Eudora Welty Applies For a Job at The New Yorker, 1933

From Letters of Note:

I have seen an untoward amount of picture galleries and 15¢ movies lately, and could review them with my old prosperous detachment, I think; in fact, I recently coined a general word for Matisse’s pictures after seeing his latest at the Marie Harriman: concubineapple. That shows you how my mind works — quick, and away from the point. I read simply voraciously, and can drum up an opinion afterwards.

Read the full here.

Vijay Prashad: The View from the Other Side

Interview excerpted from Jadaliyya:

The Poorer Nations finishes for me the project of telling the history of the contemporary world (the past hundred years) from the standpoint of the South. The perspective of these two books is that of the South—its investments and its contradictions, of course in terms of its relationship with the rest of the world and itself. It is not the view from Washington or Moscow, London or Tokyo—it is the view from the other side, as it were. I wanted to do this as a counter to the kind of global histories being produced, whose globality masks the Northern perspective and interests of much of this history-writing

Read the full here.

Nalo Hopkins, Author and Textile Designer

Excerpt from the New Yorker’s Page-Turner:

I don’t think it’s a case of my writing inspiring my fabric designs; it’s that both my writing and my designs are fuelled by the same passions and obsessions of mine. I work a lot from historical illustrations and photos. Sometimes I change the original images significantly, sometimes not.

Read/see the full here.

Andrew Ervin responds to the VIDA Count 2012

Excerpt from The Rumpus:

What I’ve come to realize, thanks to VIDA and the Count, is that my feminist convictions do not make up for the low number of books by women I’ve reviewed. Not yet. Good intentions are not enough. It’s people like me, people aware of the persistent sexism of our society, who need to do a better job of promoting books by women. To ignore the gender disparity in publishing is to perpetuate it. I can’t do that any longer. Instead, I will continue to champion all of the books I love in every way I can—only now I will do so with a clearer understanding of just how far we still have to go in building the literary community that we all deserve.

Read the full response here.
Read the VIDA Count 2012.

Eleanor Stanford: the Clarity of Memory

Excerpt from Superstition Review:

I needed clarity, and the only way I knew to seek clarity was to write.

***

Maybe it wasn’t clarity that I needed, though. Maybe it was simply to tell my story, dust-obscured, deep-throated wail that it was. What I’d wanted all along was to put the island where I’d lived for two years on a common map.

For the full, read here.

Sarah Lawrence-Lightfoot on the Weight of Exits

Interview excerpted from the LA Review of Books:

There are lots of reasons why exits are hard. Society is so preoccupied with launchings and entrances and moving forward and meeting the next opportunity and tilting toward the future, which take our attention away from departures and leave takings. So we tend to interpret those leave takings as regressions, as failures, as negative spaces in our life journey. We associate the feeling brought on by exits with not doing very well.

***

Missing the exit is to miss at least half the story. When my doctoral students come in — they’re 35, they’re smart, they’re focused, they’re critical — they like to begin by telling me what they want to do, what will be their next steps. I always say, “What are you leaving?” That, to me, is a better marker to understand them.

Read the full here.