Friday, November 4

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A journey into the controversial religion:
In the next hour or so, Laurie asks me a number of questions: Am I married? Am I happy? What are my goals? Do I feel that I’m living up to my potential? A failure to live up to potential is one of the things known in Scientology as one’s "ruin." In trying to get at mine, Laurie is warm and nonaggressive. And, to my amazement, I begin to open up to her. While we chat, she delivers a soft sell for Scientology’s "introductory package": a four-hour seminar and twelve hours of Dianetics auditing, which is done without the E-meter. The cost: just fifty dollars. "You don’t have to do it," Laurie says. "It’s just something I get the feeling might help you." She pats my arm, squeezes it warmly.

Wednesday, November 2

Tuesday, November 1

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On the enduring appeal, both amateur and academic, of man vs. dinosaur.

Sunday, October 30

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A conversation with the 88-year-old abstract painter.

PALTROW: Did you design camouflage while in the army?

KELLY: I did posters. I was in what they called the camouflage secret army. This was in 1943. The people at Fort Meade got the idea to make rubber dummies of tanks, which we inflated on the spot and waited for Germans to see through their night photography or spies. We were in Normandy, for example, pretending to be a big, strong armored division which, in fact, was still in England. That way, even though the tanks were only inflated, the Germans would think there were a lot of them there, a lot of guns, a whole big infantry. We just blew them up and put them in a field.

Saturday, October 29

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On the increasing tension between the pleasant, thoughtful indie rock of car commercials and those who insist on something weirder.

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Two weeks spent walking across Provence.

There is something about entering an ancient town on foot that's radically different from entering the same place by car. Keep in mind that these old French towns were all designed by people on foot for people on foot. So when you walk in, you're approaching the place as it was intended to be approached—slowly and naturally, the way Dorothy came upon Oz (spires rising in the distance, a sense of mounting mystery: What kind of city will this be?).

Friday, October 28

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Inside the five-year (so far) production of the Ilya Khrzhanovsky film Dau:
Khrzhanovsky came up with the idea of the Institute not long after preproduction on Dau began in 2006. He wanted a space where he could elicit the needed emotions from his cast in controlled conditions, twenty-four hours a day. The set would be a panopticon. Microphones would hide in lighting fixtures (as they would in many a lamp in Stalin's USSR), allowing Khrzhanovsky to shoot with multiple film cameras from practically anywhere — through windows, skylights, and two-way mirrors. The Institute's ostensible goal was to re-create '50s and '60s Moscow, home to Dau's subject, Lev Landau. A Nobel Prize–winning physicist, Landau significantly advanced quantum mechanics with his theories of diamagnetism, superfluidity, and superconductivity. He also tapped epic amounts of ass.

Thursday, October 27

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An excerpt from a new oral history of MTV.

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An excerpt from a new oral history of MTV.

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Thomas Pynchon walks down a New York City street in the middle of the morning. He has a light gait. He floats along. He looks canny and whimsical, like he'd be fun to talk to; but, of course, he's not talking. It's a drizzling day, and the writer doesn't have an umbrella. He's carrying his own shopping bag, a canvas tote like one of those giveaways from public radio. He makes a quick stop in a health-food store, buys some health foods. He leaves the store, but just outside, as if something had just occurred to him, he turns around slowly and walks to the window. Then, he peers in, frankly observing the person who may be observing him. It's raining harder now. He hurries home. For the past half-dozen years, Thomas Pynchon, the most famous literary recluse of our time, has been living openly in a city of 8 million people and going unnoticed, like the rest of us.
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Pete Dexter, profiled.

"I'm sick and tired of the story," says Dexter, though he knows it is a signature moment of his trajectory from newsman to writing some of the most original and important novels in American literature, including the National Book Award–winning Paris Trout (1988), a riveting tale of an unrepentant racist who brutally murders a 14-year-old black girl in a small Georgia town in the late 1940s. Settling deep into a dark-green leather chair near a patio window that offers a commanding view of ferries chugging across the cold blue waters, Dexter begins: "It was not a good column. I was trying to write something I didn't feel." Dexter is referring to the column that almost got him killed.

Wednesday, October 26

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A profile of the art world’s most notorious dealer dynasty.