use in preparing her storytelling initiative. Art continues to be Malak’s light during her transition to Za'atari, especially as she begins to share her art outside of her trailer. With the encouragement of a Za'atari art teacher, her sister Hoda, her father, and her best friend Treza, she decides to launch an art studio from her home trailer. Treza would manage it, and they would seek to share Malak's art widely.

Chapter 10 demonstrates how the three featured entrepreneurs’ ventures represent dignity for them, for the people they influence, and for the Za'atari community. Coming full circle, Yasmina prepares her apprentice Mona for her own wedding in what is a special, motherly moment. She speaks on the value of being able to train and encourage Mona over the years – of gaining an adoptive daughter through a mutual entrepreneurial passion. Asma is invited to speak at an International Women’s Day event in Za'atari. She is slated to speak last, after three celebrities and global human rights leaders. The doubts of her youth creep in slightly, but a now-confident Asma presents beautifully – to thunderous applause and a standing ovation. Conquering her own fears of publicity, Malak does an interview on a Jordanian radio show where she speaks boldly for herself and her community, helping dispel attitudes that Za'atari is a place where everyone should be pitied. For someone who once dreaded going to Za'atari more than anything she could have ever imagined, this moment of standing up as an advocate and leader within Za'atari means the world to her.

Chapter 6, "Khatwa, Khatwa" – Arabic for "Step by Step" – shares the three entrepreneurs’ stories of beginning to transform their ideas into reality and pushing through early obstacles. Yasmina hires a young and dynamic assistant, Mona, who becomes like a daughter to her. Together, the duo builds an initial client base and a collection of hilarious stories at the newly founded "Salon of Lights." Asma, with her educational books in tow, launches a community library and chases kids around her neighborhood, begging them to come listen to a story. After nervously practicing her storytelling techniques with Tamara and Maya, she officially launches the initiative – "Stories of the Sun" – from her newly decorated home trailer. After her first activity with the children, she learns just how much the experience of war has impacted their thoughts. Malak and her best friend Treza win their dream scholarship to study medical analysis at a university in Amman. Despite the importance of art in her life, Malak resolves to focus on her professional studies and to put art on the backburner. Still, she brings her art supplies with her in case she might have a bit of time to continue her first passion.

Chapter 3 narrates the three entrepreneurs’ early challenges adjusting to Za'atari. The camp is barren and devoid of activity in its first months of existence. White tents house residents, early mornings see long lines for meager bread rations, and residents protest about the severe shortage of resources. All three entrepreneurs struggle mightily. Yasmina is thankful that her newborn son Ashraf is healthy despite his premature birth, but she worries the environment surrounding him will stifle his growth. So she continues to hold out on working, praying she will return home to a peaceful Syria any day now. Falling into depression due to the lack of activity and resources, Asma runs away with her family to try to settle in nearby towns. A dearth of opportunity forces her to return to Za'atari, where she faces the tragic death of her son Ashraf. She fears the worst for Tamara and Maya, believing all hope for their education has died. Without any schooling options and separated from her friends, Malak sits alone in a small corner within her family’s tent and paints, releasing her emotions through her art from morning until night.

Chapter 7 describes the continued development of the three entrepreneurs' ventures and the impact they make on the Za'atari community. Za'atari increasingly shows signs of life: shops pop up along the main road nicknamed the “Shams-Élysées," color and art can be seen on trailers and the camp's walls, social events become more common, and social initiatives occupy children’s time. Yasmina moves her business from her home to the bustling Saudi Market, beautifully decorates her new trailer, and expands her client base as her and Mona's reputation grows. Asma’s storytelling initiative, with the support of her apprentice Nawara, increases in popularity and regularly fills her trailer with children. She begins to see the fruits of her work, as the activities she does with the children reveal more aspirational thinking. Though she had planned to ignore art during school to focus on studies, Malak again turns to art as an outlet during the intensity of university. After winning prizes in competitions and with Treza’s inspiration, Malak finally launches her studio: "Malak Art." Malak and Treza create Instagram and Facebook pages to share Malak's work and accept orders, which come in regularly.