.
At the bottom of this post is a picture of the French translation of my very first book Unrehearsed Beauty (from 1998, translated into French as Le génie des autres.) Thinking back to 1998 (the year I moved to Montreal and began working with PME-ART) is really something else. I was so focused on the desire to make a new kind of theatre. And then we did. (Our performance Unrehearsed Beauty/Le Génie des autres was perhaps the best example of this.)
As you might already know, Christophe Bernard is in the process of translating all of my books for Le Quartanier. They’ve already done four:
Le génie des autres
La famille se crée en copulant
La joie criminelle des pirates
Riches et pauvres
https://lequartanier.com/auteur/95-jacob-wren
[In the original English these books are Unrehearsed Beauty, Families Are Formed Through Copulation, If our wealth is criminal then let’s live with the criminal joy of pirates and Rich and Poor.]
Today I’ll be signing books at the Le Quartanier table at the Salon du livre de Montréal from 6pm-7pm. A moment when I go back in time, instead of promoting my current book Dry Your Tears to Perfect Your Aim.
*
Here’s a short excerpt from Unrehearsed Beauty:
“The corpse must properly digest its food.
The food must be grown in pastures where just the briefest hint of ideology remains.
Ideology pertains to time.
Time is a character in a morality play with the following title.
The title of the morality play is “Actions Against Reason.”
In the play a corpse is featured prominently.
The corpse neither eats nor digests but is somehow made aware of the presence of food.
Food is laid out on the table in such a way that it spells out the defeat of those who understand only what they were born to someday understand.
When you are born you admit defeat.
Admitting defeat is the same as committing a crime.
And there is only one crime: to vomit when you know from the bottom of your heart that it is unproductive to do so.
Productive vomiting is tolerated but not encouraged.
Criminals require encouragement. Corpses do not.”
.
November 29, 2024
November 25, 2024
Eunsong Kim Quote
.
“Because of TZ, I want to write a treatise against the ways in which utilitarian thinking has mutated our activism, our education, our action, our lives. I want to write declarations that defend trying, and trying again, because why not. This would be a manifesto that proclaims empowerment is not the state of feeling good in this reality, but a practice of life unsurrendered to living.”
- Eunsong Kim, “What I Did Not Do, Will Change Me”
.
“Because of TZ, I want to write a treatise against the ways in which utilitarian thinking has mutated our activism, our education, our action, our lives. I want to write declarations that defend trying, and trying again, because why not. This would be a manifesto that proclaims empowerment is not the state of feeling good in this reality, but a practice of life unsurrendered to living.”
- Eunsong Kim, “What I Did Not Do, Will Change Me”
.
Labels:
Eunsong Kim,
Quotes
November 23, 2024
From Jody Chan’s Boycott Giller Speech
.
"We learn commitment and discipline not from the soulless neoliberal conditioning that turns radicalism into a brand rather than a practice, that tells us the only way we can make change as writers is to “witness” or to “speak out” as individuals, but from the examples of revolutionary writers, who are also some of our greatest organization-builders, who have sacrificed everything for their people.
We learn from Ghassan Kanafani, who said to his niece Lamees the day before they were both martyred by Zionist forces in 1972, when she asked him if he would ever focus more on his writing than his revolutionary activities, “I write well because I believe in a cause, in principles. The day I leave these principles, my stories will become empty.”
We learn from George Jackson, who wrote more than fifty years ago from prison, “Understand that fascism is already here, that people are already dying who could be saved… Do what must be done, discover your humanity and your love in revolution.”
As writers we are trained in description and critique, in imagination. But what we need more of is practice. Practice withholding our labour, practice talking to each other, practice organizing our own alternative spaces that aren’t beholden to corporate sponsors who profit from producing death, practice giving something up to help each other survive.
Every campaign we wage together is practice. It goes beyond any one prize, any one sponsor.
We’ve fielded a lot of critiques since this campaign started, some genuine, many in bad faith from elites now attending the Giller gala across the street—for expanding our targets to include Indigo Books and the Azrieli Foundation, for not trying to make slow institutional change from the inside, for not trying to find a third way, a more “pragmatic” way.
To that, I want to share the words of the political theorist Joy James, who writes, “If you’re going to use the term ‘pragmatic’ to discipline radicals, my preference is that you say nothing…If you want to discipline rebels then pony up something tangible: raise bail funds, pay for their attorneys, feed their kids while they are inside, or try to get them out. You cannot lecture risk-taking people about being politically ‘infantile’ out of your fear or out of your accumulations…There’s nobody we admire who is pragmatic… Everybody could have been ‘pragmatic.’ But if they were, we would not have any ancestors.”
I want to do away with this false binary between writers and organizers. Culture alone, the work we do on the page, will not be enough. Reasoning with or trying to reform the cultural institutions that prop up this settler colonial state will not be enough. We have to be willing, at the very least, to take risks for each other, to relinquish the false accolades, the fancy galas, all of them the oppressor’s incentives to keep us from actively building solidarity with each other."
- from Jody Chan’s Boycott Giller Speech
.
"We learn commitment and discipline not from the soulless neoliberal conditioning that turns radicalism into a brand rather than a practice, that tells us the only way we can make change as writers is to “witness” or to “speak out” as individuals, but from the examples of revolutionary writers, who are also some of our greatest organization-builders, who have sacrificed everything for their people.
We learn from Ghassan Kanafani, who said to his niece Lamees the day before they were both martyred by Zionist forces in 1972, when she asked him if he would ever focus more on his writing than his revolutionary activities, “I write well because I believe in a cause, in principles. The day I leave these principles, my stories will become empty.”
We learn from George Jackson, who wrote more than fifty years ago from prison, “Understand that fascism is already here, that people are already dying who could be saved… Do what must be done, discover your humanity and your love in revolution.”
