The 2026 Women's Prize for Non-Fiction Longlist

"On a warm day in September 2000, a twenty-eight-year-old woman named Zanhua gave birth to twin girls in a small hut nestled in bamboo behind her brother's rural home in China's Hunan province. The twins, Fangfang and Shuangjie, were welcome additions to her young family but also not her first children. Hidden in the hut, they were born under the shadow of China's notorious one-child policy. Fearing the ire of family planning officials, Zanhua and her husband decided to leave one twin in the care of relatives, hoping each toddler on their own might stay under the radar. But, in late 2002, Fangfang was violently snatched away from her aunt's care. The family worried they would never see her again, but they didn't imagine she could be sent to the United States. She might as well have been sent to another world. Following her stories written as the Beijing bureau chief for the Los Angeles Times, Barbara Demick, author of National Book Award finalist Nothing to Envy, embarks on a journey that encompasses the origins, shocking cruelty, and long term impact of China's one-child rule; the rise of international adoption and the religious currents that buoyed it; and the exceedingly rare phenomenon of twin separation. Today, Esther--formerly Fangfang--is a photographer in Texas, and Demick brings to vivid life the Christian family that felt called to adopt her, having no idea that she was kidnapped. Through Demick's indefatigable reporting and the activist work to find these lost children, will these two long-lost sisters finally find each other, and if they do, will they feel whole again? A remarkable window into the volatile, constantly changing China of the last half century and the long-reaching legacy of the country's most infamous law, Daughters of the Bamboo Grove is also the moving story of two sisters torn apart by the forces of history and brought together again by their families' determination and one reporter's dogged work"-- Provided by publisher.

"The story of a hotel. The story of a nation. When the Inter-Continental Hotel opened in central Kabul in 1969, it reflected the hopes of Afghanistan: a glistening white edifice that embodied the country's dreams of becoming an affluent, modern power. Five decades later, the Inter-Continental is a dilapidated, shrapnel-damaged shell. It has endured civil wars, terrorist attacks, the US occupation, and the rise, fall, and rise of the Taliban. But its decaying grandeur still hints at ordinary Afghans' hopes of stability and prosperity. Lyse Doucet, the BBC's Chief International Correspondent, has been staying at the Inter-Continental since 1988. She has spent decades meeting its staff and guests, and listening to their stories. And now, she uses their experiences to offer an evocative history of modern Afghanistan. It is the story of Mir, the supervisor who for five decades has witnessed diplomats, soldiers, journalists, and politicians visit the hotel. It is the story of Fatima, who stayed at the Inter-Continental long before the arrival of the Taliban, and who fondly recalls its early glamour. And it is the story of Sadeq, the 24-year-old front-desk worker who personifies the ambitions of a new generation of Afghans. The result is a vivid exploration of daily life in one of the most dangerous cities on earth. It captures the soul of Afghanistan from within the walls of the Kabul Inter-Continental."-- Provided by publisher.

Cast in a feature film at the age of eighteen, Jenny Evans was on the cusp of something extraordinary; a route out of her hometown, a future of promise. But the new world she was exploring crumbled around her when she was assaulted at a party by a high-profile figure. Jenny reported this crime to the police when she became aware of other allegations of violence against The Famous Man. Shortly after doing so, details of what she had experienced were printed in a tabloid newspaper. Jenny trained as a journalist herself to try to find out how this happened. In the aftermath of devastation, she picked up the pieces and fought back against the systems that caused her harm. Her investigation helped expose the jaw-dropping press abuse and police corruption we now call the 'phone-hacking scandal'. Training as a lawyer, Jenny is still working to fight for justice in a system that so horrifically fails its victims. Don't Let it Break You, Honey is a reckoning: a personal, fiercely compelling account of power -- who holds it, who wields it, who is silenced in the process. It asks urgent questions about fame, justice, and the institutions we have no choice but to trust, while offering something even more profound: hope. Because this is, above all, a story about resilience. About finding your voice when the world wants to silence you. And refusing to let them win.

From cradle to grave, engaging in the arts has remarkable effects on our health and well-being. Music supports the architectural development of children's brains. Artistic hobbies help our brains to stay resilient against dementia. Dance and magic tricks build new neural pathways for people with brain injuries. Arts and music act just like drugs to decrease depression, stress, and pain, reducing our dependence on medication. Going to live music events, museums, exhibitions, and the theater decreases our risk of future loneliness and frailty. Engaging in the arts improves the functioning of every major organ system in the body, even helping us to live longer. This isn't sensationalism, it's science: the results of decades of studies gathering data from neuroimaging, molecular biomarkers, wearable sensors, cognitive assessments, and electronic health records. From professor Daisy Fancourt, an award-winning scientist and science communicator and director of the World Health Organization's Collaborating Centre for Arts and Health, this book will fundamentally change the way you value and engage with the arts in your daily life and give you the tools to optimize how, when, and what arts you engage in to achieve your health goals. The arts are not a luxury in our lives. They are essential.

"Mother Mary Comes to Me, Arundhati Roy's first work of memoir, is a soaring account, both intimate and inspirational, of how the author became the person and the writer she is, shaped by circumstance, but above all by her complex relationship to the extraordinary, singular mother she describes as 'my shelter and my storm.' 'Heart-smashed' by her mother Mary's death in September 2022 yet puzzled and 'more than a little ashamed' by the intensity of her response, Roy began to write, to make sense of her feelings about the mother she ran from at age eighteen, 'not because I didn't love her, but in order to be able to continue to love her.' And so begins this astonishing, sometimes disturbing, and surprisingly funny memoir of the author's journey from her childhood in Kerala, India, where her single mother founded a school, to the writing of her prizewinning novels and essays, through today. With the scale, sweep, and depth of her novels, The God of Small Things and The Ministry of Utmost Happiness, and the passion, political clarity, and warmth of her essays, Mother Mary Comes to Me is an ode to freedom, a tribute to thorny love and savage grace--a memoir like no other" -- Provided by publisher.

When Lea Ypi discovers a photo of her grandmother, Leman, honeymooning in the Alps in 1941 posted by a stranger on social media, she is faced with unsettling questions. Growing up, she was told all records of her grandmother's youth were destroyed in the early days of communism in Albania. But there Leman was with her husband, Asllan Ypi: glamorous newlyweds while World War II raged. What follows is a thrilling reimagining of the past, spanning the vanished world of Ottoman aristocracy, the making of modern Greece and Albania, a global financial crisis, and the horrors of war and the dawn of communism in the Balkans. While investigating the truth about her family, Ypi grapples with uncertainty. Who is the real Leman Ypi? What made her move to Tirana as a young woman and meet a socialist who sympathized with the Popular Front while his father led a collaborationist government? And, above all, why was she smiling in the winter of 1941? By turns epic and intimate, profound and gripping, Indignity shows what it is like to make choices against the tide of history--and reveals the fragility of truth, collective and personal. Through secret police reports of communist spies, court depositions, and Ypi's memories of her grandmother, we move between present and past, archive and imagination. With what moral authority do we judge the acts of previous generations? And what do we really know about the people closest to us?