3 Answers2025-07-02 20:16:53
I remember diving into the 2017 bestsellers and being blown away by how many award-winning gems there were. 'Lincoln in the Bardo' by George Saunders snagged the Man Booker Prize, and it’s a surreal, emotional ride blending historical fiction with the supernatural. Then there’s 'Sing, Unburied, Sing' by Jesmyn Ward, which won the National Book Award for Fiction—a haunting, lyrical story about family and ghosts in the American South. Colson Whitehead’s 'The Underground Railroad' also swept awards, including the Pulitzer and the National Book Award, for its brutal yet poetic reimagining of slavery. These books aren’t just bestsellers; they’re masterpieces that stayed with me long after I turned the last page.
3 Answers2026-07-09 08:49:25
Struggling to remember back that far! I was still catching up on older stuff in 2017, but a few debuts from that year really carved out a lasting place. Gabrielle Zevin's 'Tomorrow, and Tomorrow, and Tomorrow' wasn't until 2022, so that's not it. The one that comes up most is 'The Power' by Naomi Alderman. It swept up awards and sparked huge conversations. It won the Bailey's Prize (now the Women's Prize for Fiction) and had this incredibly sharp premise about gender dynamics flipping.
Another was 'Sing, Unburied, Sing' by Jesmyn Ward, which actually won the National Book Award that year, though I think 'Salvage the Bones' was her debut earlier? Might be a misremember. Either way, 'Sing' got enormous critical love for its haunting prose and deep Southern family saga. Mohsin Hamid's 'Exit West' was also huge, blending magical doors with a refugee love story—beautiful and timely. Felt like critics couldn't get enough of its approach to global displacement.
A personal favorite that flew a bit under the mainstream radar was 'Her Body and Other Parties' by Carmen Maria Machado. It's a short story collection, but the acclaim for its genre-bending feminist horror was intense and well-deserved. That one stuck with me long after reading.
3 Answers2025-07-30 08:31:06
I remember diving into the bestsellers of 2017 and being impressed by how many of them snagged major literary awards. 'Lincoln in the Bardo' by George Saunders won the Man Booker Prize, and it totally deserved it with its hauntingly beautiful narrative style. Then there's 'Exit West' by Mohsin Hamid, which was shortlisted for the same award and also won the Los Angeles Times Book Prize. 'Sing, Unburied, Sing' by Jesmyn Ward took home the National Book Award for Fiction, and it was a powerful read that stayed with me for weeks. These books weren’t just commercial hits; they had the literary chops to back up their success.
3 Answers2026-07-09 02:50:24
International lists that year seemed dominated by a few repeat names, honestly. 'Origin' by Dan Brown was everywhere, airports especially, but I found it pretty formulaic. The real story might be in the regional charts—like 'Eleanor Oliphant Is Completely Fine' really exploded in the UK later that year, but its global surge came a bit after 2017 proper.
I'd argue the 'worldwide' metric gets skewed by US-centric reporting. If you check lists from markets like Germany or Japan, 'The Woman in the Window' by A.J. Finn had massive pre-publication buzz that translated into huge sales post-release, but it’s rarely mentioned in the same breath as the juggernauts. The steady performer no one talks about now is maybe 'Camino Island' by Grisham—not a critical darling, but it sold a ton of copies quietly.
4 Answers2026-07-09 03:05:39
A lot of people will immediately think of 'A Little Life' by Hanya Yanagihara, which was a finalist for the Booker and won the Kirkus Prize. It definitely dominated the conversation that year, for better or worse. The sheer intensity of it either hooks readers or makes them put it down for good. I found it to be an endurance test, honestly, and I'm not sure the awards attention was entirely about literary merit—sometimes it feels like a book gets celebrated for being the most punishing read of the year.
Another huge one was 'The Sellout' by Paul Beatty, which won the National Book Critics Circle Award. It's a completely different beast: savage, hilarious satire that cuts right to the bone of American race relations. I remember picking it up after the buzz and being blown away by the sheer audacity of the prose. It’s the kind of book where you have to stop every few pages just to process what you’ve read.
Then there’s 'The Sympathizer' by Viet Thanh Nguyen, which cleaned up the following year with the Pulitzer, but it was a 2015 release. That one feels like a masterful blend of espionage thriller and profound historical examination. It’s probably the most structurally elegant of the bunch, and the voice is just unforgettable. Out of all the award-winners from that year, it’s the one I find myself thinking about the most randomly, years later.