Mohsin Hamid's latest novel is called How to Get Filthy Rich in Rising Asia.
Jonathan Lethem's latest novel, Dissident Gardens, is expansive in scale. Chronologically speaking, it begins in the 1930s with Communist Party meetings in the U.S. It passes through the rise of McCarthyism, the establishment of the New York Mets, the hippie Age of Aquarius and the AIDS crisis. It ventures briefly abroad, to such places as behind-the-Iron-Curtain East Germany and war-torn Nicaragua. It ends in the Obama era of Occupy sit-ins and a rampant TSA.
There are a lot of operas that end with heroines on their deathbeds, singing one glorious aria before they die. That's what happens at the end of Anna Nicole, the controversial new work that New York City Opera is presenting at the Brooklyn Academy of Music in September. But the company's artistic director and general manager, George Steel, says it could also be City Opera's last gasp.
Seriously, if you were being attacked by zombies, you might yell out the word f- - -! But no one does on The Walking Dead. When it comes to language in this golden age of basic cable dramas, the rules are idiosyncratic and unclear.
"It's so arbitrary, hon," says Kurt Sutter. "It's just basically people in suits making up the rules."
Currency expert Ben Mazzotta of the Fletcher School at Tufts University, speaking to CBSMiami/CNN about the U.S. Treasury Department's efforts to create a newly designed $100 note that is more difficult to replicate.