Entertainment
L.A. Times Book Prize winners named in a ceremony filled with support for USC valedictorian Asna Tabassum
The spotlight shined on great literature Friday night at the 44th Los Angeles Times Book Prizes ceremony at USC’s Bovard Auditorium, where 13 winners took the stage to celebrate their honors and, in some cases, call attention to the free speech controversy unfolding on campus.
A political undercurrent ran through the night’s speeches following the university’s cancellation of a commencement speech by pro-Palestinian valedictorian Asna Tabassum. Emily Carroll, who won the Book Prizes’ graphic novel/comic category, ended her speech by calling on USC to restore Tabassum’s appearance, “so that she may inspire her community of peers with, as she’s put it, her ‘message of hope.’ Also, I would like to express my own solidarity with Asna and also my solidarity with Palestine.”
Applause drowned out Carroll’s words at times. Later, Tananarive Due, who won for science fiction, fantasy and speculative fiction, used her speech to add: “As we face the horrors in our in our cities, in Gaza and elsewhere, and witness true-life racism, homophobia, Islamophobia and antisemitism, let us honor the courage of young people.” They, Due said, have been the drivers of change throughout history.
Upon accepting the award for the current interest category, Roxanna Asgarian added her support for Tabassum. “She earned her right to speak,” Asgarian said. “Let her speak.” Amber McBride, who won for young adult literature concluded her speech by saying, “Free Palestine.”
The focus for the rest of the evening were the books themselves — more than 60 finalists plus three special honors. Jane Smiley accepted the Robert Kirsch Award for lifetime achievement, which pays tribute to a writer with a substantial connection to the American West. The L.A.-born author, who won the Pulitzer Prize for fiction in 1992 for her novel “A Thousand Acres,” gave a brief, heartfelt speech, noting, “I love to write novels, I love to go for walks and look around. And I think the greatest pleasure of the novelist’s life is curiosity.”
Claire Dederer received the Christopher Isherwood Prize for Autobiographical Prose for “Monsters: A Fan’s Dilemma.”
“‘Monsters,’ a book-length expansion of an essay on the problematic relationship between masculinity and fame, considers how we come to love art made by less than perfect humans,” read the selection committee’s praise. “Dederer engages the essayist form at its best and the result is both critical, literary and provocative.”
“These are really, really dark days,” said Dederer, accepting the award. “And I’m so grateful for this bright moment.”
The final special honor went to Access Books, which received the Innovator’s Award for its work renovating school libraries to enhance access to books and literary resources for underserved students and communities.
This year’s Book Prizes featured a new category:achievement in audiobook production. That award, which honors performance, production and innovation in storytelling — given in collaboration with Audible — went to Dion Graham and Elishia Merricks for “Thank You (Falettinme Be Mice Elf Agin): A Memoir.” The judges noted Graham’s “transcendent” narration of musician Sly Stone’s “percussive and almost musical writing” in his memoir.
Ed Park’s novel “Same Bed Different Dreams” took the fiction prize. The selection committee singled it out for being “as playful as it is moving, as serious as it is otherworldly and as funny as it is intellectually stimulating.”
The Art Seidenbaum Award for First Fiction went to Shannon Sanders’ debut, “Company: Stories,” which features 13 stories that follow the lives of a multi-generational Black family from the 1960s to the 2000s in cities including Atlantic City, N.J., New York and Washington, D.C. “The prose is magnificent, mature and breathtakingly precise, and the collection resounds with a sensitivity and wisdom rarely seen in a debut,” noted the judges.
Gregg Hecimovich won for biography with “The Life and Times of Hannah Crafts: The True Story of The Bondwoman’s Narrative,” about a slave who escaped from a Southern plantation and spent the rest of her life evading capture. The book was chosen out of more than 100 entries, with the selection committee writing, “Through Hecimovich’s painstaking historical detective work and keen literary analysis, the reader is rewarded with a captivating and vivid portrait of a life once stolen by enslavers and long robbed of recognition. This is at once a startling and original work.”
Carroll won for “A Guest in the House,” an adult horror story about a woman who marries a dentist and discovers there is a mystery to be solved when it comes to the death of his former wife. “A fleshy, sensuous journey that pushes the limits of the medium in ways that only Carroll can. A skin-crawling gem, not to be missed,” wrote the selection committee.
