This is what it’s like to audition for a choir in Casablanca.
First, you email the director, in impeccable French (or, should I say, infantile French that has been nicely elevated by your conveniently bilingual pal back in pleasantly predictable Canada). The director emails you back –eventually– in a casual French that lacks the standards of punctuation and capitalization to which you have grown accustomed in such exchanges. No matter. She is a native speaker. You will allow her this linguistic license.
The content of her message is, essentially, “call me, maybe.”
The second step in auditioning for a choir in Casablanca is a brief moment of panic. Continue reading