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A. D. Hope Prize
or (Association for the Study of Australian Literature) : A. D. Hope Prize
Subcategory of ASAL Awards
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'The A.D. Hope Prize is awarded annually for the paper judged to be the best ASAL July annual conference paper delivered by a postgraduate student. The paper is to be sent to the judging panel, in publishable form, after the conference (date to be announced each year). The winning paper will receive publication in JASAL and $500.' (Source: )


2015 winner Salvador Torrents and The Birth of 'Crónica' Writing in Australia Catherine Seaton , 2015 single work criticism
— Appears in: JASAL , vol. 15 no. 3 2015;

'Creative writing in Australian Spanish-language newspapers has to date taken many forms, from short stories to poems, from memoirs to crónicas. Crónicas are writings that comment on the happenings of daily life, social habits and the concerns of communities, at times employing humour and satire while at others adopting a more sombre tone. Crónicas are a significant genre because they serve the reading community by touching on many of the themes that resonate with the migrant experience.

'While Spanish-language crónicas first appeared in Australian newspapers in the 1970s, their origins in this country were established much earlier by a Spanish migrant from Catalonia, Salvador Torrents. Torrents fled persecution as a result of his involvement in anarchist politics and arrived in Australia in 1916, working in the sugar cane fields near Innisfail, North Queensland. Up until his death in 1952 he wrote profusely in a variety of genres, including the crónica, and his work was published in European and North American newspapers. This study examines the way in which Torrents’ writings on politics, family life, social customs and gender relations informed an international audience, projecting the migrant’s perspective of an Australian experience to a worldwide readership.' (Publication abstract)

2014 winner Beyond Generation Green : Jill Jones and the Ecopoetic Process Caroline Williamson , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'‘I don’t belong to generation green,’ announces Jill Jones in her poem ‘Leaving It To the Sky’ (Dark Bright Doors, 2010); and in her blog Ruby Street she has voiced her discomfort with having her work seen as embodying ‘a form of comfortable ecopoetic with some fancy philosophic or metaphysical flourishes’. In ‘Leaving It To the Sky’, her narrator writes instead of an equivocal relationship to a particular city, memories of a suburban working-class childhood, and the need to avoid being allocated to any school of thinking, any ‘overarching narrative’, at all. The poem is not primarily concerned with landscape or the natural world, but opens itself to difference and contradiction, leaps of association, a refusal to be disciplined into membership of an accepted group of concerned writers.

'This paper will consider how Jill Jones tackles the ecopoetic as process rather than category. Using the work of Walter Benjamin and Timothy Morton, I argue that the ecopoetic in this sense may have little to do with a traditional sense of ‘nature’ – which has been absorbed, in Joan Retallack’s words, ‘into literary tropes and musings fed by chronically ego-bound, short-sighted human desires’. Instead, as this paper will demonstrate, Jones often reaches out to otherness, incorporating the languages of popular culture, journalism, politics, technology and the corporate: an experiment in contemporary consciousness, the human and the non-human inextricably entwined.' (Publication abstract)

