an essay about book

How to Start an Essay About a Book: A Comprehensive Guide

Starting an essay about a book might seem like an uphill endeavor, but with the right approach, you can create an engaging introduction that sets the tone for your entire paper. Whether you’re a student or an aspiring writer, this guide will provide you with practical insights, creative ideas, and actionable steps on how to start an essay about a book that leaves a lasting impression on your readers.

Introduction: Setting the Stage for Literary Analysis

Writing an essay about a book is an opportunity to delve into the world of literature, explore themes, characters, and narratives, and express your unique perspective. The introduction serves as the gateway to your essay, inviting readers to join you on your literary journey. Let’s explore the art of crafting captivating introductions for essays about books.

Related: Can I Start My College Essay with a Quote? Tips and Insights

How to Start an Essay About a Book

Embarking on the journey of writing an essay about a book requires careful consideration and strategic planning. Here are essential steps to guide you through the process:

1. Understand the Book’s Context and Significance

To create an impactful introduction, begin by understanding the book’s historical context, the author’s background, and the broader significance of the work. This contextual knowledge will help you establish the relevance of the book and its themes to your readers.

2. Choose an Intriguing Angle

Diving into the vast sea of literary elements, select an angle that piques readers’ curiosity. Whether it’s a thematic exploration, character analysis, or a critical review, a unique angle sets the stage for an engaging introduction.

3. Craft a Compelling Thesis Statement

Your thesis statement is the backbone of your essay. It should succinctly convey your main argument and guide your readers on what to expect. A well-crafted thesis statement is both thought-provoking and informative.

4. Open with a Captivating Hook

Draw readers in with a captivating hook that sparks their interest. This could be a thought-provoking question, a surprising fact, a relevant quote, or a vivid description. A compelling hook sets the tone for an engaging essay.

5. Provide Brief Contextual Background

Offer a concise overview of the book’s plot, main characters, and central themes. Provide enough information to orient readers without giving away too much. Leave them curious and eager to explore further.

6. Introduce Your Approach

Outline the approach you’ll take in your essay. Briefly explain the key points you’ll be discussing and the insights you aim to uncover. This gives readers a roadmap for what’s to come.

7. Use LSI Keywords for Depth

Incorporate Latent Semantic Indexing (LSI) keywords related to the book and its themes. This not only boosts SEO but also enhances the depth and relevance of your introduction.

8. Incorporate Relevant Quotes

Weave in relevant quotes from the book that supports your thesis. Quotes add credibility and allow readers to connect with the text on a deeper level.

9. Highlight the Book’s Impact

Discuss the book’s impact on literature, society, or culture. Explain why it remains relevant and worth discussing. This shows your awareness of the book’s broader implications.

10. Pose Thought-Provoking Questions

Engage readers by posing thought-provoking questions related to the book’s themes. Encourage them to reflect on their own interpretations and viewpoints.

11. Share Personal Connections

If applicable, share personal anecdotes or connections you have with the book. This personal touch adds authenticity to your introduction.

12. Offer a Glimpse of Analysis

Give readers a glimpse of the analytical journey ahead. Mention the key aspects you’ll delve into and the critical lenses you’ll apply.

13. Address Counterarguments

Acknowledge potential counterarguments or differing interpretations of the book. Demonstrating a balanced perspective strengthens your credibility as an essay writer.

14. Build Anticipation

Create anticipation for the rest of your essay. Tease the insights and revelations readers can expect in the subsequent sections.

15. Power Keywords for Impact

Incorporate power keywords that evoke emotion and create impact. Words like “profound,” “intriguing,” or “riveting” add a dynamic flair to your introduction.

16. Incorporate a Compelling Anecdote

Share a brief and relevant anecdote that relates to the book’s themes. Anecdotes humanize the topic and engage readers on a personal level.

17. Outline Structure and Flow

Provide a brief overview of the essay’s structure and how you’ll navigate through different sections. A clear roadmap enhances readability.

18. Address the Reader Directly

Speak directly to the reader, inviting them to explore the book alongside you. This creates a sense of connection and involvement.

19. Utilize Rich Formatting

Enhance readability by using rich formatting such as bold, italics, and bullet points. These elements visually break up the text and highlight key information.

20. Reference Credible Sources

When discussing the book’s significance or impact, reference credible sources such as literary critics, scholars, or reputable articles. This adds depth to your introduction.

21. Transition to the Main Body

Conclude your introduction with a seamless transition to the main body of the essay. Create a logical bridge that encourages readers to continue reading.

Related: What Brings You Joy College Essay Example

Step-by-Step Guide on How to Start an Essay About a Book

Step 1: Choose the Book

Select a book that you want to write about. Ensure that the book is relevant to your essay’s topic and aligns with your thesis or main argument.

Step 2: Understand the Assignment

Read the essay assignment or prompt carefully. Understand the specific requirements, such as the length, format, and any guidelines provided by your instructor.

Step 3: Read and Analyze the Book

Read the book thoroughly, taking notes on key plot points, characters, themes, and any literary devices used by the author. Analyze the book’s significance and consider why it’s worth writing about.

Step 4: Determine Your Approach

Decide how you want to approach the essay. Will you be analyzing a specific theme, character, or literary technique? Clarify your main focus and identify the key points you want to discuss.

Step 5: Craft Your Thesis Statement

Develop a clear and concise thesis statement that outlines your main argument or purpose for writing the essay. This thesis will guide the direction of your essay.

Step 6: Choose an Engaging Opening Strategy

Now, let’s delve into different strategies for starting your essay about the book:

1. Quotation: Begin with a relevant and impactful quote from the book. Explain its significance and how it relates to the themes you’ll be discussing.

2. Anecdote: Share a short anecdote or personal story that connects to the book’s themes. This can help create an emotional or relatable entry point.

3. Question: Pose a thought-provoking question related to the book’s themes or characters. Invite the reader to think critically about the topic.

4. Contrast: Highlight a sharp contrast between elements in the book or between the book and real-world situations. This can create intrigue and set the stage for your analysis.

5. Shocking Fact: Present a surprising or shocking fact related to the book’s content, themes, or impact. This can capture the reader’s attention immediately.

Step 7: Provide Context

After your engaging opening, briefly introduce the book by mentioning its title, author, and publication date. Provide a concise overview of the book’s plot or central idea.

Step 8: Preview Main Points

Give the reader a preview of the main points you’ll be discussing in the essay. This helps them understand the structure and flow of your analysis.

Step 9: Transition to Your Thesis

Smoothly transition from the introduction to your thesis statement. Explain how the opening strategy you chose connects to your main argument.

Step 10: Revise and Edit

Review your introduction for clarity, coherence, and grammar. Make sure it effectively introduces the book and sets the tone for your essay.

Remember, a well-crafted introduction can captivate your readers and set the stage for a compelling essay. Experiment with different opening strategies to find the one that best suits your writing style and the content of your essay.

FAQs on How to Start an Essay About a Book

How do i choose the right book for my essay.

Select a book that resonates with you personally or aligns with the theme of your course. Consider books that offer rich material for analysis and discussion.

Can I start my essay with a question?

Absolutely! Starting with a thought-provoking question can be an effective way to engage readers and introduce your essay’s central ideas.

What if I haven’t read the entire book?

While it’s ideal to read the entire book, you can still write a compelling essay by focusing on specific sections or chapters that relate to your chosen angle.

Should I provide a detailed summary in the introduction?

Avoid excessive summarization in the introduction. Instead, provide a concise overview that leaves room for an in-depth exploration of the main body.

How can I make my introduction stand out?

Infuse your introduction with your unique voice and perspective. Be creative, bold, and authentic in your approach.

Is it okay to share personal emotions in the introduction?

Sharing personal emotions or connections to the book can add depth to your introduction, but ensure it aligns with the tone and purpose of your essay.

Final Verdict

Crafting the perfect introduction for your essay about a book is an art that requires a combination of creativity, analysis, and strategic thinking. By following these steps and incorporating engaging elements, you can start your essay on a strong note, capturing your reader’s attention and setting the stage for a captivating exploration of literature.

Remember, the introduction is just the beginning of your essay-writing journey. As you delve into the main body, keep the momentum going with insightful analysis, well-supported arguments, and a cohesive structure.

So, go ahead and embark on your literary adventure. Start your essay about a book with confidence, and watch as your words transport readers into the fascinating world of literature.

Related: How Do You Write a Book Title in an Essay

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Essays About Books: Top 5 Examples and Writing Prompts

Books open portals to new worlds and display new knowledge inspired from the old to the new. Here are some published essays about books and prompts you can use.

Books are a way for the past to teach the present and preserve the present for the future. Books come in all shapes and sizes. In addition, technology has improved the way books can be accessed with eBooks and audiobooks that are more accessible and hassle-free to use. 

No matter what genre, a book aids its readers in gaining valuable knowledge, improving vocabulary, and many more. Following are 5 essays with books as their subject:

1. Why Are Books So Important in Our Life by Ankita Yadav

2. essay on books for students by kanak mishra, 3. listening to books by maggie gram, 4. short essay on books and reading by sastry, 5. long essay on books by ram, 1. do we still need libraries, 2. the names an author gives to their characters, 3. do you read or write, 4. your favorite book, 5. books and inspirations, 6. the book cover, 7. paper books vs. digital copies, 8. why read the book you hate, 9. the book is better than the movie.

“Books are the best companions in our life. They never leave us alone and are like our best friends.”

For Yadav, a book is someone’s best friend, guide, all-time teacher, and keeper of various information. The essay talks about how reading a physical book is better than watching movies or using modern technologies for entertainment and learning purposes. The author also believes that autobiography books of great people inspire students and motivate them to work hard to achieve their goals in life.

“Though the technology has so much changed that we can take information about anything through internet… importance of books has not decreased…”

The writer describes books as the best option for self-learners. They don’t only note an issue, topic, or story but also put effort and emotions into their writing. Next, she discusses the types of books and their subcategories. Finally, she gives tips about finding a good book to read.

“The possibility of reading while also doing something else produces one of the stranger phenomenological characteristics of audio book reading: you can have a whole set of unrelated and real (if only partially attended) experiences while simultaneously experiencing a book.”

Gram’s primary focus in this essay is audiobooks, discussing their history and how audiobooks started. She also mentions how audiobooks help blind people who find it challenging to read braille books. The author also compares physical books and audiobooks to help the reader choose better for a long drive, house cleaning, or simply doing anything other than reading. 

“Books are standing counsellors and preachers, always at hand and always neutral.”

Sastry considers novels the best option when one is tired and looking for healthy recreational activity. Still, the author didn’t forget the fact that reading history, science, religion, and other more “serious” books can also bring gratification to their readers. Books offer unlimited benefits if well used, but not when abused, and as the writer said, “no book can be good if studied negligently.”

“Books are important because they provide a few things that are key to an open and intelligent society.”

The essay is best to be read by students from classes 7 to 10, as it gives the simplest explanation of why it is vital to read a book during their spare time or extended holidays. Ram says people get inspired and receive life lessons by reading books. Reading classic and newer books with lots of words of wisdom and new ideas are better than wasting time and learning nothing.

Are you looking for writing applications to help you improve your essay? See the seven best essay writing apps to use.

Top 10 Writing Prompts on Essays About Books

Writing essays about books can be easy as many subtopics exist. However, it can also be challenging to pick a specific subcategory. To help you narrow it down, here are ten easy writing prompts that you can use.

Libraries help many people – from bibliophiles to job seekers and students. They offer free access to books, newspapers, and computers. But with modern devices making it easier to get information, are libraries still needed? Use this prompt to discuss the importance of libraries and the consequences if all of them close down.

Some authors like to give their characters very unusual names, such as “America Singer” from the book The Selection by Keira Cass. Do you think characters having strange names take away the reader’s attention to the plot? Does it make the book more interesting or odd? Suppose you are writing a story; how do you name the characters and why?

They say writers need readers and vice versa, but which role do you find more challenging? Is writing harder than finding the best book, story, and poetry to read? 

Use this prompt to describe their roles and explain how readers and writers hold each other up.

There is always a unique book that one will never forget. What is your favorite book of all time, and why? Write an essay about why you consider that book your favorite. You can also persuade others to try to read it. 

If you have more than one preference, describe them and tell the readers why you can’t choose between your favorite books. Check out these essays about literature .

Authors inspiring their readers to try something new by reading their book are not always intentional but usually happens. Have you ever experienced wanting to move to a new place or change career paths after reading something? 

Use this prompt to share your experience and opinion on readers who make significant life changes because books and characters influence them in a story.

Have you ever gone to a book shop to find a book recommended to you but didn’t buy or read it because of the cover? They said never judge a book by its cover. In this prompt, you can.

Share what you think the book is all about based on its cover. Then, make a follow-up writing if you were right or wrong after reading the book’s contents.

Studies confirmed more benefits to reading physical books than digital books, such as retaining information longer if read from a printed copy. Are you more of a traditional or modern reader? Use this prompt to explain your answer and briefly discuss the pros and cons of each type of book in your opinion.

Are you ever tasked to read a book you don’t like? Share your experience and tell the reader if you finished the book, learned anything from it, and what it feels like to force yourself to read a book you hate. You can also add if you come to like it in the end.

J.K. Rowling’s Harry Potter is undisputedly one of the most popular books turned into movies. However, avid readers consider books better than movies because they can echo the main protagonist’s thoughts.

Do you have a favorite book adapted into a film? Did you like it? Write about what makes the movie version better or underwhelming. You can also include why movies are more limited than books. 

Do you still feel like there is something wrong with your essay? Here is a guide about grammar and punctuation to help you.

If you still need help, our guide to grammar and syntax explains more.

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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Comprehensive Guide on How to Write an Essay About a Book

Essays are very common in middle school, high school, and college. Even after graduating college, you may need to write essays in the business world in the form of reports. However, writing an essay about a book takes a slightly different turn. It usually involves writing a detailed summary of the plot of a book or a simple book review.

This writing process may seem as simple as sitting down at the computer and beginning to type for some. But a lot more planning goes into writing a book essay successfully. If you have never written one before or struggle with talking about a book in an essay, you should read on.

In this article, we’ll provide a comprehensive guide on how to write essays on books and give you some important steps in the essay writing process.

How to start an essay about a book

A book essay involves closely studying a text, interpreting its themes, and exploring why the author makes certain choices. It can be applied to novels, plays, short stories, poems, or any other form of literary writing.

Book essays aren’t merely book summaries. They can be a form of argumentative essay where you need to analyse the text’s perspective, language, and structure. They also explain how an author uses literary terms and elements to create emotional effects and convey ideas.

Before starting a book essay, it’s vital to carefully read the book and develop a thesis statement to keep your essay focused. As you write, you should follow the standard structure of a professional essay. Seeking professional guidance for your college application? Consider enlisting expert assistance to Write You College Essay and increase your chances of admission success.

