Prime Minister’s Literary Awards 2025, Winners

In lieu of my usual Monday Musings post, I am reporting on the 2025 Prime Minister’s Literary Awards which were announced this evening, and which I attended via the live-stream from the Creative Australia website. I shared the short list several weeks ago, so I won’t repeat those here.

The awards ceremony was a long one, and I suspect longer than planned, because Mr Gums saw the winners come through on his phone before they had all been announced. The problem, I’m guessing, of automatic scheduling!

The event was emceed by an Australian comedian, writer, actor, and television presenter, Alex Lee, whom I don’t know. (I guess you are going to say, “where have you been?”) She injected lightness and humour into the opening, a bit like you see at America’s Academy Awards. Like the Academy Awards, some of the jokes worked and some didn’t. The thing is, I suppose, different jokes will work for different people.

She did say, however, that there were 645 entries this year, 100 more than last year. That says something, I presume, about the health of writing and publishing in Australia.

 There were then two speakers, the Chair of the Writing Australia Council, Larissa Behrendt, who commented on the appropriateness of holding the Awards at the NLA which embodies the “the heart of our nation’s stories”. She said that the Awards “celebrate writing, reading ideas and the voices that shape who we are”, and she thanked Selina Walker for her welcome. She reminded us of the 65,000 years of storytelling in our country.

Behrendt then introduced the Minister for the Arts (among his many hats), Tony Burke, whose passion for the arts is palpable to anyone who hears him speak. Behrendt noted his appreciation of the centrality of First Nations Arts to Australia’s cultural policy. And said that this is a minister who shows up at opening nights, awards nights, festivals and so on, because he deeply understands why the Arts matter.

I couldn’t possibly share all that Burke said. He recognised the main players, commenting first on the generosity of the word “welcome” Selina Walker’s Welcome to Country. He thanked Australian Greens leader, Sarah Hanson-Young, who was present and who has been there, in support, through the whole cultural policy journey. He thanked Alex Lee for injecting a bit of fun, and he acknowledged Larissa Behrendt (who is Chair of the National Library of Australia Council) and Clare Wright (who is Chair of the Council of the National Museum of Australia.) He noted that it has been a long time since a writer has chaired the NLA’s Council, and an historian that of the NMA. (I groaned inwardly as we are still waiting for an archivist – or appropriate professional – to chair the council of the National Film and Sound Archive!) But all progress in this sphere of Boards/Council appointments is good!

Burke talked at some length about the importance of the arts and, what he believes to be the strength of the Government’s Creative Australia cultural policy. He talked particularly about writing. he argued that the ability to learn from writing is the gift “we celebrate tonight”. He suggested that writing is the only art form that we don’t react to with physicality. Music, Dance, Visual Arts, and so on, engage through the senses – sight, hearing – but writers work on our imaginations, writing lives within our minds. (There are some debates in this, I think, but I still like his point.)

He also quoted from three books to illustrate his points. First was from Kelly Canby’s children’s book, A leaf called Greaf, which ends on the idea of things being held in the heart forever, and which is the gift writers give us. Then he mentioned Fiona McFarlane and Michelle de Kretser who spoke to untold stories. Highway 13 deals ingeniously with the fact that we hear more about the person who should not be remembered rather than the stories of those affected by that person’s actions. Then he quoted from Theory and practice, which I will abbreviate to “that was the meaning of assimilation … it trained us to disappear”. Writers, he said, make sure that people are seen. (For me, though, he raised yet another idea to explore in this wonderful novel.)

There was more, but I think that’s a great point on which to end the introductions.

And the winners

  • Fiction: Michelle de Kretser, Theory & practice (Text, my review)
  • Poetry: David Brooks, The other side of daylight: New and selected poems (UQP)
  • Nonfiction: Rick Morton, Mean streak (Fourth Estate)
  • Australian history: Geraldine Fela, Critical care: Nurses on the frontline of Australia’s AIDS crisis (UNSW Press)
  • Children’s literature: Peter Carnavas, Leo and Ralph (UQP)
  • Young adult: Krystal Sutherland, The invocations (Penguin)

Links on authors’ names are to my posts on these authors. (I loved that Children’s Literature winner, Peter Carnavas, is a teacher-librarian. Go him.)

Now, this being the Prime Minister’s Literary Awards and, anyhow, this being a gathering of writers who as a group are passionate about ideas, many political comments were made, lengthening the supposedly short speeches. These comments addressed what is happening in Gaza, the issue animal rights, the treatment of human beings by government social policy, and the gutting of humanities and humanities research in Australian universities. In the case of the last, Geraldine Fela’s video speech had been cut off at the allotted time, but she had asked Clare Wright to complete her speech, which Wright did!

Thoughts anyone?

Monday musings on Australian literature: Creative Australia Awards in Literature

Creative Australia is the – how shall we say it – rebranded Australia Council for the Arts / Australia Council. Under whatever name it has, this is the body that serves as the major arts funding and advisory body for the Australian Government. You can read its history on Wikipedia if you are interested.

