Steve Coll was a managing editor at The Washington Post and a staff writer for The New Yorker. He won a Pulitzer Prize in 1990 for reporting about the Securities and Exchange Commission and in 2004 for his book Ghost Wars: The Secret History of the CIA, Afghanistan, and Bin Laden, from the Soviet Invasion to September 10, 2001.
In Private Empire, Pulitzer Prize-winning investigative journalist Steve Coll investigates how ExxonMobil has used its money and power to wield significant influence in Washington, D.C., particularly during the Bush administration.
Executives at the company maintained close personal connections with members of the Bush administration — but Coll says the "cliched idea that Exxon-Mobil was just an instrument of the Bush administration's foreign policy — a kind of extension of the American government during the Bush years — is just wrong."
There continues to be a lot of talk about gender bias in the book industry. The core argument goes that, while both male and female authors write novels about relationships and the domestic sphere, when a woman does so her books are relegated to "chic lit," and when a man (like Jonathan Franzen) does, he's lauded for serious literary achievement.
Originally published on Mon April 30, 2012 5:18 pm
I have to hand it to the Putumayo label. Since it started as a soundtrack-provider to a clothing store in the early '90s, the operation has placed racks of CDs with friendly-primitivist art by Nicola Heindl into Starbucks and Whole Foods everywhere. Putumayo is as responsible as anything for making music buyers ask "Where's the world music section?" in shops or online.
When Sissy Spacek started her film career, she was told to lose her heavy Texas accent. But her famous drawl became one of her greatest assets when Terrence Malick cast her in his 1973 crime drama Badlands.
Spacek played Holly, a teenage girl from South Dakota who became an accomplice on a cross-country murder spree. The film, which also starred Martin Sheen, was narrated in Spacek's distinctive Southern voice.
Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors, and musicians, and often includes excerpts from live in-studio concerts. This week:
Tom (Jason Segel) and Violet (Emily Blunt) celebrate their impending nuptials with their families before Violet drops a bomb: She's been accepted at a program at the University of Michigan, and wants to move there and postpone their wedding day.
Credit Universal Pictures
Tom, ever the devoted fiance, agrees to postpone the wedding day as life continues to throw obstacles in the couple's way.
There are many dramas and comedies in which career trajectories take couples to different corners of the country, complicating or ending romantic relationships. There will be many more, at least until someone invents a teleportation machine. What's different about each work is how the problem gets interpreted.
Originally published on Thu April 26, 2012 11:17 am
"Difficult" is probably the most tactful word one could use in characterizing Lillian Hellman. If ever there were an author safer to meet through her art rather than in real life, she was the one. Born in New Orleans into a Jewish family, Hellman came of age in the Roaring '20s, liberated by flappers and Freud. Hellman drank like a fish, swore like a sailor and slept around like, well, like most of the men in her literary circle, chief among them Dashiell Hammett, with whom she had an open relationship spanning three decades. She was, recalled one observer, a "tough broad ...
Americans generate more trash than anyone else on the planet: more than 7 pounds per person each day.
About 69 percent of that trash goes immediately into landfills. And most landfill trash is made up of containers and packaging — almost all of which should be recycled, says Pulitzer Prize-winning journalist Edward Humes,
"It's instant trash," he says. "We pay for this stuff, and it goes right into the waste bin, and we're not capturing it the way our recycling programs are intending us to capture it. We're just sticking it in the ground and building mountains out of it."