Manu Dash is a bilingual poet, editor, translator, publisher and director of the Odisha Art & Literature Festival. An author of almost thirty books, Dash joined the Anam Writers Movement—an anti-establishment movement in Odia literature—shortly before the imposition of Emergency in India in 1975. He is the founder of Dhauli Books, which won the prestigious Publishing Next Industry Award for the Best Printed Book of the Year (Indian Languages) in 2018. Currently, he is editing Anam, an international journal for literature. His recent work, The Big Book of Odia Literature, was released in India by Penguin Random House India. In a recent interview with The Asian Review India’s correspondent, Rohana Kaluarachchi, a prominent Odia writer discussed his new book (published by Penguin Random House India), his enduring passion for the Anam movement, and the upcoming 2025 Odisha Art and Literature Festival.

We are delighted to present you to our worldwide readership. I’m curious, what prompted you to put together this anthology of plays, prose, and poetry? And what is the way forward?

Odisha is the first state in India, carved out on 1st April 1936 based on the language spoken by its people. Ironically, a Bengali school teacher, Kanti Bhattacharya, distributed a handbill saying Uriya Swatantra Bhasa Nae (Odia is not an Independent Language) and West Bengal came into being in 1947, 11 years after the formation of Odisha State. Again, the Odia language was declared the 6th Classic language in 2014, and the Bangla language got this status from the government of India in 2024, ten years later. 

Once, a well-known linguist and scholar, Dr Suniti Kumar Chatterjee had while comparing Odia literature with Sanskrit literature has opined that Upendra Bhanja, a great medieval poet, has raised the level of Odia language high at par with the mother language, Sanskrit.

But, in spite of having a rich language and ancient literature of 1500 years old, our presence before India or foreign readers were miniscule in comparison to Bangla literature. This book is a first attempt, a tip of the iceberg of Odia literature, in almost 90 years, from the inception as a separate State. It’s (Odia literature) a mine of gold; the more you dig into it, the more it gives you surprises.

I am pretty sure that the ice would be broken and scholars and aficionados of Odia literature would come forward to showcase its rich and vibrant literature before the readers of the world.

In reference to the possibility of translation, we would appreciate a brief overview of Odia literature, its regional relevance, and your journey in promoting Odia literature beyond its borders. 

All that glitters is not gold. The translation scenario is not good as compared to Bangla or Malayalam. We have more than 15 universities in Odisha where literature is read, but we do not have a single curriculum on translation studies. I think that is the basic requirement for promoting translations. India has 24 scheduled languages, but except, English, Bangla and Hindi, no translator translates into other languages. Our universities hold seminars and conferences on their campus, unnecessarily spending huge money, where not a single student is allowed to opt for translation work. It’s a kind of mimicry in the name of translation study. Academics, devouring the taxpayer’s money, are engaged in petty politics than promoting the literature of the soil they belong to. Self-promotion has become the order of the day. Few academics, who were more sluggish than the Olive Ridley in the work of translation, are stumbling blocks in Odia translation into English. Here, the politics of translators are conspicuous than the politics of translation. There are too many rotten apples in our translation basket. Thankfully, The Big Book of Odia Literature has become a hot ticket and demolished this paradigm and democratised the process. Translators of various ages, classes and backgrounds are allowed to showcase their talent; one of our translators is 95 years old, and another is 25 years old.

About its regional relevance, I must say that almost one-fourth of Odisha’s populace belongs to 62 different tribal classes. But to our utter dismay, their literature has not found a place in any anthology so far. Many readers and critics have informed me that the quality of poems by tribal communities in this anthology is much better than many poems published in Odia. This anthology has brought them to readers worldwide. Besides, we should not forget that regional literature, of late, has become the centre of discussion and discourse around the globe.

Being a vast country, India has immense possibilities in promoting the book. For book signing and discussion, I have travelled to many festival parts of the country- Bangalore Literature Festival, Odisha Art & Literature Festival, Dibrugarh University International Literature Festival, Mathrubhumi International Festival of Letters, Puri Literature Festival, Banaras Literature Festival and for book signing in Bangalore, Delhi, Guwahati, Shillong, Chennai Airport, Thiruvananthapuram, Nagercoil, Banaras and Ranchi. Almost each store has given a rosy picture about its selling. I am glad that the book has created an immense curiosity among the non-Odia readers, who are the real ambassadors of carrying our rich Odia literature to the world.

You mentioned about Odisha Art and Literature Festival. How does the Odisha Art and Literature Festival differ from similar events conceptually and operationally?

The Odisha Art & Literature Festival started in 2016 in Bhubaneswar, the capital city of Odisha. The purpose of this Festival is like two-way traffic. We invite overseas authors so that local writers and readers can be familiar with their work, and simultaneously, the overseas authors would have a chance to interact personally with Odia as well as other Indian authors. As a result, about ten Indian poets have been translated and published in Germany by PAN-Austria Chapter. Besides, our panel discussions and interviews with authors bear eloquent testimony to our richness. The number of participating authors is much less as compared with JLF, BLF or MBIFL. But the advantage is there for authors to establish personal relationships. I think that’s how we differ from other festivals.

Besides the above, in ten years of OALF, we have not invited a single politician from any party, though that’s a common scene prevailing in Odisha. We feel they have a different space to operate in and hardly any role to play in the literature festival. I should make clear about it. There are politicians who are writers first like Shashi Tharoor, Shrikant Verma, K Natwar Singh, Salma and many others known for their literary oeuvre.  

I would like to quote what acclaimed Indian author Kunal Basu had replied to poet and interviewer, MK Ajay in Anam 2 edition:

“MK Ajay: You have read your works and been a speaker at a previous edition of the Odisha Arts & Literature Festival. What were your impressions about the festival? How would you compare OALF to other literary festivals that you have been invited to? 

Kunal Basu: I enjoyed OALF. It allowed active engagements with readers, both on and off stage, and turned my visit into a memorable personal experience. In that sense, it was different, and perhaps more enjoyable, than larger events.”

This year, in December 2025, OALF will celebrate its 10^th anniversary. We are delighted that poet and senior corporate executive MK Ajay, festival director and acclaimed novelist Sabin Iqbal and Brussels-based internationally known author Pramudith D Rupasinghe have agreed to curate the 10thOALF, 2025. I am sure their experience and expertise would take OALF to a great level.

The new idea we want to introduce this year is that overseas authors will be staying in different regions of Odisha to gain direct experience about Odisha’s socio-cultural life, gastronomy, language, and way of life in remote villages since Odisha does not comprise the cities alone. Some overseas authors are excited about the idea.

You also edit the Anam Journal of International Writing, which features writers from across the globe. Is that a global extension of The Anam Movement that began in 1969? Can you talk about that? 

Thank you for asking. In fact, Kumar Mohanty published the first ‘Anam’ magazine in the Odia language from Puri in April 1969, two months after the formation of Anam group. It was like a 16-page pamphlet. A kind of little magazine since the magazine movement was active during that period throughout the country. The arrival of poet Allen Ginsberg in India had fuelled this movement, especially in Kolkata and elsewhere. However, this Anam magazine continued to publish the 19th issue till 1987. Suddenly, Anam magazine stopped publishing, and a new title called Anamanka Patra took its place. It published the 7th issue and was discontinued for good. The substantial reason for discontinuing Anam magazine after its 19th issue and starting another magazine called Anamanka Patra, which is almost the same in ideology, is not known yet. After Kumar Mohanty’s demise in 1995, everything was in cold storage till I tried to revive the Anam magazine in Odia. We are glad; we have already published 4 issues (20-23) so far. And it will continue.

Over the decades, I was associated with English literature. In 2023, I planned to bring out an international journal for literature in English where I kept this title,’ Anam.’ But I must make clear, this English version Anam has nothing to do with its Odia counterpart. Since Anam movement is very close to my heart, I retained the name here. Many authors and readers, who have no idea about Anam Poetry Movement, have endeavoured to know about Anam ideology now. In each issue, we also explain the title of the magazine, Anam. Anam English is now a theme-based magazine which publishes authors from 25 or more countries.

There seems to be a re-emergence of folklore-based stories in the modern literary landscape, especially in the South Asia region. From the perspectives of community memory, ecological sense of place, and cultural sense of place, how do you interpret that?

Southeast Asian literature is undergoing a remarkable revival, particularly through the resurgence of folklore-based, folklore-inspired storytelling. This revival is not just a nostalgic return to oral traditions but a response to modern concerns such as ecological consciousness, cultural identity and post-colonial discourse. Writers across the region are increasingly drawing from traditional myths, legends, and indigenous knowledge systems to craft narratives that address contemporary challenges like climate change, deforestation, and cultural displacement.

Folklore in Southeast Asia is deeply rooted in oral traditions, indigenous cosmologies, and animistic beliefs. Unlike the rigid boundaries of Western literary genres, folklore in this region often blends myth, history, and spirituality, creating narratives that are fluid and evolving. Folktales, epics and legends such as the Hikayal Hang Tuah of Malaysia, the Panji Tales of Java, and the Pha Lak PhaLam (Laotian version of Ramayana) continue to influence modern storytelling.

