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In this article: Norman Erikson Pasaribu Tiffany Tsao

Written by Max Crosbie-Jones
Originally published in ArtReview.

Apr 04, 2024
Why aren’t the literary scenes of Southeast Asia getting more regional and global traction?

Try as international book publishers might, Southeast Asia’s literary scenes cannot easily be distilled to a marketable essence – or bound together. Take the S.E.A. Write Award, for example, a prestigious literary accolade that was, until recently, presented annually at Bangkok’s storied Mandarin Oriental Hotel. Since 1979, novelists from across the ASEAN region have gathered for a ceremony that is arguably as infuriating as it is inspiring: no scheme for translating each country’s winning novel into any other language exists. As a result, an award that seeks to expand readership and foster a sense of literary unity in diversity is, in fact, a recurring reminder of how Southeast Asia’s manifest pluralism, its myriad languages and motley cultural histories, hinders such intraregional exchanges. Southeast Asia in this context is an unedifying construct: a winning Thai or Indonesian novel will still only be read in Thai or Indonesian, and so the literary worlds of participating nations remain siloed from one another.

Read the full article here.



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