On Thursday morning, I’ll be taking off to attend (and participate in) this year’s Blue Metropolis festival in Montreal.
In case you haven’t heard of it, the Blue Met is one of the (or maybe just the?) largest literary festivals in Quebec. It runs from April 18th through the 23rd, and features a ton of great events taking place in several different languages and featuring authors from Canada (Perrine Leblanc), the U.S. (Joyce Carol Oates), and the rest of the world (Juan Gabriel Vasquez, Teresa Solana).
The main reason I’m going to be there is to participate in this event:
Friday, April 20, 2:30pm (aka 14:30)
Godin Room, Hotel Opus
Cracking the U.S. Market
Two influential critics, writers and publishing insiders talk about how Canadian writers, editors and publishers can break into the U.S. publishing market and possible directions that the market will take in the next few years.
Scott Esposito, Chad Post, Katia Grubisic (moderator)
First off, it’s awesome to be referred to as “influential,” and also awesome to have a full panel to talk about all these issues with Scott. The three of us have exchanged a few emails about the event, and just based on these, I can guarantee the panel will be fun, funny, and informative.
If you’re going to be at the festival, here are a few other events I’d recommend:
Hopefully I’ll meet up with some of you there!
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. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .