On witnessing the transformation of George W. Bush over 25 years.

At a dinner party, the author meets one of Afghanistan’s last remaining maskhara — an entertainer, thief and murderer.

If you are young and you should write asking to see me and learn how to be a somber literary man writing pieces upon the state of emotional exhaustion that often overtakes writers in their prime -- if you should be so young and fatuous as to do this, I would not do so much as acknowledge your letter, unless you were related to someone very rich and important indeed. And if you were dying of starvation outside my window, I would go out quickly and give you the smile and the voice (if no longer the hand) and stick around till somebody raised a nickel to phone for the ambulance, that is if I thought there would be any copy in it for me.

A look at the artists and writers who drive for a New York cab company. The story that inspired Taxi.

On the culture of plastic surgery in Los Angeles, and how the reporter’s life changed when she got a pair of fake boobs.

Dreaming of the perfect apartment.

Should anyone ever choose to remake and bastardize Breakfast at Tiffany’s, I propose an opening sequence re-imagined to reflect more contemporary preoccupations. The revised opening scene should be filmed against the backdrop of an early evening in Brooklyn. The throngs of suits coming home from their nine to five grinds in Manhattan would be emerging from the subway stairwells like ants from an anthill, rushing off down various streets towards their various homes and families and dinners. All except for the would-be protagonist who, as the crowd rushes past her, makes her way to the closed-for-the-night real-estate storefront opposite the subway station. Somewhere, “Moon River” might still be playing, as if it had never stopped. Disheveled, lugging her purse and gym bag, she pauses for a number of minutes to read listings she has already read, and which she committed to memory weeks ago: a studio on Pineapple Street; a loft on Gold Street; a townhouse on Argyle Street; a two-bedroom coop on First Place; a one-bedroom condo on Carlton Avenue; a brownstone on Henry Street. It’s fall and the leaves blow in eddies on the sidewalk. She gets cold and turns away from the window to walk off down the street just as dusk begins to arrive in earnest. The occasional “For Sale” sign swings on its hinges, and the story of the day ends only to begin again in the morning.

Another look at a popular myth.

For the longest time blues fans didn’t even know what their hero looked like—in 1971, a music magazine even hired a forensic artist to make a composite sketch based on various first-hand accounts—until two photos of Robert Johnson finally came to light.  The dapper young man pictured in the most famous photo, dressed in a stylish suit and smiling affably at the camera, hardly looks like a man who has sold his soul to Lucifer.

A reporter recounts her weekend as an undercover Juggalette.

As a teenager, Trey Smith snuck into the cash- and porn-filled home vault of his friend’s father. Fifteen years later, he told the story from prison.

The truth and consequences of reporting from a war zone.

I felt, in some substantive yet elusive way, that I had had a hand in killing my mother. And so the search for a bed became a search for sanctuary, which is to say that the search for a bed became the search for a place; and of course by place I mean space, the sort of approximate, indeterminate space one might refer to when one says to another person, "I need some space"; and the fact that space in this context generally consists of feelings did not prevent me from imagining that the space-considered, against all reason, as a viable location; namely, my bedroom-could be filled, pretty much perfectly, by a luxury queen-size bed draped in gray-and-white-striped, masculine-looking sheets, with maybe a slightly and appropriately feminine ruffled bed skirt stretched about the box spring (all from Bellora in SoHo).

A visit to the Museum of Broken Relationships.

Olinka and Drazen are artists, and after some time passed, they did what artists often do: they put their feelings on display. They became investigators into the plane wreck of love, bagging and tagging individual pieces of evidence. Their collection of breakup mementos was accepted into a local art festival. It was a smash hit. Soon they were putting up installations in Berlin, San Francisco, and Istanbul, showing the concept to the world. Everywhere they went, from Bloomington to Belgrade, people packed the halls and delivered their own relics of extinguished love: “The Silver Watch” with the pin pulled out at the moment he first said, “I love you.” The wood-handled “Ex Axe” that a woman used to chop her cheating lover’s furniture into tiny bits. Trinkets that had meaning to only two souls found resonance with a worldwide audience that seemed to recognize the same heartache all too well.

 The writer speaks with his father for the first and last time.

My father moved back to Nigeria one month after I was born. Neither I nor my sister Ijeoma, who is a year and a half my elder, have any recollection of him. Over the course of the next 16 years, we did not receive so much as a phone call from him, until one day in the spring of 1999, when a crinkled envelope bearing unfamiliar postage stamps showed up in the mailbox of Ijeoma's first apartment. Enclosed was a brief letter from our father in which he explained the strange coincidence that had led to him "finding" us.* It was a convoluted story involving his niece marrying the brother of one of our mother's close friends from years ago. As a postscript to the letter, he expressed his desire to speak to us and included his telephone number.

The jury room was a gray-green, institutional rectangle: coat hooks on the wall, two small bathrooms off to one side, a long, scarred table surrounded by wooden armchairs, wastebaskets, and a floor superficially clean, deeply filthy. We entered this room on a Friday at noon, most of us expecting to be gone from it by four or five that same day. We did not see the last of it until a full twelve hours had elapsed, by which time the grimy oppressiveness of the place had become, for me at least, inextricably bound up with psychological defeat.

Tom Wolfe on the development of ”New Journalism,” an unconventional reporting style which he helped to pioneer.

I had the feeling, rightly or wrongly, that I was doing things no one had ever done before in journalism. I used to try to imagine the feeling readers must have had upon finding all this carrying on and cutting up in a Sunday supplement. I liked that idea. I had no sense of being a part of any normal journalistic or literary environment.

There are believed to be 11 million undocumented immigrants in the United States. We’re not always who you think we are. Some pick your strawberries or care for your children. Some are in high school or college. And some, it turns out, write news articles you might read. I grew up here. This is my home. Yet even though I think of myself as an American and consider America my country, my country doesn’t think of me as one of its own.

In the early years of the Iraq war, the U.S. military developed a technology so secret that soldiers would refuse to acknowledge its existence, and reporters mentioning the gear were promptly escorted out of the country. That equipment—a radio-frequency jammer—was upgraded several times, and eventually robbed the Iraq insurgency of its most potent weapon, the remote-controlled bomb.

A profile of Florida legend—and pardoned killer—Charlie Driver.

The author gets a security guard job at this aging textile factory. Part of the City by City project.

A field trip to the video gamey world of the modern trader.

A bank robber tells the story of a successful heist.

A personal essay about family through the lens of mashed potatoes.

The author attends a Tolstoy conference as a grad student. She wears flip-flops, sweatpants and a flannel shirt, and tries to determine if Tolstoy was murdered.

As surely as 2008 was made possible by black people’s long fight to be publicly American, it was also made possible by those same Americans’ long fight to be publicly black. That latter fight belongs especially to one man, as does the sight of a first family bearing an African name. Barack Obama is the president. But it’s Malcolm X’s America.

She is an unknown struggling writer. Her boyfriend is Jonathan Franzen.