What’s wrong with book festivals
I am at the Leacock Summer Festival in Orillia, Ontario, listening to Mark Kingwell, the University of Toronto philosopher and urbanist, discuss his new workConcrete Reveries: Consciousness and the City (Penguin Group) , and thinking about the role of literary festivals in marketing Canadian books.
Kingwell is speaking to a mid-aged to eldery crowd of about fify, a majority of them women, and is making a good case for the growing population density of big cities. It all started with the first skyscrapers, he observes, that were meant to elevate and empower people. Instead, high rises led to vertical slums in many cities. Still, he insists, “density is not the enemy.”
The Leacock Summer Festival runs from Tuesday to Sunday in late July of each year. Its artistic director, Bruce Meyer, says it has “the most beautiful setting of any literary festival but it’s also the most underdeveloped.”
This is a little surprising, given that Orillia’s only two hours from Toronto, it’s a nice town for a summer visit, and Stepehen Leacock is an icon of Canadian literature.
A larger crowd is on hand for Saturday night’s “Exile Ladies’ Night” when Barry Callaghan, author and founder of the literary journal Exile, again presents three women writers who read from their works. I wish all writers could read with the forcefulness of Callaghan, who knows just how to put the right inflection on words that are written for the eye, not the ear. His readings are as beautiful to listen to as his writings are to read.
Few writers possess the abilitiies of the effective speaker. Too bad that Festival organizers all over the country don’t give their authors a little microphone training before putting them up in front of their audience.
But what do literary festivals do for writers — or for publishers for that matter, and most of all, for readers? There’s at least a couple dozen such events across Canada each year, ranging from the big International Festival of Authors at Harbourfront in Toronto in the fall to smaller, more exotic presentations like the Sunshine Coast Festival in Sechelt, B.C. You’ll find a handy list of some of them here.
For writers, the festivals obviously provide an opportunity to present to a fresh audience — but therein may be the nub of the problem. It’s hard to tell, but I have the feeling that largely the same people come out to these events each year. It’s good to have the faithful on hand, but should’nt festivals be doing more to reach new audiences?
The Leacock Festival, for example, has a fine artistic line-up each year and this year’s writers were no exception. They ranged from Richard Gwyn to Terry Fallis (winner of the 2008 Leacock Award for Humour) to George Elliott Clarke, David Gilmour, Diane Schoemperlen and Austin Clarke. Yet I’ll wager the crowd was never much larger than a hundred, and often less. That doesn’t give a huge boost to a local bookseller. Such a well planned occasion deserves more bums in the seats.
Publishers could help by giving more than lip service support to these fine gatherings of Canadian creative talent. The Canada Council assists with funding of author readings, and this is good. But where’s the jazz? Or pizazz?
Maybe what’s needed is a national alliance of literary festivals that would have the clout to recruit some major corporate support. There’s a fantastic sponsorship opportunity just waiting someline like Petro Canada (boy, don’t they need it!) or the chartered banks (hey, they could use some good PR, too) to step up and become the national headliner for a measly couple of million a year.
Meanwhile, we few faithful will continue to turn out, year after year, coming away enriched, enlightened and enthused for the brilliance of the creative talent all around us.





