An interview with the author.

"We live in a frightened time and people self-censor all the time and are afraid of going into some subjects because they are worried about violent reactions. That is one of the great damaging aspects of what has happened in the last 20 years. Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.' I am a writer. I write books."

The very complicated life of Dr. Essay Anne Vanderbilt, who once built a very good golf club.

Update: Grantland has published a pair of responses to the reaction to this story, "What Grantland Got Wrong" by Christina Kahrl and "The Dr. V Story: A Letter From the Editor" by Bill Simmons.

On animal cremation and burial in New York:

Riding around Manhattan on a delivery run with a car full of pet cremains, it's hard not to look at the world differently. The omnipresence of pets becomes glaringly obvious, and their inevitable fate is never far from the mind. It's easy to imagine the whippet being jaywalked across Eighth Avenue getting hit by a car. The cocker spaniel on 23rd Street? A bucket of cocker bones in the making.

On the TechCrunch founder’s venture capital fund, and a new breed of startup investor.

As Twitter-loving VC investors have become brand names themselves (Fred Wilson, Marc Andreessen, Chris Sacca), what one might call the auteur theory of venture capitalism has emerged—the idea that startup companies bear the unique creative signature of those who invested in them. To study a venture capitalist’s portfolio is to study his oeuvre.

Creating an identity that’s no longer tied to the past.

Monsters occasionally assume a completely unexpected appearance. All of a sudden, Adolf Hitler is standing onstage wearing an Adidas tracksuit and flip-flops, and his name isn't Hitler; it's Oliver Polak. And the monster isn't really Adolf Hitler, either; it's the audience's laughter. It starts with a sputter, like something trying to break free from its restraints. But then it bursts out as if suddenly liberated.

On singer-songwriters Harry Nilsson, Randy Newman and Van Dyke Parks.

I get the sense that the labels' attitude toward these guys wasn't altogether different from a parent's attitude toward gifted children: Get them through the system, but make sure to give them a clean little corner to doodle in and pat them on the head when they show you what they've done, whether you understand it or not.

She calls claiming to be Amy Pascal, Kathleen Kennedy, or some other powerful woman in entertainment. She knows personal details about her mark as well as the woman she is impersonating.

She offers work, then sends them—photographers, make-up artists, soldiers—around the world to bilk them out of modest amounts of cash.

The writer contemplates beauty and identity following reconstructive surgery.

There was a long period of time, almost a year, during which I never looked in a mirror. It wasn’t easy, for I’d never suspected just how omnipresent are our own images. I began by merely avoiding mirrors, but by the end of the year I found myself with an acute knowledge of the reflected image, its numerous tricks and wiles, how it can spring up at any moment: a glass tabletop, a well-polished door handle, a darkened window, a pair of sunglasses, a restaurant’s otherwise magnificent brass-plated coffee machine sitting innocently by the cash register.

The expansion of private-security contractors in Iraq and Afghanistan is well known. But armed security personnel account for only about sixteen per cent of the over-all contracting force. The vast majority—more than sixty per cent of the total in Iraq—aren’t hired guns but hired hands. These workers, primarily from South Asia and Africa, often live in barbed-wire compounds on U.S. bases, eat at meagre chow halls, and host dance parties featuring Nepalese romance ballads and Ugandan church songs. A large number are employed by fly-by-night subcontractors who are financed by the American taxpayer but who often operate outside the law.

Neal punctuated Jack’s riffing with his “yesses” and “that’s rights,” head bobbing on his neck like a novice prizefighter’s. After four years of New York nihilism and intellection, Neal – wiping Jack’s face with his handkerchief – Neal – who looked so much like Jack himself, an athlete like Jack – celebrated lover of women and sharer of Allen’s passionate dark soul – finally the long-lost brother who said, “Go ahead, everything you do is great” – “a Western kinsmen of the sun” – “a wild yea-saying over-burst of American joy.”

The life and myth of Neal Cassady, Beat companion and muse for Kesey, Wolfe, Kerouac, Ginsberg, The Grateful Dead and more.

In the late 1960s, a German named Günther Hauck disappeared in Brazil. When he emerged, he was calling himself Tatunca Nara and claimed to be the chief of the Ugha Mongulala, an previously unknown Indian tribe. Since then he has lived in the Amazon, his legend growing. Jacques Cousteau hired him as a guide. An Indiana Jones movie was based on his stories. And three people who made pilgrimages to see him never came home.

A financier and his wife build a mansion in the jungles of Costa Rica, set up a wildlife preserve, and appear to slowly, steadily lose their minds. A spiral of handguns, angry locals, armed guards, uncut diamonds, abduction plots, and a bedroom blazing with 550 Tiffany lamps ends with a body and a mystery: Did John Felix Bender die by his own hand? Or did Ann Bender kill him to escape their crumbling dream?

“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.’”

A report from the KKK’s 2012 Faith and Freedom conference in Arkansas:

It's quite disconcerting in this modern age to be in a room full of white people who are all spouting the most vile racist slurs that one can imagine, openly, while everyone else laughs and applauds it. There is a Twilight Zone feeling to it, as if you'd stumbled into a secret clubhouse where white people can say those forbidden things—the Valhalla of dumb racist jokes.

Throughout 2015 and 2016, amid a series of conversations I had socially with gay and bisexual men about chemsex, new, darker elements to this scene began to emerge; details from unconnected participants that mirrored each other – the same incidents, the same crimes, sometimes even the same culprits. Together they formed a picture: that beneath the surface reports about chemsex – the endless hedonism, the irresistibly intense sex – there is a much blacker sea, unmapped.

“Brace Belden can’t remember exactly when he decided to give up his life as a punk-rocker turned florist turned boxing-gym manager in San Francisco, buy a plane ticket to Iraq, sneak across the border into Syria, and take up arms against the Islamic State. But as with many major life decisions, Belden, who is 27 — “a true idiot’s age,” in his estimation — says it happened gradually and then all at once.”

On infertility.

I imagine my breath filling every part of my body: My little toe. My ankle. My calf. My knees. My thighs. My pelvis. When I get to my belly, I picture my breath filling the cavities in which my organs float, planets in space. I think about the planet of my uterus, which no longer carries an embryo. Tears slide into my ears as my teacher bends over me to press oil that smells like almonds into my third eye.

All of the books about all of the David Bowies:

There are more and more books like this these days: rock histories and encyclopedias, stuffed with information, compendiums of every last detail from this or that year, era, genre, artist – time pinned down, with absolutely no anxiety of influence. And while it would be churlish to deny there is often a huge amount of valuable stuff in them, I do think we need to question how seriously we want to take certain lives and kinds of art – and how we take them seriously without self-referencing the life out of them, without deadening the very things that constitute their once bright, now frazzled eros and ethos.

Gainsbourg decked out his home at 5 Rue de Verneuil in Saint Germain all in black, inspired by a time when he was younger when he'd somehow got the keys to Salvador Dali's house and made love to his first wife in every room while Dali was away. He even stole a small token souvenir in the form of a picture from Dali's porn collection. (Serge was obsessed with Dali and the pair later became friends. The title of 'Je T'Aime... Moi Non Plus' - roughly translated as 'I love you, me neither' - was inspired by something Dali was once supposed to have said: "Picasso is Spanish - so am I; Picasso is a genius - so am I; Picasso is a communist - me neither.")

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.