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Bangladeshi-origin writer Faria Basher is the Asia winner of the 2025 Commonwealth Short Story Prize

Bangladeshi-origin writer Faria Basher is the Asia winner of the 2025 Commonwealth Short Story Prize

Scroll.in14-05-2025
The Commonwealth Foundation has announced the five regional winners of the Commonwealth Short Story Prize on Wednesday.
The regional winners are Joshua Lubwama from Uganda (Africa), Faria Basher from Bangladesh (Asia), Chanel Sutherland from Canada/Saint Vincent and the Grenadines (Canada and Europe), Subraj Singh from Guyana (Caribbean), and Kathleen Ridgwell from Australia (Pacific). The overall winner will be announced on June 25.
Basher is the first Bangladeshi-origin writer to win the regional Prize. She holds a bachelor's degree from the University of Edinburgh and a master's degree from New York University.
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. The stories present the 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, 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…'
The winning stories are:
Africa: 'Mothers Not Appearing in Search' by Joshua Lubwama (Uganda). Against his mother's wishes, a young boy befriends a woman who has recently moved into the neighbourhood.
Asia: 'An Eye and a Leg' by Faria Basher (Bangladesh). A darkly humorous and surreal take on the trope of the 'expiring' South Asian woman, with touches of the macabre.
Canada and Europe: 'Descend' by Chanel Sutherland (Canada/Saint Vincent and the Grenadines). As a slave ship sinks, enslaved Africans share their life stories. Their voices rise in defiance, illuminating memory, resilience and hope.
Caribbean: 'Margot's Run' by Subraj Singh (Guyana)/ A new mother ventures into the night to protect her child from a bloodthirsty creature.
Pacific: 'Crab Sticks and Lobster Rolls' by Kathleen Ridgwell (Australia). An Aboriginal boy sees himself as a crab stick – cheap, artificial, misrepresented. Through a forbidden relationship with a non-Indigenous girl, he comes to see his true value: a gilgie, authentic and deeply rooted in Country.
The Commonwealth Short Story Prize is awarded annually for the best piece of unpublished short fiction from any of the Commonwealth's 56 member countries. In addition to English, submissions are accepted in Bengali, Chinese, Creole, French, Greek, Malay, Maltese, Portuguese, Samoan, Swahili, Tamil, and Turkish.
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‘A backdrop of geological time': Gurnaik Johal on why his novel has the river Saraswati in it
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‘A backdrop of geological time': Gurnaik Johal on why his novel has the river Saraswati in it

