Josh Clark

The Best Stuff We've Read This Week

The Best Stuff We've Read This Week

Murder, They Wrote On Dissent, Laura Marsh writes about how the reignited public passion for true crime stories hasn't translated into support for victims' rights, reforming the justice system or other positive real-world outcomes.

The Man Who Was Buried Twice In The Appendix, Mary Draper writes about Lewis Galdy, a 17th-century resident of Port Royal, Jamaica, who survived the terrible earthquake there.

Inside Jobs On Cabinet, Geoff Manaugh writes about two cat burglars who found secret passages for use in the crimes they carried out.

The Bonds of Catastrophe On Cabinet, D Graham Burnett writes about the catastrophe bond market, a derivative market where bets are placed on the potential for natural disasters and mass casualties.

Bill Haast, a Man Charmed by Snakes, Dies at 100 In a 2011 New York Times obituary, Douglas Martin recounts the amazing life of a self-taught herpetologist.

Starving Settlers in Jamestown Resorted to Cannibalism On Smithsonian, Joseph Stromberg writes about the discovery of butcher marks on the skull of a 14-year-old settler.

Barn Conversion Leads to Amazing Find of Palatial Roman Villa On The Guardian, Robin McKie writes about a pleasant surprise in Wiltshire.

Something Uneasy in the Los Angeles Air On Curbed LA, Adrian Glick Kudler writes about the mysterious properties Los Angelinos attribute to the Santa Ana winds, from increases in suicide to excess serotonin production.

New Facts Point Up Horror of Nazi Siege of Leningrad In a 1994 article in the Los Angeles Times, Matt Bivens briefly recounts some of the tragic daily life endured by the people of Leningrad from 1941-44.

Even Unto Death In the Chattanooga Times Free Press, Kevin Hardy writes about the movement among some younger adherents to bring serpent handling out of the shadows deep in Appalachia and into the mainstream of Christianity.

Before Cat Memes, There Were Louis Wain's Controversial Cat Illustrations On Atlas Obscura, Andy Wright writes about an obscure artist whose work was for years held up as an example of the progression of schizophrenia.