logo
Yael van der Wouden and Rachel Clarke win Women's Prize book awards

Yael van der Wouden and Rachel Clarke win Women's Prize book awards

LONDON: Dutch writer Yael van der Wouden won the Women's Prize for Fiction on Thursday for her debut novel 'The Safekeep,' a story of repressed emotion and suppressed historical memory in the Netherlands after World War II.
British physician Rachel Clarke won the Women's Prize for Nonfiction for exploring the human drama behind organ donation in 'The Story of a Heart.'
Both prizes carry a 30,000 pound ($41,000) purse and are open to female English-language writers from any country.
Last year Van der Wouden became the first Dutch writer to be a finalist for the prestigious Booker Prize for 'The Safekeep.' Set in the early 1960s, the novel centers on a Dutch family, their house, and the secrets they both hold.
Author Kit de Waal, who chaired the fiction judging panel, called it a 'beautiful, shocking and sensuous' book that reveals 'an aspect of war and the Holocaust that has been, until now, mostly unexplored in fiction.'
Van der Wouden told The Associated Press that the book is about 'how we narrate history ... What is actively written out and what is written into it, and, indeed, what we actively choose to forget.'
Van der Wouden said in her acceptance speech that 'hormonally, I am intersex,' and that fact 'defined my life throughout my teens until I advocated for the healthcare that I needed.'
She said the fact she was 'receiving truly the greatest honor of my life as a woman ... is because of every single trans person who's fought for healthcare, who changed the system, the law, societal standards, themselves. I stand on their shoulders.'
Previous winners of the fiction prize, founded in 1996, include Zadie Smith, Tayari Jones and Barbara Kingsolver.
Last year, award organizers launched a companion nonfiction award to help rectify an imbalance in publishing. In 2022, only 26.5% of nonfiction books reviewed in Britain's newspapers were by women, and male writers dominated established nonfiction writing prizes.
Clarke works as a palliative care doctor, and 'The Story of a Heart' traces a transplant through the true stories of two children: one killed in a car crash, and one who could be saved by a new heart. Journalist Kavita Puri, who led the judges, said 'Clarke's writing is authoritative, beautiful and compassionate. The research is meticulous, and the storytelling is expertly crafted.'

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Remembering': Spotlighting the healing voice in Arpita Singh's art
‘Remembering': Spotlighting the healing voice in Arpita Singh's art

