Huge thanks to Hannah at Midas PR for sharing the list of 2022’s winners of the Windham Campbell Prize.
This prize gives 8 writers of exceptional talent, $165,000 which allows them a level of freedom to pursue their writing ambitions and is an incredible opportunity to shine their particular lights on the way they view the world we live in.
For the past decade, this major global prize has recognised eight writers annually for literary achievement across fiction, nonfiction, poetry, and drama, at every stage of their careers. With total prize money now exceeding $14m USD, each recipient is gifted an unrestricted grant of $165,000 USD to support their writing and allow them to focus on their work independent of financial concerns.
Mike Kelleher, Director of the Windham-Campbell Prizes, said: “Across ten extraordinary years, the Windham-Campbell Prizes have celebrated exceptional literary achievement and nurtured great talent by giving the precious gifts of time, space and creative freedom. We are proud to mark our 10th anniversary with the most exciting list of recipients yet. Led by a trailblazing group of global women’s voices, these writers’ ambitious, skilful, and moving work bridges the distance between the history of nations and a deeply personal sense of self.”
2022’s winners include-
Fiction
Tsitsi Dangarembga (Zimbabwe)
Across the more than three decades of her career, Tsitsi Dangarembga has emerged as one of the most significant voices in world Anglophone literature. She is the author of three award-winning and critically acclaimed works of fiction: ‘This Mournable Body’ (2018), ‘The Book Of Not’(2006), and ‘Nervous Conditions’(1998).
The novels, collectively known as the “Tambudzai trilogy,” tell the story of a young Shona woman named Tambudzoi (“Tambu”) as she moves between worlds: that of her parents, who are impoverished subsistence farmers; and that of her relatively affluent, British-educated aunt and uncle, who run a missionary school. Stretching from late 1960s pre-independence Rhodesia to the postcolonial Zimbabwe of the 1990s, Tambu’s coming-of-age intersects with that of her country in compelling and often tragic ways.
As she strives to build and sustain a meaningful adult life for herself, Tambu wonders whether the very qualities that first allowed her to imagine an existence unconstrained by systems of racism and sexism—ambition, intelligence, and a bright, seething rage—have been lost in the seeking: “When you were young and in fighting spirit, growing mealie cobs in the family field and selling them to raise money for your school fees, you were not this person you have become. When and how did it happen?” Dangarembga is also a filmmaker and serves as director of the Institute of Creative Arts for Progress in Africa Trust, executive director of Women Filmmakers of Zimbabwe, and founding director of the International Images Film Festival for Women. The winner of the PEN International Award for Freedom of Expression (2021), she lives in Harare, Zimbabwe.
Twitter @EfieZethu
“I have been waiting for this all my life, not always believing but constantly hoping.
This award gives me space to dream.”
Tsitsi Dangarembga, 2022 Windham-Campbell Recipient for Fiction
Siphiwe Gloria Ndlovu (Zimbabwe)
Siphiwe Gloria Ndlovu is a Zimbabwean filmmaker and scholar, as well as the author of two critically acclaimed
novels: ‘The History Of Man’ (2020) and ‘The Theory Of Flight’ (2018). The Theory of Flight, which won the 2019 Barry Ronge Fiction Prize, fuses together a range of histories and registers into a distinctive, moving, and provocative whole.
The novel tells the story of Genie, a visionary who flies in both literal and metaphorical senses, and her father, a freedom fighter and eccentric who is trying to build an airplane to bring his Dolly Parton-lookalike wife to Nashville.
A richly-textured meditation on colonial history and civil war, The Theory of Flight is also a magical realist novel of great wonder and a sweeping multi-generational family saga
. In her second novel, The History of Man, Ndlovu continues to explore nationhood and personhood, charting the violently destructive effects of settler-colonialism on both. She is an artist who dares to imagine her own mysterious realms, while never avoiding the devastating realities of the world in which we live. Ndlovu holds a PhD in Modern Thought and Literature from Stanford University, as well as master’s degrees in African Studies and Film from Ohio University. She has published research on Saartjie Baartman and she wrote, directed, and edited the award-winning short film Graffiti. She is a recipient of a 2018 Morland Writing Scholarship and of a 2020 Writing Fellowship at the Johannesburg Institute for Advanced Study (JIAS).
‘You have changed my life! One day, I will have words to speak of this, but for now all I have are thanks.’
Non-Fiction
Margo Jefferson (United States)
Born in 1947 in Chicago, Illinois, Margo Jefferson is a book and theater critic, a former staff writer for the New York Times and Newsweek, and the author of several books of nonfiction.
In both her short criticism and her longer works, Jefferson displays a storyteller’s grace: the power to transform any subject—no matter how difficult or diffuse—into a cohesive, compelling narrative. Her first book, ‘On Michael Jackson’ (2006), offers a masterful analysis of how Jackson’s life and career disrupted conventional understandings of gender, race, and mental illness.
