The Best Asian Short Stories 2017, edited by Monideepa Sahu, series editor Zafar Anjum, set the tone for Kitaab’s Best Asian series that includes literary and speculative fiction, travel writing and crime. Zafar Anjum shares with us his vision for this seminal book and for the series that he has envisioned. Monideepa talks about her experience as editor for TBASS 2017.
Sucharita: Zafar, what was your vision for the series? Why did you feel the need to bring together short stories from across the continent?
Zafar: The whole idea behind Kitaab is to connect Asian writers with readers everywhere in the world. Coming from this context, I felt that we needed to collect the best contemporary Asian writing across themes in edited annual volumes. I had seen this kind of anthologies in the USA, but nobody was doing it in Asia, collecting Asian voices. That’s how the idea behind the Best Asian series took shape. The vision is to create a series of The Best Asian writing in fiction (literary and speculative), crime writing, and travel writing. Each volume is a mix of new and seasoned voices that makes it so exciting. Through the pages of these volumes, you get a glimpse of what the respective societies in Asia are going through. If there is enough support by readers, hopefully we will be able to sustain the series. That’s my hope.
Kitaab, Singapore, has just published an anthology—The Best Asian Speculative Fiction 2018, which was launched at the Singapore Writers Festival on 9 November 2018.
This unique anthology is being seen by industry pundits as the most comprehensive speculative fiction collection from the continent. Comparisons are already being made with time honoured works like Dark Matter, the turn of the century anthology of speculative fiction from the African diaspora. However, as the editor of the volume Rajat Chaudhuri tells us, ‘We are just making a beginning with fresh-from-the-oven stories. Between stardust and dystopias, we are offering a sampling of flavours from the infinite breadth of the Asian imagination.’
According to series editor Zafar Anjum, ‘Richness of imagination is key to this collection; we plan to make it a series.’ Tales that take off on a tangent from the real have a special appeal to readers of all ages, he says.
Chaudhuri, who is a novelist and short story writer tells us how fulfilling it was for him to put together this volume of two and half dozen stories and some more, covering countries all the way from Kazakhstan to Korea and China to Indonesia. ‘The authors of this volume are either of Asian origin and Asian descent or have been residing in Asian countries for long. Twenty countries have been covered, sixteen (counting Hong Kong, SAR) of which are in Asia, the rest accounted for by diasporas and mixed ethnicities. Also, most of the stories have Asian settings and characters. But we are neither cartographers nor accountants,’ he adds, ‘though we love variety, we don’t want to mark each page of our book with flags and numbers.’
Quoting acclaimed novelist Amitav Ghosh, Chaudhuri says, “The great, irreplaceable potentiality of fiction is that it makes possible the imagining of possibilities.” Explaining the selection process and some personal favourites, the editor says, ‘From the mountain load of submissions, I had begun by looking for stories that imagined possible worlds. Lopa Ghosh’s powerful story Crow depicting singularity ruling as a totalitarian dictatorship and Shweta Taneja’s darkly funny The Daughter that Bleeds about a post-apocalyptic India are from that tradition. We have of course included a ton of so-called genre stories from the stables of science fiction, fantasy and horror and then those with some of this and some of that, and things further still. Xu Xi’s engaging tale about a time-travelling ghost, Joseph F. Nacino’s spine-chilling story about AI on a singing asteroid, Eliza Victoria’s thought-provoking sci-fi Web, and Priya Sarukkai Chabria’s mesmerizing Slo-Glo are those that immediately come to mind. The spook-o-metre goes crazy as you enter the horror stable to read stories by Kiran Manral and Rohan Monteiro while Tunku Halim leads you into poetic darkness. Each story that got included here had something unique to offer while the focus on geographical diversity was also one of my considerations. It has been quite difficult for me to choose the winners.’
“Asians have far too long been the consumer of books from the West and I speak from a country where many kids know the stories of the West better than their own canon, much less the younger writers,” says Andrea Pasion-Flores in this exclusive interview with Kitaab. “I am sure this is not just true for the Philippines but for many Asian countries.”
Andrea is the first literary agent from the Philippines, working from the Philippines. Recently, she joined Jacaranda Literary Agency as an agent. Jacaranda is one of Asia’s most well-known literary agencies with offices in Singapore, India, Kenya and the Philippines.
Based in Manila, Philippines,Andrea is a copyright lawyer and she teaches English at the University of the Philippines as a member of the faculty of the Department of English and Comparative Literature. She is also the author of a bestselling book, Have Baby Will Date, published by Summit Media. Her forthcoming collection of stories For Love and Kisses will be published by the University of Santo Tomas Publishing House in January 2014.