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An acclaimed author and historian of the libertarian movement fell to his death last week, his employer confirmed.

The body of Brian Doherty, 57, senior editor of the libertarian magazine Reason, was found Thursday “after a fall” in the Battery Yates park portion of the Golden Gate National Recreation Area, the publication wrote.

The National Parks Service law enforcement agency confirmed it responded to an incident at Battery Yates on Thursday “involving a male visitor who reportedly fell from the cliffside into the water.”

“The individual was recovered and pronounced dead,” said Scott Carr, parks service spokesperson, in an email. “We do not have any further information to share at this time.”

The Golden Gate Bridge is seen from the Fort Baker Marina in the Golden Gate National Recreation Area in San Francisco. Doherty was found in the Battery Yates park portion of the recreation area.

(Los Angeles Times)

Doherty was the author of several books, with Reason saying his most notable work was the 2007 study “Radicals for Capitalism: A Freewheeling History of the Modern American Libertarian Movement.”

“Doherty has rescued libertarianism from its own obscurity,” the Wall Street Journal wrote of the work, “eloquently capturing the appeal of the ‘pure idea.’”

Libertarianism’s role in gun control and the courts was the subject of his works, and Doherty had no shortage of admirers.

Loren Dean, chair of the Libertarian Party of California, said it was Doherty’s work at Reason that brought him into the liberty movement.

“Brian Doherty was the best kind of libertarian: one who holds true to the principles of liberty as they are,” Dean said in an email. “He was a tireless champion of both gun rights and police reform who wrote books on both [former U.S. Rep.] Ron Paul and Burning Man; his work did not sit on either the ‘left’ or ‘right’ side of the authoritarian box, but delightfully outside that tired frame, where libertarian principles truly sing.”

Doherty began working at Reason in 1994, according to the publication’s obituary, left the company and returned in 2000 at the behest of Nick Gillespie, then editor-in-chief.

“What I liked most about Brian was his abiding interest in things happening on the margins of American culture, politics, and thought, and his deep appreciation for the prodigious bounty that markets deliver reliably and without moralizing,” Gillespie wrote in his farewell to Doherty, who had many opinion pieces published in The Times.

Far from just heady subjects, Doherty covered “both libertarian and whimsical” subcultures, according to the obituary, including New Hampshire’s Free State Project and the Seasteaders, a growing community of individuals dedicated to living on the seas.

The Seasteading Institute tweeted its condolences and noted the group had “appreciated his coverage of seasteading over the years.”

Doherty was a native of Queens, majored in journalism at the University of Florida and joined the college’s libertarian group in 1987, according to Reason’s obituary.

He moved to Los Angeles in the mid-1990s and joined a group known as the Cacophony Society, a gang who “inspired or created phenomenon ranging from the novel/movie Fight Club to urban exploration, billboard alteration, the Yes Men, flash mobs, and ‘Santa Rampages,’” according to the obituary.

One of those projects translated into the formation of the annual Burning Man festival, the obituary stated. Doherty later chronicled the famed artsy, hippie-like festival in his book “This Is Burning Man.”

“Libertarians talk a lot about freedom and responsibility. Brian embodied both,” Reason Editor-in-Chief Katherine Mangu-Ward said in his obituary. “His weird, colorful life — filled with comics and festivals and music and books — was a model of life lived freely and openly.”

The L.A. Times Festival of Books is back for its 31st year.

The event will feature authors, poets, artists and podcasters across panels, book signings, cooking demonstrations and screenings. This year’s lineup includes comedian Larry David, actor and Booker Prize judge Sarah Jessica Parker, musician Lionel Richie, Beyoncé’s mother and multihyphenate Tina Knowles, bestselling author and social critic Roxane Gay and News & Documentary Emmy- and Peabody-nominated scholar Reza Aslan, among others.

Scheduled for April 18 and 19, the literary festival will feature more than 550 storytellers and nearly 100 panels across the University of Southern California’s campus.

Other notable personalities include: Pat Benatar, Blippi, Mark Harmon, David Duchovny, Susan Lucci, Jennie Garth, Hannah Brown, Anne Lamott, Chanel Miller, Lisa Rinna, Stephanie Garber, Jon Klassen, Mac Barnett, Meghan Quinn, Hayley Kiyoko, Megan McDonald, Elyse Myers, Eli Rallo, Raegan Revord and Molly Jong-Fast.

