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Trust (Pulitzer Prize Winner)

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WINNER OF THE PULITZER PRIZE FOR FICTION

ONE OF
THE NEW YORK TIMES’S 100 BEST BOOKS OF THE 21ST CENTURY

A
NEW YORK TIMES BESTSELLER
ONE OF BARACK OBAMA'S FAVORITE BOOKS OF 2022
LONGLISTED FOR THE 2022 BOOKER PRIZE

“Buzzy and enthralling . . . A glorious novel about empires and erasures, husbands and wives, staggering fortunes and unspeakable misery . . . Fun as hell to read.” —
Oprah Daily

"A genre-bending, time-skipping story about New York City’s elite in the roaring ’20s and Great Depression." —
Vanity Fair

“A riveting story of class, capitalism, and greed.” —
Esquire

"Exhilarating.” —
New York Times

Even through the roar and effervescence of the 1920s, everyone in New York has heard of Benjamin and Helen Rask. He is a legendary Wall Street tycoon; she is the daughter of eccentric aristocrats. Together, they have risen to the very top of a world of seemingly endless wealth—all as a decade of excess and speculation draws to an end. But at what cost have they acquired their immense fortune? This is the mystery at the center of
Bonds, a successful 1937 novel that all of New York seems to have read. Yet there are other versions of this tale of privilege and deceit.
Hernan Diaz’s
TRUST elegantly puts these competing narratives into conversation with one another—and in tension with the perspective of one woman bent on disentangling fact from fiction. The result is a novel that spans over a century and becomes more exhilarating with each new revelation.
At once an immersive story and a brilliant literary puzzle,
TRUST engages the reader in a quest for the truth while confronting the deceptions that often live at the heart of personal relationships, the reality-warping force of capital, and the ease with which power can manipulate facts.


Editorial Reviews

Review

Praise for Trust:

“Intricate, cunning and consistently surprising…Much of the novel's pleasure derives from its unpredictabiility...Add Henry James to Wharton, and Thomas Mann too...Exhilarating and intelligent novel.” New York Times

“Luminous… Masterful… The drama lies in trying to puzzle out where Diaz will take you next, what’s been hidden, and why.”The New Yorker

“A rip-roaring, razor-sharp dissection of capitalism, class, greed, and the meaning of money itself that also manages to be a dazzling feat of storytelling on its own terms… Important and timely. But the uniquely brilliant way in which Diaz tells that story, as meticulously researched as it is narratively exhilarating, makes it a novel not just for the present age but for the ages.”
Vogue

“[A] riveting story of class, capitalism, and greed. The result is a mesmerizing metafictional alchemy of grand scope and even grander accomplishment.”—
Esquire

“There is a dazzling intelligence behind this novel, which challenges us to rethink everything we know both about the institutions on which nations are built and the narratives by which stories are told. Sly, sophisticated, insistently questioning, Diaz writes with assurance, determined to rob us of every certainty.”—the Booker Prizes

"Literary fiction…is a fantastic commodity in which our best writers become criminals of the imagination, stealing our attention and our very desires. Diaz makes an artistic fortune in
Trust. And we readers make out like bandits, too.”—Maureen Corrigan, NPR

“A buzzy and enthralling tour de force… a glorious novel about empires and erasures, husbands and wives, staggering fortunes and unspeakable misery…Mostly, though,
Trust is a literary page-turner, with a wealth of puns and elegant prose, fun as hell to read.”—Oprah Daily

“A remarkably accessible treatise on the power of fiction. This unquestionably smart and sophisticated novel not only mirrors truth, but helps us to better understand it.”
The Boston Globe

"Ingenious...challenges conventional story lines of another favorite American theme: capitalism and the accumulation of vast wealth…Diaz employs his inventive structure to offer intriguing insights into the hidden roles played by subservient women." Minneapolis Star Tribune

"The world of Trust feels very close to our own...This book is a reminder that wealth isn’t a treasure chest and the rich aren’t magical, no matter how dramatically they shape the world. It’s all just money, made by real people, with very real, often dangerous implications." Vanity Fair

“Rich and prismatic…”
Wall Street Journal

 “The only certainty here is Diaz’s brilliance and the value of his rewarding book…In execution it’s an elegant, irresistible puzzle.”—
The Washington Post

“Wondrous… Diaz is brilliant at dissecting literary conventions and transforming them into something new.” The New York Review of Books

“Through perfectly formed sentences and the skilful unpicking of certainties, Trust creates a great portrait of New York across an entire century of change . . . a work possessed of real power and purpose . . . It’s a testament to Diaz’s cunning abilities as a writer that you end his book thinking that— if truth is your goal —you might be better off relying on a novelist than a banker.”—Jonathan Lee, The Guardian (UK)
 
“Sharp and affecting . . . Diaz’s great subject is the scale of American mythmaking . . . It is in his ugly-beautiful portrait of great wealth that Diaz shows his brilliance . . . In this literary Rubik’s Cube, Diaz provides a viable, and hugely entertaining, argument that once a pen is put to paper an element of veracity is always lost. And when money is thrown into the mix, then the lies really multiply.”—
Financial Times (UK)

“An absolutely brilliant novel… A wily jackalope of a novel — tame but prickly, a different beast from every angle…The setup is so shrewd and the writing so immaculate." —Los Angeles Times

“Hernan Diaz, one of the least derivative, most eccentrically ambitious fiction writers I’ve read in a long while.”
—Jonathan Dee in Harper’s Magazine

Trust proves that Diaz is a writer of singular talent. This book is a kaleidoscopic dazzler that works as both an engrossing literary mystery and a capitalistic takedown for the ages. Don’t miss it.”Chicago Review of Books

"A multifaceted saga of class, wealth, and mythmaking that should resonate with today’s capitalism-questioning readers.”
The Philadelphia Inquirer

“A uniquely layered novel…Each page peels back another mystery, making for an utterly riveting read.” Buzzfeed

“Like a tower of gifts waiting to be unwrapped, Trust offers a multitude of rewards to be discovered and enjoyed …  [a] beautifully composed masterpiece."BookPage, STARRED review
 
