Readers, is shutting down its article recommendations service. (The Longform Podcast will continue to publish new episodes weekly.)

We started the site in April 2010 on a whim. Since then, we have recommended more than 10,000 pieces of nonfiction. It has been immensely gratifying to watch millions of readers enjoying the work of our favorite writers.

Thank you to's contributing editors, its supporters, and the publications, writers, and readers who made it all possible. We will miss you.

-Max Linsky & Aaron Lammer, founders

Kashmir Hill is a tech reporter for The New York Times. Her new book is Your Face Belongs to Us: A Secretive Startup’s Quest to End Privacy as We Know It.

“I often do feel like what my work is doing is preparing people for the way the world is going to change. With something like facial recognition technology, that's really important because if the world is changing such that every photo of you taken that's uploaded is going to be findable, it's going to change the decisions that you make.”

Zeke Faux is an investigative reporter for Bloomberg. His new book is Number Go Up: Inside Crypto’s Wild Rise and Staggering Fall.

“I have a rule of thumb, which is that if somebody did one scam, they probably did another scam. If they did one scam in the past and now they have a new thing, odds are good it’s also a scam. That’s not always true, but that was definitely borne out sometimes in crypto-world.”

Reginald Dwayne Betts is a poet, lawyer, and founder of the nonprofit Freedom Reads. His New York Times Magazine article "Could an Ex-Convict Become an Attorney? I Intended to Find Out" won the National Magazine Award. His new podcast is Almost There.

“I felt like I had to own becoming something and intuitively understood that if I didn't lay claim to desiring to be something, that it would be too many other forces that would be pulling on me to dictate that I become something else. … When you say you're a writer, if you know nothing else, then you know that you read. You pay attention to the world. … And prison became the metaphor by which I understood the world and poetry became the medium by which I understood what it meant to write about the world and what it meant to take seriously the responsibility to write about the world that I knew.”

Susan Burton is an editor at This American Life, the author of the memoir Empty, and the host of the podcast The Retrievals.

“I know I have much more anger than I reveal, and I don’t think that’s uncommon. Especially for women. There’s been a lot of attention to that in recent years—the anger of women, how it’s expressed and not expressed. But I think that among the things I’ve stifled for years are just my true feelings, and I’ve always wanted to be close to people and to be intimate with people, and have often felt that I have trouble making myself known or being known or being understood. And felt good to be known.”

Jamie Loftus is a comedian, writer, and podcaster. Her new book is Raw Dog: The Naked Truth About Hot Dogs.

“Comedy has been super helpful to me because it's so based on failing every night sometimes that I wasn't afraid of failure in the same way because it's just like, Well, that's going to happen to me at some point this week. Why not in this format?

Javier Zamora is the author of Unaccompanied, a poetry collection, and Solito, a memoir.

“There was something that I felt eating away at me, which made me a very angry and volatile teenager. And I think I was an angry teenager because I had this trauma that nobody around me could talk about, and that I didn't have the right therapist to help me unpack. So the cheapest thing that I had was poetry.”

Jennifer Senior is a staff writer for The Atlantic. Her article ”What Bobby McIlvaine Left Behind” won the 2022 Pulitzer Prize for Feature Writing. Her most recent article is ”The Ones We Sent Away.”

“I'm at the point where I'm only thinking about the big questions and the difficulty of being a human as what matter most. That's what I want to keep focusing on. Our common frailties, our common bonds, our common difficulties. Because clearly we are not going to bond politically as a nation, right? … But we can bond over our kids with disabilities. About the fact that we grieve, that we love, that we lose people. That we have friends that we love, friends that we hate. We have friendships that we miss, we have friendships that we can't live without.”

Casey Newton writes the Platformer newsletter. Kevin Roose is a technology columnist for The New York Times. Together they co-host the podcast Hard Fork.

