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!
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.
- 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.
- Or you can view and download our full color program.
- Or maybe you’d just like a printer-friendly descriptive program that you can peruse at your leisure.
- Or peruse our full color program with digital links.
In no particular order:
- 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.
- 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?
- 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.
- 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?)
- 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.
- 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.
- 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.
- 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?
- Why not more on simply the world of theater, either here in New Orleans or across the US?
- 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.
- The Saints and Sinners programming is a welcome addition to supporting writers of more genres.
- 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?
- 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…)
- 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.
- 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:
What is probably my favorite weekend in the Quarter is over. I would say that it is all over but the yelling, but that is prolly still going on at the Stella contest that ends the TWLF. (Although I’d like to know when they stopped ending this day with the happy birthday toast to Tennessee?)
I spent the big bucks for the mid-level pass this year, which gave me access to all panels and master classes. Not sure if I’d spring for the master classes next year, as I’ll wait ’til those become more of a class and less of a one-person panel. I did see some great panels, two of which featured my pal Nancy Dixon, editor of N.O. Lit, which in my opinion, was the book that should have been one of the 2015 books of the year. Lauren Cerand, literary publicist was another standout as a thoughtful and prepared presenter, as was Bryant Terry, author of Afro-Vegan and social justice warrior.
My available cash for this event is always limited but I do spend it. I wish the organizers understood how to give great value to the least as well as they do to those who spend the most. I’d suggest creating more focused tracks for a writer or a scholar to follow throughout the weekend, and maybe even offering a special price for those with LA i.d. to get more working writers there. Additionally, I’d recommend a salon room for writers and bloggers with access to internet and maybe some authors stopping by to keep the buzz moving in between the panels.
The highlight of this is usually the theater offerings, which for the first year ever (of around 20 for me) I did not attend any. Funds and scheduling were the issue there.
Having done all that complaining (as my grandmother would say), I urge every working writer to spend a little time at this event in future years, even if it is just to roam the halls or volunteer at an event to get a panel pass. You’ll walk away with a few nuggets and a renewed belief in New Orleans as a destination for readers and writers.
Cusimano, a 26-year-old graduate of Loyola Law School and a 610 Stomper, was the victor, which was hardly a surprise. The Metairie resident had, in successive rounds, burned himself with a lit cigar and then doused his wound with booze, all in a fit of passion.
“I started seeing the competition and said to myself, ‘If you’re gonna go, you got to go!’ ” he said afterward, brushing away tears that appeared genuine.
He then hoisted his trophy high.
“This may be the best thing that ever happened in my life,” he exclaimed.
Reporter tries to summon his inner Marlon Brando | Home | The New Orleans Advocate.