Connect with us

Culture

Pulitzer Prizes 2025: A Guide to the Winning Books and Finalists

Published

on

Pulitzer Prizes 2025: A Guide to the Winning Books and Finalists

Nineteen books were recognized as winners or finalists for the Pulitzer Prize on Monday, in the categories of memoir, poetry, general nonfiction, fiction, biography and history, which had two winners.

Fiction

Everett’s reimagining of “Huckleberry Finn” is a subversive homage to Mark Twain’s classic novel, as narrated by the enslaved man who accompanies Huck down the Mississippi. In “James,” Everett endows his title character (known as Jim in Twain’s book) with a rich intellectual life, deep curiosity and world-weariness that comes from trying to stay alive in the South. There are episodes of soul-deadening brutality, absurd satire and even philosophical treatises, but “James” reads with the fleetness of an adventure story. One of the most decorated releases of 2024, it also won the National Book Award for fiction and earned a place on the Book Review’s 10 Best Books of the year list.

Doubleday

This debut novel zeros in on eight female boxing contestants who converge in Reno, Nev., for a teenage national championship. Bullwinkel follows them well after the events of the tournament, tracing the eventual course of their lives. Our critic Dwight Garner made clear his admiration for the author, writing in his review: “Make room, American fiction, for a meaningful new voice.”

Advertisement

Viking

The story of two orphaned sisters in Cold-War-era America, Jody and Mice (nicknamed so for her unusual appearance and mannerisms), is told by their housekeeper, as their neighborhood prepares for an all-out bash.

Verse Chorus Press

A World War II veteran falls helplessly in love with a Black woman he spies at a carnival, where she is among the sideshow attractions owing to the regal, spiraled horn sprouting from her forehead. Jones is among the most influential Black authors writing today, whose work helps reframe questions of identity, race and sexuality. Her 2021 novel “Palmares” — her first in 22 years — was also a finalist for the Pulitzer.

Beacon Press

Advertisement

History

The author, a professor at the University of North Carolina at Chapel Hill, draws on oral and written records to tell the stories of hundreds of Indigenous nations that live in what is now the United States. “Native Nations” also received the Bancroft Prize, among the most distinguished awards for works examining American history.

Random House

In her account of the Combahee River Raid, Fields-Black examines a lesser-known chapter of Harriet Tubman’s life, as a leader in a military operation that liberated some 730 enslaved people from plantations in 1863. Fields-Black — a descendant of a formerly enslaved man who fought in the raid — draws on extensive documents, among them Tubman’s U.S. Civil War pension file, to reveal how Tubman commanded a group of scouts and spies to lead military expeditions during the war.

Oxford University Press

Advertisement

The concept of the agrarian South and industrialist North is an oversimplification, argues Rockman, a historian at Brown University. Looking at the objects integral to the practice of slavery — whips, shoes, shovels, hats — that were manufactured in the North before making their way to the South, he examines how the American economy was organized around enslavement.

University of Chicago Press

In his sweeping narrative of intellectual and scientific rivalry, Roberts explores the intertwined legacies of Carl Linnaeus, the Swedish biologist and physician who is known as the founding father of taxonomy, and Georges-Louis Leclerc, Comte de Buffon, an aristocratic French naturalist, mathematician, and cosmologist. Both men set out to catalog and define life on earth, but had wildly different approaches and philosophies. Roberts makes the case that Buffon, while less well-known than Linnaeus, had greater and more lasting insights, among them his beliefs that racial differences are superficial and that living creatures are shaped by their environments.

Random House

Greenberg, a professor of history at Rutgers University, traces the life of the Civil Rights icon John Lewis from his childhood in rural Alabama to his ascent to the halls of Congress, where he became a powerful advocate for racial and economic equality. Greenberg draws on extensive interviews with 275 people who knew Lewis, as well as previously unseen documents, including F.B.I. files, to create what a New York Times review called a “panoramic and richly insightful biography.”

Advertisement

Simon & Schuster

In her meticulously researched biography, Reading paints a portrait of the influential and trailblazing New Yorker editor Katharine White. She joined the magazine in 1925 and helped transform it during her 36 years at the publication, cultivating the careers of women writers like Mary McCarthy, Elizabeth Bishop, Jean Stafford and Nadine Gordimer.

