At Catapult, author Nadia Owusu, in a column titled “Exit Interviews,” gives voice to the grief of people of color—grief that is so often silenced. “We can choose to permanently change how we view each other,” Owusu writes, “how we work together, validating each other’s experiences and fears and losses—not just in the current moment, but into and through whatever comes next. And the change that is possible within the microcosm of a workplace might also be possible in other workplaces, in a society, in the wider world.”
“I gave up on making a happy ending in the true sense a long time ago.” Japanese animator and film director Hayao Miyazaki is something of a legend. Over at The Literary Hub, Gabrielle Bellot takes a look at the expansive literary history of Miyazaki’s Studio Ghibli.
“It is a superstitious business—childish, really—the marking, or even the noticing, of anniversaries like these. Such fastening pretends that one day can be like another, pretends that every day is not, ultimately, only its own day, the only version of itself that will ever come. But ‘Daddy’ is itself a poem built on a bedrock of anniversaries.” At The Paris Review Daily, Belinda McKeon marks the birthday of an oft-revered poem.
Most writers, unless they’re lucky enough to have an ideal place in which to work, make do with the best space available. For Colum McCann’s father, the shed in his backyard, which “always smelled damp inside, as if the rain rose up out of the carpet,” sufficed for the fiction he wrote after coming home from work. At Page-Turner, the National Book Award winner and Year in Reading alum remembers his father’s retreat.
“Like all great literature, [David Foster Wallace’s] books do many things at once. Litchat, however, is singleminded.” Laura Miller discusses “the perils of litchat” at The New Yorker and how it has affected the legacy of David Foster Wallace. For less litchat, read our review of The David Foster Wallace Reader.