The Australia Council Awards were established around 1981, and over time have been offered in various categories, but Literature has been one of them since at least 1987, again under different guises. These awards recognise outstanding and sustained contributions to arts and culture across a range of disciplines, including literature, music, dance, but sorting out a full and proper history of these awards is not easy. They are now named under the Creative Australia umbrella. The writers who have been given these awards include novelists, poets, nonfiction writers and children’s literature writers. They include First Nations Writers, like Ruby Langford Ginibi, Herbert Wharton and Bruce Pascoe as well as Alexis Wright.

In the lists below, links are to posts I have written on the writers.

Creative Australia Awards for Lifetime Achievement in Literature

As far as I can gather, the “Creative Australia Awards for Lifetime Achievement in Literature” dates just from 2023, and acknowledges “the achievements of eminent literary writers over the age of 60 who have made an outstanding and lifelong contribution to Australian literature”.

Australian Council Awards for Lifetime in Literature

ArtsHub calls the 2021 award that went to Arnold Zable a “Lifetime Achievement in Literature” award, and says he follows writers like Malouf and Garner in receiving this award. Earlier research I did suggested that in 2015 it was also called a “Lifetime Achievement award”.

Previous Award Recipients

You will see that this section of my list includes “awards” and “fellowships”. I could have just included the “award” but decided the fellowships might be interesting too. You might notice that some women are listed under their “married name”, like Judith Wright as Judith Wright McKinney, and Mary Durack as Mark Durack Miller. In the 1990s!

  • 2013: Australia Council Award for Lifetime Achievement in Literature: Frank Moorhouse
  • 2012: Australia Council Award for Lifetime Achievement in Literature: Herbert Wharton
  • 2011: Emeritus Award: Robert Gray
  • 2010: Emeritus Award: Peter Kocan
  • 2007: Emeritus Award: Christopher Koch and Gerald Murnane
  • 2006: Emeritus Award: Alice Wrightson
  • 2005: Emeritus Award: Ruby Langford Ginibi
  • 2004: Emeritus Award: Margaret Scott
  • 2003: Emeritus Award: Don’o Kim and Barry Oakley
  • 2001: Emeritus Award: Dimitris Tsaloumas and Amy Witting 
  • 2000: Emeritus Award: Donald (Bruce) Dawe and John Hooker
  • 2000: Emeritus Fellowship: Eric Charles Rolls
  • 1999: Emeritus Award: James Henderson and Eleanor Witcombe
  • 1998: Emeritus Award: Peter Porter
  • 1997: Emeritus Award: Boro Wongar
  • 1996: Emeritus Award: Rosemary Dobson and David Martin
  • 1996: Emeritus Award: Dorothy Hewitt
  • 1995: Emeritus Fellowship: Victor Beaver, Michael M Cannon, Barbara Jefferis, Ray Lawler, Vincent Noel Serventy, Ivan Southall, and Maslyn Williams
  • 1993: Emeritus Award: Ivan Southall and Judith Wright McKinney
  • 1993: Emeritus Fellowship: Hugh Geddes Atkinson 
  • 1992: Emeritus Award: Mary Durack Miller
  • 1992: Emeritus Fellowship: John Blight, Beatrice Bridges, David Rowbotham, Harold Stewart
  • 1990: Emeritus Fellowship: Dorothy Green and Roland Robinson
  • 1989: Emeritus Fellowship: Jack Lindsay
  • 1987: Emeritus Fellowship: Olaf Ruhen

2025 Mark and Evette Moran Nib Literary Award shortlist

This is a quick post because I’m on the road in Japan, but I do like the Mark and Evette Moran Nib Literary Awards, and their shortlist has just been announced, so here is a quick post.

Just to recap if you don’t recollect my previous posts on this award, it is not limited by genre or form – that is both fiction and non-fiction are eligible. The judging is based on “on literary merit, research, readability, and value to the community”. Research and value to the community are interesting criteria. I have written about it before, so if you are interested in its origins and intentions please check that link. Previous winners include historians Alison Bashford and Claire Wright, biologist Tim Low, novelists Helen Garner and Delia Falconer, and journalist Gideon Haigh.

Each of the six finalists receive the $1500 Alex Buzo Shortlist Prize and are eligible for the $4,000 Nib People’s Choice Prize, which, by definition, is awarded by popular vote. The winner will receive $40,000.

The judges for the 2025 award are Sydney based writer, editor and arts producer Lliane Clarke, publisher and award-winning editor Julia Carlomagno, and author and publishing professional Angela Meyer (whom I’ve reviewed a few times here). They said, according to the email I received from Waverley Council which manages the award:

“In reading the nominations this year, we noted the effort, dedication and often bravery required to delve with such depths into topics of personal, political and cultural significance. The shortlisted books display great passion and commitment on the part of the authors and publishers, often years and decades of work, and they are all thoughtfully constructed, absorbing, moving works of literature with great value to the community”.

The email also said that this is the Award’s 24th year, and describe it as “one of Australia’s most high-profile and valuable book prizes, celebrating the most compelling research-based literature published annually”.

The 2025 shortlist

Last year I had, unusually for me, read two of the six shortlisted books, but this year we are back to the status quo! That is, I’ve read none, though most interest me. There were 174 submissions.

