The Guardian has published a selection of Joni Mitchell’s stunning watercolours from Morning Glory on the Vine, including the above (of Neil Young).

“Offstage, she seems softer and more laid-back than her fierce and foul-mouthed standup persona. In the book, she recalls starting out: ‘I was very dirty back then. Even now, I’ll look back on those days and think: “God, you were disgusting.”’ Which is very funny if you have seen any of Wong’s comedy, because you will know how filthy she is now. In Baby Cobra, there are gags about anal sex and vaginal secretions; in Hard Knock Wife, there are jokes about the things she would like to do to their nanny if he was 25, male and ‘not ugly’.”

Ali Wong interviewed in the Guardian about her new book, Dear Girls.

“I became engrossed in Mitchell’s drawings while browsing the book—they’re vivid, intimate—but her handwritten lyrics and poems are just as revelatory.”

Morning Glory on the Vine in the New Yorker.

Gina Miller, author of the extraordinary memoir Rise, has taken the UK government all the way to the Supreme Court twice and now won twice. First on its authority to trigger article 50 without parliamentary approval and now on the unlawful prorogation of parliament.

“Annie Dillard said once that the only advice any writer needs is to keep your overheads low. In our present epoch, this means you have to be very, very careful about where you choose to live. I live cheaply in the rural north west of Ireland and this means I don’t have to teach, I can just write. The city as an entity really doesn’t want anything to do with writers anymore—we’ve been priced out, as have all creative people except those from backgrounds of privilege. So screw the city—it’s the city’s loss.”

Kevin Barry, author of Night Boat to Tangier, answers five questions on writing and its obstacles over at Literary Hub.

James Meek, author of To Calais, In Ordinary Time, writes about the intersections of languages with each other, and with power, at the Guardian:

“The transformation tends to be presented in popular history as an absolute, as the triumph of English over French, as if languages were hermetic national systems, as if English were taken prisoner by French with the Norman conquest in 1066, was tyrannised by it for the next 300 years, then burst free and drove the aggressor back across the Channel. As well as describing, in English, the death of French as a living language in England, Trevisa sounds the death knell for living Latin by the then radical act of translating a learned work from Latin into English.

“But neither French nor Latin went away. They seeped into what we call English and made themselves at home, giving the language its fantastical redundancy, creating something half-Germanic, half-Romance. Trilinguality was internalised. Otherwise the Albert Hall would resound to ‘Land of hope and woolder/Mother of the frith,’ and we’d sing ‘God beery our gladman Queen’ and leave the EU not to take back control but to ‘take wield again’. We’re born in English, live, love, wonder, feel and die in English, but we’re conceived, we emerge, exist, touch, desire, doubt, experience, suffer, succeed, fail and perish in French and Latin.”

“This isn’t about America’s welfare or Omar’s qualifications. Quite the opposite: Trump and Carlson see Omar’s potential and are desperate to clip her wings—and the wings of every immigrant who may come into her gifts on American soil. These men understand that the most powerful immigrants—those they see as threats—are the ones who actually took their vile instructions to heart and did everything we were asked to do. We became American, and highly educated ones too. In so changing, we found our voices. We saw that, though we were born in far unluckier places, we have all the same talents as our Western-born peers. We saw that we can compete and win. We learned that in America, if you see injustice or hypocrisy, you don’t bow lower, always afraid of being tossed back to the hell you once knew. You fight for every hard-earned belief.”

Dina Nayeri, author of The Ungrateful Refugee, gives the perfect respone to Donald Trump and Tucker Carlson, “mediocre men raised at the trough of extreme Western privilege”.

“Barry, winner of the Impac Dublin literary award for City of Bohane and the Goldsmiths prize for Beatlebone, is a clairvoyant narrator of the male psyche and a consistent lyrical visionary. The prose is a caress, rolling out in swift, spaced paragraphs, a telegraphese of fleeting consciousness…”

Alan Warner reviews Night Boat to Tangier in the Guardian.