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Time for Tennessee

Every year, I find time in my busy spring work schedule to get to the Tennessee Williams Literary Festival, which is my favorite festival of the year. It offers a healthy slice of tidbits for working writers, for lovers of New Orleans  readers of good books and performances for theatergoers.

Their digital schedule is handy, but just go to the Monteleone Hotel today thru Sunday to get a paper schedule, buy tickets, purchase books or concessions (you may find me there volunteering on Friday) and soak up the vibe.

TICKETS ARE ON SALE NOW!

Tickets are ON SALE NOW!

We know you might have your favorite way of viewing our 5-day schedule of events, so here are some options so you can check out all of our panels, master classes, theater, and special events and plan your Festival experience.

  1. Hover over FESTIVAL on the menu bar at the top of our website and you’ll see dropdowns to view the events by category, see all the speakers (whose pages list their events), and a schedule that shows you the daily version.
  2. Or you can view and download our full color program.
  3. Or maybe you’d just like a printer-friendly descriptive program that you can peruse at your leisure.
  4. Or peruse our full color program with digital links.

Check out 2tender4house: an indie lit fest in New Orleans also happening this week.

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Local Authors: Make Your Pitch at the2017 Tennessee Williams Festival

Spread the word. Have a New Orleans novel you want to get published?

Crescent City Books, has launched its publishing imprint for New Orleans fiction, CCB. If you have a New Orleans novel you would like to pitch to Michael Allen Zell, this is your opportunity. To register for a spot and for specific details, email ccsubmissions@gmail.com. Deadline: March 15, 2017.

 

Available Slots: Friday, March 24 3:00 PM • 3:20 PM • 3:40 PM • 4:00 PM • 4:20 PM • 4:40 PM

Two days of Tennessee

In no particular order:

  1. I go to the Tennessee Williams Literary Festival every year, except when there is a cruel twist of fate and one of my work trips must come then. I think that has only happened once or twice in the last 20 years, but it seemed like a betrayal to my own spring routine. Clearly I never forgot it.
  2. I often pay for a panel pass but just as often I volunteer (and know to expect excellent volunteer supervision from Karissa) which means I get that pass for my (few) hours of work, which is so very much appreciated. I’d like to see the volunteer numbers beefed up a bit and some experienced folks given titled jobs ( I see some of the same people each year). And maybe volunteers can get free theater tickets or a panel pass to encourage those with different interests?
  3. One time I purchased a more expensive  pass that gave me access to the Master Classes which just seemed like more panels, except held on Thursday. However, I often also purchase a single ticket to a theater offering or a special event; this year, I would have gone to see Poppy Tooker, but her event sold out early. Honestly, I think getting the panel pass and individual tickets  is the only way to go, unless you rich or need to get your name on the thank you list.
  4. I often skip the Stella Yella (think its actually called the Stella Yell Off) on Jackson Square ‘cuz the crowd is HUGE now and unless you are on a balcony or camped out for hours, you cannot see it. And also,  sometimes the yelling intensity is frightening and I start to get concerned for the actors. (Is there an ambulance nearby in case someone pops a vessel?)
  5. When I first started to attend the Fest (around 2000), I knew no one and happily sat there invisibly, listening, daydreaming and taking notes. Now, I know many of the attendees as my neighbors, and others from doing civic work around the city. I’m not sure I prefer one mode over the other; my time as a observer was sweet and now my time as a chatterer in the hallways is fine too. I just never want to be one of those people who only talk to each other. You know who they are.
  6. Williams Center @ HNOC has been a great addition to the venues. I think Kenneth Holditch’s Walking Tours have attracted new people to the Fest.
  7. Over the years, the effort to add new voices and different perspectives has worked reasonably well. The attention to POC and gender-fluid writers and performers has definitely grown and is treated with dignity and thoughtfulness. However,  some panel topics have worn a bit thin (isn’t there a better way of offering indy publishing perspective than that one 3-person panel?) and yet the stuff about Tennessee and his work seem to be constantly updating and offering some new perspectives.
  8. What happened to the literary world panels? Am I wrong in thinking there used to be more literary agents, editors etc discussing the book publishing world?
  9. Why not more on simply the world of theater, either here in New Orleans or across the US?
  10. I do like the contests (one-act, poetry etc) , but think we can learn hear more about the process and the contestants during the regular panels.
  11. The Saints and Sinners programming is a welcome addition to supporting writers of more genres.
  12. Suggestions: I’d like to see some more (gasp!) TWO person panels or even straight interviews with one author/playwright. And why not show Streetcar each year in the Quarter on the last night, maybe projected in the Square?
  13. Master Class as actual classes? More programming outside of this weekend? theater offerings at schools? TW short story book club at area libraries? (although a shout out to the WriteNow program held during the fest is necessary…)
  14. More used books for sale? How about giving our front line folks (i.e. booksellers at the bookshops around town) a few free tickets to a single panel? so many of them are working writers and of course talk to many literate folks every day and so can spread the word about TWLF.
  15. and this is sort of self-serving, but I think TWLF should encourage more bloggers, tweeters, occasional writers to participate and to write about those on the panels, their works and the entire deal.