“For all its elegant complexity and brilliant construction, Diaz's novel is compulsively readable, and despite taking place in the early 1900s, the plot reads like an indictment of the start of the twenty-first century with its obsession with obscure financial instruments and unhinged capital accumulation. A captivating tour de force that will astound readers with its formal invention and contemporary relevance."Booklist, STARRED review

“[A] kaleidoscope of capitalism run amok in the early 20th century . . . Grounded in history and formally ambitious, this succeeds on all fronts. Once again, Diaz makes the most of his formidable gifts.”Publishers Weekly, STARRED Review

“A feat of literary gamesmanship [that] brilliantly weaves its multiple perspectives to create a symphony of emotional effects . . . [T]he collection of palimpsests makes for a thrilling experience ...A clever and affecting high-concept novel of high finance.”
Kirkus, STARRED review

“Hernan Diaz is a narrative genius whose work easily encompasses both a grand scope and the crisp and whiplike line. Trust builds its world and characters with subtle aplomb. What a radiant, profound and moving novel.”—Lauren Groff, New York Times bestselling author of Matrix
 
“Diaz understands, and deeply, how strange money is, as an omnipotent and imaginary substance that controls our lives.
Trust glints with wonder and knowledge and mystery. Its plotlines are as etched and surreal as Art Deco geometry, while inside that architecture are people who feel appallingly real. This novel is very classical and very original: Balzac would be proud, but so would Borges.”—Rachel Kushner, New York Times bestselling author of The Mars Room

“That rare jewel of a book—jaw-dropping storytelling against the backdrop of beautiful writing. Amidst all the noise in the world, whole days found me curled up on the couch, lost inside Diaz’s brilliance.”Jacqueline Woodson, National Book Award-winning author of Red at the Bone

“Though set in a historical New York,
Trust speaks to matters of the most urgent significance to the present day. Money, power, class, marital and filial relations, the roles played by trust and betrayal in human affairs—Diaz’s development of his chosen themes is deeply insightful. Cleverly constructed and rich in surprises, this splendid novel offers serious ideas and serious pleasures on every beautifully composed page.” —Sigrid Nunez, National Book Award–winning author of The Friend

“Sublime, richly layered novel. A story within a story within a story. Elegantly written.”—Roxane Gay, bestselling author of Difficult Women
 
“The audacity and scope of Hernan Diaz’s extraordinary novel—a prism, a mystery, a revelation—are brilliantly matched by the quality of his prose.”—
Jean Strouse, author of Morgan: American Financier
 
"What a joy this is to read, suspenseful at every turn, the work of a rare and impressive talent. Diaz has once again taken apart an American myth and pondered how we lie to ourselves.”—
Joan Silber, National Book Critics Circle Award–winning author of Improvement

About the Author

Hernan Diaz is the Pulitzer Prize-winning and New York Times bestselling author of Trust. Translated into more than thirty languages, Trust also received the Kirkus Prize, was longlisted for the Booker Prize, and was named one of the 10 Best Books of the Year by The New York Times, The Washington Post, NPR, and Time magazine, and it was one of The New Yorker’s 12 Essential Reads of the Year and one of Barack Obama’s favorite books of the year. Trust is currently being developed as a limited series for HBO. Diaz’s previous novel, In the Distance, was a finalist for the Pulitzer Prize and the PEN/Faulkner Award, and it won the William Saroyan International Prize. His work has appeared in The Paris Review, Granta, The Atlantic, Harper’s, McSweeney’s, and elsewhere. He has received the John Updike Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, a Whiting Award, and a fellowship from the New York Public Library’s Cullman Center for Scholars and Writers.

Reviews:

5.0 out of 5 stars Thanks to Dua Lipa

K. · May 24, 2025

I read this book after seeing Dua Lipa’s interview with Hernan Diaz. The interview was dynamic, fun, complimentary, and insightful. The four-book structure and the motifs of money, high finance, non-credible narrators, and literary and historical intrigue seemed attractive to me.The book itself held my interest, in no small part because I wanted to understand it in a way that I could talk about it like I used to when I was in college. In an “educated“ way. And its structure and rich language kept me writing notes and looking up definitions, so I felt smarter, in the way that having a rich lexicon expands one’s ability to be conscious of more of the details in one’s everyday life.Around this same time, I am teaching students how to critique the credibility of online information, and wrestling with generative AI in my work as a technology teacher, and saw a cool little YouTube essay entitled “The Curtains are Just Blue,” in which the narrator preaches that we should be proud to be critical thinkers; that the current rise of anti-intellectualism in the United States is stupid (lol — they stated it much more clearly and convincingly); and that it is way better to overthink things than to underthink them.So here I am to say that I enjoyed diving into this book. I enjoyed engaging with it. It is a conscious choice to spend time and energy engaging with anything, especially in today’s world of infinite distractions. But engaging like this with a good book has been a favorite activity of mine for most of my life, and I feel the need to thank Dua Lipa for introducing it to me.

4.0 out of 5 stars A novel that rewards sticking with it

J.B. · November 22, 2022

Warning -- there's a bit of a reveal here. This novel, written in 4 parts, requires patience to find out what it's about, and if one sticks with it to the end, the reader realizes that it has been worth it. Written in 4 parts that from the titles of each seemed to be unconnected, when I started, I had no idea just what was going on. Was this single novel in fact going to be a group of 4 different stories? The first part I found difficult going, the writing style stilted and dated, though the story was interesting in an odd way. And then I moved on to part 2 and began to see that there might be a connection, maybe, but it wasn't clear just what -- but the writing style changed dramatically. Part 3 again is different, now a far more accessible writing style, and this is where we learn the tie between parts 1 and 3. The novel finishes with part 4, which in a way is a sort of epilogue, with a major twist on the truth of parts 1-3. Ultimately, when all the parts are integrated by the reader, this is a powerful book about the worlds of wealth in NY in the early 20th century, but more about personal relationships, ego, and self-deception. Well worth reading.

