Sag Harbor' brought me a new readership - it's a coming of age tale about growing up in the '80s.

Even growing up the way I did, I was shocked by the level of poverty I saw as a college student. I thought the best way to understand it was to get close to it on the ground level.

I don't think we can fix poverty without fixing housing, and I don't think we can address housing without understanding landlords.

I teach at Harvard, and focusing on understanding this problem on a national level is a big priority of mine right now - where evictions are going up and down, what cities are actually instituting policies that work, what housing insecurity is doing to our cities, neighbourhoods, our kids.

After graduation, I discovered that I'd hit the limit of what I could learn from the women in my family. On top of that, in the workforce, all of the things that mattered in college suddenly weren't enough.

Deathstroke,' in my view, is a family drama. It's like the 'Sopranos' with super villains.

Parents do bear some of the responsibility if they don't talk to their kids, are never around, even deny their kids the love that young girls often crave when they decide to have a baby.

When I got fired from coaching, I started coaching high school because my son played. I realized real quick that high school football is in trouble. There's no budget. A lot of kids have got to pay to play, and every year, coaches are getting out of the profession. Kids aren't playing like they used to. It bothers me.