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National Geographic
9 hours ago
- General
- National Geographic
Take a mouthwatering trip down Alabama's Barbecue Trail
Texas has brisket, Memphis has ribs. The Carolinas enjoy their pulled pork, and Kansas City is all about the sauce game. But not many immediately associate barbecue with Alabama Well, except for one thing—the mayonnaise-y white sauce. While the state's polarizing contribution to the American barbecue consciousness celebrates its 100th anniversary this year, there's much more to the state's barbecue than white sauce, and many Alabamians would proudly put their barbecue among the best in the country. With a mouthwatering Alabama Barbecue Trail—from civil rights hot spots to 100-year-old joints—there's no better way to uncover Alabama's unique cuisine and history than biting into it. The origins of Alabama barbecue Barbecue borrows the cooking methods of Native Americans, meats and sauces of European immigrants, and the labor (meaning recipes and know-how) of Africans to create a taste that is perhaps singularly American. In Alabama, barbecue—as a food, social gathering, and style of cookery—has been an essential part of life and society for ages. Barbecues were not only used for celebrations and commemorations, they were also so intertwined in political processes that the state government tried banning them altogether in the 1800s. But Alabama barbecue as we know it today didn't come into its own until the late 1800s with the rise of the interstate, and joints started sprouting up along major highway routes between Southern cities. While barbecue in neighboring states developed identities that captivated Americans, Alabama barbecue hasn't really caught on in the national psyche. 'I think not being recognized as one of the barbecue regions like Kansas City, Texas, Memphis, and the Carolinas has maybe ruffled some feathers,' says Mark Johnson, author of An Irresistible History of Alabama Barbecue. 'There's a sense of pride here. Alabamians will defend their barbecue against anyone else's.' So, what is Alabama barbecue? 'Alabamians don't even agree on what barbecue is,' says Johnson. 'Chicken and white sauce is the specialty of North Alabama, Decatur, and Huntsville. Birmingham is very much dominated by pulled pork with a tomato-based sauce. And then in Tuscaloosa, it's by far ribs with a vinegar-forward sauce that's got some kick to it. When you get closer to the Georgia border, you start seeing the South Carolina mustards creeping in.' (6 barbecue styles, from Alabama white sauce to Memphis pork ribs) The rise of white sauce Inextricably linked to Alabamians' appetites like apple pie to the broader U.S., Alabama's white sauce is a concoction of bubbling hot mayonnaise mixed with a hefty dose of vinegar and black pepper. The creation is the brainchild of a railway worker turned pitmaster named 'Big Bob' Gibson, who, back in the day, soaked his pit-cooked chickens in this barbecue sauce to prevent them from drying out. Now celebrating its 100-year-anniversary, Big Bob's namesake sauce and restaurant in Decatur is a juggernaut on the world barbecue circuit, with walls covered in plaques denoting it the 'World's Best Barbecue.' As for the polarizing sauce, it has earned homages across Alabama and the world. Back in the pit, Andrew Lilly, the great-great grandchild of Gibson and current manager of Big Bob Gibson Bar-B-Q in Decatur, forks a whole bird off the brick pit and dunks it in the white sauce before tossing it back on the grill. 'It keeps the chicken moist and just gives it that good tangy peppery flavor,' says Lilly. 'You just don't get that any other way.' White sauce is the brainchild of a railway worker turned pitmaster named 'Big Bob' Gibson. Photograph by Jeffrey Greenberg, Universal(Top) (Left) and Photograph by JFsPic, Getty Images (Bottom) (Right) In total, he'll cook this first batch of 75 chickens slowly for three-to-four hours. By roughly 11 a.m., when he pulls them off the pit, the restaurant is full of ravenous diners. Although, not everybody is a fan. White sauce may reign supreme in barbecue joints across Northern Alabama, but head south and many will disavow the sauce entirely. Love it or hate it, barbecue chicken and white sauce is part of the state's culinary identity. Barbecue and the civil rights movement 'Get the pig ears,' says Larry Bethune. 'We sell a lot of 'em… we sell a lot of everything, really.' Bethune is the second-generation owner of Brenda's Bar-Be-Que Pit in Montgomery. Brenda's has been a staple in the city's Black community since its opening in 1942, serving up everything from the famous pig ear sandwiches to legendary ribs and chicken platters at its drive-up counter. What Brenda's may lack in square footage, it more than makes up for in flavor and Black history. On the restaurant's window is a newspaper clipping of Larry's mother, Jereline Bethune, at the March of Montgomery. He starts singing, 'We Shall Overcome' and recollects his mother's role during the civil rights movement. She became involved during the 1955 and 1956 Montgomery Bus Boycott and worked with the NAACP, printing out fliers about when and where meetings and protests would occur. Following the passing of the Voting Rights Act of 1965, Jereline would host classes at the restaurant to help Black people pass literacy tests so they could vote. The pig ear sandwich arrives slippery, cartilaginous, soaked in ketchup, mustard, and hot sauce. Like the restaurant's history, it may not look pretty, but it's a taste to be savored. The story is similar at the opposite end of the state's historic National Civil Rights Trail in Selma at Lannie's Bar-B-Q Spot. Back in the '60s, Lannie's was a popular hub where activists like Martin Luther King Jr., John Lewis, and Ralph Abernathy could commiserate and devour hickory-smoked pork shoulder, ribs, and the whole fixings. Today, Lannie's is still run by the family, and, although the dirt floors are gone, they're still slinging the same dishes that have brought the city of Selma together for 80-odd years. Deborah's brother Floyd sets down a mountainous pulled pork sandwich and a few pork ribs all coated in Lannie's famous barbecue sauce. One bite, and that tangy, vinegary, spicy sauce envelopes the tongue and cheeks. Suddenly, it's easy to understand why the community (and state) continues lining up to eat here. (The symbolism behind traditional Juneteenth foods—from barbecue to hibiscus) Continuing legacies Ultimately, the story of Alabama barbecue is also a story about family, community, and togetherness. Andrew Lilly is building upon his great-great grandfather's legacy at Big Bob Gibson's. Larry Bethune continues plating the ribs and pig ear sandwiches his mother did at Brenda's. Historic joints like Lannie's in Selma, Archibald & Woodrow's Barbeque in Northport, and Top Hat in Blount Springs are all in their third generation (and beyond) of ownership, and each owner can rattle off the list of regulars they've been feeding nearly every week for decades. At Bob Sykes Bar-B-Q in Bessemer, Van Sykes is honoring the foundation his father and mother, Bob and Maxine, laid at the family restaurant in 1957 by keeping things simple—almost alarmingly simple considering the restaurant's barbecue sandwich sits atop the pantheon of must-eat dishes in Alabama. 'It's just salt, meat, and fire,' says Sykes. But he finds giving back to the broader Birmingham community just as important as the world-class barbecue he's cooking. He shares his craft in local high school home-economics classes. You'll see him offering cooking advice on the local news and promoting Southern food and culture as a founding member of the revered Southern Food Alliance. 'Barbecue cuts through class, race, gender, history, everything,' says Sykes. 'It shakes a common table for everybody." Each spring, Sykes brings his community in Bessemer together for a little barbecue and blues at the Bob Sykes Barbecue and Blues Festival. 'I look out at the crowd and see my customers,' he says. 'You'll find everything from Porsches to pick-up trucks, Blacks and whites. It sets a common table around the things we love and come together over, which is our love of food, music, and the blues. It's peanut butter. The togetherness is a sentiment echoed by Deborah Hatcher at Lannie's Bar-B-Q Spot. During the tumultuous civil rights movement in Selma, Black and white customers at Lannie's dined together. 'We didn't have segregation here,' says Deborah Hatcher, granddaughter of founder Lannie Moore Travis. 'Everybody came in that one door. Everyone sat down together, mixed together, and ate barbecue. Everybody just having a good time.' Where to try Alabama barbecue Archibald & Woodrow's Barbeque: Popular among University of Alabama students and Tuscaloosa crowds, Archibald's ribs have become a true culinary destination in the state. Cooked over hickory and until they develop a wonderfully crisp 'bark,' the ribs and spicy vinegar sauce are the perfect pre-game or post-game meal during Crimson Tide football season. Big Bob Gibson Bar-B-Q: What started out as a backyard pit has turned into one of the best barbecue joints in the country. Big Bob Gibson's may specialize in the famed pit-cooked chicken and white sauce, but don't miss out on the sublime ribs, 'championship' red barbecue sauce, and, of course, the meringue pies. Bob Sykes Bar-B-Q: Bob Sykes Bar-B-Q keeps things simple: Salt, meat, and fire. Their specialty is the pulled pork sandwich and barbecue sauce (the recipe for which took nearly 20 years for Bob to develop). Brenda's Bar-Be-Que Pit: It may be just a countertop joint in a residential Montgomery neighborhood, but locals are consistently lining up to engorge on Brenda's seriously good barbecue, from the pig ear sandwiches to towering rib plates. Saw's BBQ: A staple in the Birmingham barbecue circuit, Saw's serves up every iteration of Alabama barbecue and each location follows a special theme. No matter where you go, the low-and-slow-cooked ribs are divinely tender and the chicken and white sauce is loaded with puckering tang. Born in Detroit and displaced all over, Tom Burson is a travel, food, and culture writer and professional lollygagger. His writing is rooted in uncovering the quirky, not-so-talked-about nooks and crannies and traditions around the world. Follow along at @tommyburson
The Citizen
15 hours ago
- Business
- The Citizen
Are lay-by graves un-African? Cultural clash over burial solution
For residents considering lay-by grave services, existing consumer protection laws provide important safeguards. As Johannesburg grapples with a shortage of burial space, a new industry offering lay-by grave services has emerged – but cultural leaders are asking whether this modern solution fundamentally contradicts African traditions and values. The City of Johannesburg faces an escalating burial space crisis, with several cemeteries approaching or reaching full capacity despite earlier projections of adequate space for decades. This shortage, driven by population growth, urban migration, and cultural resistance to cremation, has forced the city to actively promote alternative burial methods, including cremation and reburials. In this gap, companies like Calgro M3 Memorial Parks, have stepped in. It offers what it calls 'dignified funerals and easy to afford burials' through lay-by monthly payment plans ranging from R500 to R1 625. The company operates cemeteries across Bloemfontein, Fourways, Nasrec, Durbanville, and Enokuthula Springs, with plans for a Randburg facility. When The Citizen attempted to contact Calgro M3 for comment, the company engaged in a week-long series of evasive responses, delaying any meaningful communication before stating on Thursday that their designated spokesperson was unavailable, with no timeline for a response. ALSO READ: Westpark Cemetery limits burials as it is set to reach capacity in four months The grave cultural resistance But the concept of purchasing burial services in advance has sparked fierce opposition from traditional leaders who question whether such practices align with African cultural values. Chief Mathupha Mokoena, President of Contralesa, has been particularly vocal in his criticism. 'Contralesa is aware of strange things that are contrary to our usual practices that relate to how we conduct funerals in our country, South Africa,' Mokoena stated. 'The question of memorial parks, including pre-paid burial sites, is foreign in our culture.' Mokoena argues that these services represent a fundamental departure from traditional practices, suggesting they transform burial customs into commercial enterprises. He contends that paying for burial arrangements in advance violates core African cultural principles. 'Paying for burial rites in advance, even buying a coffin in advance, is totally against our cultural norms and practice as Africans,' he explained. 'By doing this, we are directly inviting bad luck and curses that might follow those who are remaining behind.' The traditional leader warns that such practices could have severe spiritual consequences for families, describing potential 'strange things' that 'cannot be healed and will cause pain to members of the family.' His organisation has called upon communities to resist what they view as foreign influences on traditional burial practices. ALSO READ: Damaged graves: JPCZ urges residents to check resting places of loved ones Expert analysis on lay-by graves' cultural impact Cultural expert Isaac Muthethwa offers additional perspective on why these modern burial arrangements conflict with traditional African customs. However, he also states that such practices are not significantly different from paying for funeral cover, Muthethwa says Africans are not even supposed to be using coffins because of the belief that the body must go back to the soil. He explains that the practice of preparing graves in advance goes against fundamental beliefs about death and the afterlife. His concern extends beyond the spiritual realm to practical family dynamics. Muthethwa argues that investing in death-related expenses while alive diverts resources from living family members who might need support for education, healthcare, or other essential needs. He observes a troubling shift in community priorities, where people plan extensively for death while neglecting to celebrate life's milestones. 'When people are buying cars cash, you are bringing your best respected funeral cover so that everybody can see that 'this is how you buried your mom', but the following day the family is hungry because the money was meant for the burial and not for living,' he explained. City's regulatory framework Despite the cultural controversy, the City of Johannesburg recognises memorial parks as legitimate businesses operating within established regulatory frameworks. Jenny Moodley, spokesperson for Johannesburg City Parks and Zoo, confirms that private cemeteries must comply with municipal bylaws and national environmental regulations. 'Memorial parks that operate as private cemeteries within the City of Johannesburg are recognised and are required to comply with all applicable municipal bylaws and national regulations,' Moodley stated. The city requires proper zoning and adherence to health, environmental, and town planning regulations. Regarding Calgro M3 specifically, Moodley notes that the company has received necessary approvals and currently faces no formal complaints. 'The City is aware of Calgro M3 Memorial Parks as one of the private operators currently offering memorial park services within Johannesburg,' she confirmed. Officials emphasise that while these services are legal, consumers should conduct thorough research before committing to pre-paid burial arrangements. ALSO READ: Cemetery crisis: Burial space is shrinking Consumer protections and rights For residents considering these services, existing consumer protection laws provide important safeguards. The Consumer Protection Act ensures that lay-by payments remain the consumer's property until full payment is completed, with specific provisions for refunds and compensation if services cannot be delivered. Companies must maintain payment security and provide either equivalent alternatives or financial compensation if burial services become unavailable. In cases where unavailability results from supplier fault, consumers are entitled to double compensation. For residents considering pre-paid burial services, city officials recommend