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For generations, plantation owners strove to keep black laborers on the farm and competing businesses out of town. Today, the towns faring best are the ones whose white residents stayed to reckon with their own history.
When computer science legend Jim Gray disappeared, his friends and colleagues – including Bill Gates and Larry Ellison – used every technological tool at their disposal to try to find him.
For the last two decades, the varied personalities behind the Vidocq Society—retired cops, sketch artists, FBI agents—have gathered in Philadelphia to tackled cold-case homicides over lunch. They claim to have solved more than half.
An oral history of a family in Mexico City, in transition from poverty to the lower-middle class, as they scramble to organize the burial of a slum-dwelling aunt.
The American medical establishment has gone to extraordinary lengths—some of which read like conspiracy theory—to discredit the notion (and its most visible promoter, Dr. Atkins) that carbohydrates, not fat, are the cause of obesity. It looks like they were wrong.
The author survives a bite by a venomous snake in a remote area of Yosemite National Park.
My leg, from toe to hip, turned black and yellow and eventually swelled to 24 inches, more than twice its normal circumference.
Serial arson in rural Virginia: a love story.
Dayna Tortorici is the editor of n+1.
“You can't fetishize conflict so much. Because conflict does generate a lot of good work, but it also inhibits a lot of good work. I think people do their best work when they feel good. Or at least don't feel like shit. ... So I've tried to create a culture of mutual encouragement. Especially when you're not paying anybody, that's all you can really offer.”
Thanks to TinyLetter and Wealthfront for sponsoring this week's show.
Tom Bissell is a journalist, critic, video game writer, and author of The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made. His latest book is Magic Hours.
“I kind of have come around to maybe not as monkish or fanatical devotion to sentence idolatry as I was when I was a younger writer, earlier in my career. I think I’m coming around to a place where a lot of middle-aged writers get to, which is: I tried to rewire and change the world with the beauty of language alone—it didn’t work. Now how about I try to write stuff that’s true, or that’s not determined to show people I am a Great Writer. Like a lot of young writers, you’re driven by that. Then at a certain point you realize A) you’re not going to be the Great Writer you wanted to be, and B) the determination of that is completely beyond your power to control, so best that you just write as best you can and as honestly as you can, and everything else just sort of becomes gravy.”
Thanks to MailChimp and Tripping.com for sponsoring this week's episode.
Adam Moss is the editor of New York Magazine.
“I think [change] is good for journalism—it’s what journalism is about. You can’t write about something static. News is about what is new. So there’s plenty of new right now. I’m not saying it’s good for the citizenry or anything like that, but, yeah, for journalists it’s an extremely interesting time. There’s no denying that.”
Thanks to MailChimp, BarkBox, Squarespace, and Sock Fancy for sponsoring this week's episode.
“But the journalism itself is not free. It can’t be free. And if it is free, it’s not going to be very good.”
Most of the country is trying to keep guns out of schools. A town in rural Idaho is taking the opposite approach.
The reckonings of one of the South’s white suburban women, whose loyalty is key to whether Trump is reelected.
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My main purpose in this address is simply to convince you that this desire is one of the great permanent mainsprings of human action... Unless you take measures to prevent it, this desire is going to be one of the chief motives of your life, from the first day on which you enter your profession until the day when you are too old to care.
How a 26-year-old cocktail waitress ended up running a private weekly poker game for some of Hollywood’s highest rollers.
Five hundred feet below ground with Ohio coal miners.
I followed them underground, home, to church, to the strip club where they drink and gossip and taunt and jab and worry about one another. I listened while they worried about Smitty, the loner of the group, who had just ordered himself a mail-order woman.
Making bio-diesel is hard. Getting paid $100 million to not make it is surprisingly easy.
“Violence, being instrumental by nature, is rational to the extent that it is effective in reaching the end which must justify it.”
“If genius is hard to define, madness is even more so.” One chess champion’s take on the tortured life of another.
The director Stacy Title is paralyzed and cannot speak. But she is determined to make one final movie.
The writer is reluctantly whisked away to to a small house in upstate New York to attend an ayhuasca ceremony with six strangers.
Clare Malone is a staff writer for The New Yorker, where she covers the media. Her latest article is ”Hasan Minhaj’s ‘Emotional Truths.’”
“You're going to work a lot of hours if you want to be successful, and you're probably not going to make as much money as your dumb friend from college does. You're choosing it for a different reason, but I do think we have to make efforts to have the [journalism] industry be a middle-class profession.”
Dillie Nerios’s job is to convince people food is a right, not a luxury.
“Somewhere at Google there is a database containing 25 million books and nobody is allowed to read them.”