Mariner Books

To better understand three generations of women in her Chinese American family, the author embarked on a book project despite never having drawn comics and not speaking Chinese. As Hulls dove into the lives of her grandmother — a journalist who fled Shanghai for Hong Kong and wrote a best-selling memoir Hulls couldn’t read — and her mother, who attended boarding school in Hong Kong before coming to the United States in 1970, she could appreciate both her immense curiosity and feelings of alienation.

MCD Books

Advertisement

This devastating account details the death of Fuller’s 21-year-old son, named Fi, and the grief that sent her into a tailspin. Despite its frankness about the heartbreak of mourning an adult child, a vivid picture of a “smart, hilarious, earnest, self-aware” young man emerges.

Grove Press

In her 60s, the author, a longtime cultural critic and writer, decided to transition genders: an attempt to seize the “parallel life” she feared was passing her by. As she recounts her story, the book doubles as a study of a bygone 1970s New York. The Book Review named this memoir one of the 10 Best Books of 2024.

Penguin Press

General Nonfiction

Advertisement

To write this exhaustive account based on two decades of research, Nathans, a historian at the University of Pennsylvania, combed through K.G.B. case files, unpublished diaries and private correspondence. While many have dated the dissolution of Soviet totalitarianism to the 1980s, he makes the case that opposition to Soviet oppression began decades earlier.

Princeton University Press

Over several decades, tens of thousands of Guatemalan children were forcefully and illegally taken from their families and put up for adoption. Many of those children were from Indigenous families and many of them ended up in the United States. Nolan, a professor at Boston University, digs deep into a tragic outgrowth of the almost 40-year Guatemalan civil war.

Harvard University Press

In 2017, Gauri Lankesh, a journalist and outspoken critic of India’s Hindu nationalist ruling party, was assassinated outside her home in Bangalore. Romig, who wrote about the crime for The New York Times Magazine in 2019, has expanded the story into a book that, among other things, “paints a full picture of the social and professional world that convulsed in the wake of Gauri’s death,” according to our reviewer.

Advertisement

Penguin Books

Poetry

Culling work from Howe’s four earlier books into a generous selection of 111 poems, this career retrospective highlights her gift, from her 1987 debut all the way through to the new material here, for mixing the mundane and the transcendent. In “What the Living Do,” addressed to a dead brother, the speaker recites a litany of everyday hassles — a clogged sink, a dropped bag of groceries — and connects it to “What you called that yearning./What you finally gave up.” Even the numerous biblically themed poems are grounded in concrete detail: “Magdalene — The Seen Devils,” for instance, combines a checklist of common gripes (“The laundry was never finally done”) with the devastating losses we daily bear: “the way my mother looked when she was dying/the sound she made.” This overview seems sure to seal Howe’s reputation as one of the major poets of her generation.

Norton

Smith’s poetry balances a delight in the possibilities of language with an innate skepticism about its use in the world; here is a poet who nurses the tension between art and action and exhorts readers to acknowledge injustice while appreciating the chaotic nature of human existence. “In these searching, stunning poems,” our reviewer wrote, “Smith metaphorizes city into body politic, showing us the interstate running through all our hearts; demonstrating that we all contain protest and police, cowardice and commitment, money and kindness, looting and food drives.”

Advertisement

Graywolf Press

True to her title, Chang uses the poems in “An Authentic Life” to hold her experiences against various received wisdoms, as a way to challenge convention and insist on authenticity. The topics range widely — war, religion, patriarchy, literary criticism — but the methods are the same: Chang cites some snippet she has learned or heard (“my father turns philosophical again/which is to say wandering away from any self”), then wanders freely to debunk it, deploying her arguments with flashes of brilliant wit, flights of vivid imagery and rigorous self-questioning.

Copper Canyon Press

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Culture

Poetry Challenge Day 2: Love, How It Works and What It Means

Published

on

Poetry Challenge Day 2: Love, How It Works and What It Means

Advertisement

Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).

This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.

