From the editorial:
Asian writers, from Manchester to Melbourne, flourish (not being, unlike many American authors, it seems, constrained by their national geography). And that’s just writers writing in English. How many more might there be, writing in their own languages or dialects, who have no need of any US-centric teeth gnashing concerning cultural deficiency? How many, such as Man Asian Literary Prize winners Su Tong and Jiang Rong, whose work, thanks to the burgeoning business of translation, might reach English-speaking audiences?Fiction: Aqua Mors by Anna Saa-Feliciano (Philippines), The Silencer by G.B. Prabhat (India), Youth-in-Asia by Ron Schafrick (South Korea), A Little Darkness (extract) by Banana Yoshimoto (Japan), Forward by Justin Hill (China), Grasshoppers by O Thiam Chin (Singapore), It's all in the Silhouette by Steven Hirst (Hong Kong), The Maharaja and the Accountant by Jaina Sanga (India), A Most Generous Uncle by Tew Bunnag (Thailand), and Evening Meal by Nguyen Qui Duc (Vietnam).
Poetry: The Man Who Travelled the World by Louis de Bernières (Hong Kong), Before the Bones by Peauladd Huy (Cambodia), About That Man Killed Sometime Around Election Day by Goenawan Mohamad (Indonesia), Ellipsis by Laksmi Pamuntjak (Indonesia), On Gascoigne Road by Liam Fitzpatrick (Hong Kong), Aubade by Viki Holmes (Hong Kong), Old Poet by D Rege (India), A Paper House by Kate Rogers (Hong Kong), Not Sleeping by Kristine Ong Muslim (Asia), and Korean Hillside by Min K Kang (South Korea).
Read the issue here.
