Major literary awards for 2020 books: Colson Whitehead’s 'The Nickel Boys' (Pulitzer), Douglas Stuart’s 'Shuggie Bain' (Booker Prize), Maggie O’Farrell’s 'Hamnet' (Women’s Prize for Fiction). Also, 'Deacon King Kong' by James McBride won the Anisfield-Wolf Book Award. I found 'Shuggie Bain' incredibly moving but difficult to get through in one sitting; the Booker win felt earned, if heavy.
I spent way too much time tracking award lists last year, partly out of boredom and partly a weird fascination with what the committees pick. The obvious big ones: 'The Nickel Boys' by Colson Whitehead won the Pulitzer. Stunning book, but honestly it felt like a foregone conclusion even before it was announced. 'Hamnet' by Maggie O'Farrell snagged the Women's Prize for Fiction, which was a relief because I was worried they'd go for something more overtly political. That novel’s texture is its strength—the sensory details about grief and art.
Shout-out to Douglas Stuart’s 'Shuggie Bain' taking the Booker. That one gutted me for days; it’s relentless in its portrayal of poverty and addiction in 80s Glasgow. I noticed a theme across awards: a lot of historical fiction that digs into societal wounds. Even 'Deacon King Kong' by James McBride, which won the Anisfield-Wolf Book Award, mixes crime and comedy with a deep look at a 1969 Brooklyn housing project. The awards that year seemed to favor novels with a strong sense of place and time, even if the prose styles varied wildly.
A quieter one I loved was 'Real Life' by Brandon Taylor, shortlisted for the Booker. Didn’t win the big prize, but it nabbed The Story Prize later. Felt like a different breed of award-winner—campus novel, interior, tense.
2020 award season had some predictable picks but a couple of surprises. Whitehead’s Pulitzer for 'The Nickel Boys' was almost expected given his track record, but it’s a tight, devastating read that deserved it. 'Shuggie Bain' winning the Booker surprised me—it’s so bleak, and Booker juries sometimes go for something more lyrical. Maybe the lockdown mood made us all receptive to raw hardship narratives.
Maggie O’Farrell’s 'Hamnet' getting the Women’s Prize felt right. It’s the kind of book that lingers. I was rooting for 'The Vanishing Half' by Brit Bennett for more awards, but it seemed to be a critical darling more than an award-sweeper. Award lists are useful for finding stuff I might skip otherwise, like poetry—'The Tradition' by Jericho Brown won the Pulitzer for Poetry, and I never would’ve picked it up without that stamp.
2026-06-23 03:09:45
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An erotic anthology of 40 scorching stories where desire ignites in the most unexpected places.
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My husband Hades gave another woman my birthday celebration.
Then he gave her my mother’s brooch.
Then he let our son call her home.
Nympha was the flower spirit who had grown up beside him. The healers said a curse was killing her, and she had only six months left before she disappeared forever.
Hades said he only wanted her final days to be free of regret.
So I was expected to be generous.
Even when our five-year-old son, Eren, curled up beside her at the hearth and whispered that she felt more like home than I did, I still told myself he was only a child.
Then one night, I heard him say to Hades, “Nympha is so gentle. So beautiful. I wish Mother could be more like her.”
Hades only smiled.
“Your mother is strict because she wants what is best for you,” he said. “But if you like Nympha so much, I can let her stand beside you at the family altar. She can bless you like a second mother.”
That was when I finally understood.
My husband had already given her my place.
And my son had accepted her there.
So the next morning, I placed a marriage dissolution agreement before Hades.
He signed it without reading, because Nympha had collapsed again and he was desperate to reach her.By the time he realized what he had signed, I was already gone.
If they wanted Nympha to be the lady of the Underworld, I would grant them their wish.
But why, after I left, did Hades tear the Underworld apart looking for me?
Why did my son cry himself sick, begging for the mother he once pushed away?
And why did the dying woman they protected so carefully suddenly stop looking so fragile?
Vera Lee, an introverted yet lonesome bibliophile who writes for a living, meets Jackson Young, her charming yet secretive next door neighbor on an online book auction of Stephen King's The Shining. The two enter into a last minute bidding war making Vera take matters into her own hands by convincing Jackson to give up.
Vera's life changes when Jackson starts to make her heart flutter and race as their lives continue to intertwine. But the secrets he keep are holding her back. With the pandemic going on, is it even wise to enter into a relationship?
For someone who's been alone her whole life, can she risk her heart in the middle of the pandemic?
In the chaos and quiet of her 30s, a woman reflects on the loves that shaped her, the heartbreaks that undid her, and the tender spaces in between. Through fleeting romances, almost-loves, and the weight of expectations—family’s, society’s, and her own—she navigates a world where connection is currency, vulnerability is rebellion, and self-discovery never comes easy.
Told with wit, warmth, and raw honesty, this novel is a journey through modern love: messy, magical, and sometimes maddening. It's about the people who entered her life, the ones who left, and the version of herself she’s still becoming.
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What begins as stolen glances soon becomes a dangerous longing. Desire. Fear. Hope. Everything Oluchi was told to bury begins to rise.
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Can Oluchi risk it all for love?
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When American engineer Evan Hart arrives in Rome, he expects worn stones, ancient architecture, and a chance to quietly rethink his failing marriage. He doesn’t expect Livia Moretti—the enigmatic archivist whose fragile intensity pulls him into a slow-burning, dangerous affair he never meant to start. Livia is brilliant, secretive, and a little broken… and Evan can’t stay away.
But when he finally tells his wife Leah he wants a separation, she collapses, claiming she’s been diagnosed with a devastating neurological disease. Overnight, Evan’s guilt becomes a trap. Then Livia disappears without a trace.
Anonymous photographs of him and Livia arrive in the mail.
A stranger begins watching his apartment.
And Leah—sweet, steady Leah—starts behaving in ways he can’t explain.
When Evan finds hidden documents and photographs connecting the two women in his life, he follows a clue to a remote coastal village, where he learns Livia once lived under a different name… and may have been running from something far darker than heartbreak.
As Evan digs deeper, he uncovers the edge of a conspiracy built on identity, memory, and manipulation—one determined to keep its secrets buried. Someone is pulling strings. Someone is rewriting the truth. And someone wants Evan to stop asking questions.
Caught between a wife he no longer understands and a lover who may not be who she claimed to be, Evan is forced to confront the one question he never thought to ask:
If the women in his life are wearing borrowed identities…
then who has been shaping his?
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Back in 2020, the literary world was buzzing with some incredible award-winning reads. One that really stood out to me was 'The Mirror & the Light' by Hilary Mantel, which closed her brilliant Thomas Cromwell trilogy. It didn’t just win accolades—it felt like a cultural moment. Another gem was Maggie O’Farrell’s 'Hamnet,' a hauntingly beautiful take on Shakespeare’s family life that snagged the Women’s Prize for Fiction. Then there’s 'Real Life' by Brandon Taylor, a raw, intimate campus novel that was shortlisted for the Booker Prize. What I loved about these books was how they balanced depth with readability, making award-winning literature feel accessible.
On the nonfiction side, 'Minor Feelings' by Cathy Park Hong was groundbreaking, blending memoir and cultural critique to explore Asian American identity. It won the National Book Critics Circle Award and stayed with me long after I finished it. And let’s not forget 'Deacon King Kong' by James McBride, which won the Anisfield-Wolf Book Award—its mix of humor and heart made it a standout. 2020 was a tough year globally, but these books offered solace and perspective, proving why they deserved those shiny stickers on their covers.