Jefferson’s debut memoir, ‘Negroland‘ (2015), takes up similar questions in the context of her own experiences as a member of Chicago’s postwar Black elite. For Jefferson “Negroland” is a realm both physical—a world of medical school classrooms, social clubs, and theaters—and psychological, a state organized by strict rules about appearance and decorum.
Through a delicate combination of anecdote and argument, Jefferson shows us that the citizens of “Negroland” know that what they have can be revoked at any time, for almost any reason: Black privilege, unlike white privilege, “can be denied, withheld, offered grudgingly and withdrawn.” The recipient of a National Book Critics Circle Award (2016), a Guggenheim Fellowship (2008), and a Pulitzer Prize (1995), among many other honors, Jefferson is a Professor of Professional Practice in Writing at Columbia University. Her second memoir, ‘Constructing A Nervous System‘, will be published by Pantheon in April 2022.
‘Thrilled, in this case, is an understatement! I couldn’t be happier. Blissful is the word.’
Emmanuel Iduma (Nigeria)
Emmanuel Iduma is a Nigerian writer, editor, and photographer. The co-founder of Saraba (2009-2019), a non-profit
literary magazine dedicated to publishing emerging writers in Nigeria and other parts of Africa, Iduma is also the author of two books, the novel ‘The Sound Of Things To Come’ (2016) and the nonfiction work ‘A Stranger’s Pose” (2018).
A Stranger’s Pose blends several genres—memoir, photo essay, and travelogue—to evoke the rhythm of Iduma’s wanderings around the African continent.
We follow him from Rabat to Yaoundé to Addis Ababa and back again. With each section, the book provokes and resists expectations of linearity, moving forward only to loop back, leaping ahead only to pause and linger. Again and again, Iduma draws our attention to what is absent, or odd, or unfamiliar. He considers photographs of dead relatives, drafts of unsent emails; he observes, with great care, how people walk, what they wear, and how they talk. Like Emerson’s “transparent eye-ball,” Iduma achieves a kind of unselving; nothing, he discovers, is too small or too strange for his notice. “The gift I received,” he writes, “was the freedom to come to terms with my own estrangement.” His essays and art criticism have been published in Granta, the New York Review of Books, Aperture, n+1, and Artforum, among other places.
I Am Still with You, his memoir on the aftermath of the Nigerian civil war, is forthcoming from Algonquin (US), and William Collins (UK) in March 2023.
Links-http://www.mriduma.com/
‘It was a stunner, and still is, to be informed of the award of a prize of such magnitude and pre-eminence, to be listed alongside many writers I look up to. I am filled with gratitude to the Beinecke Library and remain keen with hope for the paths now made possible for me to tread.’
Poetry
Wong May (Ireland/Singapore/China)
Wong May’s poems exhilarate and excoriate, each precisely chosen word arriving as a surprise on the white space of the page. Her four collections—‘Picasso’s Tears’(2014), ‘Superstitions’(
Born in China, raised in Singapore, educated in the United States, and now living in Ireland, Wong May has a transnationalist vision, her reference points ranging from Li Qingzhao to the English Romantics, Simone Weil to Dora Maar, her mother’s imperious deathbed demands for Häagen-Dazs to the “58 Chinese ‘nationals’ [who] breathed / Their last with packed tomatoes / In a sealed van from Zeebrugge to Dover.” In her omnivorous engagement with the world, Wong May fractures the line not just between the personal and the political but between languages, nations, and traditions.
Again and again, she writes herself into places where certainty frays. In so doing, she expands our sense of what poetry might be, and do. She recently turned to translating classical Chinese poets. ‘In The Same Light:200 Tang Poets for Our Century’ is published by Carcanet Press and Song Cave; it is the Poetry Book Society Spring 2022 Translation Choice.
Twitter @wongmaycoey
‘This is a complete surprise, & miraculous coming from America! I have gone underground with my poetry for 40 years.’
Zaffar Kunial (United Kingdom)
A native of Birmingham, England, Zaffar Kunial is the author of one full-length poetry collection, ‘Us’ (2018), which was
shortlisted for both the Costa Poetry Award and the T. S. Eliot Prize.
In Us, Kunial, the son of an English mother and a Kashmiri father, takes his own identity as his central subject.
The poet’s “unfixed” self becomes a lens through which to investigate—sometimes with pain, sometimes with joy, always with provocation—the unfixedness of the world.
Taking us along on a taxi ride in Pakistan, looking with us at the rhododendron bushes in the country of his own birth, “that edgeland of central England,” Kunial’s deeply felt poems insist on the value of confusion and uncertainty, the rapture of being lost—and, perhaps fleetingly, found:
“The whole field, meanwhile, waiting for me / some astronaut or lost explorer, to emerge with a wave / that brings the ball / like time itself to hand. A world restored.”
