From the Globe & Mail:
Literary Montreal is the source of an audacious new literary prize announced late last week: the Montreal International Poetry Prize, which will award $50,000 for a single poem of up to 40 lines written in English.
Billing itself the “World’s Largest Poetry Competition,” the prize is “designed to bring more attention to poetry and to encourage people from all over the world to enter their poems,” according to a press release.
What is innovative about the prize is its encouragement of poems using “any English dialect” and its openness to poets from all over the world, whether previously published or not. [. . .]
An editorial board of distinguished poets includes Montreal’s Stephanie Bolster and Michael Harris, former Montrealer Eric Ormsby, Australian John Kinsella, Jamaican-born Valerie Bloom, Malawian Frank M. Chipasula, as well as the Nigerian Odia Ofeimun, Mumbai poet Anand Thakore, Sinéad Morrissey from Belfast and London-born Fred D’Aguiar, who grew up in Guyana of Guyanese parents.
The early entry deadline for the competition is April 22, with a final deadline of July 8, 2011. The editorial board will choose the top 50 out of the poems submitted, and these will be published in print and in e-formats by Montreal’s Véhicule Press in fall 2011. The winner of the inaugural prize, chosen by 2011 judge Andrew Motion, will be announced in December.
Good luck to all our poetry friends . . . I’m assuming you’ll all apply, since it probably (unfortunately) takes three decades of poetmaking to earn $50K in royalties . . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .