Prize Story on British Museum

New Voice Wins Prestigious Literary Prize With Story on Cultural Ownership

A striking story about cultural possession, told from a museum curator’s viewpoint, has captured the annual 4thWrite award. During a Wednesday evening event in London, officials announced Piyumi Kapugeekiyana as the recipient of the prestigious honor for her work, The Original Is Not Here. The narrative explores complex themes of repatriation and identity. It centres on a museum professional from Sri Lanka who provokes a fierce public debate. She stages an exhibition featuring a reproduction of the ancient goddess Tārā; the authentic statue remains housed within the British Museum. This victory highlights a growing conversation in the literary and cultural worlds. Kapugeekiyana's win places her among a celebrated group of authors discovered through the competition. The prize continues to be a vital platform for new talent.

A Platform for Underrepresented Talent

For nine years, this competition has provided a platform for fresh narratives from voices often unheard in the mainstream publishing world. A collaboration between publisher 4th Estate and the Guardian, the competition specifically seeks short stories from unpublished authors of color who are residents of Ireland and the United Kingdom. The award offers significant opportunities for emerging authors. The victor receives a £1,000 cash grant, attends a day-long seminar on publishing hosted by 4th Estate, and sees their literary work featured on the Guardian's online platform. This initiative provides a crucial launchpad, offering not just financial support but also invaluable industry access and exposure. Many past winners and shortlisted authors have secured book deals and forged successful literary careers, underscoring the prize’s substantial impact.

The Story That Captivated the Judges

The winning submission from Piyumi Kapugeekiyana, titled The Original Is Not Here, introduces the main character, Charitha, a determined curator at Sri Lanka’s National Museum of Antiquities. Charitha’s professional ambition is consumed by the repatriation of a revered statue of the goddess Tārā. Frustrated that the original artifact is held by the British Museum, she organises a provocative exhibit around a replica. This act ignites a firestorm of controversy, forcing Charitha to navigate intense public backlash and confront her own unexamined biases. The story skillfully weaves the political and the personal, setting Charitha’s professional struggle against the backdrop of a strained marriage. Judges praised the work for its sophisticated and thoughtful handling of a contentious subject, praising its captivating story, its relevance to current events, and its well-managed pace.

A Winner’s Promising Background

Piyumi Kapugeekiyana is a rising literary talent with a multifaceted academic and professional history. The Sri Lankan writer, who currently resides in London, holds a PhD in International Relations and a BA in International Business. Her intellectual background informs her nuanced exploration of complex global themes. Kapugeekiyana’s fiction has already gained recognition, having been longlisted and shortlisted for several awards, including the Oxford Flash Fiction Prize and the Cranked Anvil Press competition. She is also the 2024–25 recipient of the prestigious City Lit Malorie Blackman Scholarship for Unheard Voices. Her work has appeared in publications like the Flashy Gifts anthology. Furthermore, she was a finalist for the 2018 Bracken Bower Prize, an award for promising business book proposals from writers under 35.

Praise from a Distinguished Judging Panel

The 4thWrite award for this year was judged by a panel of influential figures from the worlds of literature, arts, and sports. Caleb Femi, a celebrated author, director, and photographer, lauded Kapugeekiyana’s story as “bold and inventive”. He noted that the literary creation tests the boundaries of style and substance while maintaining a profound human quality, describing it as a triumph. Lucy Knight, a features writer for the Guardian and fellow panelist, stated that Kapugeekiyana demonstrates a clear aptitude for creating short fiction. Knight also noted how the account skillfully navigates the challenging subject of public shaming and cancel culture, presenting a sophisticated and stimulating viewpoint. The panel, which included 4th Estate publisher Kishani Widyaratna, characterized the winning entry as a stimulating, clever, and surprisingly emotional tale.

The Visionary Founder Returns to Judge

Candice Carty-Williams, the prize’s founder, returned this year to participate on the decision-making board, bringing her journey full circle. She helped to establish the award while employed as a 4th Estate marketing executive, years before writing her popular novel Queenie. Carty-Williams expressed that returning to judge the prize she started nearly a decade ago felt like the most meaningful moment of her career. She reflected on the privilege of reading the submissions, noting the vast emotional and geographical landscapes the stories explored. Her presence on the panel underscores her continued commitment to fostering new talent and creating space for authors of color, a mission that has defined the prize since its inception.

