The link below is to an article that reports on the winner of the 2020 Victorian Prize for Literature.
The link below is to an article reporting on the big winner at the Victorian Prize for Literature and the Victorian Premier’s Literary Awards for 2019… and he wasn’t allowed to attend.
When the author Richard Flanagan described Behrouz Boochani, a Kurdish-Iranian asylum seeker currently held on Manus Island, as “a great Australian writer”, he turned tired cliché into a pointed question: what makes an “Australian” writer?
Flanagan was writing in the foreword to Boochani’s startling book No Friend But the Mountains (Picador), which last night won the $100,000 Victorian Prize for Literature, the richest of its kind in Australia. Boochani also claimed the award for non-fiction, worth another $25,000.
This triumph cements Boochani’s status as an Australian writer.
Boochani was arguably the most important literary phenomenon in Australian literature in 2018. In part, this is because of the distinctive qualities of No Friend But the Mountains, an epic work that moves between verse and prose, reportage and fantasy, the mundane and the historical. The fact that Boochani’s political memoir of what he calls Manus Prison was ever published in book form defies the odds.
A journalist and experimental documentary maker, Boochani wrote the book as text messages on his mobile phone, sending them, sometimes through several intermediaries, to the academic Omid Tofighian for translation into English.
Indeed, beyond the recognition of Boochani’s book as a singular achievement in its own right, its success this week highlights recent intersections of human rights activism and the vocal political position-taking of the Australian literary community.
The publication of No Friend But the Mountains was accompanied by numerous public events, such as one at the Greek Centre in Melbourne in October 2018, where the conditions detailed in the book were discussed and protested, and Boochani participated via Skype. The same month, A “National Day of Action” organised by Academics for Refugees featured public “read-ins” of the book on university campuses nationwide.
Other Australian authors have also used their voices to bring attention to the plight of asylum seekers. During her acceptance speech for her second Miles Franklin Award in August 2018, Michelle de Kretser chastised politicians for their treatment of refugees on Nauru and Manus Island. To illustrate her point, she read a list of names of asylum seekers who have died there in the past five years.
It is tempting to dismiss such actions as gesture politics by an urban elite. But each individual action has served to raise awareness of the Australian government’s policy of “offshore processing” for asylum seekers, and to fuse artistic expression with political activism in a particularly forceful manner.
At the same time, and perhaps uniquely in the history of Australian literature, No Friend has seen the translation of human rights awards into convertible cultural capital in the literary field. The author has been awarded the Anna Politkovskaya Award, the Amnesty International Award and Liberty Victoria’s Empty Chair Award. These humanitarian awards have confirmed Boochani’s rapidly acquired high profile in the literary field.
Last night’s news topped all of that to make Boochani the first “non-Australian” author to win the Victorian Premier’s Literary Awards. The Victorian government established these awards in 1985 to honour Australian writing. The specific challenge this poses to the definition of “Australian writing” can be seen as an intervention by the literary community into the field of politics. If a non-citizen who has never set foot on mainland Australia can win, who counts as an Australian author?
Ironically, perhaps, Boochani’s success simply mirrors some of the prevailing trends in Australian authorship in an age of global literary circulation, which allow writers to transcend national borders. An example of this phenomenon is Nam Le who rose to fame with the publication of his very successful The Boat. This collection of short stories, informed by the author’s diasporic identity and upbringing in Australia, soon earned him over a dozen major literary awards in Australia, the United States and Europe.
Conversely, Boochani’s status on Manus Island has been defined by deterrence, indefinite detention and the spectre of refoulement. The narrative of this experience is one that he seeks to address directly to the Australian people from beyond Australia’s borders.
With no clear solution to the indefinite detention of asylum seekers on Manus and Nauru in sight, the paradox of Boochani’s award success can only contribute further to public debate over the tangled logic of indefinite detention. It shows how cultural practices and political activism can be reconfigured to correspond with the newly created literary currency associated with refugee writing. For now, at least, Boochani is an “Australian writer” because Australia is morally implicated in what he wrote and how he wrote it.