Susan Orlean

Susan Orlean (born October 31, 1955) is an American journalist and author renowned for her narrative nonfiction that delves deeply into the lives of ordinary people, animals, and cultural phenomena, often transforming them into compelling stories.^[1] She is a longtime staff writer at The New Yorker, where she has contributed since 1992, and the author of several New York Times bestselling books, including The Orchid Thief (1998), which inspired the Academy Award-nominated film Adaptation.^[2][3] Born in Cleveland, Ohio, to Arthur Orlean, a real estate developer, and Edith Gross Orlean, a bank officer, Orlean grew up in the suburb of Shaker Heights and attended Shaker Heights High School, where she served as editor-in-chief of the school newspaper.^[1][4] She earned a Bachelor of Arts degree in literature and history from the University of Michigan in 1976.^[5] After graduation, Orlean began her career as a reporter at a small magazine in Portland, Oregon, before moving to Boston in 1982, where she worked as a staff writer for the Boston Phoenix from 1983 to 1986 and as a columnist for The Boston Globe.^[6] Her early freelance work appeared in publications such as Rolling Stone, Vogue, and Esquire.^[2] Orlean's breakthrough came with her first book, Saturday Night (1990), a collection of essays exploring American life, which earned a New York Times Notable Book designation.^[5] She joined The New Yorker as a staff writer in 1992 and has since written iconic pieces like "The American Man, Circa 2004," profiling figures from Larry David to the owner of the last Blockbuster Video, as well as the ongoing "Afterword" obituary column.^[2] Her bibliography includes The Bullfighter Checks Her Makeup (2001), a selection of her New Yorker profiles; Rin Tin Tin: The Life and the Legend (2011), a history of the famous dog; On Animals (2021), essays on human-animal relationships; The Library Book (2018), an investigation into the 1986 Los Angeles Central Library fire, which was a finalist for the Andrew Carnegie Medal for Excellence in Nonfiction and the Los Angeles Times Book Prize; and Joyride: A Memoir (2025), reflecting on her life and career, as of November 2025.^[3][7] Orlean's writing has garnered numerous accolades, including a 1984 PEN/New England Discovery Award, a 2014 Guggenheim Fellowship, a 2020 USC Libraries Literary Achievement Award, and an Emmy nomination in 2022 for her writing on HBO's How To with John Wilson.^[5][8][9] In her personal life, Orlean married attorney John Gillespie in 2001 and gave birth to their son in 2004, when she was 49.^[5] The family resides in Los Angeles, where she continues to write, garden, and care for her dogs.^[6] Orlean also maintains a Substack newsletter and has served as a judge for prestigious literary awards, such as the National Book Awards.^[2]

Early life

Family background

Susan Orlean was born on October 31, 1955, in Cleveland, Ohio, and raised in the affluent suburb of Shaker Heights.^[10] She grew up in a Jewish family; her mother, Edith (née Gross, 1923–2016), was born in Hungary to Louis M. and Irene F. Gross, while her father's family had roots in Poland.^[11][12] Orlean's parents were Edith, who worked part-time in a bank and had aspired to be a librarian, and Arthur (1915–2007), a former lawyer who later founded real estate and mortgage companies, developing multifamily housing across Ohio and beyond.^[12][13] She has an older sister, Debra (also known as Debbie), and a brother, David.^[13] The family dynamics emphasized intellectual curiosity and engagement with the world; Orlean's mother instilled a deep appreciation for stories by taking her children to the Shaker Heights library every week, where they explored books together, while her father approached life with the observant eye of a storyteller, viewing everyday details through a lens of wonder.^[14][15][16] This environment provided Orlean's early exposure to literature, as weekly library visits exposed her to a vast array of books and sparked her lifelong passion for reading and narrative.^[15]

