The Commonwealth Foundation announced Sanjana Thakur as the overall winner at an online ceremony presented by New Zealand's former poet laureate Dr Selina Tusitala Marsh
By Shajil KumarJun 26, 2024
Sanjana Thakur's short story Aishwarya Rai has been declared the overall winner of the 2024 Commonwealth Short Story Prize.
The 26-year-old writer from Mumbai was earlier declared the Asia region winner. The other regional winners included Julie Bouchard from Canada, Pip Robertson from New Zealand, Reena Usha Rungoo from Mauritius, and Portia Subran from Trinidad and Tobago.
The Commonwealth Foundation announced Sanjana's win at an online ceremony, presented by New Zealand’s former poet laureate Dr Selina Tusitala Marsh. Sanjana and the other four regional winners spoke about their writing and read short extracts from their stories.
Titled after famous Bollywood actress, Aishwarya Rai reimagines the traditional adoption story in reverse, in which a young woman seeks to hire an ideal mother.
The main character, Avni, chooses between possible mothers living in a local shelter.
The first one is too clean and the second looks like the real-life Aishwarya Rai. In her small Mumbai apartment with too-thin walls and a too-small balcony, Avni dreams of stepping into white limousines, and tries out different mothers from the shelter for the correct fit.
Chair of the judges, Ugandan-British novelist Jennifer Nansubuga Makumbi said, "In Aishwarya Rai, Sanjana Thakur employs brutal irony, sarcasm, cynicism and wry humour packaged in tight prose and stanza-like paragraphs to confront us with the fracturing of family and the self as a result of modern urban existence. No matter which city you live in, you’ll recognise the stress-induced conditions like insomnia, restless leg, panic attacks and an obsession with a celebrity kind of beauty, in this this case, Bollywood."
Rarely do we see satire pulled off so effortlessly, Makumbi added.
Singaporean short story writer O Thiam Chin, one of the judges, said Aishwarya Rai is "a provocative and mesmerising story from start to end".
He said the story with its hypnotic prose and lyrical magic realism, pulls readers into the compelling story of a young woman’s earnest but fumbling search for an ideal mother.
"The power of Sanjana Thakur’s story reminds us that the best of fiction peels back the hard skin of life and grants us the privilege of feeling every flutter and pulse of its raw, quivering heart," he added.
Sanjana, who currently lives in the US, described her story as ‘a Mumbai story’. She will bag a prize money of £5,000 and a two-year London Library membership.
"I've spent ten out of twenty-six years living in countries not my own. India, where I'm from, is simultaneously strange and familiar, accepting and rejecting. Writing stories is a way for me to accept that Mumbai is a city I will long for even when I am in it; it is a way to remake 'place' in my mind. I feel that the Commonwealth Short Story Prize offers that chance up to all of us: to be a writer who is from 'somewhere', to write from inside a legacy of colonialism and migration. I am so incredibly grateful to the prize for recognising that stories are not written in a vacuum," she said.
Sanjana observed that writing is so often thought of as a solitary act. "And yet, the truth is, the thing that has made the biggest difference to my work is community. It is my community — my teachers, family, and friends — whose support, belief, and love carries me through what is a deeply fulfilling but also frustrating and challenging practice.
"Now, the Commonwealth Foundation has given me this opportunity to be a part of their community, their lineage of incredible artists and people, and I could not be more grateful... I cannot express how wholly honoured I am to be the recipient of this incredible prize. I hope I continue writing stories that people want to read. Thank you, thank you, thank you!"
Sanjana has a degree in English and Anthropology from Wellesley College and is currently pursuing an MFA in Fiction at UT Austin's New Writers Project. Her short story ‘Backstroke’ was published in The Southampton Review.
The last time an Indian writer won this prize was Kritika Pandey in 2020.
There were 7,359 entrants worldwide and entries were submitted in many languages other than English. They include Bengali, Chinese, Creole, French, Greek, Malay, Portuguese, Samoan, Swahili, Tamil and Turkish.
The literary magazine Granta has already published the prize-winning stories of the 2024 Commonwealth Short Story regional winners, including Aishwarya Rai.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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