It should take this structure:

• An introduction that gives the reader an idea of what your essay will focus on.
• The main body, which is divided into paragraphs that develop an argument using the text’s ideas.
• A conclusion that summarises the main ideas you have given with your analysis.

Mentioning a book in an essay

Writing a book essay is not as easy as it may seem, especially when you are not sure how to write a book title in an essay. Some of the questions that most students ask include; Can I use quotation marks? Should I underline the book title? Will I use italics? Does the format depend on the referencing of the paper?

Every question highlighted is essential in learning how to mention a book in an essay. However, it is important to know that different writing styles have varying writing standards.

The style used to write a title of a book in an essay varies based on the formatting style of the paper. There are the APA, MLA, and Chicago writing styles.

Let’s take the example of an APA format.

The rules that apply to an APA format are different from those used in MLA and Chicago writing formats. Here are some of them:

• Capitalise the first word and every word with more than four letters
• For two-part hyphenated words, capitalization of both words is necessary
• Words after dash or colon should also be capitalised
• Use quotation marks instead of italics for reference material such as dictionaries.
• Use italics for titles of Books, Films, Videos, journals, magazines, newspapers, and TV shows.

Learning the different book title writing styles for each paper format is very important, especially when writing a college essay about a book.

How to write an essay about a book

Writing a book essay can be tricky, so here are the steps that will guide you:

• Read the book and locate literary devices

The first step is to read the book and take notes carefully. As you read, pay attention to the main points of the story. For instance, you can take note of things that are intriguing, surprising, or even confusing in writing. These usually form the basis of your analysis.

To begin your analysis, there are many key areas that you can focus on. As you analyse each element of the text, try to think about how they all connect.

• Generate a thesis

Your thesis in a book essay is the point you want to make about the text. It’s usually the main argument that gives your essay direction and prevents it from being a collection of random observations about a book. If you’re given a prompt for your essay, your thesis must directly relate to the prompt.

• Write a title and introduction

To start your book essay, you’ll need a good title and an introduction.

The title should indicate what your analysis will focus on. It generally contains the author’s name and the book you’re analysing. Keep it as brief and interesting as you can.

Your essay introduction should provide a brief outlook of where your argument is going. It should contain your thesis statement and an outline of the essay’s structure.

• Write the body

Each paragraph in the main body should focus on one topic or argument of your book essay. Don’t try to add everything you can think about the text, but only key analysis that fuels your argument.

• Write your conclusion

The conclusion of your analysis should wrap up the essay and summarise your key points while emphasising their significance to the reader. To achieve this, briefly summarise your key arguments, and locate the conclusion they’ve led you to.

Unlike regular essays, writing a book essay requires adherence to more rules and writing formats. You should always comprehensively read the book you want to write an essay about and follow a given writing style.

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✍️Essay On Books: Free Samples for Students 

• Updated on  
• Nov 2, 2023

Books are considered human’s best friend. It has been an integral part of human society for ages and will continue to be a crucial part of human life. There are several categories of books, that offer us knowledge about specific fields. Words written in books serve as a source of knowledge, information, and entertainment , which are necessary for skill enhancement and polishing the language. Books are written in every language to fulfill the needs of people living in every region from villages to abroad. In this blog, you will get to know how to write an essay on books and we have also provided some sample essays on books for you. Keep Reading!

This Blog Includes:

Short essay on books, essay on books in 150 words, different genres of books, benefits of reading books.

Also Read: 15 Best-Selling Books of All Times

Books are pages filled with ideas, thoughts, stories, imagination, and knowledge. Even after extreme advancements in technology , books continue to be cherished by humans. The reason behind that is the convenience and their appeal. 

Given below are some short sample essays on books that will help school-going children and students: 

Also Read: Essay Writing

Also Read: Motivational Books

Books are considered true friends of humans, as they can teach us life lessons. Books are the repositories that impart wisdom and knowledge. From ancient times to today’s digital world, books have served as a source of inspiration, expanding the thought process and imparting education.

In schools, they teach us how reading books can shape our future and when a person grows, the impact of his learning through books is reflected in his lifestyle. In an era of mobile phones, smartphones, television, and laptops, we all still trust books. Books provide deep knowledge about any specific subject without any modifications.

Books possess the ability to ignite your imagination and take you to a completely different world. Some readers value books as humans, some highlight the important parts, some readers make collections of limited editions of books, and some even cherish the smell of old books. The cover and physical appearance of the books on the bookshelf reflect comfort.

Thus, books play an important role in everyone’s life. Nowadays movies are also directed based on famous books. 

Also Read: Essay on Education System

Essay on Books in 300 words

Books help mankind to evolve mentally. The thoughts of a person reflect his/her personality and the thoughts are developed based on your learning in life. As mitochondria are the powerhouse of the cell, books are considered the powerhouse of knowledge and information. The vintage look of the book adds charm to its appearance and such books attract the reader. Holding a book in hand, flipping pages while reading, using beautiful bookmarks in the book, and sensing the texture of pages can deeply imply a sensory effect on the readers.

A book reader can enjoy a variety of genres of books. In spite of technological advancements in human life, thousands of books are released in the market. The budding writers also publish their books as they know the fact that good readers still prefer to read from books. If you do not want to purchase the hard copy of the book then, you can go for the online version. 

Following are some of the genres of books:

• Travel books- Such books tell the story and experience of travellers.
• Motivational books- Like “Atomic Habits” are used to inspire and motivate people to adopt good habits in life.
• Fictional books- Like “As You Like It” that represent literary fiction and play.
• Novel- it comes under the most read books by the reader. Novels are the long work of narrative fiction framed in prose.

There are many benefits of reading books. Books help to increase our vocabulary and enhance our knowledge of a variety of subjects. They also serve as a good source of entertainment during free time. It boosts the ability of the reader to think creatively. They help in improving the fluency and enhance the communication skills . Books are a great source of knowledge it would help us in public speaking , debates, quizzes, examinations, etc.

Also Read: Best Indian Authors

In short, books have a positive impact on our personality. We should read more books of different genres and avoid using mobile phones without any reason.

Relevant Blogs

Books play an effective part in the life of humans from childhood to adulthood. Reading books is a great habit as it will broaden the knowledge. For students, books are the main source of knowledge and education. The imagination and creative skills of students can be developed with the help of books. Even a 1-2 year child also learn about colours, number, fruits, vegetables, and animals with the help of a toddler’s book.

To write a good essay on books you must be familiar with what are books, how many types of books are there, the different genres of books, their role in human society, and the benefits of books. Then, you can include all this knowledge in your essay. Here are some guidelines that you can follow to write an essay on books: Draft the raw information. Arrange it in a systematic order. Frame the introduction paragraph of the essay stating what are books. Then, frame the body and conclude the essay on the advantages and benefits of books. Proofread and edit your essay to bring more clarity.

To write an essay on ‘my favourite book,’ including the title of the book, incorporate a brief review of the book, and conclude with the lesson one may gain from reading that particular book.

This was all about an essay on books. The skill of writing an essay comes in handy when appearing for standardized language tests, thinking of taking one soon? Leverage Live provides the best online test prep for the same. Register today and if you wish to study abroad then contact our experts at 1800572000 .

Kajal Thareja

Hi, I am Kajal, a pharmacy graduate, currently pursuing management and is an experienced content writer. I have 2-years of writing experience in Ed-tech (digital marketing) company. I am passionate towards writing blogs and am on the path of discovering true potential professionally in the field of content marketing. I am engaged in writing creative content for students which is simple yet creative and engaging and leaves an impact on the reader's mind.

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How to Write a Book Essay

Book essay writing is an omnipresent assignment imposed by many professors, especially if you are dealing with literature constantly. An essay on a book is usually a way for your teacher to get proof that you gained something from analyzing this book. They want to make sure that you read the book, thus having some personal thoughts that you’d like to express. Also, writing an essay is quite helpful for developing your skills at articulating thoughts. If you want to know how to write a book essay, then we are here to help you understand it in detail.

What to Consider Writing an Essay on a Book

What is different from your usual essay, is that you need to express your thoughts after reading a certain work and then choose a direction to go from. It is a combination of character analysis combined with your personal feelings on the work that ultimately culminates in the creation of an expressive critical essay on a book. But how to write an essay about a book? Mind you, a professional essay on a book consists of certain criteria, that like chemical compounds create a proper reaction from a reader’s perspective:

• This is the flair that you base your essay upon. This is when you’re creativeness comes to play, you want your essay to be unique
• The way you structuralize sentences and pick certain words for your essay.
• The basic structure of an essay, which usually consists of an introduction, main body, and conclusion.
• Your essay bears an informative approach, being somewhat emotive to express personal thoughts on a particular book.

📚 How to Prepare for Book Essay Writing

Before writing an essay about a book, you need to think clearly about which plan to use, so that the flow of thoughts lines up into coherent, logical sentences.

How to start off an essay about a book? Immediately after receiving the topic of the essay, ideas and images will begin to arise in your head (of course, if you have read the work). On a rough sheet of paper, sketch the phrases or words that first come to mind. Then they can be developed into a whole essay.

So, think carefully about what you want to say about the topic. Then write down your thoughts on paper in a column. And then decide in what order you want to display these thoughts on paper. This is necessary for a clear and distinct structure of the work.

Read the Book Exhaustively

So how to start an essay about a book? Naturally, the main path to successfully writing an essay on a book is to more or less know the contents of the story. We’re not talking about remembering every single character trait or knowing the gist of each internal monologue. Just focus on what you find alluring about the story, trying to create the idea from a scene that you enjoy in particular. Then you can connect this scene to the character development, thus proving a point that even the smallest scene can influence the overall conclusion of the story. Plus, not knowing the story will make you unable to bring in examples, thus making you obliged to order an essay online .

Make Up One’s Mind About the Topic

How to write a book analysis essay perfectly? Another important thing about approaching a book essay is setting up an idea you’d like to share with the readers. Do you want to lead to a positive conclusion, something philosophical, or go in the direction that no one previously dared to? The idea here is that you need to create a point to focus on and try not to digress from it as much. Do you want to show how the hero struggles with basic human needs? If so, then don’t describe scenes where they do the opposite.

Prepare an Outline

How to write an analysis essay on a book? You have to think of a good outline. An outline is a sort of plan that you don’t want to diverge from. Planning is one of the fortes of humanity and without it, your essay might sound clunky and chaotic. Jumping randomly from point to point won’t get you high scores. Imagine creating an overarching ladder where your point gets stronger and stronger due to the logical nature of your essay. Think about how you want to start your essay, the quotes to strengthen your point, and the natural conclusion you’d like to bring your readers to. This is the gist of an outline.

Don’t Forget About Quotes

Another important aspect of how to write a book analysis is quoting a character to properly refer to a particular scene. An essay usually implies that you have access to all the resources you need, so it wouldn’t pose difficulty to look up a direct quote of a character that correlates with your thoughts. This is extremely important for professors as they want to be persuaded that you know what you are talking about. This is especially true if they are a fan of the story you are writing an essay on. People usually look for like-mindedness, being extremely happy about seeing someone agreeing with them.

📑 How to Structure Your Book Analysis Essay

How to introduce a book in an essay? Like any essay, a creative writing paper in literature consists of several elements:

• Introduction.
• Definition of the problem, its relevance.
• The formulation of one’s position.
• Arguments that support it.

The structure of the final essay on literature should be clear. Do not make too many paragraphs, but do not break the text into many small passages.

How to Start a Book Analysis Essay?

In the introductory part, the information should be written as if it were read by someone completely unfamiliar with the problem. Here you need to reveal the topic, the problem, and the relevance of the essay. The questions you can put in front of you will help with this:

• What work are you writing your essay/essay on?
• What do you know about the author of the work?
• What is the genre of the work (comedy, drama, novel, etc.)? What aspects would you like to explore in your work?

Writing a Thesis Statement

How to start a paragraph about a book? You are in need of a thesis statement. A thesis statement is the main element for creating a perfect introduction and is your cornerstone to transition to the main body. It is a sentence where you state the main point of your essay, wanting to announce what it is that you are going to analyze. Thus the path to succeeding with the thesis statement is to make it correlate with your conclusion. In fact, you might even start writing a conclusion first, and then write a thesis statement based on it.

Create a Body Paragraph

Here it is necessary to highlight the thoughts that the work evoked, the emotions toward the chosen character or its circumstances.

Each idea will have to be supported by examples from the original text of the work. If you say that the problem of war worries the character, then you need to give examples in which this excitement is conveyed to the reader.

The main part is, for the most part, your reasoning about what you care about in the whole story. Show the evolution of your thought here, from what point in the work it originated, how it evolved, and what conclusion it eventually led to.

Book Essay Conclusion

And this is the finale you lead your readers to. So how to write a conclusion for an argumentative essay ? You create a final point based on everything you’ve been describing in the main body, reinstating the main point in the introduction. Mind you, that conclusion shouldn’t have any new information that wasn’t previously described. You just want to make your thoughts ironclad and protect those from basic criticism.

Need Help Writing an Essay on Books?

How to write an essay on a book when you are not invested in it? If you have an issue with creating an essay on books, then we are more than ready to help you out here. Not everyone is ready to read a book for the sake of making a teacher happy. Sometimes literature can be unbearable with a student who has no interest in or time to engage with it. Nevertheless, your assignment needs to be done and if a perfect score is something you are aiming for, then our paper writing services are the way to go.

Our team is made of literature experts that can learn the book in-depth, knowing exactly what your teacher might be looking for. We stick to the structure described in this article, coming up with a quality outline, and then writing a proper essay that is full of argumentation and persuasiveness.

What is the purpose of a book analysis essay?

A book analysis essay is usually created to write your thoughts on a particular book, trying to prove a personal statement concerning it. Perhaps you’d like to dive into the inner thoughts of a character, analyzing what elements led them to a particular path. You can go the other direction and analyze the writer’s style, complimenting them on creating this rich world. Furthermore, a book analysis essay can be full of critique for nobody is obliged to love everything.

How to talk about a book in an essay?

The main idea of writing an essay about a book is stating the point that is yours and yours only. The path to success is all about loving what you write, instead of feeling obliged to do something. If you just want to create something for the sake of just making an assignment, then your essay can feel bland. If you don’t like the work you need to write an essay on, then go with this direction and bring your fair share of critique.

How to start an essay on a book?

Asking yourself how to start an essay on a book? An essay usually starts with an introduction. You start it with a philosophical sentence that usually invites the reader to reminisce about the contents of the book. This is where you usually state the purpose of your essay, outlining the main point that you are further going to prove in the main body.

How many paragraphs are in a book essay?

The format for a book essay can differ from professor to professor but usually, it has five paragraphs or so. You don’t need to create a huge memoir on a particular book. Rather, you pick some narrow aspect hidden within it and try to condense your thoughts into one page. The most important aspect here is to not make it watery, repeating your point with no progress.

How to write an analysis paper on a book with a good outline?

The outline is the blueprint for creating your essay. This is where you want to create your main point, and then plan how you are going to prove it with particular examples from a book. An outline exists to properly structuralize your essay, without feeling random.

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How to Start an Essay About a Book?

Writing a compelling and interesting essay about a novel or any book could be overwhelming because it demands a lot of understanding of the text. Although you may find numerous ways to compose an outstanding essay about the book with focused elements to get higher grades, you may remain unable to create one until you identify these elements.

Once you have determined these factors, you will get a better understanding about the text, cohesion, and tone of the essay. However, writing such types of essays is pretty similar to the books themselves but the only difference is the extensive number of words. A perfect essay usually contains an introduction, several body sections, and a precise conclusion. Likewise, you need to follow the same pattern for a book essay.

In this essay, you will learn about how to start an essay about a book and the stepwise process to execute it successfully.

Stepwise Procedure on How to Write an Essay on a Book

An essay about books includes numerous chapters along with the beginning, middle, and the ending. However, the middle part or the body section is the longest one in which you have to present the description, arguments, and your opinions about the book. Therefore, it requires proper research to write it accurately.

Create a Synopsis

Make a list of the date, name, the class or module you’re in, and any other details you believe are relevant. It should not yet include any facts about the essay or book, but you should make a note of them before beginning your synopsis.

You can be working on many class essays or projects at the same time if you’re an intermediate or graduate student. You can immediately identify which project it is by looking at this information. Your instructor or editor should also double-check who is delivering the content.

Write Thesis Statement

Make sure your thesis statement is persuasive, and it should notify the reader about what to expect from your essay. It doesn’t have to be a long, dragging remark; yet, the most essential thing is that it sends a clear message.

Keep in mind that you can defend your position as you jot down your notes. If you conceive of your book essay plan as a summary, you’ll be able to relate to this portion more easily when writing a literary analysis essay about a book. It is a concise rundown of the topics covered in your work. Some publishers even impose a word limit, while others leave it up to the author.

Start with Introduction

Introduction is considered as one of the most important parts of your writing. In an essay opening, your objective is to grab the reader’s attention and pique their interest. Yet, many readers will make a judgment about your writing, thus it’s critical to persuade them that your thesis is right.

Begin your work with a question, noteworthy quotation, or story to spark the reader’s interest. Introduce a concise thesis statement that indicates your perspective and develops your argument by providing some background information about a book and its author.

You can keep readers engaged throughout the essay or book once you’ve persuaded them of your point. However, to put any uncertainties to rest, focus on the strongest issue in your initial subject sentence and paragraph.

It is critical to expose readers to your way of thinking in this paragraph, which also serves as your introduction. You can proceed on to the remainder of your points once you’ve mentioned your most important information. 

Let’s move to next sections, the answer to your question on how to start an essay about a book ends here, while read on for a complete guide on writing a complete essay.

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Add Body Sections

All arguments in favor of the thesis should be presented in the body sections. Each paragraph should focus on a single idea and each paragraph should begin with a subject sentence that states the main theme of the paragraph. Nonetheless, to make it more precise, explain the context. Then, to back it up, give numerous proofs and explain why you’re using it.

Bear in mind, all statements should be backed up with concrete instances from the text. If required, use direct quotes. When utilizing quotes, make sure to properly cite them. Share the emotions that the book evoked in you. Compare and contrast comparable books or stories. End each paragraph with a conclusion statement that summarizes the points you’ve made. To make a coherent, coherent text, use seamless transitions from paragraph to paragraph.

Add Claims and Proofs

Making statements relevant to your central argument in the body of your essay is to support your thesis statement. Your arguments must be supported by concrete instances from the text in order to be credible. Evaluate, interpret, and provide particular ideas, character motives, rising acts, and other exclusive components that you feel support your overall point. The more solid your proof, the easier it will be to back up your statements.

Conclude your Essay

While the conclusion is the last section of your essay, it’s not just a summary of all you’ve previously said in the body. The conclusion should raise the essay as a whole, connecting the thesis statement, assertions, and facts in a way that hasn’t been done before. Provide new information on a subject or character that hasn’t been discussed previously, and persuade your reader that your fundamental point is sound.

Integrate Call-to-Action

What activities do you want your readers to do after you’ve persuaded them that your essay is compelling? In your essay about books , you offered numerous facts, and the reader should begin to consider your point of view. You must now instruct them to put your theory to the test and incorporate some powerful call-to-action to convince them to read the whole book.

Review and Proofread

As you conduct research and write, your argument may shift in focus or direction as you gain more information. Thus, it is typically a decent practice to save the opening paragraph for later in the writing process; it can even be the very last thing you write. It helps you understand better about what ideas you have already covered in your essay.

When you’ve finished writing the essay’s body and conclusion, go back to the introduction and double-check that it corresponds to the essay’s content. It’s very crucial that your thesis statement adequately reflects what you’re going to do in the essay. If your argument has taken a different path than you anticipated, change your thesis statement to reflect what you’ve actually mentioned.

If you are unable to write an essay due to your busy schedule, hire an essay writing expert to get it done fruitfully.

How to Convince Someone to Read the Book

Reading is a wonderful hobby that provides exceptional satisfaction to its participants. Books broaden our understanding of the world and serve as excellent ways of expression. But, sadly, not everyone enjoys reading. Because of the digital revolution, this practice is dwindling.

There are also just too many diversions.

Do you want to know how to get someone to read a book? When attempting to encourage someone, logic and excellent reasoning are crucial. Even so, there are literary persuasion strategies that may be utilized to express ideas convincingly.

However, below are some tips to write a persuasive essay about books and convince the reader to read the whole book.

Storytelling

When complicated notions and abstracts are communicated through narratives, people are more likely to comprehend them.

Advertisements demonstrate that repetition is effective. If they don’t understand what you’re talking about, they won’t agree with you. Make it easy for your readers to grasp and agree with your point of view by saying the same thing in multiple ways.

Build an Emotional Connection

Making your audience pleased, furious, or sad might assist them take action or agree with your point of view.

Use Metaphorical Language

Metaphors, similes, analogies, and parallels may help you construct a picture for your audience and persuade others to view things your way.

Final Words

By the end, you have not just learned on how to start an essay about a book but also complete it in a perfect way. 

Once you have your format down, it’s simple to create a superb outline for any style of essay. You may also seek for samples of a book essay outline online and apply the concepts to your own writing. If your ideas flow logically, there is no right or wrong approach to create an outline.

Yet, to avoid rambling in your writing or expressing random information that doesn’t link, you create an outline. Do not hurry the process because your final draft will take considerably longer than your outline. Furthermore, you can treat each heading as a separate project and concentrate on the transition from one section to the next.However, it makes no difference whether you’re starting an essay about a book or research paper, when you plan it correctly, you write it precisely.

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A Step-By-Step Guide to Writing an Essay on a Book

Topic and assignment prompt, essay structure, why is it important.

Outlining Essay Structure

Organizing your essay efficiently is important for making sure it’s clear, concise, and to the point. Before you start writing, it’s important to understand the basic structure of an essay. Most essays are composed of an introduction, body, and conclusion.

The introduction serves as an opening paragraph where you should introduce the topic and provide any necessary background information that readers may need in order to understand the essay. A good introduction will explain why a reader should care about your topic and capture the attention of the reader.

The body is the main section of the essay where you will provide evidence, quotes, and any other relevant information to prove your point. It is important to make sure that each body paragraph has only one main point, and all of the evidence presented in the paragraph supports that one point.

The conclusion is the last paragraph of the essay. It should wrap up all of the points you made in the body and leave the reader with a sense of closure. It should also create a takeaway, or something for the reader to remember about what they have just read.

To make sure your essay is organized and has a consistent tone throughout, it is important to outline what each section should include. Outlining your essay structure before beginning eliminates unnecessary stress and makes sure you don’t forget any important points.

Research Phase: The Importance of Researching the Book

Before you dive into writing your essay on a book, you’ll want to make sure that you have done your research. No matter how familiar you are with the subject, it’s important to conduct research to ensure that your essay is accurate and well-informed.

Research can help you form a stronger thesis statement, better support your arguments, and provide evidence for your claims. It can also help you to organize your thoughts, uncover new ideas and angles, gain a deeper understanding of the text, or even find quotes or references that you can use in your essay.

Research should always come first. It helps to lay a strong foundation for the rest of your essay and it can save you from making any embarrassing mistakes. Have a clear understanding of the book’s themes, characters, and plot before you begin. Read reviews and criticisms, and take down notes for later.

Start by reading the book itself. Take your time and pay attention to details. Make notes, highlight any important passages, and consider different interpretations. After you get an overall gist of the book, expand your research outward into scholarly reviews, biographies, and other texts that can provide an objective, informed perspective.

The more research you do, the stronger your essay will be. Be sure to include all of the sources you used in your bibliography section. Research can be a tedious process, but with enough effort and dedication, you’ll be able to craft a well-informed, thoughtful essay on any book.

Pre-Writing Phase: Planning Your Essay

The pre-writing phase is the most important part of writing an essay on a book. Taking the time to plan your essay and organize your thoughts will help structure your argument and make your writing smoother. The pre-writing phase should involve a few key steps.

• Brainstorm – Before you start writing, spend some time thinking about the book and how it relates to any themes, characters, or symbolism. Jot down your ideas so that you have a better understanding of what you want to focus on.
• Outline – Write down some notes and make an outline of what you will cover in each paragraph. This will help you stay organized while writing and keep everything on track.
• Research – Research any facts or quotes you may need to include in your essay. This will help you back up your claims and make your paper stronger.

Taking the time to plan ahead will help ensure your essay on a book is written clearly and effectively. You’ll be able to shape your argument easily and make sure you don’t miss anything important.

Thesis Formation

The thesis statement is a critical part of any essay on a book. It should be clear, concise, and capture the main argument and point of view of the essay. To ensure that your essay’s thesis statement is well-crafted, it is essential to follow a step-by-step guide.

Step One: Brainstorming Ideas

Before writing a thesis statement, you should brainstorm some ideas related to the book’s content. Consider the key elements of the book and think about how they could be connected into an argument or observation. Write down any ideas that pop into your mind, and use them as a basis for forming your thesis statement.

Step Two: Developing the Argument

Once you have a few ideas in mind, it is time to start developing a coherent argument. Try to make a connection between the ideas to create an original argument. Then, think about why this argument is important and what makes it relevant to the text.

Step Three: Writing the Thesis Statement

Now that you have an argument in mind, you are ready to craft your thesis statement. It should be a single sentence that clearly and concisely expresses your main argument. Generally, it should follow the same structure as any other essay’s thesis statement, stating the primary point of view, the evidence supporting it, and any other relevant details.

Step Four: Proofreading

The final step of crafting a great thesis statement is to proofread and edit it. Make sure that the statement is clear, concise, and captures the argument accurately. Additionally, pay attention to grammar and spelling. A minor mistake can weaken the force of the statement significantly.

Creating an effective thesis statement can help get your essay off to a strong start. As long as you follow these steps, you will be able to form a well-developed argument that can help you write a great essay on a book.

Drafting an Organized Paragraph

Editing: benefits and how to approach it effectively.

When writing an essay on a book, editing is a crucial step in the process. It can often be overlooked or skipped, but it shouldn’t be! Editing offers many valuable benefits, and it’s important to understand how to approach it effectively.

One of the biggest benefits of editing is that it gives you the opportunity to look at your essay with fresh eyes. Once you’ve written the paper, it can be nearly impossible to look at it objectively. Editing allows you to look at it critically and make necessary changes.

Editing also helps you to catch grammar mistakes, spelling errors, and typos. A single error can easily ruin an entire essay, so it’s essential to go over the paper and make sure everything is perfect. This can only be done by editing the paper carefully.

Finally, editing can help you to make sure that the essay is coherent and well-written. After writing the paper , you might realize that the introduction and conclusion don’t match up, or that two paragraphs contradict each other. Editing will help you to identify such issues and make the necessary adjustments.

Now that we’ve discussed the benefits of editing, let’s look at how to approach it effectively. The first step is to read the entire essay through once without making any changes. This should give you a good overview of the paper and allow you to spot any major issues. The next step is to go through the paper again and make notes as you go along.

You should pay particular attention to grammar, spelling, typos, and structure. Make a note of anything that stands out and needs to be changed. Don’t worry if you can’t fix it right away – just write it down and come back to it later. The goal is to get an overall picture of what needs to be done.

Finally, it’s time to make the actual changes. Take your time and read each sentence carefully before you make any changes. Don’t be afraid to delete or add content between paragraphs to ensure that the essay flows naturally.

In summary, editing is an essential step in the essay-writing process. It offers many benefits, including the ability to look at the essay objectively, catch grammar mistakes and typos, and ensure that the essay is coherent and well-written. When approaching the editing phase, it’s important to read the paper through once without making any changes, make notes as you go, and take your time when making the actual changes.

Formatting – Adhering to Academic Standards

Formatting your essay correctly is a critical step in the writing process. It shows that you have taken care to put together an essay that follows the academic standards.

Here are a few tips for formatting your essay according to academic standards:

• Make sure the margins of your essay are set to one inch on all sides.
• Your font should be size 12 Times New Roman or Arial.
• Use double spacing between lines, and make sure there is no extra space before or after each paragraph.
• When quoting direct text, indenting it five spaces will make it easier to read.
• Include a header at the top of your document that includes the title of the essay, your name, and the page number.

Formatted correctly, your essay will present itself as concise, organized, and professional. This is a must when following academic standards.

If you want to ensure that your essay looks even better, check with your professor for specific formatting requirements for your assignment.

By taking the time to properly format your essay, you are showing that you understand the importance of adhering to academic standards. This will help you get the best grades possible!

Understanding the Assignment

Writing an essay on a book can be quite a challenge for many students. One of the most important skills for tackling this task is to understand the assignment. To begin, students should read carefully and take notes on the writing prompt. Pay close attention to all the instructions as they are key to crafting an effective essay. This includes being mindful of any keywords or phrases in the prompt that will require further research.

When interpreting the instructions, it is also important to consider any extra guidelines or expectations the professor may have provided. These can include formatting, length, and specific areas of emphasis such as themes or characters. Questions such as ‘Who is the protagonist?’ or ‘How do the themes interact?’ should be actively considered while writing the essay. This helps produce a focused piece of work that is tailored to meet the requirements.

In addition, consider questions such as ‘What do I need to include?’ or ‘What is the purpose of this essay?’. Answering these questions allows students to identify their main points and develop an argument around them. This is a crucial step for forming an essay that is logical and cohesive.

Finally, students should always use the essay assignment to test their understanding of the book. It is often beneficial to leave time at the end of the writing process to review knowledge and reflect on any unanswered questions. Doing so ensures that the essay is comprehensive and addresses all aspects of the prompt.

Understanding the assignment is a vital step when writing an essay on a book. By paying attention to the prompt and any additional guidelines, students can ensure that their assignment is focused, detailed, and suitable for the task.

Effective Use of Quotes

Make sure your quote is relevant to the main argument of your essay.

Choose a quote that is engaging and thought-provoking.

Include the right amount of detail – don’t use too much or too little.

Explain the quote in your own words and provide context.

Think critically about the quote and how it applies to your argument.

Integrate the quote into your essay so that it flows naturally.

Tools for Writing an Essay on a Book

When writing an essay on a book there are certain tools that can help make the process easier. Knowing some of these basic terms and tools can help you write a better essay and make it much more enjoyable.

Creating an outline is one of the most important steps in writing an essay. It provides structure to your essay, ensuring that each point is made in the correct order and that the essay flows logically. Outlining also helps you stay organized and remember what needs to be included in the essay.

Doing research is important when writing an essay about a book. Read through the text and make notes about any interesting or pertinent information you find. Also, look for additional sources that can provide further insight into the book or the topics it raises.

Grammar and Spelling Checkers

Grammar and spelling checkers can be extremely useful when writing your essay. They can help you identify mistakes or typos that you may have missed. Double-check your work before you submit it to make sure it is as accurate and error-free as possible.

Writing Resources

Finally, there are many great writing resources available online that can provide further advice and guidance on how to write an effective essay. Look through examples of essays written by other students and learn from their techniques and approaches.

Knowing some of these basic terms and tools can help you get off to a strong start when writing an essay on a book. Do your research, create an outline, and use grammar and spelling checkers to make sure your work is as perfect as possible. Finally, don’t forget to look for other writing resources that can provide insight and advice.

Writing an essay on a book can be a daunting task, especially when attempting it for the first time. This guide aims to make the process of writing an essay on a book simple and easy-to-follow. By following the steps outlined in this article, you can make the process of writing your essay much easier.

A good conclusion should summarize the main points of the article, explain how to approach writing the final version, and reiterate why the content was important. To conclude your essay, start by summarizing the arguments and ideas that you presented throughout your paper. Then, move on to discussing why you chose to write the essay and the importance of studying the book. Finally, provide a brief statement that sums up the main points of the essay.

When writing the final version of your essay, there are some key points to keep in mind. First, proofread your work for any typos or errors. Make sure to properly cite any quotes or references that you used in your essay. Finally, consider having a peer review your essay to get another perspective and catch any mistakes that you might have missed.

Writing an essay on a book can be a rewarding experience when done correctly. The most important part of the process is to fully understand the material and the prompt. By following the steps outlined in this article and taking the time to research and plan, you can write an effective essay on a book.

Nick Radlinsky

Nick Radlinsky is a devoted educator, marketing specialist, and management expert with more than 15 years of experience in the education sector. After obtaining his business degree in 2016, Nick embarked on a quest to achieve his PhD, driven by his commitment to enhancing education for students worldwide. His vast experience, starting in 2008, has established him as a reputable authority in the field.

Nick's article, featured in Routledge's " Entrepreneurship in Central and Eastern Europe: Development through Internationalization ," highlights his sharp insights and unwavering dedication to advancing the educational landscape. Inspired by his personal motto, "Make education better," Nick's mission is to streamline students' lives and foster efficient learning. His inventive ideas and leadership have contributed to the transformation of numerous educational experiences, distinguishing him as a true innovator in his field.

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• Writing an essay on a book

Dec 4, 2019 | Writing , Essay Writing , Writing guide

It is common knowledge that not every student likes writing. There is a lot that is involved in this task such that the student feels too overwhelmed at times. These students have no other choice but to tow the line and write assignments that will help them to get good grades. One such assignment involves writing an essay about a book. The idea is to give the audience a good opinion of the work such that they can decide to reads it or not. Even though literature is not among the most favorite subjects even in high school, the student is still expected to bring his A-game.

If the assignment requires you to write an essay on book, be ready to go through everything necessary for its success. Think of all the aspects that make the book interesting or not. Follow the author has discussed the various aspects in that piece of literature. It is your prerogative to know how to write an essay on a book, whether you like it or not.

Writing essays on books is a common assignment that you will have to face. As such, you are supposed to take a stand on a given work. You have to analyze it in the bigger context as well as analyze the themes therein. You also have to pay attention to the literary merit of the author. This means you have to read the book severally to understand everything about it. You have to capture what the authority intended to be the primary message of the work. Remember, after reading, it is the only time you can take up a stance on the work. This will help you to formulate an excellent thesis statement to make your writing more focused. This is one of the best techniques you can apply when you want to know how to write an essay for a book.

What you gain from this essay

One of the important things that you can gain from writing essays on a book is that you enhance your understanding of the work. It is also a chance for you to work hard for those good grades that you want. This is an assignment you need to take seriously, as it not only leaves with good grades but also with excellent skills of analyzing a given piece of literature in a better way that you would have before. Henceforth, you will be writing better assignments, whether or not you are reviewing a book or not.

Quick pointers to write a better essay on a book

Before proceeding further, you can take these quick tips that can help you in the first instances. They include the following.

Select a book

If you have not been issued with a book, you can select one and decide to write an essay on it. This should be a book that is interesting to you and by extension, to the audience. However, remember that the audience may or may not have read the book. As such, you should be careful about the details that you divulge here.

Determine the goal for the length

This essay is likely to have a predetermined number of words. As such, you should read the book bearing in mind that you have a limitation on the number of words you can write. As such, be ready with a good strategy that will enable you to write a very competent essay about a book.

Decide the format and the style

If you are lucky enough to choose the format for yourself, choose something that you are familiar with. This will make your work easy because you will have control over everything. On the other hand, if you have been given a format to follow, ensure that you familiarize yourself with it before you even start writing the essays on book.

Need help in writing an essay? Essaymin has expert writers to help you

Read the assigned book.

The best way to capture the essence of a book as you seek to know how to write an essay on a book is to read the work. You cannot capture the message of the book with the first reading; hove well you are at it. You have to read the work severally, identifying different aspects that make the work stand out or fail in one way or the other. Reading is important, and you should invest time in it. This is the only way you get to write an excellent piece of essay on a book.

Formulate an excellent thesis statement

Remember that this is an academic assignment. As such, you have to follow all the rules. One of the best ways you will make your essays on book focused is to formulate a very strong thesis statement. This thesis statement is based on the content of the book. It is your stance on the work that you are going to defend through the points you discuss. Your thesis statement ought to be a single sentence or two at most. Use it to pitch your idea to the audience and use as much evidence as possible. The best way to defend your thesis statement is to choose memorable direct quotes from the book to back up your stance on the work.

Your thesis must be insightful enough and must have a very clear counter-argument. For instance, if in the book you believe that the protagonist left his lover because of the tragic upbringing and not because of infidelity and are sure that this argument can sustain your essay, you should sate your stance about hat idea. In most cases, thesis statements are written as the last sentences of the introduction paragraph.

With your thesis statement intact, you already have your thoughts organized. You also have a very good approach that you are going to apply when writing essays on a book.

Formulate a good introduction

This is where you start throwing a spanner into the works. One of the best tricks to know how to write an essay for a book is to grab the attention of the audience from the start; your opening sentence should be striking enough to have the audience drooling for more. This is where you give the background of the book as we as its author. Close your introduction with your thesis statement. This will serve as a reminder to the audience of what the work is all about. It is also a transitional way of introducing the audience to the first topic sentence you are going to talk about in the first paragraph of the body.

The body paragraphs

To write excellent body paragraphs for your essays on a book, you have to present all your arguments. These arguments can never be discussed in a single paragraph. You should divide them into points; then make them topic sentences, each of which takes a single paragraph. The work is to ensure that the topic sentence that you formulate relates to your thesis statement. Remember that everything you are writing here must relate to the book that you are analyzing. The evidence that you use per paragraph must come from the book. This can be direct quotes or paraphrases that are duly cited.

The relevance of the points you make relies on how they connect to the central argument. As such, one of the ways to know how to write an essay on a book It ensures that he pieces of evidence and information you use are strong enough to prove your claims about the book, since you are trying to tell the audience if the book is worth it or not, you should be very convincing enough. Analyze, interpret, and present specific themes within the book. It can be themes, character motivations, rising actions, and all other elements of the book that you think will adequately support the central theme of your essay.

This should happen for every paragraph you write. If you have three body paragraphs, ensure they have distinct evidence from the book as support, and by far, they should help you prove what you want the audience to know. Remember that you are trying to give an honest opinion that is based on facts, albeit from your point of view. As such, work hard to defend it.

Using transitions in our work

Another tip of knowing how to write an essay on a book is that you have to use transition. This enhances the flow of your ideas. The audience can follow how you organize your thoughts easily. This not only adds to the readability of your paper but also positions you to get a good grade in the end. The smooth transition from claim to claim makes it easier for the audience to piece all your positions together. They will see the value of your argument. The idea o using transitions is no only used when writing essays on a book, but also in other academic writing tasks. Transitions make your essay more cohesive, thereby achieving its goal easily.

Write your conclusion

This is the last chance you have of making a lasting impression on your audience. It is a time tom wrap the work and ensures that the audience is left with something to think about. The conclusion of your essays on a book allows you to restate your thesis statement. When doing so, you are not necessarily writing it verbatim as it is I the introduction. Some other words that do not negate its meaning in the first place. More so, you can also summarize the points that you have discussed in the body of your essays on book. Emphasize more on the significance of the work. Let the audience know if you are going to recommend it for them. However, the concludes is no to place where you can introduce new evidence or facts or anything else that you ave not discussed on the body of your paper. That would be too much and rightly so because it would go through the readers into confusion.

Revise and edit your work

For you to ensure you have covered everything well in that paper, revise everything. You can go through it to ensure you have covered everything you wanted in it. The idea is to ensure that the paper represents your points well. It is also a way to check whether you have covered all the aspects outlined by your instructor. Rest assured that you would have achieved a very crucial goal of writing a review about a literary work.

As you proofread, look at the grammatical mistakes, punctuation’s as well as the spelling of words, the idea is to ensure that you present a paper that is free of mistakes. Once you are satisfied with your revision and proofreading , you can prepare the final copy of your wok.

Those are the simple points you need to know on how to write an essay for a book. If there are problems with the assignment, you can always trust our online writing services . We shall help you with his assignment and many more. Trust our services and enjoy good grades henceforth.

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , and the best memoirs of the decade , and we have now reached the fifth list in our series: the best essay collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Ten

Oliver sacks, the mind’s eye (2010).

Toward the end of his life, maybe suspecting or sensing that it was coming to a close, Dr. Oliver Sacks tended to focus his efforts on sweeping intellectual projects like On the Move (a memoir), The River of Consciousness (a hybrid intellectual history), and Hallucinations (a book-length meditation on, what else, hallucinations). But in 2010, he gave us one more classic in the style that first made him famous, a form he revolutionized and brought into the contemporary literary canon: the medical case study as essay. In The Mind’s Eye , Sacks focuses on vision, expanding the notion to embrace not only how we see the world, but also how we map that world onto our brains when our eyes are closed and we’re communing with the deeper recesses of consciousness. Relaying histories of patients and public figures, as well as his own history of ocular cancer (the condition that would eventually spread and contribute to his death), Sacks uses vision as a lens through which to see all of what makes us human, what binds us together, and what keeps us painfully apart. The essays that make up this collection are quintessential Sacks: sensitive, searching, with an expertise that conveys scientific information and experimentation in terms we can not only comprehend, but which also expand how we see life carrying on around us. The case studies of “Stereo Sue,” of the concert pianist Lillian Kalir, and of Howard, the mystery novelist who can no longer read, are highlights of the collection, but each essay is a kind of gem, mined and polished by one of the great storytellers of our era.  –Dwyer Murphy, CrimeReads Managing Editor

John Jeremiah Sullivan, Pulphead (2011)

The American essay was having a moment at the beginning of the decade, and Pulphead was smack in the middle. Without any hard data, I can tell you that this collection of John Jeremiah Sullivan’s magazine features—published primarily in GQ , but also in The Paris Review , and Harper’s —was the only full book of essays most of my literary friends had read since Slouching Towards Bethlehem , and probably one of the only full books of essays they had even heard of.

Well, we all picked a good one. Every essay in Pulphead is brilliant and entertaining, and illuminates some small corner of the American experience—even if it’s just one house, with Sullivan and an aging writer inside (“Mr. Lytle” is in fact a standout in a collection with no filler; fittingly, it won a National Magazine Award and a Pushcart Prize). But what are they about? Oh, Axl Rose, Christian Rock festivals, living around the filming of One Tree Hill , the Tea Party movement, Michael Jackson, Bunny Wailer, the influence of animals, and by god, the Miz (of Real World/Road Rules Challenge fame).

But as Dan Kois has pointed out , what connects these essays, apart from their general tone and excellence, is “their author’s essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects’ and his own foibles.” They are also extremely well written, drawing much from fictional techniques and sentence craft, their literary pleasures so acute and remarkable that James Wood began his review of the collection in The New Yorker with a quiz: “Are the following sentences the beginnings of essays or of short stories?” (It was not a hard quiz, considering the context.)

It’s hard not to feel, reading this collection, like someone reached into your brain, took out the half-baked stuff you talk about with your friends, researched it, lived it, and represented it to you smarter and better and more thoroughly than you ever could. So read it in awe if you must, but read it.  –Emily Temple, Senior Editor

Aleksandar Hemon, The Book of My Lives (2013)

Such is the sentence-level virtuosity of Aleksandar Hemon—the Bosnian-American writer, essayist, and critic—that throughout his career he has frequently been compared to the granddaddy of borrowed language prose stylists: Vladimir Nabokov. While it is, of course, objectively remarkable that anyone could write so beautifully in a language they learned in their twenties, what I admire most about Hemon’s work is the way in which he infuses every essay and story and novel with both a deep humanity and a controlled (but never subdued) fury. He can also be damn funny. Hemon grew up in Sarajevo and left in 1992 to study in Chicago, where he almost immediately found himself stranded, forced to watch from afar as his beloved home city was subjected to a relentless four-year bombardment, the longest siege of a capital in the history of modern warfare. This extraordinary memoir-in-essays is many things: it’s a love letter to both the family that raised him and the family he built in exile; it’s a rich, joyous, and complex portrait of a place the 90s made synonymous with war and devastation; and it’s an elegy for the wrenching loss of precious things. There’s an essay about coming of age in Sarajevo and another about why he can’t bring himself to leave Chicago. There are stories about relationships forged and maintained on the soccer pitch or over the chessboard, and stories about neighbors and mentors turned monstrous by ethnic prejudice. As a chorus they sing with insight, wry humor, and unimaginable sorrow. I am not exaggerating when I say that the collection’s devastating final piece, “The Aquarium”—which details his infant daughter’s brain tumor and the agonizing months which led up to her death—remains the most painful essay I have ever read.  –Dan Sheehan, Book Marks Editor

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Of every essay in my relentlessly earmarked copy of Braiding Sweetgrass , Dr. Robin Wall Kimmerer’s gorgeously rendered argument for why and how we should keep going, there’s one that especially hits home: her account of professor-turned-forester Franz Dolp. When Dolp, several decades ago, revisited the farm that he had once shared with his ex-wife, he found a scene of destruction: The farm’s new owners had razed the land where he had tried to build a life. “I sat among the stumps and the swirling red dust and I cried,” he wrote in his journal.