CN: “People actually like to be a little bit confused. They like listening to things where people are talking about things they don’t quite understand, which was very counterintuitive to me. I think a lot of editor-types would scoff at, but I’ve come around.”

KR: “We can revisit subjects and we do. We can change our minds. Print pieces feel so permanent, they feel so definitive. Podcasts, we can just sort of say, ‘I don't know what to make of this, ask me again in a month.’”

Jeff Goodell is a climate change writer for Rolling Stone and the author of seven books. His new book is The Heat Will Kill You First: Life and Death on a Scorched Planet.

“I would not have said this even five years ago, but I have really come to see this now as a crime story. This is a kind of looting of the atmosphere of the earth, siphoning off resources and grossly profiting off of that at the expense of many other people—billions of people—on this planet. And I understand that’s a big thing to say, but I think it’s just pretty obviously true. … I don’t mean that personally that each one of them personally is a criminal. We are all complicit in this.”

Peter Shamshiri is a lawyer and co-host of the podcast 5-4.

“Because of the nature of law, I think a lot of journalists find it hard to take a position—or to sort of tip their hand about what they actually believe—because so much of the discourse around how law should operate is about neutrality and the general perspective that the law is non-partisan, non-ideological. I think the result is media coverage that is particularly lacking in those regards. And that's where we swoop in.”

Donovan X. Ramsey is a journalist and author of the new book When Crack Was King: A People’s History of a Misunderstood Era.

“I've only ever wanted to write about Black people—and that includes the elements of our lives that are difficult. I’ve always prided myself on being able to metabolize that information and not really be harmed by it. And this book really taught me that writing and processing is not just something that you do in your head. That the information does go through you as you're trying to make sense of it. And it's not happening to you, right? It's not like a direct form of PTSD that you have, but you do experience some trauma when you open up your imagination in that way.”

Heidi Blake is a writer for The New Yorker and the author of two books, From Russia with Blood: The Kremlin's Ruthless Assassination Program and Vladimir Putin's Secret War on the West and The Ugly Game: The Corruption of FIFA and the Qatari Plot to Buy the World Cup, with Jonathan Calvert. Her latest article is “The Fugitive Princess of Dubai.”

“I definitely feel as an investigative reporter that I feel very driven by my own capacity for shock and outrage and genuinely feeling like this is unbelievable. And that kind of makes me want to keep digging. And once I stop feeling that on any given topic, I lose interest. And so I’ve always been a generalist, and I just kind of rove from one topic to the next. I’m always finding myself in new territory where I know absolutely nothing about the thing I’m starting to dig into and have to try and play catch up and get my head around something new.”

Mitchell Prothero covers intelligence and crime for Vice News. His new podcast with Project Brazen is Gateway: Cocaine, Murder, and Dirty Money in Europe.

“I’m really interested in transnational networks—crime, intelligence. I’m fascinated by the gray. Like, when is something legal and when is something illegal? One thing with this Gateway project [was that] nobody could ever tell me that moment where money goes from absolutely being illegal to being legal.”

Brittany Luse is the host of NPR’s It’s Been a Minute.

“One of the things I love about this job is everything is practice. I love it. It's like if a show is great and everyone loves it, you gotta put on another one. You just gotta do it again. And if the show didn't quite do what you'd hoped or set out to do in your mind and in your heart, you gotta do another one. I just love it. You can never feel too good and you can never feel too bad.”

Brady Dale covers cryptocurrency for Axios. His new book is SBF: How The FTX Bankruptcy Unwound Crypto's Very Bad Good Guy.

“I am a fast writer. I’ve always been fast. I just sat down and did the math on it and I was like, If I can write 1,500 words a day, I can write this book. And I can do that.”

Lisa Belkin is a journalist and the author of four books. Her latest is Genealogy of a Murder: Four Generations, Three Families, One Fateful Night.

“I didn’t experience it as luck. It—and this is going to be a little woo woo—but it really felt like these people had been sitting there for 100 years saying, Well, it took you long enough, because everything just fit together. I didn’t have to manipulate anything.”

