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Our Top Ten Articles of 2025, as Chosen by You: #10 Attention as Predation: Fields of Influence and Omnivorous Forces of Alignment by Johanna Drucker

Attention consumes its participants—subjects and objects alike—and in its current ravenous high scale dynamic, becomes predatory.

Before we turn the page on the tumultuous year that was 2025, let’s look back on the pieces that readers couldn’t stop reading, sharing, and talking about—i.e., our most popular articles across four massive quarterly issues. From insightful essays to mind-bending fictions, this curated-by-you selection features work from all around the world that not only captured your attention but also seized your imagination. Wonder if your own favorite made the list? Every day from now till Dec 31st, we’ll be counting down to our most-read article of the year, so come back here each day to find out!

First up at #10 is Johanna Drucker’s “Attention as Predation: Fields of Influence and Omnivorous Forces of Alignment”—a fitting grand opening to our Fall 2025 Special Feature themed on attention, as urgent to the moment as it is riveting a read.

Distinguished Professor Emerita in the Department of Information Studies at UCLA, Drucker poses a radical re-imagining of the nature of attention itself. Rather than a self-willed, intentional act, Drucker describes the exchange of attention between subject and object as a bottomless energy field where we consume as we are consumed: an ouroboric cycle where we feed off a topic as it feeds off our attention. The result is a serious argument for us all living in dystopia.

Drucker’s theory is an enlightening framework for the digital age, importantly, one that credits attention as the primary instrument of authoritarianism—Exhibit A: Donald Trump’s command of the media landscape.

Here’s a brief explanation in Drucker’s own words:

“Most recently, the Trump phenomenon demonstrates the way the accumulation of attention
becomes a social force, a type of predation on the body politic in which influence devours the
source on which it feeds . . . they become consumed in the process of absorption, returning the investment of attention to the system which, in turn increases in energy and demands more attention to sustain itself. Huge as they are, enormous as transactional beings, focal points in a massive network of attention exchange, the central figures are themselves colonized by the process. In a vulnerable individual, this can be fatal, but in a socio-pathological one the focal object inflates, feeding from an increasingly insatiable need.
. . . 
Authoritarianism works through alignment. Alignment is driven by affect and instrumentalized through attention. Attention consumes its participants—subjects and objects alike—and in its current ravenous high scale dynamic, becomes predatory. The monopoly will only be broken by distributing attention across multiple attractors the terms and values of which remain to be determined but must operate through an appeal to affect.”

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest literary news from Palestine, Hong Kong, and Kenya!

This week, our editors-at-large report on new spaces and events for literature springing up even in the face of oppression and loss. From Gaza’s first public library to Xi Xi’s teddy bears to the legacy of a lost literary lion in Kenya, read on to find out more!

Shatha Abd El Latif, Editor-at-Large, reporting on Palestine

“There are moments in history when the creation of a library becomes an act of freedom itself.”

Those were the words of Omar and Ibrahim on the fundraiser campaign page they set up to build the first public library in Gaza after the genocide. Omar is a displaced Gazan writer from Beit Hanoun, and Ibrahim is an English school teacher and translator. On the page, Ibrahim describes a curious intellectual wrestling with the big dogs of the Western canon that eventually landed him at the feet of the literatures of the oppressed. Of this literature of resistance, he writes: “I felt that books themselves became a kind of land, and that the pen was a root no one could uproot.”

Omar and Ibrahim speak to their audience about a time when books were their only refuge from the horrors of the blockade, and tell us of the moments where they discovered that their books, pieces of their bereaved souls, survived the bombing of their houses. Omar’s documentation on social media of the dust-covered books, hours spent digging in the rubble, and carrying his books twelve times over with every displacement—sometimes in unique ways, i.e. in his keffiyeh, quickly sparked international interest in his and Ibrahim’s project.

Israel’s genocidal war destroyed at least twenty-one of Gaza’s libraries and killed over 45 writers and artists in Gaza in a soulless act of colonial vengeance, striking at the heart of a people’s cultural spirit. I was so incredibly moved as I scrolled down Omar’s Instagram and watched as he installed the library, book by book, on a dilapidated shelf in a tent. The steadfast mission they chose for themselves in the service of their community speaks to a not-so-unfamiliar spirit of resistance that Palestinians carried within themselves against the absolute annihilation of their home and history.

