The discussion of the definition of Asian literature is expanding, not only in terms of stories being told, but in how we translate, position, and connect them to new audiences. The idea of “New Horizons in Literature” to me is aboutpushing beyond conventional boundaries: of language, genre, reader expectations, and even the way we market stories.

One area I’m especially passionate about is translated literature. As a reader, translation feels like both sympathy and opportunity. Sympathy – because it allows me to experience stories I otherwise wouldn’t understand. And opportunity – because it opens doors into cultures, emotions, and lives far beyond my own. That’s the beauty of translation: quiet, powerful, and deeply connective. Some of my personal favourites include Bora Chung, Kyung Sook Shin, and Hwang Jeong-eun from Korea. They are authors who write with a vulnerability that stays with you for a long time, with a resonance that hits deep within. I also love Japanese literature, from the classics like Osamu Dazai and Ryuunosuke Akutagawa to contemporary voices like Sayaka Murata and Mieko Kawakami, especially for how they explore womanhood and society.

I truly believe that stories shouldn’t be limited by the language they were written in. As someone who’s worked on several translated titles, from Indonesian and Korean into Malay, I’ve seen how the right translation can unlock emotional resonance and open doors for readers who might never have encountered those voices otherwise. I hope to explore more ways we can strengthen translation pipelines across Asian countries and expand beyond English-dominated channels.

I’d love to discuss how Asian literature is evolving both in identity and reach – especially in the context of younger, digital-first readers. The recent popularity of Asian authors in the global market shows a shift in how readers are craving more emotionally honest, culturally specific, and quietly powerful stories. In Malaysia, I’ve noticed more interest in translated Asian works, especially from Korea and Japan, and I believe we’re just scratching the surface of what’s possible.

I’m also open to explore in the hows and whys marketing and packaging can influence this shift. The way we present Asian literature, through cover design, community campaigns, language choices, even advertising tone—shape show readers connect with the stories. For example, many younger Malaysian readers are bilingual, so offering translations in both Malay and English helps bridge different reader habits and expand access.

I’m also paying close attention to adaptation of manhwas or mangas or graphic novels to novels as a growing subgenre. It aligns with how more readers are turning to books for comfort and emotional clarity, especially postpandemic. I’d be excited to discuss how publishers across Asia can collaborate to build a shared space for stories like this—and how we can use creative marketing, community engagement, and smart data to make them thrive.