thorough research and due diligence. Moodley advised consumers to 'verify that the memorial park is legally zoned as a cemetery, compliant with City bylaws, and that the service provider is registered and transparent about its terms and conditions.' Under Section 62 of the Act, retailers must safeguard both consumer payments and reserved goods with appropriate care and diligence. If goods become unavailable, companies must offer consumers equivalent or superior alternatives or provide refunds with interest. In cases where unavailability results from the supplier's fault, consumers are entitled to double their payment amount as compensation. ALSO READ: Do you purchase goods on lay-by? These are your rights as a consumer A question of cultural evolution The debate over lay-by graves raises broader questions about cultural adaptation in modern urban environments. While practical pressures demand innovative solutions to genuine infrastructure challenges, the strong opposition from cultural leaders highlights the complex relationship between tradition and necessity. Some might argue that urban realities require pragmatic approaches to age-old challenges, while others contend that certain cultural principles should remain inviolate regardless of practical pressures. The question remains: can traditional burial practices evolve to meet contemporary urban needs while maintaining their essential cultural and spiritual significance? As Johannesburg continues to wrestle with its burial space crisis, the tension between modern solutions and traditional values reflects a broader challenge facing rapidly urbanising African communities. Muthethwa says whether lay-by graves represent a necessary adaptation or an unwelcome departure from cultural norms may ultimately depend on how communities themselves choose to balance practical needs with cultural preservation. READ NEXT: Criminals vandalise cemetery in search of valuables
IOL News
18 hours ago
- Business
- IOL News
G20 faces a generational test amid geopolitical challenges
Delegates to the U20 African Mayors Assembly at the Union Buildings, Pretoria on June 17, 2025. Image: DIRCO Alvin Botes Since December 1 last year until the Leaders' Summit in November 2025, South Africa chairs the world's most influential economic forum, that is the G20, under the theme: 'Solidarity, Equality, Sustainability'. The theme signals our determination to put people — not profits — at the centre of global decision-making. Our high-level priorities are clear and interlinked. Firstly, inclusive economic growth, industrialisation, employment and the reduction of inequality. Secondly, food security in an era of climate disruption. Thirdly, harnessing artificial intelligence and broader technological innovation for sustainable development. Complementing these three priorities is our drive for disaster-risk resilience and fair debt-relief architecture so that climate-vulnerable and heavily indebted countries are not forced to choose between servicing loans and saving lives. The stakes could not be higher. The International Labour Organisation (ILO) reports that global unemployment is hovering near a historic low of five per cent, yet globally the average for young people remains stubbornly high — about 13 per cent worldwide, and more than double that in many developing economies. Here at home, 4.8 million South Africans aged 15–34 are unemployed; 58 per cent of them have never had a single day of paid work, and our youth unemployment rate climbed to 46.1 per cent in the first quarter of this year. Beyond the headline numbers lurk deeper structural hazards: one in five young Africans is classified as NEET—'not in employment, education or training'—and those already in work face a future in which artificial intelligence-driven automation could render up to 40 per cent of entry-level jobs obsolete by 2035, according to the World Economic Forum's Global Risks Report. Compounding that uncertainty are intersecting crises of mental-health fragility, climate anxiety, escalating conflict-driven displacement, and the rising cost of living that now consumes, on average, 38 per cent of a young person's monthly income across the G20. Add to that what the economist Adam Tooze calls a global 'poly-crisis' which includes, amongst others, geopolitical polarisation, climate-related disasters, food-price shocks and widening digital divides. And it becomes clear why the South African presidency has framed 2025 as a make-or-break moment for multilateral cooperation. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. 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Advertisement Next Stay Close ✕ Geopolitically, the world is also experiencing what some economists such as Mark Blyth, Mohamed El-Erian and Michael Spence call a 'perma-crisis': the United States and China are locked in an uneasy dance of de-risking, Russia-Ukraine war continues to reshape energy and grain markets, and simmering conflicts from the Red Sea to the Sahel threaten already fragile supply chains. At the same time, global public debt has surpassed US $100 trillion, forcing developing nations to divert scarce resources away from youth programmes toward interest payments. In the Employment Working Group of the Sherpa Track, we are negotiating a compact on youth employment and skills, building on the Antalya Goals (which were agreed to during Türkiye's presidency of the G20) but adding targets for digital-economy apprenticeships, recognition of micro-credentials and mutual