3.0 out of 5 stars Competent writing with a modest, predictable take on a now-common literary conceit

P. · September 16, 2024

It will come as no surprise to anyone who has gotten to my review that this book consists of the story of a financially powerful couple told from four perspectives. If you didn't know that, you would figure it out a few pages into the second version of the story. If you're particularly surprised by the fourth and final story, then you should reread the title of the book, which might be retitled "Always Mistrust." Mr. Diaz is a good enough writer that I don't begrudge myself the time spent reading the book, but I found nothing lyrical or passionately revealing or inspiring or innovative in his style. He's an okay storyteller, with characters I guess you can try earnestly to care about enough to deeply engage. Ultimately, I didn't come close to succeeding in that. The fourth version of the story is--by my estimation--the one that is supposed to produce the OMG-response, but I already knew something was coming and that it was going to reshape my view of the central characters and of everything I read before. To miss that going into that last section would be to ignore the previous three versions of the tale. And then, early in that final "diary" section, when we learn of previously trivialized mathematical skills and are given more to chew on about things like musical appreciation with a little Music 101 philosophizing (D F# E A -> A E F# D), it's pretty easy to guess what's coming. That's okay (except to the extent that the diarist sneers at predictability as a mark of lesser minds).It's the way the great reveal happens that bothers me and makes me feel that this is a failed novel. In a diary that is terse, minimalist, merely suggestive, the diarist stops in a couple places to ham-handedly tell OMG counterstory (the one, I assume, most readers decide upon closing the book for the last time to TRUST, given its location in the text and the satisfaction that the final gotcha-putdown of an unsympathetic protagonist provides).The diarist claims that the jarringly different passages that explain exactly what what REALLY happened (in careful expository detail) gives her some relief from pain and discomfort, but it came across to me as a plot device that the author failed to pull off. If you're going to just explain the OMG to me this way, then I'd prefer you stick it in a final explanatory section (Section V: Guess What!) written by an all-knowing author-god-voice. Don't give me: "AM Ouch my back hurts PM Morph AM Powerpoint slide #1: my actual talents, part 1...(a)...slide #2: my pitiful spouse's inadequacies...(a)..."One thing that diary section succeeded in doing was to swap out my feelings about the two central characters. The one who had seemed cold and insensitive gained a sliver of humanity and a quarter teaspoon of sympathy from me. The diarist, who rejoiced in bragging about personal superiority and absolute condescension toward a befuddled, largely incompetent other, lost any positive regard (already at very low simmer) that I had developed in the previous three versions of the story.Maybe that's the point. Don't trust anything you have just spent an entire book reading, including the final section. But if that's the take-away, why should wish to learn more about these people I was misled about? Surely, a good story should leave you with some appetite for more...for something truthier and give-a-damn-ier. These are people I never really cared about. Rather than becoming multidimensional by the retelling of the story, they were one-dimensional four times over. I don't like them (any of them, except maybe the champagne-toting butler: "Two glasses? Very good, sir."). I don't trust them. I feel no regret that they have disappeared into the dustbin of fictional time.

5.0 out of 5 stars Written beautifully

S.K.G. · January 15, 2026

Wonderful book! The author really challenges your perspective of how the story is told.

4.0 out of 5 stars Not for the faint of heart

K. · September 13, 2025

I had to laugh after I finished this and decided to check the reviews because I knew it would get battered about a bit. I caught on to the premise as soon as I started the second section and felt like I was reading Atlas Shrugged. I thought it was an easy read-most people will not-but my background is in business and psychology so both were tweaked all the way through. I found it to be much more, therefore, than most people did. I saw key words like “flappers”, no, not even, and references to capitalism that I feel miss the point about real capitalism. I am reading this for a small book club some friends and I started and they are all Ph.d’s, as I am I, so I had some trepidation about how my interpretations would stand up. They are smarter than I am:). I am going to read it a second time now that I have confirmed I was correct in what I was getting out of it!

Money, power, misogyny, lies and 'deepfakes'