2013 winner In/On/Of – The Mixed Poetics of Australian Spaces; or How I Found the Cubby. A Fictocritical Essay on White Australian (Un)Belonging Catherine Noske , 2013 single work criticism
— Appears in: JASAL , vol. 13 no. 2 2013;
'The white Australian relationship with landscape is complicated by notions of belonging and ‘unbelonging’; while literary representations are often marked by complex, conflicting emotions. Defining and shaping these relationships are the prepositions with which we characterize separate spaces, each one signalling a different power balance and attitude, linked directly through language to the colonial past. Responding to the poetics of Australian spaces put forward in Jennifer Rutherford’s and Barbara Holloway’s Halfway House, this paper offers the heterotopia as one possible re-conceptualization of Australian space. Heterotopias focus on that which functions above and beyond the everyday, combining internal (emotional) and external (physical) constructions of space to create sites of importance to society. They juxtapose the fixed with the mutable and create a discourse of relation between the various spaces of our world. The cubby is such a space of juxtaposition, closed and intimate in its nature as a highly personal space, and yet simultaneously based within wider social relations and part of a highly normative childhood experience. In examining the cubby as a heterotopic space through a fictocritical remembrance of my own childhood, this paper attempts to represent both the complexity of belonging as a sensation for white Australians and the ‘heterochronic’ reality of the postcolonial nation.' (Author's abstract)
2012 winner Unsettling the Field : Christopher Brennan and Biodiversity Michael Farrell , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012;
'In this paper I consider the ecological term 'biodiversity' as a metaphor within that of the more generally metaphorical term 'field', specifically in relation to Christopher Brennan's work the Musicopoematographoscope. The term 'field', in the literary context may not preclude, but does not suggest biodiversity: suggesting rather evenness, tamedness, industry, fighting or sport - and settledness. I use the ecological figure of biodiversity not as an indication of a relation between writing (poetry) and natural environments per se, but to signal an attention to survival. A literature that can be compared to a biodiverse ecosystem - rather than a field - suggests the wholeness that health is derived from. I draw on and critique the work of American poet Charles Olson and English critic Jonathan Bate.' (Author's abstract)
2009 winner Instruction for an Ideal Australian : John Forbes’s Poetry of Metaphysical Etiquette Duncan Hose , 2010 single work criticism
— Appears in: JASAL , Special Issue 2010;
'The question of value in poetry or poetry of value often resolves to a question of metaphysics: what goes in to a poem or how it carries its symbolic freight will tell of the poetics involved in the practice, more particularly how the poem might function as a specular technology. Crudely, we might say that some poems are written as paeans to the ephemera of the world by a sovereign soul that is tonally and formally certain of a metaphysical guarantee (even in the expression of uncertainty), either through theosophy, 'pious self-regard,' or just good luck. There are other poems, not pagan exactly, but which seem to have an appetite for the material-historical circumstances of the world in which they find themselves, that go for the world in its lurid contingency, where there might be a wilful and cheeky inclusion of things that are not only ephemeral but redundant to good taste, thereby threatening the traditional sacred territory of the poetic itself.
By way of luxuriating in the habitus of his work, this paper argues that the poetry of John Forbes presents a reformed metaphysic of surfaces that, far from flattening 'deeper' concerns of literature, offers a new kind of etiquette for the spirit by which our perception, symbolic inception, and response to the world is a constant kind of poesis, or creative production of our selves that is at once more lively and Ideally less delusional. It will examine Forbes's conception of poetry as the ultimate technology for regulating and playing with the processes of self-mythologising by fiercely interrogating the symbolic economies, or the textural architectonics of communities, from which selves are made and through which they are cultivated as beings of language.' (Author's abstract)
2008 winner 'A Peculiar Aesthetic' : Julia Leigh's The Hunter and Sublime Loss Scott Robert Brewer , 2009 single work criticism
— Appears in: JASAL , Special Issue 2009;
