After that interview, we set up an interview with poet Brian Turner, whose poems took Nagl back to his days fighting in Iraq - back to the ghosts he tried to put away. Turner was a team leader for the 3rd Stryker Brigade Combat Team. It was the first Stryker brigade to be sent into the combat zone in Iraq in 2003. Turner's book of poems about Iraq is called "Here, Bullet."
Let me ask you to read the title poem from your collection "Here, Bullet."
This interview was originally broadcast on Nov. 5, 2001.
Quincy Jones is one of those people to whom the word "legendary" is often attached. So it was no surprise when, on May 18, the 80-year-old Jones was inducted into the Rock and Roll Hall Of Fame.
Jones grew up poor on the south side of Chicago during the Depression, but moved to Seattle when he was 10. It was there, as a teenager, that Jones befriended and began collaborating with Ray Charles — a friendship that would remain strong until Charles' death in 2004.
U.S. Navy sailors form a ceremonial guard at a wreath-laying ceremony to memorialize the victims of the attack on Pearl Harbor and pay tribute to the veterans of World War II in front of the Lone Sailor statue at the Naval Memorial in Washington, D.C., in December 2003.
In the fall of 1945, my father was honorably discharged from the Navy. He was one of the lucky ones. He'd served on a destroyer escort during the war, first in convoys dodging U-boats in the Atlantic and then in the Pacific where his ship, the USS Schmitt, shot down two kamikaze planes. My dad always kept a framed picture of the Schmitt above his dresser, but, like most men of his generation, he didn't talk a lot about his war years.
Fresh Air Weekend highlights some of the best interviews and reviews from past weeks and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors and musicians, and often includes excerpts from live in-studio concerts. This week:
Lately I've been re-watching vintage Truffaut movies, and I've been struck by the resurgent influence on American independent films of the French New Wave of the late '50s and '60s.
The Truffaut borrowings are fairly explicit in Noah Baumbach's Frances Ha, while Richard Linklater's Before Midnight takes its cues from Eric Rohmer's gentle but expansive talkfests. That's not a criticism: With mainstream movies seeming ever more machine-tooled nowadays, the impulse to reach back to an age of free-form filmmaking feels especially liberating.