For all you French speakers out there living in NY, this sounds like a really interesting event:
The 100th anniversary of Gallimard
Monday, January 24, 7:00 p.m.
Antoine Gallimard in conversation with Olivier Barrot (in French)
In 1988, Antoine Gallimard became the head of the Editions Gallimard, one of the world’s most prestigious publishing houses. He succeeded his father, Claude Gallimard who, himself, had followed his father, the founder of this venerable enterprise now celebrating its centennial year. Gallimard is a unique, independent house, boasting more Nobel Prize winners and Goncourt Prize novels than any other French publisher. In 22 years at its helm, Gallimard has both followed a singular tradition and kept his company young and forward looking into the 21st century. One of the most respected persons in his industry, Gallimard was elected President of the French National Publishers Syndicate in 2010.
Presented with the additional support of Sofitel, Open Skies, CulturesFrance, and the Cultural Services of the French Embassy.
La Maison Française
New York University
16 Washington Mews (corner of University Place), New York, NY 10003
Florence Gould Event (in French)
A Special Edition of French Literature in the Making
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .