Place: Bulgaria

Winter 2025: Highlights from the Team

February 3, 2025  |  in News  |  by Anna Rumsby, Carissa Coane, Daniel Yadin, Devi Sastry, Ellen Elias-Bursac, Michelle Chan Schmidt, and Sayani Sarkar

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…

Weekly Dispatches From the Frontlines of World Literature

January 24, 2025  |  in Dispatches, News, Weekly Roundup  |  by Andriana Hamas and Linnea Gradin

The latest in literary updates from Sweden and Bulgaria!

In this week’s roundup of global literary news, our Editors-at-Large from Sweden and Bulgaria report on controversial translation practices and changes in reading preferences over the past sixteen years. Read on to learn more!

Linnea Gradin, Editor-at-Large, Reporting from Sweden

Last week, the translation of American historian Timothy Snyder’s latest book, On Freedom, was published in Sweden to mixed reviews. Perhaps more interesting than the book itself, though, is the debate that the translation has caused, because, as reported by SVT, the Swedish translator has both changed the meaning of certain words and added an entirely new clause to a section on Nazism—without consulting the author.

The original:

The boys threw off what they were wearing, pushed their arms and heads into their new shirts, and suddenly looked like a team.

The Swedish (in my translation):

The boys tore off their own shirts, threw on their new ones, and suddenly looked like one “body,” in the same sense that the Nazis saw the German people as one body.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

December 6, 2024  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Xiao Yue Shan

The latest in literary news from Southeast Asia, Bulgaria, and Chile!

In this week of world literature, our editors cover the influence of censorship and propaganda on literature, and look back on Southeast Asian literature released this year.

Alton Melvar M Dapanas, Editor-at-Large, reporting from Southeast Asia

What a year in Southeast Asian literature! The Philippines, Vietnam, and Thailand took center stage in Penguin Random House Southeast Asia (SEA)’s catalogues, with a range of texts published throughout the year. First off in March was Bleeding Sun by playwright-novelist Rogelio R. Sicat, translated by one of Sicat’s children, the translator and editor Ma. Aurora L. Sicat, from the original Dugo sa Bukang-Liwayway, which was serialised beginning 1965. Sicat, who came of age in the aftermath of the American Occupation, wrote novels which further revealed his belief in land reform and love for Tagalog as a literary language, veering away from his contemporaries who were influenced by Euro-American conventions.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

November 1, 2024  |  in Dispatches, News, Weekly Roundup  |  by Andriana Hamas and Xiao Yue Shan

The latest from Peru and Bulgaria!

This week, an exhibition honouring an iconic poet resonates with contemporary social movements in Peru, and a play causes quite the stir in Bulgaria. Read on to find out more!

Xiao Yue Shan, reporting from Peru

At the Casa de la Literatura Peruana (House of Peruvian Literature), space has appropriately been made for a poet who never wavered in his conviction of literature’s physical presence. Alejandro Romualdo (1926-2008) was a key figure of the Generación del 50—a Peruvian literary movement dedicated to a social ars poetica that would address daily realities and further political agency, formed amidst the dictatorship of Manuel Odría. Though few beyond the country will have knowledge of the power and continual influence of Romualdo’s works (which are regrettably yet to appear in English), this new exhibition, ‘Alejandro Romualdo: En la extensión de la palabra (in the extension of the word)’, firmly establishes the poet’s legacy, multiplicity, and role in shaping the Peruvian poetic landscape. Moving through not only his written works but his prolific activities as a graphic designer, humorist, cartoonist, and revolutionary, the brief but wide-ranging collection reveals a writer deeply embedded in the consciousness of his country.

‘The extension of the word’ is the title of Romualdo’s 1974 collection, which saw its writer interrogating poetry’s materialism for what more it could give to a world that demands a continuously evolving application of language. Working with concrete poetics, polyphonic constructions, and techniques of montage, Romualdo equalised the blank space of the page to the air—that which is both a separation and a link. In this era, he conceptualised the poetic form as a space where disparate or even antithetical ideas are held in a closed frame, thereby demonstrating the mind’s capacity to travel back and forth between them, uniting them as a single conceivable reality. Distance is relative in these poems, something easily breached by a long vowel sound or a dangling, dismembered line. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

September 27, 2024  |  in Dispatches, Weekly Roundup  |  by Andriana Hamas and José García Escobar

The latest literary news from Bulgaria and Central America!

This week, our editors-at-large fill us in on literary controversies, new releases, and returning festivals. From a conflict over a literary prize in Bulgaria to new short story collections from Asymptote alums, read on to find out more!

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

In July, I reported on the then unfolding conflict surrounding the proclaimed winner of the Novel of the Year award, given by the endowment fund 13 Centuries Bulgaria. It had turned out that Boris Minkov, the editor of the book (Вулкан or “Volcano” by Elena Alexieva), had also been a member of the jury, a fact that seemingly everyone had overlooked. The heated debates surrounding the legitimacy of the final choice led to Alexieva giving up her prize and the annulment of the decision.

In a recent development, Manol Peykov, managing partner at Janet 45, Вулкан’s publishing house, announced he would be withdrawing all nominated Janet 45 books from the competition as a way of making a statement against the way the above-mentioned crisis was resolved. The formal written withdrawal, which he shared on his personal Facebook profile, described the manner of dealing with the situation as “unacceptable, unprofessional, unethical and unfair.” The document questioned an existing legal ambiguity in the contest’s terminology: “No less worrying is the fact that neither [the organizers’] statements nor the published rules of the competition make it clear exactly what the definition of ‘conflict of interest’ is. Is it a conflict of interest for a member of the jury to have been or currently be published by one of the participating publishers? Or be close friends (or even bitter enemies) with any of the nominees? Or to have very recently received an unequivocal rejection from one of the other participating publishers?”

An official reply has yet to be issued. READ MORE…

Translation Tuesday: Excerpt from “The Gift” by Nevena Mitropolitska

August 20, 2024  |  in Translations  |  by Zlatomira Terzieva

her answer had already been thought out: she wanted him and her grandmother to take her to a real ballet performance.

This Translation Tuesday, Asymptote presents a tale of parental love from Bulgaria, written by Nevena Mitropolitska and translated by Zlatomira Terzieva. Neda’s grandfather, a woodcarver, has always prided himself on his ability to carve whatever birthday gift his granddaughter asks for—but on her seventh birthday, she makes an unexpected request, one that tests the limits of what he can give. What follows is a touching story that is as much about class and art in late communist Bulgaria as it is about the love between a grandparent and grandchild, about the hope that our descendents will have more than what we were given. Read on!

Everything started with a question. On the eighteenth of October, nineteen seventy-eight, exactly three months before Neda turned seven years old, her grandfather, as he was sitting in front of the TV in his rocking chair and stroking its scuffed armrest, asked her what kind of present she wanted for her birthday. That wasn’t an ordinary question, but a ritual, which repeated itself every year on the same date. He needed three months to get ready. Whatever she wished for, her grandpa would create out of wood. Had she purchased a piece of clothing, he would have carved that too. He would find a large piece, he would lock himself down in his small basement workshop, full of odd chisels, and the place would buzz with activity. When he formed his creation, he would paint all over it with thin brushes and he would varnish it. She could watch for hours how his coarse fingers lovingly danced on the wood and breathed form, feelings, and even movement into it. For her fourth birthday, she had chosen a baby doll—he had made it with a hole in the mouth so she could put a pacifier inside. For her fifth birthday—a house—complete with everything—with a chimney, with two windows (they had no glass, he covered them with nylon), with a door that could be opened and had a painted handle, and inside—a miniature bed. For her sixth birthday, she received a small table with four small chairs, and she sewed a green tablecloth together with her grandmother. And on that eighteenth of October, three months before her birthday, as he was asking her the fateful question, her grandpa was already delightfully anticipating—even his mustache was trembling from excitement, the joy of his unity with the wood. This time, however, Neda was going to surprise him.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

August 2, 2024  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Sofija Popovska

The latest from Bulgaria, North Macedonia, and the Philippines!

This week, our editors report on the foremost developments from their respective regions. In North Macedonia, a new collection from a renowned poet and director finds solace and profundity in the complex nexus between human life and its context. In the Philippines and Bulgaria, readers bid farewell to two titans of writing and translation. 

Sofija Popovska, Editor-at-Large for North Macedonia, reporting from North Macedonia

Prostori (Spaces), the third poetry collection by renowned Macedonian film director and poet Antonio Mitrikjeski, was recently published by Dijalog Press. With a track record of two well-received collections and several films playing at festivals across the world, Mitrikjeski is equally ‘intellectually rich and emotionally lush’ in his visual language as he is in literature, per writer Dimitar Bashevski’s review of Prostori.

The collection is fittingly cinematic; weaving together a mystical sublime, oracular dreamscapes, and a loving mimesis of familiar places, Mitrikjeski’s robust poetic voice blends inner and outer worlds, delving deep into the human psyche as he wanders into distant regions—mountain peaks, the ocean’s floor, the night sky. Frequently apostrophic, he foregrounds the deep entanglement between his human subjects and their environments, their ideas, and the people around them. In ‘Saraj,’ a poem about his childhood home, Mitrikjeski celebrates the ‘fraternity of children’ and ‘the mystique and simplicity of all the silhouettes who confessed their feelings’ in the ‘house bearing the roots of beginnings,’ where he still discovers the ‘eternal. . . fraternity of those present.’ Opening the collection and dedicated to his parents, ‘Saraj’ is programmatic. Throughout Prostori, the speaker is preoccupied with finding connection amidst distance, and this search is mediated via both real and oneiric spaces, as well as the relationships they make possible: ‘The lake’s water connects us all. / The fog is lifted,’ writes Mitrikjeski in ‘The Word’. The word itself, the material of poetry—’invisible, written upon the ruins’—will remain eternally within the lake, that is, within the space of human connections, among ‘familiar names’. READ MORE…

Summer 2024: Highlights from the Team

July 29, 2024  |  in News  |  by Alex Tan, Ellen Elias-Bursac, Hilary Ilkay, Julia Maria, Marguerite Alley, Michelle Chan Schmidt, and Sofija Popovska

Find out what our very own editors have to say about our bountiful Summer issue!

Last week’s Paris 2024 Olympics Opening Ceremony featured numerous nods to literature, art, and music, calling to mind Georgi Gospodinov’s statement in his interview for our Summer 2024 issue: “Culture is a continuous conversation, a hum of different voices, and it’s actually wonderful music, a sort of polyphony. We are not only immersed in that conversation, we are also part of it.” Indeed, as our very own Mary Hillis points out, this brand-new Summer edition is a “veritable parade of nations with works from 35 countries.” Read on to discover some of the highlights, courtesy of our multicontinental crew!

My favorite in this issue is Honora Spicer’s Spitting Sutures, with its mesmerizing fluid interplay of drafting a translation, selling a house, and experiences of the body. Fluidity also defines Olivia Sears’s in-depth historical exploration of Italian Futurist Ardengo Soffici in a conversation with Eugene Ostashevsky. Krzysztof Umiński’s Three Translators (tr. Soren Gauger) is also a wonderfully detailed dip into translation history, this time Polish. Two other texts I really enjoyed were Farah Ahamed’s The Day You Ate our Deliveroo Delivery and the dramatic excerpt Trinity by Hamid Ismailov (tr. Shelley Fairweather-Vega), the first for its many-faceted examination of an ethical confrontation, the second for its gorgeously translated insults and imprecations.

 —Ellen Elias-Bursać, Contributing Editor

I love the compact, compressed nature of Adelheid Duvanel’s The Poet (tr. Tyler Schroeder). It’s got an amazing opening line that hooked me right away. The journey of the story that goes from childhood vignette to the awareness of the narrator as poet is really striking, showing how transformative and creative language can be, how altering a shift in perspective can be.

Micaela Brinsley’s Nothing to Be Owed is such a unique piece of writing, hybridic in its tone and structure, lyrical and poetic prose. The reflections on care in italics intersperse beautifully what’s going on in the almost journal-like entries. The line “I’m trapped by the transactional” will stick with me for a while.

Sarah Gear’s conversation with Georgi Gospodinov (tr. Angela Rodel) is a huge interview for Asymptote and it was a privilege to get such intimate access to the Booker International Prize-winning author’s mind.

—Hilary Ilkay, Assistant Managing Editor READ MORE…

Our Summer 2024 Edition Has Landed!

July 18, 2024  |  in News  |  by Lee Yew Leong

Featuring Georgi Gospodinov, Patrick Autréaux, Ali Wajeeh, and Brigitte Giraud in a Special Feature themed on collectives

What stops a cancer from killing its host? What might have prevented a grandmother from dying in a refugee camp? What allows a Deliveroo rider to keep his dignity through itinerant gig-work? Perhaps it’s care: “the connections we have with others and the everyday actions we engage in for each other” (Micaela Brinsley). Care is a vital #lifesupport—a necessity up there with shelter and air. The problem is that it’s scarce, as attested to by our brand-new Summer edition spanning 35 countries and featuring an exclusive interview with 2023 Booker International Prize winner Georgi Gospodinov, 2022 Prix Goncourt winner Brigitte Giraud’s debut in English, as well as new translations of Paul Éluard and Hamid Ismailov. In settings that take us from hospital to hospital and even one assisted suicide facility, few find it, while others seek it with increasing desperation. Patrick Autréaux’s exquisite memoir of chemotherapy, for example, describes cancer as a “cold octopus . . . groping at me as though I were some bizarre object . . . embracing me, holding me back to examine whether I was corpse-like or ecstatic, content or horrified, and offering me, snatched up in death’s vulva, sensations never before imagined.” In Inga Iwasiów’s startling novel, on the other hand, the dead moon jellyfish forming a “gelatinous strip between the water and the land” becomes a buffer between the cancer-stricken narrator and intentional death (which in Pooya Monshizadeh’s devastating Red Meadow is canceled without even a refund). Against absolute loss, Honora Spicer, in this issue’s poignant Brave New World Literature entry, opened the very text that she had requested to translate one week after her grandmother died—to the wide field of “se fue.”


The hospital is also the setting for fifty percent of this issue’s Criticism section. While Fine Gråbøl’s What Kingdom paints a portrait of intimate life at a psychiatric hospital, Vanessa Springora’s Consent begins with a teenager being hospitalized for rheumatism, only to receive not one but two additional diagnoses during her stay. Though it’s the second of these (by a predatory gynecologist) that sets off a nationwide scandal with legal consequences, the first diagnosis very much deserves pause as well: according to the psychologist who sees her, our protagonist is “disengaged from her peers . . . isolated and vulnerable”; she struggles to “join” with others in society. This malaise is directly echoed in the trio of pieces (from Switzerland, Denmark, and South Korea) heading off the entire issue. All three are heart-wrenching portraits of alienation that speak to the current epidemic of loneliness.

If this edition or in fact any issue of this magazine has alleviated your loneliness, I hope you’ll take just three minutes to sign up as a sustaining or masthead member. Subscribing to our Book Club is a great way to take your support for world literature to the next level. If you’re interested in joining our team, good news: In addition to social media managers and marketing managers to join us on the frontlines of a more inclusive world literature, we’re inviting talented illustrators to come onboard as our guest artists—send us a link to your portfolio if you might be interested!

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Weekly Dispatches From the Frontlines of World Literature

July 5, 2024  |  in Dispatches, Weekly Roundup  |  by Andriana Hamas, Carol Khoury, and Sofija Popovska

The latest literary news from Palestine, North Macedonia, and Bulgaria!

This week, our Editors-at-Large bring us news of a crucial conference using collective artistic expression for justice, drama surrounding a literary prize, and an innovative effort to honor a beloved author. From activist poets to an experimental anthology, read on to find out more!

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

The International Coordinating Committee of the World Poetry Movement (WPM) has issued an urgent call to action concerning the escalating crisis in Palestine. In a recent statement, the committee emphasized, “The world and Palestine are in great danger. We must intervene, speak out, and act.” To address this, back in April, WPM issued an open letter by 1026 poets, artists, and intellectuals from hundred and forty countries to eighteen presidents and prime ministers of the world, on a an appeal to act for immediate ceasefire and humanitarian assistance in Gaza. More recently, WPM hosted a virtual World Conference for Palestine, which took place on the 15th and the 16th of June.

WPM, renowned for its steadfast support of Palestine through poetry and activism, seeks to leverage this conference to mobilize international solidarity and propose solutions. Reflecting the sentiment of poet Mahmoud Darwish, “Our poems have no melody, no color, no flavor, no voice if they do not hold the torch from home to home, from house to house,” the WPM aims to illuminate the path to justice through collective artistic expression.

The World Conference for Palestine, hosted virtually by Venezuela’s Ministry of Foreign Affairs, represented a critical effort to galvanize international support. The conference gathered poets, writers, artists, intellectuals, and political leaders to discuss protective measures for Palestinians. The two-day event featured expert analyses and discussions to push for an end to the war and the occupation. Prominent attendees included Miguel Diaz-Canel, Nicolas Maduro, Gustavo Petro, Abdelmadjid Tebboune, Mahmoud Abbas, Michael D. Higgins, Cyril Ramaphosa, Fortune Charumbira, and Juan David Correa. Recordings of live streaming of poetry readings can be watched here. READ MORE…

A Metaphysical Mistake: On Elias Canetti’s The Book Against Death

June 13, 2024  |  in Reviews  |  by Sebastián Sánchez

Death, to Cannetti, is not one part of what we might call a life-cycle, but rather a metaphysical mistake.

The Book Against Death by Elias Canetti, translated from the German by Peter Filkins, Fitzcarraldo/New Directions, 2024

The fact that the twentieth century saw the greatest number of conflict-related deaths in human history might be considered fundamental in explaining the over two-thousand pages Elias Canetti wrote in preparation for his book against death. However, reading the abridged version—published by Fitzcarraldo (UK) and New Directions (US)—one will find that Canetti would object strenuously to this causal explanation. This relation between factuality and literature, Canetti would say, concedes far too much to death in two ways. Firstly, it allows death quantity: by remarking on the sheer numbers, we suggest that the tragedy of death is quantifiable; that the more death there is, the greater the tragedy. Secondly, it allows death quality: by remarking on the specific kind of death—those caused by conflict—we suggest that its calamity is measured in part by the nature of the dying. To Canetti, a lone Don Quixote who ceaselessly struggled for life in a century of death, all death is singular and its tragedy is infinite. In order to better understand this, we must turn to one death: his mother’s.

June 15, 1942

Five years ago today my mother died. Since then my world has turned inside out. To me it is as if it happened just yesterday. Have I really lived five years, and she knows nothing of it? I want to undo each screw of her coffin’s lid with my lips and haul her out. . . I need to find every person whom she knew. I need to retrieve every word she ever said. I need to walk in her steps and smell the flowers she smelled, the great-grandchild of every blossom that she held up to her powerful nostrils. I need to piece back together the mirrors that once reflected her image. I want to know every syllable she could have possibly said in any language.

READ MORE…

Weekly Dispatches From the Frontlines of World Literature

May 17, 2024  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Bella Creel

The latest in world literature from the Philippines, Bulgaria, and the United States!

This week, our Editors-at-Large bring us around the world for updates on literary workshops, readings, and conferences! From a workshop dedicated to Kapampangan literature in the Philippines, to the thriving Mahala Bookstore in Bulgaria, to ALTA’s online Write the World panels, read on to learn more!

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

Tomorrow, May 18, marks the deadline of the call for workshop participants for Pamiyabe, the regional creative writing workshop for young writers who hail from the northern Philippine region of Central Luzon. Across Central Luzon and Metro Manila, the Kapampangan language (also alternatively named Pampangan, Pampango, and Pampagueno) is the native tongue to over 3.2 million Filipinos. 

Now in its 21st year, the Pamiyabe writing workshop is aimed at contributing towards the flourishing of Kapampangan literature and organised by The Angelite, the official student publication of Holy Angel University in Angeles City, Pampanga. This year’s theme is “Pamaglugug queng regalu ning milabasan, pamagkaul queng progreso ning kasalungsungan” (Nurturing the gift of the past, embracing the progress of the present).

READ MORE…

Weekly Dispatches From the Front Lines of World Literature

April 12, 2024  |  in Dispatches, Weekly Roundup  |  by Andriana Hamas, Charlie Ng, and Sofija Popovska

The latest literary news from Macedonia, Hong Kong, and Bulgaria!

This week, our editors-at-large report on prizes in Macedonia, literary festivals in Hong Kong, and unexpected literary losses in Bulgaria. Read on to find out more!