Joya Chatterji took home the prize for history with “Shadows at Noon: The South Asian Twentieth Century,” which limns the region’s trajectory from British colony to three complex, independent nations.
The mystery/thriller award went to Ivy Pochoda for “Sing Her Down.” The unique nail-biter takes place in the shadows of L.A.’s homeless camps, run-down motels and dark alleys, following women who have turned — for various reasons — to a life of crime. The judges, including Alex Segura, Wanda Morris and mystery fiction critic Oline Cogdill, wrote, “Pochoda brilliantly explores her characters and this setting, while sifting through myriad literary tropes, including allusions to Macbeth, mythology, even a bit of a Greek chorus.”
Airea D. Matthews’ “Bread and Circus” was honored in the poetry category. Matthews is an associate professor of creative writing and the co-director of the creative writing program at Bryn Mawr College. She was named the 2022-23 poet laureate of Philadelphia.
The prize for science fiction fiction was given to Due for “The Reformatory.” The book is part horror, part historical fiction in its examination of life under Jim Crow law in the South.
Eugenia Cheng’s “Is Math Real? How Simple Questions Lead Us to Mathematics’ Deepest Truths” nabbed the prize for science & technology, with the judges writing, “Beginning with a dedication to readers who think math isn’t for them, Cheng shows us that not only is math for all of us, but so is the act of searching for meaning in shapes, patterns and symbols that simultaneously seem like they have nothing to do with us and also everything to do with who we are as a species.”
Cheng uttered perhaps the most helpful line to all the writers in the room, noting to applause, “If you have ever been made to feel bad at math, you didn’t fail math, math failed you.”
The story of a 12-year-old blue-skinned girl called Inmate Eleven who is being groomed to be a partner to a white-skinned teen clone, and future president of Bible Boot, is the plot of McBride’s “Gone Wolf,” which won for young adult literature. “McBride mixes American history with speculative fiction to dissect melancholia and political anxiety for young people who are living through uncertain times — in the future and today,” wrote the judges.
The full list of finalists and winners is below.
Achievement in Audiobook Production
Maria Bamford, narrator, “Sure, I’ll Join Your Cult: A Memoir of Mental Illness and the Quest to Belong Anywhere”
Sophia Bush, narrator, “Wild and Precious: A Celebration of Mary Oliver”
Helena de Groot, lead producer, “Wild and Precious: A Celebration of Mary Oliver”
Dion Graham, narrator, “Thank You (Falettinme Be Mice Elf Agin): A Memoir”
Kerri Kolen, executive producer, “Wild and Precious: A Celebration of Mary Oliver”
Helen Laser, narrator, “Yellowface”
Adam Lazarre-White, narrator, “All the Sinners Bleed”
Elishia Merricks, producer, “Thank You (Falettinme Be Mice Elf Agin): A Memoir”
Elishia Merricks, producer, “All the Sinners Bleed”
Suzanne Franco Mitchell, director/producer, “Yellowface”
The Art Seidenbaum Award for First Fiction
Stephen Buoro, “The Five Sorrowful Mysteries of Andy Africa: A Novel”
Sheena Patel, “I’m a Fan: A Novel”
Shannon Sanders, “Company: Stories”
James Frankie Thomas, “Idlewild: A Novel”
Ghassan Zeineddine, “Dearborn”
Biography
Leah Redmond Chang, “Young Queens: Three Renaissance Women and the Price of Power”
Gregg Hecimovich, “The Life and Times of Hannah Crafts: The True Story of The Bondwoman’s Narrative”
Jonny Steinberg, “Winnie and Nelson: Portrait of a Marriage”
Elizabeth R. Varon, “Longstreet: The Confederate General Who Defied the South”
David Waldstreicher, “The Odyssey of Phillis Wheatley: A Poet’s Journeys Through American Slavery and Independence”