So many in my generation (and younger) feel this kind of helplessness–and considerable rage–at finding ourselves newly adult in a world where those in power seem determined to abandon or destroy everything that human bodies have always needed to survive: air, water, land. Asking any single book to speak to this helplessness feels unfair, somehow; yet, Braiding Sweetgrass does, by weaving descriptions of indigenous tradition with the environmental sciences in order to show what survival has looked like over the course of many millennia. Kimmerer’s essays describe her personal experience as a Potawotami woman, plant ecologist, and teacher alongside stories of the many ways that humans have lived in relationship to other species. Whether describing Dolp’s work–he left the stumps for a life of forest restoration on the Oregon coast–or the work of others in maple sugar harvesting, creating black ash baskets, or planting a Three Sisters garden of corn, beans, and squash, she brings hope. “In ripe ears and swelling fruit, they counsel us that all gifts are multiplied in relationship,” she writes of the Three Sisters, which all sustain one another as they grow. “This is how the world keeps going.”  –Corinne Segal, Senior Editor

Hilton Als, White Girls (2013)

In a world where we are so often reduced to one essential self, Hilton Als’ breathtaking book of critical essays, White Girls , which meditates on the ways he and other subjects read, project and absorb parts of white femininity, is a radically liberating book. It’s one of the only works of critical thinking that doesn’t ask the reader, its author or anyone he writes about to stoop before the doorframe of complete legibility before entering. Something he also permitted the subjects and readers of his first book, the glorious book-length essay, The Women , a series of riffs and psychological portraits of Dorothy Dean, Owen Dodson, and the author’s own mother, among others. One of the shifts of that book, uncommon at the time, was how it acknowledges the way we inhabit bodies made up of variously gendered influences. To read White Girls now is to experience the utter freedom of this gift and to marvel at Als’ tremendous versatility and intelligence.

He is easily the most diversely talented American critic alive. He can write into genres like pop music and film where being part of an audience is a fantasy happening in the dark. He’s also wired enough to know how the art world builds reputations on the nod of rich white patrons, a significant collision in a time when Jean-Michel Basquiat is America’s most expensive modern artist. Als’ swerving and always moving grip on performance means he’s especially good on describing the effect of art which is volatile and unstable and built on the mingling of made-up concepts and the hard fact of their effect on behavior, such as race. Writing on Flannery O’Connor for instance he alone puts a finger on her “uneasy and unavoidable union between black and white, the sacred and the profane, the shit and the stars.” From Eminem to Richard Pryor, André Leon Talley to Michael Jackson, Als enters the life and work of numerous artists here who turn the fascinations of race and with whiteness into fury and song and describes the complexity of their beauty like his life depended upon it. There are also brief memoirs here that will stop your heart. This is an essential work to understanding American culture.  –John Freeman, Executive Editor

Eula Biss, On Immunity (2014)

We move through the world as if we can protect ourselves from its myriad dangers, exercising what little agency we have in an effort to keep at bay those fears that gather at the edges of any given life: of loss, illness, disaster, death. It is these fears—amplified by the birth of her first child—that Eula Biss confronts in her essential 2014 essay collection, On Immunity . As any great essayist does, Biss moves outward in concentric circles from her own very private view of the world to reveal wider truths, discovering as she does a culture consumed by anxiety at the pervasive toxicity of contemporary life. As Biss interrogates this culture—of privilege, of whiteness—she interrogates herself, questioning the flimsy ways in which we arm ourselves with science or superstition against the impurities of daily existence.

Five years on from its publication, it is dismaying that On Immunity feels as urgent (and necessary) a defense of basic science as ever. Vaccination, we learn, is derived from vacca —for cow—after the 17th-century discovery that a small application of cowpox was often enough to inoculate against the scourge of smallpox, an etymological digression that belies modern conspiratorial fears of Big Pharma and its vaccination agenda. But Biss never scolds or belittles the fears of others, and in her generosity and openness pulls off a neat (and important) trick: insofar as we are of the very world we fear, she seems to be suggesting, we ourselves are impure, have always been so, permeable, vulnerable, yet so much stronger than we think.  –Jonny Diamond, Editor-in-Chief 

Rebecca Solnit, The Mother of All Questions (2016)

When Rebecca Solnit’s essay, “Men Explain Things to Me,” was published in 2008, it quickly became a cultural phenomenon unlike almost any other in recent memory, assigning language to a behavior that almost every woman has witnessed—mansplaining—and, in the course of identifying that behavior, spurring a movement, online and offline, to share the ways in which patriarchal arrogance has intersected all our lives. (It would also come to be the titular essay in her collection published in 2014.) The Mother of All Questions follows up on that work and takes it further in order to examine the nature of self-expression—who is afforded it and denied it, what institutions have been put in place to limit it, and what happens when it is employed by women. Solnit has a singular gift for describing and decoding the misogynistic dynamics that govern the world so universally that they can seem invisible and the gendered violence that is so common as to seem unremarkable; this naming is powerful, and it opens space for sharing the stories that shape our lives.

The Mother of All Questions, comprised of essays written between 2014 and 2016, in many ways armed us with some of the tools necessary to survive the gaslighting of the Trump years, in which many of us—and especially women—have continued to hear from those in power that the things we see and hear do not exist and never existed. Solnit also acknowledges that labels like “woman,” and other gendered labels, are identities that are fluid in reality; in reviewing the book for The New Yorker , Moira Donegan suggested that, “One useful working definition of a woman might be ‘someone who experiences misogyny.'” Whichever words we use, Solnit writes in the introduction to the book that “when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable.” This storytelling work has always been vital; it continues to be vital, and in this book, it is brilliantly done.  –Corinne Segal, Senior Editor

Valeria Luiselli, Tell Me How It Ends (2017)

The newly minted MacArthur fellow Valeria Luiselli’s four-part (but really six-part) essay  Tell Me How It Ends: An Essay in Forty Questions  was inspired by her time spent volunteering at the federal immigration court in New York City, working as an interpreter for undocumented, unaccompanied migrant children who crossed the U.S.-Mexico border. Written concurrently with her novel  Lost Children Archive  (a fictional exploration of the same topic), Luiselli’s essay offers a fascinating conceit, the fashioning of an argument from the questions on the government intake form given to these children to process their arrivals. (Aside from the fact that this essay is a heartbreaking masterpiece, this is such a  good  conceit—transforming a cold, reproducible administrative document into highly personal literature.) Luiselli interweaves a grounded discussion of the questionnaire with a narrative of the road trip Luiselli takes with her husband and family, across America, while they (both Mexican citizens) wait for their own Green Card applications to be processed. It is on this trip when Luiselli reflects on the thousands of migrant children mysteriously traveling across the border by themselves. But the real point of the essay is to actually delve into the real stories of some of these children, which are agonizing, as well as to gravely, clearly expose what literally happens, procedural, when they do arrive—from forms to courts, as they’re swallowed by a bureaucratic vortex. Amid all of this, Luiselli also takes on more, exploring the larger contextual relationship between the United States of America and Mexico (as well as other countries in Central America, more broadly) as it has evolved to our current, adverse moment.  Tell Me How It Ends  is so small, but it is so passionate and vigorous: it desperately accomplishes in its less-than-100-pages-of-prose what centuries and miles and endless records of federal bureaucracy have never been able, and have never cared, to do: reverse the dehumanization of Latin American immigrants that occurs once they set foot in this country.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Zadie Smith, Feel Free (2018)

In the essay “Meet Justin Bieber!” in Feel Free , Zadie Smith writes that her interest in Justin Bieber is not an interest in the interiority of the singer himself, but in “the idea of the love object”. This essay—in which Smith imagines a meeting between Bieber and the late philosopher Martin Buber (“Bieber and Buber are alternative spellings of the same German surname,” she explains in one of many winning footnotes. “Who am I to ignore these hints from the universe?”). Smith allows that this premise is a bit premise -y: “I know, I know.” Still, the resulting essay is a very funny, very smart, and un-tricky exploration of individuality and true “meeting,” with a dash of late capitalism thrown in for good measure. The melding of high and low culture is the bread and butter of pretty much every prestige publication on the internet these days (and certainly of the Twitter feeds of all “public intellectuals”), but the essays in Smith’s collection don’t feel familiar—perhaps because hers is, as we’ve long known, an uncommon skill. Though I believe Smith could probably write compellingly about anything, she chooses her subjects wisely. She writes with as much electricity about Brexit as the aforementioned Beliebers—and each essay is utterly engrossing. “She contains multitudes, but her point is we all do,” writes Hermione Hoby in her review of the collection in The New Republic . “At the same time, we are, in our endless difference, nobody but ourselves.”  –Jessie Gaynor, Social Media Editor

Tressie McMillan Cottom, Thick: And Other Essays (2019)

Tressie McMillan Cottom is an academic who has transcended the ivory tower to become the sort of public intellectual who can easily appear on radio or television talk shows to discuss race, gender, and capitalism. Her collection of essays reflects this duality, blending scholarly work with memoir to create a collection on the black female experience in postmodern America that’s “intersectional analysis with a side of pop culture.” The essays range from an analysis of sexual violence, to populist politics, to social media, but in centering her own experiences throughout, the collection becomes something unlike other pieces of criticism of contemporary culture. In explaining the title, she reflects on what an editor had said about her work: “I was too readable to be academic, too deep to be popular, too country black to be literary, and too naïve to show the rigor of my thinking in the complexity of my prose. I had wanted to create something meaningful that sounded not only like me, but like all of me. It was too thick.” One of the most powerful essays in the book is “Dying to be Competent” which begins with her unpacking the idiocy of LinkedIn (and the myth of meritocracy) and ends with a description of her miscarriage, the mishandling of black woman’s pain, and a condemnation of healthcare bureaucracy. A finalist for the 2019 National Book Award for Nonfiction, Thick confirms McMillan Cottom as one of our most fearless public intellectuals and one of the most vital.  –Emily Firetog, Deputy Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Elif Batuman, The Possessed (2010)

In The Possessed Elif Batuman indulges her love of Russian literature and the result is hilarious and remarkable. Each essay of the collection chronicles some adventure or other that she had while in graduate school for Comparative Literature and each is more unpredictable than the next. There’s the time a “well-known 20th-centuryist” gave a graduate student the finger; and the time when Batuman ended up living in Samarkand, Uzbekistan, for a summer; and the time that she convinced herself Tolstoy was murdered and spent the length of the Tolstoy Conference in Yasnaya Polyana considering clues and motives. Rich in historic detail about Russian authors and literature and thoughtfully constructed, each essay is an amalgam of critical analysis, cultural criticism, and serious contemplation of big ideas like that of identity, intellectual legacy, and authorship. With wit and a serpentine-like shape to her narratives, Batuman adopts a form reminiscent of a Socratic discourse, setting up questions at the beginning of her essays and then following digressions that more or less entreat the reader to synthesize the answer for herself. The digressions are always amusing and arguably the backbone of the collection, relaying absurd anecdotes with foreign scholars or awkward, surreal encounters with Eastern European strangers. Central also to the collection are Batuman’s intellectual asides where she entertains a theory—like the “problem of the person”: the inability to ever wholly capture one’s character—that ultimately layer the book’s themes. “You are certainly my most entertaining student,” a professor said to Batuman. But she is also curious and enthusiastic and reflective and so knowledgeable that she might even convince you (she has me!) that you too love Russian literature as much as she does. –Eleni Theodoropoulos, Editorial Fellow

Roxane Gay, Bad Feminist (2014)

Roxane Gay’s now-classic essay collection is a book that will make you laugh, think, cry, and then wonder, how can cultural criticism be this fun? My favorite essays in the book include Gay’s musings on competitive Scrabble, her stranded-in-academia dispatches, and her joyous film and television criticism, but given the breadth of topics Roxane Gay can discuss in an entertaining manner, there’s something for everyone in this one. This book is accessible because feminism itself should be accessible – Roxane Gay is as likely to draw inspiration from YA novels, or middle-brow shows about friendship, as she is to introduce concepts from the academic world, and if there’s anyone I trust to bridge the gap between high culture, low culture, and pop culture, it’s the Goddess of Twitter. I used to host a book club dedicated to radical reads, and this was one of the first picks for the club; a week after the book club met, I spied a few of the attendees meeting in the café of the bookstore, and found out that they had bonded so much over discussing  Bad Feminist  that they couldn’t wait for the next meeting of the book club to keep discussing politics and intersectionality, and that, in a nutshell, is the power of Roxane. –Molly Odintz, CrimeReads Associate Editor

Rivka Galchen, Little Labors (2016)

Generally, I find stories about the trials and tribulations of child-having to be of limited appeal—useful, maybe, insofar as they offer validation that other people have also endured the bizarre realities of living with a tiny human, but otherwise liable to drift into the musings of parents thrilled at the simple fact of their own fecundity, as if they were the first ones to figure the process out (or not). But Little Labors is not simply an essay collection about motherhood, perhaps because Galchen initially “didn’t want to write about” her new baby—mostly, she writes, “because I had never been interested in babies, or mothers; in fact, those subjects had seemed perfectly not interesting to me.” Like many new mothers, though, Galchen soon discovered her baby—which she refers to sometimes as “the puma”—to be a preoccupying thought, demanding to be written about. Galchen’s interest isn’t just in her own progeny, but in babies in literature (“Literature has more dogs than babies, and also more abortions”), The Pillow Book , the eleventh-century collection of musings by Sei Shōnagon, and writers who are mothers. There are sections that made me laugh out loud, like when Galchen continually finds herself in an elevator with a neighbor who never fails to remark on the puma’s size. There are also deeper, darker musings, like the realization that the baby means “that it’s not permissible to die. There are days when this does not feel good.” It is a slim collection that I happened to read at the perfect time, and it remains one of my favorites of the decade. –Emily Firetog, Deputy Editor

Charlie Fox, This Young Monster (2017)

On social media as in his writing, British art critic Charlie Fox rejects lucidity for allusion and doesn’t quite answer the Twitter textbox’s persistent question: “What’s happening?” These days, it’s hard to tell.  This Young Monster  (2017), Fox’s first book,was published a few months after Donald Trump’s election, and at one point Fox takes a swipe at a man he judges “direct from a nightmare and just a repulsive fucking goon.” Fox doesn’t linger on politics, though, since most of the monsters he looks at “embody otherness and make it into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own invention.”

