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Commonwealth Short Story Prize 2025 Regional Winners Announced

Commonwealth Short Story Prize 2025 Regional Winners Announced

Scoop14-05-2025

Five writers—chosen from a record-breaking 7,920 entrants—have been announced as regional winners of the world's most global literature prize
Judges hail stories that 'cause us to feel that our lives have been enriched'
A Bangladeshi writer has won the Asia regional prize for the first time
The stories feature compelling characters including a new mother protecting her child from a bloodthirsty creature, a football-obsessed boy who befriends a woman against his mother's wishes, and a young woman who is literally falling apart.
The Commonwealth Foundation has announced five regional winners of the Commonwealth Short Story Prize, the world's most global literary prize. This year's prize attracted the highest-ever number of entrants, 10 per cent more than in 2024. The regional winners are Joshua Lubwama from Uganda (Africa region), Faria Basher from Bangladesh (Asia region), Chanel Sutherland from Canada/Saint Vincent and the Grenadines (Canada and Europe Region), Subraj Singh from Guyana (Caribbean region), and Kathleen Ridgwell from Australia (Pacific region). They will now go through to the final round of judging and the overall winner will be announced on Wednesday 25 June 2025.
Taking the reader from a surf shack in Australia to a village in Guyana on the eve of independence, the stories tackle powerful themes head-on. We read of a clash between generations as a boy's illiterate mother fears and resents the unconventional newcomer; the lost memories of enslaved Africans for whom storytelling is their final act of defiance; the legacy of colonialism reflected in a demon that threatens to prey on a young baby; the pressures on young women in their twenties to get married and rear children—or face dire consequences; and how two young people form an unlikely friendship in the face of racism and family pressure.
Chair of the Judges, Dr Vilsoni Hereniko, said, 'These stories illuminate many aspects of human nature and demonstrate true mastery of the short story form. Each tale shows that geography matters in storytelling. They are works of fiction that are inseparable from the local culture and history from which they have sprung. They have colour and emotional resonance—and they moved me deeply. Congratulations to the regional winners and judges!'
The Commonwealth Short Story Prize is awarded annually for the best piece of unpublished short fiction from any of the Commonwealth 56 member countries. It is the most accessible and international of all writing competitions: in addition to English, entries can be submitted in Bengali, Chinese, Creole, French, Greek, Malay, Maltese, Portuguese, Samoan, Swahili, Tamil, and Turkish.
The winning stories are:
Africa: 'Mothers Not Appearing in Search' by Joshua Lubwama (Uganda)
Asia: 'An Eye and a Leg' by Faria Basher (Bangladesh)

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Canadian Vincentian Chanel Sutherland Wins 2025 Commonwealth Short Story Prize
Canadian Vincentian Chanel Sutherland Wins 2025 Commonwealth Short Story Prize