As writers we are trained in description and critique, in imagination. But what we need more of is practice. Practice withholding our labour, practice talking to each other, practice organizing our own alternative spaces that aren’t beholden to corporate sponsors who profit from producing death, practice giving something up to help each other survive.
Every campaign we wage together is practice. It goes beyond any one prize, any one sponsor.
We’ve fielded a lot of critiques since this campaign started, some genuine, many in bad faith from elites now attending the Giller gala across the street—for expanding our targets to include Indigo Books and the Azrieli Foundation, for not trying to make slow institutional change from the inside, for not trying to find a third way, a more “pragmatic” way.
To that, I want to share the words of the political theorist Joy James, who writes, “If you’re going to use the term ‘pragmatic’ to discipline radicals, my preference is that you say nothing…If you want to discipline rebels then pony up something tangible: raise bail funds, pay for their attorneys, feed their kids while they are inside, or try to get them out. You cannot lecture risk-taking people about being politically ‘infantile’ out of your fear or out of your accumulations…There’s nobody we admire who is pragmatic… Everybody could have been ‘pragmatic.’ But if they were, we would not have any ancestors.”
I want to do away with this false binary between writers and organizers. Culture alone, the work we do on the page, will not be enough. Reasoning with or trying to reform the cultural institutions that prop up this settler colonial state will not be enough. We have to be willing, at the very least, to take risks for each other, to relinquish the false accolades, the fancy galas, all of them the oppressor’s incentives to keep us from actively building solidarity with each other."
- from Jody Chan’s Boycott Giller Speech
.
Labels:
Boycott Giller,
Free Palestine,
Jody Chan,
Quotes
November 18, 2024
Two new opportunities at the National Arts Centre
.
Two new opportunities at the National Arts Centre:
- Creative Producer Fellowship
- Apprenticeship Program for Technical Production, Producing and Design
The calls close on Dec 4th.
.
Two new opportunities at the National Arts Centre:
- Creative Producer Fellowship
- Apprenticeship Program for Technical Production, Producing and Design
The calls close on Dec 4th.
.
Labels:
National Arts Centre
November 15, 2024
Monday, November 18th
.
Solidarity is our Strength: Auction for Gaza, Lebannon and Sudan
from November 18th-28th
NO ARMS IN THE ARTS TOUR
Monday, November 18th - 7-8:30PM
Librairie Drawn and Quarterly, 176 Rue Bernard O
Featuring: Catherine Hernandez, Jacob Wren, Marcela Huerta, Nyla Matuk, River Halen, Sadie Avery Lake, T. Liem, and more!
.
Solidarity is our Strength: Auction for Gaza, Lebannon and Sudan
from November 18th-28th
NO ARMS IN THE ARTS TOUR
Monday, November 18th - 7-8:30PM
Librairie Drawn and Quarterly, 176 Rue Bernard O
Featuring: Catherine Hernandez, Jacob Wren, Marcela Huerta, Nyla Matuk, River Halen, Sadie Avery Lake, T. Liem, and more!
.
Labels:
Free Palestine
November 7, 2024
Some press quotes and mentions for Dry Your Tears to Perfect Your Aim
Some press quotes and mentions for Dry Your Tears to Perfect Your Aim:
“In Dry Your Tears to Perfect Your Aim, Jacob Wren has written a courageous, alarming and utterly original work of fiction. The ethical conundrums it addresses are myriad and relevant, and while it offers no solutions, it is relentless in its exposure of unflattering human truths that many of us, given a choice, would prefer to avoid.”
– Ian Colford, The Seaboard Review
“This is a deeply moving, challenging novel, and certainly very prescient. What is our obligation to others, particularly those in war-torn countries? How are we implicated through the tangled threads of history? Wren has written an anti-war novel, but it’s far more nuanced and unclear than I think we’d like to believe that the position of anti-war is. … A perfectly positioned novel for the current historical moment.”
– Alison Manley, The Miramichi Reader
“A Jacob Wren novel is known for several things: narrators undergoing neurotic self-interrogation, a consideration of the gap between theory and practice, and a certain metafictional flair when it comes to signalling the work’s own existence as a radical text. All of these authorial trademarks are sent into overdrive in Dry Your Tears to Perfect Your Aim, Wren’s introspective protest novel about the role that doubt plays in any political awakening.”
– Jean Marc Ah-Sen, Quill & Quire
“Dry Your Tears to Perfect Your Aim is an anti-war novel that reminds us of our complicity in global conflicts, while offering a glimpse of the hope that drives resistance.”
– Ariane Fournier, Maisonneuve
“Jacob Wren’s latest scintillating work of literary fiction, Dry Your Tears to Perfect Your Aim, is a book in revolt. Wren crafts a bold and unsettling narrative with the kind of clarity to explore ethical dilemmas that are both numerous and timely.”
– Samuel Wise, Montreal Guardian
"Dry Your Tears to Perfect Your Aim is a book full of discomfort, despair, and uncertainty, as collective organizing can be; but, like collective organizing, it also brims with the energy of argument, exchange, and a staunch belief in alternative ways of living..."
- H Felix Chau Bradley, Montreal Review of Books
"In Jacob Wren’s Dry Your Tears to Perfect Your Aim, published in September, an unnamed narrator navigates an unnamed war zone, internally monologuing on morality and pain. These slightly blurrier, vaguer worlds suggest a search for a human universal. While reference-heavy writing is stuffed, like a meme’s compaction of complex emotion and history into a single low-res image, there’s an alternative roominess: space to take ideas past previous or logical bounds, or to articulate opinions that a mutual follower hasn’t posted already. Those ideas are probably harder to sell, and to write."
