The Vanity Fair critic was an aspiring writer when he arrived in a turbulent Manhattan in 1972. In his memoir, Lucking Out, he writes about the crime and culture (and pornography) he discovered there.
Tom Waits talks to Terry Gross about performing, being a father and writing his haunting melodies. Also, actor Bill Nighy talks about his latest project Page Eight and rock historian Ed Ward reviews The SMiLE Sessions from The Beach Boys.
In Drake Doremus' drama Like Crazy, a young couple is forced to separate when one of them violates the terms of her student visa. Movie critic David Edelstein says the movie is painful and compelling — and reminds him of Richard Linklater's Before Sunrise.
The out-of-print and much-coveted album combines a dramatically spare sound with a heavy backbeat.
It is possible that there are many other universes that exist parallel to our universe. Theoretical physicist Brian Greene, author of The Elegant Universe, explains how that's possible in the new book, The Hidden Reality.
Two years after the death of her husband, Joan Didion suffered the untimely loss of her only daughter. She pieces together her memories of Quintana Roo in her new memoir, Blue Nights.
SMiLE may be the most famous unreleased album of all time, but it's not really unreleased: Bits and pieces of it wound up on other Beach Boys albums. Now that EMI has assembled a definitive collection of the session tracks, Ed Ward has listened to them — and wonders what the shouting was about.
Criminologist David M. Kennedy's strategy for reducing gang violence has dramatically reduced youth homicide rates nationwide. In his new memoir, Don't Shoot, Kennedy outlines how community meetings and interventions have worked to curb youth violence in more than 70 cities.
At its core, John le Carre's Tinker, Tailor, Soldier, Spy isn't really about espionage, says critic John Powers. The 1974 novel, adapted for the screen in 1979 by the BBC, is actually about secrets and lies and shifting identities — which is to say, a metaphor for our own daily lives.
The darkness of Tom Waits' lyrics is accentuated by the rumble and rasp of his voice, which sounded old even when he was young. On Bad Like Me, Waits reflects on loneliness, life, death and heartbreak. Here, he talks to Terry Gross about performing, being a father and writing his haunting melodies.
Actor Michael Shannnon talks about his role on Boardwalk Empire; David Carr, who writes the Media Equation column for The New York Times, reflects on the future of journalism; and rock critic Ken Tucker reviews a new album from the bank Deer Tick.
The lives of writers drive two films opening this week: The Rum Diary, starring Johnny Depp, dramatizes a Hunter S. Thompson novel. Roland Emmerich's Anonymous, meanwhile, examines who wrote Shakespeare's plays. Critic David Edelstein says both films show how hard it is to write about writers.
Many of Spencer's novels feature a turning point — a dreadful, unplanned act committed by one of the characters. In his latest book, Man in the Woods, a carpenter accidentally kills a man, which leads him to question himself and his relationship with God.
The PBS documentary series America in Primetime, which premieres this weekend, puts TV under the microscope, analyzing various tropes and character archetypes. Critic David Bianculli says it's the smartest TV show about television he's seen in the past two decades.
Deer Tick has just released its fourth album, Divine Providence. Rock critic Ken Tucker says the album takes the Rhode Island band in a more raw-sounding direction.