While nationalist readings of contemporary Kurdish literature dominate the field of Kurdish literary studies, this paper argues that Kurdish literature should be analysed in the context of a political geography much wider than nationalism. Contrary to the nationalist reading which projects the map of Kurdistan on many literary works, some narratives deliberately avoid such ideologization. Being rooted in the very local specific of songs, fairy tales and memories, the three short story cycles by Mehmet Dicle Asûs (2005) Nara (2010) and Ta (2015) include diverse strategies of geographical naming. These strategies challenge the established power of the Turkish state but do not suggest the “Kurdish state” as a substitute. This paper draws theoretical inspiration from Doreen Massey’s (1993) notion of the progressive sense of a place and Kwame Anthony Appiah’s (2006) perspective on cosmopolitanism understood as the ability to be rooted in ever new locations and their networks of human relations. I suggest that some Kurdish writers construct a new space and a new geography of human relations that go beyond the image of the local or the independent state. This space is not exclusively “Kurdish” but open to other minorities. It often blurs some aspects of the represented world and invites intertextuality which is rooted in both local and global literary contexts. What is more, in comparison to the oral tradition modern Kurdish writers widen the area of ‘implied readers’ and universalise the traditional stories and landscape to make them more familiar for global audience.