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Michael Charry's new biography captures the power Szell brought to the Cleveland Orchestra, as well as his tempestuous personality.

The famous 1978 Lufthansa robbery is a great crime story — it was even a plot point in GoodFellas. But a new book about the heist falls flat, hampered by purple prose and pointless details.

More than 20 years ago, Dr. Hawa Abdi set out to change her broken society when she turned her 1,300-acre farmland outside Mogadishu into a camp for 90,000 internally displaced Somalis. Now she calls it Hawa Village — and it includes a hospital, school and farm.

Humans have been speaking thousands of years longer than they have been writing. Yet many assume the written word is superior to the way we speak. In What Language Is: And What It Isn't And What It Could Be, John McWhorter argues that most of our assumptions about language are wrong.

Nine artists including T-Pain, Demi Lovato and Charlie Puth have granted Google permission to use their singing voices for the new tool, Dream Track.

DiCamillo says Raymie Nightingale, the 10-year-old protagonist at the heart of her latest novel, is a lot like she was as a child: "Very introverted, watching, worrying, wondering, but also hopeful."

Patrick Dacey's debut story collection follows the people of a fictional Massachusetts town hit hard by war, weather and economic turmoil. Critic Michael Schaub praises Dacey's emotional honesty.

Anat Admati, finance professor at Stanford and co-author of a new book on American banks, argues that banks carry too much debt and have too little equity. Government support allows them to hide their risky behavior, distorting the economy as a whole, she says.

Susan Orlean's new book about one of cinema's great dogs argues that Rin Tin Tin wasn't just a dog doing tricks, but an actor who could emote and affect audiences.

Iain Sinclair, the foremost modern practitioner of "psychogeographic" nonfiction, explores the modifications to the London landscape in preparation for the 2012 Summer Olympics. This "scam of scams," as he calls it, is an expression of British state egotism.