The Christopher Isherwood Prize for Autobiographical Prose
Claire Dederer, “Monsters: A Fan’s Dilemma”
Current Interest
Bettina L. Love, “Punished for Dreaming: How School Reform Harms Black Children and How We Heal”
Roxanna Asgarian, “We Were Once A Family: A Story of Love, Death, and Child Removal in America”
Zusha Elinson, “American Gun: The True Story of the AR-15”
Cameron McWhirter, “American Gun: The True Story of the AR-15”
Christina Sharpe, “Ordinary Notes”
Raja Shehadeh, “We Could Have Been Friends, My Father and I: A Palestinian Memoir”
Fiction
Susie Boyt, “Loved and Missed”
Yiyun Li, “Wednesday’s Child: Stories”
Elizabeth McKenzie, “The Dog of the North: A Novel”
Ed Park, “Same Bed Different Dreams: A Novel”
Justin Torres, “Blackouts: A Novel”
Graphic Novel/Comics
Derek M. Ballard, “Cartoonshow”
Matías Bergara, “CODA”
Emily Carroll, “A Guest in the House”
Sammy Harkham, “Blood of the Virgin”
Chantal Montellier, “Social Fiction”
Simon Spurrier, “CODA”
History
Ned Blackhawk, “The Rediscovery of America: Native Peoples and the Unmaking of U.S. History”
Joya Chatterji, “Shadows at Noon: The South Asian Twentieth Century”
Malcolm Harris, “Palo Alto: A History of California, Capitalism, and the World”
Blair L.M. Kelley, “Black Folk: The Roots of the Black Working Class”
Nikki M. Taylor, “Brooding Over Bloody Revenge: Enslaved Women’s Lethal Resistance”
Innovator’s Award
Access Books
Mystery/Thriller
Lou Berney, “Dark Ride: A Thriller”
S. A. Cosby, “All the Sinners Bleed: A Novel”
Jordan Harper, “Everybody Knows: A Novel”
Cheryl A. Head, “Time’s Undoing: A Novel”
Ivy Pochoda, “Sing Her Down: A Novel”
Poetry
K. Iver, “Short Film Starring My Beloved’s Red Bronco”
Airea D. Matthews, “Bread and Circus: Poems”
Maggie Millner, “Couplets: A Love Story”
Jenny Molberg, “The Court of No Record: Poems”
Simon Shieh, “Master: Poems”
Robert Kirsch Award
Jane Smiley
Science & Technology
Eugenia Cheng, “Is Math Real? How Simple Questions Lead Us to Mathematics’ Deepest Truths”
Jeff Goodell, “The Heat Will Kill You First: Life and Death on a Scorched Planet”
Jaime Green, “The Possibility of Life: Science, Imagination, and Our Quest for Kinship in the Cosmos”
Caspar Henderson, “A Book of Noises: Notes on the Auraculous”
Zach Weinersmith, “A City on Mars: Can We Settle Space, Should We Settle Space, and Have We Really Thought This Through?”
Kelly Weinersmith, “A City on Mars: Can We Settle Space, Should We Settle Space, and Have We Really Thought This Through?”
Science Fiction, Fantasy & Speculative Fiction
Tananarive Due, “The Reformatory: A Novel”
Daniel Kraus, “Whalefall”
Victor LaValle, “Lone Women: A Novel”
V. E. Schwab, “The Fragile Threads of Power”
E. Lily Yu, “Jewel Box: Stories”
Young Adult Literature
Jennifer Baker, “Forgive Me Not”
Olivia A. Cole, “Dear Medusa”
Kim Johnson, “Invisible Son”
Amber McBride, “Gone Wolf”
Sarah Myer, “Monstrous: A Transracial Adoption Story”
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Book Review
Dear Monica Lewinsky
By Julia Langbein
Doubleday: 320 pages, $30
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First loves can be beautiful or traumatic, sometimes both. They are almost always intense, with emotions on speed dial and hormones running amok. Nothing like the durable consolations of late-life romance, but headier, more exciting and, in the worst cases, far more damaging.
Even decades later, Jean Dornan, the protagonist of Julia Langbein’s smart, poignant and involving novel “Dear Monica Lewinsky,” can’t recollect her own first love in tranquility. Its after-effects have derailed her life, and an unexpected email invitation to attend a retirement party in France honoring her former lover sends her into a tailspin.
