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Music journalist Ashley Kahn talks with guitarist and songwriter Al Anderson about his new album, After Hours. Anderson has been in the music business for four decades. He has written a string of country hits for Nashville's biggest stars. Despite his success as a songwriter, Anderson says the urge to perform again has proved too strong to resist.

In her book, author Angela Garbes makes the case that the work of raising children has always been undervalued and undercompensated in the U.S. Then came the pandemic, and everything got harder.

NPR's Leila Fadel talks to Naomi McPherson, Katie Gavin and Josette Maskin of the band MUNA about their third album: MUNA.

Jacques Pépin has cooked for France's president and was a friend of Julia Child. His new memoir — complete with paintings, recipes and stories — is dedicated to his love of all things chicken.

Josephine Tey's Brat Farrar features a young man masquerading as the heir to a fortune.

Alan Bradley's first novel, makes perfect summer reading — it's gore-free, very funny in places, nicely written, not too sweet (despite the title) and narrated by a real charmer.

Our search for the most fascinating new science books finds true tales of Aztec super-athletes, criminal butterfly collectors, Isaac Newton's unknown detective career and the mysteries of the human stomach and brain.

Trey Parker and Matt Stone talk about The Book of Mormon, their blasphemous, hilarious and oddly endearing Broadway hit, which leads the Tony nominations field this year — and will probably go down in history as the only Broadway musical ever to combine Mormons, Uganda, filthy language and a chorus line.

MacFarlane is best known for creating the animated TV shows Family Guy, American Dad! and The Cleveland Show. But he's also a singer whose new album features songs from the Great American Songbook.

Trey Parker and Matt Stone talk about their blasphemous, hilarious and oddly endearing Broadway hit, which led the Tony nominations field this year — and will probably go down in history as the only Broadway musical ever to combine Mormons, Uganda, filthy language and a chorus line.