Authors' Reading Month

Author Authors Au A ut or ut uth rs’ rs s Reading Re Read Rea eading ea e adin ading adi ad a din di ding d ing iin ng n Mon Mo Mont M ont onth onth ntth th The Largest s Central Europ pean p a Literary Festiiival l

Dear readers, I cordially greet you from Brno, a city that since last year has been proudly carrying the UNESCO Creative City of Music title, but in which literature also plays an important role — and Brno equally has an important position in Czech literature. It was here that great poets such as Jan Skácel or Oldřich Mikulášek lived and wrote their works; in these streets key Czech novelists like Milan Kundera and Bohumil Hrabal grew up. Nowadays, Brno is also home to writers setting the trends in Czech literature, such as Kateřina Tučková or Martin Reiner, and the city also hosts the most important publishing houses. It is not by chance that the Host [Guest] review magazine, the only literary magazine of its kind in the Czech Republic, is written and published in this particular city.

It is no wonder that the phenomenon of the Authors’ Reading Month was born in Brno; by now, it has already crossed the borders of the region and the country, and has been addressing other cities — their line so far includes Ostrava, Košice, Wroclaw and Lviv. A powerful story is hidden behind this summer literary festival, which represents Czech, Slovak and Polish literature, and every year also the literature of the festival guest country (this year, for example, Turkey). Over the twenty years of its existence, originally a low-profi le event meant for a few enthusiasts, it has become one of the most important literary events in Central Europe. More stories like that await you in Brno — all you have to do is just leaf through a few pages.

Brno turns out to be a pioneer, a visionary. I am immensely pleased that Georgia, this year’s honorary guest of the Frankfurt fair, was already presented to Brno audiences last year. About thirty leading Georgian authors accepted an invitation to the Authors’ Reading Month, and as honorary guests, they represented this Caucasian literature in the above-mentioned four cities. Hence, the Brno festival was an imaginary precursor of the Frankfurt one, and I consider it a reason for pride.

Dear visitors, dear readers, enjoy Frankfurt, which in these days literally means enjoy the whole world, which is represented here by books — concerning its history, its future, its ideal as well as fantasy forms.

Petr Vokřál, Mayor of the city of Brno, The Czech Republic

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Authors’ Reading Month has existed for 20 years already. That is basically one generation. How much have readers, writers and literature changed over that time? Those are the questions researched by literary historians all over the world. We have tried — hopefully not without result — to capture the time, presence and, perhaps, to derive something from it for the future that awaits us.

When our festival gained a Central European subtitle, and, because of marketing, also the largest, the name Central European still sounded proud. Sure, maybe it was a trick then to avoid that unflattering name Eastern Europe. And today? We are still Central European in Lviv, Brno, Košice, Ostrava and Wroclaw (festival cities).

Of course, we have not moved anywhere, yet the subtitle is no longer promising. It almost seems that Central European is a synonym for trash from the worst of both Europes: Western and Eastern. Maybe this is an exaggerated statement, but it belongs to the literature as well.

If the name Central European is unflattering, more important is that writers from Ukraine, Poland, Slovakia and the Czech Republic meet regularly with each other, but also with writers from all over the world, from countries that are the honorary guests of the festival.

Last year, the guest writers were from Georgia: 31 of them. And this year, the Georgians are guests of the most important book fair in the world — Frankfurt Book Fair. We can say we were the Central European precursors of the literary world. We recorded 16 short documentary fi lms with the Georgians, whom we are presenting here in Frankfurt, with directors from Poland, the Czech Republic and Slovakia; these fi lms were also broadcasted by public service broadcasters of those countries.

Th is year, our guests were writers from Turkey. Over 30 writers arrived at five cities in July again, and we launched the Turkish Academy project, which was designed for university students from all over the world. And next year, Vietnamese writers are coming, which I think is very important because in Central Europe, there is a large Vietnamese community and we want to show them differently from the stereotype: the hard-working seller of everything.

Milan Kundera said that Central Europe is a state of mind, so believe him. That way, we can resist the unpleasant feeling that today we live somewhere among the worst. Literature is directly based on the mind, which supplies the necessary material, so even if worse times should be ahead of us, literature can help us to get over it.

Enough of the pessimism. Let’s dive into the books and read!

