Language: English

Weekly Dispatches From the Frontlines of World Literature

The latest in literary updates from the Philippines, the United States, and Kenya!

This week, our Editors-at-Large bring us around the world for updates on the world’s literary scenes. From a celebration of Philippine literature in South Korea, to a night of poetry reading in the United States and the first Kenyan author to sit on the panel of judges for the International Booker Prize, read on to learn more!

Alton Melvar M Dapanas, Editor-at-Large, Reporting from the Philippines

For years, the depth of Philippine literature remained an unchartered territory for Korean readership. Now, a devoted cultural undertaking is bridging that gap, bringing the works of two celebrated Filipino writers­—National Artist for Literature Nick Joaquin and award-winning novelist Mica De Leon—to bookshelves across South Korea.

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Summer 2025: Highlights from the Team

Our bountiful Summer 2025 edition is filled with gems—as these highlights from our team show!

I have complicated feelings about Carolina Brown’s “Anthropocene” (tr. Jessica Powell). The brevity it accords its narrator’s transness is alternately touching and maddening, the fatphobia is at once completely spot-on for such a self-loathing narrator and at the same time it is pretty dehumanizing‚ but, ultimately, all that falls away in the ravaged face of a one-armed zombie jogging across the post climate-change Antarctic wasteland. A wonderful sci-fi tale.

I’d love Syaman Rapongan’s Eyes of an Ocean (tr. Darryl Sterk) for the title alone, but fortunately, Rapongan seems like a strong contender for the title of the actual most-interesting-man-in-the-world. His play with words, his treatment of colonization and indigeneity, the kindness with which he talks about younger generations. I really needed to read something like this, after all the ugliness that’s been going on in my own country.

I love the gender-bender secret agent in Valentinas Klimašauskas’s Polygon (tr. Erika Lastovskytė) so freaking much. The concluding discussion of airplane spotters is a particular stand-out for its treatment of how individuals become conscious of their political power.

Refugees are human beings. Where Rodrigo Urquiola Flores’ “La Venezolana” (tr. Shaina Brassard) shines is in its steadfast refusal either to vilify or idealize them, to present them in all their messy humanity, and in its willingness to show how shameful the narrator’s behavior towards them.

—Julia Maria, Digital Editor

Emmanuelle Sapin’s story “A Child Is Stolen” (tr. Michelle Kiefer) starts off with a swift, telling punch to the gut and builds from there.

Ahmad Shamlou’s poems in Niloufar Talebi’s lilting translation hover in waves of emotion and radiance: “Give me mirrors and eager moths, / light and wine…”

With playfulness and insight, Katia Grubisic sharpens the discussion about AI and translation by focusing on error in her piece “The Authority of Error”: “My argument is that AI makes the wrong kind of mistakes.  Mistakes breed resilience, and, most importantly, humility.”

Fawwaz Taboulsi, in Yasmine Zohdi’s translation, steers us directly into the sadness of Lebanon, 1982, and the time of the Siege of Beirut. His grief speaks with lucidity: “And, ever so slowly, the departing fighters peel away from the grasping, waving hands and from the embracing arms. Like skin peeling off its own flesh. They peel away from the farewells. From the prayers. From the promises.”

Lately I’ve been thinking a lot about how writers build characters. Jana Putrle Srdić’s poem “End of the world, beginning” in Katia Zakrajšek’s translation, does this in striking ways: ” Sitting on a warm rock, scratching in the wind, / you are a monkey, a branch with ants filing along it, debris in the air, / spots of flickering light”

—Ellen Elias-Bursać, Contributing Editor READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from Bulgaria, China, and India!

This week, our Editors-at-Large take us around the world for updates on literary events, awards, and initiatives. From a celebration of the 101st edition of a cornerstone in Bulgaria’s literary scene, to a deep dive into innovative literary prizes in China, and an introduction to the winner of the 2025 Armory Square Prize for South Asian Literature in Translation—read on to learn more.

