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”
I’d call the title “Relentless” truth in advertising, althought “Pitiless,” “Endless” and “Senseless” work just as well.
This new thriller from the sarcastically surnamed writer-director Tom Botchii (real name Tom Botchii Skowronski of “Artik” fame) begins in uninteresting mystery, strains to become a revenge thriller “about something” and never gets out of its own way.
So bloody that everything else — logic, reason, rationale and “Who do we root for?” quandary is throughly botched — its 93 minutes pass by like bleeding out from screwdriver puncture wounds — excruciatingly.
But hey, they shot it in Lewiston, Idaho, so good on them for not filming overfilmed Greater LA, even if the locations are as generically North American as one could imagine.
Career bit player and Lewiston native Jeffrey Decker stars as a homeless man we meet in his car, bearded, shivering and listening over and over again to a voice mail from his significant other.
He has no enthusiasm for the sign-spinning work he does to feed himself and gas up his ’80s Chevy. But if woman, man or child among us ever relishes anything as much as this character loves his cigarettes — long, theatrical, stair-at-the-stars drags of ecstacy — we can count ourselves blessed.
There’s this Asian techie (Shuhei Kinoshita) pounding away at his laptop, doing something we assume is sketchy just by the “ACCESS DENIED” screens he keeps bumping into and the frantic calls he takes suggesting urgency of some sort or other.
That man-bunned stranger, seen in smoky silhoutte through the opaque window on his door, ringing the bell of his designer McMansion makes him wary. And not just because the guy’s smoking and seems to be making up his “How we can help cut your energy bill” pitch on the fly.
Next thing our techie knows, shotgun blasts are knocking out the lock (Not the, uh GLASS) and a crazed, dirty beardo homeless guy has stormed in, firing away at him as he flees and cries “STOP! Why are you doing this?”
Jun, as the credits name him, fights for his PC and his life. He wins one and loses the other. But tracking his laptop and homeless thug “Teddy” with his phone turns out to be a mistake.
He’s caught, beaten and bloodied some more. And that’s how Jun learns the beef this crazed, wronged man has with him — identity theft, financial fraud, etc.
Threats and torture over access to that laptop ensue, along with one man listing the wrongs he’s been done as he puts his hostage through all this.
Wait’ll you get a load of what the writer-director thinks is the card our hostage would play.
The dialogue isn’t much, and the logic — fleeing a fight you’ve just won with a killer rather than finishing him off or calling the cops, etc. — doesn’t stand up to any scrutiny.
The set-piece fights, which involve Kinoshita screaming and charging his tormentor and the tormentor played by Decker stalking him with wounded, bloody-minded resolve are visceral enough to come off. Decker and Kinoshita are better than the screenplay.
A throw-down at a gas-station climaxes with a brutal brawl on the hood of a bystander’s car going through an automatic car wash. Amusingly, the car-wash owners feel the need to do an Idaho do-si-do video (“Roggers (sic) Car Wash”) that plays in front of the car being washed and behind all the mayhem the antagonists and the bystander/car owner go through. Not bad.
The rest? Not good.
Perhaps the good folks at Rogers Motors and Car Wash read the script and opted to get their name misspelled. Smart move.
Rating: R, graphic violence, smoking, profanity
Cast: Jeffrey Decker, Shuhei Kinoshita
Credits:Scripted and directed by Tom Botchii.. A Saban Entertainment release.
Running time: 1:34
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Entertainment
Inga Ibsdotter Lilleaas breaks out in ‘Sentimental Value.’ But she isn’t interested in fame
One of the most moving scenes in Joachim Trier’s “Sentimental Value” happens near the end. During an intense moment between sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), who have both had to reckon with the unexpected return of their estranged father, Gustav (Stellan Skarsgård), Agnes suddenly tells Nora, “I love you.” In a family in which such direct, vulnerable declarations are rare, Agnes’ comment is both a shock and a catharsis.
The line wasn’t scripted or even discussed. Lilleaas was nervous about spontaneously saying it while filming. But it just came out.