Mint

time15 hours ago

  • Mint

‘Remembering': Spotlighting the healing voice in Arpita Singh's art

The works of Arpita Singh— considered one of the country's leading contemporary artists—draw you in with their multi-layered narratives. Over the years, her paintings have been included in major collections across the world, and also been part of significant group shows. In 2019, the Kiran Nadar Museum of Art, Delhi, celebrated the 87-year-old artist's practice through the retrospective, Six Decades of Painting. And now, an ongoing show, Arpita Singh: Remembering at the Serpentine Gallery— her first solo at a major institution abroad—takes six decades of her work to London. The exhibition features a mix of large-scale oil paintings and small watercolours and ink drawings on paper. Many long-term friends and collaborators like Nilima Sheikh, Geeta Kapur, Gayatri Sinha and Deepak Ananth have contributed their perspectives on her practice through essays. Art historian and curator Kapur, for instance, in the essay titled Iconoclast, offers two theoretical frameworks for aesthetically examining Singh's works—feminist psychoanalysis and philosophy. 'Much of Arpita's work, world and ideology is history compressed into fables and allegories; what we witness are diverse imaginaries," she writes. Singh was born in 1937 in Baranagar, Kolkata, just before World War II. The period of her early childhood was marked by famine, riots and the final thrust for independence. The artist believes that our memories transcend our lifetimes, and carry imprints of our ancestors. This retrospective brings alive those traces of memory in repetitive, frenetic bursts of expression, through repetitive motifs and symbols and questions the cycle of exploitation and erasure. You enter the show with Searching Sita through Torn Papers, Paper Strips and Labels (2015). The large painting encapsulates Singh's focus on the impact of external sociopolitical events on women. The repetitive ticker that runs through the top of the canvas, Sita. You. I. Us is telling, as are the words 'Abducted, Abused, Slandered, Oppressed, Abandoned, Cursed, Lost", which occupy the edge of the painting towards the bottom right. The torn strips of paper, which traverse the painting like futile paths, reveal her anxiety and hopelessness, as she is tormented by her quagmire (of being forsaken). Also read: Artistic encounters: How animals contemporary artists Another work, My Lily Pond (2009) is far removed from the idyllic water lily ponds that would have dotted bucolic Bengal during her early childhood. Rather, it alludes to the toxic cesspool of power and geopolitics. Helpless figures in red with their arms raised are confronted by soldiers in army fatigues, and the word 'water" fills up the background like a deluge of helpless emotions. The American naval base Guantanamo Bay on the map of Cuba, painted prominently, points to the source of the oppression. 'Whatever I tell you three times is true" stencilled at the top right of the work speaks to the posttruth propaganda that normally accompanies such action. Through both visual and written motifs, she speaks to the collective disenchantment. My Lollipop City: Gemini Rising (2005) is a testament to the city of Delhi. She moved there just before independence and has called it home since. At its heart, the painting is about the labyrinthine palimpsest of Delhi which takes a lifetime to navigate, but where millions of refugees and migrants have found a sense of belonging. It is teeming with figures and familiar motifs that pervade her oeuvre— like swarms of airplanes flying above, gerrymandering bureaucrats and politicians, historical monuments, and serpentine roads. At the very bottom of this large painting, she writes 'You are here", perhaps implying the uphill task migrants face when they aspire for a better life in the city. In the show, the viewer can observe several inflection points in Singh's career. The period between 1974 and 1982 is referred to as the 'black-and-white" one in her practice. Singh, when queried about this phase by art curator and critic Hans Ulrich Obrist in an interview in August 2024, commented, 'At some point, I couldn't move easily across the canvas. I had to pause and think every time: 'What shall I do next? So, I gave up everything and made the basic elements of art—dot and line, dot and line. They became abstract works because nothing is recognisable in them. But it gave me a certain freedom." It is this freedom of expression that is reflected in the larger oil paintings that she made subsequently— many of these are featured in the exhibition. The other significant shift is observed in works such as My Mother (1993), heavily influenced by communal riots in the aftermath of the Babri Masjid in Ayodhya in 1992. It heralds a sharper focus on the horrors of violence and their impact on society. Against this backdrop stands the solitary figure of her mother dressed in mournful white sari worn by widows. It is revealing of the tragedy and loss that families, and women in particular, are left to cope with in the aftermath of violence triggered by patriarchal, colonial or capitalist overreach. Also read: 'Something like Truth': Staging four monologues around truth and justice Works such as Woman with a Boat (2002) or For Fenugreek (2005), are testament to her sensitive portrayal of the ageing female body—thereby elevating both the fragility and the resilience of a woman, who has survived patriarchy, marriage, childbirth, body shaming, depression, and more. Ultimately, her paintings are significant because they capture the precarious lived realities of post-independence India profoundly. Her repetitive motifs work despite their overwhelming presence, because they leave room for interpretation. Critically, the intergenerational traumas that women carry both from their collective pasts and uncertain futures, find a healing voice in her paintings—creating room for contemplation, support and empathy. At Serpentine North Gallery, London until 27 July. Anindo Sen is an independent art writer. A spotlight on South-Asian artists Aarti Lohia first discovered her passion for collecting art while living in Indonesia years ago. Today, she is a trustee of the South London Gallery and the Kochi Biennale Foundation, and serves on multiple councils such as at the Tate Modern. Through the S.P. Lohia Foundation—an international notfor-profit established in the UK in 2016—she backs South Asian artistic voices on the global stage. In 2022, she supported London's National Gallery's modern and contemporary programme, followed by a collaboration with the South London Gallery to bring Nairy Baghramian's Misfits series to London. Most recently, Lohia has supported Arpita Singh's major solo at the Serpentine. In an interview with Lounge, the Londonbased philanthropist reflects on the significance of Singh's practice and the broader role of philanthropy in strengthening South Asia's cultural ecosystem. Edited excerpts: How significant is Arpita Singh's exhibition at the Serpentine? Arpita Singh's works trigger emotions in the audience. Her works blend form and style with cartography, imagined and continued characters, and are done with a flourish in colour that is authentically Indian. We consider it a matter of pride to be able to bring Arpita Singh's solo works to one of the most impactful global art galleries. The fact that it is taking place during the London summer makes it a great opportunity to present her work to people from everywhere, and from across age groups and cultures free of cost. It is amazing that it has taken six decades to bring Arpita Singh's works to the world stage in a solo institutional exhibition. This has become a valuable opportunity to open doors for more artists from India and South Asia on globally relevant platforms What role has philanthropy played in strengthening the art ecosystem in South Asia? The Global South has emerged as a fluid and evolving concept, especially as colonial histories are being re-examined through contemporary voices. Artists from these regions offer alternative perspectives on recent history, young democracies, and social change. Philanthropy plays a key role in amplifying their work globally—but there's still much ground to cover. Arpita Singh, for instance, offers a deeply personal and powerful view of India's evolving society, especially through the experiences of its women. The S.P. Lohia Foundation is committed to supporting artists from or connected to the Global South, and Singh's work aligns closely with that mission. Also read: Lounge Loves: Vodka sodas, a musical time machine and more Are there intersections between your collecting and philanthropic journey? My interest in collecting began in Indonesia, surrounded by its rich traditions of art and craft, and deepened in Singapore, where I engaged more closely with Indian contemporary artists. I noticed a clear philanthropic gap in supporting this space. While my collection is personal, my philanthropic work—through the foundation and engagement with institutions like Tate and the Museum of Modern Art—is focused on amplifying South Asian voices globally. I was among the early supporters of the Kochi-Muziris Biennale and continue to champion it internationally. For me, collecting is a hobby; philanthropy is a passion rooted in creating visibility and impact for Indian artists. What leads to the decisions to support particular artists/ organisations/ museums? Art institutions hold lasting value—they preserve cultural memory beyond shifting governments or politics. I'm drawn to organisations that share our foundation's values and aim to broaden representation. Personally, I connect with artists whose work is consistent and meaningful over time. At Serpentine, for instance, I appreciate how Hans Ulrich Obrist highlights underrepresented female voices. Supporting Nairy Baghramian's Jumbled Alphabet aligned with our belief in championing immigrant narratives. We're drawn to institutions that embrace diverse, progressive perspectives beyond the mainstream. —Avantika Bhuyan

