Writing Workshops LA – which was founded by our own Edan Lepucki – is hosting “The Conference” on June 28 of this year, and the day-long event will consist of “educational and thoughtful panel discussions as well as smaller, in-depth presentations and workshops aimed at informing and inspiring every attendee.” Presenters will include award-winning literary agents, editors, and writers including Joanna Rakoff, Adam Wilson, David L. Ulin, Counterpoint’s Dan Smetanka, and Daniel Gumbiner of McSweeney’s. Don’t miss your chance to sign up for the early bird special before April 15th – the first 40 attendees will also get an invitation to a literary pub quiz event the night before.
Recommended Reading: Anne Barngrover’s poem “My Lover Vows to Follow Me Even after He Leaves Me” at Paper Darts. “If trust is to hem your promises/into my jacket lining like folded dollars during/an ice storm, then I have been trusting all my life.”
Three decades after his death, the work of Romanian writer Max Blecher remains largely unavailable in English. Ricky D’Ambrose writes for The Nation about Blecher’s work. As he puts it, “Max Blecher is an obsessive saboteur of the breach between two seemingly irreconcilable positions: revulsion and lust.”
Haruki Murakami will publish his first short story collection in nine years this spring. Men Without Women will feature five previously published stories (including the controversial “Drive My Car”) and one new story. The book comes out in Japan in April, but there is no word on when we’ll see an English translation.
The University of Toronto now has a webpage up for its current exhibition “Beyond the Words: Author Portraits by Carl Köhler.” See some of Köhler’s remarkable portraits of artists and intellectuals and read about him here.
There’s been a lot of discussion about self-publishing books, but what about crowdfunding? Online publisher Unbound is proving it could work and has already raised over £1 million and funded 54 books. The model itself couldn’t really be any simpler – “the author pitches an idea and if enough readers support it, the book goes ahead. Once it has been printed, the book’s net profits are then split 50/50.”
“A good translation, Han’s subconscious seems to suggest, is a living, breathing thing, which must be understood on its own terms, discovered from beneath the great white sheet.” The New Yorker explores Han Kang‘s novels and the complex nature of translation. From our archives: The Millions review of Kang’s The Vegetarian and an essay on what gets lost (and transformed) in translation.