This project does not exist in a vacuum. Rather, it is rooted within a political consciousness that hails the resisting spirit in the face of a genocidal, colonial power. What we must be wary of, nonetheless, is the temptation to glorify the struggle and pain that comes with this act of preservation and perseverance born during a genocide while shying away from confronting the structural complicity of our cultural and academic institutions in the literary genocide of Gaza’s writers, librarians, and educators.

The search for a place to house Omar and Ibrahim’s library was over early this week. Following a month and a half long search, Omar announced on his Instagram that they were finally able to find a place to start building their library. There remains a long path ahead, still.

Omar and Ibrahim’s project goes well beyond just putting together a physical library space; rather, it serves a larger mission to rebuild Gaza’s literary scene and combat Zionism’s long-in-the-making scholasticidic and epistemicidic war—and their campaign’s goals, which include “[r]ebuilding Gaza’s spirit through knowledge” and “[b]uild[ing] hope and keep[ing] culture alive,” serve as further evidence.

You can donate to Omar and Ibrahim’s campaign via this link to rebuild Gaza’s first public library.

Charlie Ng, Editor-at-Large, reporting from Hong Kong READ MORE…

Weekly Dispatches From the Frontlines of World Literature

Literary updates from the Philippines, Bulgaria, and India!

This week, our Editors-at-Large report on the latest in literary news from the Philippines, Bulgaria, and India. From an open submission call for Filipino literature in translation, to a controversial AI-focused poetry competition in Bulgaria and a series of award-winning Indian titles, read on to learn more.

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

Kritika Kultura, a scholarly journal of literary, language, and cultural studies published semi-annually by Ateneo de Manila University is now welcoming submissions for a Special Literary Section on Filipino Literature in Translation. Placing particular emphasis on literary translations from nearly two hundred Philippine languages into English, this special literary section will cast a critical light on the often-unseen compromises and negotiations involved in bringing these works to the Anglosphere.

Guest-edited by translator, poet, and scholar Dr Christian Jil Benitez, the folio seeks to offer more than translation. ‘The special literary section aims to show the variety of ways translators from Philippine languages mediate Filipino literature with the Anglophone world linguistically, culturally, and even institutionally,’ he said.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest from Nigeria and Palestine!

In this week’s round-up of global literary news, our editors report on the winners of the Palestine Book Awards and a worrying change of policy in Nigerian language education. Read on for more.

Shatha Abdellatif, Editor-at-Large, reporting for Palestine

On November 15, the Palestine Book Awards announced this year’s winners in Central London, honouring “the spirit of Palestine” amidst a critically transformative period. Hosted by the Middle East Monitor (MEMO), the Palestine Book Awards welcomes nominations for writing on Palestine in English from publishers and authors, with no restrictions on their geographic or national backgrounds—thus worldling the literature of/on Palestine onto the global map of literary production.

Among the supremely intelligent works from this year’s winning titles was Mohammed El-Kurd’s Perfect Victims, making him a two-time winner of the PBA after Against Erasure took home the award in the creative category last year. Nasser Abourahme’s The Time Beneath the Concretean unflinching, rigorous monograph that positions refugee camps as the key to fathom the larger question of Palestine, and by extension, the spatio-temporal struggle in the larger context of Zionism’s settler colonial project in Palestine—won in the academic category.  Abourahme astutely writes in his introduction: “All [Palestinians] live in the permanent temporariness of camptime, with varying degrees of extraterritorial dislocation and extralegal vulnerability.” READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest literary news from Palestine, India, and Sweden!

This week, our editors-at-large report on the rise of audiobooks, a festival spotlighting indigenous Indian literature, and an award-winning Palestinian memoir. From visions of Paris from a prison cell to a whistling naming tradition, read on to find out more!

