“Nurturing eventually becomes coddling, and now it’s time to encourage that work to take a bigger stage,” writes Jared Bland in his plea for the Griffin Poetry Prize to combine its two categories – Canadian and English-language – into one, global whole.
“Dear Marlon, I’m praying that you’ll buy ON THE ROAD and make a movie of it….You play Dean and I’ll play Sal… I’ll show you how Dean acts in real life, you couldnt possibly imagine it without seeing a good imitation…” From a letter from Jack Kerouac to Marlon Brando. (via The Rumpus)
“I think people always expect artists to have a larger understanding of the issues they write about. People have looked to writers and artists forever and asked them to be cultural commentators or political commentators, which can be very scary because I can only speak to my own perspective, and I’m figuring this out along with everybody else. I’m not even sure I’m the best person to talk about it, whatever it is, but I’m someone who can and does.” Electric Literature talks with Sarah Gerard about her debut novel Binary Star, which we reviewed here.
For The New Yorker Alex Ross describes the role Nebraska’s prairies played in Willa Cather’s writing, his encounters with Cather people, and how he became one himself. “From this roughshod Europe of the mind, Cather also emerged with a complex understanding of American identity. Her symphonic landscapes are inflected with myriad accents, cultures, personal narratives—all stored away in a prodigious memory. “
“When watching [Abbas] Kiarostami films, one also has a great sense of another kind of freedom not found in Hollywood movies, nor in most European art films: freedom from the creeping realization that a film we are watching was made by a cynical shit or a self-deluded megalomaniac.” Here’s something you don’t see every day — an essay that begins with an Independence Day showing of The Purge: Election Year, and somehow ends up at a poetic examination of Kiarostami’s artistic legacy.