(Vo Thi Nhu Mai, educator, literary curator, Australia)
On the final day of the 54th National Book Fair & 24th Bangkok International Book Fair 2026, held at the Queen Sirikit National Convention Center from March 26 to April 6, I found myself stepping into what can only be described as one of the most extraordinary literary environments in Asia today, an event that is a book fair and a cultural force shaping the intellectual and creative direction of a nation. Organized by the Publishers and Booksellers Association of Thailand, the fair brought together publishers, writers, readers, educators, and international delegates across Halls 5–8, creating a vast, immersive space where literature is not only consumed but lived. Over the course of twelve days, more than 1.3 million visitors attended, generating over 534 million baht in total value, including approximately 444 million baht in direct book sales and over 90 million baht in international licensing deals—a striking 50% increase compared to the previous year. Attendance averaged around 80,000 per weekday and 100,000 on weekends, with a strong presence of Gen Z readers spending between 500 and 1,000 baht each, demonstrating that in Thailand, reading culture is not declining, it is evolving and expanding.
I did not arrive as a casual visitor. I arrived on the final day, guided by my friend, the respected Thai writer Gassanee Thaisonthi, a key figure within The Writers’ Association of Thailand, who generously took me through the fair and introduced me to individuals and organisations at the very heart of Thailand’s literary ecosystem. Through her, the overwhelming scale of the fair transformed into a deeply personal journey. What I witnessed was a crowded event but highlighted by a society engaged in reading, thinking, and expressing. I have attended literary festivals globally, but never before have I seen such density of books, such eagerness among readers, and such diversity of purpose. People were searching for meaning, identity, knowledge, and connection. Each person seemed to carry their own pathway and passion, contributing collectively to what can only be described as the living body of Thai literature.
Among the many encounters, I had the opportunity to engage directly with key publishers who represent both the tradition and future of Thai publishing. Nakorn Publishing (สำนักพิมพ์นาคร), founded by Chen Songsomphan, stands as a pillar of literary quality, known for producing works of significant intellectual and artistic merit, including titles that have received the Southeast Asian Writers Award. Their identity is particularly compelling because it bridges two worlds: on one hand, high-level literary production, and on the other, a technical and academic branch that produces specialized textbooks, particularly in sound engineering and audio systems, with operations linked to both Bangkok and Pathum Thani, and a modern distribution presence through platforms such as Shopee. Alongside them, I encountered Pajonphai Publishing, Kledthai Publishing, and Dragonwar Publishing, each contributing to the diversity of Thailand’s publishing landscape, from established intellectual traditions to emerging creative voices.
Equally memorable was meeting Artist Duang, whose presence reminded me that literature and visual art are deeply interconnected in Thailand, and discovering Sasi’s Sketch Book Japan Diary: Shirakawago, a beautifully conceptualized work published by Fullstop Publishing that blends travel, illustration, and personal narrative into a cross-cultural artistic expression. These encounters reinforced the idea that the Thai literary scene is interdisciplinary, visual, and global in its outlook.
Institutional presence at the fair was equally significant. The Department of Cultural Promotion plays a vital role in sustaining national identity through literature, while the PEN International Thailand Center continues to champion intellectual freedom and global literary exchange. The The Poets’ Association of Thailand ensures that poetry remains a living and evolving form within Thai culture. My connection through Gassanee also brought me into closer contact with the The Writers’ Association of Thailand itself, an institution central to the development and recognition of Thai writers both domestically and internationally.
A particularly valuable moment was meeting the team from Publishers and Booksellers Association of Thailand, including Mr. Nattakorn Vuttichaipornkul, whose leadership reflects a forward-looking vision for Thailand’s publishing industry. Under PUBAT’s direction, the fair is a marketplace and a strategic platform for international collaboration, evidenced by the participation of representatives from 24 countries during the first three days specifically for licensing negotiations. This global dimension signals Thailand’s growing role in the international literary economy, with plans already in place to expand content into film, television, games, and webtoons.
The diversity of books I encountered further highlighted the intellectual richness of the event. I was personally given two works by the author Jit Prapatsorn, each representing a different dimension of literary engagement. Mek’s father published under Woman Publisher, is a deeply reflective and emotional work that explores family relationships, memory, aging, loss, and the quiet, often unspoken forms of love that define human experience. Its tone is introspective and literary, offering a subtle yet powerful meditation on life and emotional distance. In contrast, the second book presents a more dynamic and educational approach, focusing on Thai language, proverbs, idioms, and cultural meanings, likely incorporating storytelling and examples to make language learning engaging for a broad audience. Together, these two books demonstrate the breadth of Thai literary production, from deeply personal narratives to accessible cultural education.
Another major presence at the fair was Gypsy Group Co., Ltd., a publishing house established in 2008 and based in Bangkok, specializing in history, biography, and popular science. Their catalogue includes Thai editions of globally significant works such as Sapiens: A Brief History of Humankind, Homo Deus, and books by Jared Diamond, as well as titles like Guns, Germs, and Steel and The Oxford Illustrated History of the World. Their strategy of bundling thematic series, such as “24 Hours in the Ancient World,” and producing graphic adaptations like Sapiens: A Graphic History, reflects a commitment to making complex knowledge accessible and engaging. Their strong presence at the national book fair underscores the importance of non-fiction in Thailand’s reading culture.