A. · February 27, 2024

I can’t see why this book was long listed for the Booker Prize in 2022 or how on earth it won the Pulitzer Prize in 2023. It seems a disjointed, rambling and confusing book about money, power and relationships.But that is a lie – a trick - a bit like Hernan Diaz in this book. On the contrary I think ‘Trust’ is a dazzling cut-diamond of a book. Unlike many novels with a beginning, middle and an end, Trust is constructed like a Russian Matryoshka doll where once the smallest doll – the ‘Futures’ section of the book – is revealed all our questions are answered and we can only sit back and wonder at Diaz’s deft sleight of hand. The author uses four different genres: first is the novel within the novel, then the manuscript, followed by the memoir and finally, the diary.From the first Diaz lulls the reader into a false sense of security. “Bonds” a novel within a novel, written by Harold Vanner in a traditional style, using the third person, lacking in dialogue, tells the story of successful investor Benjamin Rask and his wife in their New York Mansion. Helen Rask was an excellent mathematician with no acceptable outlet in a patriarchal society for her brilliance. Through her philanthropy and sponsorship of artists and musicians, this otherwise reserved woman creates a social bubble in which she feels comfortable and achieves great success. The loss of this richly cultural life hit her hard after the Depression when people blamed her husband for manipulating the markets and making money from other people’s misfortune. Her descent into mental illness was swift. An uppity wife would often find herself despatched to a clinic for experimental treatment and Helen’s fate was not a one-off. The reader learns later that the fictional author, Harold Vanner, had been entirely wrong about Helen aka Mildred. He may have changed the names of the two main protagonists but he was subsequently destroyed by the “real-life” Andrew Bevel because the story was clearly about the Bevels. How shocked Vanner would have been to learn that Mildred Bevel, the de facto victim was actually the brains behind Andrew Bevel’s success. He would have been horrified that he had lost his literary livelihood for such a monumental lie – no one would have suspected that the ‘angel in the Bevel house’, Mildred Bevel, had been capable of such Machiavellian scheming and, let’s face it, shocking brilliance!‘My Life’, the manuscript of Andrew Bevel’s autobiography, is written in the first person but the writing is more stilted, less fluent than Vanner’s novel and is peppered with copious author’s notes for further research. It eventually stutters to an unresolved end, much as Bevel’s life ended, - suddenly. Bevel employed an inexperienced secretary, Ida Partenza, to not only type up the book but also invent incidents in the life of his late wife – a woman Ida had never met. Today we would say that Ida was a ghost writer, of sorts. The interviews between her and Bevel gave her a chance to develop her obvious talent for creative writing. She had already created a false biography for herself along with a new name. This was a game she would be able to play with inexperienced enthusiasm. With her boss as the only source, writing Mildred’s truth was nigh on impossible. For example on page 286 Bevel instructed Ida as follows:“We wouldn’t want anyone to believe she was arrogant or affected. Keep it simple. Make her love of the arts approachable for the common reader”. That Mildred had sponsored and enjoyed innovative modern classical music was only one of the truths that needed to be buried. Ida realised that the Mildred she was writing about was very different from the one who had decorated her bedroom with minimalist furniture. Ida had even inserted interests and events from her own life into Mildred’s to pad out the text, so she was well aware of the lies contained within its pages.This book is set in the past but Diaz is a contemporary writer. “Trust” may well be a metaphor for the modern world – awash with lies and deepfake news. If he were alive today Andrew Bevel would no doubt have used AI, Chat GPT to write his book and social media to circulate lies about Harold Venner. For example, look at the vitriol addressed to J K Rowling.The more I think about it, the more Bevel’s pride in being able to bend and align reality so that the adjustment looks like truth, the more I read commentary about the present Age. Ida acknowledges in later life (her memoir section written in italics) that she had also been manipulated by him, that money equals power and that power is not always wielded by the most ethical people. Her naivete began to fall away with the realisation that Jack had been spying on her and her father had stolen pages from her bin. She sensed a genuine mystery around the Bevels and her love of crime novels whetted her appetite for finding out the answer to the puzzle of who Mildred really was. However, she conversely admitted that working for Bevel had set her on a solid career path, paid her a good salary, and provided her with independence and a roof over her head as well as paying for her father’s accommodation.Ida Partenza had been regularly subjected to her father’s political rantings and preoccupations until she left home. He even told her that being a Secretary was a demeaning occupation, which promised independence but was actually “another knot in the millenary subjection of women to the rule of men”, failing to recognise the hypocrisy of his words. He would eventually live alone in unhygienic squalor rather than lift a hand to do anything about it. Despite grudgingly admitting that secretarial work was work - and he admired anyone who worked - he did not seem to understand that cooking, laundry, and cleaning was house ‘work’.Ida attempted to make sense of the Bevels by writing a memoir but it was only when she discovered the hidden diary that she discovered Mildred’s truth. Mildred describes her husband, Andrew, as ‘stoically sulky’, which is not surprising as he was constantly jealous of her superior skills in successfully predicting the stock market’s movements while taking all the credit for himself. This was a dark secret Andrew Bevel was determined to take to his grave. On the other hand, Mildred felt guilty that her financial dexterity had financially ruined people. In another extract she writes: “I don’t believe in magic, but the viciousness of cancer after the crash didn’t feel like a coincidence.”In this book financial trust, trust between husband and wife or parents and children is often misplaced. Women are silenced. The men in ‘Trust’ don’t come out of it looking very good. Clearly, this book is as much about the imposed restrictive experience of being a woman as it is about making money. Living in the twenty-first century, as we do, when some people struggle to find words to describe what a woman actually is, it is a salutary reminder that we are human beings first.Despite growing up speaking Spanish and Swedish, Diaz has made no secret of his love for the English language. He writes longhand in notebooks, in English, with a Mont Blanc pen, often in the Centre for Brooklyn History library, close to his home. He is widely read and his academic background contributes to the wealth of previous reading that enriches this novel.I really didn’t want this thoughtful, elegantly-written book to end and would recommend it to others.

Hernan Diaz: a masterpiece!

M. · October 11, 2023

Hernan Diaz is one of the most interesting authors of our time. His contributions have not gone unnoticed. His work is captivating and inspiring. His book is a masterpiece. The stories touch my heart.Sincerely mo

extraordinary

S.P. · December 17, 2023

Beautiful writing, compelling storyline, intriguing and satisfying! Would def consider rereading which I rarely do. Outstanding. Glad a friend recommended it to me

Excellent!!!

D.R.T. · October 7, 2023

Interesting and amazing at the same time.I decided to read the english version and the prose was superb.Once you finish reading, it is obvious why Hernan Diaz won the Pulitzer Price!

Enchanting

H.M. · July 31, 2023

A very enchanting novel. Twists and turns, sharp or subtle, jarring or smooth, happy or sad, handled very well by a talented author. A wordsmith. The structure of the novel, intriguing throughout, weaves a memorable tale, one would wish to read over and over. Super charectization. Like the journal in the novel, would the narrative would be haunting long after reading the novel.

Trust (Pulitzer Prize Winner)

Product ID: U0593420314
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Trust (Pulitzer Prize Winner)

Product ID: U0593420314
Condition: New

4.1

(38,388 ratings)
Trust (Pulitzer Prize Winner)-0
Type: Hardcover

AED13488

Price includes VAT & Import Duties
Availability: In Stock

Quantity:

|

Order today to get by 7-14 business days

Delivery fee of AED 20. Free for orders above AED 200.

Returns & Warranty policies

Imported From: United States

At BOLO, we work hard to ensure the products you receive are new, genuine, and sourced from reputable suppliers.

BOLO is not an authorized or official retailer for most brands, nor are we affiliated with manufacturers unless specifically stated on a product page. Instead, we source verified sellers, authorized distributors or directly from the manufacturer.

Each product undergoes thorough inspection and verification at our consolidation and fulfilment centers to ensure it meets our strict authenticity and quality standards before being shipped and delivered to you.

If you ever have concerns regarding the authenticity of a product purchased from us, please contact Bolo Support. We will review your inquiry promptly and, if necessary, provide documentation verifying authenticity or offer a suitable resolution.

Your trust is our top priority, and we are committed to maintaining transparency and integrity in every transaction.

All product information, images, descriptions, and reviews originate from the manufacturer or from trusted sellers overseas. BOLO is not affiliated with, endorsed by, or an authorized retailer for most brands listed on our website unless stated otherwise.

While we strive to display accurate information, variations in packaging, labeling, instructions, or formulation may occasionally occur due to regional differences or supplier updates. For detailed or manufacturer-specific information, please contact the brand directly or reach out to BOLO Support for assistance.

Unless otherwise stated, all prices displayed on the product page include applicable taxes and import duties.

BOLO operates in accordance with the laws and regulations of United Arab Emirates. Any items found to be restricted or prohibited for sale within the UAE will be cancelled prior to shipment. We take proactive measures to ensure that only products permitted for sale in United Arab Emirates are listed on our website.

All items are shipped by air, and any products classified as “Dangerous Goods (DG)” under IATA regulations will be removed from the order and cancelled.

All orders are processed manually, and we make every effort to process them promptly once confirmed. Products cancelled due to the above reasons will be permanently removed from listings across the website.

Description:

WINNER OF THE PULITZER PRIZE FOR FICTION

ONE OF
THE NEW YORK TIMES’S 100 BEST BOOKS OF THE 21ST CENTURY

A
NEW YORK TIMES BESTSELLER
ONE OF BARACK OBAMA'S FAVORITE BOOKS OF 2022
LONGLISTED FOR THE 2022 BOOKER PRIZE

“Buzzy and enthralling . . . A glorious novel about empires and erasures, husbands and wives, staggering fortunes and unspeakable misery . . . Fun as hell to read.” —
Oprah Daily

"A genre-bending, time-skipping story about New York City’s elite in the roaring ’20s and Great Depression." —
Vanity Fair

“A riveting story of class, capitalism, and greed.” —
Esquire

"Exhilarating.” —
New York Times

Even through the roar and effervescence of the 1920s, everyone in New York has heard of Benjamin and Helen Rask. He is a legendary Wall Street tycoon; she is the daughter of eccentric aristocrats. Together, they have risen to the very top of a world of seemingly endless wealth—all as a decade of excess and speculation draws to an end. But at what cost have they acquired their immense fortune? This is the mystery at the center of
Bonds, a successful 1937 novel that all of New York seems to have read. Yet there are other versions of this tale of privilege and deceit.
Hernan Diaz’s
TRUST elegantly puts these competing narratives into conversation with one another—and in tension with the perspective of one woman bent on disentangling fact from fiction. The result is a novel that spans over a century and becomes more exhilarating with each new revelation.
At once an immersive story and a brilliant literary puzzle,
TRUST engages the reader in a quest for the truth while confronting the deceptions that often live at the heart of personal relationships, the reality-warping force of capital, and the ease with which power can manipulate facts.


Editorial Reviews

Review

Praise for Trust:

“Intricate, cunning and consistently surprising…Much of the novel's pleasure derives from its unpredictabiility...Add Henry James to Wharton, and Thomas Mann too...Exhilarating and intelligent novel.” New York Times

“Luminous… Masterful… The drama lies in trying to puzzle out where Diaz will take you next, what’s been hidden, and why.”The New Yorker

“A rip-roaring, razor-sharp dissection of capitalism, class, greed, and the meaning of money itself that also manages to be a dazzling feat of storytelling on its own terms… Important and timely. But the uniquely brilliant way in which Diaz tells that story, as meticulously researched as it is narratively exhilarating, makes it a novel not just for the present age but for the ages.”
Vogue

“[A] riveting story of class, capitalism, and greed. The result is a mesmerizing metafictional alchemy of grand scope and even grander accomplishment.”—
Esquire

“There is a dazzling intelligence behind this novel, which challenges us to rethink everything we know both about the institutions on which nations are built and the narratives by which stories are told. Sly, sophisticated, insistently questioning, Diaz writes with assurance, determined to rob us of every certainty.”—the Booker Prizes

"Literary fiction…is a fantastic commodity in which our best writers become criminals of the imagination, stealing our attention and our very desires. Diaz makes an artistic fortune in
Trust. And we readers make out like bandits, too.”—Maureen Corrigan, NPR

“A buzzy and enthralling tour de force… a glorious novel about empires and erasures, husbands and wives, staggering fortunes and unspeakable misery…Mostly, though,
Trust is a literary page-turner, with a wealth of puns and elegant prose, fun as hell to read.”—Oprah Daily

“A remarkably accessible treatise on the power of fiction. This unquestionably smart and sophisticated novel not only mirrors truth, but helps us to better understand it.”
The Boston Globe

"Ingenious...challenges conventional story lines of another favorite American theme: capitalism and the accumulation of vast wealth…Diaz employs his inventive structure to offer intriguing insights into the hidden roles played by subservient women." Minneapolis Star Tribune

"The world of Trust feels very close to our own...This book is a reminder that wealth isn’t a treasure chest and the rich aren’t magical, no matter how dramatically they shape the world. It’s all just money, made by real people, with very real, often dangerous implications." Vanity Fair

“Rich and prismatic…”
Wall Street Journal

 “The only certainty here is Diaz’s brilliance and the value of his rewarding book…In execution it’s an elegant, irresistible puzzle.”—
The Washington Post

“Wondrous… Diaz is brilliant at dissecting literary conventions and transforming them into something new.” The New York Review of Books

“Through perfectly formed sentences and the skilful unpicking of certainties, Trust creates a great portrait of New York across an entire century of change . . . a work possessed of real power and purpose . . . It’s a testament to Diaz’s cunning abilities as a writer that you end his book thinking that— if truth is your goal —you might be better off relying on a novelist than a banker.”—Jonathan Lee, The Guardian (UK)
 
“Sharp and affecting . . . Diaz’s great subject is the scale of American mythmaking . . . It is in his ugly-beautiful portrait of great wealth that Diaz shows his brilliance . . . In this literary Rubik’s Cube, Diaz provides a viable, and hugely entertaining, argument that once a pen is put to paper an element of veracity is always lost. And when money is thrown into the mix, then the lies really multiply.”—
Financial Times (UK)

