This collection is an exploration of pop culture and sports that takes a Klostermaniacal look at expectations, reality, media, and fans. Some of Chuck's questions are these: Why does a given band's most ardent fans always hate that band's most recent album? What makes the game of football appear outwardly conservative while it is inwardly radical? Why is pop culture obsessed with time travel? What do Kurt Cobain and David Koresh have in common? Why do artists, athletes, celebrities, and just about everyone else respond when interviewed, even when they should keep their mouths shut? What makes voyeurism so interesting, and what makes it so boring? And, just what the hell is irony anyway? In Klosterman's new collection, the answers are hilarious and entertaining, and the way he gets to them even more so.

Now in paperback after six hardback printings, the "damn funny...wild collection of bracingly intelligent essays about topics that aren't quite as intelligent as Chuck Klosterman" (Esquire). Following the success of Fargo Rock City, Klosterman, a senior writer at Spin magazine, is back with a hilarious and savvy manifesto for a youth gone wild on pop culture and media, taking on everything from Guns'n'Roses tribute bands to Christian fundamentalism to internet porn. "Maddeningly smart and funny" - Washington Post

New York Times bestselling author and "oneofAmerica'stop cultural critics" (Entertainment Weekly) Chuck Klosterman's debut novel brilliantly captures the charm and dread of small town life--now available in trade paperback. Somewhere in rural North Dakota, there is a fictional town called Owl. They don't have cable. They don't really have pop culture, but they do have grain prices and alcoholism. People work hard and then they die. But that's not nearly as awful as it sounds; in fact, sometimes it's perfect. Mitch Hrlicka lives in Owl. He plays high school football and worries about his weirdness, or lack thereof. Julia Rabia just moved to Owl. A history teacher, she gets free booze and falls in love with a self-loathing bison farmer. Widower and local conversationalist Horace Jones has resided in Owl for seventy-three years. They all know each other completely, except that they've never met. But when a deadly blizzard-- based on an actual storm that occurred in 1984--hits the area, their lives are derailed in unex- pected and powerful ways. An unpretentious, darkly comedic story of how it feels to exist in a community where local mythology and violent reality are pretty much the same thing, Downtown Owl is "a satisfying character study and strikes a perfect balance between the funny and the pro- found" (Publishers Weekly).

"New York Times" bestselling author of "Sex, Drugs, and Cocoa Puffs" and "Downtown Owl," "the Ethicist" of the "New York Times Magazine," Chuck Klosterman returns to fiction with his second novel--an imaginative page-turner about a therapist and her unusual patient, a man who can render himself invisible.
Therapist Victoria Vick is contacted by a cryptic, unlikable man who insists his situation is unique and unfathomable. As he slowly reveals himself, 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. He says he uses this ability to observe random individuals within their daily lives, usually when they are alone and vulnerable. Unsure of his motives or honesty, Vick becomes obsessed with her patient and the disclosure of his increasingly bizarre and disturbing tales. Over time, it threatens her career, her marriage, and her own identity.
Interspersed with notes, correspondence, and transcriptions that catalog a relationship based on curiosity and fear, "The Visible Man "touches on all of Chuck Klosterman's favorite themes--the consequence of culture, the influence of media, the complexity of voyeurism, and the existential contradiction of normalcy. Is this comedy, criticism, or horror? Not even Y__ seems to know for sure.

With an exhaustive knowledge of popular culture and an effortless ability to spin brilliant prose out of unlikely subject matter, Klosterman attacks the entire spectrum of postmodern America: reality TV, Internet porn, breakfast cereal, serial killers, Pamela Anderson, literary Jesus freaks, and the real difference between apples and oranges (of which there is none). Sex, Drugs and Coca Puffs is ostensibly about movies, sport, television, music, books, video games and kittens, but really it's about us. All of us.

Let the debate begin...