Julia Leigh's re-animation and pursuit of the extinct thylacine in her novel The Hunter was for some reviewers an inappropriate appropriation of a Tasmanian icon. Martin Flanagan, while acknowledging the necessity of global engagement in issues such as extinction, criticised the cost of this engagement for local Tasmanian culture, writing in The Age 'I'm all for global awareness. What I'm against is clear-felling local cultures. We all know where that leads.' However, Flanagan's alignment of environmental disaster and the neglect of local identity is not as transparent as he suggests, given that, in this case, the vessel for that local identity is the no longer local thylacine. This essay argues that The Hunter examines the intersection of global ecological imaginging and local identity around the concept of place. Employing a sublime aesthetic, the novel unearths the radical loss that underpins the construction of place, forming a representation of extinction that speaks for what is lost to the landscape.
2007 joint winner David Unaipon's Style of Subversion: Performativity and Becoming in 'Gool Lun Naga (Green Frog)' David Unaipon , 2008 single work criticism
— Appears in: JASAL , Special Issue 2008; (p. 77-93)
'This paper theorises Aboriginal author David Unaipon's style of subversion. Firstly, Unaipon's manner of dress is investigated as an embodied, performative Aboriginal resistance strategy that fits within a worldwide history of dandyism. Secondly, a close reading of one of Unaipon's short stories ('Gool Lun Naga (Green Frog)') reveals how his performative method of resistance is apparent not only in his dress, but in his writings as well. Such an analysis seeks to intervene in a history of criticism on Unaipon's life and writing that fails to account for the many contradictions within his life and writing. Ultimately, the failure to account for the many contradictions in Unaipon's life is seen as contributing to the colonial present (Gregory), where colonial discourses still operate to define and limit Aboriginality. Unaipon's constant struggle against such discourses is read as a "becoming-imperceptible" (Deleuze and Guattari); a style of subversion that has paved the way for many Aboriginal artists since.' (Author's abstract)
2007 joint winner 'Dancing the Old Enlightenment' : Gould's Book of Fish, the Historical Novel and the Postmodern Sublime Jo Jones , 2008 single work criticism
— Appears in: JASAL , Special Issue 2008; (p. 114-129) Falling Backwards : Australian Historical Fiction and The History Wars 2018; (p. 50-79)
'The strategy that I wish to explore in this analysis of Gould's Book of Fish is the postmodern experimental narrativisation of the colonial past applied to a political critique of the national present. More specifically, through interpreting the novel through Lyotard's discussion of the postmodern sublime and a theory of bodily experience, it is possible to argue that Flanagan employs a postmodern aesthetic as a type of immanent critique in which the postmodern dialectic can be read as an extension of Enlightenment thinking. In the novel the past is shifting and, at least in a positivistic sense, ultimately irretrievable. This signals the notion of history as the postmodern sublime - a space of irretrievable loss and unfulfilled desire at the edges of the margins of history. While history and the colonial past shift and change in the novel, the representations of bodily experience anchor Flanagan's novel in the recognition that real lives, often individual and collective suffering, often motivate postmodern critiques.' (Author's abstract)
2006 winner The Ghost of Dad Rudd, on the Stump Julieanne Lamond , 2007 single work criticism
— Appears in: JASAL , vol. 6 no. 1 2007; (p. 19-32)
'This paper examines the cultural and political legacies of Dad Rudd, a fictional character who first appeared in short stories by 'Steele Rudd' (A. H. Davis) in the Bulletin in 1895 and has since appeared in popular fiction, theatre, film, television and radio adaptations throughout the twentieth century. It traces a set of national tropes - particularly that of the battler - through stump speeches made by Dad Rudd in On Our Selection! (1899), Dad in Politics (1908), the stage melodrama On Our Selection (1912), and Ken G. Hall's film Dad Rudd, M.P. (1940), and considers how they have continued to be used to create both political and cultural constituencies in Australia.'
2005 winner Prolonged Symptoms of Cultural Anxiety : The Persistence of Narratives of Asian Invasion within Multicultural Australia Catriona Ross , 2006 single work criticism
— Appears in: JASAL , no. 5 2006; (p. 86-99)

'In this paper, recent invasion novels by John Marsden provide a case study for examining the subtextual configurations of meaning that underlie the proposition of Asian threat and allow insight into the historical and cultural unconscious of an anxious settler nation.' (p.86)

Ross argues that 'the persistence of the Asian invasion narrative indicates white Australia's fears for security of tenure ... and demonstrates the underlying paranoia that a nation founded on invasion could possibly be lost by invasion.'

2004 winner The Not Quite Real Miles Franklin : Diaries as Performance Sandra Knowles , 2005 single work criticism
— Appears in: JASAL , vol. 4 no. 2005; (p. 185-200)
This essay argues that Franklin's diaries are a performance of privacy and authenticity, through a consideration of her diary audience. Her diaries do not reveal an artificial Franklin, but rather challenge the notion that diaries produce authentic representations of their diarists (p.185).