The Women’s Prize for Fiction shortlist for 2024 represents a diverse range of narratives that delve into the complexities of women's lives, from intimate family dynamics to broader historical contexts. As one of the judges alongside Ayọ̀bámi Adébáyọ̀, Laura Dockrill, Indira Varma, and Anna Whitehouse, I am honoured to have been part of the selection process.
Isabella Hammad’s Enter Ghost follows Sonia, a British-Palestinian actor, on a journey to visit her sister in Israel. Drawn into a local theatre troupe's ambitious production of Hamlet in the West Bank, Sonia grapples with questions of art, history, and family in this nuanced and gorgeously written tale.
Aube Rey Lescure's River East, River West transports readers to mid-2000s Shanghai, where the intertwining stories of Alva and Lu Fang explore themes of identity and belonging against the backdrop of Chinese history. With its originality and emotional depth, this novel offers a fresh perspective on cross-cultural narratives.
Restless Dolly Maunder by Kate Grenville is a poignant exploration of resilience and defiance in the face of societal constraints. Set in 1881 New South Wales, the story follows Dolly as she navigates the challenges of being a woman in a male-dominated world, showcasing Grenville's talent for blending plain yet poetic prose with evocative landscapes.
VV Ganeshananthan's Brotherless Night offers a searing portrayal of the Sri Lankan civil war through the eyes of protagonist Sashi. As Sashi grapples with the loss of her brothers and the brutality of war, Ganeshananthan's novel shines a light on the resilience of women amidst conflict and the complexities of moral ambiguity.
In The Wren, The Wren by Anne Enright, the intricate dynamics of mother-daughter relationships take centre stage. Through the lens of Carmel and Nell's fraught bond, Enright explores themes of trauma, memory, and the blurred lines between art and artist with scalpel-sharp prose and emotional depth.
Claire Kilroy's Soldier Sailor offers a raw and honest portrayal of new motherhood, capturing the myriad emotions—from grief to love to anger—that accompany the journey of parenthood. With its unflinching examination of the realities of childcare and the transformative power of love, Kilroy's novel is a testament to the universal aspects of the maternal experience.
From intimate family dramas to sweeping historical narratives, each novel on the shortlist offers a unique perspective on women's experiences. As readers immerse themselves in these captivating stories, they are reminded of the power of literature to illuminate the complexities of the human condition.
Harvard University has agreed to transfer a collection of historic daguerreotypes believed to be among the earliest photographs of enslaved people in the United States to the International African American Museum in South Carolina. The move follows a protracted legal dispute with Tamara Lanier, a Connecticut author who claims to be a descendant of two of the individuals pictured.
The images, taken in 1850, depict several enslaved individuals, including a man named Renty and his daughter Delia, who were forced to pose for the photographs by Swiss-born Harvard professor and zoologist Louis Agassiz. Agassiz commissioned the daguerreotypes as part of his now-discredited research to support polygenism — the belief that different races evolved separately and unequally.
The 15 photographs, stored for decades at Harvard’s Peabody Museum of Archaeology and Ethnology, include individuals identified as Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty. The images were rediscovered in 1976 and have since become central to wider discussions about American universities’ historical ties to slavery.
Ms Lanier, who filed a lawsuit against Harvard in 2019, argued that the photos were taken without consent and accused the university of profiting from them through licensing fees. Although her legal claim to ownership was dismissed in 2022 by the Massachusetts Supreme Judicial Court, she was permitted to pursue damages for emotional distress. The court also found that Harvard bore “complicity” in the “horrific actions” linked to the creation of the images.
Harvard has not confirmed whether Ms Lanier is related to the individuals in the daguerreotypes. However, the university said it had “long been eager” to transfer the images to another public institution to place them in a more appropriate context. “Harvard has long been eager to place the Zealy Daguerreotypes with another museum or other public institution to put them in the appropriate context and increase access to them for all Americans,” a university spokesperson said. They acknowledged that Ms Lanier’s claim to ownership had created “a complex situation.”