  • Helen Ennis (ACT), Max Dupain (biography)
  • Amy McQuire (Qld), Black witness (nonfiction/essays)
  • Rick Morton (NSW), Mean streak (nonfiction)
  • Samah Sabawi (Vic), Cactus pear for my beloved (memoir) 
  • Martin Thomas (ACT), Clever men (history)
  • Tasma Walton (WA), I am Nannertgarrook (historical fiction)

This list seems to be a bit broader, as in less life-writing heavy, than it has sometimes been, but like last year, there is just one work of fiction.

You can vote for the People’s Choice award at this link, but voting closes on October 9.

Have you read any of these books?

Monday musings on Australian literature: Michael Crouch Award

The Michael Crouch Award is part of the National Biography Award (NBA) suite of prizes. I have written about the NBA before, but have never specifically focused on the Michael Crouch Award.

But first, a quick recap … the National Biography Award has been going since 1996, and celebrates excellence in life writing, that is, in biography, autobiography and memoir. It is, apparently, Australia’s richest prize for Australian biographical writing and memoir, with the prize-money being:

  • $25,000 for the National Biography Award winner
  • $2,000 for each of the six shortlisted authors
  • $5,000 for the Michael Crouch Award

Michael Crouch Award

Michael Crouch was one of the original sponsors of the NBA, but died in 2018. In 2019, the award came under new sponsors, who not only increased the prize money for the shortlisted authors, but also created a new prize to honour Michael Crouch. Named, obviously, the Michael Crouch Award, it is for a first (debut) published biography, autobiography or memoir by an Australian writer. It has been awarded since 2019, but most of the NBA reporting focus has continued to be the “main” award.

So, to give these writers some extra air, I’m listing here all its winners to date:

Book cover
  • 2025: Nikos Papastergiadis, John Berger and me (Giramondo Publishing, biography/memoir)
  • 2024: Jillian Graham, Inner song: A biography of Margaret Sutherland (Melbourne University Press, biography, Lisa’s review)
  • 2023: Tom Patterson, Missing (Allen & Unwin, biography)
  • 2022: Amani Haydar, The mother wound (Pan Macmillan, memoir, Kate’s review)
  • 2021: Andrew Kwong, One bright moon (HarperCollins, memoir)
  • 2020: Jessica White, Hearing Maud (UWA Publishing, biography/memoir, my review)
  • 2019: Sofija Stefanovic, Miss Ex-Yugoslavia (Atria Books, memoir)

It’s interesting, but not surprising, that the memoirs have it.

Having read several hybrid biography/memoirs, including Jessica White’s, I am particularly interested in this year’s winner. I enjoy the process – if done well of course – whereby a writer explores another person through some prism of their own life, though this prism varies widely. In some cases, the writer and subject are related (like mother and daughter), or they are friends (like Papastergiadis and Berger), or they have something in common (like deafness in the case of Jessica White and her long-dead subject, Maud Praed). If you want pure biography, these don’t do the job, as they tend not to be comprehensive. But, what I like about these hybrids, is how the writer explores some aspect of their subject’s life story alongside, or through the prism of, their own perspectives or experiences. Done well, and particularly if both writer and subject are interesting, this form can be satisfying – and illuminating.

This was the case with Jessica White’s Hearing Maud, as I discussed in my post, and I can understand its being the case with Papastergiadis’s book. The judges called it “an original hybrid form”. The website continues:

The judges chose John Berger and Me for the Michael Crouch Award for a Debut Work for its originality and clever, non-linear but accessible structure. The quality of the author’s perceptive, lyrical, subtly humorous prose also stood out among a highly competitive field of debut books. A unique and highly readable blend of biography and memoir.

And there, I think, is a major reason why I enjoy reading these hybrids, the fact that there is no set form or formula. Each one can reinvent the wheel, with authors free to choose the approach that best suits the story they want to tell, the ideas they want to explore. It’s exciting to read books like this where authors have to work out from scratch how to start, proceed, and finish!

As for this latest winner, I am particularly interested, because John Berger’s Ways of seeing made a lasting impression on me when I read it – and saw the BBC series – in the late 1970s. I can imagine why such a man would interest a sociologist like Papastergiadis, but I think their friendship and points of contact ended up being far deeper and broader than just sociology. I’m so tempted.

Have you read any of these winners – and/or are you interested in hybrid biography/memoirs?

Monday musings on Australian literature: Finlay Lloyd’s 20/40 Publishing Prize, progress report

Nearly three years ago, I reported on a new literary prize, the 20/40 Publishing Prize which was being offered by the non-profit publisher, Finlay Lloyd. It has now been awarded in both 2023 and 2024, and preparations for announcing the 2025 winners are well under way.

Briefly, the aim of the award is to “encourage and support writing of the highest quality” by offering publication rather than cash. It has a specific criterion, however, as conveyed by its title: the works, which can be fiction or nonfiction, must be between 20,000 and 40,000 words. The submissions are read blind, and the judging panel includes the previous year’s winners. This means the judges for the 2025 award are Sonya Voumard, Penelope Cottier and Nick Hartland, alongside publisher, Julian Davies, and longtime Finlay Lloyd supporter (and writer), John Clanchy. 

The winners to date have been:

  • 2023: Rebecca Burton, Ravenous girls (fiction, my review)
  • 2023: Kim Kelly, Ladies’ Rest and Writing Room (fiction, my review)
  • 2024: PS Cottier and NG Hartland, The thirty-one legs of Vladimir Putin (fiction, my review)
  • 2024: Sonya Voumard, Tremor (nonfiction, my review)

Most awards, particularly those coming from a small organisation, take time to build – and some disappear into the ether. So I worried that this award might not last – not only because Finlay Lloyd is small but also because this shorter form is not popular with everyone. I am therefore thrilled to hear that the third annual winners are on track for announcement, and that Finlay Lloyd is now calling for entries for the 2026 prize.

This is where today’s post comes in. I don’t make a practice of announcing calls for competition entries, but this attracted me for a couple of reasons. First, I often wonder what difference awards make to authors and their sales. Well, while I don’t know what the initial print runs were, Finlay Lloyd says that The thirty-one legs of Vladimir Putin has been reprinted twice since its first run, and Tremor is about to go into reprint. This must be encouraging, surely, for writers?

The other relates to the fact that Finlay Lloyd wants to offer a fiction and a nonfiction award each year. This didn’t happen in 2023 because they did not receive enough quality entries, but it happened in 2024. Sonya Voumard’s Tremor is an excellent example of novella-length (is there a better description for this) nonfiction.

In my report on the Winners Conversation last year, I shared Voumard’s discussion about length. She said that there’s “the assumption that to be marketable you need to write 55,000 plus words”. She had the bones of her story, but had then started filling them out, when, in reality, it was just “flab”. The competition, and then Julian Davies’ editing guidance, taught her that she had a good “muscular story”. So she set about “decluttering”. The end result is interesting, because this book doesn’t have that spare feeling common to short works, which is not at all a criticism of spare writing. However, Tremor feels tight. It has little extraneous detail, but it’s not pared back to a single core. I found it informative but also a personal and moving read, and I bought a few copies as gifts last year. I would love to read more shorter-length works of nonfiction.

All this is precursor to sharing that last week, I received a Media Release from Finlay Lloyd, in which publisher Julian Davies says:

As 20/40 builds momentum, our enthusiasm for encouraging this compact scope for both fiction and nonfiction has continued to grow. The length of 20,000 to 40,000 words allows for the rich development of an imaginative story or factual concept while being tight enough to encourage focus and succinctness. It’s a form we love and believe is apt for our moment in the history of thought and invention.

Each year we support the winning authors through a close and probing editorial process that works towards finding the best possible version of their book. We also take delight in a design process where books are created that feel like artefacts, that ask to be picked up and engaged with.

Submissions for 2026 will open in December. The prize is open to emerging and established writers, but they must be Australian citizens, permanent residents, or valid visa holders. It is a prose prize, but is open to all genres – as the winners to date demonstrate – including hybrid forms.

The original NaNoWriMo might have ended, but that doesn’t mean November (or any month of your choice) isn’t a good month for giving writing a go, particularly if there’s a publisher out there waiting for your work. For more information, check the prize’s webpage.

Prime Minister’s Literary Awards Shortlist 2025, announced

I haven’t announced the Prime Minister’s Literary Award shortlists for a few years, but for various reasons, including the fact that there is a Poetry section which works nicely with this month being National Poetry Month (see my Monday Musings), I’ve decided to share this year’s shortlists.

Creative Australia’s page for the announcement says they received “a remarkable 645 entries across six literary categories: fiction, non-fiction, young adult literature, children’s literature, poetry, and Australian history”.  The winner in each category will receive $80,000, with each shortlisted author receiving $5,000.

Fiction

  • Michelle de Kretser, Theory & practice (Text, my review)
  • Fiona McFarlane, Highway 13 (A&U, on my wishlist, kimbofo’s review)
  • Emily Maguire, Rapture (A&U, on my wishlist, kimbofo’s review)
  • Mykaela Saunders, Always will be: Stories of Goori sovereignty from the futures of the Tweed (UQP, on my TBR)
  • Tim Winton, Juice (Hamish Hamilton, on my TBR, kimbofo’s review)

Most of these books have been appearing on shortlists throughout this year, with de Kretser and McFarlane having won some of those already announced. De Kretser won the Stella, and McFarlane has won the ALS Gold Medal as well as the NSW and Victorian Premiers’ fiction awards. That’s serious recognition.

Interestingly, this year’s Miles Franklin winner, Siang Lu’s Ghost cities, is not on the list. However, I like that two short story collections have been included.

Fiction award judges: George Haddad, Chloe Hooper, Julieanne Lamond, and Stephen Romei. For the full judging panel across all categories, check the webpage linked above.

 Poetry 

  • Peter Boyle, Companions, ancestors, inscriptions (Vagabond)
  • David Brooks, The other side of daylight: New and selected poems (UQP, a 2025 National Poetry Month Ambassador)
  • Hasib Hourani, rock flight (Giramondo)
  • Barrina South, Makarra (Recent Work Press)
  • Petra White, That galloping horse (Shearsman Books)

Nonfiction

  • James Bradley, Deep water (Hamish Hamilton, Brona’s review)
  • Adele Dumont, The pulling (Scribe)
  • Rick Morton, Mean streak (Fourth Estate)
  • Khin Myint, Fragile creatures: A Memoir (Black Inc.)
  • Samah Sabawi, Cactus pear for my beloved (Penguin)

Australian history

  • Geraldine Fela, Critical care: Nurses on the Frontline of Australia’s AIDS crisis (UNSW Press)
  • Peter Kirkpatrick, The wild reciter: Poetry and popular culture in Australia 1890 to the present (Melbourne University Publishing)
  • Amanda Laugesen, Australia in 100 words (NewSouth)
  • Darren Rix & Craig Cormick, Warra Warra Wai (Scribner, on my TBR)
  • Clare Wright, Näku Dhäruk The Bark Petitions (Text)

Children’s literature 

  • Kelly Canby, A leaf called Greaf (Fremantle)
  • Peter Carnavas, Leo and Ralph (UQP)
  • Kylie Gatjawarrawuy Mununggurr, Raymaŋgirrbuy dhäwu, When I was a little girl (Magabala)
  • Dave Petzold, We live in a bus (T&H)
  • Briony Stewart, Everything you ever wanted to know about the Tooth Fairy (and some things you didn’t) (Lothian)

 Young adult 

  • Sophie Beer, Thunderhead (A&U Children’s)
  • Kate Emery, My family and other suspects (A&U Children’s)
  • Jinyoung Kim & Sabina Patawaran, The anti-racism kit: A guide for high school students (HGCP)
  • Emma Lord, Anomaly (Affirm)
  • Krystal Sutherland, The Invocations (Penguin)

The winners will be announced at the National Library of Australia on 29 September, 2025.

Any thoughts?

Wayne Bergmann and Madelaine Dickie, Some people want to shoot me (#BookReview)

Having finally read Wayne Bergmann and Madelaine Dickie’s Some people want to shoot me, I am not surprised that it has been shortlisted in the Nonfiction category of this year’s Western Australian Premier’s Book Awards. It is moving; it is clearly written; and it is informative about big issues. Wayne Bergmann is a Nyikina* man and Madelaine Dickie a kartiya (white) woman, making this one of those collaborative novels I wrote about recently.

Before I continue, a little on its form. This is a work of nonfiction. It is essentially memoir, written in third person by Bergmann and his collaborator, Dickie. And, being a memoir, it has a specific focus. In this case, it is one underpinned by a powerful sociopolitical message concerning the right of First Nations people to survive and prosper on their own land.

“walking in two worlds”

So … Some people want to shoot me is about a man who realised he must walk in two ways – the kartiya way and the old people’s way, that is the white way and the way of his traditional culture. For his heart and soul he needed to walk the traditional ways, but in his head, seeing the suffering and the social and economic dysfunction caused by dispossession and powerlessness, he had to walk the kartiya way. The book exposes just what a tough balancing act this was – and is. It demanded (demands) strength, bravery, nous, clarity of purpose – and the support of family.

The book opens with a Prologue which sets the scene. It’s 2011 and Bergmann, who is at breaking point after years of negotiating on behalf of Kimberley Traditional Owners, walks out of a meeting with a mining company and heads, with his wife and children, back to country:

to the mighty Martuwarra, the Fitzroy River – lifeblood of Nyikina country, Wayne’s country, his children’s country – made by Woonyoomboo when the world was soft.

From here, the book starts in Chapter 1 the way memoirs usually do – at the beginning. For Bergmann, the beginning is Woonyoomboo who tasked the Nyikina people to look after country. This they did, until the arrival of white settlers in the late 19th century, when things “radically changed”. The first two chapters chronicle some of this change through the lives of Bergmann’s forbears. It depicts a world where the legacy of nuns, monks, ethnographers, pastoralists and miners “was still felt acutely”, where “frontier massacres had occurred within living memory”, and “where justice, under whitefella law, didn’t often grace Kimberly Aboriginal People”. Bergmann, who was born in 1969, saw this, felt this, and took on the pastoralists, mining companies and governments to “upend the status quo”.

Of course, such upending doesn’t come easily, and the people doing this upending aren’t always understood and appreciated, which is where we came in at the Prologue. The book details, chronologically, Bergmann’s work, from his early work with the KALACC (Kimberley Aboriginal Law and Culture Centre) and his realisation that for Aboriginal people to be empowered under Western law and able to make systemic changes, “they needed to understand the kartiyas’ law system inside out”. So, he did a law degree, and then, at the age of 33, became CEO of KLC (Kimberley Land Council) and here is where the really hard work started, and it was not pretty. It demanded every ounce of energy, intelligence and resilience, he could muster.

Bergmann had to be clear about the role, which was, as a native title representative body, “to facilitate a process and follow procedure in accordance with native law to allow Traditional Owners (TOs)” to make decisions “about their country”. This meant consulting with the TOs and ensuring they understood what they were being asked for and what was being offered. When stakes are high, emotions also run high. Some environmentalists, for example, would turn against TOs (and thus the KLC) when their views diverged, but sometimes TOs believed that some development was advantageous to their people. Then, of course, there were times TOs didn’t agreed with each other, or when there was disagreement between TOs and others in their communities. This is to be expected, of course. Do all kartiyas agree? But, it makes for very difficult times, and Bergmann was at the centre. As well as working with the relevant Kimberley TOs, Bergmann was also negotiating with the Western Australian government and, for example, the Woodside mining company, negotiating not only the actual agreements, but for money and resources to carry out consultations so that the TOs could come to the table well informed. All this is explained clearly in the book, making it well worth reading for anyone who has not followed native title cases closely. It’s both enlightening and chastening.

Bergmann made some significant deals, but it was a bruising time, so after a decade, wiser and with a clear view ahead, he moved on to establish KRED Enterprises. A charitable business, wth the tagline of “walking in two worlds”, its aim was (and is) to support cohesive Aboriginal economic development in the Kimberley, to encourage businesses run by and for Aboriginal people. The rest of the book covers Bergmann’s work – under the KRED umbrella and in other areas (including buying a newspaper, the National Indigenous Times) – all focused on the one goal, to pull his people out of poverty and disadvantage, to ensure they have the opportunities available to all Australians, and in so doing to improve their lives and outcomes. Nothing less will do.

We had to create some wealthy Aboriginal organisations, and wealthy Aboriginal people, so we could shape our own future, on our own country.

Woven through the accounts of Bergmann’s work are stories about his personal life, some good times but also the egregious attacks his wife and children faced at the height of his KLC work. We come to see the truth of Dickie’s description of him in her Introduction, as “demanding, smart, intensely political and visionary”. This is a man who puts himself on the line because he is driven to see First Nations Australians prosper.

Some people want to shoot me packs a lot into its 223 pages. That it covers so much, with great clarity and readability, is due to the writing. It’s well structured, and employs some narrative techniques, including evocative chapter titles and the occasional foreshadowing, which keep the story moving. At the end of the book is an extensive list of Works Cited and a Select Bibliography, which provide authority for what has gone before, if you need it.

Meanwhile, here are some words by another First Nations leader, Clinton Wolf:

One thing you’re going to get from Wayne is the truth. Some people like hearing it. And some don’t.

This book tells Wayne’s story, and I did like hearing it. It’s a great read about a great Australian, telling truths we all need to hear.

* First Nations cultures are orally-based, which results in inconsistent spellings when their languages are written. This post uses the spellings that Bergmann and Dickie use in their book.

Wayne Bergmann and Madelaine Dickie
Some people want to shoot me
North Fremantle: Fremantle Press, 2024
223pp.
ISBN: 9781760992378

Miles Franklin Award 2025 winner announced

The winner of the 2025 Miles Franklin Literary Award, worth AUD60,000, was announced this evening by Australian journalist Fran Kelly during her program, The Radio National Hour. And the winner is:

Siang Lu’s Ghost cities

Kelly described the novel as being about an “epic conquest of ancient empires and tyrannical leaders”, and also about “what is truth and power”. Also, she said, “it makes you laugh sometimes”. Ghost cities was inspired by the migrant experience, and living in a diaspora. Consequently, it “grapples with the tensions of being Chinese but not Chinese enough”. She and Lu talked a little about his experience of living in such a diaspora.

The judges described the book as “at once a grand farce and a haunting meditation of diaspora”. Lu was happy with the “grand farce” description.

Publisher UQP starts its page on the novel with this description:

Ghost Cities – inspired by the vacant, uninhabited megacities of China – follows multiple narratives, including one in which a young man named Xiang is fired from his job as a translator at Sydney’s Chinese Consulate after it is discovered he doesn’t speak a word of Chinese and has been relying entirely on Google Translate for his work.

Steinberg – see my link below – concludes his short discussion of the novel, with:

Ghost Cities both embraces and defies its emperor’s directive to abandon “the pursuit of beauty” for art that favours “furrowed brows and scholar-like interpretation”. In its zany intertextuality, it displays a level of intellectual ambition rarely found in recent fiction.

Kelly discussed the novel with Lu, teasing out many of the ideas raised in the above descriptions, and in a review of the novel by Tara June Winch (which had, apparently, made Lu cry!) I didn’t capture it all for my post, but Australians, at least, will be able to listen to this interview on the program’s podcast. However, I did like Lu’s final comment regarding current concerns about the impact of AI on writing (and on the arts in general). He said that “if authors imbue their life and soul into their work, that’s the lodestar, and is something AI can’t replicate”. I love his confidence – and surely he’s right (for a while at least)?

To recap, the shortlist

  • Brian Castro, Chinese postman (Giramondo) (on my reading group’s 2025 schedule) (Lisa’s review): Castro has been shortlisted for the MF before
  • Michelle de Kretser, Theory & practice (Text Publishing) (my review): de Kretser has wont MF twice before, and this book won this year’s Stella Prize
  • Winnie Dunn, Dirt poor islanders (Hachette Australia) (review coming next week): debut novel by a Tongan-Australian writer
  • Julie Janson, Compassion (Magabala Books): sequel to Benevolence, which I reviewed; Janson’s author’s first shortlisting for the MF
  • Siang Lu, Ghost cities (UQP): Lu’s first shortlisting for the MF – and now on my TBR!
  • Fiona McFarlane, Highway 13 (Allen and Unwin) (kimbofo’s review): McFarlane has been shortlisted before, but for a novel; this book straddles the short story/novel divide. I’m keen to read it.

For a succinct discussion of the shortlist, you could check out the one posted at The Conversation, by Western Australian postdoctoral fellow, Joseph Steinberg. But there are others.

To recap, winners since 2020

To put this in context, I thought it would be interesting to share the winners, since 2020:

All women writers, and encompassing diverse backgrounds. Now, for the first time since 2016 (AS Patrić’s, Black rock white citymy review), we have another book by a male writer. Interestingly, like that 2016 winner, it’s a book inspired by migration.

This year’s judging panel comprised Richard Neville (Mitchell Librarian, the State Library of NSW and Chair), Associate Professor Jumana Bayeh (literary scholar), Dr Mridula Nath Chakraborty (literary scholar and translator), Professor Tony Hughes-d’Aeth (literary scholar and author) and Professor Hsu-Ming Teo (author – of Love and vertigo, among other books – and literary scholar).

A big congratulations to Siang Lu. I have been toying with buying this book, particularly because I’d heard it has a humorous element. After all, it was listed for the Russell Prize for Humour Writing, and the VPLA John Clarke Humour Award (see my post on Humour Writing prizes). A big plus for me.

Thoughts anyone?

Monday musings on Australian literature: Prizes for Humour Writing

There are not, apparently, many prizes for humour writing around the world, but we have two here in Australia, the Russell Prize and the John Clarke Prize. Those from other countries include the Bollinger Everyman Wodehouse Prize (UK), the Thurber Prize for American Humour, and the Leacock Memorial Medal for Canadian Humour. Do you know them? I’d be interested to know of your experience with them, but meanwhile, I’ll move on to the two Australian ones I’m featuring today.

Russel Prize for Humour Writing

According to the Prize website, this prize was established through a bequest from farmer and businessman Peter Wentworth Russell. Its aim is to “to celebrate, recognise and encourage humorous writing, and to promote public interest in this genre”. Established in 2014, it was the first award to recognise the art of humour writing in Australia and, argues the website, makes “a long overdue acknowledgment of the genre” here. They believe it will “promote public interest in humour writing just as its prestigious international counterparts have done”.

The prize is awarded biennially by the State Library of New South Wales, and the winner receives $10,000.

Associated with this award is a second prize, a Humour Writing for Young People Award for “a work promoting humour and championing laughter”. It is aimed at primary school level readers (5-12 years) and “recognises the role of humour in encouraging children to read”. The winner of this award receives $5,000. I love the spirit behind this.

Past winners

A full list of the winners and shortlists can be found at Wikipedia, but here are the winners to date:

  • 2015: Bernard Cohen, The antibiography of Robert F. Menzies (Fourth Estate)
  • 2017: Steve Toltz, Quicksand (Simon and Schuster) (my review)
  • 2019: David Cohen, The hunter and other stories of men (Transit Lounge)
  • 2021: Nakkiah Lui, Black is the new white (Allen and Unwin)
  • 2023: Martin McKenzie-Murray, The speechwriter (Scribe)
  • 2025: Madeleine Gray, The green dot (Henry Holt) (Theresa’s review) : “brings a new complexity to the genre sometimes called ‘rom-com’. It’s sweet but also sour. It’s terrifically funny as well as Anna Karenina sad … hilarious about the tedious realities of the modern workplace” (excerpted from the judges’ comments)

Writers shortlisted for this award over the years include some I have read and posted on, such as Trent Dalton for Boy swallows universe (my review), Chris Flynn’s Mammoth (my review) and Sun Jung, My name is Gucci (my review). They also include other writers I know or have reviewed or mentioned, just not their shortlisted books, like Annabel Crabb, Tracey Sorenson, Ryan O’Neill and Siang Lu. And, of course, there are new writers that I’m really pleased to hear about.

John Clarke Prize for Humour Writing

The second award is very new one. Titled the John Clarke Prize for Humour Writing, it is named for Australia’s much loved satirist and writer, John Clarke (1948–2017). It has been added to the suite of Victorian Premier’s Literary Awards, so will presumably be made annually. The award, which was established by the Victorian Government and the Clarke family, was open in its first year to books of comedic fiction, nonfiction and poetry published in 2023 and 2024. It offers a cash prize of $25,000.

The first award was made this year, 2025, and it went to Robert Skinner’s I’d rather not say. I gave this to Son Gums for his birthday this year, but I’m not sure he’s read it. I certainly haven’t, though I’d like to. However, kimbofo has (her review). She comments that Skinner “knows how to craft a compelling narrative using jeopardy, self-deprecating humour and a deft turn of phrase”. This just makes me more keen. She also says that it was shortlisted for the Small Publishers’ Adult Book of the Year (in the 2024 ABIAs) and that The Guardian named it one of the Best Australian Books of 2023.

This award, as both the Clarke family and the Wheeler Centre’s CEO have been quoted as saying, is “a fitting tribute” to one of our greatest satirists. They hope it will help the careers of future humour writers. It will certainly help Skinner, whom the ABC reports as saying:

“When you’re writing in Australia, in the back of your mind, the question is always, How long can I keep affording to do this?” he says.

“And now the answer is: slightly longer.”

Echoing, in other words, what many authors say about awards with a decent cash prize. It buys them time.

I enjoy humorous writing, particularly at the satirical end of the spectrum, so I love that there are some awards aimed at supporting this sort of writing. I fear there’s almost a natural tendency in readers to equate better with serious, but that is not necessarily the case.