If clichés are loathed because they conform to what philosopher Georges Bataille called “the common measure,” then monsters are rebellious non-sequiturs, comedic or horrific derailments from a classical ideal. Perverts in the most literal sense, monsters have gone astray from some “proper” course. The book’s nine chapters, which are about a specific monster or type of monster, are full of callbacks to familiar and lesser-known media. Fox cites visual art, film, songs, and books with the screwy buoyancy of a savant. Take one of his essays, “Spook House,” framed as a stage play with two principal characters, Klaus (“an intoxicated young skinhead vampire”) and Hermione (“a teen sorceress with green skin and jet-black hair” who looks more like The Wicked Witch than her namesake). The chorus is a troupe of trick-or-treaters. Using the filmmaker Cameron Jamie as a starting point, the rest is free association on gothic decadence and Detroit and L.A. as cities of the dead. All the while, Klaus quotes from  Artforum ,  Dazed & Confused , and  Time Out. It’s a technical feat that makes fictionalized dialogue a conveyor belt for cultural criticism.

In Fox’s imagination, David Bowie and the Hydra coexist alongside Peter Pan, Dennis Hopper, and the maenads. Fox’s book reaches for the monster’s mask, not really to peel it off but to feel and smell the rubber schnoz, to know how it’s made before making sure it’s still snugly set. With a stylistic blend of arthouse suavity and B-movie chic,  This Young Monster considers how monsters in culture are made. Aren’t the scariest things made in post-production? Isn’t the creature just duplicity, like a looping choir or a dubbed scream? –Aaron Robertson, Assistant Editor

Elena Passarello, Animals Strike Curious Poses (2017)

Elena Passarello’s collection of essays Animals Strike Curious Poses picks out infamous animals and grants them the voice, narrative, and history they deserve. Not only is a collection like this relevant during the sixth extinction but it is an ambitious historical and anthropological undertaking, which Passarello has tackled with thorough research and a playful tone that rather than compromise her subject, complicates and humanizes it. Passarello’s intention is to investigate the role of animals across the span of human civilization and in doing so, to construct a timeline of humanity as told through people’s interactions with said animals. “Of all the images that make our world, animal images are particularly buried inside us,” Passarello writes in her first essay, to introduce us to the object of the book and also to the oldest of her chosen characters: Yuka, a 39,000-year-old mummified woolly mammoth discovered in the Siberian permafrost in 2010. It was an occasion so remarkable and so unfathomable given the span of human civilization that Passarello says of Yuka: “Since language is epically younger than both thought and experience, ‘woolly mammoth’ means, to a human brain, something more like time.” The essay ends with a character placing a hand on a cave drawing of a woolly mammoth, accompanied by a phrase which encapsulates the author’s vision for the book: “And he becomes the mammoth so he can envision the mammoth.” In Passarello’s hands the imagined boundaries between the animal, natural, and human world disintegrate and what emerges is a cohesive if baffling integrated history of life. With the accuracy and tenacity of a journalist and the spirit of a storyteller, Elena Passarello has assembled a modern bestiary worthy of contemplation and awe. –Eleni Theodoropoulos, Editorial Fellow

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Esmé Weijun Wang’s collection of essays is a kaleidoscopic look at mental health and the lives affected by the schizophrenias. Each essay takes on a different aspect of the topic, but you’ll want to read them together for a holistic perspective. Esmé Weijun Wang generously begins The Collected Schizophrenias by acknowledging the stereotype, “Schizophrenia terrifies. It is the archetypal disorder of lunacy.” From there, she walks us through the technical language, breaks down the Diagnostic and Statistical Manual ( DSM-5 )’s clinical definition. And then she gets very personal, telling us about how she came to her own diagnosis and the way it’s touched her daily life (her relationships, her ideas about motherhood). Esmé Weijun Wang is uniquely situated to write about this topic. As a former lab researcher at Stanford, she turns a precise, analytical eye to her experience while simultaneously unfolding everything with great patience for her reader. Throughout, she brilliantly dissects the language around mental health. (On saying “a person living with bipolar disorder” instead of using “bipolar” as the sole subject: “…we are not our diseases. We are instead individuals with disorders and malfunctions. Our conditions lie over us like smallpox blankets; we are one thing and the illness is another.”) She pinpoints the ways she arms herself against anticipated reactions to the schizophrenias: high fashion, having attended an Ivy League institution. In a particularly piercing essay, she traces mental illness back through her family tree. She also places her story within more mainstream cultural contexts, calling on groundbreaking exposés about the dangerous of institutionalization and depictions of mental illness in television and film (like the infamous Slender Man case, in which two young girls stab their best friend because an invented Internet figure told them to). At once intimate and far-reaching, The Collected Schizophrenias is an informative and important (and let’s not forget artful) work. I’ve never read a collection quite so beautifully-written and laid-bare as this. –Katie Yee, Book Marks Assistant Editor

Ross Gay, The Book of Delights (2019)

When Ross Gay began writing what would become The Book of Delights, he envisioned it as a project of daily essays, each focused on a moment or point of delight in his day. This plan quickly disintegrated; on day four, he skipped his self-imposed assignment and decided to “in honor and love, delight in blowing it off.” (Clearly, “blowing it off” is a relative term here, as he still produced the book.) Ross Gay is a generous teacher of how to live, and this moment of reveling in self-compassion is one lesson among many in The Book of Delights , which wanders from moments of connection with strangers to a shade of “red I don’t think I actually have words for,” a text from a friend reading “I love you breadfruit,” and “the sun like a guiding hand on my back, saying everything is possible. Everything .”

Gay does not linger on any one subject for long, creating the sense that delight is a product not of extenuating circumstances, but of our attention; his attunement to the possibilities of a single day, and awareness of all the small moments that produce delight, are a model for life amid the warring factions of the attention economy. These small moments range from the physical–hugging a stranger, transplanting fig cuttings–to the spiritual and philosophical, giving the impression of sitting beside Gay in his garden as he thinks out loud in real time. It’s a privilege to listen. –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Terry Castle, The Professor and Other Writings (2010) · Joyce Carol Oates, In Rough Country (2010) · Geoff Dyer, Otherwise Known as the Human Condition (2011) · Christopher Hitchens, Arguably (2011) ·  Roberto Bolaño, tr. Natasha Wimmer, Between Parentheses (2011) · Dubravka Ugresic, tr. David Williams, Karaoke Culture (2011) · Tom Bissell, Magic Hours (2012)  · Kevin Young, The Grey Album (2012) · William H. Gass, Life Sentences: Literary Judgments and Accounts (2012) · Mary Ruefle, Madness, Rack, and Honey (2012) · Herta Müller, tr. Geoffrey Mulligan, Cristina and Her Double (2013) · Leslie Jamison, The Empathy Exams (2014)  · Meghan Daum, The Unspeakable (2014)  · Daphne Merkin, The Fame Lunches (2014)  · Charles D’Ambrosio, Loitering (2015) · Wendy Walters, Multiply/Divide (2015) · Colm Tóibín, On Elizabeth Bishop (2015) ·  Renee Gladman, Calamities (2016)  · Jesmyn Ward, ed. The Fire This Time (2016)  · Lindy West, Shrill (2016)  · Mary Oliver, Upstream (2016)  · Emily Witt, Future Sex (2016)  · Olivia Laing, The Lonely City (2016)  · Mark Greif, Against Everything (2016)  · Durga Chew-Bose, Too Much and Not the Mood (2017)  · Sarah Gerard, Sunshine State (2017)  · Jim Harrison, A Really Big Lunch (2017)  · J.M. Coetzee, Late Essays: 2006-2017 (2017) · Melissa Febos, Abandon Me (2017)  · Louise Glück, American Originality (2017)  · Joan Didion, South and West (2017)  · Tom McCarthy, Typewriters, Bombs, Jellyfish (2017)  · Hanif Abdurraqib, They Can’t Kill Us Until they Kill Us (2017)  · Ta-Nehisi Coates, We Were Eight Years in Power (2017)  ·  Samantha Irby, We Are Never Meeting in Real Life (2017)  · Alexander Chee, How to Write an Autobiographical Novel (2018)  · Alice Bolin, Dead Girls (2018)  · Marilynne Robinson, What Are We Doing Here? (2018)  · Lorrie Moore, See What Can Be Done (2018)  · Maggie O’Farrell, I Am I Am I Am (2018)  · Ijeoma Oluo, So You Want to Talk About Race (2018)  · Rachel Cusk, Coventry (2019)  · Jia Tolentino, Trick Mirror (2019)  · Emily Bernard, Black is the Body (2019)  · Toni Morrison, The Source of Self-Regard (2019)  · Margaret Renkl, Late Migrations (2019)  ·  Rachel Munroe, Savage Appetites (2019)  · Robert A. Caro,  Working  (2019) · Arundhati Roy, My Seditious Heart (2019).

Emily Temple

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A Professor's Guide to Writing Essays: The No-Nonsense Plan for Better Writing Paperback – November 3, 2016

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

MLA Works Cited Page: Books

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. This resource, updated to reflect the MLA Handbook (9 th ed.), offers examples for the general format of MLA research papers, in-text citations, endnotes/footnotes, and the Works Cited page.

When you are gathering book sources, be sure to make note of the following bibliographic items: the author name(s), other contributors such as translators or editors, the book’s title, editions of the book, the publication date, the publisher, and the pagination.

The 8 th  edition of the MLA handbook highlights principles over prescriptive practices. Essentially, a writer will need to take note of primary elements in every source, such as author, title, etc. and then assort them in a general format. Thus, by using this methodology, a writer will be able to cite any source regardless of whether it’s included in this list.

Please note these changes in the new edition:

• Commas are used instead of periods between Publisher, Publication Date, and Pagination.
• Medium is no longer necessary.
• Containers are now a part of the MLA process. Commas should be used after container titles.
• DOIs should be used instead of URLS when available.
• Use the term “Accessed” instead of listing the date or the abbreviation, “n.d."

Below is the general format for any citation:

Author. Title. Title of container (do not list container for standalone books, e.g. novels), Other contributors (translators or editors), Version (edition), Number (vol. and/or no.), Publisher, Publication Date, Location (pages, paragraphs URL or DOI). 2 nd  container’s title, Other contributors, Version, Number, Publisher, Publication date, Location, Date of Access (if applicable).

Basic Book Format

The author’s name or a book with a single author's name appears in last name, first name format. The basic form for a book citation is:

Last Name, First Name. Title of Book . City of Publication, Publisher, Publication Date.

* Note: the City of Publication should only be used if the book was published before 1900, if the publisher has offices in more than one country, or if the publisher is unknown in North America.

Book with One Author

Gleick, James. Chaos: Making a New Science . Penguin, 1987.

Henley, Patricia. The Hummingbird House . MacMurray, 1999.

Book with More Than One Author

When a book has two authors, order the authors in the same way they are presented in the book. Start by listing the first name that appears on the book in last name, first name format; subsequent author names appear in normal order (first name last name format).

Gillespie, Paula, and Neal Lerner. The Allyn and Bacon Guide to Peer Tutoring . Allyn and Bacon, 2000.

If there are three or more authors, list only the first author followed by the phrase et al. (Latin for "and others") in place of the subsequent authors' names. (Note that there is a period after “al” in “et al.” Also note that there is never a period after the “et” in “et al.”).

Wysocki, Anne Frances, et al. Writing New Media: Theory and Applications for Expanding the Teaching of Composition . Utah State UP, 2004.

Two or More Books by the Same Author

List works alphabetically by title. (Remember to ignore articles like A, An, and The.) Provide the author’s name in last name, first name format for the first entry only. For each subsequent entry by the same author, use three hyphens and a period.

Palmer, William J. Dickens and New Historicism . St. Martin's, 1997.

---. The Films of the Eighties: A Social History . Southern Illinois UP, 1993.

Book by a Corporate Author or Organization

A corporate author may include a commission, a committee, a government agency, or a group that does not identify individual members on the title page.

List the names of corporate authors in the place where an author’s name typically appears at the beginning of the entry.

American Allergy Association. Allergies in Children . Random House, 1998.

When the author and publisher are the same, skip the author, and list the title first. Then, list the corporate author only as the publisher.

Fair Housing—Fair Lending. Aspen Law & Business, 1985.

Book with No Author

List by title of the book. Incorporate these entries alphabetically just as you would with works that include an author name. For example, the following entry might appear between entries of works written by Dean, Shaun and Forsythe, Jonathan.

Encyclopedia of Indiana . Somerset, 1993.

Remember that for an in-text (parenthetical) citation of a book with no author, you should provide the name of the work in the signal phrase and the page number in parentheses. You may also use a shortened version of the title of the book accompanied by the page number. For more information see the In-text Citations for Print Sources with No Known Author section of In-text Citations: The Basics .

A Translated Book

If you want to emphasize the work rather than the translator, cite as you would any other book. Add “translated by” and follow with the name(s) of the translator(s).

Foucault, Michel. Madness and Civilization: A History of Insanity in the Age of Reason . Translated by Richard Howard, Vintage-Random House, 1988.

If you want to focus on the translation, list the translator as the author. In place of the author’s name, the translator’s name appears. His or her name is followed by the label, “translator.” If the author of the book does not appear in the title of the book, include the name, with a “By” after the title of the book and before the publisher. Note that this type of citation is less common and should only be used for papers or writing in which translation plays a central role.

Howard, Richard, translator. Madness and Civilization: A History of Insanity in the Age of Reason . By Michel Foucault, Vintage-Random House, 1988.

Republished Book

Books may be republished due to popularity without becoming a new edition. New editions are typically revisions of the original work. For books that originally appeared at an earlier date and that have been republished at a later one, insert the original publication date before the publication information.

For books that are new editions (i.e. different from the first or other editions of the book), see An Edition of a Book below.

Butler, Judith. Gender Trouble . 1990. Routledge, 1999.

Erdrich, Louise. Love Medicine . 1984. Perennial-Harper, 1993.

An Edition of a Book

There are two types of editions in book publishing: a book that has been published more than once in different editions and a book that is prepared by someone other than the author (typically an editor).

A Subsequent Edition

Cite the book as you normally would, but add the number of the edition after the title.

Crowley, Sharon, and Debra Hawhee. Ancient Rhetorics for Contemporary Students . 3rd ed., Pearson, 2004.

A Work Prepared by an Editor

Cite the book as you normally would, but add the editor after the title with the label "edited by."

Bronte, Charlotte. Jane Eyre,  edited by Margaret Smith, Oxford UP, 1998.

Note that the format for citing sources with important contributors with editor-like roles follows the same basic template:

...adapted by John Doe...

Finally, in the event that the source features a contributor that cannot be described with a past-tense verb and the word "by" (e.g., "edited by"), you may instead use a noun followed by a comma, like so:

...guest editor, Jane Smith...

Anthology or Collection (e.g. Collection of Essays)

To cite the entire anthology or collection, list by editor(s) followed by a comma and "editor" or, for multiple editors, "editors." This sort of entry is somewhat rare. If you are citing a particular piece within an anthology or collection (more common), see A Work in an Anthology, Reference, or Collection below.

Hill, Charles A., and Marguerite Helmers, editors. Defining Visual Rhetorics . Lawrence Erlbaum Associates, 2004.