- Greta Rainbow, The Walrus
"So is it a satire of western activists’ mentality around the suffering of faraway others, or is it a case of it? Does it offer a utopianism we need, or a fantasy couched in sophistry? Yes and no, and guilty on all counts. But in risking annoying/offending everyone, like an inverted Houellebecq, its currents of maximal yearning and doubt still agitate the nervous system weeks after reading."
- Carl Wilson, 'Crritic!'
"Dry Your Tears To Perfect Your Aim is a swan song to fiction where the "Utopia" it imagines is NOT the utopia where a single person, through sheer tyranny of will, can change the world. It is instead a "Utopia" where "fiction" is once again useful in creating an immediate, urgent, revolutionary and libidinal mythos."
- Khashayar Mohammadi, Called To Fiction
"Wren’s protagonist is not the first visitor from safer, more privileged parts of the world to visit revolutions in progress, and to wrestle, with varying degrees of success, with the ethical puzzles that permeate this strange, somewhat difficult but in the end important work of fiction."
- Tom Sandborn, Rabble
"Wren underscores how Western individualism can foster inaction. Although the author wants to help, he chooses “to daydream, to consider, while moment after moment passed me by.” The most compelling chapters de-centre the writer—his language, culture, and perspective—and emphasize the community and its efforts to build a sustainable future."
- Caroline Noël, Literary Review of Canada
"As this book unfolded, I felt increasingly yes, this is an anti-war novel in the truest sense of the word, but it also explores the war of the self against the self. The protagonist feels unworthy of being a protagonist, unworthy of his own protest and yet, it is only with writings such as these, that we can pitch our imperfect tents on the grounds of protest."
- Lisa de Nikolits, A Turn of Phrase
"A fantastical text concerning transformation, Jacob Wren’s novel Dry Your Tears to Perfect Your Aim follows a narrator to an unidentified liberated zone, where noncapitalist, collective practices are formed, reworked, and communalized. The zone is unidyllic as it continues to be bombed and fired upon by nearby and faraway imperialists. Amidst the daily raids, the narrator is allowed to sit in on town meetings, where economics and trade become reinvented. In one such meeting, the narrator hears a woman discussing how concerns over goods being 'too expensive' must also be applied to items being 'too cheap.' She says, 'Just as you mustn’t accept a price that is too high, you also must not fight, nor constantly search, for a price that is too low … You need to understand that those who sell you these things also need to live.'”
- Eunsong Kim, No Aesthetic Autonomy Without Labor Autonomy
"The writing—tension explodes from every page—exists without indentations, few paragraph breaks, only the occasional reprieve from a letter or recorded interview and a bit of quoted dialogue. I haven’t read another book whose narrative structure contains as much anxiety as Dry Your Tears to Perfect Your Aim, and for me the structure is not only a defining feature but its brilliance."
- Alison Gadsby, Junction Reads
“If the personal is political, then isn't the political personal? This was a question that I had throughout reading this reflective and well-written book. No matter where your political beliefs fall, Jacob Wren's new novel demands to be read for its poignant and propulsive nature. And I will double down on Dry Your Tears to Perfect Your Aim on being one of the best pieces of Canadian Literature this year. Just don't let the prize lists fool you. You're smarter than that.”
– Adam Ferris on Goodreads
"Still, Wren is one of the few “political” writers of quality working in the Canadian small press. If you are able to accept that Dry Your Tears is more a work about the paralysis of western do-gooders than the lives of active revolutionaries, it has considerable insight to offer—particularly on the centrality of faith to radical political activism. In its final third, the protagonist and a character from “the thin strip of land” struggle with the grey lassitude of living in Canada after experiencing revolutionary life. Faith is a phenomenon fed by privation, sparked by opportunity, and sustained by fellowship—to maintain a faith in revolution in the face of the comfortable, mannered aloneness of Canadian culture requires uncommon conviction. Having thus diagnosed the challenge, Wren uses his final act of authorial sleight of hand to move himself out of the way, implying that a younger generation shaped by eroding material conditions, grounded in collectivist principles, and raised without a reflexive shame at its own being will be the locus of a change to come. It’s a notion based on faith as much as evidence, but belief is what is called for now."
- Mulgrave on Goodreads
“Subversive and experimental in approach, Dry Your Tears to Perfect Your Aim brings forward questions, as urgent as they are conflicted, around issues of personal responsibility in times of political turmoil. The book asks readers to confront the ethical, moral, and practical considerations of becoming involved in political struggles – especially when they are not the struggles of your own people. Who has the right to bear witness? Who has the right to tell the stories of others? Does Wren’s narrator act out of courage and compassion? Or the curiosity of a tourist? Original in its form and passionate in its prose, Wren has offered an important anti-war novel that poses big questions and dares the world to answer.”
- Jury comments from 2024 Paragraphe Hugh MacLennan Prize for Fiction
Plus:
Writer’s Block at All Lit Up
Possible Politics: A recommended reading list at 49th Shelf
Interview with Open Book
Interview with Cult MTL
Dry Your Tears to Perfect Your Aim was #3 on the October edition of the Hamilton Review of Books' Independently Published Bestsellers List and a bestseller at Librairie Drawn & Quarterly.
*
Read an excerpt at Send My Love To Anyone.
More recently, I posted an excerpt I believe might be something of a reader favourite.
Order it here.
Also, if you're feeling extra generous and would like to help me continue writing books, you can find my Patreon here.
.
“In Dry Your Tears to Perfect Your Aim, Jacob Wren has written a courageous, alarming and utterly original work of fiction. The ethical conundrums it addresses are myriad and relevant, and while it offers no solutions, it is relentless in its exposure of unflattering human truths that many of us, given a choice, would prefer to avoid.”
– Ian Colford, The Seaboard Review
“This is a deeply moving, challenging novel, and certainly very prescient. What is our obligation to others, particularly those in war-torn countries? How are we implicated through the tangled threads of history? Wren has written an anti-war novel, but it’s far more nuanced and unclear than I think we’d like to believe that the position of anti-war is. … A perfectly positioned novel for the current historical moment.”
