Out this week: How to Love a Jamaican by Alexia Arthurs; A Memory of the Future by Elizabeth Spires; Whistle in the Dark by Emma Healey; Inappropriation by Lexi Freiman; The Story of a Marriage by Geir Gulliksen; and Now My Heart Is Full by Laura June.
To kick off South Florida’s O, Miami poetry festival (which I’ve written about before), event organizers and WLRN staffers are asking local residents to snap photos of “a place in South Florida that means something to [them],” and “write a short poem about it including the phrase ‘this is where.’” Then, share the poems and photos on Twitter or Instagram for a chance to be featured throughout the month of April. Meanwhile, the New York Times is on it.
The trailer is out for the film adaptation of Nobel laureate Alice Munro’s Hateship, Friendship, Courtship, Loveship, Marriage. The film will star Kristen Wiig, Guy Pearce, Hailee Steinfeld and Nick Nolte among others.
It’s impossible to deny that memoir writing is having a bit of a moment, as more and more major books delve deeply into authors’ lives for material (here’s looking at you, Knausgaard). But what happens when memoir meets straight history? According to The Canadian Press, both genres only become more interesting. “[People] think non-fiction is just boring, fuddy-duddy history books, [but] if you look at Canadian literature right now, non-fiction is incredibly exciting.”
A white male poet recently revealed his controversial strategy of using an Asian pseudonym to place his poems, which were eventually selected for inclusion in the Best American Poetry anthology for 2015. Brian Spears writes for The Rumpus about the complications of diversity in publishing, Affirmative Action, and the ethics of poetry submission systems.