Fresh Air

The voiceovers from Terrence Malick's To the Wonder, which has a lot of them, are intoned on the soundtrack while the characters stare into sunrises or sunsets — whenever the light is right, what cinematographers call, "the magic hour." This film and Malick's last, The Tree of Life, suggest that he's evolved into a blend of director and Christian minister: These are psalms writ on film.

Laurie Edwards has a chronic respiratory disease so rare that she's met only one other person who has it — and that was through the Internet. In and out of hospitals her entire life, Edwards, now 32, wasn't accurately diagnosed until she was 23. Before they correctly identified her condition — primary ciliary dyskinesia (PCD), which is similar in some ways to cystic fibrosis — doctors thought she might be an atypical asthma patient, that she wasn't taking her medications correctly, or that her symptoms were perhaps brought on by stress.

I've loved Patricia Volk's writing ever since I read her evocative 2002 memoir, Stuffed, which told the story of her grandfather — who introduced pastrami to America — as well as the rest of her family, who fed New Yorkers for more than 100 years in their various restaurants. Stuffed, like the best food memoirs, served up so much more on its plate than just a bagel and a schmear. So when I picked up Volk's new memoir, Shocked, my appetite was already whetted for the humor of her writing, its emotional complexity and smarts.

By 1928, Earl Hines was jazz's most revolutionary pianist, for two good reasons. His right hand played lines in bright, clear octaves that could cut through a band. His left hand had a mind of its own. Hines could play fast stride and boogie bass patterns, but then his southpaw would go rogue — it'd seem to step out of the picture altogether, only to slide back just in time.

In 1955, John R. Cash was a sometime auto mechanic, sometime appliance salesman who liked to play the guitar and sing, mostly gospel songs. The "R" in his name didn't stand for anything — and, in fact, he'd been named J.R. at birth and had to come up with "John" when he joined the Air Force. He'd spend the rest of his life reinventing himself.

For years, Jherek Bischoff has played in indie-rock bands, including Amanda Palmer's Grand Theft Orchestra. But on his new album, Composed, he found himself moving away from a rock sound and writing his own orchestral arrangements.

Mental is madder than madcap. I heard one critic sniff, "It's kind of broad" — and, Your Honor, the defense agrees! But if broad means "unsubtle," it doesn't have to mean "unreal." Mental makes most other movies seem boringly, misleadingly sane.

As the U.S. economy struggles to recover from the financial crash, and Europe is buffeted by a series of banking crises, attention has focused on the presidents and prime ministers who've tried to cope with it all. Journalist Neil Irwin, an economics writer for The Washington Post, says there's an elite group of policymakers who can make enormously important decisions on their own, often deliberating in secret, and in many ways unaccountable to voters.

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:

Fresh Air remembers the film critic and bon vivant Roger Ebert, who died Thursday, with a roundup of interviews from our archive.

In one, from all the way back in 1984, host Terry Gross talks with Ebert alone; in a second conversation, from 1996, Terry interviews both Ebert and his late partner Gene Siskel onstage at Northwestern University.

In two very special conversations, Ebert himself interviews iconic directors Francis Ford Coppola and Martin Scorsese.

And finally, critic-at-large John Powers discusses Ebert's 2011 memoir Life Itself.

It's a funny thing about dictionaries. First we're taught to revere them, then we have to learn to set them aside. Nobody ever went wrong starting a middle-school composition with, "According to Webster's ..." but that's not how you start an op-ed commentary about terrorism or racism. When it comes to the words that do the cultural heavy lifting, we're not about to defer to some lexicographer hunched over a dusty keyboard.