As part of the Ideas Exchange speaker series, Richie will sit down with Times Pop Music Critic Mikael Wood, to discuss “Truly,” Richie’s new memoir. The book explores the singer’s upbringing in Alabama and his rise to stardom, including performing with the Commodores.

On Saturday, Sarah Jessica Parker and Alexandra Oliva join the festival to discuss Oliva’s new SJP Lit novel “The Radiant Dark.” The following day, Larry David and Times News and Culture Critic Lorraine Ali will talk about Ali’s new book, “No Lessons Learned: The Making of Curb Your Enthusiasm.”

This year’s event will debut the Audiobook and Podcast Stage presented by Spotify, hosting talent like “Crimes of The Times” host and Times writer Christopher Goffard and “Remarkably Bright Creatures” bestselling author Shelby Van Pelt. The festival will also screen a preview of the Hulu show “Rivals,” which will be followed by a discussion between producer and writer Dominic Treadwell-Collins and actor Nafessa Williams.

At the Times Food Stage, Cassandra Peterson, known for her work as Elvira, will be demoing from her book “Elvira’s Cookbook From Hell.” Culinary influencer Cassie Yeung will also be stopping by to discuss recipes from her new Asian takeout cookbook “Bad B*tch in the Kitch.”

The festival will kick off April 17 with The Times hosting the 46th annual L.A. Times Book Prizes at Bovard Auditorium. The ceremony will honor Amy Tan with the Robert Kirsch Award for lifetime achievement, We Need Diverse Books with the Innovator’s Award and Adam Ross with the Christopher Isherwood Prize for Autobiographical Prose. The prizes recognize 61 works in 13 categories.

General admission to the festival is free. Friend of the Festival packages, which include panel reservations, parking and merchandise, are currently on sale.

In “Rooster,” a genial comedy premiering Sunday on HBO, Steve Carell, comfortable as an uncomfortable person, plays Greg Russo, the author of a best-selling series of books whose hero is named Rooster. He has come to leafy, fictional Ludlow College to give a reading, but also because it’s where his daughter, Katie (Charly Clive) teaches art history, and because it’s all over school that her husband, Archie (Phil Dunster), a history professor, has left her for Sunny (Lauren Tsai), a graduate student in neuroscience. He’s a concerned father.

“They are light; they are fun. The characters that you like have sex, the ones you don’t get shot in the face,” Greg tells poetry professor Dylan (Danielle Deadwyler) of the “beach read” books he writes, as she ushers him to an auditorium. Unlike his fictional alter ego, Greg is by his own account a self-conscious introvert, heightened by the fact that his ex-wife, Elizabeth (Connie Britton) — “a philanthropist, a pioneer in corporate gender equality and an accomplished CEO” whose name adorns the school’s new student center — left him five years earlier and he never moved on. Additionally, Greg likes nuts and cocoa, can toss a penny into a jar from across a room, and played minor league hockey, which will put him back on skates here.

College president Walter Mann (John C. McGinley) decides it would be “a feather in his cap” to hire a reluctant Greg, “a best-selling author that the parents have actually heard of,” as an artist-in-residence — a deal he makes impossible to refuse by agreeing to keep Katie on staff after she accidentally burns down Archie’s house. (She was only trying to burn his first edition of “War & Peace.”) It’s a role quite like the one McGinley played/plays on “Scrubs,” but more politic and better dressed, when dressed — he takes meetings in his backyard sauna.

And they’re off.

Poetry professor Dylan (Danielle Deadwyler) and author Greg (Steve Carell) become colleagues when Greg is named artist-in-residence.

(Katrina Marcinowski / HBO)

The series was created by Bill Lawrence (“Ted Lasso,” “Shrinking,” “Scrubs,” “Bad Monkey”) and frequent collaborator Matt Tarses, and as men of at least a certain age, the view is slanted from experience back toward innocence; students play a secondary, though not insignificant role in the story. There are some pro forma jokes about the sensitivities of the young, with Greg getting into not-very-hot water over misunderstood references to “white whale” and the Bangles’ “Walk Like an Egyptian.” (“Liberal arts college used to be havens for free thought, Greg,” says Walt. “When did you and I become the bad guys?”) Not that the olds are reliably smart about life — the ways in which they’re not power the series — but they have a better notion of where they’re stupid.

“No one must be humiliated,” Greg says to Archie, quoting Chekhov, as Archie goes off to talk to Katie. (The quote is in the animated opening titles as well, so you can take it as important.) But no one here is out to humiliate anyone, which is nasty and unkind and not at all the sort of humor Lawrence trades in. Of course, characters will be put into embarrassing positions, or embarrass themselves, embarrassment being the root of all comedy, or near enough. (There’s a good bit of slapstick knitted in.) And though we’re told that “there are real villains lurking around this place,” niceness reigns — at least through the six episodes, of 10, available to review — with the possible exception of Alan Ruck as the dean of English. (“There’s no way she wrote all these poems,” he says of Emily Dickinson.)

Though there are couples, and ex-couples and new couples, one doesn’t necessarily feel invested in their getting together, or staying together, or getting back together. Indeed, as in other Lawrence projects — which typically feature divorced or separated characters — romance is a sort of side dish, less the issue than whether people are managing to treat one another well. We knew Ted Lasso wasn’t going to get his wife back, but it wasn’t the point (nor was winning games, really); kindness was what mattered. Greg’s possibly pre-romantic friendship with Dylan is no more significant than his cross-generational friendship with a group of goofball students (led by Maximo Solas as Tommy); they treat each other as peers, while knowing they aren’t. He teaches them that peanut butter can make celery better, and they teach him that he’s cooler than he thinks.

Katie, who says she still loves Archie — who says he still loves her — will also call him “a run-of-the-mill narcissistic a— who sometimes smells like wildflowers.” (As for Sunny, practical and deadpan — that no one gets her jokes is a running joke — not even Archie can see what she sees in him, a problem you might have as well, but, as is true of most everyone here, we’re not meant to merely write him off. Funny secondary characters, who get some of the best business, notably include Rory Scovel as a cop who can’t keep track of his gun, Robby Hoffman as Sunny’s intense, anti-Archie roommate and Annie Mumolo (co-writer of “Bridesmaids”) as Walt’s arch assistant.

Old-but-not-that-old-fashioned, “Rooster” has a tinge of Gen X nostalgia, underscored by the ’80s college radio classics that line the soundtrack. (R.E.M.’s Michael Stipe co-wrote and sings the series’ theme, and Greg, drunk and in a mood, will kill a party getting the DJ to play “Everybody Hurts.” Directed by Jonathan Krisel (“Portlandia,” “Baskets”), it’s low stakes, soft-edged, humane, basically gentle, a little fantastic, a little farcical, well cast and well played in every instance — qualities I happen to like, and maybe you do, too.

For decades, Iranian novelist and memoirist Shahrnush Parsipur wrote under the threat of her country’s oppressive laws. Parsipur was imprisoned for her work four separate times: once under the shah, who ruled Iran before the Islamic Revolution of 1979, and three times under the regime that took power that year.

Despite this Damoclean sword hanging over her, she managed in 1989 to publish “Touba and the Meaning of Night,” a sweeping historical novel that lays bare Iran’s crushing patriarchal culture. In 1990, she wrote “Women Without Men,” a book of connected stories that trace the lives of five women, including a sex worker and schoolteacher, in search of liberation and self-actualization.

Shortly after the book’s publication, the Iranian government threw Parsipur in prison for a fourth time, where she remained for over four years.

Flash forward 36 years, and an English translation of “Women Without Men” has published in the U.K. for the first time. (The first U.S. English translation was published by Feminist Press in 2011.)

Now, the U.K. book has been nominated for this year’s International Booker Prize. In an email exchange, Parsipur, who presently lives in exile in Northern California, expounded on her career, Iran and the recent developments there.

✍️ Author Chat

(The L.A. Times may earn a commission from bookshop.org links.)

Women Without Men was longlisted for the 2026 International Booker Prize

(The Feminist Press)

What is your feeling about the U.S. air attack against Iran?

I am very sorry for my country. People suffer and the country becomes ruined. I will never forgive Israel and the U.S. I am an American also and as an American I want to stop the war. I do not think that Americans and Israelis can bring liberty to Iran. The people of Iran must try for themselves.

The government threw you in prison shortly after you published “Women Without Men.”

I was never a political activist and they did not torture me. But one time they put me in a grave for two months in Ghezel Hesar Prison. There, we always had to sit without speaking and our eyes were closed by a cover and we listened to Islamic slogans.

So it was solitary confinement?

We were sitting in a space the size of a grave and there was a wooden wall between every grave, so you could not see anything except your grave.

Did you write in prison?

Yes, I began to write my novel “Touba and the Meaning of Night.” I wrote half of it and suddenly they took it and after one year the men of Ayatollah Montazeri came to prison and they gave me the novel. They had destroyed two pages that were about the killing of a girl. I thought the virginity of my book was ruined. So I burned it. I wrote my memoirs when I came to the U.S.

So you burned the book and then rewrote it?

When my prison term finished I wrote “Touba” again.

Do you still have family in Iran?

Yes, I have some family in Iran and I cannot contact them. The internet does not work and mobiles are silent.

Do you think change in Iran will come soon? Will the U.S. help to liberalize the country?

The Islamic laws must change and a country like Israel cannot do that. So, the Iranian must change the situation. All my books are banned in Iran, except ones that they change themselves. But “Women Without Men” is published in more than 30 countries. The Booker International Prize is an English prize and if they give it to me there is no relation with banning the book in Iran. I am not surprised about the situation.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

“‘Second Skin’ is more sociological than sexy; more anthropological than animalistic,” writes Meredith Maran.

(Los Angeles Times illustration; book jacket from Catapult)

Julia M. Klein is fascinated by Loubna Mrie’s memoir “Defiance,” which, she writes, “offers a prism on Syria’s authoritarian society before the 2011 uprising and subsequent civil war, and vivid snapshots of the devastation that the war unleashed.”

Mark Athitakis considers two books that tackle the old “New Hollywood” of the late ’60s and early ’70s: Paul Fischer’s “The Last Kings of Hollywood,” which spotlights the Coppola, Lucas and Spielberg pantheon, and Kirk Ellis’ “They Kill People,” about the making of “Bonnie and Clyde.” Athitakis calls Ellis’ history “a meaty yet accessible book that captures the lightning-in-a-bottle nature of the generation’s ur-text,” while Fischer’s book “has a gift for highlighting the ways that moments that we now accept as inevitable were often the product of dumb luck.”

Diane Garrett has a chat with Elizabeth Arnott about her novel “The Secret Lives of Murderers’ Wives,” which she calls “an empathetic and at times bracing mystery tale about unlikely crime solvers circa 1966.”

Finally, Costa Beavin Pappas considers Brian Raftery’s curiously titled “Hannibal Lecter: A Life,” which is really a biography of Lecter’s creator, author Thomas Harris. “For fans of true crime, Raftery has written a fascinating biography and origin story about one of pop culture’s most emblematic serial killers, and his lasting bite on society,” writes Pappas.

📖 Bookstore Faves

Taschen Beverly Hills sells eye-catching artistic works

(TASCHEN)

Taschen Beverly Hills may well be the most gorgeous bookstore in Los Angeles, all gleaming, polished wood and ambient light illuminating the store’s lavishly illustrated art and design books. The shop opened over two decades ago as a showcase for the German publisher’s catalog, and it remains a popular destination for tourists and Taschen cultists who collect the company’s highly collectible titles. I spoke with Taschen Executive Director Creed Poulson about what’s selling right now.

What is the store’s clientele?

At the risk of sounding like a marketing manager, we have something for everyone, because our price points range from $10 up to thousands of dollars. Which allows us to have a mixed clientele in the store.

I know there is a kind of Taschen cult, folks who will buy your books because of your reputation.

That comes from our owner Benedikt Taschen, who is a collector and understands the mindset of a collector. Our books become collectible, regardless of the cost.

What is selling right now?

“Ferrari” by Pino Allievi, who is one of Formula One’s best known correspondents. “The James Bond Archives,” which is edited by Paul Duncan, and “Ultimate Collector Watches” by Charlotte and Peter Fiell.

Lately, there has been a turn among Gen Z into all things analog. Have you seen younger customers come into the store?

Yes, absolutely. I’m seeing a lot of the younger generation coming, especially during our annual sales — fans that are migrating away from just looking at images online, into book collecting. They want a tactile object they can hold and feel, and they want something they can enjoy as an object.

LIFE Film Festival (Latina Independent Film Extravaganza) returns to Los Angeles this week for its 13th year. Founded by “Real Women Have Curves” playwright Josefina López, the festival will screen over 60 short films and four feature movies at Casa 0101 in Boyle Heights, and for the first time at Cinépolis in Pico Rivera.

