What do Chad Harbach, Edmund White, Virginia Woolf and Sylvia Plath have in common? Blue Met 2013 Meal Events and Food Workshops

Due the success of our "food" events last year, we've expanded them slightly in 2013 and have some interesting events involving meals, drinks, and snack foods.

First, we have two breakfast events, one in French featuring the diary of Virginia Woolf. This

Bell Jar fan? Sylvia Plath Breakfast!

one will involve each participant reading a provided page from Woolf's diary and then there will be a discussion of her diaries after everyone reads. This event is on Saturday, April 27 at 11am at Hotel 10 and is hosted by Marie-Andree Lamontagne.

We have another breakfast reading event on Sunday, April 28 on Sylvia Plath's The Bell Jar. This one, too, will be a discussion over breakfast on the work with some reading samples provided. Hosted by Magnificent Octopus' Isabella Kratynski.

Tickets for both events, $25 each, include breakfast. Last year both our Jane Austen and Ernest Hemingway breakfasts were sold out and highly acclaimed.

We have an Edmund White brunch on Saturday, April 27 at 12:30. What a great opportunity to sit at the same table, break bread, chat, laugh, and listen to one of America's best-loved writers talk about his career and his works. Hosted by Peter Dube. This one costs $45 and includes brunch.

An Israeli Cooking event is planned for Thursday, April 25 in the evening at Appetite for Books in Westmount. This will be a really lovely evening: wine, conversation, and Jonathan Cheung, the owner of Appetite for Books, will prepare a meal while participants sip wine and listen to Janna Gur, one of Israel's top food writers. The best part is that the $125 ticket includes a copy of her gorgeous book The Book  of New Israeli Food. Personally, I think this will be a memorable evening that should be a Blue Met highlight.

Janna Gur will also teach a workshop on Saturday, April 27 at the hotel on magazine

writing and how to balance the necessity for recipes while maintaining the creative side of cooking spontaneously. This one is 90 minutes long and will be a great opportunity to talk to Gur about how to approach food writing.

In addition to Gur, we have food critic (formerly of the New York Times) Molly O'Neill in a workshop on cookbook writing. This will allow a great chance for those who dream of writing their own cookbook: how to develop a persona, how to pitch a book, how to sell yourself and your book. Should be fun!

Baseball and Beer with Chad Harbach

O'Neill will also do an event at the hotel called Baseball and Beer with Chad Harbach (author of the best-seller The Art of Fielding. Harbach will beam in via Skype), David McGimpsey and hosted by The Gazette's Richard Burnett. The event will be a discussion about baseball in literature and writing. With a big frosty one, the event will be a great chance to hear about baseball writing from some literary baseball fanatics. This one costs $20 and includes a beer! Saturday, April 27 at Hotel 10.

Finally, our closing breakfast on Sunday morning gives you your chance to send the 2013 Festival off into history, a large table shared with writers, editors, publishers and lovers of literature to talk about highlights, lowlights and all the other lights in between.

All tickets can be purchased at bluemetropolis.org or at LaVitrine.com

On Difficult Books

I had a professor once in graduate school who used the word "accessible" to insult a writer's work. This tendency in certain circles that books must be dense, difficult to read, complex was one of the most annoying things, in fact, about graduate school. This doesn't refer to advanced vocabulary or overly complicated plots, but to works that, in fact, may have no plot. Or that intentionally obfuscate. It used to irk me when he'd dismiss a book by simply asserting that it was "simplistic" as if complexity made for a good read. This was true of not only fiction but of literary criticism or theory. And, let's face it, a big chunk of literary theory that has been so fashionable in the last generation is simply bad writing. Perhaps the writer has some novel or fascinating idea but the idea should be clear.

Not difficult.

I am of the school of straightforwardness. I don't have any issue with books that have unusual form or where the author's ideas on a topic are integrated into the plotting. But I detest books whose soul aim is to show off how smart the author thinks he is. Or "creative." A novel should essentially be a good story in my view and that doesn't mean the author can't take risks (he should, in fact) or can't play with form or style or do something new or unusual. But that should always be in service to the story, in my view. And there certainly are "simplistic" books (the story has no dimension to it, the themes or ideas are pat or trite).

That said, certain popular critics often dismiss a writer's work as "unreadable" or a "hard read" which I often find curious. When people call Kazuo Ishiguro's "hard" I don't see it. Though some of his books (like The Unconsoled) don't really have a straightforward plot, the language is fairly clear and straightforward. Virginia Woolf is another author often put in this camp. Or Borges.

I was very surprised that some people called Jenny Erpenbeck's book Visitation "undeniably difficult" which I definitely deny. Again, if one sits down with every book and excepts a straightforward sort of plotting arc, perhaps that's where one senses the challenge. But having read enough German literature (another author called difficult is Herte Mueller, and though that word might cover one aspect of her, it doesn't cover her writing!), I guess one comes to except a certain kind of approach. Same with Argentine writers.

I wonder if the rift between what academics find "good" and what the public find "good" has to do with the breakdown of high vs low culture. When I first started my undergraduate degree, I think, the remnants of this distinction were still visible but just barely: TV was still widely treated with disdain, popular writers were totally ignored (you'd never be caught dead with any living author who'd ever had a best-seller and, in fact, "best-seller" was an insult), but slowly this distinction has blurred. That's not to say that there aren't popular writers who are ignored in academia or "respectable" literary institutions: many are. But popular success doesn't necessarily mean a work is instantly trash. In fact, I've heard many people, many serious readers, say that they read Twilight or Fifty Shades simply because they wanted to see what the buzz was all about, they wanted to understand what these books' popularity said about our culture today, etc. Yes, they ultimately trashed the books but the assumption was that even trash should be part of the conversation in understanding where we are as a society of readers today...

I guess I wouldn't go so far as to read that kind of work mainly because I have so many other books vying for my attention. Good books. And difficult ones.