– Alison Manley, The Miramichi Reader
“A Jacob Wren novel is known for several things: narrators undergoing neurotic self-interrogation, a consideration of the gap between theory and practice, and a certain metafictional flair when it comes to signalling the work’s own existence as a radical text. All of these authorial trademarks are sent into overdrive in Dry Your Tears to Perfect Your Aim, Wren’s introspective protest novel about the role that doubt plays in any political awakening.”
– Jean Marc Ah-Sen, Quill & Quire
“Dry Your Tears to Perfect Your Aim is an anti-war novel that reminds us of our complicity in global conflicts, while offering a glimpse of the hope that drives resistance.”
– Ariane Fournier, Maisonneuve
“Jacob Wren’s latest scintillating work of literary fiction, Dry Your Tears to Perfect Your Aim, is a book in revolt. Wren crafts a bold and unsettling narrative with the kind of clarity to explore ethical dilemmas that are both numerous and timely.”
– Samuel Wise, Montreal Guardian
"Dry Your Tears to Perfect Your Aim is a book full of discomfort, despair, and uncertainty, as collective organizing can be; but, like collective organizing, it also brims with the energy of argument, exchange, and a staunch belief in alternative ways of living..."
- H Felix Chau Bradley, Montreal Review of Books
"In Jacob Wren’s Dry Your Tears to Perfect Your Aim, published in September, an unnamed narrator navigates an unnamed war zone, internally monologuing on morality and pain. These slightly blurrier, vaguer worlds suggest a search for a human universal. While reference-heavy writing is stuffed, like a meme’s compaction of complex emotion and history into a single low-res image, there’s an alternative roominess: space to take ideas past previous or logical bounds, or to articulate opinions that a mutual follower hasn’t posted already. Those ideas are probably harder to sell, and to write."
- Greta Rainbow, The Walrus
"So is it a satire of western activists’ mentality around the suffering of faraway others, or is it a case of it? Does it offer a utopianism we need, or a fantasy couched in sophistry? Yes and no, and guilty on all counts. But in risking annoying/offending everyone, like an inverted Houellebecq, its currents of maximal yearning and doubt still agitate the nervous system weeks after reading."
- Carl Wilson, 'Crritic!'
"Dry Your Tears To Perfect Your Aim is a swan song to fiction where the "Utopia" it imagines is NOT the utopia where a single person, through sheer tyranny of will, can change the world. It is instead a "Utopia" where "fiction" is once again useful in creating an immediate, urgent, revolutionary and libidinal mythos."
- Khashayar Mohammadi, Called To Fiction
"Wren’s protagonist is not the first visitor from safer, more privileged parts of the world to visit revolutions in progress, and to wrestle, with varying degrees of success, with the ethical puzzles that permeate this strange, somewhat difficult but in the end important work of fiction."
- Tom Sandborn, Rabble
"Wren underscores how Western individualism can foster inaction. Although the author wants to help, he chooses “to daydream, to consider, while moment after moment passed me by.” The most compelling chapters de-centre the writer—his language, culture, and perspective—and emphasize the community and its efforts to build a sustainable future."
- Caroline Noël, Literary Review of Canada
"As this book unfolded, I felt increasingly yes, this is an anti-war novel in the truest sense of the word, but it also explores the war of the self against the self. The protagonist feels unworthy of being a protagonist, unworthy of his own protest and yet, it is only with writings such as these, that we can pitch our imperfect tents on the grounds of protest."
- Lisa de Nikolits, A Turn of Phrase
"A fantastical text concerning transformation, Jacob Wren’s novel Dry Your Tears to Perfect Your Aim follows a narrator to an unidentified liberated zone, where noncapitalist, collective practices are formed, reworked, and communalized. The zone is unidyllic as it continues to be bombed and fired upon by nearby and faraway imperialists. Amidst the daily raids, the narrator is allowed to sit in on town meetings, where economics and trade become reinvented. In one such meeting, the narrator hears a woman discussing how concerns over goods being 'too expensive' must also be applied to items being 'too cheap.' She says, 'Just as you mustn’t accept a price that is too high, you also must not fight, nor constantly search, for a price that is too low … You need to understand that those who sell you these things also need to live.'”
- Eunsong Kim, No Aesthetic Autonomy Without Labor Autonomy
"The writing—tension explodes from every page—exists without indentations, few paragraph breaks, only the occasional reprieve from a letter or recorded interview and a bit of quoted dialogue. I haven’t read another book whose narrative structure contains as much anxiety as Dry Your Tears to Perfect Your Aim, and for me the structure is not only a defining feature but its brilliance."
- Alison Gadsby, Junction Reads
“If the personal is political, then isn't the political personal? This was a question that I had throughout reading this reflective and well-written book. No matter where your political beliefs fall, Jacob Wren's new novel demands to be read for its poignant and propulsive nature. And I will double down on Dry Your Tears to Perfect Your Aim on being one of the best pieces of Canadian Literature this year. Just don't let the prize lists fool you. You're smarter than that.”
– Adam Ferris on Goodreads
"Still, Wren is one of the few “political” writers of quality working in the Canadian small press. If you are able to accept that Dry Your Tears is more a work about the paralysis of western do-gooders than the lives of active revolutionaries, it has considerable insight to offer—particularly on the centrality of faith to radical political activism. In its final third, the protagonist and a character from “the thin strip of land” struggle with the grey lassitude of living in Canada after experiencing revolutionary life. Faith is a phenomenon fed by privation, sparked by opportunity, and sustained by fellowship—to maintain a faith in revolution in the face of the comfortable, mannered aloneness of Canadian culture requires uncommon conviction. Having thus diagnosed the challenge, Wren uses his final act of authorial sleight of hand to move himself out of the way, implying that a younger generation shaped by eroding material conditions, grounded in collectivist principles, and raised without a reflexive shame at its own being will be the locus of a change to come. It’s a notion based on faith as much as evidence, but belief is what is called for now."