The settlement now ensures that all of the images, not just those of Renty and Delia, will be transferred to the International African American Museum in Charleston, South Carolina — the region where the individuals depicted were once enslaved. Ms Lanier described the outcome as a “homecoming” and said she was “ecstatic” with the result.
“I have always known, first of all, that I could never care for the daguerreotypes at the level they would require,” she told the BBC. “There are so many ties that bind Renty and Delia and the other enslaved people to that particular part of South Carolina that to repatriate them there would be like a homecoming ceremony.”
Although the museum did not play a role in the legal proceedings, it has supported Ms Lanier’s genealogical research. Tonya Matthews, president of the museum, said the institution would display the images with “truth and empathy.”
“These are not gentle images and the story behind how they came to be is even more difficult to hear,” Ms Matthews said. “So to be in a space that has already created room for conversations about the inhumanity of slavery and enslavement and how far those implications echo even to today is what we do and it’s our mission.”
The transfer comes amid broader efforts across the United States to confront the legacy of slavery within academic institutions. In 2016, Harvard Law School retired a crest linked to an 18th-century slaveholder following student protests and a review of its historical ties.
While Harvard has not disclosed the full terms of the settlement, the decision to relinquish the images is seen as a significant development in the ongoing dialogue about historical accountability, reparative justice, and institutional responsibility.
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A deep love for writing from a young age meant it was almost inevitable that AA Chaudhuri would one day return to her first passion.
After excelling as a junior tennis player and forging a successful career in law, she reconnected with the magical worlds of storytelling by writing her own books. That creative drive has since taken her on a successful journey as a crime thriller author, with critically acclaimed novels packed with twists and turns.
With a Kolkata-born father, she is proud of her Indian heritage and includes it in her books wherever possible. She will follow up titles such as The Scribe, She’s Mine, The Loyal Friend and The Final Party with The School Gates, which will be published next Thursday (5). It centres on the mysterious murder of a single mother hiding dark secrets. As with her earlier work, nothing is quite as it seems in this twist-filled tale.
Eastern Eye caught up with the acclaimed British author to discuss her writing journey, her recent novel Under Her Roof, upcoming book The School Gates, sources of inspiration, and advice for aspiring writers.
Her book ' Under Her Root'Facebook/ AA Chaudhuri
What led you towards the crime genre?
I fell in love with the crime genre when I picked up my first John Grisham novel in my mid-teens. I love the intrigue, suspense, twists and turns that keep the reader guessing and turning the pages. It is a genre that challenges both reader and writer – one that reflects society at a given time, and human nature at its darkest. As fallible beings, we are all susceptible to that darker side, and I think this relatability is what makes it such a compelling genre.
How would you describe your journey as a writer so far?
Tough and rewarding. I started writing in 2010, but it took me five years to get my agent, Annette Crossland, and another three to land my first publisher. That was despite writing a book a year for eight years, refining them until I knew them by heart, and almost giving up hope they would ever see the light of day. I faced a lot of rejection, came close to offers from big publishers, and shed more than a few tears. But I kept going, always hopeful that I would get my break.
Tell us more about that inspiring journey.
My story is no different to thousands of others. Writing is a tough, competitive and highly subjective business. You need a thick skin to cope with rejection. When my Kramer and Carver legal thrillers were finally published in 2019, nine years after I started writing, it was a great feeling to know my work was out there.
Then in February 2021, I signed a deal for two psychological thrillers with Hera Books. The first of those – She’s Mine – was something of a breakthrough, even though it took three years to get picked up.
Her book 'The School Gates'Facebook/ AA Chaudhuri
Now you are firmly established.
Having struggled for so long, it feels surreal that my seventh book will be published in June, and that I have appeared at several major crime fiction festivals in the last couple of years, including on the main stage at Harrogate. That was something I could only dream of when I started.