The Advanced Genius Theory, hatched by Jason Hartley and Britt Bergman over pizza, began as a means to explain why icons such as Lou Reed, David Bowie, and Sting seem to go from artistic brilliance in their early careers to "losing it" as they grow older. The Theory proposes that they don't actually lose it, but rather, their work simply advances beyond our comprehension. The ramifications and departures of this argument are limitless, and so are the examples worth considering, such as George Lucas's Jar Jar Binks, Stanley Kubrick's fascination with coffee commercials, and the last few decades of Paul McCartney's career. With equal doses of humor and philosophy, theorist Jason Hartley examines music, literature, sports, politics, and the very meaning of taste, presenting an entirely new way to appreciate the pop culture we love . . . and sometimes think we hate. "The Advanced Genius Theory "is a manifesto that takes on the least understood work by the most celebrated figures of our time.

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 twenty-one 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. A man in Dickinson, North Dakota, explained to him why we have fewer windmills than we used to. He listened to the KISS solo albums and the Rod Stewart box set. At one point, poisonous snakes became involved. The road is hard. From the Chelsea Hotel to the swampland where Lynyrd Skynyrd's plane went down to the site where Kurt Cobain blew his head off, Chuck explored every brand of rock star demise. He wanted to know why the greatest career move any musician can make is to stop breathing...and what this means for the rest of us.

For 6,557 miles, from New York to Mississippi to Seattle, Chuck Klosterman decided to chase rock n roll and death across a continent. 21 days later, after three relationships, an encounter with various cottonmouth snakes, and a night spent snorting cocaine in a graveyard, Klosterman started to order his thoughts on American culture and the meaning of celebrity.

One-of-a-kind cultural critic and "New York Times" bestselling author Chuck Klosterman "offers up great facts, interesting cultural insights, and thought-provoking moral calculations in this look at our love affair with the anti-hero" ("New York" magazine).
Chuck Klosterman, "The Ethicist" for "The" "New York Times Magazine," has walked into the darkness. In "I Wear the Black Hat," he questions the modern understanding of villainy. When we classify someone as a bad person, what are we really saying, and why are we so obsessed with saying it? How does the culture of malevolence operate? What was so Machiavellian about Machiavelli? Why don't we see Bernhard Goetz the same way we see Batman? Who is more worthy of our vitriol--Bill Clinton or Don Henley? What was O.J. Simpson's second-worst decision? And why is Klosterman still haunted by some kid he knew for one week in 1985?
Masterfully blending cultural analysis with self-interrogation and imaginative hypotheticals, "I Wear the Black Hat" delivers perceptive observations on the complexity of the antihero (seemingly the only kind of hero America still creates). As the "Los Angeles Times" notes: "By underscoring the contradictory, often knee-jerk ways we encounter the heroes and villains of our culture, Klosterman illustrates the passionate but incomplete computations that have come to define American culture--and maybe even American morality." "I Wear the Black Hat" is a rare example of serious criticism that's instantly accessible and really, really funny.

An instant New York Times bestseller! From the bestselling author of But What if We're Wrong, a wise and funny reckoning with the decade that gave us slacker/grunge irony about the sin of trying too hard, during the greatest shift in human consciousness of any decade in American history. 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. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn't know who it was. By the end, exposing someone's address was an act of emotional violence, and nobody picked up their new cell phone if they didn't know who it was. The 90s brought about a revolution in the human condition we're still groping to understand. Happily, Chuck Klosterman is more than up to the job. Beyond epiphenomena like "Cop Killer" and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a 90's Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it. In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, "The video for 'Smells Like Teen Spirit' was not more consequential than the reunification of Germany" make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klostermanian.

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. But What If We're Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or - weirder still - widely known, but entirely disrespected)? Is it possible that we 'overrate' democracy? And perhaps most disturbing, is it possible that we've reached the end of knowledge? Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We're Wrong? is built on interviews with a variety of creative thinkers - George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Diaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others - interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It's a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It's about how we live now, once 'now' has become 'then'.