Sofija Popovska, Editor-at-Large, reporting from North Macedonia

The Slavko Janevski Foundation, a Macedonian foundation dedicated to the advancement and promotion of cultural values, recently selected Edinstven Matičen Broj (which translates to Unique Master Citizen Number) by Lidija Dimkovska as the novel of the year for 2023.

Lidija Dimkovska was born in1971 in Skopje. She is a poet, novelist, and translator, whose literary interests and expertise extend beyond national borders and include early Macedonian poetry, contemporary Slovenian poetry, and contemporary minority and migrant writing in Slovenia. Currently based in Slovenia, Dimkovska works as a freelance translator of Romanian and Slovenian literature. Her work has been translated into 15 languages, including English, German, French, Romanian, Slovenian, Croatian, Polish, Serbian, and Albanian. English translations of her work include the poetry collection Do Not Awaken Them with Hammers—translated from the Macedonian by Ljubica Arsovska and Peggy Reid, and published in 2006 by Ugly Duckling Presse—and What Is It Like?—selected poetry translated by Ljubica Arsovska, Patricia Marsh and Peggy Reid and published in 2021 by Wrecking Ball Press—which made World Literature Today’s 75 Notable Translations of 2022 list. Her poetry has been described as “honest and uncompromising” by the writer Goce Smilevski; Edinstven Matičen Broj is no different. Named after an identification number assigned to every citizen of the Socialist Federal Republic of Yugoslavia, it offers an unflinching study of identity loss and dehumanization.

“The question that I ask in the novel and that each of us should ask is whether we really exist, even when we have a unique master citizen number, and that question everyone should answer separately, individually and, perhaps, only in silence of their heart,” said Dimkovska at a recent press conference. The jury at Slavko Janevski highlighted her “acute sensitivity to zeitgeist”, which has allowed Dimkovska to dramatize the abstraction of “rootlessness and displacement” in “concrete life scenarios”. Her prose devastates with its candor—she writes in a clipped and probing narrating voice, reminding readers of “[m]oments when you can no longer breathe in the cramped apartment, when you are so lonely and alienated from the people who should be close to you, that you simply have to go somewhere so as not to lose yourself.” READ MORE…

Weekly Dispatches from the Frontlines of World Literature

March 15, 2024  |  in Dispatches, News, Weekly Roundup  |  by Alton Melvar M Dapanas, Andriana Hamas, and Miranda Mazariegos

The latest from the Philippines, Bulgaria, and Colombia!

Join us this week as our Editors-at-Large bring us news on the most recent bestsellers in the Philippines, the translation of board games in Bulgaria, and the posthumous publication of García Márquez’s final novel in Colombia. From Wattpad-homegrown Filipino authors to the politics of posthumous publication, read on to learn more!

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

The memoir of Korean mega boy band BTS (both its English and Filipino translations) and the novel Queen of the Universe (Tuttle Publishing, 2023) by 2015 Miss Universe titlist Filipino beauty queen Pia Wurtzbach have triumphed over the early 2024 bestsellers list as gazetted by the National Book Store (NBS), the Philippines’ largest chain of commercial bookshops. 

A source of the so-called ‘Pinoy Pride’ from said list are The New York Times chart-topping debut fantasy novel by Thea Guanzon, The Hurricane Wars (Harper Voyager, 2023); journalist and historian Ambeth Ocampo’s Cabinet of Curiosities: History from Philippine Artifacts (published last year by Anvil, NBS’s sister company); and Panda Book Awards-shortlisted Gail Villanueva’s Lulu Sinagtala and the City of Noble Warriors (HarperCollins, 2024), a children’s book imbued with ancient Tagalog mythological lore—all testaments that Filipinos read books written by Filipino authors. 

Populating the local fiction hits are Wattpad-homegrown Filipino genre fictionists, their works ranging from new adult to romance, from chick lit to fantasy—among others, Gwy Saludes’ The Rain in España (which has since been adapted into a popularised Viva One web series) and Safe Skies, Archer, both released last year by Precious Pages under Saludes’ penname 4Reuminct; Disney Panganiban’s Zombie University 3 (Lifebooks, 2023); and No Perfect Prince (Majesty Press, 2023) by Jonahmae Pacala or Jonaxx, dubbed as the country’s ‘Pop Fiction Queen’ and the most celebrated contemporary writer from my hometown.  READ MORE…