---
product_id: 527808678
title: "Trust (Pulitzer Prize Winner)"
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---

# Trust (Pulitzer Prize Winner)

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## 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 An “exhilarating” ( New York Times) and unparalleled novel about money, power, intimacy, and perception, from the bestselling author of the forthcoming novel PLY “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 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.

Review: Storytelling On Wall Street - Herman Diaz's 2023 Pulitzer Prize winning novel "Trust" absorbed me from beginning to end. For several days, I was captivated -- couldn't wait to get to it. This is a rarity for me. "Trust" is largely set in the financial district of New York City in the years surrounding the Great Depression. Here is a bare-bones summary of the story. The main character is a financier and trader, Andrew Bevel, the latest, and last, of a line of traders in his family. The reclusive Bevel amasses a large fortune during the 1920s and also manages to make money during the early stages of the Depression. Bevel's wife, Mildred, is the daughter of another New York State family with wealth and with intellectual interests. While Bevel concentrates on making his fortune, Mildred promotes educational, artistic, and cultural endeavors, particularly the development of 20th Century classical music. When Mildred dies in a Swiss sanatorium, in the 1930s, Bevel carries on but is somewhat less successful than in the days with his wife. After Bevel's death and lengthy wrangling over his estate, his palatial New York City home is turned into a museum. As is pointed out through "Trust", American literature has many works about New York City, the wealthy classes, the financial markets, and the nature of capitalism. This novel brings to it subject a strong sense of perspectivism. Bevel's story is told in four voices by four individuals, each with their own distinct voice and background. Each story has commonalities, but each is also different in terms of what happened and in terms of human relationships. The reader is left to think through the stories to come to an understanding of events and people. Showing and considering different points of view is integral to the humanities, whether history, literature, or philosophy, and to this novel. "Trust" considers city life, capitalism and greed, the arts, marriage, the relationship between imagination and realism, and more within its complex structure. It is challenging and mostly effective. Each of the four storytellers are fascinating both as writers and as themselves. The first, Harold Vanner, was a minor novelist of the day who wrote a heavily fictionalized novella about the Bevels titled "Bonds". It was fascinating to get hints about Vanner through the book and to read his account. The second part, "My Life" was written by Andrew Bevel himself, with help, and tells his story from his perspective and to rebut Vanner's book. The third and longest story is "A Memoir, Remembered" by Ida Partenza. She tells her tale from the standpoint of a 70 year old successful author. Partenza had been raised in poverty in Brooklyn by her father, an anarchist. At the age of 23, Bevel had hired her to help write his Autobiography. Partenza discusses her life with her father, how she came to be hired by Bevel, and how she became fascinated by the writing project and shaped it to her own as well as to Bevel's ends. The final section of the book, "Futures" consists of diary entries by Midred during her time in the Swiss sanatorium just before her death. Midred has a different perspective on the story and on her relationship with Bevel than do the other three storytellers. The reader will be encouraged to think about the world of financial trusts and about whom to trust among the four narrators, with their differing aims and perspectives. In his "Phaedrus", Plato has Socrates say that the written word can be revealing but also narrowing in its fixity. With the many earlier literary antecedents to Diaz's novel, I was reminded most of "Martin Dressler: The Tale of an American Dreamer" by Steven Millhauser which won the 1997 Pulitzer Prize for fiction. Martin Dressler is an American entrepreneur who, unlike Bevel was born to modest means. Dressler reaches the American dream of riches in New York City by founding a series of hotels before his businesses and his personal life come crashing down on his head. The story is a mix of realism and surrealism which captured something of the themes and locations of "Trust" in its own way. Unfortunately "Martin Dressler" has fallen into neglect. It deserves to be read both in it own right and as another voice on the themes of "Trust". "Trust" is a challenging, provocative novel about an aspect of the American dream and the American experience. Robin Friedman
Review: captivating - Strange. Got lost a time or two. Not sure I understand this book. What happened? Not really aware … strange

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #1,202 in Books ( See Top 100 in Books ) #3 in Hispanic American Literature & Fiction #12 in Biographical Historical Fiction #16 in Biographical & Autofiction |
| Customer Reviews | 4.1 out of 5 stars 40,683 Reviews |