The Accomplished Panel of Judges

A varied group of experts formed the decision-making board. This included Kishani Widyaratna, who holds the role of Publishing Director for 4th Estate and was also named 2024's Editor of the Year by the British Book Awards. Widyaratna has a distinguished career, having previously commissioned works at Picador Books from authors like Sarah Moss and Raven Leilani. The panel also benefited from the perspective of Caleb Femi. Femi is the award-winning author of the poetry collection Poor and was the first Young People’s Laureate for London from 2016 to 2018. Olympian and sports commentator Jazmin Sawyers, Guardian commissioning editor Lucy Knight, and Aitken Alexander associate agent Monica MacSwan completed the lineup, each bringing unique insights to the selection process.

A Shortlist of Daring New Voices

The 2024 shortlist showcased a remarkable range of talent and thematic ambition. Alongside Piyumi Kapugeekiyana, five other writers were recognised for their outstanding work. Nana Kwesi Boateng’s Allah Must Be a Black Boy was described by judge Caleb Femi as a “hauntingly lyrical meditation on migration and survival”. Yasmina Floyer’s Gorgeous offered an entertaining and intriguing exploration of misogyny and ageing through the genre of horror. The work Mira by Linda Helen Yu also made the shortlist, which Monica MacSwan called an “uncanny exploration of loneliness”. Jacqueline-Faith Ísọlá’s One Thousand Demons was praised as a laugh-out-loud tale set in a Nigerian church, buzzing with gossip and secrets. Monica Davis completed the shortlist with We’ve Defrosted Abraham Lincoln, a story Femi called “playful, absurd and piercingly smart”.

Image  Credit - by Luke Massey & the Greater London National Park City Initiative, CC BY 2.0, via Wikimedia Commons   

Exploring the Tārā Statue’s History

At the heart of the winning story is the statue of the goddess Tārā, a significant cultural and religious artefact from Sri Lanka. This gilt-bronze sculpture, dated to the 8th century, depicts a key figure in Mahayana Buddhism. Tārā is revered as a goddess of mercy and compassion, a bodhisattva who forgoes nirvana to help humanity. Her image serves as a focus for meditation on these qualities. The statue itself is a masterpiece of South Asian art, created using the sophisticated lost-wax casting technique. Its nearly life-size form is rendered with a striking blend of spiritual grace and sensual beauty, designed to inspire devotion.

The Artefact's Path to London

The Tārā statue’s path to its current home in London is deeply entwined with the history of British colonialism. Sir Robert Brownrigg, the former British governor of Ceylon (now Sri Lanka), removed the statue from the island around 1820. He subsequently donated the sculpture to the British Museum in 1830. For years, Victorian sensibilities deemed its semi-nude form too erotic for public display. The museum hid the statue in a storeroom for decades before it was finally exhibited. The story of its acquisition clearly illustrates how innumerable treasures were taken from their homelands and moved to Western institutions during the colonial era, a practice that is now under intense scrutiny.

The Global Debate on Repatriation

Kapugeekiyana’s story taps into a fierce and ongoing global conversation about the repatriation of cultural artefacts. Many institutions, for instance, the British Museum, hold vast collections of items acquired during colonial rule. Nations and communities of origin are increasingly demanding the return of these objects, arguing they have a right to their own cultural heritage. Proponents of repatriation state that these pieces were often taken unethically or stolen, and their continued presence in Western museums perpetuates colonial-era damage. Returning them is seen as a way to rectify historical wrongs and support cultural revitalisation.

Arguments for Universal Museums

The debate over repatriation is complex, with museums presenting counterarguments for retaining contested objects. Some institutions cite legislation, like the British Museum Act of 1963, which legally restricts them from deaccessioning items in their collections. A key argument is that major museums act as custodians of a shared global heritage, making diverse cultural histories accessible to a worldwide audience. They contend that these "universal museums" place objects within a broader human story, beyond specific national identities. There are also concerns that some artefacts could be at risk of theft or neglect if returned to countries with fewer resources for preservation and security.

A Prize with a History of Success

The 4thWrite prize has a proven track record of identifying and nurturing major literary talents. Its alumni include authors who have achieved critical acclaim and commercial success. Bolu Babalola, who authored the popular books Love in Colour and Honey & Spice, was previously recognised by the award. Another past honoree, Guy Gunaratne, later won both the Dylan Thomas Prize and the Jhalak Prize for his acclaimed first novel, In Our Mad and Furious City. Other notable writers who have passed through the prize include Kit Fan, the writer behind Diamond Hill, and Kasim Ali, who wrote Good Intentions. These successes demonstrate the award’s crucial role in diversifying the literary landscape.