The Real Van Gogh Immersive Experience set to arrive in Bengaluru by June end
The Real Van Gogh Immersive Experience set to arrive in Bengaluru by June end

The Hindu

timea day ago

  • The Hindu

The Real Van Gogh Immersive Experience set to arrive in Bengaluru by June end

Even the most art-impaired among us have marvelled at those stars swirling in a blue, blue sky or that splendid clatch of sunflowers. That is how impactful the works of Vincent Van Gogh, a Dutch Post-Impressionist artist, remain more than than a century after his passing. Presented by The Silly Fellows, The Real Van Gogh Immersive Experience brings the works of Van Gogh in a whole new immersive format. The show is India's first 22,000 lumen projection, a far cry from the 6,000 lumen offering of similar shows in the past, and has been crafted in collaboration with musicans Nikhil Chinapa and Jay Punjabi. Making its debut in Bengaluru after shows in Chennai, Hyderabad and Chandigarh, this immersive experience features as many as 70 of Van Gogh's most famous works, carefully selected from over 2,100 masterpieces he left behind for posterity. The experience begins with a walk through the Education Room which provides visitors information on the artist, followed by a stint in the Infinity Room, and finally, the Immersive Room where the magic with projections and sensory elements unfolds. The paintings for The Real Van Gogh Immersive Experience were curated and animated by visual artists Hemali Vadalia and Naveen Boktapa of Motionvan Studios. A cafe and store with related merchandise will also be on the premises. The Real Van Gogh Immersive Experience will be at the Bhartiya Mall Of Bengaluru from June 29. Tickets, starting at ₹499 for children and ₹899 onwards for adults, are available on District.

Snow White star Rachel Zegler serenades the crowd for free in a new London production of ‘Evita'
Snow White star Rachel Zegler serenades the crowd for free in a new London production of ‘Evita'

First Post

time2 days ago

  • First Post

Snow White star Rachel Zegler serenades the crowd for free in a new London production of ‘Evita'

News has spread quickly since the show began previews this week, and hundreds have gathered outside the historic venue in London's West End theaterland to enjoy the free serenade by the 'Snow White' star. read more In a new production of 'Evita,' one of the biggest moments isn't on the stage. Midway through the show, Rachel Zegler, playing Argentine first lady Eva Perón, emerges onto an exterior balcony at the London Palladium and sings 'Don't Cry for Me, Argentina,' to whoever is passing by below. The performance is streamed back on video to the audience inside. News has spread quickly since the show began previews this week, and hundreds have gathered outside the historic venue in London's West End theaterland to enjoy the free serenade by the ' Snow White ' star. STORY CONTINUES BELOW THIS AD The show's composer, Andrew Lloyd Webber, said that it makes for 'an extraordinary moment' in his musical about a woman who rose from poverty to power and was adored by the masses. 'Within the theater, it's really exciting because suddenly you see her with a genuine huge crowd, which you can't do onstage,' Lloyd Webber told The Associated Press on Thursday. 'I think there will be people who are disappointed that she hasn't sung it live in the theater, but I think it's goinag to be greatly outweighed by the theatricality of using film in that way.' The decision by director Jamie Lloyd has sparked some grumbling from ticketholders who paid up to 245 pounds ($330) for a seat, only for the musical's most famous number to be sung offstage. It's a technique Lloyd has used before. He had a character in 'Sunset Boulevard' perform a song while walking down the street outside the theater, and his production of 'Romeo and Juliet' saw star Tom Holland play a key scene on the theater roof. Theater blogger Carl Woodward told the BBC that he could understand why some theatregoers who'd forked out for a ticket felt 'a bit aggrieved,' since 'a trip to the theater for some is really a once-a-year occasion.' STORY CONTINUES BELOW THIS AD But Lloyd Webber cited an opinion piece in The Times of London noting that the gesture is 'kind of what Eva Perón would have wanted — that people are actually experiencing her big anthem, as it were, for free.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store