Honestly, half the fun of 2020's books was watching the award season debates unfold online. The Hugo voter packet that year was stacked, and seeing the passionate cases made for 'A Deadly Education' versus 'Network Effect' was its own kind of entertainment.
I'd argue 'Deacon King Kong' by James McBride was one of the best, winning the Anisfield-Wolf Book Award and the Andrew Carnegie Medal. It's a hilarious, big-hearted romp through a 1960s Brooklyn housing project after a shooting. The 'why' is the incredible ensemble cast and McBride's ability to find profound humanity and humor in chaos.
2026-07-25 19:20:53
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A Good book
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a really good book for you. I hope you like it becuase it tells you a good story. Please read it.
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?
Oluchi never thought love would find her this late.
She has spent her life following rules, hiding pieces of herself, and convincing the world she was fine. Then comes Amina the soft-spoken lesson teacher with a fire in her eyes, the one who makes Oluchi’s world feel both terrifying and alive.
What begins as stolen glances soon becomes a dangerous longing. Desire. Fear. Hope. Everything Oluchi was told to bury begins to rise.
But in a world that punishes women for wanting more, for loving differently…
Can Oluchi risk it all for love?
Or will survival demand her silence once again?
The Love That Changed Everything is a tender, messy, and unforgettable story about late-found love, queer longing, and the price of choosing yourself.
Nicole Evans never asked to be followed. She never asked for eyes in the dark, for a man like Vane to orbit her life with silence and devotion sharp enough to wound. But obsession doesn’t ask permission. It waits. It watches. It becomes inevitable.
What began with missing men and shadows on rooftops soon unraveled into something far more intimate—an assassin who couldn’t let go, and a woman who, piece by piece, stopped trying to make him. As friends vanished and her world narrowed, Nicole found herself drawn toward the very thing she feared most—not out of love, but recognition. In his violence, there was something terrifyingly tender. In his silence, something that listened more closely than anyone else ever had.
Theirs is not a love story in any ordinary sense.
It’s a descent—a long, slow collapse into dependency, into surrender. A story told in bruises and shared tea, in blood and in stillness. A quiet unraveling that doesn’t end in escape, but in a house by the sea, where memory lingers and echoes never fade.
Some stories don’t ask to be understood. Only remembered.
In a war-torn world, Noura is desperate to escape the clutches of a dangerous warlord who wants to force her to marry him. Her only hope lies in Khalid, a man driven by a promise to protect her to her father. But as they journey across dangerous lands, Noura begins to question everything she knows about loyalty, trust, and the man who saved her. With every step, the lines blur between protector and captor, and Noura must face the terrifying truth about Khalid's obsession—and her own feelings. Will she find freedom, or will she be trapped in a bond darker than the war she's fleeing?
The Alpha’s Runaway Prize: Bound by the Billionaire’s Blood
Jane Domingo
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406
Sabizina Moretti (Sabi) is a woman who has spent her life being a pawn in her father’s corporate chess matches. But her marriage to Rage Valerius Vane, the most feared and powerful CEO in the global syndicate, was supposed to be different. It was supposed to be a choice.
On the morning of their televised "Wedding of the Century," a digital file is leaked to Sabizina’s phone. The truth is shattering: the financial ruin of her family wasn't an accident—it was a calculated execution by Rage himself to force her into his arms.
Before she can say "I do," Sabizina vanishes.
Six months later, Rage Vane has burned through millions to find her. He finally corners her in a desolate coastal cabin, expecting to find a woman begging for mercy. Instead, he finds a warrior who has rebuilt her life from nothing—and a secret that halts even the ruthless Rage Vane in his tracks. Sabizina is visibly pregnant with the Vane heir.
Forced back into the gilded cage of his high-tech penthouse, Sabizina must navigate a world of corporate assassins, jealous socialites, and Rage’s own dark past. As she uncovers the real reason behind his obsession, she realizes that in Rage’s world, the truth is more dangerous than a lie, and the man she ran from might be the only one who can keep her—and her unborn children—alive.
I feel like the 'best' often gets conflated with 'most important' or 'most discussed.' For sheer, unadulterated reading pleasure that made me forget the world for hours at a time, my pick is 'The House in the Cerulean Sea'. It's a warm cupcake of a book. The message about kindness, found family, and accepting difference was exactly what I needed. Is it the most complex or challenging literature? No. But did it deliver a perfect, heartfelt, uplifting experience? Absolutely. Sometimes the 'best' book is the one that makes you feel the best, and for a huge number of people, that was this one.
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.