One of my favorite editors and agents, Irene Vilar, is helping launch the Americas Latino Festival November 15-19 in Denver, Colorado, and which may be of interest to a lot of Three Percent readers.
According to their website:
With the help of a steadily growing international, national, and local network of alliances and cooperation, the Americas Latino Festival is a community building, educational initiative that is bound to become The Latino Summit for Environmental and Social Justice. The festival unites diverse communities through dialogue on the environment, health, education, culture, and small business entrepreneurship.
The Americas Latino Festival’s mission is to foster a platform of dialogue and mobilization for a just society that ensures that everyone has access to a stable market, an able-bodied workforce & a healthy environment.
I’m going to attend and participate in a discussion about “Translation, Publishing, and Social Justice, so hopefully I’ll see some of you there.
As part of the festival, the Americas for Conservation & the Arts is also launching new book awards for full-length books of fiction and nonfiction, children’s books, and poems published between January 1, 2011, and November 1, 2013, along with unpublished fiction and non fiction.
All the information can be found here, but the main criteria are that the author must be alive and that the submission:
Expresses the themes of the America Latino Festival: environmental justice, reconciliation of peoples and places, migrations, adaptation, integration and inter-generational and cross-cultural dialogue. Especially, works that broaden our vision of how people and their activities, regardless of race or ethnicity, impact the environment or highlight our interdependence on the natural world. Additionally, works that deepen our connection to the natural world or bring new call to action ideas.
Winners will each receive a prize of $2,500.
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.. . .