Fresh Air on UPR Too

Many people are rapturous over the work of Wes Anderson, and for them, I expect, Moonrise Kingdom will be nirvana. The frames are quasi-symmetrical: a strong center, often human, with misaligned objects on each side suggesting a universe that's slightly out of balance, like a series of discombobulated dollhouses.

This interview was originally broadcast on August 25, 2011. The Leftovers is now available in paperback.

Last year, California-based preacher Harold Camping announced that the beginning of the end of the world would take place on May 21, 2011. The date passed by with no apparent rapture, and Camping became the butt of many late-night talk show jokes.

If you see the new Wes Anderson movie Moonrise Kingdom, you'll hear background music from composers Benjamin Britten and Alexandre Desplat, as well as several songs from Hank Williams.

If you're a parent, you may have wondered what your kids are texting to each other or posting on their Facebook pages. Or maybe you've thought about it and decided you don't want to know.

That's not the best approach, says child advocate James Steyer. Steyer runs Common Sense Media, an organization that helps parents decide which kinds of technology are age-appropriate for their kids.

After hearing a lot about barefoot running, New York Times Phys Ed columnist Gretchen Reynolds decided to try it out for herself. An amateur runner for several decades, Reynolds says she thought the transition would be easy. But almost immediately, she got injured.

Not many classical pianists maintain blogs where they ruminate on everything from eating a terrible bowl of meatballs while on tour with Joshua Bell to seeing Twilight: New Moon (twice) and hearing strains of a Schubert song.

In 1935, George Gershwin brought the script for his folk opera Porgy and Bess to the opera's original cast, which was entirely made up of African-American actors. "[In the original], every other word was N-word this, N-word that," says actor David Alan Grier. "[And] there's a very famous story: Al Jolson really wanted to play Porgy, in blackface."

John Fullbright's voice rises up and around the guitar chords in "Me Wanting You," his tone intended to haunt the person he's addressing. His desire, his "me wanting you," is as direct as he can possibly make it — it's not a cry of despair or hope or lust. It's the sound of someone intent on making as strong a connection with the listener as he possibly can.