portability of qualifications across G20 members. If endorsed by leaders, the compact will potentially translate into an estimated 10 million paid internship placements over five years, with a gender-parity clause and an annual public scorecard so you can hold the G20 accountable. In the Finance Track, we are advancing an 'Innovation & Inclusion Facility' financed through blended public-private instruments to support start-ups led by women and young people in frontier technologies and green manufacturing. Its first-phase endowment of US $3 billion will be disbursed via challenge funds that prioritise township and rural enterprises, with a target of 150,000 sustainable jobs by 2027. In the Agriculture Working Group and the Environment and Climate Sustainability Working Group, we are championing a Just Agri-Transition Facility that links smallholder farmers, including youth, to climate-smart finance and regional value chains. Beyond financing climate-resilient seed and drip-irrigation systems, the facility will underwrite a Pan-African farmers marketplace app that is targeted at youth and guarantees offtake agreements with regional supermarket chains. Finally, our AI priority aims to deliver a 'Pan-G20 Youth Digital Corps,' a volunteer-to-employment pipeline that pairs South African coders with continental and global partners to solve public-sector data challenges. The G20 was born out of the 1997 Asian financial meltdown and re-energised amid the 2008 crash. It now faces a generation-defining test: can it propel the global economy so that young people inherit not debts and droughts but opportunity and hope? South Africa believes it can—if the world finally listens to its largest demographic - the youth. * Alvin Botes is Deputy Minister of International Relations and Cooperation. ** The views expressed do not necessarily reflect the views of IOL, Independent Media or The African.
France 24
19 hours ago
- Entertainment
- France 24
Game 'reloots' African artefacts from Western museums
The daring heist was not the work of a real-life criminal. Nomali is the protagonist of a new action-packed video game where players "reclaim" artefacts taken from African countries to be displayed in the West. Developed by Johannesburg studio Nyamakop, "Relooted" is set in an imaginary future but tackles a topical issue: calls for Western institutions to return to Africa the spoils of colonisation. Players are tasked with taking back 70 artefacts -- all of which exist in real life -- with a "team of African citizens", said producer Sithe Ncube, one of a team of 30 working on the game. The items include the "Benin Bronzes" sculptures removed from the former kingdom of Benin more than 120 years ago, and which The Netherlands officially returned to Nigeria on June 21. Another is the sacred Ngadji drum from Kenya's Pokomo community, which was confiscated by British colonial authorities in 1902. "Its removal destabilised the community," Ncube said as an animated drawing of the wooden instrument flashed on her computer. Players "can see where it's from... and read about the history," she said, giving a demo. 'Is it stealing?' On the screen a crew of characters in Afrofuturist costumes debated a plan to recover the remains of Tanzanian chiefs hanged by German colonial forces. One asked: "Is it stealing to take back what was stolen?" "We are going to do whatever it takes to take back Africa's belongings, and we are going to do it together," said the character Nomali. "Sometimes the stories behind these (artefacts) are actually very upsetting," Ncube told AFP. "It makes you see how much colonialism has affected... and shaped the world." Growing up in Zambia, she knew of her country's iconic "Broken Hill Man", a skull about 300,000 years old held in London's Natural History Museum and which is also featured in "Relooted". But it was only when working on the game that Ncube realised how many African cultural artefacts were held abroad, she said. In France alone, museums stored about 90,000 objects from sub-Saharan Africa, according to a 2018 report commissioned by the government. "Africans, to actually see these things that are part of their own culture, have to get a visa, pay for flights and go to a European country," Ncube said. "My whole life, I've never seen 'Broken Hill Man'." Skewed identity The looting of artefacts over centuries robbed communities of their "archives" and "knowledge systems", said Samba Yonga, co-founder of the digital Museum of Women's History in Zambia. "Our history predates colonisation by millennia," she told AFP, but many people "don't even realise that we have a skewed sense of self and identity." Reclaiming these objects would enable "a shift in how the next generation views their culture and identity," she said. The same hope underpinned "Relooted", which was unveiled this month at Los Angeles's Summer Game Fest where it attracted a lot of interest from the diaspora and other Africans, Ncube said. "I hope that the game encourages people from other African countries to want to tell their own stories and bring these things to light," she said. One character felt personal for the producer: Professor Grace, Nomali's grandmother and described as "the brains behind the mission". "I started seeing my own grandmother in her," Ncube said with emotion. "She represents a connection between our generations, fighting for the same thing we've always been fighting for."
Scoop
a day ago
- Entertainment
- 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.
