logo
Celebrating the 10th anniversary of The Festival of Literary Diversity

Celebrating the 10th anniversary of The Festival of Literary Diversity

CBC08-05-2025

The Festival of Literary Diversity (FOLD) was the first of its kind in Canadian literature: a book festival celebrating diverse authors both at home and beyond.
The festival takes place in Brampton, Ont., and aims to make space for writers to discuss their craft and the challenges involved in creating stories that "ask difficult questions, expose hard truths and push literary boundaries." Since its launch, the FOLD has evolved to include a reading challenge, a kids festival, an author visit series and monthly online webinars.
Now, coming up on its 10th anniversary, founder and author Jael Richardson joins host Elamin Abdelmahmoud to reflect on how far book publishing has come in Canada — and how far it still has to go.
We've included some highlights below, edited for length and clarity. For the full discussion, listen and follow Commotion with Elamin Abdelmahmoud on your favourite podcast player.
WATCH | Today's episode on YouTube (this segment begins at 17:52):
Elamin: You founded this thing 10 years ago, and now look at us here. How does it feel to have arrived at the 10-year mark?
Jael: It feels surreal. It definitely doesn't feel like 10 years, I think, because we started thinking it was only going to be in person in Brampton, and we had two years virtual. Now we're hovering over both spaces. Each iteration feels like its own version of the festival. And so I have to remember the culmination of all that.
Elamin: Walk me through a little bit of why you felt like you needed to start this festival to begin with…. What need were you trying to fill, in that moment?
Jael: I think there were obvious things going on at the time I started this. There was a movement with We Need Diverse Books in the States that was addressing a lack of diversity in publishing. And I don't talk about this a lot, but it's also a little bit of selfishness, you know? I'm a writer. I had a book come out. I wasn't at literary festivals, even though the book was about my dad who was a CFL quarterback. And I sort of thought, if you have this famous story in Canada and you can't get on a stage, maybe there's no room if you're an ordinary person.
And so I wanted to start something that I could build, somewhere where I could go and talk about my books. And then I recognized just how important it was to other authors from marginalized communities to have a space where they could go, and be amongst one another, and be experts in craft. That was a big thing, too: not being forced to talk about identity. Being able to talk about it, but also being able to do a workshop on writing fiction or writing a memoir, which many authors said that they hadn't been asked to do before.
Elamin: I think there's a feeling of like, "I want to come and talk about the ways that I've approached writing this book. That sometimes includes talking about identity, but not always. Sometimes it does include, why did I make the specific choices I made as a writer?" And what FOLD really allows you to do is sit in that space. Do you feel like Canadian literature has become more diverse in the last 10 years or so since you started FOLD?
Jael: I do. I think there are festivals across the country that have diverse lineups and are really thinking about it — have always been thinking about it, too, in different ways, perhaps. And there are publishers who are actively taking an interest in not only seeking out marginalized voices, but creating spaces that are safer, more effective than they have before. I won't say it's all rose-colored glasses and everything's great. But I do think there's a baseline of conversation we can have now that I felt we were fighting to have 10 years ago.
Jael: We had a really great event last night where we talked about conflict and community, and how we move through hard times. There was a really great after party. I want to shout out a woman named Eve who lives out west on her own, on a farm, and just talked about the need for connection; that was really important to me. I'll also say we have a really great event on Saturday called "Eat the Books" with Ozoz Sokoh, who's a chef working with Afrobeat Kitchen, to talk about books, talk about Nigerian culture, talk about food. I love when we get to mix books and some other art form — in this case, food.
Elamin: Jael, I appreciate you. I appreciate everything that you've built. Thank you so much for everything that you put your energy into, and congratulations on 10 years. Thanks for being on the show, friend.
Jael: Thank you so much.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Unsung art dealer Berthe Weill, the first to sell a Picasso, finally gets her due
Unsung art dealer Berthe Weill, the first to sell a Picasso, finally gets her due

Globe and Mail

time24 minutes ago

  • Globe and Mail

Unsung art dealer Berthe Weill, the first to sell a Picasso, finally gets her due

