In poetry anthologies and works of literary criticism, the authority to select which literature can become “world” literature often lies with a single editor or theorist. This essay contrasts those centralizations of authority with the more egalitarian structure of international poetry festivals. Using the 2016 Taipei Poetry Festival as an example, the essay reads the impact of the form of the festival on its audience’s experience of translation, the local in the transnational, and intercultural solidarity. The essay then argues that boredom is a formal flaw in contemporary festivals, and advocates that translations be performed in local vernaculars.