From another major Thai publishing company, Amarin Group, I learned about its origins in Baan Lae Suan, first published in 1976 by Chukiat Utakapan. Over time, the company has grown from a small magazine publisher into a publicly listed media organization working across print, online platforms, television, retail, and events. Its expansion into book distribution through Amarin Book Center and retail through Naiin Bookstore shows how connected Thailand’s publishing industry has become.
During this experience, I also came across the book Madame Nhu, which was given to me by a former president of PUBAT, Mr Charun Homtientong. I was especially interested in two Vietnamese memoirs available in Thai translation: Our Great Spring Victory by Văn Tiến Dũng, which presents the North Vietnamese view of the fall of Saigon in 1975, and Twenty Years and Twenty Days by Nguyễn Cao Kỳ, which reflects on the South Vietnamese experience. Together, these two books show different perspectives on the same historical event and demonstrate how literature can help us better understand complex histories.
One of the most inspiring encounters of the day was meeting Laddawan Yaimanee, author of Destiny’s White Cat, a novel recognized by the Chommanard International Women’s Literary Award. Published by Praphansarn Publishing Co., Ltd., a long-established publisher founded in 1961, the novel tells the story of Pintawan, a woman granted a second chance at life by a mystical white cat, exploring themes of fate, regret, and the complexity of human relationships. Praphansarn itself stands as a key institution in Thai publishing, operating multiple imprints including Woman Publisher, Rainbow Publisher, and Asian Manga, and actively supporting female writers through initiatives such as the Chommanard Book Prize in collaboration with Bangkok Bank. Meeting their team, including Managing Director Kanokorn Nontasawassri, revealed a strong commitment to nurturing a “community of book lovers” while maintaining professional excellence across genres ranging from fiction and non-fiction to children’s literature and biographies.
Equally important in the ecosystem is Elite Creative Literary Agency, led by Arthorn Techatada, a company founded in 2014 that plays a crucial role in managing literary rights and facilitating international exchange. Acting as a bridge between Thai authors and global markets, including Australia, Europe, and Asia, Elite Creative handles negotiations, copyright management, and royalty structures, ensuring that Thai literature continues to expand beyond national boundaries. Their presence at the fair reflects a broader shift toward globalization within Thailand’s literary industry.
The presence of the PEN International Thailand Center at the fair underscored the global dimension of Thailand’s literary culture. As part of the worldwide PEN network, the organisation plays a crucial role in promoting freedom of expression, protecting writers’ rights, and fostering cross-border literary dialogue. Their engagement at the event reflected Thailand’s commitment to nurturing its own writers and to participating in an international community where literature serves as a bridge between cultures, languages, and ideas.
The diversity of distribution was also evident through Pennwattana, a distributor specializing in Chinese books, highlighting the multicultural and multilingual dimensions of the fair. This reinforces the idea that Bangkok’s book fair is national in scope and deeply international, welcoming influences and audiences from across the region and beyond.
The fair itself, themed “Read The Legend,” embraced a vibrant City Pop aesthetic, featuring the mascot “Chao Khun Thong” and creating an atmosphere that was both contemporary and celebratory. Spread across seven major zones, including fiction, general books, children’s literature, comics, rare books, and international titles, the event offered something for every type of reader. Beyond book sales, it hosted panel discussions, workshops, and author signings, transforming the space into an interactive cultural hub. Practical realities also shaped the experience: visitors navigated the massive halls via MRT access to the QSNCC station, wore comfortable shoes to traverse the vast exhibition space, and carried bags, or even wheeled suitcases, filled with books, rarely leaving empty-handed.
Among hundreds of stores spread across the vast exhibition halls, it was simply impossible to see everything in a single day; even with hours of walking, we could only pause at a select few booths, guided by time, connections, and moments of curiosity. Yet those few stops, carefully chosen and personally meaningful, offered a rich and intimate window into Thailand’s literary world, proving that even within a sea of books, a handful of encounters can leave a lasting impression.
As the fair concluded, it became clear that its significance extends far beyond its duration. Despite economic pressures such as rising costs of living, the sustained attendance and strong sales figures demonstrate that books remain essential to Thai society as sources of knowledge and entertainment, but as tools for personal growth and cultural continuity. The most popular categories, fiction, comics, and self-development, reflect both escapism and aspiration, while the surge in international licensing points toward a future in which Thai stories reach wider global audiences.
For Multicultural Press Australia, this experience offers a powerful insight into how literature functions within a dynamic, multicultural society. Bangkok’s National Book Fair is not simply an event, it is a statement. It declares that reading is alive, that storytelling continues to evolve, and that a nation’s identity can be both deeply rooted and globally connected. On that final day, surrounded by millions of pages, countless voices, and an unmistakable sense of purpose, one truth became undeniable: Thailand is preserving its literary heritage and actively writing its future.
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