A pre-recession essay on becoming extremely wealthy.

After a Chinese immigrant couple were charged in their daughter’s death, supporters say they’re vulnerable targets of the American justice system.

A critical look at the contemporary art marketplace.

The trouble is that a business model has come to drive the entire art world, and like the corporate executive who regards the launch of each new product as a challenge to the success of the last one, because you must keep growing or you will die, the arts community finds itself in a state of permanent anxiety. There always has to be a new artist whom the media will embrace as enthusiastically as they embraced Warhol; there always has to be a show that will top the excitement generated by the last blockbuster at the Modern or the Met.

Norma Claypool earned notoriety for welcoming 15 “hard-to-adopt” children into her Baltimore home. Norma Claypool is also elderly and blind.

Tracking the Nazi doctor’s bones through South America.

A conversation with the comedian.

JW: You’ve talked about how you’ve had to explain moral lessons to your daughters, but do it in an inarticulate, catchy way. It’s almost as though you’re writing material for them. What’s the place of morality and ethics in your comedy? I think those are questions people live with all the time, and I think there’s a lazy not answering of them now, everyone sheepishly goes, “Oh, I’m just not doing it, I’m not doing the right thing.” There are people that really live by doing the right thing, but I don’t know what that is, I’m really curious about that. I’m really curious about what people think they’re doing when they’re doing something evil, casually.

Inside the Shel Silverstein archive.

One of the things you learn is that “polymath” doesn’t even begin to describe Silverstein. His creativity extended in so many directions that his archivists must be versed not just in turn-of-the-century world children’s literature, but Waylon Jennings’s deep cuts; not just in reel-to-reel tape preservation, but how to keep an old restaurant napkin scribbled with lyrics from falling apart.

A profile of the Russian spy-turned-Maxim covergirl.

The main thing that attracts me to Buddhism is probably what attracts every artist to being an artist—that it’s a godlike thing. You are the ultimate authority. There is no other ultimate authority. Now, for some artists that’s difficult, because they want to have the art police. They want to have the critic who hands out tickets and says, “That’s too loose.”

A profile of legendary Houston socialite Becca Cason Thrash.

A profile of celebrity astrophysicist Neil Tyson.

A memory of interviewing the late great songwriter Townes Van Zandt shortly before his death.

The dissolution of Brooklyn softcore skin-mag Jacques and the marriage of the couple that created it.

A profile.

Because business ebbs and flows with the seasons and the economy, Holmes, who lives in Upper Marlboro, has always kept a variety of sidelines, including a job driving a limousine for nine years to put his oldest daughter through a private high school and college. These days, at gigs, he hands out a stack of million-dollar "bills" printed with his image and his current enterprises: bandleader, commercial mortgage broker, hard money lender (slogan: "Hard Money with a Soft Touch").

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 story of eight young people who died in a New Orleans squat fire.

On a child diagnosed with autism:

The worst part was that I knew he sensed it, too. In the same way that I know when he wants vegetable puffs or puréed fruit by the subtle pitch of his cries, I could tell that he also perceived the change—and feared it. At night he was terrified to go to bed, needing to hold my fingers with one hand and touch my face with the other in order to get the few hours of sleep he managed. Every morning he was different. Another word was gone, another moment of eye contact was lost. He began to cry in a way that was untranslatable. The wails were not meant as messages to be decoded; they were terrified expressions of being beyond expression itself.

A doctor reveals widespread organ harvesting of prisoners in China.

A profile of Carrie Brownstein, riot grrrl and creator of Portlandia.

A profile of John Williams.

TheFacebook, as it was then called, had just reached 1.5 million users:

In the end, Zuckerberg says, quarrels over money rarely come up because money is not their priority. “We’re in a really interesting place because if you look at the assets we have, we’re fucking rich,” Zuckerberg adds. “But if you look at like the cash and the amount of money we have to live with, we’re dirt poor. All the stuff we own is tied up in random assets” like servers and the company itself. “Living like we do now, it’s, like, not that big of a deal for us. We’re not like, Aw man, I wish I had a million dollars now. Because, like, we kind of like living like college students and being dirty. It’s fun."

Coping with a brother’s suicide.

We tell stories about the dead in order that they may live, if not in body then at least in mind—the minds of those left behind. Although the dead couldn’t care less about these stories—all available evidence suggests the dead don’t care about much—it seems that if we tell them often enough, and listen carefully to the stories of others, our knowledge of the dead can deepen and grow. If we persist in this process, digging and sifting, we had better be prepared for hard truths; like rocks beneath the surface of a plowed field, they show themselves eventually.

How Viennese psychologist Ernest Dichter transformed advertising:

What makes soap interesting? Why choose one brand over another? Dichter’s first contract was with the Compton Advertising Agency, to help them sell Ivory soap. Market research typically involved asking shoppers questions like “Why do you use this brand of soap?” Or, more provocatively, “Why don’t you use this brand of soap?” Regarding such lines of inquiry as useless, Dichter instead conducted a hundred so-called “depth interviews”, or open-ended conversations, about his subjects’ most recent scrubbing experiences. The approach was not unlike therapy, with Dichter mining the responses for encoded, unconscious motives and desires. In the case of soap, he found that bathing was a ritual that afforded rare moments of personal indulgence, particularly before a romantic date (“You never can tell,” explained one woman). He discerned an erotic element to bathing, observing that “one of the few occasions when the puritanical American [is] allowed to caress himself or herself [is] while applying soap.” As for why customers picked a particular brand, Dichter concluded that it wasn’t exactly the smell or price or look or feel of the soap, but all that and something else besides—that is, the gestalt or “personality” of the soap.

In 2008, a 38-year old Oklahoma nurse whom I'll call Kelly adopted an eight-year old girl, "Mary," from Ethiopia. It was the second adoption for Kelly, following one from Guatemala. She'd sought out a child from Ethiopia in the hopes of avoiding some of the ethical problems of adopting from Guatemala: widespread stories of birthmothers coerced to give up their babies and even payments and abductions at the hands of brokers procuring adoptees for unwitting U.S. parents. Now, even after using a reputable agency in Ethiopia, Kelly has come to believe that Mary never should have been placed for adoption.