And we are inviting you from Frankfurt to Brno, Wroclaw, Košice, Lviv and Ostrava, where Authors’ Reading Month is at home.

Pavel Řehořík, the Festival Director

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The Authors’ Reading Month — Facts, Dates, Numbers per Year 100 writers 4+1 countries and 5 cities 41,664 tour kilometres 35,800 visitors 12,300 online visitors 18,565 social media fans 3,100 media mentions 512 minutes of literary fi lm essays 600 minutes of radio reporting 1,850 minutes of live radio broadcasting 410,000 words in translation 31 books

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1. The Authors’ Reading Month literary festival (ARM) is the largest literary festival in Central Europe.

An international summit of writers etched into the heart of the continent, it has been connecting the national literatures of various countries for almost two decades. Supporting active cooperation between writers, ARM also links the literary and cultural circles of various, mostly European, countries. Its significance, however, also widely surpasses this frame, embracing a wider socio-political context.

B/ The Local Writer section presents writers based in the countries that host the festival, with each festival city introducing mainly writers from its own country.

In Brno and Ostrava, most writers are, therefore, Czech, although some Slovak, Polish and Ukrainian authors make an appearance as well. Th is model extends to other countries, with mostly Slovak writers appearing in Slovakia, mostly Polish writers appearing in Poland and mostly Ukrainian writers appearing in Ukraine.

2. ARM is a festival in motion. Every year, it takes place in Brno, Wrocław, Ostrava, Košice and Lviv.

In addition, its form allows it to easily spread to other cities. Launching every year on July 1st and fi nishing on August 4th, the festival lasts 31 days in all participating cities, with a more-or-less identical programme in all locations. Every day, there are ten authors’ readings in five European cities, which also host a wide array of associated cultural events, such as exhibitions, debates, workshops, etc.

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As festival guests, writers travel from one place to another, serving as cultural ambassadors to their country: they give public readings and interviews, write articles and reports, talk about their ideas and their work, appear on the silver screen, meet and greet international colleagues, and much more. Last but not least, their work also appears in translation.

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The festival’s main programme is based on two parts: an author’s reading and a discussion with the audience. It’s further divided into two sections, A/ Guests of Honour, and B/ Local Writers.

A/ Every year, a country is selected as a Guest of Honour and an invitation is extended to 31 guest writers, a cross-section of generations and genres.

These writers then appear at the festival throughout the month of July, one every evening. In 2018, the Guest of Honour was Turkey; in previous years, the festival hosted writers from Georgia, Spain, France, Ukraine, Scotland, Austria, Canada, Belarus and many other countries. The Guest of Honour section offers a concentrated introduction to selected literature of the visiting country, reflecting, at the same time, the country’s socio-political situation.

Although ARM culminates in the summer months, it resonates throughout the year in a number of ways. You can fi nd its footprints in bookstores, on television screens, online and in various other media. In addition, selected writers continue to travel all over Europe, even outside the festival “home territories” — in the past, ARM sent its writers to places such as Berlin, Leipzig, Ljubljana, Maribor, Frankfurt, Bratislava, Glasgow and Edinburgh, where they continue their literary tours. In a way, the festival extends to a number of events occurring throughout the year, which supports its ongoing development.

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Preparations for the festival’s next iteration begin the moment the previous festival ends. For the programme to represent the contemporary state of each given culture as closely as possible, the organisers work together with external experts (translators, s, literary scientists) based both in the participating countries and abroad. In addition, managing teams in festival cities work on extra events throughout the year — in the summer months, they expand to include dozens more, mostly volunteers.

The festival’s headquarters are in Brno. Festival translations are prepared in cooperation with the language departments of local universities, where they are translated by students under their tutors’ guidance; in addition, students also assist with interpretation at the event itself. The festival gives both language students and graduates the opportunity to improve their experience in their area of specialization, while also discovering the production, managerial, medial and other sides of cultural events organisation.

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The Festival’s History in Bullet Points Authors’ Reading Month (ARM), the largest literary festival in Central Europe, was founded in 2000 in Brno, Czech Republic. Over the following years, it expanded to include several other cities, such as Ostrava (CZ) in 2011, Wrocław (PL) and Košice (SK) in 2012, and, fi nally, Lviv (UA) in 2015.