Carol Khoury, Editor-at-Large, reporting from Palestine

Palestinian author Nasser Abu Srour, recently released from Israeli imprisonment, has won the prestigious 2025 Prix de la littérature arabe for his powerful prison memoir, Je suis ma liberté, translated into the French by Stéphanie Dujols. The award ceremony was held at the Institut du Monde Arabe in Paris on November 18, coinciding with PEN International’s Day of the Imprisoned Writer. His memoir, written over 33 years inside Israeli prisons and smuggled out piece by piece, chronicles his experiences behind bars and his resilience in the face of oppression. It originally appeared in Arabic in 2022 titled Hikaayet Jidaar (the story of a wall) and translated into the English as The Tale of a Wall by Luke Leafgren. READ MORE…

November 2025: Upcoming Opportunities in Translation

An open house with Queens College, and more of this month's opportunities in world literature!

EDUCATION

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QUEENS COLLEGE MFA IN CREATIVE WRITING &  LITERARY TRANSLATION

The MFA Program in Creative Writing & Literary Translation at Queens College—located in the most culturally and linguistically diverse in the nation—will hold a virtual Open House information session, December 4, 5-6pm EST. The program is dedicated to crossing boundaries in genre, craft, and language. Our literary translation track offers students an opportunity to work intensively on craft and pursue professional opportunities in the field. Classes are small, and students work closely with faculty mentors. Translation students also take cross-genre courses in our other tracks in poetry, fiction, and creative nonfiction. Apply by March 15 for financial aid consideration; final deadline April 15. For a zoom link and more information, see their website.

 

EVENTS

BCLT RESEARCH SEMINAR: TRANSLATION AND MULTILINGUALISM IN INDIAN FRANCOPHONE WRITING

This coming Wednesday, November 26th, join author, translator, and past Asymptote contributor Sheela Mahadevan for a virtual exploration of the works of Indian writers in French. The talk will explore the “entanglements between French and Indian languages, literatures and cultures” that have arisen as a result of processes of translation and “transcreation” in the work of Indian writers writing in the French language. The impact of French literature on some literary traditions in India—a phenomenon arising from Indian writers undertaking acts of French translation during the post-independence period—as well as the role of multilingual translations in shaping certain political and cultural agendas, will also be discussed. The event will take place online from 4-5:30pm GMT. Register here. 

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest in literary updates from Bahrain and Puerto Rico!

This week, we are proud to introduce one of our newest Editors-at-Large, Amal Sarhan, for Bahrain, alongside first-time contributor Alejandra Camila Quintana Arocho, who gives us a dispatch from Puerto Rico. From a long-delayed book fair and ongoing discursive panels in Bahrain to the launch of a new book festival in Puerto Rico, read on to find out more!

Amal Sarhan, Editor-at-Large, Reporting from Bahrain

Bahrain is a quiet country to many. Dotted with date palms, surrounded by sea, and appearing as a mere speck of dust on the world map, it is natural for locals to feel an air of insignificance, including with regards to its literary scene. While the bellows of the recent launch of the 20th Sheikh Zayed Book Award, the Riyadh International Book Fair in October, and the ongoing Sharjah International Book Fair reverberate far into the Arabian Sea, the Bahraini equivalent has been delayed for years, our dismay at which has been cleverly captured in this very poignant caricature by the famed Bahraini artist Khalid Al Hashimi.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest from Spain, Romania, India, and the Philippines!

This week, our editors bring news of publications with big reputations, celebrations of nature writing in the Himalayas, and a new city joining the prestigious line-up of UNESCO Cities of Literature. Read on to find out more!

MARGENTO, Editor-at-Large, reporting from Spain

From November 5 through 11, the Romanian Language and Culture Center at the University of Granada, Spain hosted a series of events featuring the major voices and rising stars of contemporary Spanish poetry, some of whom included writers with Spanish-Romanian identities, connections, or collaborations. Amongst them, the prolific and multiply awarded Romanian-Spanish poet and painter Mariana Feride Moisoiu was given top-billing, and people crowded in for her reading-performance.

Feride Moisoiu is the founder of the international festival Mujer, Manantial de Vida (Woman, Source of Life), in addition to coordinating the festival Grito de Mujer (Woman’s Scream) in Villa del Prado, Madrid, which focuses on women’s voices, empowerment, and gender equality. She serves as the executive director of the literary magazine Krytón (also published in Villa del Prado), while also being the honorary president of the Casa Nacional de Rumanía (Romanian House/Institute) in Getafe. The event in Granada presented an opportunity for Feride Moiosiu to launch the latest issue of Krytón, coedited with poet Cristian Mihail Deac, which pays tribute to the journal’s founder, Cornel Drinovan. During her reading, the poet moved the audience through a serene and relentless, indomitable cadence, one that placed lyric femininity at the heart of a multifaceted—political, sentimental, and cosmic—vision. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest literary news from China and India!

