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 time capsule of raw emotion, intellectual depth, and everyday life, spanning decades of her personal journey. But here’s where it gets controversial: can a collection of private reflections truly stand as a monumental work of nonfiction? The judges think so, unanimously hailing it as “a remarkable, addictive book” that elevates the diary form to unprecedented heights. Yet, this victory isn’t without its complexities, especially given the recent controversies surrounding the prize’s sponsor, Baillie Gifford, whose investments in fossil fuels and companies linked to Israel have sparked boycotts and ethical debates. And this is the part most people miss: while Garner’s win is a triumph for Australian literature, it also reignites questions about the intersection of art, ethics, and corporate sponsorship in the literary world.
Announced at a ceremony in London, the £50,000 award celebrates Garner’s unparalleled ability to blend the intimate, the intellectual, and the mundane. Robbie Millen, chair of the judges, praised the 832-page tome for its “devastating honesty, steel-sharp wit, and ecstatic attention to detail.” From bohemian Melbourne in the 1970s to the tumultuous breakdown of her marriage in the 1990s, Garner’s diaries offer a unflinching look at her life, earning comparisons to Virginia Woolf’s journals. Rachel Cooke of The Observer even called it “the greatest, richest journals by a writer since Woolf’s.”
At 82, Garner is no stranger to acclaim. A towering figure in Australian literature, she’s been honored with the Australian Society of Authors medal, the Australia Council award for lifetime achievement, and the Melbourne Prize for Literature, among others. Yet, this marks her first major UK literary award, solidifying her global legacy. Born in Geelong in 1942, Garner’s career spans teaching, journalism, and a diverse body of work, including novels like Monkey Grip and nonfiction such as This House of Grief. Her next project, The Mushroom Tapes, co-authored with Chloe Hooper and Sarah Krasnostein, delves into the infamous Erin Patterson mushroom murder trial, further cementing her reputation as a fearless chronicler of human complexity.
But let’s not forget the elephant in the room: Baillie Gifford’s sponsorship has been under scrutiny. Last year, Australian author Richard Flanagan refused the prize money until the firm committed to reducing fossil fuel investments—a demand that went unmet, with the funds instead donated to charity. This raises a provocative question: should artists and institutions disentangle themselves from sponsors whose values clash with their own? Or is it possible to separate the art from the funder? Garner’s win, while a literary triumph, arrives at a moment when such questions are more pressing than ever.
The shortlist for this year’s prize was equally compelling, featuring titles like The Revolutionists by Jason Burke, The Boundless Deep by Richard Holmes, and Electric Spark by Frances Wilson. The judging panel, including Millen, historian Pratinav Anil, and author Lucy Hughes-Hallett, sifted through over 350 books to crown Garner’s work. Originally founded as the Samuel Johnson Prize in 1999, the Baillie Gifford Prize has honored luminaries like Antony Beevor and Hallie Rubenhold, making Garner’s victory all the more significant.
As we celebrate Garner’s achievement, it’s worth asking: What does it mean for a diary to be considered great nonfiction? And in an era of ethical dilemmas, how should the literary world navigate its relationships with sponsors? Share your thoughts in the comments—this conversation is far from over. To explore How to End a Story and the shortlisted titles, visit guardianbookshop.com (delivery charges may apply).