From Thursday to Sunday, LIFE Film Festival will offer a series of workshops and networking opportunities where aspiring filmmakers will have a chance to learn from Latinas in Hollywood, like Emmy Award-winning editor Michelle Tesoro, who worked on Netflix’s “The Queen’s Gambit” and the 2023 film “Maestro.”

Since López founded LIFE Film Festival in 2013, her commitment remains the same: to celebrate Latino stories in cinema and empower the next generation of Latina filmmakers.

As a Chicana screenwriter and producer for over 30 years, López knows firsthand the underrepresentation of Latinos in Hollywood films. “Latinos are the majority here in California, and we’re still rendered invisible, even though the industry is right in our backyard,” López said. “They just really don’t want to invest in our stories.”

According to UCLA’s 2025 Hollywood Diversity Report, which looked at the 104 top-performing English-language movies released in 2024, only 1% of leading roles went to Latinos; less than 5% of directors were Latino; and approximately 2% of writers were Latino in last year’s top movies. Latinos make up nearly 20% of the U.S. population.

When it comes to gender, the disparities were even more glaring. There were zero Latina directors and screenwriters in the top theatrical movie releases of 2024. In front of the camera, the numbers weren’t that much better. Less than 1 in 50 movie roles went to Latinas.

“I never knew anybody in my family who was a screenwriter, and now I’m a WGA screenwriter and I’m giving back to my community,” LIFE Film Festival co-director Cristina Nava said. “I could be the tia [to] one of these filmmakers.”

López’s response to underrepresentation extends beyond opening doors. With LIFE, she says she wants to support storytellers who are challenging Latino stereotypes. “There are all sorts of Latinos,” López said. “Yes, we are the immigrants, the servants, but we’re more than that.”

Every year, LIFE recognizes a Latina moviemaker whose work has reshaped representation within the entertainment industry, with the Lupe Ontiveros Award.

Created by López to honor the legendary Mexican American actress, the award is bestowed to a filmmaker whose work amplifies Latino voices. This year’s honoree is “Encanto” Oscar-winning producer Yvett Merino.

In her 35 year-long career, Ontiveros played the role of maids and housekeepers over 150 times. López believed that Hollywood was wasting her friend’s talents and promised to cast her as a more complex and interesting character.

López kept her word, casting Ontiveros as Carmen, the hardworking, hysterical mother in “Real Women Have Curves.” “We have to keep telling stories so that all these talented Latino actors have better opportunities than to play stereotypes,” she said.

March 2 (UPI) — In a recent interview with journalists from several Korean media outlets, Dr. Hyun Jin Preston Moon, Chairman of the Global Peace Foundation and author of The Korean Dream, warned that Korea stands at a pivotal crossroads where the decisions made and actions taken will determine the fate of the Korean Peninsula and the future direction of the Korean people for generations to come. With Washington focused on numerous global crises and lacking a clear policy towards North Korea, he said, it is precisely now that the Korean people must assert themselves in support of a free and unified homeland.

The interview took place amid deepening inter-Korean tensions. At the end of 2023, North Korean leader Kim Jong Un formally abandoned the goal of unification which had existed since the formation of North Korea under his grandfather Kim Il Sung’s rule. He designated the two Koreas as “hostile states” and ordered revision of the DPRK constitution to remove reunification as a national objective.

Moon defined North Korea’s formal adoption of the “two hostile states” doctrine as a structural turning point, one that exposes the fragility of the Kim regime. He said the situation demands strategic clarity rather than reliance on past engagement models, and requires that a compelling alternative vision to be placed on the table before this window of opportunity closes.

Conciliatory approaches, he said, carry meaning only when both sides share the goal of unification. When one side formally abandons that goal and redefines the other as an enemy, the entire strategic framework must be fundamentally reconsidered. Clinging to outdated models, he warned, is not diplomacy – it is self-delusion.

At the core of the alternative he is presenting is the Korean Dream – a comprehensive national vision rooted in Korea’s civilizational heritage spanning five millennia and grounded in democratic governance, economic opportunity, and fundamental human rights and freedoms for all its citizens. Rather than reacting to Pyongyang’s provocations, Moon argues, South Korea must define the peninsula’s future on its own terms. He noted that the previous Korean administration had already accepted the Korean Dream framework in principle; during the 2023 Camp David Summit, the U.S. and Japan agreed to support South Korea in its pursuit of a free and unified Korea. Moon also called for a non-governmental advisory committee to replace the current Ministry of Unification to allow for institutional continuity in how South Korea’s administration relates to North Korea, noting that the ideological reversals with each consecutive administration have long undermined inter-Korean policy.