- Mulgrave on Goodreads
“Subversive and experimental in approach, Dry Your Tears to Perfect Your Aim brings forward questions, as urgent as they are conflicted, around issues of personal responsibility in times of political turmoil. The book asks readers to confront the ethical, moral, and practical considerations of becoming involved in political struggles – especially when they are not the struggles of your own people. Who has the right to bear witness? Who has the right to tell the stories of others? Does Wren’s narrator act out of courage and compassion? Or the curiosity of a tourist? Original in its form and passionate in its prose, Wren has offered an important anti-war novel that poses big questions and dares the world to answer.”
- Jury comments from 2024 Paragraphe Hugh MacLennan Prize for Fiction
Plus:
Writer’s Block at All Lit Up
Possible Politics: A recommended reading list at 49th Shelf
Interview with Open Book
Interview with Cult MTL
Dry Your Tears to Perfect Your Aim was #3 on the October edition of the Hamilton Review of Books' Independently Published Bestsellers List and a bestseller at Librairie Drawn & Quarterly.
*
Read an excerpt at Send My Love To Anyone.
More recently, I posted an excerpt I believe might be something of a reader favourite.
Order it here.
Also, if you're feeling extra generous and would like to help me continue writing books, you can find my Patreon here.
.
September 27, 2024
August 30, 2024
Reviews, Press & Events
.
Dry Your Tears to Perfect Your Aim is in stores now.
Reviews so far:
Ian Colford in The Seaboard Review
Jean Marc Ah-Sen in Quill & Quire
Alison Manley in The Miramichi Reader
Ariane Fournier in Maisonneuve
Samuel Wise in the Montreal Guardian
H Felix Chau Bradley in the Montreal Review of Books
Greta Rainbow in The Walrus
Carl Wilson in 'Crritic!'
Khashayar Mohammadi Called to Fiction
Tom Sandborn in Rabble
Caroline Noël in Literary Review of Canada
Lisa de Nikolits in A Turn of Phrase
Press so far:
Writer’s Block at All Lit Up
Possible Politics: A recommended reading list at 49th Shelf
Interview with Open Book
Sruti Islam in Cult Mtl
Read an Excerpt at: Send My Love To Anyone
Order: Dry Your Tears to Perfect Your Aim
Instagram so far:
anotheramyfung
booksaredeadly
Adam Ferris
whatithinkaboutthisbook
niknak.tbr.stack
tinamayreads
lindsay_wincherauk
readandbookmarked
leafbyleaf_official
valerier6671
thattmum
graceisbookedandbusy
kelleydoesbooks
lindsay_wincherauk
junctionreads
rhonda__waterfall
niknak.tbr.stack
Read an excerpt at Send My Love To Anyone.
*
Events and Parallel Events
Thurs Sept 19 at 7pm:
MONTREAL LAUNCH with Alexei Perry Cox
at Librairie Drawn & Quarterly
Sun Sept 22 at 1pm:
Frontline Fiction: War and Humanity / Saad T. Farooqi & Jacob Wren
at the Toronto International Festival of Authors
Tues Oct 1 at 7pm:
TORONTO LAUNCH with Malcolm Sutton
at Another Story Bookshop / Eventbrite link
Sat Oct 5 at 11am:
Weaving the Self into Story: An Exploration of Auto-fiction
with Erin Brubacher, Kathryn Kuitenbrouwer, Jacob Wren & Ann Yu-Kyung Choi (Moderator)
at The & Festival, Mississauga
Tues Oct 8 at 7pm:
Sofia Ajram launches COUP DE GRÂCE
in conversation with Jacob Wren
at De Stiil Books
Thurs Oct 10 at 8pm:
Aaron Kreuter's Montreal Launch for Rubble Children
with Jacob Wren and Anita Anand
at Bar NDQ
Sat Oct 19th at 4pm
An afternoon of book launches
Jacob Wren launches Dry Your Tears to Perfect Your Aim
Knut Ove Arntzen launches TEATER I BEVEGELSE
Hordaland Kunstsenter
Bergen, Norway
Wed Oct 23 at 8:30pm:
The Power of Political Prose
with Conor Kerr, Kirsten McDougall, Jacob Wren & Michelle Cyca (Moderator)
at the Vancouver Writers Fest / Waterfront Theatre
Sun Oct 27 at 3:30pm:
The Afternoon Tea
with Myriam J. A. Chancy, Anne Fleming, Conor Kerr, Kirsten McDougall, Claire Messud & Jacob Wren, hosted by Bill Richardson
at the Vancouver Writers Fest / Performance Works
Wed October 30th
Montreal Review of Books Fall Launch
with Amal Elsana Al’hjooj, Arjun Basu & Jacob Wren
at P'tit Ours (formerly Ursa)
Doors at 6:30, readings at 7:00pm
Ask for Dry Your Tears to Perfect Your Aim as your favourite local bookshop or order it directly from the publisher here.
Dry Your Tears to Perfect Your Aim is in stores now.
Reviews so far:
Ian Colford in The Seaboard Review
Jean Marc Ah-Sen in Quill & Quire
Alison Manley in The Miramichi Reader
Ariane Fournier in Maisonneuve
Samuel Wise in the Montreal Guardian
H Felix Chau Bradley in the Montreal Review of Books
Greta Rainbow in The Walrus
Carl Wilson in 'Crritic!'
