Feature

In anticipation of Madeleine’s appearance at the George Town Literary Festival (GTLF), she talks about her new novel, the writing process and her identity.

Coastal dwellers across Southeast Asia—especially those living in the northern states of Peninsular Malaysia—have, for centuries, tapped the stem of the nipah flower to collect its sap, known as nira.

In Penang, Potehi thrived in the late 1940s and well into the 60s and 70s. Unfortunately, Potehi lost its popularity to television and film by the 80s. Today, there are only four troupes left, with a majority of the members aged 60 and above.

GTLF 2024’s programme were tightly packed into three full days. There were panel discussions, interviews, exhibitions, book readings, movie screenings and more, all spread across a whopping 10 different locations in the heart of George Town.

This year’s GTF theme was “Connection”, and the events were curated to explore that interplay between artistic expression and human experience, inviting both local and international visitors to engage with a diverse range of performances and exhibitions.

A tiny shift in stress transforms the meaning of the whole sentence. To me, this captures what Kelantanese dialect really is—not just vocabulary or accent, but a rhythm of thought and feeling that lives in tones and cadences.

In the remote village of Long Beku, Penan craftsmen forge parangs from scrap steel—each blade shaped by fire, spirit, and survival.

Bahasa Tanjong is a variation of the northern Malay dialect that, according to researchers, took shape over two centuries ago, making it more than just an accent.

Malays believe that burial is the best way to return bodies (and body parts) back to the earth. This ruling extends to the placenta as well, once the baby is born.

Every city has its whispered tales, restless spirits and forgotten figures that resist verification, and yet, refuse to disappear. Penang—for all its documented histories and colonial records—exists just as vividly in these half-remembered myths and community fables.

Gen Z, referring to those born between 1997 and 2012, is the first generation for whom the internet and social media are integral, not novel. Their linguistic practices are shaped by digital environments.

Translation, at its deepest, is more than carrying words across borders. It is the layering of voices, memories and silences upon the fragile surface of language.