"The Salvadoran novelist Horacio Castellanos Moya (who was born in Honduras, grew up in El Salvador, and now lives in Iowa City) should be much better known in the United States. Every book of his I have read in English has been differently original, differently demanding. He is an intense writer, whose short novels take fierce satiric hold of a fictional concept and squeeze and squeeze. His work is political but intimate, and no more so than in this early book, a work of homage to the Austrian writer Thomas Bernhard. Edgardo Vega, a Salvadoran professor living in Canada, returns to El Salvador to attend his mother’s funeral. In a bar, he sits and rants, for hours on end, to an interlocutor who has the author’s own name, about everything he finds detestable in Salvadoran life, from the country’s beer to its writers, from its food to its politics. It’s not the book I would recommend to a reader who had never encountered this unusual writer—that would be his great novella “Senselessness”—but it’s an interesting exercise in both imitation and self-exorcism (Castellanos Moya has said that he wrote it, in part, to rid himself of the influence of Bernhard); and if, like me, you are drawn to novelists who are bloody good ranters (Philip Roth being our great American example), you will be likewise drawn to this peculiarly compulsive novel."

"Finally, we’re going to go with a film that is so culturally relevant that as soon as I say it you’ll be able to quote at least one line from it. We’re going to go with Dirty Dancing. Because, come on, nobody puts Baby in a corner, right? Of course it’s been acted out, it’s been referenced in numerous films. It was in Crazy, Stupid, Love. This is the move that Ryan Gosling does to get the girls, right? And he and Emma Stone reenact this scene. So, you want to talk about a film that just had an amazing soundtrack, the performances were great, and it speaks to the confusion of teenagers growing up, but not in a, I feel like, a “loner” teenager way. There’s been a lot of teenage films where they feel like a loner. This is someone who liked her family, and she was a little irritated with her older sister as siblings tend to be, but she liked her dad and her mom, and when push came to shove at various points, she ran to her dad to help. There was something striking about how all of that worked together in a film that just made you feel good and want to dance and want to take someone to see, and then, how many years later, that film still holds up. And if you don’t believe me, go watch it. It still works."

"I watch this with my family a lot. All of the Marx Brothers movies have been very popular in the Columbus household for the last 20 years or so. I was a bit of a dictator making my kids watch these movies. They grew up with them because kids are really reluctant to watch black-and-white films. Our family loved the Marx Brothers films, and for some reason the one that we always went back to, and the one that we were obsessed with, was Horse Feathers. It’s 1932, so that’s going back a long way. Yet at the same time I would show that movie to my kids who were seven and five and three, and they were mesmerized. I learned a lot about comedy and breaking the rules in that movie — in terms of comedy — which extended to seeing movies like Blazing Saddles and Young Frankenstein and Annie Hall to a certain extent. The Marx Brothers started it all, and it’s smart comedy. The funny thing about the movie is, there are scenes that, still for me and my family, are falling down funny. So they can watch that movie and take away from it — maybe laugh a little harder than they do at some of the more modern comedies. That movie — and there’s like five or six Marx Brothers movies — is just a wonderful sort of family experience and that’s why it’s on the list."

"I thought we ought to have one classical album as I do play a lot of classical music at home. I thought about Chopin’s Nocturnes but they didn’t change anything. The Rite Of Spring really was, for me, the first punk album. It was the most uncompromising vision. In the period it was done, no one was doing anything like Stravinsky. He was writing parts for instruments that didn’t have those notes, so they had to have new ones made with extra notes so the orchestra could play that piece. That’s forward thinking. The whole story of the making of the album is so fantastic – that Stravinsky has no money and Coco Chanel comes along and invites him to live at his house and Stravinsky sits in a room alone writing all these parts for all these instruments. It’s extraordinary and a remarkable achievement. Then, the fact that on the opening night in a swishy Parisian theatre the audience hated it. They think it is the most terrible row and now it is acknowledged as one of the great masterpieces of the 20th century. It’s too good a story and I admire his commitment and his inventiveness and his absolute passion to making that record work. You listen to it and think "how did anyone ever do that?" Anyone who hasn’t heard The Rite Of Spring and likes music should really take a listen."