This week, our editors at large report from a panel bringing together French and Chinese writers working on similar themes and explore prize-winning reporting on climate change. From the ethics of life writing to an upcoming literary festival featuring everyone from beloved authors to Bollywood stars, read on to find out more!

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

On the evening of October 23, the “Tandem 无独有偶” literary dialogue series hosted by Beijing’s French Cultural Center welcomed Édouard Louis and Hu Anyan 胡安焉—one from an impoverished French family, the other a veteran of 19 grassroots jobs in China. In a conversation moderated by Sarah Briand 白夏荷 of the French embassy, they explored a fundamental question: why do some feel compelled to write so urgently about their own pain?

Édouard Louis began by tracing his writing to childhood violence. “As a gay boy of ten or eleven, I was beaten and bullied at school. The moment a fist struck my face, I vowed to one day put it all on paper.” To him, writing is not a pastime but “redemption,” even an “antidote”—a way to distill a vaccine from the virus of experience. His autobiographical novel En finir avec Eddy Bellegueule—with Michael Lucey’s English translation The End of Eddy reviewed by former Editor-at-Large Madeline Jones—exposed his family’s poverty and violence, becoming a French sensation that also provoked fury at home: his brother once arrived from Paris with a baseball bat, threatening to kill him. READ MORE…

Fall 2025: Highlights from the Team

Find out what our very own team members have to say about our bountiful Fall issue!

I found that Nay Thit’s “The Language I Don’t Speak,” translated from the Burmese by Thiri Zune, was the perfect way to begin exploring the new edition. Like it, the rest of the poetry section is provocative and urgently alive—especially Olivia Elias’s verse about Gaza in Jérémy Victor Robert’s translation from the French. Moving from her work to that of Faruk Šehić, translated from the Bosnian by Ena Selimović, in “Who Came Back,” takes us from the action of war to the scars of postwar life. Then on to prison, with Başak Çandar and David Gramling’s translation from the Turkish of Kemal Varol’s “Dark Mist.” I found this piece unexpectedly amusing. Jen Calleja’s interview (conducted by Sarah Gear), is a delight, full of thought-provoking reflections on what we do as translators. There are so many other translations shining in this issue—I wish I could list them all.

—Ellen Elias-Bursac, Contributing Editor

Pablo Palacio’s “The Cannibal” (tr. José Darío Martínez from the Spanish) is my favorite piece from the new issue—fast-paced, vividly written, and replete with gruesome physical detail and haunting character psychology. As someone who likes to write about cannibalism, I found it both a wonderful point of reference and an object lesson in how obscene desire can be rendered in literature.

In “Vassal of the Sun” (tr. Tobias Ryan from the French), I was overjoyed by Patrick Autréaux’s descriptions of the natural world and his evident love for Melville.

Faruk Šehić’s “Who Came Back” (tr. Ena Selimović from the Bosnian) demonstrates how repetition, properly employed, can become a devastating poetic device. The scarcely varied refrain of “came back” hammers the losses of the Yugoslav Wars into the reader’s mind, while the sparse yet vivid language—“dandelions-cum-parachutes,” “white bark of birch saplings in living rooms”—emphasizes what war takes away, even from those who escape its bullets. It is essential reading for a world drunk on fantasies of righteous violence.

Palacio returns in “The Double and the Singular Woman” (tr. Thomas Taylor from the Spanish), a story that most cheap “twin horror” tales wish they were—though it’s not a horror story at all. Instead, it’s a superbly eerie study of difference and intimacy: how intricately a writer can render lives utterly unlike their own, and how such acts of imagination approach the question of what it means to write across unbridgeable experience. Using the extreme example of twins conjoined for their entire lives, Palacio transforms “monstrosity” into empathy. What a relief, in a world that so often wields that word against the oppressed, to encounter a story that refuses to dehumanize.