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## Customer Reviews

### ⭐⭐⭐⭐⭐ Storytelling On Wall Street
*by R***N on December 27, 2023*

Herman Diaz's 2023 Pulitzer Prize winning novel "Trust" absorbed me from beginning to end. For several days, I was captivated -- couldn't wait to get to it. This is a rarity for me. "Trust" is largely set in the financial district of New York City in the years surrounding the Great Depression. Here is a bare-bones summary of the story. The main character is a financier and trader, Andrew Bevel, the latest, and last, of a line of traders in his family. The reclusive Bevel amasses a large fortune during the 1920s and also manages to make money during the early stages of the Depression. Bevel's wife, Mildred, is the daughter of another New York State family with wealth and with intellectual interests. While Bevel concentrates on making his fortune, Mildred promotes educational, artistic, and cultural endeavors, particularly the development of 20th Century classical music. When Mildred dies in a Swiss sanatorium, in the 1930s, Bevel carries on but is somewhat less successful than in the days with his wife. After Bevel's death and lengthy wrangling over his estate, his palatial New York City home is turned into a museum. As is pointed out through "Trust", American literature has many works about New York City, the wealthy classes, the financial markets, and the nature of capitalism. This novel brings to it subject a strong sense of perspectivism. Bevel's story is told in four voices by four individuals, each with their own distinct voice and background. Each story has commonalities, but each is also different in terms of what happened and in terms of human relationships. The reader is left to think through the stories to come to an understanding of events and people. Showing and considering different points of view is integral to the humanities, whether history, literature, or philosophy, and to this novel. "Trust" considers city life, capitalism and greed, the arts, marriage, the relationship between imagination and realism, and more within its complex structure. It is challenging and mostly effective. Each of the four storytellers are fascinating both as writers and as themselves. The first, Harold Vanner, was a minor novelist of the day who wrote a heavily fictionalized novella about the Bevels titled "Bonds". It was fascinating to get hints about Vanner through the book and to read his account. The second part, "My Life" was written by Andrew Bevel himself, with help, and tells his story from his perspective and to rebut Vanner's book. The third and longest story is "A Memoir, Remembered" by Ida Partenza. She tells her tale from the standpoint of a 70 year old successful author. Partenza had been raised in poverty in Brooklyn by her father, an anarchist. At the age of 23, Bevel had hired her to help write his Autobiography. Partenza discusses her life with her father, how she came to be hired by Bevel, and how she became fascinated by the writing project and shaped it to her own as well as to Bevel's ends. The final section of the book, "Futures" consists of diary entries by Midred during her time in the Swiss sanatorium just before her death. Midred has a different perspective on the story and on her relationship with Bevel than do the other three storytellers. The reader will be encouraged to think about the world of financial trusts and about whom to trust among the four narrators, with their differing aims and perspectives. In his "Phaedrus", Plato has Socrates say that the written word can be revealing but also narrowing in its fixity. With the many earlier literary antecedents to Diaz's novel, I was reminded most of "Martin Dressler: The Tale of an American Dreamer" by Steven Millhauser which won the 1997 Pulitzer Prize for fiction. Martin Dressler is an American entrepreneur who, unlike Bevel was born to modest means. Dressler reaches the American dream of riches in New York City by founding a series of hotels before his businesses and his personal life come crashing down on his head. The story is a mix of realism and surrealism which captured something of the themes and locations of "Trust" in its own way. Unfortunately "Martin Dressler" has fallen into neglect. It deserves to be read both in it own right and as another voice on the themes of "Trust". "Trust" is a challenging, provocative novel about an aspect of the American dream and the American experience. Robin Friedman

### ⭐⭐⭐⭐ captivating
*by T***Y on August 8, 2026*

Strange. Got lost a time or two. Not sure I understand this book. What happened? Not really aware … strange

### ⭐⭐⭐⭐⭐ A layered meditation on wealth, division, authorship, power, and erasure of women and working class
*by T***E on July 8, 2025*