The tremendously well-received New York Times bestseller by cultural critic Chuck Klosterman, exploring the possibility that our currently held beliefs and assumptions about the world will eventually be proven wrong — now in paperback.

But What If We’re Wrong? is a book of original, reported, interconnected pieces, which speculate on the likelihood that many universally accepted, deeply ingrained cultural and scientific beliefs will someday seem absurd. Covering a spectrum of objective and subjective topics, the book attempts to visualize present-day society the way it will be viewed in a distant future. Klosterman cites original interviews with a wide variety of thinkers and experts — including George Saunders, David Byrne, Jonathan Lethem, Alex Ross, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Dan Carlin, Nick Bostrom, and Richard Linklater.

Klosterman asks straightforward questions that are profound in their simplicity, and the answers he explores and integrates with his own analysis generate the most thought-provoking and propulsive book of his career.

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.

Countless writers and artists have spoken for a generation, but no one has done it quite like Chuck Klosterman -- with an exhaustive knowledge of popular culture and a seemingly effortless ability to spin brilliant prose out of unlikely subject matter. Whether deconstructing Saved by the Bell episodes or the artistic legacy of Billy Joel, the symbolic importance of The Empire Strikes Back or the Celtics/Lakers rivalry of the 1980s, Chuck will make you think, he'll make you laugh, and he'll drive you insane -- usually all at once.

Sex, Drugs, and Cocoa Puffs is ostensibly about movies, sports, television, music, books, video games, and kittens...but, really, it's about us. All of us. As Klosterman realizes late at night, in the moment before he falls asleep, "In and of itself, nothing really matters. What matters is that nothing is ever 'in and of itself.'"

The often hilarious, occasionally heart wrenching story of a professional basketball player, Shirley details his years playing in America, Spain, and even Siberia. This is a sports memoir that details the highs and lows of trying to make it as a professional athlete.

NEW YORK TIMES BESTSELLING AUTHOR OF "SEX, DRUGS, AND COCOA PUFFS"

CHUCK KLOSTERMAN IV

CONSISTS OF THREE PARTS:

"THINGS THAT ARE TRUE"

Profiles and trend stories: Britney Spears, Radiohead, Billy Joel, Metallica, Val Kilmer, Bono, Wilco, the White Stripes, Steve Nash, Morrissey, Robert Plant -- all with new introductions and footnotes.

"THINGS THAT MIGHT BE TRUE"

Opinions and theories on everything from monogamy to pirates to robots to super people to guilt, and (of course) Advancement -- all with new hypothetical questions and footnotes.

"SOMETHING THAT ISN'T TRUE AT ALL"

This is old fiction. There's a new introduction, but no footnotes. Well, there's a footnote in the introduction, but none in the story.

New York Times-bestselling author and cultural critic Chuck Klosterman sorts through the past decade and how we got to now. Chuck Klosterman has created an incomparable body of work in books, magazines, newspapers, and on the Web. His writing spans the realms of culture and sports, while also addressing interpersonal issues, social quandaries, and ethical boundaries. Klosterman has written nine previous books, helped found and establish Grantland, served as the New York Times Magazine Ethicist, worked on film and television productions, and contributed profiles and essays to outlets such as GQ, Esquire, Billboard, The A.V. Club, and The Guardian. Chuck Klosterman's tenth book (aka Chuck Klosterman X) collects his most intriguing of those pieces, accompanied by fresh introductions and new footnotes throughout. Klosterman presents many of the articles in their original form, featuring previously unpublished passages and digressions. Subjects include Breaking Bad, Lou Reed, zombies, KISS, Jimmy Page, Stephen Malkmus, steroids, Mountain Dew, Chinese Democracy, The Beatles, Jonathan Franzen, Taylor Swift, Tim Tebow, Kobe Bryant, Usain Bolt, Eddie Van Halen, Charlie Brown, the Cleveland Browns, and many more cultural figures and pop phenomena. This is a tour of the past decade from one of the sharpest and most prolific observers of our unusual times.