Advertisement

Looking up at the stars, I know quite well 

That, for all they care, I can go to hell, 

But on earth indifference is the least 

We have to dread from man or beast. 

Advertisement

Ada Limón, poet

Nonetheless, the poem soon makes clear that love is very much on its mind.

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Advertisement

David Sedaris, writer

The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.

Advertisement

If equal affection cannot be, 

Let the more loving one be me. 

Advertisement

Reginald Dwayne Betts, poet

Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:

Come live with me and be my love,

Advertisement

And we will all the pleasures prove,

That Valleys, groves, hills, and fields,

Woods, or steepy mountain yields.

Christopher Marlowe, “The Passionate Shepherd to His Love

Advertisement

Auden’s poem, like Marlowe’s, is written in four-beat lines:

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Josh Radnor, actor

Advertisement

And it features strong end rhymes:

If equal affection cannot be, 

Advertisement

Let the more loving one be me. 

Samantha Harvey, writer

These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:

Advertisement

I do not like thee, Doctor Fell

The reason why I cannot tell.

But this I know and know full well

Advertisement

I do not like thee, Doctor Fell.

There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.

This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.

Advertisement

W.H. Auden as a young man. Tom Graves, via Bridgeman Images

Advertisement

But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.

What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.

This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:

Advertisement

As lines, so loves oblique may well

Themselves in every angle greet;

But ours so truly parallel,

Advertisement

Though infinite, can never meet.

Andrew Marvell, “The Definition of Love

The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”

Advertisement

The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Mary Roach, writer

Advertisement

The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:

If equal affection cannot be, 

Advertisement

Let the more loving one be me. 

Tim Egan, writer

Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.

Advertisement

Your task today: Learn the second stanza!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

Let’s start with the first couplet in this stanza. Fill in the rhyming words.

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Ready for another round? Try your hand at the 2025 Poetry Challenge.

Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.

Advertisement

Illustrations by Daniel Barreto.

Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.

Continue Reading

Culture

What America’s Main Characters Tell Us

Published

on

What America’s Main Characters Tell Us

Literature

Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon

Advertisement

Karl Leitz for Anthony Cotsifas Studio

“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”

Advertisement

Sula Peace from ‘Sula’ (1973) by Toni Morrison

Advertisement

Karl Leitz for Anthony Cotsifas Studio

“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”

The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara

Advertisement

Karl Leitz for Anthony Cotsifas Studio

Advertisement

“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”

This interview has been edited and condensed.

More in Literature

See the rest of the issue

Advertisement
Continue Reading

Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

Published

on

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

Advertisement

Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.

Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)

This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.

Advertisement

Here’s the first of its four stanzas, read for us by Matthew McConaughey:

Advertisement

The More Loving One by W.H. Auden 

Looking up at the stars, I know quite well 

That, for all they care, I can go to hell, 

But on earth indifference is the least 

Advertisement

We have to dread from man or beast. 

Matthew McConaughey, actor and poet

In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.

Advertisement

Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

If equal affection cannot be, 

Let the more loving one be me. 

Advertisement

Tracy K. Smith, poet

These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.

This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.

Advertisement

The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.

But the third stanza takes it all back. Here’s Alison Bechdel reading it:

Advertisement

Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

Advertisement

I missed one terribly all day. 

Alison Bechdel, graphic novelist

The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.

Advertisement

The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

Advertisement

Were all stars to disappear or die, 

I should learn to look at an empty sky 

And feel its total dark sublime, 

Though this might take me a little time. 

Advertisement

Yiyun Li, author

Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.

Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.

Advertisement

The last line puts a brave face on heartbreak.

So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.

Advertisement

W.H. Auden in 1962. Sam Falk/The New York Times

When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.

Advertisement

Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.

This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.

Advertisement

So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!

Your first task: Learn the first four lines!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

Advertisement

Let’s start with the first couplet. Fill in the rhyming words.

Looking up at the stars, I know quite well 

Advertisement

That, for all they care, I can go to hell, 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Ready for another round? Try your hand at the 2025 Poetry Challenge.

Advertisement

Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.

Illustrations by Daniel Barreto.

Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.

Advertisement

Continue Reading
Advertisement

Trending