Culture
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
Winner
James, by Percival Everett
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
Finalist: Headshot, by Rita Bullwinkel
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.”
Viking
Finalist: Mice, 1961, by Stacey Levine
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
Finalist: The Unicorn Woman, by Gayl Jones
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
History
Winner
Native Nations: A Millennium in North America, by Kathleen DuVal
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
Winner
Combee: Harriet Tubman, the Combahee River Raid, and Black Freedom During the Civil War, by Edda L. Fields-Black
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
Finalist: Plantation Goods: A Material History of American Slavery, by Seth Rockman
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
Finalist: John Lewis: A Life, by David Greenberg
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.”
Simon & Schuster
Finalist: The World She Edited: Katharine S. White at The New Yorker, by Amy Reading
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
Winner
Feeding Ghosts: A Graphic Memoir, by Tessa Hulls
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
Finalist: Fi: A Memoir of My Son, by Alexandra Fuller
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
Finalist: I Heard Her Call My Name: A Memoir of Transition, by Lucy Sante
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
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
Finalist: Until I Find You: Disappeared Children and Coercive Adoptions in Guatemala, by Rachel Nolan
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
Finalist: I Am on the Hit List: A Journalist’s Murder and the Rise of Autocracy in India, by Rollo Romig
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.
Penguin Books
Poetry
Winner
New and Selected Poems, by Marie Howe
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
Finalist: Bluff, by Danez Smith
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.”
Graywolf Press
An Authentic Life, by Jennifer Chang
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
Culture
Frankenstein’s Many Adaptations Over the Years
Ever since the mad scientist Frankenstein cried, “It’s alive!” in the 1931 classic film directed by James Whale, pop culture has never been the same.
Few works of fiction have inspired more adaptations, re-imaginings, parodies and riffs than Mary Shelley’s tragic 1818 Gothic novel, “Frankenstein; or, the Modern Prometheus,” the tale of Victor Frankenstein, who, in his crazed quest to create life, builds a grotesque creature that he rejects immediately.
The story was first borrowed for the screen in 1910 — in a single-reel silent — and has directly or indirectly spawned hundreds of movies and TV shows in many genres. Each one, including Guillermo del Toro’s new “Frankenstein,” streaming on Netflix, comes with the same unspoken agreement: that we collectively share a core understanding of the legend.
Here’s a look at the many ways the central themes that Shelley explored, as she provocatively plumbed the human condition, have been examined and repurposed time and again onscreen.
“I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”— Victor Frankenstein, Chapter 3
The Mad-Scientist Creator
Shelley was profuse in her descriptions of the scientist’s relentless mind-set as he pursued his creation, his fixation on generating life blinding him to all the ramifications.
Sound familiar? Perhaps no single line in cinema has distilled this point better than in the 1993 blockbuster “Jurassic Park,” when Dr. Ian Malcolm tells John Hammond, the eccentric C.E.O. with a God complex, “Your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”
Among the beloved interpretations that offer a maniacal, morally muddled scientist is “The Curse of Frankenstein” (1957), the first in the Hammer series.
“Mary Shelley’s Frankenstein” (1994), directed by Kenneth Branagh, is generally considered the most straightforward adaptation of the book.
More inventive variations include the flamboyant Dr. Frank-N-Furter, who creates a “perfect man” in the 1975 camp favorite “The Rocky Horror Picture Show.”
In Alex Garland’s 2015 thriller, “Ex Machina,” a reclusive, self-obsessed C.E.O. builds a bevy of female-like humanoids.
And in the 1985 horror comedy “Re-Animator,” a medical student develops a substance that revives dead tissue.
Then there are the 1971 Italian gothic “Lady Frankenstein” and the 2023 thriller “Birth/Rebirth,” in which the madman is in fact a madwoman.
“With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.”— Victor Frankenstein, Chapter 5
The Moment of Reanimation
Shelley is surprisingly vague about how her scientist actually accomplishes his task, leaving remarkable room for interpretation. In a conversation with The New York Times, del Toro explained that he had embraced this ambiguity as an opportunity for imagination, saying, “I wanted to detail every anatomical step I could in how he put the creature together.”
Filmmakers have reimagined reanimation again and again. See Mel Brooks’s affectionate 1974 spoof, “Young Frankenstein,” which stages that groundbreaking scene from Whale’s first movie in greater detail.
Other memorable Frankensteinian resurrections include the 1987 sci-fi action movie “RoboCop,” when a murdered police officer is rebooted as a computerized cyborg law enforcer.
In the 2012 Tim Burton animated “Frankenweenie,” a young scientist revives his beloved dog by harnessing lighting.
And in the 2019 psychologically bleak thriller “Depraved,” an Army surgeon, grappling with trauma, pieces together a bundle of body parts known as Adam.
“Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?”— The creature, Chapter 15
The Wretched Creature
In Shelley’s telling, the creature has yellow skin, flowing black hair, white teeth and watery eyes, and speaks eloquently, but is otherwise unimaginably repulsive, allowing us to fill in the blanks. Del Toro envisions an articulate, otherworldly being with no stitches, almost like a stone sculpture.
It was Whale’s 1931 “Frankenstein” — based on a 1927 play by Peggy Webling — and his 1935 “Bride of Frankenstein” that have perhaps shaped the story’s legacy more than the novel. Only loosely tethered to the original text, these films introduced the imagery that continues to prevail: a lumbering monster with a block head and neck bolts, talking like a caveman.
In Tim Burton’s 1990 modern fairy tale “Edward Scissorhands,” a tender humanoid remains unfinished when its creator dies, leaving it with scissor-bladed prototypes for hands.
In David Cronenberg’s 1986 body horror, “The Fly,” a scientist deteriorates slowly into a grotesque insectlike monster after his experiment goes wrong.
In the 1973 blaxploitation “Blackenstein,” a Vietnam veteran who lost his limbs gets new ones surgically attached in a procedure that is sabotaged.
Conversely, in some films, the mad scientist’s experiment results in a thing of beauty: as in “Ex Machina” and Pedro Almodóvar’s 2011 thriller, “The Skin I Live In,” in which an obsessive plastic surgeon keeps a beautiful woman imprisoned in his home.
And in Yorgos Lanthimos’s 2023 sci-fi dramedy, “Poor Things,” a Victorian-era woman is brought back to life after her brain is swapped with that of a fetus.
“I am an unfortunate and deserted creature; I look around, and I have no relation or friend upon earth.”— The creature, Chapter 15
The All-Consuming Isolation
The creature in “Frankenstein” has become practically synonymous with the concept of isolation: a beast so tortured by its own existence, so ghastly it repels any chance of connection, that it’s hopelessly adrift and alone.
What’s easily forgotten in Shelley’s tale is that Victor is also destroyed by profound isolation, though his is a prison of his own making. Unlike most takes on the story, there is no Igor-like sidekick present for the monster’s creation. Victor works in seclusion and protects his horrible secret, making him complicit in the demise of everyone he loves.
The theme of the creator or the creation wallowing in isolation, physically and emotionally, is present across adaptations. In Steven Spielberg’s 2001 adventure, “A.I. Artificial Intelligence,” a family adopts, then abandons a sentient humanoid robot boy programmed to love.
In the 2003 psychological horror “May,” a lonely woman with a lazy eye who was ostracized growing up resolves to make her own friend, literally.
And in the 1995 Japanese animated cyberpunk “Ghost in the Shell,” a first-of-its-kind cyborg with a human soul struggles with its place amid humanity.
“Shall each man find a wife for his bosom, and each beast have his mate, and I be alone?”— The creature, Chapter 20
The Desperate Need for Companionship
In concert with themes of isolation, the creators and creations contend with the idea of companionship in most “Frankenstein”-related tales — whether romantic, familial or societal.
In the novel, Victor’s family and his love interest, Elizabeth, are desperate for him to return from his experiments and rejoin their lives. When the creature demands a romantic partner and Victor reneges, the creature escalates a vengeful rampage.
That subplot is the basis for Whale’s “The Bride of Frankenstein,” which does offer a partner, though there is no happily ever after for either.
Sometimes the monster finds love with a human, as in “Edward Scissorhands” or the 2024 horror romance “Lisa Frankenstein,” in which a woman falls for a reanimated 19th-century corpse.
In plenty of other adaptations, the mission is to restore a companion who once was. In the 1990 black comedy “Frankenhooker,” a science whiz uses the body parts of streetwalkers to bring back his fiancée, also Elizabeth, after she is chewed up by a lawn mower.
In John Hughes’s 1985 comedy, “Weird Science,” a couple of nerdy teenage boys watch Whale’s 1931 classic and decide to create a beautiful woman to elevate their social standing.
While the plot can skew sexual — as with “The Rocky Horror Picture Show,” “Ex Machina” and “Frankenhooker” — it can also skew poignant. In the 1991 sci-fi action blockbuster “Terminator 2: Judgment Day,” a fatherlike bond forms between a troubled teenage boy and the cyborg sent to protect him.
Or the creature may be part of a wholesome, albeit freakish, family, most famously in the hit 1960s shows “The Addams Family,” with Lurch as the family’s block-headed butler, and “The Munsters,” with Herman Munster as a nearly identical replica of Whale’s creature.
In Shelley’s novel, the creature devotes itself to secretly observing the blind man and his family as they bond over music and stories. While sitcom families like the Munsters and the Addamses may seem silly by comparison, it’s a life that Shelley’s creature could only have dreamed of — and in fact did.
Culture
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