Peterson, Nancy J., editor. Toni Morrison: Critical and Theoretical Approaches . Johns Hopkins UP, 1997.

A Work in an Anthology, Reference, or Collection

Works may include an essay in an edited collection or anthology, or a chapter of a book. The basic form is for this sort of citation is as follows:

Last name, First name. "Title of Essay." Title of Collection , edited by Editor's Name(s), Publisher, Year, Page range of entry.

Some examples:

Harris, Muriel. "Talk to Me: Engaging Reluctant Writers." A Tutor's Guide: Helping Writers One to One , edited by Ben Rafoth, Heinemann, 2000, pp. 24-34.

Swanson, Gunnar. "Graphic Design Education as a Liberal Art: Design and Knowledge in the University and The 'Real World.'" The Education of a Graphic Designer , edited by Steven Heller, Allworth Press, 1998, pp. 13-24.

Note on Cross-referencing Several Items from One Anthology: If you cite more than one essay from the same edited collection, MLA indicates you may cross-reference within your works cited list in order to avoid writing out the publishing information for each separate essay. You should consider this option if you have several references from a single text. To do so, include a separate entry for the entire collection listed by the editor's name as below:

Rose, Shirley K, and Irwin Weiser, editors. The Writing Program Administrator as Researcher . Heinemann, 1999.

Then, for each individual essay from the collection, list the author's name in last name, first name format, the title of the essay, the editor's last name, and the page range:

L'Eplattenier, Barbara. "Finding Ourselves in the Past: An Argument for Historical Work on WPAs." Rose and Weiser, pp. 131-40.

Peeples, Tim. "'Seeing' the WPA With/Through Postmodern Mapping." Rose and Weiser, pp. 153-67.

Please note: When cross-referencing items in the works cited list, alphabetical order should be maintained for the entire list.

Poem or Short Story Examples :

Burns, Robert. "Red, Red Rose." 100 Best-Loved Poems, edited by Philip Smith, Dover, 1995, p. 26.

Kincaid, Jamaica. "Girl." The Vintage Book of Contemporary American Short Stories , edited by Tobias Wolff, Vintage, 1994, pp. 306-07.

If the specific literary work is part of the author's own collection (all of the works have the same author), then there will be no editor to reference:

Whitman, Walt. "I Sing the Body Electric." Selected Poems, Dover, 1991, pp. 12-19.

Carter, Angela. "The Tiger's Bride." Burning Your Boats: The Collected Stories, Penguin, 1995, pp. 154-69.

Article in a Reference Book (e.g. Encyclopedias, Dictionaries)

For entries in encyclopedias, dictionaries, and other reference works, cite the entry name as you would any other work in a collection but do not include the publisher information. Also, if the reference book is organized alphabetically, as most are, do not list the volume or the page number of the article or item.

"Ideology." The American Heritage Dictionary.  3rd ed. 1997. 

A Multivolume Work

When citing only one volume of a multivolume work, include the volume number after the work's title, or after the work's editor or translator.

Quintilian. Institutio Oratoria . Translated by H. E. Butler, vol. 2, Loeb-Harvard UP, 1980.

When citing more than one volume of a multivolume work, cite the total number of volumes in the work. Also, be sure in your in-text citation to provide both the volume number and page number(s) ( see "Citing Multivolume Works" on our in-text citations resource .)

Quintilian. Institutio Oratoria . Translated by H. E. Butler, Loeb-Harvard UP, 1980. 4 vols.

If the volume you are using has its own title, cite the book without referring to the other volumes as if it were an independent publication.

Churchill, Winston S. The Age of Revolution . Dodd, 1957.

An Introduction, Preface, Foreword, or Afterword

When citing an introduction, a preface, a foreword, or an afterword, write the name of the author(s) of the piece you are citing. Then give the name of the part being cited, which should not be italicized or enclosed in quotation marks; in italics, provide the name of the work and the name of the author of the introduction/preface/foreword/afterword. Finish the citation with the details of publication and page range.

Farrell, Thomas B. Introduction. Norms of Rhetorical Culture , by Farrell, Yale UP, 1993, pp. 1-13.

If the writer of the piece is different from the author of the complete work , then write the full name of the principal work's author after the word "By." For example, if you were to cite Hugh Dalziel Duncan’s introduction of Kenneth Burke’s book Permanence and Change, you would write the entry as follows:

Duncan, Hugh Dalziel. Introduction. Permanence and Change: An Anatomy of Purpose, by Kenneth Burke, 1935, 3rd ed., U of California P, 1984, pp. xiii-xliv.

Book Published Before 1900

Original copies of books published before 1900 are usually defined by their place of publication rather than the publisher. Unless you are using a newer edition, cite the city of publication where you would normally cite the publisher.

Thoreau, Henry David. Excursions . Boston, 1863.

Italicize “The Bible” and follow it with the version you are using. Remember that your in-text (parenthetical citation) should include the name of the specific edition of the Bible, followed by an abbreviation of the book, the chapter and verse(s). (See Citing the Bible at In-Text Citations: The Basics .)

The Bible. Authorized King James Version , Oxford UP, 1998.

The Bible. The New Oxford Annotated Version , 3rd ed., Oxford UP, 2001.

The New Jerusalem Bible. Edited by Susan Jones, Doubleday, 1985.

A Government Publication

Cite the author of the publication if the author is identified. Otherwise, start with the name of the national government, followed by the agency (including any subdivisions or agencies) that serves as the organizational author. For congressional documents, be sure to include the number of the Congress and the session when the hearing was held or resolution passed as well as the report number. US government documents are typically published by the Government Printing Office.

United States, Congress, Senate, Committee on Energy and Natural Resources. Hearing on the Geopolitics of Oil . Government Printing Office, 2007. 110th Congress, 1st session, Senate Report 111-8.

United States, Government Accountability Office. Climate Change: EPA and DOE Should Do More to Encourage Progress Under Two Voluntary Programs . Government Printing Office, 2006.

Cite the title and publication information for the pamphlet just as you would a book without an author. Pamphlets and promotional materials commonly feature corporate authors (commissions, committees, or other groups that does not provide individual group member names). If the pamphlet you are citing has no author, cite as directed below. If your pamphlet has an author or a corporate author, put the name of the author (last name, first name format) or corporate author in the place where the author name typically appears at the beginning of the entry. (See also Books by a Corporate Author or Organization above.)

Women's Health: Problems of the Digestive System . American College of Obstetricians and Gynecologists, 2006.

Your Rights Under California Welfare Programs . California Department of Social Services, 2007.

Dissertations and Master's Theses

Dissertations and master's theses may be used as sources whether published or not. Unlike previous editions, MLA 8 specifies no difference in style for published/unpublished works.

The main elements of a dissertation citation are the same as those for a book: author name(s), title (italicized) , and publication date. Conclude with an indication of the document type (e.g., "PhD dissertation"). The degree-granting institution may be included before the document type (though this is not required). If the dissertation was accessed through an online repository, include it as the second container after all the other elements.

Bishop, Karen Lynn. Documenting Institutional Identity: Strategic Writing in the IUPUI Comprehensive Campaign . 2002. Purdue University, PhD dissertation.

Bile, Jeffrey. Ecology, Feminism, and a Revised Critical Rhetoric: Toward a Dialectical Partnership . 2005. Ohio University, PhD dissertation.

Mitchell, Mark. The Impact of Product Quality Reducing Events on the Value of Brand-Name Capital: Evidence from Airline Crashes and the 1982 Tylenol Poisonings.  1987. PhD dissertation.  ProQuest Dissertations and Theses.

List the names of corporate authors in the place where an author’s name typically appears at the beginning of the entry if the author and publisher are not the same.

Fair Housing—Fair Lending. Aspen Law & Business, 1985.

Essay on My Favourite Book for Students and Children

500+ Words Essay on My Favourite Book

Essay on My Favourite Book: Books are friends who never leave your side. I find this saying to be very true as books have always been there for me. I enjoy reading books . They have the power to help us travel through worlds without moving from our places. In addition, books also enhance our imagination. Growing up, my parents and teachers always encouraged me to read. They taught me the importance of reading. Subsequently, I have read several books. However, one boom that will always be my favourite is Harry Potter. It is one of the most intriguing reads of my life. I have read all the books of this series, yet I read them again as I never get bored of it.

Harry Potter Series

Harry Potter was a series of books authored by one of the most eminent writers of our generation, J.K. Rowling. These books showcase the wizarding world and its workings. J.K. Rowling has been so successful at weaving a picture of this world, that it feels real. Although the series contains seven books, I have a particular favourite. My favourite book from the series is The Goblet of fire.

When I started reading the book, it caught my attention instantly. Even though I had read all the previous parts, none of the books caught my attention as this one did. It gave a larger perspective into the wizarding world. One of the things which excite me the most about this book is the introduction of the other wizard schools. The concept of the Tri-wizard tournament is one of the most brilliant pieces I have come across in the Harry Potter series.

In addition, this book also contains some of my favourite characters. The moment I read about Victor Krum’s entry, I was star struck. The aura and personality of that character described by Rowling are simply brilliant. Further, it made me become a greater fan of the series.

Get the huge list of more than 500 Essay Topics and Ideas

What Harry Potter Series Taught Me?

Even though the books are about the world of wizards and magic, the Harry Potter series contains a lot of lessons for young people to learn. Firstly, it teaches us the importance of friendship. I have read many books but never come across a friendship like that of Harry, Hermoine, and Ron. These three musketeers stuck together throughout the books and never gave up. It taught me the value of a good friend.

Further, the series of Harry Potter taught me that no one is perfect. Everyone has good and evil inside them. We are the ones who choose what we wish to be. This helped me in making better choices and becoming a better human being. We see how the most flawed characters like Snape had goodness inside them. Similarly, how the nicest ones like Dumbledore had some bad traits. This changed my perspective towards people and made me more considerate.

Finally, these books gave me hope. They taught me the meaning of hope and how there is light at the end of the tunnel. It gave me the strength to cling on to hope in the most desperate times just like Harry did all his life. These are some of the most essential things I learned from Harry Potter.

In conclusion, while there were many movies made in the books. Nothing beats the essence and originality of the books. The details and inclusiveness of books cannot be replaced by any form of media. Therefore, the Goblet of Fire remains to be my favourite book.

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How To Write Book Titles The Proper Way: A Complete Guide For Writers

• February 10, 2022

Book titles within essays or papers can be tricky. There are specific rules that are given for how to include a book title in a way that sets it apart from the content of your writing given by the Modern Language Association. However, as with many other things in life, there are exceptions to the rules. This article will guide you through the rules of the writing style guides so that you can include a book’s title in your paper or essay correctly.

How to write book titles:

Style guides and book titles.

When it comes to book titles within text, there are a few different style guides that have rules you can follow, depending on your writing type. The three types that you will encounter most often are; MLA style, Chicago manual of style, and APA. A writing instructor will usually tell you what style guide you are expected to use for a particular essay or paper.

MLA Style Guide

The MLA handbook states that you should always italicize book titles when styling book titles within your text. The exception to this rule are religious texts. You would not italicize the Holy Bible or the sacred books or titles of other religions. Note the following example.

Pam had stayed most of the summer indoors, re-reading her favorite book series. She was already up to  Harry Potter and the Philosopher’s Stone , and she didn’t regret not being more active or going outside.

In the above example, the book title is italicized. Fiction titles and nonfiction titles alike must be in italics when within the text.

Series Titles in MLA

In the above example, a book from a series was used. But what if the text had not specified which book from the series Pam was reading? Would it still need to be in italics? The answer is: in this case, yes. In other cases, sometimes.

It’s really not as confusing as it seems. When you are talking about a book series but don’t want or need to include the complete series titles for the purposes of your work, you only have to put words in italics that also appear in the book titles. So, because  Harry Potter  is part of the title of all of the books in the series, you would italicize his name every time you mention the book.

However, if you were talking about Katniss Everdeen, you would not have to do this, as the book series she is featured in doesn’t use her name in the titles of  The Hunger Games  series. The same would be true of books like the Nancy Drew books.

Quotation Marks

There are instances in which titles should be placed inside of quotation marks within a paper or essay. This is done when you cite the titles of poems , a chapter title, short stories, articles, or blogs.

So, for example, if you were to write a paper that featured a poem from a book, you would put the book title in italics and the poems cited in quotation marks.

An example of an enduring love poem is “Annabel Lee” from  The Complete Tales and Poems of Edgar Allan Poe. 

Chapter Title

Another time that quotation marks should be used is when using the title of a chapter. If you are citing a specific chapter of a book, you would enclose the title of the chapter in quotation marks, and the title of the book should be in italics.

The desperation and sadness of a man on death row can be seen in the “Wild Wind Blowing” chapter of Norman Mailer’s  The Executioner’s Song. 

Short Stories

Short stories are another case. Much like the title of a chapter or poem, in which the title is placed in quotation marks, while the title of the book or collection it is found in is italics. The same can be said for sections, stories, or chapters cited within a literary journal.

Stepping away from his norm of horror and gore, Stephen King writes of trust, love, and regret in his story “The Last Rung on the Ladder,” which can be found in his short story collection  Night Shift. 

Punctuation Marks

If you are citing a story or title that includes question marks, you need to make sure to italicize the question mark when citing. Keep all punctuation, such as a question mark, comma, ellipses, colon, or exclamation mark, as it is in the original individual books.

If you want a funny and irreverent read, you’ve got to try  Are You There, Vodka? It’s Me, Chelsea.  Chelsea Handler has done a phenomenal job of being vulgar, relatable, and explaining life from her viewpoint in this hilarious and memorable book.

The Digital Age: Are Book Titles Underlined Anymore?

MLA style used to dictate that a book title should either be in italics or underlined. However, that is no longer the case. As computers started to take over as the major tool used in writing, it became unpopular to underline book titles. Therefore, this rule was dropped from the style guides.

However, it should be mentioned that when handwriting an essay or research paper, many instructors prefer that you underline book titles, as it’s relatively difficult to handwrite italics. If you are in a writing course or a class that is heavy on handwritten work, be sure to ask your instructor or teacher which method they prefer for citing a book title.

How to Come Up with Book Title Ideas

Now that quotation marks, italics, and style guides have been discussed, let’s move on to how you can come up with your own book title. If you’d like a title for your book that sounds interesting and will get a reader’s attention, you may find this article helpful.

Coming up with a good title for your book is a challenging yet essential marketing decision . The right title can make your target audience choose your new book off of the shelf instead of another writer’s work. Your book cover and your book title are quite possibly the most important marketing decisions you will make.

How to Choose a Good Book Title

Certain criteria should be met if you want to have a good book title , and there are specific steps involved in getting there. You may have assumed up until now that titles of books were just spur of the moment decisions made by authors or publishers, but a lot of work goes into writing good titles.

Grab the Reader’s Attention

As a general rule, you want your reader to remember your title and to sound interesting, even without the reader having seen the cover. There are several ways to do this. You can be a little dark with your title, be controversial, provoke the reader, or even be funny.