Andriana Hamas, Editor-at-Large, Reporting from Bulgaria

Recently, I had the pleasure of attending a couple of literary events organized within the annual Пловдив чете (“Plovdiv Reads”) festival in my hometown. One of them was a discussion about the anniversary issue (the 101st, to be precise) of the Bulgarian magazine for literature and the humanities called Страница (“Page”).

The magazine, published every three months, was founded in 1997 in Plovdiv in collaboration with the local university St. Paisii Hilendarski. Throughout the years, it has provided a platform for a vast array of voices. In fact, almost all Bulgarian authors who have been active since and before Issue 1 have been present on its pages through their poetry, short stories, essays, criticism, memoirs, translations, interviews, and more. What truly separates it from other similar projects, however, is the dedicated literary criticism section and its yearly academic analysis of the development of Bulgarian literature over time, the directions it seems to have taken, and emerging trends in the Bulgarian literary scene.

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from China, Mexico, and the United States!

This week, our Editors-at-Large take us to literary fairs, readings, and walks around the world, featuring Malaysia as the country of honor at Beijing’s annual book fair, an “in-progress” translation reading in New York, and a thought-provoking reflection on a traipse around sites made famous by the works of Carlos Monsiváis in CDMX. Read on to learn more!

Hongyu Jasmine Zhu, Editor-at-Large, reporting from China

Between June 18–22, the 31st Beijing International Book Fair (BIBF) welcomed over 1,700 exhibitors from 80 countries, with Bangladesh, Belarus, Chile, Cyprus, Ethiopia, Guatemala, Jamaica, Kenya, and Oman joining for the first time. Over 300 thousand visitors of all ages and backgrounds participated in the fair’s multi-sensory literary walk, from family-friendly activities to down-to-business panel discussions.

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Elementalia: Chapter V Space

Drawing the sun and the moon at the same time, drawing emptiness and fullness.

Humans throughout history have been fascinated by the elements. Unfathomable forces of nature, they entered our myths and minds aeons ago. There’s no time when we’re not in their thrall. Drawing from the vast store of our collective imagination across mythology, philosophy, religion, literature, science, and art, I present Elementalia, a series of five element-bending lyric essays that explores their enchanting stories and their relationship with the word—making, translating, and transforming meaning and message. This is not an exhaustive (nor exhausting) effort that covers every instance of and interaction with each element, but rather an idiosyncratic, intertextual, meditative work—a patchwork quilt of conversations with other writers, works, and texts across space and time. 

Fire. Water. Earth. Air. Space. Fall in.

 

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Everything written symbols can say has already passed by. They are like tracks left by animals. That is why the masters of meditation refuse to accept that writings are final. The aim is to reach true being by means of those tracks, those letters, those signs but reality itself is not a sign, and it leaves no tracks. It doesn’t come to us by way of letters or words. We can go toward it, by following those words and letters back to what they came from. But so long as we are preoccupied with symbols, theories and opinions, we will fail to reach the principle.

But when we give up symbols and opinions, aren’t we left in the utter nothingness of being?

Yes.

–Kimura Kyoho in Kenjutsu Fushigi Hen (On the Mysteries of Swordsmanship), 1768, epigraph found
in Robert Bringhurst’s The Elements of Typographic Style

 

Drukpa Kunley, the Master of Truth, himself said,
‘If you think I have revealed any secrets, I apologise;
If you think this a medley of nonsense, just enjoy it!’
Such sentiments, here, I fully endorse!

The Divine Madman, The Sublime Life and Songs of Drukpa Kunley, compiled by Geshe Chaphu,
translated from the Tibetan by Keith Dowman and Sonam Paljor

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary updates from the United States and North Macedonia!

This week, our Editors-at-Large bring us updates on the publishing industry across the globe, from the United States to North Macedonia. In the United States, book co-op Tertulia’s virtual reading lounge features four new and exciting titles, and in North Macedonia, the latest novel of German-Macedonian author, philosopher, and artist Kitsa Kolbe sustains the momentum of the publishing scene. 