Education and early influences

Orlean grew up in Shaker Heights, Ohio, where her family placed a strong emphasis on education, fostering her intellectual curiosity from an early age. She graduated from Shaker Heights High School in 1973, serving as editor-in-chief of the school yearbook, The Gristmill. During high school, she began experimenting with writing, encouraged by teachers such as Ms. Buehler and Mr. Heaps, who emphasized the "magic of words" and nurtured her budding interest in language and storytelling. Orlean later recalled knowing she wanted to be a writer "from the time I could read," a passion ignited by her frequent visits to the Bertram Woods Branch of the Shaker Heights Public Library, where she eagerly accessed adult books that expanded her worldview. At the University of Michigan in Ann Arbor, Orlean majored in literature and history, immersing herself in academic pursuits that deepened her appreciation for narrative forms. She graduated with honors in 1976, having engaged in literary activities that honed her skills. These early experiences laid the groundwork for her distinctive style, blending rigorous research with personal insight. Orlean's formative influences stemmed from her voracious childhood reading, particularly newspapers, which her mother credited with teaching her to read at a young age. This habit exposed her to journalists whose immersive reporting shaped her approach to storytelling, emphasizing observation and human detail over dry facts. Through such readings and her academic training, she developed a fascination with the ordinary made extraordinary, a thread that would define her later work.

Career

Early journalism

After graduating from the University of Michigan in 1976, Susan Orlean moved to Portland, Oregon, where she secured her first professional writing position at the alternative weekly Willamette Week in 1978.^[6] There, she spent four years producing music reviews and feature articles, honing her skills in observational journalism amid the city's vibrant cultural scene, including coverage of events like the 1980 eruption of Mount St. Helens.^[17] This role marked her transition from academic writing to paid professional work, building on the literary foundation from her studies.^[18] While at Willamette Week, Orlean began freelancing for national outlets, contributing pieces to Rolling Stone and the Village Voice that showcased her emerging interest in cultural undercurrents.^[6] In 1982, she relocated to Boston, joining the staff of the alternative weekly Boston Phoenix and writing for the Boston Globe, while expanding her freelance portfolio to include magazines such as Vogue, Esquire, and Spy throughout the 1980s.^[18] These assignments often involved in-depth profiles and essays on niche topics, like taxidermy conventions, allowing her to experiment with narrative styles that blended reporting and personal insight.^[18] Orlean's early journalism emphasized stories about ordinary individuals and overlooked facets of everyday life, prioritizing human-centered narratives over breaking news.^[12] This approach was evident in her freelance work, where she sought out the extraordinary within the mundane, a signature that distinguished her from more conventional reporters.^[19] Her debut book, Saturday Night (1990), crystallized these themes as a collection of essays depicting how average Americans across the country spent their weekends, from beauty pageants to bowling alleys.^[20] Published by Alfred A. Knopf, the volume drew from her travels and prior magazine pieces, establishing her reputation for immersive, empathetic portraits of the commonplace.^[21]

New Yorker tenure and major reporting

Susan Orlean joined The New Yorker as a staff writer in 1992, after contributing freelance pieces since 1987.^[2] Her reporting style at the magazine is characterized by deep immersion into her subjects, blending meticulous observation with narrative flair to illuminate the quirks of everyday life and human passions.^[22] This approach allows her to transform obscure topics into compelling stories, often focusing on individuals driven by eccentricity or obsession. Among her early major pieces during this tenure, "Orchid Fever," published in January 1995, exemplifies her method by chronicling the obsessive world of orchid collectors through the lens of horticulturist John Laroche, a self-taught expert whose exploits in Florida's swamps highlight the seductive allure of rare plants.^[23] Other influential articles include "Show Dog" (February 1995), a profile of the champion Afghan hound Biff and the competitive subculture of dog breeding, and "The Lady and the Tigers" (February 2002), which details a remarkable incident involving exotic animals in suburban New Jersey, underscoring themes of wildlife and human-animal boundaries. These works established Orlean's reputation for profiling unconventional figures and communities, such as taxidermists in "Lifelike" (June 2003) and origami masters in "The Origami Lab" (February 2007). Over the decades, Orlean's reporting evolved to encompass broader cultural and natural phenomena, from the inventive world of umbrella designers in "Thinking in the Rain" (February 2008) to the resurgence of backyard chickens in "The It Bird" (September 2009), reflecting her ongoing interest in how people engage with nature and creativity. As of 2025, her contributions continue to probe personal and cultural reflections; in "The Making of 'Adaptation'" (October 2025), she revisits the surreal film adaptation of her earlier work, offering insights into the creative process and the interplay between journalism and Hollywood.^[24] This piece underscores her enduring ability to weave self-examination into narratives about eccentricity and adaptation in American culture.

