Editing poetry can be tricky, and the work is often misunderstood. Many of the best houses leave the work to the experts: actual poets. But is that the best route? Indeed, as this Telegraph article puts it, “a house’s tone and fortunes can be radically altered depending on the poet in charge of the poems of others.”
Putting aside for a moment the racist phrenological roots of the terms “highbrow” and “lowbrow,” here’s an interesting conversation on what the difference between them means for literature now. For a historical take, check out this graphic from a 1949 edition of LIFE magazine, which taught me a real gentleman wears fuzzy tweed, and iceberg lettuce is never in style.
“[C]ommunity building takes a lot of time and effort and can take a long time to pay off. It’s the long con that’s not a con.” In Electric Literature‘s “Blunt Instrument” column, Elisa Gabbert takes on the topic of writing with chronic illness and disability. See also: our own advice columnists Swarm and Spark!
American music lost one of its best songwriters with the passing of Jason Molina last March. Molina was known for his work with Songs: Ohia and Magnolia Electric Co. As a tribute this week on Jimmy Kimmel Live, and as a way of spreading awareness for a May 11 concert in Molina’s memory, Band of Horses covered one of the late musician’s songs, “I’ve Been Riding With the Ghost.” (Original.)
While we’re on the subject of Harry Potter, I have some bad news. According to J.K. Rowling herself, Cursed Child is likely the last we’ll ever see of the boy (now middle-aged) wizard: “He goes on a very big journey during these two plays and then, yeah, I think we’re done. This is the next generation, you know … So, I’m thrilled to see it realized so beautifully but, no, Harry is done now.”
Sometimes, a writer needs to live in the setting of his or her fiction, as was the case with William Faulkner, who famously took a train from Hollywood to Mississippi solely to break through his writer’s block. Other times, they need to move away to find the inspiration to write about their home. In The Globe and Mail, Marsha Lederman writes about Emma Hooper, who credits her move to England with helping her write a novel set in her native Saskatchewan.