“I hate the idea that you must write every day because I really can’t do that. Sometimes the aching bones in my body will not allow it.” Electric Literature interviews three writers—Keah Brown, Esmé Weijun Wang, and Jillian Weise—about disability, publishing, and accessibility. From our archives: Wang’s 2016 Year in Reading entry.
Growing up, Judy Bolton-Fasman watched her mother study Don Quixote, propping the book up on their kitchen counter while studying for her Master’s in Spanish literature. Her mother was a native speaker, but Cervantes was still a tough writer to figure out, especially if you were reading his work while trying to cook dinner in the background. The author looks back on her mother’s education in a Saturday Essay for The Rumpus.
The organizers of this year’s O, Miami Poetry Festival are holding an online poetry contest entitled “That’s So Miami.” To participate, submit a poem that begins or ends with the phrase, “that’s so Miami.” Entries – which can be culled from both Twitter and Instagram – are accepted in English and Spanish (duh), and submissions are posted daily on the organization’s new Tumblr. For a rundown of the festival’s other April events, check out their Facebook page.
“An artist you love occupies a weird in-between place, where they’re somehow a little more than a father, but a little less than a neighbour. They can permanently re-organize your consciousness but they can’t sell you a Coke. You feel you know them more than anyone you actually know, which means that you don’t really know a damn thing. I feel I know Elliott Smith, but if I picture him in front of me, I find myself picturing a tiny figurine, or Mount Rushmore.” Sasha Chapin has written an intensely personal essay about Elliott Smith for Hazlitt. Here is The Millions’ own Torch Ballads & Jukebox Music column to satisfy any lingering musical urges.