Khashayar Mohammadi Called to Fiction
Tom Sandborn in Rabble
Caroline Noël in Literary Review of Canada
Lisa de Nikolits in A Turn of Phrase
Press so far:
Writer’s Block at All Lit Up
Possible Politics: A recommended reading list at 49th Shelf
Interview with Open Book
Sruti Islam in Cult Mtl
Read an Excerpt at: Send My Love To Anyone
Order: Dry Your Tears to Perfect Your Aim
Instagram so far:
anotheramyfung
booksaredeadly
Adam Ferris
whatithinkaboutthisbook
niknak.tbr.stack
tinamayreads
lindsay_wincherauk
readandbookmarked
leafbyleaf_official
valerier6671
thattmum
graceisbookedandbusy
kelleydoesbooks
lindsay_wincherauk
junctionreads
rhonda__waterfall
niknak.tbr.stack
Read an excerpt at Send My Love To Anyone.
*
Events and Parallel Events
Thurs Sept 19 at 7pm:
MONTREAL LAUNCH with Alexei Perry Cox
at Librairie Drawn & Quarterly
Sun Sept 22 at 1pm:
Frontline Fiction: War and Humanity / Saad T. Farooqi & Jacob Wren
at the Toronto International Festival of Authors
Tues Oct 1 at 7pm:
TORONTO LAUNCH with Malcolm Sutton
at Another Story Bookshop / Eventbrite link
Sat Oct 5 at 11am:
Weaving the Self into Story: An Exploration of Auto-fiction
with Erin Brubacher, Kathryn Kuitenbrouwer, Jacob Wren & Ann Yu-Kyung Choi (Moderator)
at The & Festival, Mississauga
Tues Oct 8 at 7pm:
Sofia Ajram launches COUP DE GRÂCE
in conversation with Jacob Wren
at De Stiil Books
Thurs Oct 10 at 8pm:
Aaron Kreuter's Montreal Launch for Rubble Children
with Jacob Wren and Anita Anand
at Bar NDQ
Sat Oct 19th at 4pm
An afternoon of book launches
Jacob Wren launches Dry Your Tears to Perfect Your Aim
Knut Ove Arntzen launches TEATER I BEVEGELSE
Hordaland Kunstsenter
Bergen, Norway
Wed Oct 23 at 8:30pm:
The Power of Political Prose
with Conor Kerr, Kirsten McDougall, Jacob Wren & Michelle Cyca (Moderator)
at the Vancouver Writers Fest / Waterfront Theatre
Sun Oct 27 at 3:30pm:
The Afternoon Tea
with Myriam J. A. Chancy, Anne Fleming, Conor Kerr, Kirsten McDougall, Claire Messud & Jacob Wren, hosted by Bill Richardson
at the Vancouver Writers Fest / Performance Works
Wed October 30th
Montreal Review of Books Fall Launch
with Amal Elsana Al’hjooj, Arjun Basu & Jacob Wren
at P'tit Ours (formerly Ursa)
Doors at 6:30, readings at 7:00pm
Ask for Dry Your Tears to Perfect Your Aim as your favourite local bookshop or order it directly from the publisher here.
August 26, 2024
Renee Gladman Symposium
.
Very excited to be part of the Renee Gladman Symposium
Porter Square Books: Boston Edition / Thursday, September 5, 2024 - 6:00pm to 9:00pm
RSVP here: https://www.portersquarebooks.com/event/renee-gladman-symposium
Very excited to be part of the Renee Gladman Symposium
Porter Square Books: Boston Edition / Thursday, September 5, 2024 - 6:00pm to 9:00pm
RSVP here: https://www.portersquarebooks.com/event/renee-gladman-symposium
Labels:
Renee Gladman
July 16, 2024
atmospheric quarterly
.
Thank you to the atmospheric quarterly for publishing the opening section from Desire Without Expectation:
https://www.atmosphericquarterly.com/jacob-wren
Here's a short excerpt:
“I understand the desire for revenge. I have felt it, though I have rarely acted on such feelings. Instead I have let the desire for revenge fester within me. And yet, at the same time, I have never felt that if someone who hurt me was hurt in turn, it would make me feel any better. I have felt the desire for revenge but also see such desires as basically pointless. Sometimes I wonder if a sincere apology would make me feel better. Perhaps most of the apologies I have received didn’t quite feel sincere. Or I didn’t know how to take them in. I often find myself apologizing to others. I fear I might have gotten too good at it.”
.
Thank you to the atmospheric quarterly for publishing the opening section from Desire Without Expectation:
https://www.atmosphericquarterly.com/jacob-wren
Here's a short excerpt:
“I understand the desire for revenge. I have felt it, though I have rarely acted on such feelings. Instead I have let the desire for revenge fester within me. And yet, at the same time, I have never felt that if someone who hurt me was hurt in turn, it would make me feel any better. I have felt the desire for revenge but also see such desires as basically pointless. Sometimes I wonder if a sincere apology would make me feel better. Perhaps most of the apologies I have received didn’t quite feel sincere. Or I didn’t know how to take them in. I often find myself apologizing to others. I fear I might have gotten too good at it.”
.
July 11, 2024
To the Giller Foundation: Cut Ties with Genocide
.
"We, the undersigned, have made the decision to withdraw our books from consideration for the 2024 Scotiabank Giller Prize, and to refuse participation in all programming or promotions associated with the Giller Foundation."
Read the full letter here.
Instagram post here.
You can also read about it in The Globe and Mail, CBC, Toronto Star, Quill and Quire, and LitHub.
For a longer read: How the Giller Prize Became Associated with Genocide
Grateful to be a part of this. And to all the other authors taking a stand.
In one week, 27 authors with books eligible for this year's Giller Prize have pulled their titles from consideration. 2 of the 5 jurors (Dinaw Mengestu and Megha Majumdar) have also pulled out.
If you have a book out within the Giller Prize eligibility period (Oct 1 2023 - Sept 30 2024), then you should seriously consider signing this letter as well.
# No Business As Usual In Can Lit
.