Books and literary works

Susan Orlean's literary career includes several acclaimed books that blend investigative journalism with narrative nonfiction, often exploring human obsessions and cultural subcultures. Her early works consist primarily of essay collections drawn from her magazine contributions, while later books delve into specific historical and biographical subjects. Her early major book, The Bullfighter Checks Her Makeup: My Encounters with Extraordinary People (2001), is a collection of profiles originally published in outlets like The New Yorker, featuring diverse subjects from a professional bullfighter to a surfing instructor.^[25] The book examines the quirks and passions of ordinary and extraordinary individuals, showcasing Orlean's signature wry and observant style.^[25] Critics praised its engaging, good-humored portraits, with Kirkus Reviews calling it a "well-paced and good-humored: a page-turner."^[26] The Orchid Thief (1998) originated from Orlean's 1995 New Yorker article "Orchid Fever" and expands into a deep exploration of orchid obsession, following plant dealer John Laroche and the eccentric subculture of Florida's Fakahatchee Strand swamp.^[27] The narrative intertwines themes of beauty, rarity, and human fixation on nature's treasures, without resolving Laroche's legal case.^[28] It received widespread acclaim for its immersive storytelling, with The New York Times noting its "exquisitely written, consistently entertaining" quality, though some found it meandering.^[29] The book became a bestseller and influenced discussions on nonfiction genres.^[30] In 2011, Orlean published Rin Tin Tin: The Life and the Legend, a biographical history of the German Shepherd actor who starred in over 25 Hollywood films and inspired a cultural icon of loyalty and heroism.^[31] The book traces the dog's journey from World War I battlefields to silver-screen stardom and its enduring legacy in television and breeding lines.^[32] Reviewers lauded its poignant exploration of human-animal bonds and American mythology, with The New York Times affirming that dogs like Rin Tin Tin "deserve biographies" for their cultural impact.^[29] The Guardian described it as a "remarkable book" that humanizes the enigma of canine fame.^[33] Orlean served as guest editor for The Best American Essays 2005, selecting standout nonfiction pieces that highlighted personal and cultural reflections.^[34] She later edited The Best American Travel Writing 2007, curating essays on journeys that reveal broader human experiences. These roles underscored her influence in shaping contemporary essay anthologies. The Library Book (2018) investigates the 1986 arson fire at the Los Angeles Central Library, weaving a mystery around suspect Harry Peak while chronicling the institution's history and the vital role of libraries in community life.^[35] Themes include loss, resilience, and the cultural significance of public knowledge repositories.^[36] The work garnered enthusiastic reception for its blend of true crime and social history, with The New York Times praising its "exquisitely written" entertainment value and infectious enthusiasm for libraries.^[37] On Animals (2021) compiles essays spanning decades on human-animal relationships, from backyard chickens and show dogs to exotic creatures like lions and pandas, emphasizing wonder, loss, and ethical bonds.^[38] Orlean reflects on her own "animalish" life, including raising pets and farm animals, to explore broader themes of companionship and conservation.^[39] Critics celebrated its warm, witty insights, with The New York Times highlighting its range from "orcas to pigeons" and NPR noting its evocation of love and fascination across species.^[40][39] Orlean's first memoir, Joyride (released October 14, 2025), chronicles her journalism career, personal milestones, and writing philosophy, prompted by the 25th anniversary of The Orchid Thief.^[41] It portrays life as a "magic carpet ride" of discovery, blending anecdotes from her reporting adventures with reflections on creativity and curiosity.^[41] Early reviews commended its inward gaze on a masterful career, with The Washington Post describing it as a compelling delve into her life story by the author of enduring nonfiction works.^[42] Publishers Weekly highlighted its stock-taking of lessons learned over decades in narrative nonfiction.^[43]