Mary Noorlander, Editor-at-Large, Reporting from the United States

In a seasonal, virtual event from the Tertulia book co-op called the “First Dibs Salon,” readers from across the United States gather on Zoom to hear from the acquiring editors of notable forthcoming books. In the spring edition of this salon, editors presented four titles: Yoko by David Sheff (Simon & Schuster, March 25); Zeal by Morgan Jerkins (HarperCollins, April 22); The Book of Records by Madeleine Thien (W.W. Norton, May 6); and Gulf by Mo Ogrodnik (Summit Books, May 6).

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Elementalia: Chapter IV Air

There was more to the word than Indra thought. There was more in the air.

Humans throughout history have been fascinated by the elements. Unfathomable forces of nature, they entered our myths and minds aeons ago. There’s no time when we’re not in their thrall. Drawing from the vast store of our collective imagination across mythology, philosophy, religion, literature, science, and art, I present Elementalia, a series of five element-bending lyric essays that explores their enchanting stories and their relationship with the word—making, translating, and transforming meaning and message. This is not an exhaustive (nor exhausting) effort that covers every instance of and interaction with each element, but rather an idiosyncratic, intertextual, meditative work—a patchwork quilt of conversations with other writers, works, and texts across space and time.

Inspire, from the Latin inspirare, in- + spirare, to breathe.

 

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Elementalia: Chapter III Earth

What does Earth know that Word does not?

Humans throughout history have been fascinated by the elements. Unfathomable forces of nature, they entered our myths and minds aeons ago. There’s no time when we’re not in their thrall. Drawing from the vast store of our collective imagination across mythology, philosophy, religion, literature, science, and art, I present Elementalia, a series of five element-bending lyric essays that explores their enchanting stories and their relationship with the word—making, translating, and transforming meaning and message. This is not an exhaustive (nor exhausting) effort that covers every instance of and interaction with each element, but rather an idiosyncratic, intertextual, meditative work—a patchwork quilt of conversations with other writers, works, and texts across space and time. 

Earth is cracking along her fault lines. And most of these fault lines are now human.

 

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[William of Baskerville, a Franciscan friar-turned-detective:] “This is what we need: a way to get into the library at night, and a lamp. You get the lamp. Linger in the kitchen after dinner, and take one…”

[Adso of Melk, his protégé, a Benedictine novice:] “A theft?”

[William:] “A loan, in the name of the greater glory of the Lord.”

[Adso:] “If that is so, then count on me.”

– Umberto Eco, The Name of the Rose

 

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from Japan, Sweden, and Scotland!

This week, the Asymptote team takes us across the globe for updates on all things literature. From the inaugural launch of a book fair in Japan, to the appearance of a popular novelist and throat singer at a book festival in Sweden, to the commemoration of a prolific poet and dear friend in Scotland, read on to learn more.

Bella Creel, Blog Editor, Reporting from Japan

Tomorrow, March 22, Kobe, Japan will see its first ever KOBE BOOK FAIR & MARKET, held on Rokkō Island with over sixty vendors, some bookish and some local food booths. While the majority of participating booksellers and publishers are based in the Kyoto-Osaka-Kobe metropolitan district, companies from across the country will amass tomorrow to promote literature and reading as part of the Kobe BOOK Culture Revitalization Project, created in response to the dwindling number of bookstores in recent years.

The fair will feature four panel events, including a tell-all on the nitty-gritty of running a bookstore and a deep dive into the production of local magazines. The former will bring together three booksellers working in markedly different environments: Tatsuya Isogami from toi books, a small local bookstore, Osamu Horiuchi from the gargantuan bookseller Junkudo, and Takashi Sesako from Page Pharmacy, a half-pharmacy-half-bookstore designed to encourage more random encounters with literature for his patients. The three will share the challenges and rewards of their respective environments and together ruminate on their role as booksellers. Later in the afternoon, Chief Editor of SAVVY and Meets Regional magazines Masaki Takemura will sit down with Youhei Sanjou of ORDINARY BOOKS to discuss the status of bookstores in the Kansai region and the intricacies of editing a magazine rooted in local life. 