Central to the Korean Dream vision is Hongik Ingan – the founding Korean ethos, roughly translated as “to broadly benefit humanity.” Moon describes this as the spiritual and historical bedrock of Korean identity. He emphasized that it is not an abstract ideal but a living principle that has been passed from generation to generation as part of the Korean people’s heritage and infuses unification with a high-minded purpose. Koreans must rediscover this founding spirit, he said, and see themselves not as passive pawns of geopolitical forces but as active agents with a civilizational mission.

On economic concerns, Moon was direct. Unification is not a burden but an opportunity of historic scale, he said, particularly for Korea’s younger generation. A unified Korea would integrate the more than 25 million North Korean residents into a new domestic market, rebalance its export-dependent economy, and spur large-scale infrastructure development, industrial restructuring, and expanded regional influence.

Moon drew parallels of the potential economic transformation that unification could unleash to China’s wealthy coastal cities that burgeoned with its historic shift from a centrally planned to a market economy. For the Korean Peninsula, he continued, such changes could fuel what he called a second Miracle on the Han River. The generation that seizes this moment, he said, will not merely inherit a problem but will open a new chapter of flourishing for Korean civilization.

The decisive factor shaping the Peninsula’s future, Moon argued, is neither military posture nor diplomatic maneuvering – it is public consciousness. If South Korean youth come to see unification not as a financial burden inherited from their predecessors but as a civilizational mission rooted in Hongik Ingan, that shift in public imagination will become the most powerful engine for change on the Korean Peninsula.

He pointed to North Korea’s growing internal vulnerabilities as evidence that the window for shaping the arc of history is narrowing. Rising defection rates – including among senior officials- and the regime’s deepening economic fragility suggest that the structures sustaining Kim Jong Un’s control are under mounting pressure. Moon said Kim is likely reassessing his long-term strategic options as he observes the dramatic upheaval unfolding in Iran.

“The regime’s current two-state posture is not necessarily permanent,” Moon said. “What matters is whether the right alternative is on the table.” He urged the South Korean administration to adopt the Korean Dream vision and offered to support and advise the U.S. administration as it further develops its strategy and approach to the Koreas.

Across five novels and three story collections, Lauren Groff has merged wide-screen history with intimate stories about women seeking and confronting power, including in her latest spirited — and triumphant — release “Brawler.” Along the way, Groff has become the rare literary-fiction author who’s a mainstay on the bestseller lists, and a three-time National Book Award finalist as well. On Tuesday, she’ll discuss her work at a Vroman’s Bookstore event at Pasadena Presbyterian Church with Danzy Senna, acclaimed author of “Colored Television” and other novels.

If you’re new to her work, here is where to start with Groff’s sprawling canon, which spans from steamy Florida swamps to medieval abbeys with a gift for the unexpected.

“The Monsters of Templeton: A Novel” by Lauren Groff

(Grand Central Publishing)

“The Monsters of Templeton” (2008): Groff’s debut novel pays tribute to her hometown of Cooperstown, N.Y., featuring baseball lore, a strange aquatic creature and a young woman investigating her family history. It’s overstuffed but establishes some of her key themes: broken families, mythology and everyday misogyny.

“Delicate Edible Birds and Other Stories” by Lauren Groff

(Grand Central Publishing)

“Delicate Edible Birds” (2009): Groff’s first story collection includes “L. DeBard and Aliette,” an off-kilter love story set during the 1918 flu pandemic that caught the attention of her longtime agent, Bill Clegg. Groff’s skill at historical detail is on fine display here, shifting from the World Wars to the present day, with particular sensitivity to the ways characters evolve over decades.

“Arcadia: A Novel” by Lauren Groff

(Grand Central Publishing)

“Arcadia” (2012): Groff’s breakthrough novel features a lead character, Bit, facing two forms of pressure: First, a New York ’60s hippies commune that slowly fails to live up to its values, then a near-future America ravaged by climate change. Deftly written, funny and spiky, it showcases Groff’s ability to conjure storms both internal and external.