Finally, Johanna Drucker’s “Attention as Predation” remains, to my mind, the best framework for thinking about the phenomenon of Trump and other authoritarian figures turned cult icons. It is supremely bleak, but in an era when the democratic counteroffensive has so spectacularly failed, we need such correctives to naïve optimism. Reading Drucker’s essay, I felt a kind of cruel joy—the shock of recognition that comes when one is reminded of the essential brokenness of human beings, their eagerness to become both recipients and agents of predatory attention.

—Julia Maria, Digital Editor

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest from Nigeria, Palestine, and Italy!

In this week’s round-up of global literary news, our editors cover a progressive writing workshop in Milan, an honouring of a major Palestinian poet, and a celebration of African writing in Lagos. Read on to find out more!

Veronica Gisondi, Editor-at-Large, reporting from Italy

When engaging with texts and their authors’ experiences, distance often becomes the instrument through which meaning is managed and subjective responses modulated—whether in reading, writing, criticism, or translation. Through the conflation of the personal with the private (and the classification of the latter as a “non-political” domain), the innermost truths of human experience have largely been excluded from public discourse. Lea Melandri’s scrittura di esperienza (experiential writing) offers a radical alternative to this logic—which stems from the same matrix that historically split mind and body, reason and emotion—by reuniting personal life and social language.

In a one-day workshop hosted by Milan’s Collettivo ZAM (Zona Autonoma Milano), Melandri—a leading Italian feminist thinker, journalist, and writer—introduced a small group of participants to a method born out of her involvement with non-authoritarian pedagogy and feminist movements in the late 1960s and 1970s. In the wake of feminism’s autocoscienza, which first revealed the systemic origins of individual struggle, Melandri treats “the self” as an archive containing “millennia of history,” acknowledging that most of it lies beyond our awareness. “The self has been reduced to the particular experience of an individual,” noted Melandri as she briefed us on the day ahead. “Feminism has taught us that personal lives aren’t history’s waste, but constitute its core.” READ MORE…

Blog Editors’ Highlights: Fall 2025

Thoughts and inspirations from our latest issue!

Our latest—and fifty-seventh—issue draws together work from thirty-one countries and twenty-one languages, from antiquity to the boldly contemporary, the comedic to the compassionate, the historic to the experimental. To help you navigate this compendium, our blog editors offer up their favourites.

In one of the many street art pieces embroidering the surfaces of Athens, a black sign reads: ‘A memory of a memory that we are all left with.’ Greece’s capital is bound in all directions: to the bodies that live within its confines, the oblique and omnipresent archive, the dynamism of recollection, the strategies of function, the desperation of loss, the translucency of power, reality’s elasticity and its collapse. To be within it, then, is to acknowledge that no space is neutral—that the collective illusion of fixed borders, fixed pasts, and fixed stratagems of everyday life are gossamer comforts. There is nothing stable in the city. The condition of its existence is nothing less than a mass hypnosis.

‘When my parents told me we lived in Athens, I believed them.’ Amanda Michalopoulou writes in ‘Desert‘, translated with great emotional heft by Joanna Eleftheriou and Natalie Bakopoulos. Through a combination of confession and elucidation, the piece seeks to delineate the living morphology of present-day Athens from its manipulated dreams of cohesion and glory, earmarking the ‘transcendent’ objectives of the ancient city as a catalyst for its current fragility, the very definition of transcendence gesturing at an inoperable unreality, a beyond that persists only in attempts and potentialities. ‘A city that would invent cities and governments, language and liberty,’ so Athens grew with immovable conjectures of goodness and intelligence, until: ‘Step by step, they created a society that matched their insatiable vision of absolute power and control.’ The converge of experience and concept is chaotic, and space does not hesitate to dislocate itself from our comprehension. Thus, as Michalopoulou describes her ‘investigations,’ the city can perhaps be only understood via the fragmented origins of our most ancient texts, in those long-gone years where our present certainties had been amended, invented, reconstituted, and dismembered ceaselessly. The instability of today’s Athens resents the wonders and heights of its own birth, yet this shakiness is also evidence of another strength, for it is as David Graeber said: ‘The ultimate hidden truth of the world is that it is something we make and could just as easily make differently.’  READ MORE…

Weekly Dispatches From the Frontlines of World Literature

Literary updates from the Philippines, Bulgaria, and Hong Kong!

