Austerity Almost Killed This Spanish Cultural Institution, But It Just Got Saved

The Spanish Royal Academy (RAE), the institution in charge of defending and defining the Spanish language, had been reeling under cuts for more than a decade. Then it got a new director – and he never stopped saying the RAE was of concern to the country. That worked, to the tune of 5 million Euros. Now, “the RAE will be in charge of at least 20 projects of exceptional interest, including the elaboration of different dictionaries, grammar or, now, its work of ensuring the correct use of language in the digital era.” – El País

Please Stop Harassing Writers While They’re Working

And in specific, stop harassing Asian Americans authors. Listen to author R.O. Kwon (The Incendiaries) discuss her experiences at literary events: “Aside from the colorist comments about my skin, some of these words — adorable, cute, silky, shiny — could be taken, incorrectly, as compliments. I acknowledge that there’s luck, and privilege, in inhabiting a body that others might find appealing. But when I’m at these events, I am at work. I am talking about my profession, not about my hair or skin or any perceived cuteness.” – The New York Times

How Miami Became A Book Town

Mitchell Kaplan founded Books & Books in 1982, a time when Miami was seen as a place of drug running, diet culture, and political unrest – and certainly not literary culture. But, well, “thirty-seven years, an international book fair and eight additional locations later, Kaplan is celebrated as the man who turned Miami into a book town, and one of the foremost literary centers in the world.” – The New York Times

We Need To Talk About The Author Of ‘The Yellow Wallpaper’

Charlotte Perkins Gilman has become a go-to feminist author with her clear, understandable, and terrifying short story, “The Yellow Wallpaper,” forgotten after her death but rediscovered in the 1970s. But she wrote a lot of nonfiction as well. In that writing, “she accused non-white immigrants of ‘diluting’ the racial purity of America and advocated for a government-run, slavery-adjacent system of forced labor, which she called ‘enlistment,’ for black Americans.” – LitHub

Writing Isn’t Therapy

And writing about trauma doesn’t bestow some kind of catharsis on authors, or so says T. Kira Madden, author of Long Live the Tribe of Fatherless Girls. “My love for magic, still, is all about mechanics. Construction. Physics. My knowledge of how tricks are done does not deaden the awe and admiration I feel—it deepens it. Sometimes I work hard for that knowledge.” – LitHub

Chaucer Was A Remainer — A Poet Of Europe, Not Just England

“Chaucer was able to transform English poetry the way he did precisely because of his internationalism, not his nationalism. Like all educated men of his day, he was multilingual. He devoured late-antique philosophy, Latin translations of Arabic scientific treatises, and French love poems. His unusually good knowledge of Italian – and his travels to Italy – allowed him to access the latest poetry of Dante, Boccaccio and Petrarch. Indeed, Chaucer’s very fascination with vernacularity was a European phenomenon: Dante and Boccaccio’s championing of Tuscan vernacular inspired Chaucer to see what he could do with his own.” – Aeon

In A Country With Few Public Libraries, Ordinary Citizens Create Their Own

There’s the tuk-tuk bookmobile toodling around Jakarta schools. “There is the Perahu Pustaka, a library boat that sails around West Sulawesi. There are libraries on the back of vegetable carts, shelves lugged around by horses in Serang and in West Papua. Across Banten, a 200-strong motorbike gang called the Komunitas Motor Literasi (Moli), brings books to homes from a box attached to their vehicles, delivered with the ease of a takeaway.” – The Guardian

Get Out The Pitchforks! What’s The Difference Between Criticism And Intimidating Work Out Of The Market?

“When it comes to Young Adult literature, what, precisely, is the difference between the marketplace of ideas and a Twitter mob? A group of unpaid readers—one with an undeniable personal investment in the Y.A. community—seems to be doing much of the work of critique that is usually first the task of agents and editors, and then that of booksellers and critics. But, when these particular readers do that work, they are derided as pitchfork-wielding hysterics.” – The New Yorker