“An absolutely brilliant novel… A wily jackalope of a novel — tame but prickly, a different beast from every angle…The setup is so shrewd and the writing so immaculate." —Los Angeles Times

“Hernan Diaz, one of the least derivative, most eccentrically ambitious fiction writers I’ve read in a long while.”
—Jonathan Dee in Harper’s Magazine

Trust proves that Diaz is a writer of singular talent. This book is a kaleidoscopic dazzler that works as both an engrossing literary mystery and a capitalistic takedown for the ages. Don’t miss it.”Chicago Review of Books

"A multifaceted saga of class, wealth, and mythmaking that should resonate with today’s capitalism-questioning readers.”
The Philadelphia Inquirer

“A uniquely layered novel…Each page peels back another mystery, making for an utterly riveting read.” Buzzfeed

“Like a tower of gifts waiting to be unwrapped, Trust offers a multitude of rewards to be discovered and enjoyed …  [a] beautifully composed masterpiece."BookPage, STARRED review
 
“For all its elegant complexity and brilliant construction, Diaz's novel is compulsively readable, and despite taking place in the early 1900s, the plot reads like an indictment of the start of the twenty-first century with its obsession with obscure financial instruments and unhinged capital accumulation. A captivating tour de force that will astound readers with its formal invention and contemporary relevance."Booklist, STARRED review

“[A] kaleidoscope of capitalism run amok in the early 20th century . . . Grounded in history and formally ambitious, this succeeds on all fronts. Once again, Diaz makes the most of his formidable gifts.”Publishers Weekly, STARRED Review

“A feat of literary gamesmanship [that] brilliantly weaves its multiple perspectives to create a symphony of emotional effects . . . [T]he collection of palimpsests makes for a thrilling experience ...A clever and affecting high-concept novel of high finance.”
Kirkus, STARRED review

“Hernan Diaz is a narrative genius whose work easily encompasses both a grand scope and the crisp and whiplike line. Trust builds its world and characters with subtle aplomb. What a radiant, profound and moving novel.”—Lauren Groff, New York Times bestselling author of Matrix
 
“Diaz understands, and deeply, how strange money is, as an omnipotent and imaginary substance that controls our lives.
Trust glints with wonder and knowledge and mystery. Its plotlines are as etched and surreal as Art Deco geometry, while inside that architecture are people who feel appallingly real. This novel is very classical and very original: Balzac would be proud, but so would Borges.”—Rachel Kushner, New York Times bestselling author of The Mars Room

“That rare jewel of a book—jaw-dropping storytelling against the backdrop of beautiful writing. Amidst all the noise in the world, whole days found me curled up on the couch, lost inside Diaz’s brilliance.”Jacqueline Woodson, National Book Award-winning author of Red at the Bone

“Though set in a historical New York,
Trust speaks to matters of the most urgent significance to the present day. Money, power, class, marital and filial relations, the roles played by trust and betrayal in human affairs—Diaz’s development of his chosen themes is deeply insightful. Cleverly constructed and rich in surprises, this splendid novel offers serious ideas and serious pleasures on every beautifully composed page.” —Sigrid Nunez, National Book Award–winning author of The Friend

“Sublime, richly layered novel. A story within a story within a story. Elegantly written.”—Roxane Gay, bestselling author of Difficult Women
 
“The audacity and scope of Hernan Diaz’s extraordinary novel—a prism, a mystery, a revelation—are brilliantly matched by the quality of his prose.”—
Jean Strouse, author of Morgan: American Financier
 
"What a joy this is to read, suspenseful at every turn, the work of a rare and impressive talent. Diaz has once again taken apart an American myth and pondered how we lie to ourselves.”—
Joan Silber, National Book Critics Circle Award–winning author of Improvement

About the Author

Hernan Diaz is the Pulitzer Prize-winning and New York Times bestselling author of Trust. Translated into more than thirty languages, Trust also received the Kirkus Prize, was longlisted for the Booker Prize, and was named one of the 10 Best Books of the Year by The New York Times, The Washington Post, NPR, and Time magazine, and it was one of The New Yorker’s 12 Essential Reads of the Year and one of Barack Obama’s favorite books of the year. Trust is currently being developed as a limited series for HBO. Diaz’s previous novel, In the Distance, was a finalist for the Pulitzer Prize and the PEN/Faulkner Award, and it won the William Saroyan International Prize. His work has appeared in The Paris Review, Granta, The Atlantic, Harper’s, McSweeney’s, and elsewhere. He has received the John Updike Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, a Whiting Award, and a fellowship from the New York Public Library’s Cullman Center for Scholars and Writers.

Reviews:

5.0 out of 5 stars Thanks to Dua Lipa

K. · May 24, 2025

I read this book after seeing Dua Lipa’s interview with Hernan Diaz. The interview was dynamic, fun, complimentary, and insightful. The four-book structure and the motifs of money, high finance, non-credible narrators, and literary and historical intrigue seemed attractive to me.The book itself held my interest, in no small part because I wanted to understand it in a way that I could talk about it like I used to when I was in college. In an “educated“ way. And its structure and rich language kept me writing notes and looking up definitions, so I felt smarter, in the way that having a rich lexicon expands one’s ability to be conscious of more of the details in one’s everyday life.Around this same time, I am teaching students how to critique the credibility of online information, and wrestling with generative AI in my work as a technology teacher, and saw a cool little YouTube essay entitled “The Curtains are Just Blue,” in which the narrator preaches that we should be proud to be critical thinkers; that the current rise of anti-intellectualism in the United States is stupid (lol — they stated it much more clearly and convincingly); and that it is way better to overthink things than to underthink them.So here I am to say that I enjoyed diving into this book. I enjoyed engaging with it. It is a conscious choice to spend time and energy engaging with anything, especially in today’s world of infinite distractions. But engaging like this with a good book has been a favorite activity of mine for most of my life, and I feel the need to thank Dua Lipa for introducing it to me.