During the April matinée, book club members gathered to discuss Trust by Hernan Diaz, the winner of the 2024 Pulitzer Prize for Fiction. What drew the most attention was the novel’s structure. Some oenophiles found the early chapters slow, repetitious, and boring. For me, however, the book truly came alive when the narrative shifted to Ida Partenza’s story. And I found myself entirely captivated once Mildred’s journal began to ramble and resist legibility. In the spirit of Rashomon, Diaz pushes readers into a rabbit hole of ambiguity and encourages them to accept that no single account can capture the full truth. The novel becomes a layered meditation on wealth, division, authorship, power, and the erasure of women and the working class in the official narratives of financial empires. After reading it, the multiplicity of voices lingers, as do the silences surrounding gender, historical truth, moral compromise, and the fading or erasure of the history of immigrant working-class anarchists like Ida's father. His name remained anonymous - a thorough erasure. The novel gains narrative momentum when it turns to the story of Ida Partenza, the young ghostwriter, and her loving father, an aging, anonymous Italian anarchist. Ida’s father embodies a strain of early 20th-century radicalism, evoking real-life revolutionaries such as Errico Malatesta, Luigi Galleani, Carlo Tresca, and Nicola Sacco. His fierce idealism and scorn for compromise sharply contrast with the opulence and cunning of Andrew Bevel’s world—a world of polite robberies cloaked in legitimacy. Readers would not fail to notice the fault line of the ideological divide that Ida must navigate both emotionally and intellectually. Mildred, depicted under the alias Helen Rask (née Helen Brevoort), is rendered with confusion. The only thing we must note is that her private reading list included Transcendentalists like Thoreau, satirists such as Swift, and aphorists like Nietzsche and Karl Kraus—figures who emphasize personal moral clarity over public acclaim. In a world defined by acquisition and spectacle, her alignment with self-esteem and inward freedom marks her both as otherworldly and fatally out of place. Andrew Bevel, the self-styled titan of finance, appears allegedly modeled after Andrew William Mellon - a banker, industrialist, and former U.S. Treasury Secretary. Mellon Bank, a major outlet in transaction processing, provides a plausible historical analogue. Though Diaz offers Andrew a cool indictment of the myth of the financial genius, the story gradually dismantles the machinery that props up Bevel’s legend. It portrays him as both a powerful man and as a curator of his own myth—a myth built on silence, omission, and borrowed insight. The book offers a vivid portrait of the leisure class—their vicarious consumption, conspicuous charity, and their obsessive pursuit of cultural legitimacy. The nouveau riche of the Gilded Age didn’t merely donate books—they built entire libraries. They didn’t attend concerts—they hosted them in their drawing rooms. The creation of the Metropolitan Opera House itself stemmed from exclusion, a riposte to the Academy’s refusal to grant box seats to parvenu, the upstart millionaires, hilariously depicted in the HBO drama series: The Gilded Age. Amidst the backdrop of the Great Depression, while most Americans suffered unimaginable hardship, a few—Jesse Livermore, Floyd Odlum, Joseph Kennedy—turned catastrophe into windfall by shorting the market. These figures serve as silent reminders that Pluto's wealth is rarely innocent. It accumulates not only during booms, but in the wreckage of collapse—when the world burns and opportunists strike. Mildred’s invisible contribution to her husband’s empire is reminiscent of Emily Roebling, who took over the construction of the Brooklyn Bridge after her husband fell ill. Like Roebling, Mildred was the intellectual and strategic force behind the scenes. Yet her influence is effaced, her agency denied. This gendered erasure reflects the broader reality of finance, where women were virtually absent from the upper echelons of investment banking until the 1980s. One can't help but wonder why so many intelligent, beautiful women in literature are doomed to die young. From Millie in Henry James’s The Wings of the Dove to Mildred Bevel in Trust, their deaths feel less like narrative resolution and more like aesthetic sacrifice—tragedies designed to ennoble the male protagonist or deepen the story’s moral tone. While high maternal mortality rates (MMR in short) might offer a partial historical explanation, we must consider other causes such as mental illness, tuberculosis, suicide, and possibly social isolation. We are not far from there. Postscript) The trusts, or investment trusts, in the 19th and early 20th centuries were investment partnerships, essentially like buy-out funds or hedge funds in the post-WWII banking parlance. They were vehicles designed not just to grow capital, but to concentrate influence, deflect scrutiny, and more often than not, rewrite the terms of risk.

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*Last updated: 2026-09-24*