The Australian/Vogel's Literary Award is given for an unpublished manuscript by a writer under the age of 35. The winner's work is published by Allen & Unwin, and the winner also receives a cash prize, the amount of which has varied over time.
The award began in early 1980 when Niels Stevns, the owner of Vogel bread in Australia, approached the then literary editor of The Australian, Peter Ward, about collaborating on a cultural prize.
Stevns' approach to The Australian in 1980 was inspired by gratitude to his adopted land. As a lover of literature, he wanted to provide an opportunity specifically for young writers.
The award is a collaboration between Vogel's, The Australian and Allen & Unwin. Originally awarded for the best manuscript submitted by an author under 30, the age limit of the Award was increased to 35 in 1982.
The Vogel was not awarded in 1985, 2013, or 2019.
Sources include https://www.allenandunwin.com/default.aspx?page=444 and https://www.theage.com.au/entertainment/books/disappointed-no-winner-for-australia-s-richest-manuscript-prize-20190513-p51mqi.html(Sighted: 10/12/2013.)
The Australian/Vogel Literary Award began in early 1980 when 'Niels Stevns, the owner of Vogel bread in Australia, approached the literary editor of The Australian, Peter Ward, about collaborating on a cultural prize. [...] Following Stevns' call, Peter Ward rang Patrick Gallagher, Allen & Unwin's managing director, which led to the successful collaboration between Vogel, The Australian and Allen & Unwin - and to the birth of The Australian/Vogel Literary Award, with a prize of $10,000 provided by Vogels for the best manuscript submitted by an author under 30. The Australian undertook to promote the award and Allen & Unwin guaranteed to publish the winning manuscript. In 1982 the age limit of the Award was increased to 35...' and the prize money was increased several times in the following years.
From 2010 onwards, the winning entry was not announced until the time of publication in May of the following year.
(Source: Allen & Unwin's website, www.allen-unwin.com.au/)
'How can we know the truth of our own lives? This question troubles Matilda, as she looks back on her time with her foster brother, Sem. Matilda remembers long hours at the swimming pool. Celeste, a girl who lived downstairs with her artist mother. Sem disappearing for hours, then days. Her father yelling in the driveway. A car coming to take Sem away.
'Five years later, Matilda lives in Melbourne with her mother. Sem is now a memory she has locked away. Until, at a party, Matilda reconnects with Celeste and then Sem. Celeste and Matilda move out to the coast near Eden to house-sit. Sem follows, but as the long summer drags on, the atmosphere in the house becomes claustrophobic. When Sem starts disappearing again, Matilda finds herself on unsteady ground, haunted by their past.
'One morning, after a night at the pub, Matilda wakes up scratched and hungover, with no memory of the previous night. Sem is once again gone. This time, for good. Matilda becomes consumed by an obsession to know if she is responsible for Sem's disappearance. But the truth struggles to fit into a neat story.
'Part absorbing mystery, part riveting family drama, A Place Near Eden is a story of the pursuit of truth and the ways we fail those we love.'
Source: Publisher's blurb.
'"In those first moments, that admission felt precious to me: it was something that I alone had been deemed worthy enough to carry and I was grateful. I was grateful to finally know, but I still couldn't speak."
'Something was wrong, she knew it, but she was entirely unprepared for what he would tell her.
'Viewed through the lens of a relationship breakdown after one partner discloses to the other that they are transgender, this autofiction spans eighteen months: from the moments of first discovery, through the eventual disintegration of their partnership, to the new beginnings of independence.
'In diaries and letters, Now That I See You unfolds a love story that, while often messy and uncomfortable, is a poignant and personal exploration of identity, gender, love and grief.'
Source: Publisher's blurb.
'Set in the 1800s, Gabriel Fox is newly arrived to Van Diemen’s Land from England. Drawn by the promise of his heart’s desire and compelled to distance himself from pain at home, Gabrielle is on a quest to find a woman called Maryanne Maginn. His guide, a cannibal who is not all he seems, leads him north. As Gabriel traverses this wild country, he uncovers new truths buried within his own memory.'
Source: Publisher's blurb.
'Even before I knew anything about Granddad Les, Wally and me sometimes dared each other to see how close to the knackery we could get. It was way out in the bottom paddock, and Dad had banned us from going further than the dam. Wally said it was because the whole paddock was haunted. He said he could see ghosts wisping in the grass like sheets blown from the washing line. But even then I knew for sure that was a lie.
'Ten-year-old Cub lives with her parents, older brother Cassie, and twin brother Wally on a lonely property bordering an abandoned cattle farm and knackery. Their lives are shadowed by the infamous actions of her Granddad Les in his yellow weatherboard house, just over the fence.
'Although Les died twelve years ago, his notoriety has grown in Cub's lifetime and the local community have ostracised the whole family.
'When Cub's estranged aunt Helena and cousin Tilly move next door into the yellow house, the secrets the family want to keep buried begin to bubble to the surface. And having been kept in the dark about her grandfather's crimes, Cub is now forced to come to terms with her family's murky history.
'The Yellow House is a powerful novel about loyalty and betrayal; about the legacies of violence and the possibilities of redemption.' (Publication summary)
'It is 1908, and Max Brod is the rising star of Prague’s literary world. Everything he desires—fame, respect, love—is finally within his reach. But when a rival appears on the scene, Max discovers how quickly he can lose everything he has worked so hard to attain. He knows that the newcomer, Franz Kafka, has the power to eclipse him for good, and he must decide to what lengths he will go to hold onto his success. But there is more to Franz than meets the eye, and Max, too, has secrets that are darker than even he knows, secrets that may in the end destroy both of them.
'The Lost Pages is a richly reimagined story of Max Brod’s life filtered through his relationship with Franz Kafka. In this inspired novel of friendship, fraud, madness and betrayal, Marija Pericicwrites vividly and compellingly of an extraordinary literary rivalry.'
Source: Publisher's blurb.
'The Vogel award contenders are an impressive group of young Australian authors, writes Stephen Romei.'