4.0 out of 5 stars A novel that rewards sticking with it

J.B. · November 22, 2022

Warning -- there's a bit of a reveal here. This novel, written in 4 parts, requires patience to find out what it's about, and if one sticks with it to the end, the reader realizes that it has been worth it. Written in 4 parts that from the titles of each seemed to be unconnected, when I started, I had no idea just what was going on. Was this single novel in fact going to be a group of 4 different stories? The first part I found difficult going, the writing style stilted and dated, though the story was interesting in an odd way. And then I moved on to part 2 and began to see that there might be a connection, maybe, but it wasn't clear just what -- but the writing style changed dramatically. Part 3 again is different, now a far more accessible writing style, and this is where we learn the tie between parts 1 and 3. The novel finishes with part 4, which in a way is a sort of epilogue, with a major twist on the truth of parts 1-3. Ultimately, when all the parts are integrated by the reader, this is a powerful book about the worlds of wealth in NY in the early 20th century, but more about personal relationships, ego, and self-deception. Well worth reading.

3.0 out of 5 stars Competent writing with a modest, predictable take on a now-common literary conceit

P. · September 16, 2024

It will come as no surprise to anyone who has gotten to my review that this book consists of the story of a financially powerful couple told from four perspectives. If you didn't know that, you would figure it out a few pages into the second version of the story. If you're particularly surprised by the fourth and final story, then you should reread the title of the book, which might be retitled "Always Mistrust." Mr. Diaz is a good enough writer that I don't begrudge myself the time spent reading the book, but I found nothing lyrical or passionately revealing or inspiring or innovative in his style. He's an okay storyteller, with characters I guess you can try earnestly to care about enough to deeply engage. Ultimately, I didn't come close to succeeding in that. The fourth version of the story is--by my estimation--the one that is supposed to produce the OMG-response, but I already knew something was coming and that it was going to reshape my view of the central characters and of everything I read before. To miss that going into that last section would be to ignore the previous three versions of the tale. And then, early in that final "diary" section, when we learn of previously trivialized mathematical skills and are given more to chew on about things like musical appreciation with a little Music 101 philosophizing (D F# E A -> A E F# D), it's pretty easy to guess what's coming. That's okay (except to the extent that the diarist sneers at predictability as a mark of lesser minds).It's the way the great reveal happens that bothers me and makes me feel that this is a failed novel. In a diary that is terse, minimalist, merely suggestive, the diarist stops in a couple places to ham-handedly tell OMG counterstory (the one, I assume, most readers decide upon closing the book for the last time to TRUST, given its location in the text and the satisfaction that the final gotcha-putdown of an unsympathetic protagonist provides).The diarist claims that the jarringly different passages that explain exactly what what REALLY happened (in careful expository detail) gives her some relief from pain and discomfort, but it came across to me as a plot device that the author failed to pull off. If you're going to just explain the OMG to me this way, then I'd prefer you stick it in a final explanatory section (Section V: Guess What!) written by an all-knowing author-god-voice. Don't give me: "AM Ouch my back hurts PM Morph AM Powerpoint slide #1: my actual talents, part 1...(a)...slide #2: my pitiful spouse's inadequacies...(a)..."One thing that diary section succeeded in doing was to swap out my feelings about the two central characters. The one who had seemed cold and insensitive gained a sliver of humanity and a quarter teaspoon of sympathy from me. The diarist, who rejoiced in bragging about personal superiority and absolute condescension toward a befuddled, largely incompetent other, lost any positive regard (already at very low simmer) that I had developed in the previous three versions of the story.Maybe that's the point. Don't trust anything you have just spent an entire book reading, including the final section. But if that's the take-away, why should wish to learn more about these people I was misled about? Surely, a good story should leave you with some appetite for more...for something truthier and give-a-damn-ier. These are people I never really cared about. Rather than becoming multidimensional by the retelling of the story, they were one-dimensional four times over. I don't like them (any of them, except maybe the champagne-toting butler: "Two glasses? Very good, sir."). I don't trust them. I feel no regret that they have disappeared into the dustbin of fictional time.

5.0 out of 5 stars Written beautifully

S.K.G. · January 15, 2026

Wonderful book! The author really challenges your perspective of how the story is told.

4.0 out of 5 stars Not for the faint of heart

K. · September 13, 2025

I had to laugh after I finished this and decided to check the reviews because I knew it would get battered about a bit. I caught on to the premise as soon as I started the second section and felt like I was reading Atlas Shrugged. I thought it was an easy read-most people will not-but my background is in business and psychology so both were tweaked all the way through. I found it to be much more, therefore, than most people did. I saw key words like “flappers”, no, not even, and references to capitalism that I feel miss the point about real capitalism. I am reading this for a small book club some friends and I started and they are all Ph.d’s, as I am I, so I had some trepidation about how my interpretations would stand up. They are smarter than I am:). I am going to read it a second time now that I have confirmed I was correct in what I was getting out of it!

Money, power, misogyny, lies and 'deepfakes'

