In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the concept of villainy. What was so Machiavellian about Machiavelli? Why don't we see Batman the same way we see Bernhard Goetz? Who's more worthy of our vitriol - Bill Clinton or Don Henley? What was O.J. Simpson's second-worst decision? Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero.

From the kid who brought you Fargo Rock City, the first book in history to garner the praise of Stephen King, David Byrne, Donna Gaines, Sebastian Bach, Jonathan Lethem, and Rivers Cuomo, comes Sex, Drugs, and Cocoa Puffs, the first book in history to examine breakfast cereal, reality television, tribute bands, Internet porn, serial killers, and the Dixie Chicks.

Chuck Klosterman IV consists of three parts:

THINGS THAT ARE TRUE
Profiles and trend stories: Britney Spears, Val Kilmer, McDonalds, '70s rock band nostalgia cruises. With new introductions and asides.

Fair warning: Raised in Captivity does not slot into a smooth preexisting groove. If Saul Steinberg and Italo Calvino had adopted a child from a Romanian orphanage and raised him on Gary Larsen and Thomas Bernhard, he would still be nothing like Chuck Klosterman. They might be good company, though. Funny, wise and weird in equal measure, Raised in Captivity bids fair to be one of the most original and exciting story collections in recent memory, a fever graph of our deepest unvoiced hopes, fears and preoccupations.

We live in a culture of casual certitude. This has always been the case, no matter how often that certainty has failed. Though no generation believes there's nothing left to learn, every generation unconsciously assumes that what has already been defined and accepted is (probably) pretty close to how reality will be viewed in perpetuity. And then, of course, time passes. Ideas shift. Opinions invert. What once seemed reasonable eventually becomes absurd, replaced by modern perspectives that feel even more irrefutable and secure - until, of course, they don't.

In Eating the Dinosaur, Klosterman is more entertaining and incisive than ever. Whether he's dissecting the boredom of voyeurism, the reason why music fan's inevitably hate their favorite band's latest album, or why we love watching can't-miss superstars fail spectacularly, Klosterman remains obsessed with the relationship between expectation, reality, and living history. It's amateur anthropology for the present tense, and sometimes it's incredibly funny.

For 6,557 miles, Chuck Klosterman thought about dying. He drove a rental car from New York to Rhode Island to Georgia to Mississippi to Iowa to Minneapolis to Fargo to Seattle, and he chased death and rock 'n' roll all the way. Within the span of 21 days, Chuck had three relationships end, one by choice, one by chance, and one by exhaustion. He snorted cocaine in a graveyard. He walked a half-mile through a bean field.

Somewhere in North Dakota, there is a town called Owl that isn't there. Disco is over, but punk never happened. They don't have cable. They don't really have pop culture, unless you count grain prices and alcoholism. People work hard and then they die. They hate the government and impregnate teenage girls. But that's not nearly as awful as it sounds; in fact, sometimes it's perfect.

Therapist Victoria Vick is contacted by a cryptic, unlikable man who insists his situation is unique and unfathomable. Vick becomes convinced that he suffers from a complex set of delusions: Y__, as she refers to him, claims to be a scientist who has stolen cloaking technology from an aborted government project in order to render himself nearly invisible. Unsure of his motives or honesty, Vick becomes obsessed with her patient....

Do lobsters feel pain? Did Franz Kafka have a funny bone? What is John Updike's deal, anyway? And what happens when adult video starlets meet their fans in person? David Foster Wallace answers these questions and more in essays that are also enthralling narrative adventures.

In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with Cinema Speculation, the time has come, and the results are everything his passionate fans—and all movie lovers—could have hoped for. Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining.

The 1990s were a chaotic and utterly magical time for music, a confounding barrage of genres and lifestyles and superstars, from grunge to hip-hop, from sumptuous R&B to rambunctious ska-punk, from Axl to Kurt to Missy to Santana to Tupac to Britney. In 60 SONGS THAT EXPLAIN THE '90s, Ringer music critic Rob Harvilla reimagines all the earwormy, iconic hits Gen Xers pine for with vivid historical storytelling, sharp critical analysis, rampant loopiness, and wryly personal ruminations on the most bizarre, joyous, and inescapable songs from a decade we both regret entirely and miss desperately.

In the second half of the 20th century New York was the source of new sounds, including the Greenwich Village folk scene, punk and new wave, and hip-hop. But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war.

Seasoned music writer Dan Ozzi chronicles this embattled era in punk. Focusing on eleven prominent bands who made the jump from indie to major, Sellout charts the twists and turns of the last “gold rush” of the music industry, where some groups “sold out” and rose to surprise super stardom, while others buckled under mounting pressures. Sellout is both a gripping history of the music industry’s evolution, and a punk rock lover’s guide to the chaotic darlings of the post-grunge era.

Bob Odenkirk’s career is inexplicable. And yet he will try like hell to explicate it for you. Charting a “Homeric” decades-long “odyssey” from his origins in the seedy comedy clubs of Chicago to a dramatic career full of award nominations - with a side trip into the action-man world that is baffling to all who know him - it’s almost like there are many Bob Odenkirks! But there is just one and one is plenty. Featuring humorous tangents, wild characters, and Bob’s trademark unflinching drive, Comedy Comedy Comedy Drama is a classic tale told by a determined idiot.

Fair warning: Raised in Captivity does not slot into a smooth preexisting groove. If Saul Steinberg and Italo Calvino had adopted a child from a Romanian orphanage and raised him on Gary Larsen and Thomas Bernhard, he would still be nothing like Chuck Klosterman. They might be good company, though. Funny, wise and weird in equal measure, Raised in Captivity bids fair to be one of the most original and exciting story collections in recent memory, a fever graph of our deepest unvoiced hopes, fears and preoccupations.

We live in a culture of casual certitude. This has always been the case, no matter how often that certainty has failed. Though no generation believes there's nothing left to learn, every generation unconsciously assumes that what has already been defined and accepted is (probably) pretty close to how reality will be viewed in perpetuity. And then, of course, time passes. Ideas shift. Opinions invert. What once seemed reasonable eventually becomes absurd, replaced by modern perspectives that feel even more irrefutable and secure - until, of course, they don't.

It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. Landlines fell to cell phones, the internet exploded, and pop culture accelerated without the aid of technology that remembered everything. It was the last era with a real mainstream to either identify with or oppose. The ’90s brought about a revolution in the human condition, and a shift in consciousness, that we’re still struggling to understand.

For 6,557 miles, Chuck Klosterman thought about dying. He drove a rental car from New York to Rhode Island to Georgia to Mississippi to Iowa to Minneapolis to Fargo to Seattle, and he chased death and rock 'n' roll all the way. Within the span of 21 days, Chuck had three relationships end, one by choice, one by chance, and one by exhaustion. He snorted cocaine in a graveyard. He walked a half-mile through a bean field.

From the kid who brought you Fargo Rock City, the first book in history to garner the praise of Stephen King, David Byrne, Donna Gaines, Sebastian Bach, Jonathan Lethem, and Rivers Cuomo, comes Sex, Drugs, and Cocoa Puffs, the first book in history to examine breakfast cereal, reality television, tribute bands, Internet porn, serial killers, and the Dixie Chicks.