Gurnaik Johal is a writer from West London. His 2022 short story collection, We Move, won the Somerset Maugham Award and the Tata Literature Live! Prize. Its opening story won the Galley Beggar Short Story Prize. Saraswati, his debut novel, was published recently by Serpent's Tail in the UK and Hachette in the Indian subcontinent. It was shortlisted for the 2025 Waterstones Debut Fiction Prize. The novel follows the mythical river of Saraswati through what is now Northern India. But when Satnam arrives in his ancestral village for his grandmother's funeral, he is astonished to find water in the long-dry well behind her house. The discovery sets in motion a contentious scheme to unearth the lost river and build a gleaming new city on its banks, and Satnam – adrift from his job, girlfriend and flat back in London – soon finds himself swept up in this ferment of Hindu nationalist pride. As the river alters Satnam's course, so it reveals buried ties to six distant relatives scattered across the globe – from an ambitious writer with her eye on legacy to a Kenyan archaeologist to a Bollywood stunt double – who are brought together in a rapidly changing India. In a conversation with Scroll, Johal talked about how he found the novel's voice, created his characters, and addressed the tension between inherited memory and lived reality. Excerpts from the interview: Many congratulations on your excellent debut novel! Right off, I'm quite curious to know if you began this story with a central thread or if you first collected the voices, let them speak, and only later noticed how they echoed across continents and generations? Thank you! The main structure of the book was in place very early in the writing process – from the start, I knew I'd be following seven different characters who were each distantly related to one another. What came as a surprise in the writing was that we would also get access to the story of these characters' two common ancestors. Following the historical love story of that one couple, which I think in a sense is now the heart of the book, was a lot of fun. In the online space, I noticed many people (including reviews) have drawn parallels between your writing and that of David Mitchell, Zadie Smith, and the like. But your writing also has this quiet wit and humour in surprising places and restraint in other parts that feel very much your own. On that, could you share more on what shaped the tone of Saraswati for you? Are there any writers or books in particular you found yourself returning to while writing it, and drew inspiration? I drew influences from far and wide, and one that comes to mind now is the films of Werner Herzog. Aguirre, the Wrath of God and Fitzcarraldo are stories of rivers, colonialism and madness, and resonated very strongly with what I was trying to achieve. I remember returning to some sequences in Aguirre several times in the writing process, and the opening music of the film was part of a roster of songs I'd often play to get into the mood to write. More often than not, professions like eco-activists, entomologists, and archaeologists are written with more symbolic weight than emotional intimacy. How did you resist that tendency and ensure these characters remained complex and breathing individuals rather than devices for moving the narrative forward? Also, what kind of research went into it to bring these characters to life aptly? My starting place for characters is always seeing them as real people. I'm interested in character-led fiction and so it would probably go against the impulses from where my imagination comes from to see them as devices for advancing plot. Often, the process of trying to ensure I make them well-rounded people begins with trying to think of what an average day looks like in their life, outside of the confines of my plot – what music do they listen to, how do they commute to work, what do they pack for lunch… The main character, Satnam and his journey, from disaffection to reluctant involvement, reflect a generational drift many readers may recognise if not relate deeply. What interested you most in exploring that tension between inherited memory and lived reality? And how consciously did you weave it into the novel's architecture? Like many characters in the novel, Satnam manages to find a stable identity by looking backwards rather than forwards. You're right to pull out that he's adrift in life, and he derives meaning from his family history and from a connection to their ancestral land. I hope there's space in the novel for this to be seen as both a good and a bad thing – we need origin stories to help tell us who we are, but they needn't wholly define us. The book layers modern India with future speculations and ancient myths. How do you see fiction's role in imagining timelines that don't sit comfortably within linear history, especially in a country like India, where the past is often politicised in the service of the present by everyone around? Sometimes I wonder if the reason we make art, whether that's fiction, music or film, is that these forms allow us to play with time in a way we can't in real life. In reality, time is a constant, but in a book, in a song, in a film, it's something we can speed up or slow down. I wanted to layer different timelines on top of one another in the novel, we get a present story that pushes forward into the future, we get a colonial-era story, and an ancient one, too. 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In FTII memory project A Room Of Our Own, a reminder that women were there too
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In FTII memory project A Room Of Our Own, a reminder that women were there too

An act of demolition served as one of the building blocks of a digital memory project on the Film and Television Institute of India's female graduates. A separate act of erasure spurred the project, titled A Room Of Our Own and initiated by FTII alum Reena Mohan, Bina Paul and Surabhi Sharma. A few year ago, the girls' hostel at the Pune institute was torn down and replaced by another structure. The hostel's residents swapped old photographs and reminiscences about their time there. In 2021, the institute commissioned Being FTII, a commemorative volume comprising essays by some of the institute's best-known alumni – nearly all of them men. The following year, FTII alum Gargi D Chakraborty put together the anthology Balancing The Wisdom Tree. The book comprises information on all the women who had studied at the institute until 2022 as well as essays and interviews with some of the graduates. She was there too – this basic and yet overlooked truth is one of the ideas driving A Room Of Our Own. How did the women react to living away from home, hostel life and the FTII campus itself? How were their creative journeys shaped by male-dominated classrooms and faculties? These are some of the questions that A Room Of Our Own seeks to answer. According to the project's mission statement, 'By excavating personal memories, documenting oral histories and re-presenting photographs from private collections that capture our time as students, we foreground a collective gendered experience that seeks to overturn conventional histories of cinema.' The work-in-progress project includes clips from online interviews with over 50 women, photographs and short videos made by some of the alumni. The subjects include Payal Kapadia, Jabeen Merchant, Batul Mukhtiar, Putul Mahmood and Hemant Sarkar. The founders will be recording more interviews. 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Women are told, why do you want to study cinematography, let the boys study it. You will anyway get married and go away. This kind of misogyny is often not acknowledged at all.' To compound matters, students in previous years were rarely presented with female role models, Paul added. 'The whole parallel cinema movement was about men making films about women,' Paul said. 'There were no women teachers, very little female presence. So the conversations we tried to have were about how the women tried to find their voices, what was their relationship to cinema and technology, what were the collaborations that the institute afforded.' By the time Surabhi Sharma enrolled in 1996, the situation had improved – on the surface. 'My cohort was quite unique because ours was the first batch and perhaps the last batch to have so many women, especially in direction,' Sharma said. Seven out of the 10 Indian students were women. There were women in the sound, cinematography and editing departments too. 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Video shows Barron Trump's childhood confession: US President's son was just 18-month old when he predicted his future
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Video shows Barron Trump's childhood confession: US President's son was just 18-month old when he predicted his future

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