Scoop

time2 days ago

  • Scoop

Canadian Vincentian Chanel Sutherland Wins 2025 Commonwealth Short Story Prize

41-year-old Canadian Vincentian writer wins the world's most global literature prize for 'Descend', a story in which enslaved Africans share their life stories, as the ship transporting them sinks Sutherland, a former CBC short story prize-winner, describes how she 'took a risk' with 'Descend'—'its shape, its voices—because I believed every enslaved person deserves to have their story told with dignity' Judges praise a story that 'affirms the unrivalled power of storytelling to set our spirits free and find hope where none exists' Canadian Vincentian writer Chanel Sutherland has today been announced as the overall winner of the world's most global literature prize. The 41-year-old, who was born in Saint Vincent and the Grenadines and lives in Montreal, Canada, saw off 7,920 entrants worldwide to take the £5,000 prize. The Commonwealth Foundation announced her win at an online ceremony, presented by Rwandan performing artist and storyteller, Malaika Uwamahoro, in which Chanel and the other four regional winners spoke about their writing and read short extracts from their stories. In 'Descend', as a slave ship sinks, one of the enslaved Africans starts telling a story of the wife he has left behind. In the darkness, others join in. Springing vividly to life, the men and women tell their own stories—of love, family and the worlds from which they had been brutally removed. The chair of the judges, Dr Vilsoni Hereniko, said, 'Told in the quiet voice of a seer, 'Descend' is deep and profound. It tells the story of slaves packed like sardines in the hull of a sinking ship, an allegory that affirms the unrivalled power of storytelling to set our spirits free and find hope where none exists. My deepest gratitude and congratulations to the judges and the Commonwealth Foundation for shining a light on this masterpiece.' Dr Anne T. Gallagher AO, Director-General of the Commonwealth Foundation, the intergovernmental organisation that administers the prize, said ''Descend' is a superb piece of storytelling—bold in form, precise in detail, and unforgettable in its impact. Chanel Sutherland has taken a moment of extreme peril and fashioned a narrative that holds the reader from first line to last. She handles the weight of history with precision and imagination. This is exactly the level of craft and originality the Commonwealth Short Story Prize exists to celebrate. My congratulations to Chanel, to our outstanding regional winners, and to every writer who entered this year's record-breaking competition.' Chanel Sutherland said, 'I took a risk with 'Descend'—its shape, its voices—because I believed every enslaved person deserves to have their story told with dignity. I can't tell all the stories, or restore the lives that were stolen, but I'm humbled that this one resonates.' Describing how she found her voice as a writer, she added, 'My love for storytelling began before I even fully understood what a story was—I only knew they made me feel something, and I wanted to make others feel it too. Back in Saint Vincent, I used to scrawl my earliest stories into the sand in our yard, knowing they'd be washed away by rain or footsteps. We didn't have the resources for writing as a hobby, but I kept writing anyway, because the stories kept coming. To go from that little girl with fleeting words to now being recognised with such a prestigious and global prize is something I could never have dreamed possible. Winning feels deeply affirming—as if that little girl scribbling in the sand was always right to believe that stories mattered. 'My deepest gratitude to the Commonwealth Foundation, the judges and to my fellow regional winners Joshua, Faria, Kathleen and Subraj—your stories are extraordinary, and I'm honoured to be in your company. Here's to the stories that move us, mend us, and remind us we're not alone—may we keep telling them!' Chanel Sutherland is a Canadian Vincentian writer of fiction and creative nonfiction. Her debut short story collection, Layaway Child, will be published by House of Anansi in 2026. Chanel won the 2021 CBC Nonfiction Prize and the 2022 CBC Short Story Prize and received the 2022 Mairuth Sarsfield Mentorship. CBC Books named her one of 30 Writers to Watch in 2022. The Commonwealth Short Story Prize is free to enter and is awarded annually for the best piece of unpublished short fiction from the Commonwealth. It is the only prize in the world where entries can be submitted in Bengali, Chinese, Creole, French, Greek, Malay, Maltese, Portuguese, Samoan, Swahili, Tamil, and Turkish as well as English. The story was selected as the overall winner by an international panel of judges, chaired by Dr Vilsoni Hereniko. The judges are: author, poet and scholar Nsah Mala from Cameroon (Africa); writer and 2019 Asia regional winner Saras Manickam from Malayasia (Asia); writer and journalist Dr Anita