Still, in a hurried world of shouting candidates and Kardashians, Tennessee reminds us to care for our sensitive souls. So, knowing there is one more day is a pleasant way to end today:

TWLF16Sun

bonding versus bridging versus bug off

(I wrote this a few years back and always think of it during event season in New Orleans which is just beginning. If you go to the LPO, or a fundraiser at a private home, look for this behavior yourself to see if I am right.)

In many cases, hanging out in the French Quarter allows you to forge new relationships with people who you do not normally see like people from away, or rich folks, hustlers, delivery guys, strippers, musicians, artists. What is also true is that if you live there you can also engineer it to (purposefully) have little interaction with those unlike you.
I learn this when I go the events for the “haves” in the Quarter. Last night I attended the world premiere for 3 one-act plays of Tennessee Williams. The event was held at Southern Rep at the foot of Canal Street, high above the mean streets.
As I came in, an organizer asked me with a surprised note in their voice, ‘Oh, are you here for the world premiere?”
I answered in the affirmative with a smile that said of course you have to ask. They quickly recovered and all went swimmingly. Well, until I sat next to some people who gave me one of those thin smiles that say, “why, who you?” And then soon enough, they politely got up and  went to stand near other well-dressed people.
Maybe my taffeta rustled too loudly.
It is hopefully clear to you, dear reader that I am never well-dressed.

Don’t get me wrong-it wasn’t a wide empty swath around me, just chatty people known to each other who had little or no interest in actually making eye contact with those unknown.
And yet it was fun to listen and watch and not be “someone” or paired with someone who felt the need to nervously scan the room as they made innocuous talk as they realized they were standing back to back with Peggy Scott Laborde. That matters at TWLF by the way.
And I find some of those “haves” perfectly friendly who have made it to that group for good reason, through accomplishment.

Unfortunately though, they can also be one because they married it or bought it and then they wear it like armor.

In contrast, let’s see what the situation might be if you went to say, John Boutte’s show at dba Saturdays.
-The smiles are freely shared and if a regular has seen you more than once before somewhere it’s likely they will start a conversation to find out about you. Or if they are standing next to you, dancing to “At The Foot Of Canal Street.”  During the break and after the show, the musicians, including John, are hugging people, graciously meeting new converts and hanging about. The only thing off limits at those shows are the chairs that are commandeered as soon as the doors are opened. And the beer is excellent.
Chat or not, shared smiles notwithstanding, the TWLF world premiere food was good; the shrimp were only slightly flavored but the salmon was quite excellent. The champagne wasn’t the worst and they came to give more before we went in. All gratis, of course but you knew that.
Overheard:
“I couldn’t believe my eyes when the taxi stopped here…”
“That one is my most intellectual child…”
“Is this the Village People?” (gay friend joke)
“I did not read the synopsis. I left my glasses in the car. That’s fine.”
“Hello you!” (tone was clearly one of “I have no idea of your name, but let’s kiss and hug in case we are good friends.”)

After the first 2 of the 3 short pieces about people who retreat into illusion when unable to deal with the ugliness of reality, the organizers made an announcement as intermission began that the champagne glasses HAD needed  to go back to the bartenders before the “curtain” had gone up and now those glasses were to be delivered home. With a note in their voice that said, seriously, they may start charging us for the extra time, so PLEASE bring the glasses back out to the bar…
…Finally, I watched the female bar staff person come in and scour the theater as quickly as she could for the orphaned glasses, orphaned by those now standing outside in small, select groups who did not and do not ever hear the call that they should hand their glass back.
Moving fast, you knew when she finished she would go home and get off her feet while we went back to see the last piece about fragile people who talk in poetic sentences.

Lucky people.

Dispatches From New Orleans, Vol. 3: A Literary Interlude Starring William Faulkner and Vince Carter – The Triangle Blog – Grantland

An excellent trip through the remaining bookstores of the Quarter and its people and oddities. I’d keep this column as a reference if I were you…Although, his worry about being judged by the booksellers of the Quarter when browsing or buying is entirely unwarranted. If anyone cares less about your preferences than the people of the Quarter, I don’t know who they are.
Rembert Browne (@rembert) is a staff writer for Grantland.

Dispatches From New Orleans, Vol. 3: A Literary Interlude Starring William Faulkner and Vince Carter – The Triangle Blog – Grantland.

Conversation with Michael Cunningham

Michael Cunningham launched his career by publishing short stories in ”The Atlantic Monthly” and ”Paris Review”. His debut was an impressive feat for a student still in the midst of his MFA program at Iowa’s Creative Writing Workshop. Cunningham’s early successes were telling omens of what lay ahead — six novels, a Pulitzer Prize, a film adaptation of his novel ”The Hours” starring Meryl Streep, Nicole Kidman, and Julianne Moore, as well as many awards and fellowships. Novelist and former journalist Amy Stolls interviews Cunningham to get the stories behind his path to literary success. Expect an engaging discussion of literature and the writing life.

Location: Hotel Monteleone Queen Anne Ballroom
Included in: All-Access Pass, Literary Panel Pass, Student Panel Pass, Teacher/Senior Citizen Literary Panel Pass, One Day Festival Panel Pass, Single Panel Ticket (only available on site)
Price: $10 (Single Ticket Event: only available on site), or included in All-Access Pass ($500), Festival Panel Pass ($75), or Day Panel Pass ($30)
Ticket Code(s): AllAccessPass, LitPanelPass, StudentPanPass, Sr/TeachPanPass, DayPanelPassSun

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