Adaptations and television

One of the most notable adaptations of Orlean's work is the 2002 film Adaptation, directed by Spike Jonze and written by Charlie Kaufman, which loosely interprets her 1998 book The Orchid Thief.^[44] The movie stars Nicolas Cage as Kaufman, Meryl Streep as a fictionalized version of Orlean, and Chris Cooper as orchid poacher John Laroche, blending meta-commentary on the adaptation process with elements from the book.^[24] Orlean initially hesitated to grant rights but ultimately signed on, describing the experience as "a ticket for a very strange amusement-park ride."^[24] She made a brief appearance as an extra in a grocery store scene that was ultimately cut from the final film, and she met Kaufman briefly on set while Streep prepared her role independently to avoid being influenced by the real Orlean.^[24] In a 2025 New Yorker essay, Orlean reflected on the film's surreal portrayal, noting her embarrassment at seeing herself depicted as a character involved in fictional drug use and romance, yet praising it as a "postmodern masterpiece" that sincerely captured the book's unconventional structure despite diverging into invention.^[24] Orlean has also contributed to television, particularly as a writer for the HBO docu-comedy series How To with John Wilson. She joined the writers' room starting with the second season in 2021, collaborating on episodes alongside creator John Wilson, Michael Koman, and Conner O'Malley, and earning a 2022 Primetime Emmy nomination for Outstanding Writing for a Nonfiction Program for the episode "How to Appreciate Wine."^[45] Her involvement continued through the 2023 third season, where she helped shape the series' blend of observational humor and street-level reporting.^[46] Orlean has described the experience as a learning curve in TV's "economy of language," contrasting it with print journalism by noting that visuals eliminate the need to describe movements or settings explicitly.^[47] Beyond Adaptation, several other Orlean pieces have been adapted for screen. Her 1998 Outside article "Life's Swell" on female surfers inspired the 2002 film Blue Crush, starring Kate Bosworth.^[48] In 2024, the drama Little Wing, directed by Dean Fleischer Camp, adapted her 2006 New Yorker profile on teenage pigeon racers, with Kelly Reilly and Brooklynn Prince, after the project languished in development for 17 years.^[47] Orlean appreciated the film's heightened stakes for dramatic effect, calling it one of her stories that "immediately" lent itself to visual storytelling.^[47] Additionally, in interviews up to 2025, she has mentioned ongoing potential for adapting The Library Book (2018) into a TV series, with rights acquired by Paramount Television and Anonymous Content in 2019, though no further production updates have materialized.^[49] Orlean has frequently discussed the challenges of translating her narrative journalism to screen, emphasizing the mismatch between nonfiction's meandering, observation-driven style and film's need for a clear dramatic arc.^[47] She noted that Kaufman's solution for Adaptation involved inventing plot to impose structure on her "unadaptable" book, which lacked traditional conflict, highlighting how adaptations often require amplifying elements for cinematic tension.^[24] In reflecting on How To with John Wilson, Orlean pointed to television's reliance on imagery as both a liberation and a constraint, freeing writers from descriptive prose but demanding concise, visual narratives that capture journalism's essence without exhaustive explanation.^[47]

Personal life

Marriages and children

Susan Orlean married lawyer Peter Sistrom in 1983, and the couple divorced in 1999 after sixteen years of marriage. Sistrom died in 2021.^[50][51] In her 2025 memoir Joyride, Orlean reflects on the challenges of this relationship, describing Sistrom as an intelligent but depressive figure whose infidelity strained their partnership and even disrupted the publication of two of her books.^[50] Orlean wed John William Gillespie Jr., an author, investment broker, and former chief financial officer, on November 10, 2001, following an introduction by mutual friend Patty Marx.^[51][18] The couple's son, Austin Arthur Gillespie, was born on December 20, 2004, when Orlean was 49 years old.^[52] Orlean serves as stepmother to Gillespie's son from his previous 16-year marriage.^[53] In Joyride, Orlean explores how her family life with Gillespie and Austin reshaped her career, noting that motherhood prompted a shift toward more stable routines and influenced her choice of subjects, such as writing about dogs and libraries, which allowed for greater involvement in family activities like raising backyard chickens.^[50][42] She credits this period with providing emotional grounding amid her journalistic pursuits, enabling her to balance long-form reporting with domestic responsibilities.^[50]

Interests and later years

Orlean has long harbored a passion for Mid-Century Modern architecture, influenced by early family experiences with real estate and a personal affinity for innovative designs by architects like Rudolph Schindler.^[54] In 2017, she and her husband sold their Studio City residence, the Roth House—a Mid-Century Modern gem originally designed in 1946—for $2.3 million, allowing them to acquire and restore another architectural landmark.^[55] That same year, they purchased the Kallis House, a 1946 Schindler-designed modernist home in the Hollywood Hills, which they have meticulously renovated while preserving its original multi-angled structure and innovative features.^[54] Her personal interests extend to gardening, which she credits as a vital counterbalance to writing, using it to clear mental blocks and foster creativity during periods of stagnation.^[56] Orlean is also an avid dog owner, often incorporating walks with her pets into her routine as a rewarding break after productive writing sessions, a practice she reflects on in her essays and the 2025 memoir Joyride.^[56] Travel remains a recurring passion, fueling her exploratory spirit through visits to diverse locales that inspire both personal reflection and journalistic pursuits, as chronicled in Joyride alongside anecdotes from her essays.^[57] As of 2025, Orlean continues to reside in the Kallis House in Los Angeles, where the home's distinctive design enhances her daily life and creative environment.^[58] She remains actively involved in the local literary community, participating in events such as a October 28, 2025, conversation at the Los Angeles Central Library to discuss Joyride, drawing crowds interested in her narrative nonfiction insights.^[59] In 2025 interviews promoting Joyride, Orlean, now 69, reflected on aging as an evolution in her identity as a writer, where curiosity sustains her sense of wonder amid life's later stages.^[60] She emphasized creativity's enduring role as an antidote to a fractured world, urging aspiring writers to cultivate genuine passion over formulaic approaches.^[61] Regarding journalism's future, Orlean expressed optimism tempered by challenges, advocating for entrepreneurial paths like freelancing and Substack amid shrinking institutions, while warning of AI's risks in diluting authentic discovery and primary sourcing.^[62][60]