“Fates and Furies: A Novel” by Lauren Groff

(Riverhead)

“Fates and Furies” (2015): Groff’s masterpiece upends the familiar domestic novel, studying the fracturing marriage between Lotto, a successful playwright, and Mathilde, his seemingly devoted spouse. Through some inventive structures and a playful rewiring of romantic tropes going back to Homer, Groff stitches together a portrait of a marriage that she then carefully unravels. As one character puts it: “Marriage is made of lies. Kind ones, mostly.”

“Florida” by Lauren Groff

(Riverhead)

“Florida” (2018): Set in Groff’s adopted home — she owns a bookstore called The Lynx Books in Gainesville, Fla. — her second story collection is concerned with troubling ferality. Here, snakes hiss, as do catcalling men, girls are abandoned, hurricanes blow through. Myth and metaphor still abound, but they’re more rooted in the everyday reality of a troubled parcel of the country.

“Matrix” by Lauren Groff

(Riverhead)

“Matrix” (2021): The first of a planned trilogy of historical novels, “Matrix” is set in an English abbey in the 12th and 13th centuries. Marie, who becomes the prioress of the abbey at 17, begins a rise to power — or as much power as a woman is permitted — using her fellow nuns to fight off political and violent incursions. The theme and premise owe much to Margaret Atwood, but Groff’s gift for the long view is wholly her own.

“The Vaster Wilds,” by Lauren Groff

(Riverhead)

“The Vaster Wilds” (2023): The New World of the 17th century, in all its beauty and violence, is the setting for her latest novel, a potent study of a young woman who escapes the safety of her British settlement and sets forth on a solo trek toward Canada. Dangers are ever-present, but the novel is a study in unsentimental indomitability, as the hero reckons with the elements and her past on her way to a heartbreaking coda.

Athitakis is a writer in Phoenix and author of “The New Midwest.”

Our present podcast era has bred a new generation of interlocutors from the public sphere, veteran interviewees turned journalists. Harper Simon is among the many pro musicians who have taken on the role of insatiably curious interrogator. The singer-songwriter, who is the son of Paul Simon, has made four solo albums and toured the country both as a solo artist and sideman, but it wasn’t until he was tapped by music manager Michael Lustig in 2016 to host an internet series called “Talk Show” that Simon found his new avocation.

The cream of Simon’s interviews have now been collected in “Thinking Out Loud,” which is published by L..A. imprint Hat & Beard Press. I chatted with Simon about the art of the interview, Pink Floyd and Ed Snowden.

✍️ Author Chat

I have found that people who have been interviewed a lot are good at interviewing others. They know how to avoid the banal and obvious questions.

I’m not a trained journalist, so the conversations were closer to what Andy Warhol’s “Interview” magazine used to be. More of a casual back-and-forth, rather than me trying to ask questions or having someone promote their product. So the book is really a combination of folks that I’ve known my whole life and others that I just asked to interview.

Interviewing public figures can be a very stilted experience. And then you wind up not getting much of anything.

Interviews with journalists are a funny thing. There is always this weird, uncomfortable hierarchical relationship, where the journalist might feel superior, or the subject feels that way. It creates this strange imbalance. The journalist might feel the need to wrest some hot information from the subject, or find some aha moment and then the subject gets their guard up. I feel like the interviews in my book are very relaxed. You’re going to get some truth, even if it’s a modest truth. There were some interviews I left out of the book because the subjects seemed too media trained or too guarded.

Some of your interviewees, like Eric Idle and Buck Henry, are people you’ve known your entire life, having grown up with your dad in that kind of very stimulating artistic milieu. Does that help or hurt?

I think I might get better material from folks like that. There’s a warmth there, but I’m also a huge fan of their work, so I want to hear about Eric Idle’s work with Monty Python, or Buck Henry hosting “Saturday Night Live.” There are still plenty of stories that I’ve never heard.

Harper Simon, the artist and son of Paul Simon, has released three solo albums and toured the country. His latest project is a collection of interviews.

(Demme)

Someone like Pink Floyd’s David Gilmour has been interviewed hundreds of times in his career. What is there left to ask?

It’s kind of like my father, where the legacy is so familiar and well-known, what is there left to be said? What is there left to say about “Dark Side of The Moon”? But it turned out to be a really good interview. He had some great things to say about [Pink Floyd founder] Syd Barrett, how Gilmour felt like the other members had behaved callously towards him at times. He also speaks with great warmth about his own family.