A. · February 27, 2024

I can’t see why this book was long listed for the Booker Prize in 2022 or how on earth it won the Pulitzer Prize in 2023. It seems a disjointed, rambling and confusing book about money, power and relationships.But that is a lie – a trick - a bit like Hernan Diaz in this book. On the contrary I think ‘Trust’ is a dazzling cut-diamond of a book. Unlike many novels with a beginning, middle and an end, Trust is constructed like a Russian Matryoshka doll where once the smallest doll – the ‘Futures’ section of the book – is revealed all our questions are answered and we can only sit back and wonder at Diaz’s deft sleight of hand. The author uses four different genres: first is the novel within the novel, then the manuscript, followed by the memoir and finally, the diary.From the first Diaz lulls the reader into a false sense of security. “Bonds” a novel within a novel, written by Harold Vanner in a traditional style, using the third person, lacking in dialogue, tells the story of successful investor Benjamin Rask and his wife in their New York Mansion. Helen Rask was an excellent mathematician with no acceptable outlet in a patriarchal society for her brilliance. Through her philanthropy and sponsorship of artists and musicians, this otherwise reserved woman creates a social bubble in which she feels comfortable and achieves great success. The loss of this richly cultural life hit her hard after the Depression when people blamed her husband for manipulating the markets and making money from other people’s misfortune. Her descent into mental illness was swift. An uppity wife would often find herself despatched to a clinic for experimental treatment and Helen’s fate was not a one-off. The reader learns later that the fictional author, Harold Vanner, had been entirely wrong about Helen aka Mildred. He may have changed the names of the two main protagonists but he was subsequently destroyed by the “real-life” Andrew Bevel because the story was clearly about the Bevels. How shocked Vanner would have been to learn that Mildred Bevel, the de facto victim was actually the brains behind Andrew Bevel’s success. He would have been horrified that he had lost his literary livelihood for such a monumental lie – no one would have suspected that the ‘angel in the Bevel house’, Mildred Bevel, had been capable of such Machiavellian scheming and, let’s face it, shocking brilliance!‘My Life’, the manuscript of Andrew Bevel’s autobiography, is written in the first person but the writing is more stilted, less fluent than Vanner’s novel and is peppered with copious author’s notes for further research. It eventually stutters to an unresolved end, much as Bevel’s life ended, - suddenly. Bevel employed an inexperienced secretary, Ida Partenza, to not only type up the book but also invent incidents in the life of his late wife – a woman Ida had never met. Today we would say that Ida was a ghost writer, of sorts. The interviews between her and Bevel gave her a chance to develop her obvious talent for creative writing. She had already created a false biography for herself along with a new name. This was a game she would be able to play with inexperienced enthusiasm. With her boss as the only source, writing Mildred’s truth was nigh on impossible. For example on page 286 Bevel instructed Ida as follows:“We wouldn’t want anyone to believe she was arrogant or affected. Keep it simple. Make her love of the arts approachable for the common reader”. That Mildred had sponsored and enjoyed innovative modern classical music was only one of the truths that needed to be buried. Ida realised that the Mildred she was writing about was very different from the one who had decorated her bedroom with minimalist furniture. Ida had even inserted interests and events from her own life into Mildred’s to pad out the text, so she was well aware of the lies contained within its pages.This book is set in the past but Diaz is a contemporary writer. “Trust” may well be a metaphor for the modern world – awash with lies and deepfake news. If he were alive today Andrew Bevel would no doubt have used AI, Chat GPT to write his book and social media to circulate lies about Harold Venner. For example, look at the vitriol addressed to J K Rowling.The more I think about it, the more Bevel’s pride in being able to bend and align reality so that the adjustment looks like truth, the more I read commentary about the present Age. Ida acknowledges in later life (her memoir section written in italics) that she had also been manipulated by him, that money equals power and that power is not always wielded by the most ethical people. Her naivete began to fall away with the realisation that Jack had been spying on her and her father had stolen pages from her bin. She sensed a genuine mystery around the Bevels and her love of crime novels whetted her appetite for finding out the answer to the puzzle of who Mildred really was. However, she conversely admitted that working for Bevel had set her on a solid career path, paid her a good salary, and provided her with independence and a roof over her head as well as paying for her father’s accommodation.Ida Partenza had been regularly subjected to her father’s political rantings and preoccupations until she left home. He even told her that being a Secretary was a demeaning occupation, which promised independence but was actually “another knot in the millenary subjection of women to the rule of men”, failing to recognise the hypocrisy of his words. He would eventually live alone in unhygienic squalor rather than lift a hand to do anything about it. Despite grudgingly admitting that secretarial work was work - and he admired anyone who worked - he did not seem to understand that cooking, laundry, and cleaning was house ‘work’.Ida attempted to make sense of the Bevels by writing a memoir but it was only when she discovered the hidden diary that she discovered Mildred’s truth. Mildred describes her husband, Andrew, as ‘stoically sulky’, which is not surprising as he was constantly jealous of her superior skills in successfully predicting the stock market’s movements while taking all the credit for himself. This was a dark secret Andrew Bevel was determined to take to his grave. On the other hand, Mildred felt guilty that her financial dexterity had financially ruined people. In another extract she writes: “I don’t believe in magic, but the viciousness of cancer after the crash didn’t feel like a coincidence.”In this book financial trust, trust between husband and wife or parents and children is often misplaced. Women are silenced. The men in ‘Trust’ don’t come out of it looking very good. Clearly, this book is as much about the imposed restrictive experience of being a woman as it is about making money. Living in the twenty-first century, as we do, when some people struggle to find words to describe what a woman actually is, it is a salutary reminder that we are human beings first.Despite growing up speaking Spanish and Swedish, Diaz has made no secret of his love for the English language. He writes longhand in notebooks, in English, with a Mont Blanc pen, often in the Centre for Brooklyn History library, close to his home. He is widely read and his academic background contributes to the wealth of previous reading that enriches this novel.I really didn’t want this thoughtful, elegantly-written book to end and would recommend it to others.

Hernan Diaz: a masterpiece!

M. · October 11, 2023

Hernan Diaz is one of the most interesting authors of our time. His contributions have not gone unnoticed. His work is captivating and inspiring. His book is a masterpiece. The stories touch my heart.Sincerely mo

extraordinary

S.P. · December 17, 2023

Beautiful writing, compelling storyline, intriguing and satisfying! Would def consider rereading which I rarely do. Outstanding. Glad a friend recommended it to me

Excellent!!!

D.R.T. · October 7, 2023

Interesting and amazing at the same time.I decided to read the english version and the prose was superb.Once you finish reading, it is obvious why Hernan Diaz won the Pulitzer Price!

Enchanting

H.M. · July 31, 2023

A very enchanting novel. Twists and turns, sharp or subtle, jarring or smooth, happy or sad, handled very well by a talented author. A wordsmith. The structure of the novel, intriguing throughout, weaves a memorable tale, one would wish to read over and over. Super charectization. Like the journal in the novel, would the narrative would be haunting long after reading the novel.

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