Amy Chozick is an author, journalist, executive producer, and showrunner. Her latest feature for The New York Times is ”Liz Holmes Wants You to Forget About Elizabeth.”

“The subject thought it was a hit job. Twitter thought it was a puff piece. I don’t know, guys. … I want to explain to people what it feels like to be around someone who you know you shouldn’t believe, but you can’t help believing them because this is what their personality is like when you’re with them.”

Hua Hsu is a staff writer for The New Yorker. His book Stay True won the 2023 Pulitzer Prize for memoir.

“I've worked as a journalist … for quite a while. … But this [book] was the thing that was always in the back of my mind. Like, this was the thing that a lot of that was in service of. Just becoming better at describing a song or describing the look of someone's face—these were all things that I implicitly understood as skills I needed to acquire. ... It is sort of an origin story for why I got so obsessive about writing.”

Kevin Kelly is one of the founding editors of Wired, where his current title is Senior Maverick. His new book is Excellent Advice for Living: Wisdom I'd Known Earlier.

“I never wrote a book because I wanted to do a good deed. I just wanted to tell a good story.”

Terrence McCoy is The Washington Post's Rio de Janeiro Bureau Chief. He won the George Polk award for his series "The Amazon, Undone" on the illegal and often violent exploitation of the rainforest.

“When I first got to Brazil, the Amazon was an arena of mystique. But after you spend a fair amount of time in the Amazon, it becomes quite clear what the struggle is—and how human that struggle is.”

This is the last of a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

Lynsey Addario is a photojournalist for The New York Times and National Geographic. She won the George Polk award for her photograph of the bodies of a woman and her two children alongside a friend who lay dying moments after a mortar struck them as they sought to flee Ukraine.

“If I have time to compose a photo—even if it's of a horrific topic—I will always try to make the most beautiful photograph because I want people to look. I want people to ask questions, to be engaged, to pay attention. And often, that does mean the intersection of beauty and horror.”

This is the fourth in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

Tracy Wang and Nick Baker of CoinDesk, along with their colleague Ian Allison, won the George Polk award for reporting that led to the fall of Sam Bankman-Fried and his cryptocurrency exchange FTX.

“Crypto had been kind of a backwater of reporting. It was kind of like nobody took it seriously. People didn’t know if it was a joke and they thought it was all drug dealers and fraudsters. And I was kind of thinking, well, that seems like a great place to be reporting.”

This is the third in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

Lori Hinnant is a reporter for the Associated Press. Along with videojournalist Mstyslav Chernov, photographer Evgeniy Maloletka, and video producer Vasilisa Stepanenko, she won the George Polk Award for war reporting for covering the siege of Mariupol.

“It’s really easy when you see raw footage flash by on the television to just see it as war as hell and this is very abstract. These are people with lives that were utterly ruined and they want to tell their stories. I mean, we’re not talking to people who don’t want to talk to us. And when you find out what happened the day their lives were changed, it really changes it.”

This is the second in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

Theo Baker is the investigations editor at The Stanford Daily. The first college student ever to win a George Polk Award, Baker received a special recognition for uncovering allegations that pioneering research co-authored by Stanford President Marc Tessier-Lavigne, a renowned neuroscientist, was supported in part by manipulated imagery.

“It’s useful to intellectualize it because when you actually get going, this is something that keeps me up at night. … It’s the last thing I think about when I go to sleep, and the first thing on my mind when I wake up.”

This is the first in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

David Grann is a staff writer for The New Yorker. His new book is The Wager: A Tale of Shipwreck, Mutiny and Murder.

“I became very haunted by the stories that [nations] don't tell. Nations and empires preserve their powers not only by the stories they tell, but also by the stories they leave out. … Early in my career, if I came across the silences in a story, I might not have highlighted them, because I thought, Well, there's nothing to tell there. And now I try to let the silences speak.”