Sethi from the United Kingdom (Canada and Europe); writer, editor and comedian Lisa Allen-Agostini from Trinidad and Tobago (Caribbean); and poet, actor, musician and writer Apirana Taylor from Aotearoa/New Zealand (Pacific). As part of the Commonwealth Foundation's partnership with The London Library, the overall winner receives a two years' Full Membership to the Library and the regional winners receive a year's Full Membership. The literary magazine Granta has published all the regional winning stories of the 2025 Commonwealth Short Story Prize, including 'Descend'. The five stories will also be available in a special print collection from Paper + Ink ( Global impact on writers' careers Winning or being shortlisted for the Commonwealth Short Story prize opens a wealth of opportunities for writers, propelling them further in their writing careers. Every year, winning and shortlisted writers have found literary agents, been invited to literary festivals, and had their work published in national and international literary publications. 2024 overall winner Sanjana Thakur had her winning story Aishwarya selected for the Best American Short Stories 2025 following its publication on Granta. She has since spoken on literary panels and had stories and poems published in Adroit, Booth, The Rumpus, Michigan Quarterly Review, and Pigeon Pages. For Julie Bouchard, 2024 regional winner for Canada and Europe, the prize allowed her to apply for and receive a grant from the Canada Council for the Arts to transform her winning short story 'What Burns' into a novel. Moreover, the recognition gave her Québec editor the chance to present her work to anglophone Canadian publishers, highlighting her Commonwealth Short Story Prize win. As Julie put it, 'Ultimately, this experience offered me far more than mere recognition—it became a gateway to new creative ventures and a significant catalyst in my artistic journey'. Pip Robertson, 2024 regional winner for the Pacific region, was invited to submit a story for one of the premium journals in New Zealand, Newsroom. 2024 Caribbean regional winner Portia Subran (Trinidad and Tobago) was invited to the British Virgin Islands Literature Festival. Moreover, writers continue to benefit from their prize success. In 2024, Kwame McPherson, the 2023 overall winner, announced that his winning story 'Ocoee' was under consideration for a film/TV adaptation, and in 2025 he was invited to the 34th edition of the Abu Dhabi International Book Fair (ADIBF) as a guest speaker at its cultural and professional programme. Submissions for the 2026 Commonwealth Short Story Prize will open on 1 September 2025. Those interested in entering the prize can follow @cwfcreatives on Facebook, Twitter and Instagram and keep up to date with the prize via Notes About the Commonwealth Short Story Prize The Commonwealth Short Story Prize is administered by the Commonwealth Foundation. The prize is awarded for the best piece of unpublished short fiction (2000-5000 words). Regional winners receive £2,500 GBP and the overall winner receives £5,000 GBP. Short stories translated into English from other languages are also eligible. The winning stories are published online by Granta and in a special print collection by Paper + Ink. The 2025 regional winners and their stories are: Africa: 'Mothers Not Appearing in Search' by Joshua Lubwama (Uganda) Asia: 'An Eye and a Leg' by Faria Basher (Bangladesh) Canada and Europe: 'Descend' by Chanel Sutherland (Canada/Saint Vincent and the Grenadines) Caribbean: 'Margot's Run' by Subraj Singh (Guyana) Pacific: 'Crab Sticks and Lobster Rolls' by Kathleen Ridgwell (Australia) About the Commonwealth Foundation The Commonwealth Foundation is an intergovernmental organisation mandated by its member countries to advance the interests of Commonwealth civil society. Upholding a firm commitment to the principles and ideals of the Commonwealth, the Foundation seeks to nurture the growth of vibrant and free societies: championing the active and constructive participation of people in all aspects of governance. About the Commonwealth Short Story Prize The Commonwealth Short Story Prize is administered by the Commonwealth Foundation. The prize is awarded for the best piece of unpublished short fiction (2000-5000 words). Regional winners receive £2,500 GBP and the overall winner receives £5,000 GBP. Short stories translated into English from other languages are also eligible. The winning stories are published online by Granta and in a special print collection by Paper + Ink. About the Commonwealth Foundation The Commonwealth Foundation is an intergovernmental organisation mandated by its Member States to advance the interests of Commonwealth civil society. Upholding a firm commitment to the principles and ideals of the Commonwealth, the Foundation seeks to nurture the growth of vibrant and free societies: championing the active and constructive participation of people in all aspects of governance.

