Forty years ago this week, my father was taken hostage when the Hanafi Muslims, a breakaway sect from the Nation of Islam, took over the District Building, the Islamic Center and the B’nai B’rith headquarters in Washington D.C. As the 56-year-old public relations director for B’nai B’rith, a Jewish service organization, my father was selected by the Hanafi sect’s leader as one of eight older men who would be the first killed if police stormed the building. A young radio reporter was killed at the District Building and a D.C. protective services officer fatally wounded. There were others harmed as well, largely in the initial moments of the siege. Eventually, through the brave intercession of the ambassadors from Egypt, Pakistan and Iran who negotiated by citing the Koran to the Hanafis, all of the hostages were released. My father emerged from his offices and embraced his family after 38 hours, his shirt streaked with the blood of a younger worker who had...

I had the distinct honor of being asked to give my union’s award for lifetime achievement to fellow Baltimorean and film legend John Waters.  These were my remarks, or those that were in the teleprompter, anyway. I may have veered at points: John Waters, who began an improbable career of deep cultural relevance with the equally improbable notion that people from Baltimore should be allowed to put stories on film, is perhaps one of the most influential voices we have. He is laughing at this. I know he is. I am going to look over there to where he is sitting now and see that he is laughing — yes, there he is — laughing at what I just claimed for him. I know that he is laughing because John is perhaps the great modern master of self-effacement and self-mockery. He has gone to lengths to characterize his entire career as a storyteller and filmmaker in terms that purport to show him standing on the outside of the joke, looking in: “Pink Flamingos,” he writes...

I was asked by the BBC to write and read an essay about a book that changed me — a request that offered an opportunity to bring more readers to one of the more epic and honorable acts of American journalism. Acquiring “Famous Men” was seminal for me as a twentysomething reporter, and provided both tactical and ethical ballast for the journeys in narrative non-fiction I would soon undertake in a homicide unit and on a drug corner. Have a listen and maybe pick up a copy of Agee & Walker’s masterpiece: BBC Radio 3 | The Essay | The Book that Changed Me David Simon describes how “Let Us Now Praise Famous Men” by James Agee and Walker Evans changed his work as a journalist. The celebrated work capturing the lives of ordinary people during The Depression made him realise the importance of sharing “the simple, raw vulnerability” of lived experience. “Page after page was fully ripe with the delicate work of a thinking journalist who...