Among Australia’s major literary prizes, the Barbara Jefferis Award stands out for its focus, not just on the literary merit of a novel, but on the representation of women and girls within its pages. While at the inauguration of the award there was some controversy about the implications of a prize that judges ‘fiction based on its messaging’[1], there’s no denying that the award has generated thought and discussion about the representation of women and girls in literature, and highlights the need for these conversations to be ongoing.

Named for Barbara Jefferis, writer, feminist and founding member of the Australian Society of Authors, the award was established as a result of a bequest from Jefferis’ husband, John Hinde. In honour of Jefferis’ feminist legacy, which included contributions to feminism via both her literature and advocacy, Hinde specified the criteria for the prize, offered for ‘the best novel written by an Australian author that depicts woman and girls in a positive way, or otherwise empowers the status of women and girls in society.’

But what does a positive depiction of women and girls look like? What does it mean to empower the status of women and girls in literature?

Over the years, the judging of the Barbara Jefferis Award has highlighted the different considerations important to answering these questions. In 2008, the judges praised the inaugural winner, Rhyll McMaster’s Feather Man, for its complex female characters, depicted ‘in all their fabulous monstrosity’. In 2010, Kristina Olsson’s winning The China Garden was admired for its depiction of female resilience, suggesting ‘that it is always possible to make new things out of the past, however fractured or painful’. And in 2014, Fiona McFarlane’s The Night Guest, explored the life and sexual desires of an elderly woman, offering insight into a group of women who have traditionally been rendered invisible in literature.

As feminist conversations evolve in our society, so too does the interpretation of the criteria of the award evolve, raising new issues for discussion. In 2018, judge Sandra Yates decried the plethora of novels where the abuse of women featured as the driving force behind the plot, stating:

“We were surprised, I have to say, that so many even in the longlist seemed to have such dark, negative portrayals of women in them…We [women] don’t need any more books about our capacity to endure, I think we have established that.”[2]

In contrast, the winning title from that year, Libby Angel’s The Trapeze Act, was praised for its strong female protagonist in charge of her life, who may not be likeable, but who demonstrates bravery and willpower.

But where is the line drawn between a story featuring suffering and endurance, and a story about the resounding resilience and strength of women? Does a female character need to be likeable to empower the status of women in society? Can a positive depiction of women include a woman who is not able to overcome all the obstacles society lays in her path by virtue of her gender? It is exactly these kinds of discussions that the Barbara Jefferis Award generates.

This year, the judges are bringing an intersectional approach to the criteria; aware that today’s feminism must examine how many factors, including racism, sexism, classism, ageism all intersect for marginalised groups. We are looking forward to the announcement of the 2020 Barbara Jefferis Award shortlist in October, and the continued exploration of positive representations of women.

[1] Wyndham, S. (2007) ‘Rich new award for the female unique’, The Sydney Morning Herald, 31 March. Available at: https://www.smh.com.au/entertainment/rich-new-award-for-the-female-unique-20070331-gdpt5j.html

[2] Morris, L. (2018) ‘Boys should read ‘girls’ books to help end toxic male culture’, The Sydney Morning Herald, 2 November. Available at: https://www.smh.com.au/entertainment/books/publishers-urged-to-end-gender-bias-in-australian-books-20181031-p50d2s.html