Last Year’s Influential Winner

The previous year's award went to Yan F Zhang for her work Fleeting Marrow. This work took its inspiration from the historical expulsion of Chinese seafarers from the United Kingdom following the conclusion of the Second World War. The story follows a woman’s life from birth to death, exploring themes of loss, tragedy, and reconciliation against this historical backdrop. The judges praised the work for transforming the raw material of a historical tragedy into something deeply moving. Zhang’s victory, like Kapugeekiyana’s, shows the prize’s commitment to stories that engage with complex histories and social issues, bringing vital, under-told narratives to a broader audience.

The Publishing Industry’s Diversity Challenge

Prizes like 4thWrite exist within the context of a UK publishing industry that continues to wrestle with issues of diversity and inclusion. According to a 2024 report from the Publishers Association, ethnic minority representation across the industry saw a disappointing drop, falling two percentage points to 15%. The report, based on responses from over 9,000 employees, highlighted a specific decline in the number of Asian and British Asian staff. The industry also struggles with socio-economic diversity, with two-thirds of the workforce coming from professional backgrounds. While female and LGBTQ+ representation remains relatively high, there is a clear need for initiatives that support broader representation.

The Vital Role of Targeted Initiatives

The persistent lack of diversity in publishing highlights the necessity of programmes like the 4thWrite prize. For years, the industry has acknowledged the need to better reflect the UK population, with the Publishers Association launching an inclusivity action plan in 2017. However, progress has been slow and, in some areas, has regressed. Prizes that specifically target underrepresented groups provide a direct and effective pathway into the industry. They offer a vital platform for talent that might otherwise be overlooked by traditional channels. By celebrating and promoting these voices, such awards actively work to dismantle barriers and enrich the UK’s literary culture with a wider range of stories and perspectives.

Caleb Femi: A Judge’s Artistic Journey

Judge Caleb Femi brings a dynamic and multi-disciplinary perspective to the prize. Born in Nigeria, Femi moved to London at age seven and grew up on the North Peckham Estate. This experience deeply informs his work, including his debut poetry collection Poor, which won the prestigious Forward Prize. An accomplished artist, Femi works as a writer, photographer, and director, creating films for HBO, the BBC, and brands like Louis Vuitton. Between 2016 and 2018, he served as the first Young People’s Laureate for London, using his platform to engage youth across the capital with poetry and the arts. His involvement as a judge underscores the prize’s connection to contemporary artistic practice.

Kishani Widyaratna: A Publishing Powerhouse

Kishani Widyaratna’s role as a judge lends the prize significant industry authority. In her role as Publishing Director for 4th Estate, she is recognised for her sharp editorial eye and her commitment to championing groundbreaking writers. She was named Editor of the Year at the 2024 British Book Awards. Her acquisitions include critically acclaimed and bestselling novels. Widyaratna has spoken about the challenges of working within a publishing industry that can be insular and conservative, often holding received ideas about what constitutes a "good" or "important" book. She champions the need to stay open and independent, actively seeking out voices that push boundaries and illuminate the human experience in new ways.

A Future Shaped by New Narratives

The victory of Piyumi Kapugeekiyana and the ambitious work of all the shortlisted writers signal a vibrant future for literature. Their stories challenge readers to engage with difficult questions about history, identity, and justice. By tackling themes of cultural ownership and the legacies of colonialism, these authors are not just telling compelling tales; they are actively shaping contemporary discourse. The 4thWrite prize, through its dedicated mission, ensures these essential conversations continue. It helps to build a more inclusive literary landscape where the breadth of human experience is reflected. The award’s ongoing success promises that more daring, imaginative, and original voices will find their way to readers for years to come.

The Power of the Short Story

The short story form, championed by the 4thWrite prize, proves itself once again as a potent vehicle for exploring vast ideas within a compact space. Kapugeekiyana’s work, as praised by judge Monica MacSwan, contains characters with depth, comedic touches, instances of heartache, and an unforeseen turn of events. The format allows for intense focus, enabling writers to confront complex subjects like identity politics and stolen artefacts with precision and care. It encourages readers to discuss nuanced themes and handle them thoughtfully. This competition celebrates the short story’s unique ability to deliver a powerful emotional and intellectual impact, leaving a lasting impression long after the final sentence is read.