Review: Marlon Williams' first ever stadium show was glorious
Review: Marlon Williams' first ever stadium show was glorious

The Spinoff

time4 days ago

  • The Spinoff

Review: Marlon Williams' first ever stadium show was glorious

On Saturday night Marlon Williams played at the Spark Arena with The Yarra Benders, Kommi and Ngā Mātai Pūrua. As his Te Whare Tīwekaweka tour nears its end, it felt like a beginning. 'Lets try some stadium shit,' Marlon Williams told the crowd. He was alone on the stage, perched on his piano stool, long legs crossed and an acoustic guitar tightly in his grip. From the seats of the Spark Arena, a few phone torches were swaying. The crowd was eager to please – a few seconds later, thousands of lights swayed in the stadium. Williams, the indie heart throb of Kāi Tahu and Ngāi Tai from New Zealand's alt-folk capital Lyttelton, was aware, but unafraid, of the cringe. He has never thought much of phone-torch-swaying, but it looked 'so cool' from up on stage and 'Ed Sheeran loves it when you do that.' He then dove into a soulful rendition of an audience request – his 2016 song 'Arahura'. Halfway through, two of The Yarra Benders slipped on stage, filling the song with violin and double bass. It was the most beautiful song in the world. My torchlight quivered with emotion. Saturday night was the 18th stop (there are 21 shows all together, 11 of them in Aotearoa) on Williams' tour of his new album Te Whare Tīwekaweka. The album, lauded for being entirely in te reo Māori, was performed in full. The only English additions were 'Arahura' and the pop hit 'My Boy'. It's been a big year for Williams – Te Whare Tīwekaweka, released in April is the result of a six year journey, and as well as the tour, its release was accompanied by a feature length documentary, Ngā Ao E Rua – Two Worlds, which was four years in the making. All this activity has not gone unnoticed. Marlon-mania has been sweeping across New Zealand (and beyond?). The old biddies are giddy and excited, but so are the trendy young people. It was apparent in Saturday night's crowd: we arrived on time, filled out the (fully seated) arena, wore big smiles for the duration of the show and were diverse in age, ethnicity and gender. Someone was wearing a Warriors beanie. Someone else was wearing ballet flats crossed with soccer boots. It's been said that 'everyone' was there, and as far as I could tell everyone loved it. The night began with Ngā Mātai Pūrua, a Melbourne based kapa haka rōpū that performed with Williams at sold-out shows at the Sydney Opera House and the Melbourne town hall. The rōpū of at least 30 performed waiata-a-ringa and poi, which felt like a welcoming of what was to come, an anchor for the artists that followed. Next up was KOMMI. Those who have watched Ngā Ao E Rua would have recognised the lead musician Kommi Tamati-Elliffe (Kāi Tahu, Te-Āti-Awa) as Williams' songwriting collaborator and reo mentor. They are often described as Williams' 'dear friend' and are accompanying him for the whole tour. Tamati-Elliffe's presence on stage was instantly powerful. They stepped on in a voluminous white cotton shirt, long plaid kilt, and widebrimmed hat with four feathers protruding from its crown. So fashionable, and so many nods to history. The solo rapper/chanter/singer was joined by a drummer, guitarist and singer who seamlessly supported the songs. Tamati-Elliffe's songs are exclusively in reo, the Kāi Tahu dialect, but they were kind enough to give hilarious introductions in English for people like me. One song told a story of Tamati-Elliffe running away from a haunted house, hiding in the bush only to be found by tūrehu and future anthropologists finding their bones and thinking 'What an idiot!' It was during the KOMMI set that Williams first appeared. The cameo is mainly notable because of his custom Adidas tracksuit, which I believe was made by his friend and artist Turumeke Harrington (Kāi Tahu). Zipped up all the way, it was embellished with koru designs and Williams paired it with a black beanie. Later, Tamati-Elliffe would appear during Williams' set in a matching set. Friendship is so sweet. To begin his headline set, Williams appeared spotlit in the middle of the stage – that beloved, almost-gangly, silhouette in a suit. His hair was not slicked back as has been his signature in the past – instead it was soft and tousled. He began the first waiata, 'Me Uaua Kē' – 'Tērā motu tērā te wāhī i kai ai taiohi i ngā hua o te koreke.' (That island, the place where the youth ate the fruits of the koreke). Suddenly it was obvious why this goofy man was on an arena stage. His voice – the tone so pure, so assured, effortless yet elevated, seemingly knowing and gentle. On stage with Williams were The Yarra Benders, who have been performing with him for over a decade, and known him for even longer. Switching between violin, keyboard and guitar is Dave Khan. Ben Woolley is on bass, double bass and vocals and Gus Agars is on drums. All three are Pākehā and all three accompanied Williams into his fumbling, stumbling reo journey. They too sing in reo. Though I can't recall the exact words, Williams noted how he's proud of them for following him, and that it represents something bigger, about unity and the future. It seems that the whole night – and the whole project of Te Whare Tīwekaweka – represents that. Most of Williams' fans, and most of the people in the crowd are unlikely to understand much reo – and yet here they were, taking in the beauty of the songs, guided by a man who is open about his stumbling and incomplete journey, and willing to tell a silly joke about a cat. Williams was regularly switching instruments too, with a guitar tech appearing in between songs to switch from an acoustic guitar to a red electric guitar (just like the emoji), or take them off his hands as he ascended the stairs to the piano. It's boring but true to write that the beautiful songs were perfectly performed. And although Spark Arena is a big, cold space, the performance felt warm and intimate. The stage design was simple and soft – the ghostly album artwork by Williams' artist mum Jenny Rendall was printed onto a huge fabric banner and hung in front of a gathered purple curtain, a vintage lampshade hung over a piano that looked like it might have come from a granny's house and the platform for it, with a little staircase that Williams was constantly ascending and descending, was constructed from wood. There was even a doily draped over the piano stool. My only complaint is that the overhead lighting was harsh, meaning that strong shadows fell over Williams' face and often obscured his eyes. The encore, which had been all but promised by Williams who seemingly hides nothing from his audience, proved the perfect encapsulation of the show. Williams and The Yarra Benders reappeared on stage with short feathered korowai over their suits. Standing in a line, they performed the bare bones of 'Whakameatia Mai'. When Woolley took a verse in perfect reo, the crowd cheered. Then everyone was welcomed back to the stage – Ngā Mātai Pūrua's wahine gathered around microphones while tane stood tall on the platform at the back of the stage. Somewhere tucked away Tamati-Elliffe grooved in their tracksuit. The final song of the night was 'Ngoi Ngoi', a lesser-known 1988 single by Pātea Māori Club. The crowd was keen to join in the celebration, phone torches again swaying around the stadium. It was so good that you started to wish the world's leaders were all there, so they could experience what it could mean to live alongside one another in difference and unity. Marlon Williams' first show in an arena was beautiful. It was another wave in the growing fandom for the musician, but also something else – a huge crowd of people willing to follow Williams out of a country that has become a whare tīwekaweka (a haunted house, a house in disarray) and stumble into a different future.

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