I’ve returned multiple times to this episode of The New Yorker Fiction Podcast, featuring two of my favourite writers. Edwidge Danticat is right: Jamaica Kincaid’s short fiction is meant to be read out loud. I especially enjoy Danticat’s reading of ‘Wingless’, a prose poem about a young girl’s desires to be independent of her mom, whom she both fears and admires.

Nitetrax always presents an experimental and exploratory range of music. For me, his work is as much an archive as it is a monthly show. I have learned so much about the history of club music by listening to his selections of pioneers of acid house, Detroit techno and disco. Nitetrax also selects unreleased contemporary recordings. I recommend listening to his most recent show of unreleased Prince instrumentals and his Belgian Rave special as well as his 2017 show with Shannen SP guesting.

This compelling Ecuadorian feature-length documentary foregrounds a series of events that occurred during the presidency of Jaime Roldós Aguilera. As the first democratically elected president of Ecuador, Roldós Aguilera played a crucial role not only in Ecuador, but also its neighbouring Latin American countries. In 1981, after giving a speech in Quito, Roldós Aguilera, his wife and military crew took the presidential plane to Macará, and when the plane was at the height of the Huayrapungo hill, it crashed leaving no survivors.

Our colleagues at Brooklyn-based Light Industry are screening weekly a different film over on their Patreon where you can also donate to support this brilliant independent venue for film and electronic art. This week it's Ben River’s No. At Last! (2018), introduced by filmmaker Laida Lertxundi.

This contemporary poet writes a ghazal – an ancient Arabic poetic form – to describe a loss so big that the only way is through. I find the line ‘All the world’s earth is my momma’s grave’ particularly helpful in processing grief.

The artist collaborative Amy Lien and Enzo Camacho address the local iterations of labour from a perspective that traces its postcolonial damage. As part of Walker Art Center’s Artist Op-Ed series that examines the thinking of artists as citizens, Amy and Enzo’s text ‘Surviving Tiempo’ looks at ‘bungkalan’, a movement in the Philippines that offers means of survival and militant political resistance for farmer activists as they cultivate unused plots to grow both food and community.