"We, the undersigned, have made the decision to withdraw our books from consideration for the 2024 Scotiabank Giller Prize, and to refuse participation in all programming or promotions associated with the Giller Foundation."
Read the full letter here.
Instagram post here.
You can also read about it in The Globe and Mail, CBC, Toronto Star, Quill and Quire, and LitHub.
For a longer read: How the Giller Prize Became Associated with Genocide
Grateful to be a part of this. And to all the other authors taking a stand.
In one week, 27 authors with books eligible for this year's Giller Prize have pulled their titles from consideration. 2 of the 5 jurors (Dinaw Mengestu and Megha Majumdar) have also pulled out.
If you have a book out within the Giller Prize eligibility period (Oct 1 2023 - Sept 30 2024), then you should seriously consider signing this letter as well.
# No Business As Usual In Can Lit
.
Labels:
Free Palestine,
Giller Foundation,
Giller Prize
July 8, 2024
The table of contents from The Poetics of Translation: A Thinking Structure
.
The table of contents from:
The Poetics of Translation: A Thinking Structure
by Geneviève Robichaud
(Perhaps the first chapter on PME-ART written by someone other than me.)
.
The table of contents from:
The Poetics of Translation: A Thinking Structure
by Geneviève Robichaud
(Perhaps the first chapter on PME-ART written by someone other than me.)
.
Labels:
Fernando Pessoa,
Geneviève Robichaud,
PME-ART
July 3, 2024
Excerpt from Things That Insist (in three parts)
.
“What first attracted me to making performances was the fact that it was so ephemeral. You had to be in the moment and, if it was going to happen, it had to happen right fucking now. Yet now I’m basically over that aspect of it.
Artistically I lead a double life: half my life spent writing books, the other half spent performing. And more and more I prefer the books side of my life for the simple reason that books last.
Every once in a while, someone writes to me, saying they just read a book I wrote a very long time ago, and I experience these messages almost like a relief: that there is an object out there in the world, with my name on it, doing the work for me. Doing the work in my place.
Yet something similar does sometimes happen with performance. For example, I’ll add someone on social media and they’ll send me a message saying they saw me perform ten years ago, and they still fondly remember the experience.
Why do I find this version of past works entering into the present somehow less satisfying? The performance version less satisfying than the one involving books. Is it only because it occurs less frequently?
In 2018, I attempted to partly solve this dilemma by writing a book that recounted twenty years of my performance work. And, in doing so, I made a kind of small discovery: that the descriptions of the performances recounted in the book almost replaced people’s memories of the performances themselves.
The printed version was sharper, clearer and more recent when compared to the vagueness of memory. And yet, of course, there was another way in which memories were more intense, evocative and personal.
Performance is ephemeral, but the performances we remember also exist because we remember them. The very fact we remember them is a testament to their value.
I have never gone to an archive, any sort of archive, to look up a performance I’ve previously seen. I have only ever looked up performances I didn’t see.
In this way, I might intuit that I value the live experience more than I value any recorded account of it. I don’t want to spoil my fading memory of the performance by consulting an archived account of it.
But enough about me.”
From my response to the dance+words’ Dance Dialogues series. Read the entire piece here: https://www.dancepluswords.ca/artistresponses/jacob-wren
.
“What first attracted me to making performances was the fact that it was so ephemeral. You had to be in the moment and, if it was going to happen, it had to happen right fucking now. Yet now I’m basically over that aspect of it.
Artistically I lead a double life: half my life spent writing books, the other half spent performing. And more and more I prefer the books side of my life for the simple reason that books last.
Every once in a while, someone writes to me, saying they just read a book I wrote a very long time ago, and I experience these messages almost like a relief: that there is an object out there in the world, with my name on it, doing the work for me. Doing the work in my place.
Yet something similar does sometimes happen with performance. For example, I’ll add someone on social media and they’ll send me a message saying they saw me perform ten years ago, and they still fondly remember the experience.
Why do I find this version of past works entering into the present somehow less satisfying? The performance version less satisfying than the one involving books. Is it only because it occurs less frequently?
In 2018, I attempted to partly solve this dilemma by writing a book that recounted twenty years of my performance work. And, in doing so, I made a kind of small discovery: that the descriptions of the performances recounted in the book almost replaced people’s memories of the performances themselves.
The printed version was sharper, clearer and more recent when compared to the vagueness of memory. And yet, of course, there was another way in which memories were more intense, evocative and personal.
Performance is ephemeral, but the performances we remember also exist because we remember them. The very fact we remember them is a testament to their value.
I have never gone to an archive, any sort of archive, to look up a performance I’ve previously seen. I have only ever looked up performances I didn’t see.
In this way, I might intuit that I value the live experience more than I value any recorded account of it. I don’t want to spoil my fading memory of the performance by consulting an archived account of it.
But enough about me.”
From my response to the dance+words’ Dance Dialogues series. Read the entire piece here: https://www.dancepluswords.ca/artistresponses/jacob-wren
.
Labels:
An essay by Jacob Wren
May 29, 2024
Survival Technologies opens May 30th!!!
Survival Technologies
At Festival TransAmériques.