Awards and honors

Literary prizes

Susan Orlean's books have earned numerous accolades from prestigious literary organizations, recognizing her distinctive narrative nonfiction style and in-depth explorations of unconventional subjects. In 1984, she received the PEN/New England Discovery Award from the PEN American Center for her emerging work as a writer.^[5] Her debut book, Saturday Night (1990), was selected as a New York Times Notable Book of the Year.^[5] The Orchid Thief (1998), her bestselling account of orchid poaching in Florida, also received designation as a New York Times Notable Book, highlighting its innovative blend of journalism and personal inquiry.^[8] Orlean's 2011 biography Rin Tin Tin: The Life and the Legend garnered further recognition, including selection as a New York Times Notable Book, the Ohioana Book Award for nonfiction, and the Theatre Library Association's Richard Wall Memorial Award for excellence in theatrical writing.^[63] Her 2018 work The Library Book, an investigation into the 1986 Los Angeles Central Library fire, achieved widespread critical acclaim and multiple honors, such as the California Book Award Gold Medal for nonfiction, the Marfield Prize for Arts Writing, a finalist nomination for the Los Angeles Times Book Prize in the current interest category, an honor in the Indies Choice Book Awards, and a Carnegie Medal for Excellence in Nonfiction honor book.^{[64][65][66][67]} It was additionally named a winner of the Society of Midland Authors Award for biography/memoir.^[68] Orlean's 2025 memoir Joyride, reflecting on her career and creative process, has received strong early praise from critics, with reviews lauding its engaging blend of personal narrative and writing advice; Kirkus Reviews described it as a "spry, entertaining memoir/writing workshop by a nonfiction artist at the top of her game."^[69] It was nominated for the 2025 Goodreads Choice Awards in the Memoir category.^[70] Orlean received the 2020 USC Libraries Literary Achievement Award in recognition of her contributions to literature.^[9] In 2022, she earned an Emmy nomination for Outstanding Writing for a Nonfiction Program for her work on HBO's How To with John Wilson.^[9]

Fellowships and academic recognitions

In 2003, during her established tenure as a staff writer for The New Yorker, Susan Orlean was selected as a Nieman Fellow at Harvard University, a prestigious program supporting mid-career journalists through advanced study and professional development.^[71] The fellowship allowed her to deepen her expertise in narrative nonfiction while engaging with Harvard's academic community.^[72] Orlean received a Guggenheim Fellowship in 2014, awarded in the field of general nonfiction to recognize her innovative contributions to creative writing and investigative journalism.^[8] This honor supported her ongoing exploration of subcultures and human stories, aligning with her career-long focus on immersive reporting.^[8] In recognition of her literary achievements, Orlean was granted an honorary Doctor of Humane Letters by the University of Michigan—her alma mater—during the 2012 spring commencement ceremony.^[73] This academic honor highlighted her influence as a graduate who had risen to prominence in journalism and authorship.^[8] Orlean has also contributed to literary education and selection processes, serving as a judge for the National Book Awards, including the 2012 nonfiction category.^[74] Additionally, from 2018 to 2019, she held the position of Rogers Communications Chair in Literary Journalism at the Banff Centre for Arts and Creativity, where she led workshops and discussions on narrative techniques.^[75]

