Imagine stumbling upon a treasure trove of personal thoughts that feels as gripping as a mystery novel—now picture it winning a top literary award for non-fiction. That's the buzz surrounding Helen Garner's latest triumph.
Just moments ago, a compilation of diaries secured the esteemed Baillie Gifford Prize for Non-Fiction in a groundbreaking first. How to End a Story: Collected Diaries by the acclaimed Australian author Helen Garner offers an intimate glimpse into her journey, starting from her budding career amid the vibrant bohemian scene of Melbourne, through the challenges of motherhood in the 1970s, and culminating in the turmoil of a crumbling marriage during the 1990s.
Garner's earlier masterpiece, The House of Grief from 2014, delved into the harrowing trial of Robert Farquharson, accused of murdering his three sons. This poignant work showcased her knack for weaving real-life drama with profound insight.
Celebrities are raving about her talent. Fellow writer David Nicholls and pop sensation Dua Lipa are among her admirers. Lipa gushed, "Helen Garner's writings are an exhilarating find. She's among the most captivating authors I've encountered." The judges' chair, Robbie Millen, declared How to End a Story the unanimous victor, calling it "an extraordinary, compelling read." He elaborated, "Garner elevates the diary format by blending the personal, the philosophical, and the mundane in unprecedented ways. As a sharp-eyed commentator and attentive ear, each page brims with unexpected, witty, or insightful observations. These assembled diaries are destined to be ranked alongside Virginia Woolf's iconic journal."
In a glowing review for the Observer, Rachel Cooke drew parallels to the legendary Modernist writer, hailing Garner's work as "the most exceptional, layered diaries penned by an author since Virginia Woolf's own." (For more on this, check out the full review at https://www.theguardian.com/books/2025/mar/17/how-to-end-a-story-collected-diaries-by-helen-garner-review-the-greatest-journals-since-virginia-woolfs)
This victory represents Garner's inaugural major UK accolade, coming after a surge of interest across the pond with the first British releases of three of her titles last year. The Baillie Gifford Prize, which honors outstanding non-fiction, welcomes writers from every corner of the globe.
As the champion, Garner pockets £50,000, while the other nominees each earn £5,000, pushing the overall pot to £75,000. The judges sifted through a staggering 350-plus books released between 1 November 2024 and 31 October 2025.
The shortlist also featured these notable entries:
- The Revolutionists: The Story of the Extremists Who Hijacked the 1970s by Jason Burke, which explores radical figures like Carlos the Jackal and the Baader-Meinhof Gang.
- The Boundless Deep: Young Tennyson, Science and the Crisis of Belief by Richard Holmes, a biographical deep dive into the formative years of poet Alfred Lord Tennyson.
- Captives and Companions: A History of Slavery and the Slave Trade in the Islamic World by Justin Marozzi, tracing the evolution of slavery in Islamic societies from the 7th century up to modern times.
- Lone Wolf: Walking the Faultlines of Europe by Adam Weymouth, chronicling a young wolf's epic 1,000-mile journey through the European Alps.
- Electric Spark by Frances Wilson, a biographical portrait of novelist Muriel Spark.
But here's where it gets controversial... Do personal diaries truly qualify as 'non-fiction' in the same vein as investigative journalism or historical analysis? Some might argue they're more raw memoir or creative expression than objective reporting. And this is the part most people miss: Prize selections like this can sometimes spark debates about literary merit—does Garner's introspective style deserve to overshadow more outward-looking narratives? For instance, comparing her to Woolf opens the door to questions about female voices in literature: Is it empowering or limiting to celebrate 'domestic' stories over global upheavals? What do you think—should diaries earn such prestigious nods, or does this shift the definition of non-fiction? Share your take in the comments and let's discuss!