The fi rst Guest of Honour was invited in 2015. Traditionally, the festival culminates in the month of July, its many outreach events, however, have gradually started to take place throughout the year, bringing echoes of past festivals to different places and many other countries (e.g., through important fairs, festival, conferences, etc.).

Past Guests of Honour 2018 — Turkey 2017 — Georgia 2016 — Spain 2015 — Ukraine 2014 — Scotland 2013 — Luxembourg, Germany, y Austria, Switzerland 2012 — Slovenia 2011 — Poland 2010 — France 2009 — Austria 2008 — Canada 2007 — Belarus 2006 — Berlin 2005 — Slovakia

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Festival Echoes

(Georgia)

Georgia, with the major support of The Ministry of Culture of Georgia.”

Dealing with a tough 35-day schedule and accompanying our Argonauts to this literary quest was a complex, worthwhile and historical endeavour for the Writers’ House, as their mission was not to steal the treasures of other countries, but to share ours, and we were the solicitors in this cosmopolite sharing of the written word.

The Writers’ House of Georgia about Authors’ Reading Month In July of 2017, the Georgian authors’ “guild” took a Central European literary odyssey to spread their words throughout a quarter of our great continent.

Georgia owes this honourable experience to the courtesy of the Authors’ Reading Month festival, counting a life of almost two decades. The Writer’s House, our Tbilisian organisation that manages literary processes and events in Georgia, was chosen for the responsible, tough but delightful mission of co-organising the event with Czech partners.

Nana Nibladze, deputy director of the Writers’ House shares with us her impressions after attending the fi nal days of the festival: “I was impressed beyond my expectations.

The project turned out to be a unique possibility due to its format and scale: meetings with 31 authors in five cities, print and online media coverage in four countries, new translations and publications into three different languages, creating photo and video portraits, and so on.

The festival turned out to be the kick-start for many artistic relationships amongst authors from Georgia and different countries. Literary Authors’ Reading Month is the trigger for on-going literary processes. An 18-year history with a different country each year is an astonishingly creative and geographical scale and an example of a unique cultural dialogue.”

According to the feedback from Natalia Lomouri, managing director of the Writers’ House: “The festival once again was the proof that projects of this format are a very crucial part in the popularisation of our culture, and it became, once again, obvious that Georgian culture is an undivided part of the European legacy. In the summer of 2017, another international bond was created.

Sharing is as important a part of literature as the writing itself. Authors were very inspired by the meetings with various audiences of different origins and nationalities. The festival is very cosmopolitan in a sense as it involves so many parties — aside from the participants and audience, there were various organisational members from the four festival countries and additionally, the Writers’ House in

Giorgi Kekelidze Thoughts on Writing "When a person's world goes dark, he reads a book and sees another world," wrote Israeli Nobel laureate Shai Agnon. The books we read tell about our lives, our feelings and our experiences. But is the role of a writer only to sweeten the reader's time with beautiful stories?

Or does a writer have a responsibility to society? Is it his task to provide society with a mirror and to influence social and political events? Or is it perhaps our responsibility to give the reader and society the values, but also the answers, on which they build upon and shape their lives? Should that be our contribution?

I think these are the questions each author has asked themselves at least once.

And I do not have an answer ready. Because, if we are honest, every new book we read is full of new intellectual, emotional, aesthetic or ordinary and casual questions. Questions about the world around us and especially to ourselves. But maybe that's a good thing because for the answers, we have “Google”, “Wikipedia” or “SIRI “, but to raise the questions — that’s why writers are here.

Tea Topuria Crane in the Field These were the busiest five days of my life. A plane, train, bus, train, car, presentation, hotel and plane again... One train even went without me. During this journey, I was thinking that such festivals were a very good opportunity for small cities, and it would be very good for Georgian small towns too, which really need development.

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In Slovakia, my presentation was in the children’s book library, which I liked very much.

We do not have libraries for kids in Georgia, but I hope we will have them soon. I am the author of several children’s book, so it is important to me to have such spaces in my country.

In Lvov, I met with the Ukrainian translator who was very interested to translate my poems into the Ukrainian language. Now I work with the poet Zviad Ratiani to translate my poems into Russian, and then it will be possible to translate them into Ukrainian.