Bibliography

Books

Susan Orlean's first book, Red Sox and Bluefish: And Other Things That Make New England New England (1987, Faber & Faber), is a collection of humorous columns from her time at the Boston Globe, capturing the quirks of New England life.^[76] Her breakthrough book, Saturday Night (1990, Alfred A. Knopf), chronicles the diverse ways Americans spend their Saturday evenings, capturing the social rituals and personal stories that define the end of the workweek across various communities.^[77][21] The Orchid Thief: A True Story of Beauty and Obsession (1998, Random House) delves into the subculture of orchid enthusiasts in Florida, following a poacher's arrest and the broader allure of rare plants.^[27] Her next major work, The Bullfighter Checks Her Makeup: My Encounters with Extraordinary People (2001, Random House), is a collection of essays featuring profiles of unconventional individuals, from performers to everyday eccentrics, drawn from her magazine reporting.^[25] In Rin Tin Tin: The Life and the Legend (2011, Simon & Schuster), Orlean traces the history of the iconic German shepherd from World War I battlefield rescue to Hollywood stardom and cultural icon.^[31] The Library Book (2018, Simon & Schuster) examines the 1986 arson fire at the Los Angeles Central Library, intertwining the mystery of the blaze with reflections on the enduring role of libraries in society.^[65][35] On Animals (2021, Avid Reader Press/Simon & Schuster) compiles essays on human-animal bonds, covering encounters with wildlife, pets, and zoo inhabitants that reveal shared vulnerabilities and fascinations.^[38] Her most recent book, Joyride: A Memoir (2025, Avid Reader Press/Simon & Schuster), reflects on her personal journey as a writer, emphasizing themes of curiosity, serendipity, and the craft of narrative nonfiction.^[78]

Essays and other writings

Susan Orlean has published several collections of her essays and journalistic pieces, drawing from her extensive reporting for magazines like The New Yorker, Rolling Stone, and Esquire. Her 2001 collection, The Bullfighter Checks Her Makeup: My Encounters with Extraordinary People, compiles profiles of unconventional figures, including a female bullfighter in Spain, a Southern gospel singing family, and an aging Hollywood agent, originally published primarily in The New Yorker.^[79] In 2004, she released My Kind of Place: Travel Stories from a Woman's View, a selection of travel essays that explore destinations and personal discoveries from her freelance assignments, such as visits to Bhutan and Iceland.^[7] More recently, On Animals (2021) gathers fifteen essays spanning 1986 to 2019, focusing on human-animal relationships through pieces on backyard chickens, show dogs, and a lion tamer, many adapted from The New Yorker features.^[80] Orlean's standalone essays in The New Yorker often profile niche subcultures and overlooked passions without expanding into full books. Her 1995 piece "Devotion Road" examines the world of Southern gospel music through the lens of the Jackson Southernaires, a renowned gospel quartet, highlighting the genre's emotional intensity and communal rituals.^[81] Similarly, "Growing Up in the Library" (2018) is a personal reflection on childhood experiences in public libraries, emphasizing their role in fostering independence and imagination, distinct from her later investigative work on library history.^[15] Other notable essays include "The American Male at Age Ten" (1992), which observes the life of a typical boy in suburban Ohio, and "The Place to Disappear" (2000), a meditation on Khao San Road, Bangkok's backpacker hub, as a place to escape modern life.^[82] In addition to her own writing, Orlean has served as an editor for prestigious anthologies. She guest-edited The Best American Essays 2005, selecting works by authors like David Sedaris, Jonathan Franzen, and Ian Frazier that showcase diverse voices in personal and cultural commentary.^[34] For The Best American Travel Writing 2007, she curated pieces including George Saunders' "The Incredible Buddha Boy," an account of a young meditator in Nepal, and essays on global migrations, emphasizing immersive narratives over tourist snapshots.^[83] In 2025, Orlean edited The Best American Science and Nature Writing 2025, compiling twenty essays on topics from climate change to biodiversity, selected for their insightful blend of science and storytelling.^[84] Orlean's recent essays continue her focus on cultural figures and personal introspection, often tied to broader reflections on creativity and change. In The New Yorker, she published "The Making of 'Adaptation'" in October 2025, revisiting the film based on her Orchid Thief reporting, and "Nicolas Cage Is Still Evolving" in July 2024, profiling the actor's eclectic career.^[2] On her Substack newsletter Wordy Bird in November 2024, "Tainted Love" offers a reflective piece on returning to New York City amid personal shifts, aligning with promotions for her memoir Joyride.^[85] These works underscore her ongoing interest in how ordinary experiences reveal deeper human truths.