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.
French illustrator Anouck Ricard was awarded the prestigious Grand Prix. Also in the running for the prize were Alison Bechdel (Dykes to Watch Out For) and Catherine Meurisse (Les Grands Espaces; Delacroix). Ricard has worked in comics for over twenty years, though she also extends her art to fields as varied as press illustration and children’s publishing, and has even produced a card game and a fanzine. Ricard’s next work, Fabienne, releases in October of this year.
Although bande dessinée sales saw a slight downturn in France in 2024, they’re still one of the most popular sellers in both the domestic and international publishing markets and hold an artistically and historically significant position in French culture—a fact made clear by events such as the Centre Pompidou’s “La BD à tous les étages” exhibition, which ran until November of last year and displayed 60 years’ worth of history. While both the exhibition and the festival have ended for now, you can follow an audio recording of the exhibition on the Centre Pompidou’s website, and can check out a list of Angoulême’s featured prize-winning bande-dessinées from current and past festivals here.
Alton Melvar M Dapanas, Editor-at-Large, reporting from the Philippines
In a consequential moment in 2024, the Philippines made its debut at La fiera del libro per ragazzi (Bologna Children’s Book Fair), the world’s most prestigious gathering for publishing professionals of children’s literature. Now, as the fair gets ready for its 62nd instalment, the Philippine Board on Books for Young People (PBBY) and the International Board on Books for Young People Philippines (IBBY Philippines) are poised to once again make a spectacle of the bounty of Filipino storytelling. This year, from 31st March to 3rd April, the country will proudly present a curated collection of 120 books, a testament to the nation’s vibrant heritage of writing for children.
Last year’s country catalogue was a tapestry of creativity, featuring works by authors such as Rowena P. Festin, Luis P. Gatmaitan, MD, Glenda Oris, and Eugene Evasco, alongside the craft of illustrators like Manix Abrera, Harry Monzon, and Jericho Moral. Publishers such as Aklat Mirasol, Lampara Books, Kahel Press, and Aklat Alamid brought these stories to life, while translators like Becky Bravo, Jose Edison C. Tondares, and Angela Narciso Torres bridged the Philippine languages through their artistry.
Among the highlights are tales of the Hanunuo Mangyan children, Bea Mandapat’s self-published Goodfire—a Salanga Prize honorable mention creative nonfiction book about the legendary Cordilleran scientist Enrique ‘Kee’ Laguinia and his low-cost kerosene stove used by Filipinos after the Japanese occupation of the Philippines—and a treasure trove of folk songs in Cebuano Binisaya, Ilocano, and Waray languages, translated and edited by ethnomusicologist Felicidad A. Prudente, PhD. Other books also delve into traditional Filipino houses and foodways, nursery rhymes and verses, and a new edition of José Rizal’s timeless 1885 fable, The Monkey and the Turtle.
Since 1963, the Bologna Children’s Book Fair has been a beacon for all who breathe life into children’s books—authors, illustrators, translators, publishers, even movie rights acquirers. Estonia takes the mantle as the fair’s 2025 Guest of Honour.
Ibrahim Fawzy, Editor-at-Large, reporting from Egypt
The 56th Cairo International Book Fair has drawn to a close, leaving a vibrant echo of literary
exchange in its wake. One of the notable panels celebrated the poets of the Bedouin tradition; poets emphasized that Bedouin poetry transcends mere romantic verse, serving as a powerful voice of resistance that articulates the critical concerns of the nation. This point was underscored by poems shared at the event, which passionately rejected the proposed displacement of Palestinians, a direct response to suggestions of relocation of Palestinians to Egypt and Jordan. Panelists highlighted the historical significance of Bedouin poetry as both a witness to pivotal events and a vital platform for preserving cultural identity. From the stark beauty of Bedouin verse, the fair transitioned seamlessly to a global perspective, featuring Anna Hoffmann, Sanja Lukic, and Nicolaj Miscevic in a panel discussion on contemporary poetry. Lukic shared her profound connection to writing, stating, “I feel nothing but love – not just love between two people, but love for all of humanity.” She asserted that poetry remains a crucial bridge between cultures. The other poets echoed this sentiment, expressing their belief in poetry’s potential to heal the world, while lamenting the world’s current indifference to the power of poetry. The fair also addressed the practical challenges of translation. An interesting panel explored the intricacies of translating legal contracts and the burgeoning role of
artificial intelligence. While acknowledging AI’s potential to accelerate the production of first drafts, panelists cautioned that it remains incapable of grasping the subtle nuances inherent in legal phrasing. They warned against over-reliance on AI in legal contexts, emphasizing the indispensable role of human expertise as both the primary resource and the ultimate guarantor of accuracy and fidelity.
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