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!
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .