WINNER of the 2023 Pulitzer Prize for Fiction
Longlisted for the Booker Prize
One of Barack Obama's Favourite Books of the Year
The Sunday Times Bestseller
Trust is a sweeping puzzle of a novel about power, greed, love and a search for the truth that begins in 1920s New York.
Can one person change the course of history?
A Wall Street tycoon takes a young woman as his wife. Together, they rise to the top in an age of excess and speculation. Now a novelist is threatening to reveal the secrets behind their marriage. Who will have the final word in their story of greed, love and betrayal?
Composed of four competing versions of this deceptive tale, Trust by Hernan Diaz brings us on a quest for truth while confronting the lies that often live buried in the human heart.
**Soon to be an HBO Limites Series starring Kate Winslet**
'One of the great puzzle-box novels . . . a page-turner' – The Telegraph
'Genius' – The Observer
'Radiant, profound and moving' – Lauren Groff, author of Matrix
'Metafiction at its best, unpredictable, clever and massively enjoyable' – The Sunday Times
'Enthralling' – Daily Mail
Diaz returns after his Pulitzer finalist In the Distance with a wondrous portrait in four texts of devious financier Andrew Bevel, who survives the Wall Street crash of 1929 and becomes one of New York City's chief financial barons before dying a decade later at age 62. First there is Bonds, a novel by controversial writer Harold Vanner, which tells the story of Benjamin Rask, a character clearly based on Bevel. The novel, published shortly before Bevel's death, infuriates the magnate, particularly for its depiction of Bevel's deceased wife, Mildred, as a fragile madwoman. Bevel responds by undertaking a memoir, which only serves to highlight his own touchiness and lack of imagination. The third story-within-the-story is the most significant; in it, the reader meets Ida Partenza, daughter of an Italian anarchist in exile, who, in pursuit of her own writerly ambitions, suppresses both her own conscience and the suspicions of her suitor, Jack, to become Bevel's secretary and coconspirator in ruining Harold Vanner, as Ida concocts a counternarrative of a saintly Mildred. The reader eventually hears from Mildred directly via her journal, discovered by Ida during her research and included as a coda. The result is a kaleidoscope of capitalism run amok in the early 20th century, which also manages to deliver a biography of its irascible antihero and the many lives he disfigures during his rise to the cream of the city's crop. Grounded in history and formally ambitious, this succeeds on all fronts. Once again, Diaz makes the most of his formidable gifts.
Gave up halfway.
The author's prose is replete with an overabundance of polysyllabic verbosity, a relentless parade of grandiloquent lexicon seemingly deployed with the sole intention of linguistic ostentation. Each sentence, an elaborate labyrinth of sesquipedalian constructs, obfuscates rather than elucidates, leaving the reader mired in an inextricable tangle of ostentatious jargon.