What sets the contemporary use of folktales apart is how it is being reinterpreted to address present-day struggles. Writers are reimagining mythic heroes, spirits, and deities as symbols of resistance, identity and environmental consciousness. For example, Indonesian author Eka Kurniawan’s. Beauty is a Wound (2015) blends folklore with political history, using supernatural elements to critique colonialism and dictatorship. Similarly, Thai writer Pravada Yoon incorporates folklore into his postmodern narratives, questioning modernity and globalization’s impact on traditional cultures.

In the Philippines, writers like Dean Francis Alfar and Merlinda Bebis have used folklore to explore the themes of diaspora and cultural memory, particularly among overseas Filipino communities. Bobis uses Folklore to highlight the deep relationship between food, nature, and cultural identity.

In many indigenous traditions, nature is not separate from humanity but an integral part of spiritual and communal life. Folklore often portrays forests, rivers, and mountains as sacred entities inhabited by guardian spirits. This world view starkly contrasts with the modern capitalist approach, which treats nature as a resource to be exploited. Contemporary writers are reclaiming these indigenous perspectives to challenge environmental destruction and advocate for sustainability.

The changing global power balance offers new opportunities for Asian writers; how can they best leverage this?

As global power shifts from the West toward a more multipolar world, Southeast Asian writers are leveraging this transition to assert their presence in international literary circles. The rise of Asian economies, digital platforms, and increased cultural exchange has opened new opportunities for writers to reach global audiences while maintaining the authenticity of their narratives.

One key strategy is the growing emphasis on translation and cross-cultural collaborations. More works from Southeast Asia are being translated into English, French, and other global languages, allowing regional stories to gain international recognition. Initiatives like the Man Asian Literary Prize and SEA Write Award have helped elevate the visibility of Southeast Asian literature.

Additionally, writers are actively engaging with global publishing networks and literary festivals. Events such as the Ubud Writers & Readers Festival and the Singapore Writers Festival serve as bridges between local authors and global literary communities, fostering cross-cultural dialogue and international publishing opportunities.

Moreover, Southeast Asian writers are integrating local folklore, postcolonial narratives, and ecological concerns into contemporary storytelling. By doing so, they provide fresh perspectives on universal themes while preserving regional identity. Writers like Eka Kurniawan (Indonesia), Ocean Vuong (Vietnamese-American), and Amanda Lee Koe (Singapore) have gained international acclaim by blending indigenous storytelling traditions with modern literary techniques.

Finally, digital platforms and self-publishing are empowering writers to bypass traditional gatekeepers. Social media, literary blogs, and online magazines enable them to reach a global audience without relying solely on Western publishers. By embracing these strategies, Southeast Asian writers are not only adapting to global power shifts but also actively shaping the future of world literature on their own terms.

You are both a writer and a publisher. What is new and trending in the industry? In your opinion, how will they transform the publishing, writing, and reading ecosystem across South Asia and the world?

Today, in the 21st century, multiple trends are reigning around the globe. First, due to the advancement of technology, cyber or digital literature has become a challenge for print-technology never before. The presence of websites, social media pages, blogs and audiobooks have created immense opportunities and prodigious challenges as well. It’s a kind of revolutionary leap, waking up after a long hibernation. 

Secondly, mental health issues are found their home in adult as well as in children’s literature. Indian authors like Jerry Pinto, Akhil Sharma, K Srilatha, and Amandeep Sandhu are a few examples who explored the dark and unchartered territory without any hiccup. I have a daughter who faces mental challenges, too. I can fathom how it influences your normal, social and psychological life. But this emotional literacy has helped me tremendously to be resilient and overcome the situation. 

Thirdly, it is said that authors always write about their time. Our unprecedented time has experienced heinous wars massacring innocent children, unimaginable coronavirus outbreak, the plethora of bad governance around the globe, muscle-flexing of power between nations, and strangulation of the free voice of people. Writers have echoed these situations fearlessly in their writing.

However, like a chameleon, trends keep on changing with time. Like technological innovation, it becomes redundant in the course of its journey, but the truth remains unchanged. The beauty and aesthetic of literature unceasingly dissipate the darkness of the world around us.

Trust, I have put forth my idea without any ambiguity.

Manu, thank you very much for your time. That was a truly insightful conversation. We wish you the best in your future projects, especially OALF 2025 and The Big Book of Odia Literature.

– By Rohana Kaluarachchi-