28. The Translation Duel
A Feature Event
A Feature Event
Back by popular demand, this year’s translation duel will be crafted around an original work by author Stanley Péan. Revealing never-before seen translations by Dimitri Nasrallah and Arianne Des Rochers, this exciting discussion unpacks the artistry involved in tranlslation. Suitable for English and French speakers, this battle of words, will entertain and delight, infused with insights about the business of translation and the craft of transporting a work of art beyond the bounds of language.
Events scheduled for May 1-15 are available via an all-access festival pass. The festival pass costs $39 and gives you access to a virtual festival platform, which includes an auditorium hosting forty virtual events, an exhibit hall with a live chat feature for communicating with vendors, and a lounge for engaging in discussions before and after events with other festival-goers.
Passholders will have be able to compete in the space for incredible prizes and will have access to the platform and all of the recorded festival events, as well as bonus content, until May 30, 2021. If the cost of the pass is prohibitive, please fill out the Patron Pass form, and a pass will be made available.
Arianne Des Rochers is a translator, scholar and educator from Montreal. She is Assistant Professor of Translation at the Université de Moncton, in New Brunswick. As a literary translator, she has (co)translated works by Leanne Betasamosake Simpson, Joshua Whitehead and Vivek Shraya.
Editor, translator, and essayist Dimitri Nasrallah is the author of three novels, most recently 2018’s The Bleeds. He was born in Lebanon two years into the country’s 15-year civil war, and lived in Kuwait, Greece, and Dubai before moving to Canada in 1988. His first novel, 2005’s Blackbodying, won the Quebec’s McAuslan First Book Prize and was a finalist for the Grand Prix du Livre de Montréal. His second novel, 2011’s Niko, won the QWF Hugh MacLennan Prize for Fiction, and was nominated for CBC’s Canada Reads and the International IMPAC Dublin Literary Award. He is the fiction editor at Véhicule Press.
Born in Port-au-Prince (Haiti), raised in Saguenay (Quebec), Stanley Péan is the author of 25 books: novels, short stories collections, essays, juvenile fiction. He also hosts and coproduces a jazz program that airs every week night on ICI Musique, Radio-Canada’s all music radio network.
Luciana Erregue (She/Her) is an Argentinian-Canadian art historian, writer, and editor. Luciana is the owner of Laberinto Press, specialized in underrepresented Canadian-hyphenated writers and literature in translation. She is a Banff Centre Literary Arts alumni, a former Edmonton Artist in Residence, and a recipient of the Edmonton Arts Council Cultural Diversity in the Arts Award. Luciana maintains her blog Spectator/Curator where she writes about art and life as a visible minority woman in the Canadian arts scene. She lives in Edmonton, AB.
The FOLD is a remarkable and wonderful event for authors and attendees alike. What an amazing community, dedicated to the vital need for inclusive stories and the critical role they play in building a better world.
Field Guide to the North American Teenager is my first novel and FOLD was my first Canadian literary festival. While American and Canadian culture overlap quite a bit, especially when it comes to bookshelves, Canadian literature is unique and I was very heartened by to be embraced by that community I consider home despite residing in the US. It was a homecoming I didn’t know I needed!
The Festival of Literary Diversity was an absolute joy–the organizers thought of *everything* and by anticipating authors’ needs, they freed us to focus on connecting with the audience and each other. There was no pretension, no posturing–just very genuine conversations with invested writers and engaged readers.
I have been to a lot of writers festivals and the FOLD is definitely near the top of the list of those I want to be invited back to.
Being part of such a clearly diverse, inclusive and mutually respectful group was thrilling and inspiring: a glimpse of a better world.
Wherever I go in Canada and find another writer of colour, we eventually end up gushing about how great the FOLD is, how by normalizing diversity it liberates us to talk to audiences about craft. It’s hard to imagine the literary landscape returning to a prehistoric pre-FOLD era.
FOLD is a festival experience unlike any other I’ve had. The FOLD team strive to create a space that’s welcoming and engaging, while allowing for curiosity, ingenuity and the fostering of real community – and they succeed, every year.
The FOLD is one of the most important literary events on this continent. By focusing on diverse voices and giving authors space to share their stories and speak their truths, it is revolutionizing the writing and storytelling realm as we know it.
Being part of the FOLD community has provided me with a strong sense of belonging. Sharing diverse stories and listening to different voices that broaden my understanding of the world has impacted me as a person and motivated me as a writer.