So now, my question to you is: Do you know of any other awards for Humour Writing, and, regardless, do you like Humour Writing? I’d love to hear anything you’d like to share about this.

Monday musings on Australian literature: Collaborative story-telling between First Nations Australian and white writers

National NAIDOC Logo (2025)

NAIDOC Week 2025 started yesterday, and as I have done for many years now, I am devoting my NAIDOC Week Monday Musings to celebrating First Nations writers in some way.

This year is a particularly special year because it marks NAIDOC Week’s 50th anniversary, 50 years it says, “of honoring and elevating Indigenous voices, culture, and resilience”. The 2025 theme is “The Next Generation: Strength, Vision & Legacy,” and is intended to celebrate not only past achievements achievements, “but the bright future ahead, empowered by the strength of our young leaders, the vision of our communities, and the legacy of our ancestors”. 

Now, over the years, I have written posts on a wide range of First Nations writing and storytelling, was wondering what to write about this year, when a couple of weeks ago this idea of collaborative writing projects popped into my head because I’ve come across a few in the last few years. Then, at the ACT Literary Awards last Thursday night, another such collaboration was not only shortlisted but won the Nonfiction award. The book is Warra Warra Wai: How Indigenous Australians discovered Captain Cook & what they tell about the coming of the Ghost People, and is by Darren Rix and Craig Cormick. That sealed the deal!

In the introduction to this book, Darren and Craig, the names they use to sign off the Introduction, say that:

This book has been a blackfella-whitefella collaboration, because too much of our history has been written by one voice only, and we need to find more collaborative ways to tell our past, present and future.

I would love to discuss all the collaborations I’m going to share in this post – including researching how the collaborations worked, who did what, and how differences (if any) were resolved – but that would be a big project. I have, however, met some of the writers involved, and have followed some of the projects on social media, so I am aware of some of the processes the writers followed. For now, though, I will share what Darren and Craig say in their Introduction:

In this collaboration, we each worked to our strengths. Craig did most of the work in the archives, and Darren did most of the oral interviews – and the people we talked to got the final say on the text. The stories we gathered belong to the individuals and communities we visited. This is their book.

Selected list of collaborative books

This list is presented in alphabetical order by the name of the first author listed on the title. I did think about dividing it into two lists – one fiction, one nonfiction – but decided that all these books aim to share truths about our society and culture, whether told within a factual or imaginative framework, so one list it is. (Links on authors’ names are to my posts on that author.)

There has been a lot collaborative publishing in the children’s literature sphere, over a significant period of time, but I’ve been less aware, until relatively recently, of similar activity in the adult sphere.

Wayne Bergmann and Madelaine Dickie, Some people want to shoot me (memoir, Fremantle Press, 2024, on my TBR): shortlisted for Nonfiction Book of the Year in the Western Australian Premier’s Book Awards.

Craig Cormick and Harold Ludwick, On a barbarous coast (historical fiction, Allen & Unwin, 2020, my review): a re-imagining of what happened when Captain Cook’s Endeavour was wrecked off the coast of Far North Queensland.

Aaron Fa’Aoso with Michelle Scott Tucker, So far, so good: On connection, loss, laughter and the Torres Strait (memoir, Pantera Press, 2022, Bill’s review): apparently the first memoir by a Torres Strait Islander to be commercially published, which means it addresses “the under-representation of Torres Strait Islander perspectives in Australian life”. You can read more about it on Tucker’s website.

Aaron Fa’Aoso and Michelle Scott Tucker with Lyn White, Spirit of the crocodile (YA fiction, Allen & Unwin, 2025, on my TBR, Bill’s review): a coming-of-age novel set against the challenges to the Saibai island community of climate change.

Carl Merrison and Hakea Hustler, with Dub Leffler (illus.), Black cockatoo (YA fiction, Magabala Books, 2018, my review): pleasingly, this book was in my Top 10 visited posts last year, and is in the Top 20 this year to date.

Boori Monty Pryor and Meme McDonald, Maybe tomorrow (memoir, 1998, my review): one of the first books I reviewed on this blog. Pryor has focused much of his life’s work on helping young people feel strong in their culture.

Boori Monty Pryor and Jan Ormerod, Shake a leg (Children’s picture book, Allen & Unwin, 2010): one of several children’s book collaborations involving Boori Monty Pryor.

Darren Rix and Craig Cormick, Warra Warra Wai: How Indigenous Australians discovered Captain Cook & what they tell about the coming of the Ghost People (history, Scribner, 2024, on my TBR): follows Cook’s journey up “Australia’s” east coast, visiting the places he renamed and gathering the local people’s stories.

Nicolas Rothwell and Alison Nampitjinpa Anderson, Yilkari: A desert suite (“unclassifiable” but fiction, Text Publishing, July 2025, on my TBR)

As the word “selected” conveys, this is not intended to be a comprehensive list, but an introduction to the range of collaborative writing that’s been happening. However, I (and readers of this blog I’m sure) would love to hear of other First Nations-settler collaborations, including from other parts of the world.

Click here for my previous NAIDOC Week-related Monday Musings.

Have you read any First Nations-white writer collaborations? And if so, care to recommend any?