Your last book, Under Her Roof, received great reviews. What inspired it?
One of the things that makes psychological thrillers so compelling is their focus on ordinary people in familiar situations that suddenly take a dark turn. The landlord-tenant dynamic is a classic example, but one that has not been explored much. It struck me as a relationship that could become particularly sinister, as each party often knows very little about the other’s background or intentions.
Tell us more about that.
I wanted to combine that with the idea of Big Brother watching us – the way we expose our lives on social media, often to complete strangers. That makes us vulnerable and potentially the target of stalkers, which terrifies me, and I’m sure many others.
I thought it would be intriguing to explore that theme through a landlord-tenant relationship, with all the claustrophobia, helplessness and fear that can come with it.
Tell us about your forthcoming book, The School Gates.
The School Gates centres on the murder of single mother Lola Martinez, whose body is found on a riverbank the morning after a school Christmas social.
Suspicion falls on her group of mum friends, but it soon becomes clear someone from Lola’s past may also have had motive. Meanwhile, a friend she confides in online may hold the key. The story unfolds through the eyes of the investigating officer and Lola herself, via flashbacks that trace events from when her son first joined the school up to her death.
Like all my books, it is dark and twisty, with plenty of shocks – including a big final twist.
Who do you hope will connect with this book?
Anyone familiar with the school gates setting – the cliques, gossip, pushy characters and rivalries between parents – will definitely relate.
What is your favourite part of the book?
I love the gossip and intrigue between the parents. And the concluding chapters – where everything comes together – are my favourite, especially the final twist.
How do you feel ahead of a book release?
Excited and nervous.
What inspires you as a writer?
Society and human nature, especially the circumstances that can drive people to do terrible things. Things are rarely black and white. What kind of books do you enjoy reading, and do you have a favourite? I enjoy dark psychological thrillers. Gone Girl is a favourite – it starts with such an ordinary premise (a marriage gone wrong), but takes it to such deliciously dark extremes.
What makes for a great crime novel, in your view?
A gripping plot, strong characterisation and punchy prose are essential. The reader should be kept guessing with enough twists, turns and red herrings.
What advice would you give to aspiring writers?
Write because it makes you happy. Rejection is inevitable, so you have to love the process and believe in yourself. Focus on your craft and write what feels natural – readers will see through anything too contrived. Read widely; you can learn so much from other writers. Be active on social media – it helps build connections in the writing community and gets your name out there.
Why do you love being a writer?
I love letting my imagination run wild and getting lost in the worlds and characters I create. Writing is cathartic – an escape from everyday stress – and there is no better feeling than entertaining readers and transporting them somewhere else.
Finally, why should readers pick up your new novel?
Because it is full of suspense, characters who you will love to hate, and twists that will blindside you.
The School Gates, in paperback, will be published next Thursday (5)
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The image shows a stencilled lighthouse on a plain beige wall
A new artwork by Banksy has been unveiled on the artist’s official Instagram account, but the exact location of the piece remains undisclosed.
The image shows a stencilled lighthouse on a plain beige wall, accompanied by the phrase: “I want to be what you saw in me.” The piece features a cleverly drawn false shadow from a nearby bollard, creating the visual effect that the lighthouse is formed by the silhouette of the street furniture.
Despite the post, Banksy has not provided any indication of where the artwork is located. A second photograph shared on Instagram shows two people walking dogs near the piece, though it does not offer significant clues about the setting.
Speculation online has suggested that the street could be somewhere in Marseille, France, but this has not been confirmed. Another version of the image circulating online shows a blurred figure on a scooter passing the wall, which also features a tag that reads "Yaze". The same name is used by Canadian graffiti artist Marco The Polo, who has referred to Banksy as a source of inspiration.
Banksy, who has maintained anonymity throughout his career, typically confirms the authenticity of his work via his verified Instagram account. Many of his previous artworks have tackled political and social themes, including immigration, conflict, and homelessness.