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Weekly Dispatches From the Frontlines of World Literature

The latest in literary news from the Philippines and the United States!

This week, our Editors-at-Large take us from the Philippines to the United States for updates on literature around the globe. From an eclectic and exciting annual book festival to the grand re-opening of a local queer-owned bookstore, read on to learn more. 

Alton Melvar M Dapanas, Editor-at-Large, Reporting from the Philippines

The 2025 Philippine Book Festival (PBF) is set to take place from March 13-16 in SM Megamall’s Megatrade Hall in Mandaluyong City of the country’s capital region.

While I’m particularly excited to dive into Ang Propeta (Southern Voices, 2023), Layla Perez’s Filipino translation of Kahlil Gibran’s book of prose poems, The Prophet, the 2025 PBF lineup offers something for every participant: a cosplay event of characters from Philippine literature, panel discussions of contemporary queer and women writers, and a book talk on graphic novelist M.A. del Rosario’s Gods of Manila. The festival’s itinerary also includes a crime fiction panel, workshops on zine-making, book illustration, and writing in Baybayin (the script used in sixteenth- and seventeenth-century central Luzon), and sessions on pitching stories to filmmakers (led by studios Gushcloud Philippines and J Creative Entertainment). Festival-goers can enjoy a poetry slam, a Balagtasan (Filipino debate using rhymed verse), and book talks with authors of boys’ love (BL) and girls’ love (GL) fiction.

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Elementalia: Chapter II Water

The more I try to hold it, to shape it, the more it slips away from me, laughing at my hubris that tries to contain water.

Humans throughout history have been fascinated by the elements. Unfathomable forces of nature, they entered our myths and minds aeons ago. There’s no time when we’re not in their thrall. Drawing from the vast store of our collective imagination across mythology, philosophy, religion, literature, science, and art, I present Elementalia, a series of five element-bending lyric essays that explores their enchanting stories and their relationship with the word—making, translating, and transforming meaning and message. This is not an exhaustive (nor exhausting) effort that covers every instance of and interaction with each element, but rather an idiosyncratic, intertextual, meditative work—a patchwork quilt of conversations with other writers, works, and texts across space and time.

Water above and below.
Water outside and inside.
Water of the past and water of the future.
Water of the world and water of the word.
Water always finds a way.

 

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest literary news from France, Egypt, and the Philippines!

This week, our team members take us to festivals around the world — from comics in France, to Filipino children’s literature in Italy, to Bedouin poetry in Egypt, read on to find out more!

Kathryn Raver, Assistant Managing Editor, reporting from France

A little over a year ago, I wrote a dispatch for this column about the 2024 Festival Internationale de la Bande Dessinée d’Angoulême, an annual celebration of the art of the graphic novel. Visual storytelling has always been a staple of French literature, going as far back as Renaissance-era illustrated manuscripts, but the modern art of the bande-dessinée (often referred to as the Ninth Art) is thought to have taken root in the early 19th century.

In countries like the US, graphic novels are often considered to be for children, which is a shame because they have the potential to add a fascinating element to storytelling. As someone who is incredibly passionate about the genre, I was thrilled to see the festival come back in full swing this past weekend for its 52nd year. As one of the largest comics festivals in the world, it hosted hundreds of thousands of participants and countless illustrators and authors for a weekend of workshops, exhibitions—including one on the work of last year’s Grand Prix winner, Posy Simmonds—and industry discussion. READ MORE…

Elementalia: Chapter I Fire

Primal flame, visceral, of a kind long before gunpowder made fire cerebral.

Humans throughout history have been fascinated by the elements. Unfathomable forces of nature, they entered our myths and minds aeons ago. There’s no time when we’re not in their thrall. Drawing from the vast store of our collective imagination across mythology, philosophy, religion, literature, science, and art, I present Elementalia, a series of five element-bending lyric essays that explores their enchanting stories and their relationship with the word—making, translating, and transforming meaning and message. This is not an exhaustive (nor exhausting) effort that covers every instance of and interaction with each element, but rather an idiosyncratic, intertextual, meditative work—a patchwork quilt of conversations with other writers, works, and texts across space and time. 

