“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.
“His books are not only obviously produced by an obsessive film buff (as evidenced by one wry recurring trick, the dates in brackets that follow even citations of celluloid ephemera), they often seem to want to be movies, as shown by another signature device, the way his protagonists – from the 1890s European spies and 1950s New Yorkers in the interwoven narratives of his debut, V. in 1963, all the way to Inherent Vice and Bleeding Edge in 2013 – break anti-naturalistically into song like characters in musicals.” An argument that Thomas Pynchon writes fiction tailor-made for the cinema.
“I’m always trying to get my friends to forward me emails they’ve sent to other people – to their mom, their boyfriend, their agent – the more mundane the better,” writes Miranda July in the treatment for her latest project, We Think Alone, which counts Kareem Abdul-Jabbar, Etgar Keret, and Kirsten Dunst among its participants. “How they comport themselves in email is so intimate, almost obscene — a glimpse of them from their own point of view.”