This week, our Editors-at-Large take us around the world for the latest in literary news. From the efforts of Filipino literati for Palestine, to Bulgaria’s reckoning with the swiftly changing modern world and insightful essays and reviews on Hong Kong literature in translation, read on to learn more!

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

On 9 October, 2025, the feminist Filipino indie publisher Gantala Press debuted another monumental anthology at the Fine Arts Gallery of the University of the Philippines Diliman. The book, titled ‘Pagkat Tayo Man ay May Sampaga: New Philippine Writing and Translation for a Free Palestine, unites a vast range of voices in solidarity with Palestinian liberation.

The anthology was released by Gantala Press’s imprint, Publikasyong Iglap, which specialises in publishing timely literary works that address pressing ethnopolitical issues. It was co-edited by the press’ founder, Faye Cura, with Joi Barrios of the University of California Berkeley and UP Diliman professors, essayist Sarah Raymundo and fictionist-critic Rolando B. Tolentino.

‘Pagkat Tayo Man ay May Sampaga includes original writings from Filipino authors, including Luisa Igloria, the former Poet Laureate of Virginia, and Filipino-language translations of works by Palestinian writers such as the late Refaat Alareer and Fady Joudah. Alongside these new writings and translations, the anthology spans in-depth essays examining socially engaged writing, translation, and the anti-imperialist movement, supplemented by a practical teaching guide. READ MORE…

Our Fall 2025 Issue Is Here!

Featuring Nay Thit, Jen Calleja, Patrick Autréaux, and Johanna Drucker in our Special Feature on Attention

The world rewrites itself daily, unable to leave the past alone. As Trump’s relentless theatre once more monopolizes our gaze—proof, perhaps, of what Johanna Drucker, in her timely essay “Attention as Predation,” diagnoses as a civilization that is consumed even as it consumes—the question becomes what still endures beneath the smudged text of the present. Palimpsest, our Fall 2025 issue illustrated hauntingly by UK-based visual artist Jayoon Choi, turns to those deeper inscriptions: the faint, resistant traces that refuse to fade, the ghosts of meaning that survive the next rewrite.

In Amanda Michalopoulou’s “Desert,” Athens emerges as a manuscript of light and stone, its ruins glowing like marginalia of time. Carla Mühlhaus overlays the Black Dahlia murder and Andersen’s mermaid over Venice’s 2019 acqua alta, letting myth and crime shimmer beneath the rising waterline. Likewise, Barbara Köhler gives Homer’s Penelope her overdue monologue—both weaver and mermaid surfacing from the sediment of male authorship to reclaim their narratives. From Kazakhstan, Marat Uali laments the vanishing of minority tongues, an anxiety echoed in Tim Brookes’s interview on his Endangered Alphabets Project, where each carved script becomes an act of remembrance. In William Heath’s sparkling update, Herodas gives us drama composed on papyri—reminding us that even the most fragile art can defy oblivion.

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This issue’s wildcard Special Feature, “On Attention,” brings together thinkers and storytellers who resist the culture of erasure. Monika Vrečar asks whether poetry can still exist amid the static while Farah Ahamed, in an astute piece of film criticism on the Bollywood classic “Lagaan,” notes that the monsoon is also a season in the body. Elsewhere, Korean artists Koi and Hyungmee Shin—hailing from opposite sides of the 38th parallel—make masterful use of fabric to create radiant topographies of encounter, while Ecuadorian master Pablo Palacio’s “The Double and Singular Woman” (tr. Thomas Taylor) anatomizes the fractured identity of a pair of conjoined twins with a proto-modernist precision that feels radical in our own fragmented age. To read these works together is to experience literature’s own layered materiality.

If this issue has a thesis, it is that world literature does not replace; it accrues. Help us write the next layer: submit to the second installment of our “On Attention” Special Feature (as well as to our regular categories) and apply to join the team (deadline: November 1st)—we especially welcome applicants to the Assistant Editor (Fiction) role. A final note for the record: László Krasznahorkai, this year’s Nobel laureate in literature, appeared in our pages twice—long before Stockholm called. If this kind of early, global advocacy matters to you, please become a sustaining or masthead member today—the vital margin note that keeps this palimpsest legible, and gloriously alive.

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