“[In] Norwegian culture, we don’t talk so much about what we’re feeling,” explains Lilleaas, who lives in Oslo but is sitting in the Chateau Marmont lounge on a rainy afternoon in mid-November. If the script had contained that “I love you” line, she says, “It would’ve been like, ‘What? I would never say that. That’s too much.’ But because it came out of a genuine feeling in the moment — I don’t know how to describe it, but it was what I felt like I would want to say, and what I would want my own sister to know.”
Since its Cannes premiere, “Sentimental Value” has been lauded for such scenes, which underline the subtle force of this intelligent tearjerker about a frayed family trying to repair itself. And the film’s breakthrough performance belongs to the 36-year-old Lilleaas, who has worked steadily in Norway but not often garnered international attention.
Touted as a possible supporting actress Oscar nominee, Lilleaas in person is reserved but thoughtful, someone who prefers observing the people around her rather than being in the spotlight. Fitting, then, that in “Sentimental Value” she plays the quiet, levelheaded sister serving as the mediator between impulsive Nora and egotistical Gustav. Lilleaas has become quite adept at doing a lot while seemingly doing very little.
“In acting school, some of the best characters I did were mute,” she notes. “They couldn’t express language, but they were very expressive. It was freeing to not have a voice. Agnes, she’s present a lot of the time but doesn’t necessarily have that many lines. To me, that’s freedom — the [dialogue] very often comes in the way of that.”
Inga Ibsdotter Lilleaas in “Sentimental Value.”
(Kasper Tuxen)
Lilleaas hadn’t met Trier before her audition, but they instantly bonded over the challenges of raising young kids. And she sparked to the script’s examination of parents and children. Unlike restless Nora, Agnes is married with a son, able to view her deeply flawed dad from the vantage point of both a daughter and mother. Lilleaas shares her character’s sympathy for the inability of different generations to connect.
“A lot of parents and children’s relationships stop at a point,” she says. “It doesn’t evolve like a romantic relationship, [where] the mindset is to grow together. With families, it’s ‘You’re the child, I’m the parent.’ But you have to grow together and accept each other. And that’s difficult.”
Spend time with Lilleaas and you’ll notice she discusses acting in terms of human behavior rather than technique. In fact, she initially studied psychology. “I’ve always been interested in the [experience] of being alive,” she says. “Tremendous grief is very painful, but you can only experience that if you have great love. I’ve tried the more psychological approach of studying people, but it wasn’t what I wanted. Acting is the perfect medium for me to explore life.”
Other out-of-towners might be disappointed to arrive in sunny Southern California only to be greeted by storm clouds, but Lilleaas is sanguine about the situation. “I could have been at the beach, but it’s fine,” she says, amused, looking out the nearby windows. “I can go to the movies — it’s perfect movie weather.”
Inga Ibsdotter Lilleaas. (Evelyn Freja / For The Times)
Her measured response to both her Hollywood ascension and a rainy forecast speak to her generally unfussed demeanor. During our conversation, Lilleaas’ candor and lack of vanity are striking. How often does a rising star talk about being happy when a filmmaker gives her fewer lines? Or fantasize about a life after acting?
“Some days I’ll be like, ‘I want to give it up. I want to have a small farm,’” she admits. “We lived on a farm and had horses and chickens when I grew up. I miss that. But at the same time, I need to be in an urban environment.”
She gives the matter more thought, sussing out her conflicted feelings. “Maybe as I grow older and have children, I feel this need to go back to something that’s familiar and safe,” she suggests. “I think that’s why I’m searching for small farms [online] — that’s, like, a dream thing. I need some dreams that they’re not reality — it’s a way to escape.”
Lilleaas may have decided against becoming a psychologist, but she’s always interrogating her motivations. This desire for a farm is her latest self-exploration, clarifying for her that she loves her profession but not the superficial trappings that accompany it.
“Ten years ago, this would maybe have been a dream, what’s happening now,” she says, gesturing at her swanky surroundings. “But you realize what you want to focus on and give value. I don’t necessarily want to give this that much value. I appreciate it and everything, but I don’t want to put my heart in it, because I know that it goes up and down and it’s not constant. I put my heart in this movie. Everything that comes after that? My heart can’t be in that.”
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