• Devils in Daylight
• The Gourmet Club
• In Black and White
• In Praise of Shadows
• Longing and Other Stories
• The Maids
• Red Roofs & Other Stories
• The Siren's Lament

Publishers, knowing that domestic acclaim moves little, underinvest in exactly the literary fiction that prizes abroad later reward, an irony that outsources India's literary risk-taking to foreign juries.

International juries reward what travels: Partition, borders, family, the themes legible from outside. The Indian books that do not travel, the office satire, the bureaucratic comedy, the untranslatably local, remain unvalidated and therefore, by the pipeline's logic, unread. The West's approval does not just select India's stars. It quietly edits India's sense of its own literature.

Turnover for young adult titles grew in comparison to the previous year by 4.8 percent and 9.6 percent for new adult titles. The number of consumers in both genres also increased by 8.8 percent compared to 2024 and 47.5 percent since 2021.

After the first six months of 2026, turnover in the central sales channels is down by 4.1 percent compared to the same period in 2024, while sales are down by 4.5 percent.

I do think that novelists will soon be in the same situation the poets are in already; we are doing this for a much smaller number of people. And people will not stop reading our literary fiction because they’re reading AI-generated literary fiction; they will stop reading our literary fiction because they will engage with other entertainment formats created by AI -- chief among them, artificial friends. I think the big thing, the big deal of the future, will be those artificial people who know us really well, who talk to us all the time. It is something I’m worried about, and I think this is where readers will go.

The “Eco Library” currently holds over 32,000 volumes from Eco’s home and study in Milan. The collection will be completed in the same location with the arrival of the books from his country house in Monte Cerignone, in the Marche region.

Before the move, the original collection was studied, analysed and documented in detail in Eco’s Milan home, with the aim of preserving the organisation he had designed. The library was examined and mapped shelf by shelf, recording the position of the volumes, the thematic sequences and the juxtapositions between authors and disciplines. This made it possible to preserve, in the new Bologna location, the principles of organisation that had shaped the original library.

climate change exists in just 10.1% of these stories and freshwater pollution, marine pollution, air pollution, deforestation, species extinction / biodiversity loss, or toxic waste exists in 15.6%.

When present, these environmental problems are mostly marginalized and minimized; structural culprits -- governments, corporations, and the wealthy -- are rarely assigned responsibility; and pro-environmental actions and behaviors are rarely modeled.

“If you want something that’s very familiar and very mediocre and entirely functional, it’s amazingly good at that.”

[...] “AI is really good at the lower levels. It’s learned lots of our syntactic structures and so everything looks well formed and grammatical. But, the higher up you go, the less good it is.” The arc of a story is particularly hard for AI to get convincingly right.

“If you’ve got an AI to write a narrative, it can do a pretty good job of having a sequence of events and something happen at the end. But it wouldn’t be a very tellable narrative,” he continues. “Nothing startling or interesting would happen. And if there is anything startling, it will generally look like a mistake, rather than a brilliant twist.”

We find that AI-generated stories cluster in a shared region of narrative space, while human-authored stories exhibit greater diversity. More broadly, these results suggest that differences in underlying narrative construction, not just writing style, can be used to separate human-written original works from AI-generated fiction.

Claude has the most distinctive narrative profile of the five LLMs. Its stories are defined by its restraint: event intensity escalates less than in any other source, and narrative voice is the most uniform. Claude takes a reverent/continuist approach to literary tradition, honoring and extending storytelling conventions rather than subverting or challenging them (62% of Claude stories vs. 39–56% across other sources). It favors epilogues and avoids dream sequences, producing careful, consistent stories that favor quiet endings over ’avalanche’ endings.

The novel compiles and reimagines his four-part "Kaho" series, which was published in the literary magazine Shincho from June 2024 to March 2026.

New York Review Books was interested, but they weren’t willing to assume full legal liability in case some of the living people that Vollmann depicts as characters in the novel decided to sue.

Your final submission must be a 500 to 10,000-word short story, generated entirely by AI. No human-written prose and no post-generation editing. To verify this, you will submit your full prompt harness / setup alongside your story.

While a free translation might make the message more accessible, a literal translation, though slightly unhelpful, could spark new imagination in readers.

When I was young, when I thought about the future, I naturally concluded that the world was unacceptable. The only possible solution was to rebel against it. There is a saying which I would like to slightly modify, or add my own interpretation to: The young person who does not rebel has no heart. And the old person who rebels is ridiculous. Although I do not consider the viewpoint that I am espousing ridiculous, it does mean that one has to rebel for the sake of the clarity of ideas. Somehow, we have to get back the definitions of what is what. We have to once again decide what evolution means, what is God, and so on.

If we do not look at these concepts anew and from a different perspective, then we don’t really have much of a chance, because wherever we end up we will simply be moving while standing in place, and only moving as much as the Earth moves with us.

Translators really care about truth. I want to give someone a very authentic experience that is very much like being immersed in the original. So, what is fidelity to the original ? Playing it safe isn’t always fidelity if the original isn’t playing it safe.