Harry Dean Stanton is in the book, and I have to empathize. He was by far the most difficult interview subject I’ve ever had to deal with. A man of few words.

It’s funny, because I wound up doing some projects with Harry Dean, like this big tribute event to help raise money for Vidiots in Eagle Rock, but even after all of that, we didn’t get any closer. He was a very hard person to know.

You interviewed James Woolsey, and you guys were definitely not on the same page, but the tone remains civil. Don’t you think it’s important to have a reasoned discourse with someone you don’t agree with politically?

Absolutely, but that was one that definitely became contentious at times. James Woolsey had been the former head of the CIA under Clinton. So I came into the interview feeling very outgunned. I’m not a trained political journalist. But somehow I had gotten it in my head that I was Abbie Hoffman and he was J. Edgar Hoover or something. This was 10 years ago, and Edward Snowden was the big story in the news. So I led with that, and Jim Woolsey, being a good CIA man with very strong convictions, felt that Snowden was a traitor. But then he said he would like to see him hung by his neck, which felt aggressive. Then things really went off the rails when we somehow got locked into a discussion about Israel and Palestine. I remember him saying to me, “You’re just parroting the talking points of the Muslim Brotherhood.” Now I found those words echoing in my thoughts when I listen to some people discuss the current situation. I respected him and enjoyed the conversation but it was intense. I thought I held my own reasonably well but he was a tough guy to get in the ring with.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

“‘Second Skin’ is more sociological than sexy; more anthropological than animalistic,” writes Meredith Maran.

(Los Angeles Times illustration; book jacket from Catapult)

Meredith Maran thinks Anastasiia Fedorova’s book “Second Skin” does a great job of busting open the taboo of what is commonly regarded as deviant sexual desire. The book “advocates for a person’s right to like what they like and to get it consensually,” writes Maran.

Victoria Lancaster has a chat with Emily Nemens about her new novel “Clutch” and the challenges of writing about midlife among a clutch of close female friends. “I was cognizant of balance and understanding the lazy-Susan of it,” says Nemens. “Making sure I was spinning all the way around the table and touching each piece in each storyline.”

Two new novels about game-changing women in history — Janet Rich Edwards’ “Canticle” and Paula McLain’s “Skylark” — find favor with Bethanne Patrick. What these books “get right about their very different heroines and time periods is that change doesn’t happen overnight. … [But] change can and does happen, one determined woman at a time.”

Finally, on the occasion of the new screen adaptation of “Wuthering Heights,” six authors weigh in on their love of Emily Brontë’s enduring romance novel.

📖 Bookstore Faves

Skylight Books on Vermont is a staple of the Los Feliz literati.

(Joel Barhamand/For the Times)

Let us praise Skylight Books, which for over 30 years has remained a pillar of its Los Feliz community, with the main shop and the arts annex just a few doors away from each other on Vermont Boulevard. Store manager Mary Wiliams tells us what her customers are sweeping off the shelves right now.

What is selling right now?

“Vigil” by George Saunders is our biggest seller right now. Aside from that, it seems like great recent fiction in paperback is dominating the bestseller list — “Rejection” by Tony Tulathimutte, “The City and Its Uncertain Walls” by Haruki Murakami, “Martyr!” by Kaveh Akbar, and “All Fours” by Miranda July all are books that keep on selling really well for us, month after month.

Do you sell more fiction than nonfiction, or is it a tie?

We sell a good amount of both, but fiction is the bigger seller. Especially literary fiction, which is our bread and butter. On the nonfiction front, “Everything Now” by Rosecrans Baldwin is a perennial bestseller out of our Regional section — it’s a great collection of essays about Los Angeles. And everything Patti Smith touches turns to gold, so her book “Bread of Angels” is also a hit here.

Your arts annex is unlike anything else in L.A. I suppose there is still a market for cool periodicals and expensive art books that the internet hasn’t knocked out?

Our goal with the annex is for it to be a place of discoverability — where you can find the weird cool art book, comic or magazine you didn’t know you needed. We hope even our customers who are well-versed in art books find something new every visit. A fair amount of what we carry isn’t widely available online in the U.S., so when we put it on our website in our Annex Picks section and advertise it in our newsletter, we get orders from around the country.

Skylight Books in Los Angeles is located at 1818 North Vermont Ave.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)