During those five days, I travelled in four countries. All of them were bountiful, but most of all, I remember the Ukrainian fields and crane in the sky. We have cranes in Georgia too, but only in some districts, so I had never seen it before. When I saw a flying crane, I understood why people think that they are bringing babies — they are really big birds, and they can carry heavy things.

intense intercultural dialogue. And I’ve brought memories with me worthy of the years — incredibly rich for being gained through a compact, head-spinning week of travel.

Zaza Koshkadze

Mum, Granny Is Cursing Lately, I don’t often give any public readings of my poems. They irritate people. Some of them even feel insulted after listening to my readings. I stopped performing in front of an audience after a series of events, each one ending up with some small scandals. That was fun, but not the thing I wanted to get from the public readings.

When I was invited to Author’s Reading Month, I felt how the sleeping poet-performer woke up inside me. That was so nostalgic and so great. And, of course, the greatest thing about it was to show yourself to a different audience in such an intense Lela Samniashvili time: five days, five cities, five performances.

From the very fi rst performance in Brno, Travelling always creates the sense of living an intense I immediately felt that it did work for European readers life in a compact period of time, just like literature in the same way, hearing cursing in my poetry. makes the reader feel living beyond a certain time and “Damn, is there not going to be an attack from geographical limitation. The project “Authors’ Reading irritated funny people, here? It’s something new for Month” I participated in last summer, truly makes this me,” I said to myself. feeling legitimate for the authors themselves. It was It was really fun, actually. In Kosice, came a lady, a real adventure — visiting four European countries about over fi fty, who asked me to dedicate to her and other ladies at least one erotic lusty line, and within a week, getting more convinced than ever that she handed me a big book and pen to write the line borders are artificial boundaries we set between the countries and the cultures while they can glide into there. I could not invent something so fast and wrote each other smoothly, promoting the individuality of an opening line of one my old poems: “Stand on your a person and flavour of nations’ traditions, history and fours and tell me about your imaginary lovers”... present life. It was a privilege and honour to be able to They really loved it, and I loved them all. Each one. read my poems in my mother tongue with background In Wroclaw, there was a guy who seemed angry translations in four European languages. Words, just because I didn’t write about politics. Relax, man. unlike music or paintings, need translation and it Writing about old, poor sex workers from the bottom is very hard to fi nd the exact meaning, an adequate of the society, it is much more political than anything expression of an idea or a feeling originally expressed else. Thanks for being so intensive at my reading, in a particular language. It is almost a luxury, but still, that was cool! it is possible and worthy of the effort. Like for other And in Lviv, I loved my translator, she was so nations with a small population, it is a big challenge cute. She was so shy to read my poems out loud. And for Georgia to make its voice heard in different parts she was with her daughter and granddaughter. And of the world. Literary processes in my country not only at one moment, somewhere between two poems, have a rich history but are truly alive at present. I hope somewhere in the middle of two lusty lines, I heard how she said this: “Mum, granny is cursing?!” with time they become more accessible to the readers That was not your granny, kid, I’m sorry, that was outside my country. Th is project was an excellent me, actually. I hope you will read this and forgive her. possibility for Georgian authors to be involved in an

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Selected Extra Activities

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The Film Reader — an Audiovisual Anthology A literary fi lm series created during the festival that introduces the visiting writers. These series are standalone television anthologies of contemporary world literature, presenting portraits of individual writers from the original viewpoint of international documentary fi lm directors. In addition, they map the contemporary literature of various, mainly European, countries. Each episode has a runtime of 8 minutes and offers a freeform fi lm essay reflecting the personality of the starring writer and their work. The series are far removed from dry (or, on the contrary, magazine-style) televised book clubs, instead, offering a vibrant and interesting rendezvous with literature. Th is is supported by the form — a documentary essay — but also by the fact that each episode is directed by a different director. These Film Readers are broadcasted by the national televisions of Slovakia, Poland, Ukraine and the Czech Republic, and also by that year’s Guest of Honour.

The MAČ365.CZ Online TV The MAČ365.CZ project is a multimedia magazine focusing on world literature. Every weekday (Mondays through Fridays), the magazine publishes an article presenting the work of one selected writer — about three hundred videos and articles per year. These commentaries are entertaining, educational and easy to read; they draw on the writers’ appearance at one of the ARM festivals, their author’s reading and the debate that followed. All articles are supplemented by a recording of these readings, with international appearances being subtitled and international debates interpreted.