In December 2024, Banksy posted another piece showing a Madonna and child, incorporating a wall fixture that resembled a bullet wound in the figure’s chest. Last summer, he also released a series featuring animals across different locations in London, though their meaning was not explicitly stated.
The new lighthouse piece has sparked widespread interest, but until its physical location is confirmed, it remains one of Banksy’s more mysterious contributions.
Bollywood legend Raj Kapoor is best remembered for his brilliant films, beautiful music and timeless cinematic legacy, which includes a famous family of stars.
His impressive body of work, which entertained generations – including Barsaat, Awaara, Shree 420, Chori Chori, Sangam, Mera Naam Joker, Bobby, Prem Rog and Satyam Shivam Sundaram – is widely known. But beyond the many milestones, impact and his larger-than-life persona, there are rare facts about Kapoor that make him even more fascinating.
Born on December 14, 1924, he passed away on June 2, 1988, aged 63. Eastern Eye marks his death anniversary this week by taking a deeper dive into his life and revealing 20 things you may not know about him.
Name: The superstar’s birth name was Ranbir Raj Kapoor. The name ‘Raj’ was also given as the middle name to all his brothers. His grandson, actor Ranbir Kapoor, is named after him.
Bari-DadiFacebook/ Society
Debut: Kapoor made his debut as a child artiste in Inquilab (1935) before taking on a lead role in Neel Kamal (1947). However, his first appearance on screen was in a lesser-known Bengali film, BariDadi, as a very young child.
Beginning: Unlike star kids today, Kapoor did not receive any special privileges. The son of legendary actor Prithviraj Kapoor started at the bottom – sweeping studio floors and working as a clapper boy.
Kapoor discovered several leading talentsDigital Studio India
Young sensation: Did you know that Kapoor was only 24 when he founded his iconic production banner RK Films in 1948? That same year, he also produced, directed and starred in Aag.
Discovery: Kapoor discovered several leading talents, including launching teenage sensation Dimple Kapadia in Bobby (1973). Actress Nimmi was also discovered by him – she was visiting a shoot when Kapoor offered her a role in his 1949 hit Barsaat, which she accepted.
Raj Kapoor ANI
Music: Shankar–Jaikishan, who delivered some of Bollywood’s greatest soundtracks – including Awaara, Shree 420, Chori Chori, Yahudi, Junglee, Professor, Janwaar and Brahmachari – were working in Kapoor’s father’s theatre company when he gave them their first film break, composing for Barsaat.
Nargis and Raj Kapoor in BarsaatFilmiGeek
Record-breaker: At just 25, Kapoor’s 1949 production Barsaat became the highest-grossing Hindi film of its time. Soon after, while he was still in his 20s, he built his own film studio.
Inspiration: Charlie Chaplin had a profound influence on Kapoor. The Indian actor was moved to tears when he finally met his idol.
Poet: Renowned lyricist Shailendra, who wrote evergreen songs such as Awaara Hoon (Awaara), Mera Joota Hai Japani (Shree 420), Ajeeb Dastan Hai Yeh (Dil Apna Aur Preet Parai), Dost Dost Na Raha (Sangam) and Aaj Phir Jeene Ki Tamanna Hai (Guide), was first spotted by Kapoor at a poetry gathering. He offered him the chance to write for films.
Near miss: Kapoor’s 1951 classic Awaara broke box-office records and took Hindi cinema global, but he almost didn’t produce, direct and star in it. Writer Khwaja Ahmad Abbas had initially offered the story to Mehboob Khan, but withdrew it after objecting to his casting choices (Ashok Kumar and Dilip Kumar as father and son). He later handed the story to Kapoor, starting a dream partnership that included Shree 420 (1955), Jagte Raho (1956) and Bobby (1973).
Pathbreaker: Kapoor used striking locations in his films, but with Sangam (1964), he pioneered the trend of shooting across international sites – including London, France and Switzerland – setting a precedent for other producers.
