THERE'S something enchanting about stepping into George Town, Penang — a city where every corner seems to hum with the pulse of history, cultural fusion, and the spirit of discovery. It's a place that breathes life into its stories, and this becomes immediately apparent as I arrive for my first experience of the George Town Literary Festival (GTLF)
Held at the UAB Building, a handsome colonial-era structure nestled in the heart of George Town, the country's largest international literary festival feels more like a warm invitation into the heart of the city than an event to simply observe.
This year's edition of the GTLF, organised by Penang Institute, one of Malaysia's major public policy think tanks, feels as intimate and accessible as a friendly gathering. As I line up to check into my room at a hotel located on Lebuh Victoria, growing decidedly stressed at the sight of the snaking queue leading to the check-in counter, who should I chance upon but Tan Twan Eng, the celebrated author of The Gift of Rain, engrossed in attending to his suitcase just mere steps behind me.
Meanwhile, a few feet away, holding court from a sofa in one corner, acclaimed writer and sociolinguist Dipika Mukherjee's voice rings out, vibrant and unmistakable, over the din of patrons in the bustling lobby.
Incidentally, the chance encounters don't end there: It's not long after my check-in that I run into fiction writer and poet, Shivani Sivagurunathan, during her walk around the streets of George Town with handsome hubby — and friends — in tow on my way to a coffee date with a friend.
I strike up conversations with Irish-Australian author Tracey Morton and Clement Baloup, a French-Vietnamese cartoonist, just mere hours before a panel talk. The entire experience — full of chance meetings and impromptu connections — reinforces the festival's atmosphere of community, where authors aren't untouchable stars but friendly, accessible voices within the crowd.
The GTLF's single-location format at the UAB Building fosters an easy, cosy atmosphere. The programmes — the book launches, panel talks, lectures, readings et al — are held inside its many halls, and it's here that the festival's spirit truly shines: a blend of ideas, stories, and discussions shared in an environment that encourages interaction and connection.
The festival, which began humbly in 2011, has grown to become one of Southeast Asia's premier cultural gatherings. What started as a small gathering of writers and thinkers celebrating local and regional literature has blossomed into an international affair. Yet, despite its growth, the GTLF has managed to maintain a deeply personal, almost boutique feel.
THE MAKING OF THE FESTIVAL
The festival is no accidental gathering; it's the product of careful planning and passionate commitment. As I sit down with Swarna Rajagopal, the festival manager, in a small room surrounded by boxes containing books and brochures inside them, I learn just how much goes into organising this celebration of stories.
"I make sure the show runs," begins the 34-year-old, smiling wryly, when asked to explain her role as the project manager. "From getting the right writers to promoting the event, it's all about making sure the programme flows seamlessly."
This year, however, the festival, which is in a transition phase, faced a unique set of challenges, with the biggest being funding, shares Swarna, before adding: "We're so grateful to our sponsors, Greatech Technology and HSBC, for their support."
Delving into the nitty gritty of organising such an event, she explains: "This year's programming has been a bit different. Usually, the festival would have a separate curatorial team to run the programmes. This means that one team is in charge of only doing the programme; of course, in discussion with us on who would be suitable."
Elaborating, Swarna continues: "They'd usually come up with the programme and we'd come in to help and do the QC. Once they've spoken to the writers, the production team will go in, send the invites to the writers, take care of their logistics, for example, ensuring that they have their lodging, and seeing to their flight bookings and airport transfers etc."
This year, she adds, they didn't have an external curatorial team. "Everything's done inhouse. We have Penang Institute's Datuk Dr Ooi Kee Beng, the festival director, and then there's me, and three others from Penang Institute. The team basically did both the curation and production of the event."
The affable executive director of Penang Institute, Ooi is deeply invested in the state's international reputation. He sees the Georgetown Literary Festival as more than just a cultural event — it's a vital part of Penang's global identity.
"Penang has always been international," he begins, when we caught up for a quick chat. Adding, Ooi exclaims emphatically: "It's a place where East meets West, where history and modernity intersect. If Penang were not international, it would be like Langkawi — just a tourist destination."
Meanwhile, for Swarna, who started off as a member of the audience at one of the editions more than seven years ago, the festival's evolution over the years is a source of pride. "We've seen more panels, more diverse voices and definitely more younger writers," she reflects, eyes shining.
Continuing, Swarna tells me: "People now put this event on their calendars. It's a must-attend on the international literary scene. We're one of the last major festivals in the Asian calendar, with Singapore and Ubud being before us. The reception we get now is incredible."
BOUTIQUE FESTIVAL WITH GLOBAL HEART
Unlike large-scale literary events like, say, the Edinburgh International Book Festival or Hay Festival in Wales, which often feature tightly controlled interactions between authors and audiences, GTLF feels distinctly more relaxed and personal.
As Swarna points out: "What I love about our festival is that you get to mingle with the writers. You can sit down with your favourite author over a coffee, have a chat about their latest book and really engage. In festivals like Jaipur, which I attended early this year, for example, you don't get that same opportunity. The authors are often whisked away to private spaces, and the interaction feels more controlled."
Indeed, GTLF is known for its intimate, boutique atmosphere. As a participant, you're not just an observer of literary talent — you're part of it. This year's programme reflects this ethos: while the themes and topics covered at the festival are varied, the overall focus remains on literary depth.
Explains Swarna: "We've curated the topics in a way that's literary at its core. We don't focus on things like fashion or architecture. This is a space for writers to discuss the power of storytelling, and for the audience to connect with the books and ideas that shape our world."
A GLOBAL CONVERSATION
The festival is certainly international in scope, drawing writers from across the globe. Her eyes dancing excitedly, Swarna goes on to highlight the collaboration with embassies and cultural institutions in curating the lineup.
"The French Embassy supported French writers, and the Italian Embassy worked with us to feature their literary voices as well," she shares. This international reach not only brings a wealth of global perspectives to Penang, but also solidifies the city's position as a literary crossroads, where ideas flow from every corner of the world.
Nodding, Ooi echoes this sentiment, emphasising Penang's long-standing role as a conduit for international exchange: "Penang is a city of connection, a place where cultures meet," says the passionate political historian, before adding: "The festival is part of that broader effort to place Penang at the heart of the world's literary conversations. We want to showcase the complexity of the region's identity and culture and make Penang a destination for intellectual exchange."
The sense of place is palpable. Every conversation, whether formal or casual, feels connected to the city's rich history and international outlook. As I make my way out of the UAB building, seeking a slice of warmth from the afternoon sun, I catch snippets of conversations about the festival from those milling around me — discussions about the writers, the panels, and the topics being explored. The GTLF has become an event that not only draws in visitors but also integrates seamlessly into the daily fabric of Penang life.
FESTIVAL FOR THE FUTURE
Observing the frenetic bustle of George Town's lunch time crowd whilst sipping a cold teh o' ais, I can't help but reflect on the evolution of the Georgetown Literary Festival and its impact on Penang's cultural landscape. What began as a small gathering in 2011 has certainly transformed into a must-attend event on the international literary circuit, offering a platform for both local and global voices.
I recall Swarna's parting words to me: "When people tell us they had a fantastic time, or that they learned something new, that's what drives me. This festival isn't just about the books — it's about the conversations, the connections, and the ideas that emerge from them."
And how can I forget Ooi's passionate conclusion to our chat, when he said: "… The festival's significance goes beyond its cultural impact — it's a way to remind the world of Penang's unique place in history and its ongoing relevance in today's global discourse."
GTLF AND OTHER GLOBAL LITERARY FESTIVALS
Edinburgh International Book Festival (Scotland): One of the largest and most prestigious literary festivals in the world, the Edinburgh Festival has a longstanding tradition (since 1983) of featuring literary giants and cultural leaders. It's a sprawling event, with dozens of talks, book signings, and exhibitions across multiple venues in Edinburgh. Its focus is primarily on literature from the United Kingdom and global literary icons.
Comparison: While Edinburgh focuses more on high-profile international authors, the GTLF's strength lies in its regional identity and unique blend of cultural influences from Malaysia and Southeast Asia. It prioritises conversations that explore the complexities of identity, heritage and migration within the region.
Hay Festival (Wales, UK): Known for its idyllic setting and wide-ranging programming, Hay has a reputation for bringing together writers, thinkers and activists from around the globe. The festival, which began in 1988, has expanded its footprint internationally, hosting sister festivals in Latin America, Spain and the United States.
Comparison: The GTLF's strength is its more targeted engagement with Southeast Asia and its focus on topics that resonate with the region's history and present. The focus on Penang as a unique cultural crossroads, where East meets West, allows it to develop a niche that makes it more regionally focused than Hay, while still being globally relevant.
Jaipur Literature Festival (India): One of the largest and most influential literary festivals in South Asia, the Jaipur Literature Festival (JLF) gathers thousands of people every year. It's particularly known for bringing together a diverse range of global authors, thinkers, politicians and celebrities to discuss issues like democracy, gender and social justice.
Comparison: Both GTLF and JLF have a rich connection to their local contexts — Penang's diverse multicultural environment and Jaipur's historic legacy. However, JLF tends to have a heavier focus on Indian authors and issues, while GTLF places emphasis on Southeast Asian issues and offers a more intimate setting.
Singapore Writers Festival (Singapore): Another major literary event in Southeast Asia, the Singapore Writers Festival (SWF) is known for its commitment to showcasing both local talent and international voices. The festival serves as a platform for promoting new writing from the region and fosters cross-cultural dialogue.
Comparison: Like the SWF, the GTLF showcases a significant number of Malaysian and Southeast Asian authors, but it stands out due to its heritage-rich, Unesco-listed location and its unique ability to engage with the broader regional and global literary community.