In a groundbreaking moment for literary history, Helen Garner has shattered conventions by becoming the first author to win the prestigious 2025 Baillie Gifford Prize for Nonfiction with a collection of diaries. Her work, How to End a Story, isn’t just a book—it’s a riveting journey through decades of her life, blending the intimate, the intellectual, and the mundane in a way that’s both addictive and profoundly human. But here’s where it gets controversial: can a collection of personal diaries truly stand shoulder-to-shoulder with traditional nonfiction masterpieces? The judges think so, unanimously hailing Garner’s work as a triumph of honesty, wit, and meticulous observation.
The £50,000 award, announced at a London ceremony, marks Garner’s first major UK literary prize, though she’s no stranger to accolades in her native Australia. From the Australian Society of Authors medal to the Melbourne Prize for Literature, her sharp-eyed explorations of domestic life, creativity, and morality have long cemented her status as a literary titan. At 82, Garner continues to captivate readers with her unflinching prose, a talent on full display in How to End a Story. Spanning 832 pages, the book chronicles her bohemian years in 1970s Melbourne, a tumultuous love affair in the 1980s, and the heart-wrenching collapse of her marriage in the 1990s. Robbie Millen, chair of the judges, aptly described Garner as ‘such good company’—funny, original, and relentlessly interesting.
But this victory isn’t without its shadows. Baillie Gifford, the prize’s sponsor, has faced fierce criticism for its investments in fossil fuels and companies linked to Israel. Last year, boycotts organized by Fossil Free Books led to the termination of partnerships with nine literary festivals. Even 2024 winner Richard Flanagan refused the prize money until the firm addressed its environmental impact—a demand that went unmet, with the funds instead donated to a literacy charity. This raises a pressing question: should literary excellence be untethered from ethical concerns, or do such awards carry a responsibility beyond the page?
Garner’s win also sparks another debate: are diaries, often seen as private and introspective, truly deserving of nonfiction’s highest honors? Rachel Cooke of the Observer certainly thinks so, calling Garner’s journals ‘the greatest since Virginia Woolf’s.’ Yet, as we celebrate this milestone, it’s worth asking: what does this mean for the future of nonfiction? Will we see more diaristic works vying for top prizes, or is this a one-off triumph?
Looking ahead, Garner’s next nonfiction work, The Mushroom Tapes, co-authored with Chloe Hooper and Sarah Krasnostein, promises to be equally compelling. Based on the infamous Erin Patterson mushroom murder trial, it’s set to publish in the UK this November. Meanwhile, the Baillie Gifford Prize continues its legacy, with past winners like Antony Beevor and Hallie Rubenhold setting a high bar. This year’s shortlist—including The Revolutionists by Jason Burke and Electric Spark by Frances Wilson—showcased the diversity and depth of contemporary nonfiction.
So, what do you think? Does Helen Garner’s win redefine the boundaries of nonfiction, or is it a unique exception? And should literary prizes like the Baillie Gifford hold their sponsors to higher ethical standards? Let’s keep the conversation going in the comments—your thoughts could shape the next chapter in this ongoing debate.
