Interviewing Lou Reed: Not a Perfect Day
An interview gone awry.
An interview gone awry.
An interview with Cobain a few months after the release of In Utero.
An interview with Maurice Sendak.
An interview with Solange.
A conversation between Eminem and Elton John.
Deep Throat, unmasked.
“Your dreams always have to be big. And mine were huge.”
An 11-hour conversation about “well, just about everything that’s ever been funny.”
"If I had been a straight-A student my whole life and had rapped about Jesus coming back to save us all, I wouldn’t get no media. The motherfuckers wouldn’t give a fuck about me. But since I’m telling the truth, and been through what I’m stressing and know what I’m talking about, I’m a threat."
"I’m not familiar with books on style. My role in the revival of Strunk’s book was a fluke—just something I took on because I was not doing anything else at the time. It cost me a year out of my life, so little did I know about grammar."
“It’s the American view that everything has to keep climbing: productivity, profits, even comedy. No time for reflection. No time to contract before another expansion. No time to grow up. No time to fuck up. No time to learn from your mistakes. But that notion goes against nature, which is cyclical.”
We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.
An interview with the novelist.
A conversation about God, anxiety, and the monkey.
“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it's important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice.”
Emily and Kate wanted to have a baby together. They were more successful than they ever imagined.
What Gregg Popovich, 5-time NBA champion coach, looks for in players.
Talking with the most read—and most controversial—sex columnnist today.
“My mother kept scrapbooks of everything any of her children did all their lives, and among my scrapbooks are newspapers that I wrote on the typewriter at the age of six, The Hersey Family News, with ads offering my older brothers for various kinds of hard labor at very low wages.”
“When society becomes unhinged, the arts get really good.”
On fame, making money and agnosticism.
“I think you are asking me, in the most tactful way possible, about my own aggression and malice. What can I do but plead guilty? I don’t know whether journalists are more aggressive and malicious than people in other professions. We are certainly not a ‘helping profession.’ If we help anyone, it is ourselves, to what our subjects don’t realize they are letting us take. I am hardly the first writer to have noticed the not-niceness of journalists. Tocqueville wrote about the despicableness of American journalists in Democracy in America. In Henry James’s satiric novel The Reverberator, a wonderful rascally journalist named George M. Flack appears. I am only one of many contributors to this critique. I am also not the only journalist contributor. Tom Wolfe and Joan Didion, for instance, have written on the subject. Of course, being aware of your rascality doesn’t excuse it.”
“I haven’t put out an album in 20 years. Let’s face it. I am an oldies act. I just don’t want it to be like when you watch Channel 13 and there’s the Delltones or some English band from the ’60s, and they’re real crotchety and they look terrible, and I go, ‘Oh, God, I don’t want to be on that show.’”
“No one works better out of anguish at all; that’s an incredible literary conceit.”
An interview with a blotto Lee Marvin.