Fire blazes in the news now, while elsewhere in the world—where people have less, where media doesn’t look as hard, where photographs aren’t as terribly beautiful—water churns, earth cracks, air howls, and the void always awaits.

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Bastian: “Why is it so dark?”

The Childlike Empress: “In the beginning, it is always dark.”

– The NeverEnding Story, 1984 film

It was the hour before the Gods awake.

– Sri Aurobindo, Savitri

अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॑ दे॒वमृ॒त्विज॑म् । होता॑रं रत्न॒धात॑मम् ॥ १.००१.०१

agnimīḻe purohitaṃ yajñasya devamṛtvijam |
hotāraṃ ratnadhātamam ||
1.001.01

The Ṛgveda

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Out of the primordial darkness, something appears. A little spark. So it begins.

Agni, Fire, is the first god to be invoked, the foremost, in the very first verse of the oldest of the Vedas, themselves among the oldest texts in the world. Agni is the one placed first, the priest of the sacrifice. Agni—two-headed, seven-tongued, born from the open mouth of Prajāpati, the progenitor—devours the oblations. That’s how he was coaxed back—with a share of the offerings and an injury-free, immortal-ish lifespan—when he ran away from his duties and hid in the waters and the plants. Agni, the conveyor, carries the offerings to the gods. And Agni, a god among mortals, is himself the summoner of gods.

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Winter 2025: Highlights from the Team

Dive into our new issue with these choice recommendations from our amazing intercontinental team!

Translated by Samuel Bollier, Jurj Salem’s “At the Circus” is a discombobulatingly charming, disarmingly hair-raising tale that elides joy and frustration, obfuscates reality and performance, and makes irony sincere. Things are not what they seem, which renders Bollier’s excellent translation of Salem’s easygoing prose all the more stirring; there, suited in the circus, we must imagine S. happy.

I’ve had the chance to read Quyên Nguyễn-Hoàng’s breathstopping beautiful self-translations in The Margins before; these two pieces in the new issue exude that same intrinsic conscience of precarious simultaneity, numbered and reversed, punctuated with “+” signs, a “delirious net of ten thousand dewdreams.” Quyên Nguyễn-Hoàng’s wordly creations turn from imagistic manifestation into pure interpretation.

Samuel’s parodic brilliance in his essay “Poets of Mirror Hatred” yields real laughter in an entirely serious, paradoxically internal essay about the division between the social and the cultural in poetic personas. What language exists for that which must not be expressed, at all costs, lest the self split? How must the reader read repression? Linking Kafka to two generations of modern Korean poetry, Samuel ends by critiquing the bright, hegemonic Asian American discourse of pain, transformed by their loudness into white noise: “To want more representation of Asian-American faces in American literature is to dream of your own cage.”

When Brandon Breen translates that “writing is obliquitous, but also ubiquitous,” I return to Ubah Cristana Ali Farah’s original contrast, “obliqua” versus “ubiqua,” in “The House of Termites,” a juxtaposition that encapsulates the attractions of Ali Farah’s style. By obliquely rebounding between various writers of exile, from Baldwin to Said to Kristeva, Mernissi, and Zambrano, Ali Farah’s essay makes a sensual ubiquity of this obliquitous displacement. To misappropriate Baldwin, you need strength to live in the “house of termites”; another kind of strength to let the termites get at it. Both strengths inhabit this essay.

Zhou Junyi’s conversation with filmmaker Tan Pin Pin crystallizes a certain vision of Singapore: a prism of public languages, spaces, and systems that shift as the microwave’s glass plate spins. I particularly love how the interview conveys the sounds of Singapore, and how we intellectualize it through subtitular structures, and formal and editorial decisions. Tan’s work lies in the instant before the intellectualization: “People will always know when a guest of honor arrives, but they don’t know what it feels like before the guest of honor arrives or even question why we have a guest of honor in the first place.”

—Michelle Chan Schmidt, Senior Assistant Editor READ MORE…