Though it was only released a month ago as I write this, Kelela’s album Raven has been on constant rotation: whether it’s the summery “On the Run,” the piercingly erotic “Sorbet,” or the emotionally expansive “Enough for Love.” Her fusion of R&B, house, and electronica is like no one else. Unlike a lot of contemporary albums, I tend to listen to Raven from start to finish. It asks you to immerse yourself.
For my birthday a few years ago—August, 2020, just months into the pandemic—my partner Tiina bought me a projector, so we could watch films on our living room wall, and a subscription to the Criterion Channel. I’d always been a film lover, but this put me over the top. Since then I’ve been watching at least four or five old classic movies per week.
Maybe it was the strange relationship to time the pandemic created, but at some point after this thing started I finally watched the movies of Andrey Tarkovsky. I say finally because, despite being a lifelong film lover, I’d never seen Ivan’s Childhood, Andrei Rublev, Solaris, Mirror, or Stalker.
During the many months of quarantine, given an infinite amount of time to read and write, my husband and I binged most of Netflix. I remember very little of it. Murder mysteries blend into each other; some of them include grey shorelines of various parts of Great Britain, and others are set in grey cities of indiscriminate corruption.
The Resistance to Poetry by James Longenbach
As an admirer of rampant kinds of poetics, I first discovered this Longenbach volume shortly after its 2004 publication and was instantly struck by its refusal to make poetry accommodating, accessible, to evidence the strain so many other poetics texts possess in their aim to convince the reader of the genre’s palatability, transparency, likeability.
Congratulations to Shirley Harshenin whose story "Invisible Walls: A Decentred Hermit Crab Sticky Note Narrative" won gold at the 2023 National Magazine Awards for One-of-a-Kind Storytelling! "Invisible Walls: A Decentred Hermit Crab Sticky Note Narrative" appeared in Issue 292 (Summer Creative Nonfiction 2022).
I’m a worrier. I worry when I see someone holding a smart-phone up to a baby rather than endure a little fussing, and I worry when another Dad says he puts his kids to bed telling them to amuse themselves with the iPad until they’re tired. Algorithms appear to be designed to give people more of the same, so that we become more entrenched, both in terms of the arts and our political views, even aside from the way scrolling wrecks our ability to concentrate and, you know, read a book.
For the past two summers, I have lived at a relatively remote field station in Northwestern Ontario, which lends itself well to books I can read several times over. Flyway, by Sarah Ens, shares many of my preoccupations – prairie animals, family migration, settler relationships with stolen land – although from a different perspective than my own as Ens charts her family’s place in the Russian Mennonite diaspora and among migrating birds.
I often listen to the same album on repeat when I’m engaged in intense writing sessions – the rhythmic familiarity seems to provide the perfect level of inspiring-but-not-too-distracting background noise. The album I’ve listened to the most over the past couple of years, and that I always recommend to others, is my fellow Winnipegger, Begonia’s, Fear, which she released in 2019.
Every few years, I become fixated on an album and listen to it on repeat until my husband, children and cat are all desperate for reprieve. During the winter of 2021, Lotta Sea Lice was that album. A collaboration between speak-singing indie darlings Kurt Vile and Courtney Barnett, it’s a subtle, well-crafted album that’s perfect to write to — it plods along pleasantly in the background until, one day, you realize that the songs are sneaky earworms and you never feel like listening to anything else.