More information here: https://fta.ca/en/event/survival-technologies/
Produced by PME-ART
Creator, Director, Sound Design, Performer: Elena Stoodley
Co-Ideator: Kamissa Ma Koïta
Visual Design: Kamissa Ma Koïta, Elena Stoodley, Bay Dam, Vladimir Cara
Set and Lighting Design: Paul Chambers
Assistant Set and Lights: Jordana Natale
Interactive Art Design: Bay Dam
Performer, Cultural Consultant: Jean Durandisse
Performer, Dance Consultant and Costume Designer: Michèle Jean-Jacques
Performer and Dance Consultant: Sophia Gaspard
Percussionist and Cultural Consultant: Karl-Henry Brézault
Artistic Consultants: Dana Michel + Karla Étienne
Artistic Facilitator, Dramaturgy Assistant: Jacob Wren
Artistic Contribution: Sonia Hughes
Producer: Sylvie Lachance
Technical Director: Vladimir Cara
Assistant Stage Manager: Nicoleta Stoodley
Production Manager: Becks Lefranc
Co-produced by Festival TransAmériques + Forum Freies Theater (Düsseldorf) + Festspillene i Nord-Norge (Harstad)
Developed with the support of National Arts Centre’s National Creation Fund (Ottawa)
Presented in association with Agora de la danse + Tangente
Premiered at Festival TransAmériques, on May 30, 2024
Read a review here: https://ruinaacesa.com.br/survival-technologies/
.
May 22, 2024
From 2015: My Apologies
.
I wrote this in 2015:
"Guilt is conservative. We are all implicated in more ways than we will ever know but shouldn’t feel guilty. We should be angry, must become open to an anger that experiences possibilities everywhere, that opens towards genuinely other ways of seeing our predicament and where it might first or most crack."
From this novel I started but couldn't finish: My Apologies
.
I wrote this in 2015:
"Guilt is conservative. We are all implicated in more ways than we will ever know but shouldn’t feel guilty. We should be angry, must become open to an anger that experiences possibilities everywhere, that opens towards genuinely other ways of seeing our predicament and where it might first or most crack."
From this novel I started but couldn't finish: My Apologies
.
May 10, 2024
Lilly Dancyger Quote
.
"I always tell my writing students not to try to wrap things up in a neat little bow when they’re actually complicated and unresolved. That the lack of closure can be a better ending than manufactured closure that’s not genuine. The parts of the story that don’t seem to fit together can often be where the real story is. I encourage them to look for those spots of friction and write into the complexity. That’s where the good stuff is."
- Lilly Dancyger
From this interview: https://lareviewofbooks.org/article/finding-the-story-a-conversation-with-lilly-dancyger/
.
"I always tell my writing students not to try to wrap things up in a neat little bow when they’re actually complicated and unresolved. That the lack of closure can be a better ending than manufactured closure that’s not genuine. The parts of the story that don’t seem to fit together can often be where the real story is. I encourage them to look for those spots of friction and write into the complexity. That’s where the good stuff is."
- Lilly Dancyger
From this interview: https://lareviewofbooks.org/article/finding-the-story-a-conversation-with-lilly-dancyger/
.
Labels:
Lilly Dancyger,
Quotes
May 7, 2024
protest music
.
The fact that it's Macklemore who's bringing the protest music wasn't on my bingo card: HIND’S HALL.
.
The fact that it's Macklemore who's bringing the protest music wasn't on my bingo card: HIND’S HALL.
.
Labels:
Free Palestine,
Macklemore
April 26, 2024
Riches et pauvres and La joie criminelle des pirates published by Le Quartanier
.
Very excited that Riches et pauvres and La joie criminelle des pirates have been translated into French and published by Le Quartanier:
https://lequartanier.com/auteur/95-jacob-wren
The original English versions of these books are Rich and Poor and If our wealth is criminal then let’s live with the criminal joy of pirates.
A review in Le Devoir: https://www.ledevoir.com/lire/813123/critique-fiction-riches-pauvres-petite-entreprise
And a review in La Presse: https://www.lapresse.ca/arts/litterature/2024-06-01/lutte-epistolaire.php
Thank you to the translator Christophe Bernard and to everyone else at Le Quartanier.
Very excited that Riches et pauvres and La joie criminelle des pirates have been translated into French and published by Le Quartanier:
https://lequartanier.com/auteur/95-jacob-wren
The original English versions of these books are Rich and Poor and If our wealth is criminal then let’s live with the criminal joy of pirates.
A review in Le Devoir: https://www.ledevoir.com/lire/813123/critique-fiction-riches-pauvres-petite-entreprise
And a review in La Presse: https://www.lapresse.ca/arts/litterature/2024-06-01/lutte-epistolaire.php
Thank you to the translator Christophe Bernard and to everyone else at Le Quartanier.
April 24, 2024
many false starts
.
Between writing novels, I attempt to start writing new novels, many false starts. Why does one of the starts eventually take while the others don't? Not a reason but a feeling. Mostly a feeling that I don't know where it's going but I want to find out.
.
Between writing novels, I attempt to start writing new novels, many false starts. Why does one of the starts eventually take while the others don't? Not a reason but a feeling. Mostly a feeling that I don't know where it's going but I want to find out.
.
April 16, 2024
Miguel Gutierrez Quote
.
“Living longer means you witness the daily onslaught of stupid and mean that passes for reality.
Living longer means you witness the toggle between progression and backlash, over and over like a tennis game from hell.
Living longer means you meet young people who are better or worse versions of who you once were.
Living longer means you draw the logic of your perspective into a latticework of meaning that purportedly helps you see patterns, something you might call “maturity.” But more often than not it feels like you’re just decorating a cage of your own design, rendering yourself unsupple and resistant to change.
Living longer means coming to terms with whether or not this is true, every day.”
- Miguel Gutierrez, Aging Awfully
,
“Living longer means you witness the daily onslaught of stupid and mean that passes for reality.
Living longer means you witness the toggle between progression and backlash, over and over like a tennis game from hell.
Living longer means you meet young people who are better or worse versions of who you once were.
Living longer means you draw the logic of your perspective into a latticework of meaning that purportedly helps you see patterns, something you might call “maturity.” But more often than not it feels like you’re just decorating a cage of your own design, rendering yourself unsupple and resistant to change.
Living longer means coming to terms with whether or not this is true, every day.”
- Miguel Gutierrez, Aging Awfully
,
Labels:
Miguel Gutierrez,
Quotes
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