These commentaries are either grouped together under one topic (e.g., When Images Are Not Enough, A Dictatorship of Information, The Ukrainian Reader, The Scottish Referendum, etc.), or published as standalone installments reflecting individual events, such as anniversaries, obituaries or prizes. The MAČ365.CZ projects keeps the festival alive throughout the year, and even more so during the event itself, when it is used as a platform for broadcasting readings from all five participating European cities. Starting in 2018, the project will also have a base in Poland, Macedonia and Finland, and will become accessible to the English-speaking audience.

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The Authors’ Reading Month Library The exclusive Authors’ Reading Month Library series is published every year, introducing writers that have made an appearance at the ARM festival. It also introduces unique books connected to that year’s Guest of Honour, which support interest in its literature and culture (e.g., language textbooks, reportage collections, etc.).

Books published in this series present the festival’s materialised outputs, a footprint that remains even after the last author’s reading has ended. The series is an anthology mapping and recording the literature of each year’s Guest of Honour, reflecting the work of the 31 visiting writers. The basic concept consists of 31 volumes with a stylish, yet economic design; in addition, these books do not contain excerpts, but always complete texts: a poetry or short-story collection, a short novela, etc. Each text is 50–100 standard pages long (ca. 12,500–25,000 words).

A Journey Between the Lines, Or, Literature as a Road Radio A series of thirty-minute audio documentaries created by the next generation of creative professionals, based on their travels with writers attending the Central European Authors’ Reading Month literary festival. The series includes ten episodes recorded over one festival run, directed by students of radio and television dramaturgy and screenwriting working under the guidance of experienced dramaturges: lecturers and radio professionals. Each episode captures one part of the creative literary tour around the five festival cities, presenting the writers in essay-style reporting. At the moment, the series is being broadcasted by the national radios of Slovakia and the Czech Republic, and is scheduled to appear on Ukrainian and Polish radios in the future — as well as, hopefully, on the national radio of each year’s Guest of Honour.

ARM Academy ARM Academy is a joint summer school programme of the Authors’ Reading Month and different universities in the world. The programme is open to anyone who would like to gain some basic insights into the culture, history, literature, and politics of the country that happens to be guest of honour. The lecturers of ARM Academy come from various Central European countries. The aim is to prepare a mixture of information about the current situation in the guest of honour’s country as well as its history, and offer the unique opportunity to meet daily with its writers. The teaching language is English.

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Louise Dupré (Canada)

Michal Olszewski (Poland)

Writing requires a certain distance, which, for an author, is very difficult. Writing, as known, presumes a certain blindness. The text is woven patiently, in solitude, in silence, before it is “given” to others: fi rst trusted friends, then publishers followed by literary critics; but above all, to unknown readers who will, also silently, accept it. And at authors’ readings, it is these people that a writer can meet…

To read your own texts in public is an opportunity to be treasured. You can feel the immediate impact of the text on the readers sitting in the room — they are smiling, laughing, impressed, surprised and, sometimes, indifferent. The writer cannot fool themselves anymore, they face reality…

When I’m writing, I often read my work out loud.

However, there is a vast difference between reading a text out loud at home, alone, or while sitting in front of an audience. In public, the characteristics of my writing are on display: repeating topics — even obsessions, favourite expressions, differences in the tone of the text.

My reading at the Authors’ Reading Month festival has been a revelation. Only in rare cases is a person given the opportunity to read over an hour of their own work. Here, I was able to outline the frame of my literary career. However, as I was reading my work to European listeners, who often had to rely on translation, I, too, have achieved a greater distance. The consequences of the festival, one of the most beautiful literary events I took part in, resonate in me until this day and I am very grateful to have been there.

Anise and Literature It was a ride one remembers for the rest of their life.

I thought I knew Czechia and Slovakia quite well, after all, I’ve been going south for years. However, now I saw how minimal, or, better said, non-existent, my knowledge had really been.

I wasn’t aware, for example, that Brno has an open-air swimming pool overlooking the whole city and a part of Moravia. I found it hard to decide whether I should go swimming or sit on the little wall with the south view of little hills, golden slopes and a fast-approaching storm.