Fight: At the premiere of Sangam, a heated argument broke out between Kapoor and writer Inder Raj Anand. Anand reportedly slapped Kapoor. Kapoor retaliated by having him banned from Bollywood, resulting in Anand losing 18 film projects, and subsequently suffering a heart attack. The two later reconciled.
Few realise his brothers-in-law included actors Prem Nath and Prem Chopra Bollywoodshaadis
Relations: Most fans know of Kapoor’s famous family members across generations – including Shammi, Shashi, Rishi, Kareena, Karisma and Ranbir Kapoor. But few realise his brothers-in-law included actors Prem Nath and Prem Chopra.
All-rounder: Affectionately called “the great showman”, Kapoor was best known as an actor, director and producer. But he was also a skilled musician and contributed creative ideas for the songs in his films. He was a respected film editor too.
Hidden gem: While Kapoor is best known for classics he starred in or directed, he also produced Boot Polish (1954), regarded as one of the finest children’s films ever made in Bollywood. It won multiple awards and remains a hidden gem in his body of work.
Raj Kapoor and Nargis during movie shootBollywoodshaadis
Heartbreak: The affair between Kapoor and Nargis is well known. After she married Sunil Dutt, Kapoor was reportedly so heartbroken that he burned himself with cigarettes, drank heavily and cried for days.
Other affair: Few know about Kapoor’s extra-marital relationship with actress Vyjayanthimala. Rishi Kapoor revealed that his mother temporarily moved into a hotel with their children and gave Kapoor an ultimatum to end the affair, which he did.
Failure:Mera Naam Joker (1970) is now seen as an all-time classic, but it was a commercial disaster on release and nearly bankrupted Kapoor. He bounced back with the low-budget Bobby (1973), which became a massive hit.
Cooking: Away from films, Kapoor had a passion for cooking – it was how he relaxed. Though he loved simple home-cooked meals, the self-confessed foodie also knew fine dining well and regularly hosted lavish dinner parties.
Friendship: After the record-breaking success of Andaz (1949), Kapoor and Dilip Kumar never acted together again, leading many to assume they were rivals. In fact, they shared a deep friendship and were both born in Peshawar. Kapoor even offered Kumar a lead role in Sangam (1964), letting him choose between the two parts. Kumar was devastated by Kapoor’s death and was by his side in hospital during his final days.
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Sundaram Tagore with Sebastião Salgado in Venice (2015)
When film director Danny Boyle saw Sebastião Salgado’s photograph of Churchgate Station in Bombay (now Mumbai), he knew this was where he would end Slumdog Millionaire with the rousing Jai Ho dance sequence, writes Amit Roy.
This was revealed to Eastern Eye by Sundaram Tagore, who owns art galleries in New York and Singapore and is about to open one in London (he is moving from the previous smaller venue in Cromwell Place).
Tagore, who has flown in from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23), last week participated in a photography exhibition called Photo London at Somerset House.
Now in its 10th year, “the UK’s leading photography fair” said that Photo London 2025 was “dedicated to the past, present, and future of photography”.
Salgado’s iconic 1995 photograph of Churchgate Station in Bombaygetty images
Tagore had a booth where he showcased work by several celebrated photographers, including three – Salgado, Steve McCurry and Karen Knorr – all of whom have drawn inspiration from India.
The work of the Brazilian-born Salgado has been described by Andrei Netto of The Guardian as an “instantly recognisable combination of black-and-white composition and dramatic lighting”.
“He’s a world-renowned photographer who has a deep relationship with India,” said Tagore, standing in front of Salgado’s famous photograph of Churchgate railway station in Mumbai (previously Bombay).
The photograph was taken by Salgado in 1995 (when Bombay was renamed Mumbai) as part of a decade-long series on the subject of “migration”, said Tagore, who explained the circumstances in which the picture was taken.