In theory, it's important to support emerging artists. In practice, those who specialize in such support – a small press, an indie theatre, an early-career commercial art dealer – often find themselves abandoned by the most beautiful butterflies when they burst from the chrysalis. No hard feelings, but an artist will naturally seek the most prominent venue possible. The early 20th-century Parisian art dealer Berthe Weill seems to have suffered from this reality. To judge from an exhibition at the Montreal Museum of Fine Arts devoted to artists she sometimes represented or works that may have passed through her hands, Weill had a keen eye, a soft heart and not much of a head for business. She was the first dealer to sell a Picasso, when he was a mere 19 and a figurative painter, and she gave him one of his first shows, in 1902, but never represented his mature work. Matisse, whom she showed repeatedly over the years, said you couldn't make a living off what you sold through the Galerie B. Weill, a small cluttered shop in Montmartre that also offered antiques and books. Those artists who could do so needed to move on. And yet Weill lent her early support – aesthetic and financial – to some of the greatest names of 20th-century art, while also showing lesser-known figures of the same milieu. Reconstructing her career for the exhibition was a massive task for independent scholar Marianne Le Morvan, MMFA curator Anne Grace and colleagues at New York University's Grey Art Museum and the Musée de l'Orangerie in Paris. First of all, Weill did not keep proper business records of what she bought, exhibited and sold. To determine what paintings passed through her gallery, the scholars relied partly on her 1933 memoir Pan! dans l'oeil! (Pow! Right in the Eye!), partly on the existing research about the more famous artists she showed and partly on documents such as flyers and invitations. For example, in 1917 she organized a show for Amedeo Modigliani that included, among many other works, four nudes with visible body hair. When crowds gathered outside the gallery's windows to gawk, the local police chief intervened and Weill was forced to take the paintings down. Today, there are eight Modigliani nudes in existence that might fit this description: The MMFA has secured the loan of Nude with Coral Necklace from the Allen Memorial Art Museum in Oberlin, Ohio. It may – or may not – have been shown by Weill, but you get the idea. The room devoted to the Fauves, the strongest in this exhibition, includes Raoul Dufy's familiar scene of a street in Le Havre decked out with French flags for Bastille Day, now in the Centre Pompidou in Paris. It's a work with which Weill had a clear link: It was painted during a period when she was actually visiting Dufy's companion not far away in the town of Falaise, waiting for the artist to make enough sales to join them and, according to her memoir, delighted when he showed up with fresh paintings. Meanwhile, if the early Picasso room is so complete – including a fine still life executed at the age of 19 or 20 and such Blue Period classics as the Art Gallery of Ontario's Crouching Beggarwoman or The Blue Room from the Phillips Collection in Washington – it is because Picasso's art is so well tracked. (Both these latter pieces were included in the AGO's research-heavy Blue Period show in 2021.) Yet there is a certain sad irony in that room – or in the presence of a handful of early works by Matisse, including a late-afternoon view of Notre Dame, all executed a few years before that artist developed his signature style. With the benefit of hindsight, the visitor knows exactly what Weill missed out on when these artists took other work down the hill to Ambroise Vollard, the most recognized Parisian dealer of contemporary art before the First World War, or Paul Guillaume and the Rosenberg brothers, Paul and Léonce. Weill also exhibited artists who never made the big time – or remain lesser-known today. Several are women: Weill actively supported female artists, including Suzanne Valadon, whose work was championed by Degas and Renoir, for whom she had modelled, and the mercurial Émilie Charmy, represented here by several dramatic self-portraits. These seem a bit self-indulgent. Charmy's portrait of her great supporter, Weill herself, is stronger work, capturing a solid and intelligent figure with notable economy. The MMFA purchased the Weill portrait from the artist's grandson for this exhibition. In this unusual mix of the famous and not famous, the canonical and the forgotten, there are passages of weakness or regret – no mature Picasso, with Cubism represented by minor practitioners, and some fussier works from the gallery's last years in the 1930s – but there are also hidden gems. In that room with the early Matisse view of Notre Dame, the really impressive cityscape is by his less well-known friend Albert Marquet. Small Square with a Street Lamp, Paris is a beautifully balanced 1904 composition from the National Gallery of Canada, depicting an empty square at a spot where the countryside was giving way to the growing city, the new buildings casting long afternoon shadows. Later there is a remarkable Cubist street scene by none other than Diego Rivera, one of the expats Weill showed. The powerful painting is broken into overlapping rectangles, like a series of postcards, and shows a view down a narrow street that culminates in the Eiffel Tower as the Mexican artist grapples with both analytic Cubism and the civic architecture of Paris. It's a fascinating footnote of art history because after his early years championing Cubism, Rivera went on, as an illustrative muralist, to work in a very different style. That is the strength of this exhibition: It shows you the new Parisian art of 1900 to 1940 as it happened – the good, the bad and the indifferent. We are so used to seeing museum presentations of the canonical and the famous, it's worth remembering that, in the moment, few of us know what is fleeting and what will endure. After all, Ambroise Vollard himself gave up on Vincent van Gogh. Weill's best-known artists left for greener pastures, but the community did not abandon her. She was Jewish and was forced to close the gallery in 1941 during the occupation of France, a period when she managed to slip under the Nazis' radar, living in hiding in Paris. Immediately after the war, an art lovers' society organized a benefit auction to support her, recognizing her work encouraging emerging artists, and she was awarded the Légion d'honneur in 1948. It was only her due – like this exhibition. Berthe Weill, Art Dealer of the Parisian Avant-garde continues at the Montreal Museum of Fine Arts to Sept. 7.

Just for Laughs founder Gilbert Rozon on stand for 2nd day at civil trial
Just for Laughs founder Gilbert Rozon on stand for 2nd day at civil trial

CTV News

time34 minutes ago

  • CTV News

Just for Laughs founder Gilbert Rozon on stand for 2nd day at civil trial

Just for Laughs founder Gilbert Rozon is seen at the courthouse during a break in his civil trial in Montreal on Monday, June 2, 2025. (Christinne Muschi/The Canadian Press) Just for Laughs founder Gilbert Rozon is back on the stand in his own defence at a sexual assault civil trial in Montreal. The Quebec impresario is being sued by nine women for a total of nearly $14 million in damages over allegations of sexual assault and misconduct. The 70-year-old Rozon took the stand for a second day in the high profile trial, discussing the rise of the comedy empire he founded. He also elaborated on some of his personal relationships during those periods. Rozon has denied the allegations against him and his time on the stand is expected to continue over several days in the coming weeks. All of the women suing him have testified about their experiences and faced cross-examination. This report by The Canadian Press was first published June 5, 2025. The Canadian Press

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store