Kunial’s poems offer us a world, if not restored, then re-visioned; cast under the glow of his luminous words, we see the formerly mundane—a DNA test, a spider tree, a cricket field, a butterfly—as if for the first time. Kunial is also the author of the chapbook ‘Six’ (2014), published as part of the Faber New Poets series. The winner of the Geoffrey Dearmer Prize (2014) and the Northern Writers’ Award (2013), he has been a poet-in-residence for the Brontë Parsonage and the Wordsworth Trust and now lives in Shipley, Yorkshire.
Twitter @zaffarkunial
‘I’m still rubbing my eyes at the news, and at the thought that my slim book made it through the judging process – one I didn’t know was happening at all – my world feels wider and kinder. I’m the most pleasantly shocked I’ve ever been.’
Drama
Winsome Pinnock (United Kingdom)
Winsome Pinnock is a singular voice in world theater. Over the past four decades, plays like ‘Tituba’ (2016), ‘Mules’ (1996), and The Winds of Change (1987) have established her as both poet and myth-maker, committed to taking formal risks and to asking difficult questions about the role of art in shaping cultures and institutions. Her most recent play, ‘Rockets and Blue Lights’ (2018), places at its center one of the nineteenth century’s most famous paintings: J. M. W. Turner’s “The Slave Ship.”
Moving between several sets of characters and ranging from the 1800s to the present, this intricately plotted drama compels us to confront the horrors of our shared past. It does so with compassion and wit, never once compromising Pinnock’s vision of theater as the communal creation of new, stranger, and perhaps truer histories.
The first Black British woman to have a play produced by the National Theatre, Pinnock was an associate professor of drama at Kingston University from 2005 to 2019 and has also been a senior visiting fellow at Cambridge University. She has worked as a dramaturg with the National Theatre’s New Views program as well as with the Royal Court Theatre’s International Department.
The prizes awarded to her work include the Alfred Fagon Award (2018), the Susan Smith Blackburn Prize Special Commendation (1990), the George Devine Award (1991), the Pearson Award for Best New Play (1991), and the Unity Theatre Trust Award (1989). She lives in London.
Links-https://winsomepinnock.co.uk/
Twitter @Winsome_Pinnock
‘This is going to have a huge impact on my process as it will give me the freedom to experiment and to work on projects in a non-pressured way. I still can’t quite believe it.’
Sharon Bridgforth (United States)
Born in Chicago, Illinois in 1958, Sharon Bridgforth is a poet-playwright who writes in what she describes as
“performance literature” or “ritual/jazz theater.” Her work re-imagines the possibilities of the Black avant-garde, drawing equally from the oral storytelling traditions of the rural South, Yoruba theologies, and improvisational jazz to create audience-centered experiences that expand beyond the physical space of the theater to conjure new practices of art, community, history, and spirituality.
Bridgforth is a writer of the fantastical in the most profound sense. Her subject is the in-between, the has-been, the never-was, the might-be—or, as she says, “the boths and the neithers.”
In her most recent play, dat Black Mermaid Man Lady (2018), Bridgforth invites us to join a cast of unforgettable characters—HoneyPot, Miss Kitty, and the Yoruba deities Osun, Oya, and Yemaya—on a journey to the bottom of the ocean. There, in the dwelling place of dat Black Mermaid Man Lady, a being “black black like a most beautiful night sky,” there seems to be no time; or, rather, all times coexist simultaneously. It is in this space, Bridgforth suggests, that art can best beguile, and that her audience—by allowing themselves to be beguiled, by answering the invitation to “chant” and “holler back”—can become characters themselves: creatures, like dat Black Mermaid Man Lady, who have placed themselves beyond the limitations of what we call reality.
Bridgforth has been awarded a Creative Capital Fellowship (2016), a Doris Duke Artist Award (2016), and a Lambda Literary Award (1998). She is also the executive producer and host of Who Yo People Is, a podcast series that “gives space to artists whose Work and artistic practices are rooted in serving our communities through healing/Spiritual and cultural traditions—centered in Love.”
Links-https://www.sharonbridgforth.com/
Twitter @SBridgforth
‘I am receiving this award with wide open arms, humbling crumbling with gratitude – calling the names of those on whose shoulders I stand, those that have loved and guided me, those known and unknown who are my champions. I am on my knees reciting today’s prayer… Thank you. Yes. Love. WTF!! With Joy’
About the prize
Established in 2013 with a significant gift from Donald Windham in memory of his partner of 40 years, Sandy Campbell, the Windham-Campbell Prizes are among the richest and most prestigious literary prizes on earth. The community, camaraderie, diversity, and inclusive nature of the Prizes honours the spirit of their lives.
Links-www.windhamcampbell.org
Twitter @WindhamCampbell @midaspr
Author
bridgeman.lenny@gmail.com