I hadn’t known even one third of those wine bars in Brno, in those quiet, spacious neighbourhoods behind the borders of a touristic rush; cosy groundfloor dens with barrels and boxes of sweetly dozing bottles that awoke both tenderness and anxiety in me: I felt an enormous urge to stay there, drink Veltliner wine from the barrels late into the night, enjoy a bite of well-smoked sausage, and not talk much; and the next day, again; to spend more time living like this. As I say, it was a tempting and alarming choice, because the older I get, the greater weakness for Moravian wines I develop.

The overview of my complete lack of knowledge is so extensive that I can’t even name it all: in Brno, I visited Masaryk Quarter for the fi rst time and loitered in front of the phallic clock which spits out a small ball at specific times — the only one in the world. In Ostrava, I tasted the aromatic cheese spread from Olomouc with onion and bell pepper for the fi rst time; sprinkled over with anise sauce, it tasted great. From Ostrava, I also brought home a picture of a girl painted on the wall of a halfdemolished block of flats — my wife was astonished by her too; I carefully avoided the casinos and neighbourhoods where I could get beaten. In Košice, I hung out in the far-off streets following the foot-steps of Márai; I travelled by train, city-watched in Karviná, the leaving trains and streams flooded by rain. It was only a few days, but it felt like five years.

And where does literature come into all this?

It’s simple: literature was everything I touched in this short time.

Ľubomír Fedek (Slovakia) The readers hear about things the writer has never written, nor will he ever write.

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Festival Echoes

Jan Balabán (Czech Republic) There is something I would like to tell you, as a writer, an author: literature is getting its voice back. And it’s not only about poetry; prose also has its own voice, it really does, although you can only hear it when it’s being read. It’s very interesting and exciting. Today, in an age when we can watch all those videos and DVDs, we have everything — except, that is, someone who would be willing to speak for themselves, to talk to us about what they wrote and what they would like to tell us. It’s a little like theatre, not exactly, but very similar to it. It’s happening here and it’s happening now. I remember a strong emotion that I once felt during the Authors’ Reading Month festival, a vibe that reached out to me from the audience. You read for forty-five minutes — and that’s rough, you never really know what to do with your breath to fi nish reading — and what you get back is amazing. In a way, it’s the way through which human culture came to be, with people telling each other stories by the fi re. And now, all of a sudden, all of that’s coming back.

Alhierd Baharevich (Belarus) The writer whose work is read is not the same as the writer whose work is listened to, even though in reality, they may be the one same person.

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Ernesto Pérez Zúñiga (Spain) The Ballad of the Authors’ Reading Month If you’ve never walked through the forests of Brno If you’ve never talked to Mozart’s shadow Crucified on the main square About the only music of true worth — our steps a quaver in the night — If you’ve never stopped in Wroclaw When the sirens wail of endless war That no one but a poet can win On the main square, against all the Nazis of the world Hidden behind all the prêt-à-porter brands If you’ve never got drunk in the Forest of Ostrava Never embraced the coal-cake revolutionaries Who sing of Death’s power Rivers in their tumblers of glass On their way to the treasure of brotherhood If you’ve never wandered all the way to Košice On a train, after you have loved To fall in defeat before the angels But still rejoicing in victory For you are merely human If you’ve never walked through the alleys of Lviv One in the glow of men forging a new beginning If you’ve never embraced one of Lviv’s fallen angels If you’ve never felt the wrath of Lviv’s old guardians If you’ve never, as M. Bloom, cried out your consent to life Then you have never, my dear brother, seen a sunrise in the East

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Contact: www.authorsreading.eu Renata Obadálková Production Manager, PR and Communications Specialist obadalkova@vetrnemlyny.cz, +420 739 610 760

© Authors’ Reading Month, 2018 Organisers: Větrné mlýny agency (www.vetrnemlyny.cz) Municipal Public Library in Wrocław (www.biblioteka.wroc.pl) Košice Library for Young Readers (www.k.kosicekmk.sk) Artistic Counselor Dialog in Lviv (dialogue.lviv.ua).

Main supporters: City of Brno City of Ostrava City of Wrocław City of Košice City of Lviv Ministry of Culture of the Czech Republic Ministry of Culture of the Slovak Republic General Media Partners: ČT (National Czech Television) TVP (National Polish Television) RTVS (National Radio and Television of Slovakia)

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Latvia Norway 2020 2024 24 Vietnam

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