“When he got to the station, he knew he wanted a vantage point higher up,” said Tagore. “Then he was told he’d need to go to an office to get clearance (because everything in India is bureaucratic). He was looking around, thinking ‘Where can I take a photograph of Churchgate?’ Just then he saw this scene and, without waiting for official clearance, just snapped the picture. And in the migration context, if you look carefully at the picture, only two people are static. There is this man who appears to be looking across the crowd to a woman sitting down.”
MF Husain in his Bombay studio (1993); Karen Knorr with her works shown at Photo Londongetty images
Tagore said Boyle happened to come across the picture when he was shooting Slumdog Millionaire in 2007, with Dev Patel and Freida Pinto in the lead roles. Boyle is reported to have said, “This is where I will end the film.”
Tagore added, “This is where the Jai Ho dance scene takes place. That was the inspiration. It was all a bit accidental.”
In his booth, Tagore had also included photographs by McCurry, who is just as famous for his images captured in India.
He caught a boy running down a lane in Jodhpur in 2007. On a taxi journey between Jodhpur and Jaisalmer in 1983, he captured a group of women caught in a sudden sandstorm. He photographed the painter MF Husain in his Bombay studio in 1993. And, in China, in 2004 he took a photograph of Shaolin monks in training in the city of Zhengzhou.
The Opium Smoker, Chitrasala, Bundi (2017) by Knorr and Steve McCurry’s photograph of women caught in a sand storm in Rajasthan in 1983getty images
Present alongside Tagore was photographer Karen Knorr, who talked to Eastern Eye about her striking images – she takes pictures of lions, tigers, peacocks, horses, deer, elephants, cheetahs and swans, for example, and inserts them into photographs taken separately of ornate rooms in palaces and forts in Rajasthan.
She is a German-born American photographer, “the product of a photojournalist mum and a father, who was an editor of a Stars and Stripes American paper in Frankfurt am Main, where I was born”.
She grew up in Puerto Rico and now lives in London.
Her website says that her “photography explores cultural heritage and its ideological underpinnings. Questions concerning post-colonialism and its relationship to aesthetics have permeated her photographic work since the 1980s. Her acclaimed work, India Song, researched the stories and myths of India, photographing animals and placing them in temples and palaces across heritage sites in India. In 2024 Sundaram Tagore Gallery held a solo exhibition of her work, Karen Knorr: Intersections.”
Works shown at Photo London included The Opium Smoker, Chitrasala, taken in Bundi in 2017.
Standing in front of two of her photographs – one called The Transgressor, taken at Takhat Vilas in Jodhpur in 2022, and another titled A Moment of Solitude at Amer Fort in 2021 – she spoke about how India had changed her life.
A British photographer called Anna Fox introduced Knorr to Abhishek Poddar, head of the Museum of Art in Bangalore (now Bengaluru).
She remembered: “He picked up the phone and said, ‘Why don’t you come to India?’ And I said, ‘Why not?’”
getty images
There have been numerous trips to India since her first visit – a “very long road trip across Rajasthan”.
“I immersed myself in India. I would revisit places I had visited before. I am very interested in how time changes a building. I just sort of fell in love with the country. Its hybridity is what really interested me, this idea that architecture could be there for diversity, reconciliation, different cultures coming together. I read most of William Dalrymple’s books and his very critical and alternative history of India that didn’t glorify the British empire. Some of the spaces are older than British rule. What interested me were the Muslim inflections in the buildings. I read the Mahabharat and the Ramayan, everything from (American Indologist) Wendy Doniger to Dalrymple.”
As for the animals inserted into her pictures, she said: “I found the animals were as important as the cultural heritage. I use them as transgressors and disrupters. They are not supposed to be there. I didn’t photograph the animals in situ. That would never work. The animals would move. So, I became a wildlife photographer. Often, I wouldn’t know which animal goes where. I would work on that in London. The animal chosen has to work within the space. It’s about designing an effective image.”
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