An agitated Jean finds herself praying to none other than Monica Lewinsky, the patron saint of bad romantic choices, or as Langbein puts it, “of those who suffer venal public shaming and patriarchal cruelty.” In Langbein’s comic, but also deadly serious, imagination, this is no mere metaphor. The martyred Monica has literally been transfigured into a saint. And why not? Surely, she has suffered enough to qualify.
Jean and Monica have in common a disastrous liaison with an attractive, powerful, married older man. Monica was humiliated, reviled, then merely defined by her missteps. Meanwhile, her arguably more culpable sexual partner survived impeachment, retained both his political popularity and his marriage and enjoyed a lucrative post-presidency.
Jean’s brief fling during the summer of 1998 coincided with the public airing of Monica’s doomed romance. Jean’s passion took a more private toll, but she still lives with what Monica calls “this deepening suspicion that your existence is a remnant of an event long since concluded.”
Though framed by a fantastical conceit, “Dear Monica Lewinsky” is at its core a realist novel, influenced by the feminism of #MeToo and precise in its delineation of character and place. Langbein’s Monica — having finally transcended her past and ascended to spiritual omniscience — becomes Jean’s interlocutor. Together, they relive the fateful weeks that Jean spent studying the Romanesque churches of medieval France and charming David Harwell, the Rutgers University medieval art professor co-leading the summer program.
Every now and again, Monica, as much savvy therapist as all-knowing seer, interrupts Jean’s first-person account to offer guidance. Threaded through the narrative, as contrast and commentary, is a martyrology of female saints. These colloquially rendered portraits, reflecting a punitive, patriarchal morality, describe girls and women who would rather endure torture or even death than sully their sexual purity — stories so extreme that they seem satirical.
The portraits play off the novel’s milieu: a series of churches, as well as the medieval French castle that is home to an eccentric and mostly absent prince. The utility of religious doctrine and practice is another of the book’s themes. One graduate student, Patrick, is a devoted Roman Catholic, unquestioning in his faith. Others are merely devout enthusiasts of medieval architecture. Judith, a doctoral candidate at Harvard, has an addiction of her own: an eating disorder that threatens to disable her.
A rising junior at Rutgers, Jean is one of just two undergraduates in the program. Her initial dull, daunting task involves measuring and otherwise assessing the churches’ “apertures” — windows and doors. Later, she is assigned to collaborate on a guidebook and write a term paper.
A language major unversed in art, architecture or medieval history, Jean feels overwhelmed at times. But she does have useful talents: fluent French and the ability to conjure delicious Sunday dinners for her bedazzled colleagues. (The author of the 2023 novel “American Mermaid,” Langbein has both a doctorate in art history and a James Beard Foundation Journalism Award for food writing, and her expertise in both fields is evident.)
As the summer wanes, Jean’s fixation on David grows. Langbein excels at depicting the obsessive nature of illicit, unfulfilled desire — how it swamps judgment and just about everything else. A quarter-century Jean’s senior, David is trying to finish a stalled book project, laboring in the shadow of his more prolific and successful wife, Ann. An expert on the erotically charged religious life of nuns and the art it produced, she shows up briefly in the story and then conveniently disappears.
David is smooth, seductive and, to 19-year-old Jean, far more appealing than the fumbling schoolboys she has known. But he turns out to be no more grown-up or emotionally mature. After the flirtation and its consummation, David beats a hasty (and unsurprising) retreat. Then he does something worse: He allows his guilt to shred his integrity.
In the aftermath of that summer, a wounded Jean stumbles through her last two years of college, “berserk, unfocused, humiliating.” She abandons her academic and career ambitions, takes a job as a court interpreter, and marries Michael, an affable nurse who has little idea of her emotional burdens.
Then that invitation, inspiring “a racy heat,” arrives, and Jean must decide whether to confront her past or keep running from it. Is there really much of a choice? Fortunately, she has the saintly Monica as her guide. More clear-eyed now, Jean must reject her martyrdom and reclaim her own truth and agency. If she does, David, at least in the realm of the imagination, may finally get his comeuppance.
Klein, a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing, is a cultural reporter and critic in Philadelphia.
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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