There are many examples of such works that use memorable and attention-seeking titles. The following are some different titles that are effective and would most likely provoke a reader to grab them from a shelf for closer inspection.

• Burn After Writing (Sharon Jones)
• Love in the Time of Cholera (Gabriel Garcia Marquez)
• Is Everyone Hanging Out Without Me? (Mindy Kaling)
• Are You There, Vodka? It’s Me, Chelsea (Chelsea Handler)
• The Devil Wears Prada (Lauren Weisberger)
• Chicken Soup for the Soul (various authors)
• God Bless You, Dr. Kevorkian (Kurt Vonnegut)

Shorter Titles

If your full title for your book is long, you may end up boring a reader or creating a situation where a reader tries to remember the title of your book, but it’s too long and ends up getting it confused with another book. Although you should always do your best to make sure that there aren’t books by other authors that share a title or have a title similar to your book (more on that in a minute), you don’t want a person to get confused and get the wrong book instead.

Research Your Title Ideas

It’s a good idea to take the titles you have considered for your book and make a list. Then, do your homework. You can use tools like Google Adwords to test out your title to see if there are others like it, or you can simply use any search engine and plug your title ideas into the search bar and see what similar or exact titles of the same words pop up.

Readers are generally busy people. They don’t have the time or the energy to ensure that writers get a title right. They’ll look for the book they are interested in, and if it proves to be too difficult, or if there are other books written that have the same title, they’ll move on to something else.

A writer really has to make sure that they have a title that isn’t going to be ignored, is interesting, isn’t too long, and isn’t too similar to other works.

The same goes for titles of short works within a larger body of work. Short works, like poems or stories, need to have unique titles as well when included in a larger body of work, such as a collection. If stories are similar in nature, be sure to title them differently so that readers will be able to tell them apart, as well.

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A Critic’s Plea for Maximalism: ‘Crack Us Open Like Eggs’

In her first essay collection, Becca Rothfeld demonstrates that sometimes, more really is more.

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By David Gates

David Gates teaches in the M.F.A. program at St. Joseph’s University.

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ALL THINGS ARE TOO SMALL: Essays in Praise of Excess , by Becca Rothfeld

The essays I love favor abundance over economy, performance over persuasion. Zadie Smith’s exemplary “Speaking in Tongues” juggles Barack Obama, Shakespeare, Shaw’s “Pygmalion,” Pauline Kael on Cary Grant, Thomas Macaulay on the Marquess of Halifax and her own “silly posh” speaking voice. Its modest argument, that “flexibility of voice leads to a flexibility in all things,” disappears into the spectacle of a nimble mind reveling in its omnivorous erudition.

The critic Becca Rothfeld’s first collection, “All Things Are Too Small: Essays in Praise of Excess,” is splendidly immodest in its neo-Romantic agenda — to tear down minimalism and puritanism in its many current varieties — but, like Smith, she makes her strongest case in her essays’ very form, a carnival of high-low allusion and analysis. Macaulay, Cary Grant, Obama and a posh accent? Rothfeld will see you and raise you: How about Simone Weil, Aristotle, “Troll 2,” Lionel Trilling, Hadewijch of Brabant (from whom she takes her title), serial killer procedurals, Proust and the Talmud? Not that she neglects Cary Grant; in an essay on love and equality, she filters a smart reading of “His Girl Friday” through the philosopher Stanley Cavell.

Cynthia Ozick (who ought to know) has favorably — and justly — compared Rothfeld to “the legendary New York intellectuals,” though Rothfeld lives in D.C., where she’s the nonfiction book critic for The Washington Post. She’s also an editor at The Point, a contributing editor at The Boston Review, and has published in The New Yorker, The New York Review of Books, The Nation, The Atlantic, The Baffler and The British Journal of Aesthetics. Of course she also has a Substack, and she declares on her website — which links to many splendid pieces not collected in this book — that she’s “perhaps delusionally convinced” she’ll eventually finish her Harvard Ph.D. dissertation in philosophy.

The costive and the envious might wonder if she’s spreading herself too thin, but Rothfeld’s rigor and eloquence suggest that in her case, as the title of one essay has it, “More Is More.” That piece begins in dispraise of “professional declutterers” such as Marie Kondo, whose aesthetic amounts to “solipsism spatialized,” and from whose dream houses “evidence of habitation — and, in particular, evidence of the body, with its many leaky indecencies — has been eliminated.”

But it soon morphs into dispraise of minimalist prose and the “impoverished non-novels” of fashionable writers including Jenny Offill, Ottessa Moshfegh and Kate Zambreno, whose “anti-narratives are soothingly tractable, made up of sentences so short that they are often left to complete themselves.”

Rothfeld, by contrast, leaves no phrase unturned. Her maximalist prose abounds in alliteration — “I recommend bingeing to bursting,” she writes, exhorting us to “savor the slivers of salvation hidden in all that hideous hunger” — as well as such old-school locutions as “pray tell” and “cannot but be offensive.” If these mannerisms sit uneasily next to her f-worded celebrations of sexuality, the dissonance is deliberate, and the unease is a matter of principle.

In “Wherever You Go, You Could Leave,” a takedown of “mindfulness,” Rothfeld reports that when she “decided to live” after a suicide attempt in her first year of college, she rejected the soothing blankness of meditation and concluded that “perturbation is a small price to pay for the privilege of a point of view.”

Despite her disdain for “professional opinion-havers” — among them the columnist Christine Emba, lately also of The Washington Post — she doesn’t mind laying down the law. In the book’s longest essay, “Only Mercy: Sex After Consent,” Rothfeld taxes Emba, author of the best-selling “Rethinking Sex,” with an “appalling incomprehension of what good sex is like.”

So, pray tell. “We should choke, crawl, spank, spew, and above all, surrender furiously, until the sheer smack of sex becomes its own profuse excuse for being.” Some sexual encounters, she continues, “crack us open like eggs” and “we should not be willing to live without them.”

We-shoulding is an occupational hazard of opinion-having, but we need take these pronouncements no more — and no less — to heart than Rothfeld’s paradoxical admiration for both the “beatifically stylized” films of Éric Rohmer and the “magnificently demented” oeuvre of David Cronenberg. Do we agree or disagree with her that Sally Rooney’s novels are overpraised, and that Norman Rush’s “Mating” is really “one of the most perfect novels of the past half century”?

More to the point, do we agree that “the aesthetic resides in excess and aimlessness,” and that extravagance is “our human due”? I’d say no to the former and yes to the latter, but who cares? What counts in these essays is the exhilarating ride, not the sometimes-dodgy destination. William Blake wrote that the road of excess leads to the palace of wisdom; Rothfeld might say that they’re one and the same. No argument there.

ALL THINGS ARE TOO SMALL : Essays in Praise of Excess | By Becca Rothfeld | Metropolitan Books | 287 pp. | $27.99

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Want to know about the best books to read and the latest news start here..

James McBride’s novel sold a million copies, and he isn’t sure how he feels about that, as he considers the critical and commercial success  of “The Heaven & Earth Grocery Store.”

How did gender become a scary word? Judith Butler, the theorist who got us talking about the subject , has answers.

You never know what’s going to go wrong in these graphic novels, where Circus tigers, giant spiders, shifting borders and motherhood all threaten to end life as we know it .

When the author Tommy Orange received an impassioned email from a teacher in the Bronx, he dropped everything to visit the students  who inspired it.

Do you want to be a better reader?   Here’s some helpful advice to show you how to get the most out of your literary endeavor .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

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• How to write an essay introduction | 4 steps & examples

How to Write an Essay Introduction | 4 Steps & Examples

Published on February 4, 2019 by Shona McCombes . Revised on July 23, 2023.

A good introduction paragraph is an essential part of any academic essay . It sets up your argument and tells the reader what to expect.

The main goals of an introduction are to:

• Catch your reader’s attention.
• Give background on your topic.
• Present your thesis statement —the central point of your essay.

This introduction example is taken from our interactive essay example on the history of Braille.

The invention of Braille was a major turning point in the history of disability. The writing system of raised dots used by visually impaired people was developed by Louis Braille in nineteenth-century France. In a society that did not value disabled people in general, blindness was particularly stigmatized, and lack of access to reading and writing was a significant barrier to social participation. The idea of tactile reading was not entirely new, but existing methods based on sighted systems were difficult to learn and use. As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness. This essay begins by discussing the situation of blind people in nineteenth-century Europe. It then describes the invention of Braille and the gradual process of its acceptance within blind education. Subsequently, it explores the wide-ranging effects of this invention on blind people’s social and cultural lives.

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Table of contents

Step 1: hook your reader, step 2: give background information, step 3: present your thesis statement, step 4: map your essay’s structure, step 5: check and revise, more examples of essay introductions, other interesting articles, frequently asked questions about the essay introduction.

Your first sentence sets the tone for the whole essay, so spend some time on writing an effective hook.

Avoid long, dense sentences—start with something clear, concise and catchy that will spark your reader’s curiosity.

The hook should lead the reader into your essay, giving a sense of the topic you’re writing about and why it’s interesting. Avoid overly broad claims or plain statements of fact.

Examples: Writing a good hook

Take a look at these examples of weak hooks and learn how to improve them.

• Braille was an extremely important invention.
• The invention of Braille was a major turning point in the history of disability.

The first sentence is a dry fact; the second sentence is more interesting, making a bold claim about exactly  why the topic is important.

• The internet is defined as “a global computer network providing a variety of information and communication facilities.”
• The spread of the internet has had a world-changing effect, not least on the world of education.

Avoid using a dictionary definition as your hook, especially if it’s an obvious term that everyone knows. The improved example here is still broad, but it gives us a much clearer sense of what the essay will be about.

• Mary Shelley’s  Frankenstein is a famous book from the nineteenth century.
• Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement.

Instead of just stating a fact that the reader already knows, the improved hook here tells us about the mainstream interpretation of the book, implying that this essay will offer a different interpretation.

Prevent plagiarism. Run a free check.

Next, give your reader the context they need to understand your topic and argument. Depending on the subject of your essay, this might include:

• Historical, geographical, or social context
• An outline of the debate you’re addressing
• A summary of relevant theories or research about the topic
• Definitions of key terms

The information here should be broad but clearly focused and relevant to your argument. Don’t give too much detail—you can mention points that you will return to later, but save your evidence and interpretation for the main body of the essay.

How much space you need for background depends on your topic and the scope of your essay. In our Braille example, we take a few sentences to introduce the topic and sketch the social context that the essay will address:

Now it’s time to narrow your focus and show exactly what you want to say about the topic. This is your thesis statement —a sentence or two that sums up your overall argument.

This is the most important part of your introduction. A  good thesis isn’t just a statement of fact, but a claim that requires evidence and explanation.

The goal is to clearly convey your own position in a debate or your central point about a topic.

Particularly in longer essays, it’s helpful to end the introduction by signposting what will be covered in each part. Keep it concise and give your reader a clear sense of the direction your argument will take.

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As you research and write, your argument might change focus or direction as you learn more.

For this reason, it’s often a good idea to wait until later in the writing process before you write the introduction paragraph—it can even be the very last thing you write.

When you’ve finished writing the essay body and conclusion , you should return to the introduction and check that it matches the content of the essay.

It’s especially important to make sure your thesis statement accurately represents what you do in the essay. If your argument has gone in a different direction than planned, tweak your thesis statement to match what you actually say.

To polish your writing, you can use something like a paraphrasing tool .

You can use the checklist below to make sure your introduction does everything it’s supposed to.

Checklist: Essay introduction

My first sentence is engaging and relevant.

I have introduced the topic with necessary background information.

I have defined any important terms.

My thesis statement clearly presents my main point or argument.

Everything in the introduction is relevant to the main body of the essay.

You have a strong introduction - now make sure the rest of your essay is just as good.

• Argumentative
• Literary analysis

This introduction to an argumentative essay sets up the debate about the internet and education, and then clearly states the position the essay will argue for.

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts is on the rise, and its role in learning is hotly debated. For many teachers who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its critical benefits for students and educators—as a uniquely comprehensive and accessible information source; a means of exposure to and engagement with different perspectives; and a highly flexible learning environment.

This introduction to a short expository essay leads into the topic (the invention of the printing press) and states the main point the essay will explain (the effect of this invention on European society).

In many ways, the invention of the printing press marked the end of the Middle Ages. The medieval period in Europe is often remembered as a time of intellectual and political stagnation. Prior to the Renaissance, the average person had very limited access to books and was unlikely to be literate. The invention of the printing press in the 15th century allowed for much less restricted circulation of information in Europe, paving the way for the Reformation.

This introduction to a literary analysis essay , about Mary Shelley’s Frankenstein , starts by describing a simplistic popular view of the story, and then states how the author will give a more complex analysis of the text’s literary devices.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale. Arguably the first science fiction novel, its plot can be read as a warning about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, and in popular culture representations of the character as a “mad scientist”, Victor Frankenstein represents the callous, arrogant ambition of modern science. However, far from providing a stable image of the character, Shelley uses shifting narrative perspectives to gradually transform our impression of Frankenstein, portraying him in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

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• Write a College Essay
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• College Essay Format & Structure
• Comparing and Contrasting in an Essay

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Your essay introduction should include three main things, in this order:

• An opening hook to catch the reader’s attention.
• Relevant background information that the reader needs to know.
• A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

The “hook” is the first sentence of your essay introduction . It should lead the reader into your essay, giving a sense of why it’s interesting.

To write a good hook, avoid overly broad statements or long, dense sentences. Try to start with something clear, concise and catchy that will spark your reader’s curiosity.

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

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Author Interviews

A conversation with the author of 'there's always this year'.

NPR's Scott Detrow speaks to Hanif Abdurraqib about the new book There's Always This Year . It's a mix of memoir, essays, and poems, looking at the role basketball played in Abdurraqib's life.

SCOTT DETROW, HOST:

The new book "There's Always This Year" opens with an invitation. Here's a quote - "if you please imagine with me, you are putting your hand into my open palm, and I am resting one free hand atop yours. And I am saying to you that I would like to commiserate here and now about our enemies. We know our enemies by how foolishly they trample upon what we know as affection, how quickly they find another language for what they cannot translate as love." And what follows from that is a lyrical book about basketball but also about geography, luck, fate and many other things, too. It's also about how the career arc of basketball great LeBron James is woven through the life of the book's author, Hanif Abdurraqib, who joins us now. Welcome back to the show.

HANIF ABDURRAQIB: Thank you for having me again, Scott. It's really wonderful to be here.

DETROW: You know, I love this book so much, but I'm not entirely sure how to describe it. It's part memoir, part meditation, part poetry collection, part essay collection. How do you think about this book?

ABDURRAQIB: You know, it's funny. I've been running into that too early on in the process and now - still, when I'm asked to kind of give an elevator pitch. And I think really, if I'm being honest, that feels like an achievement to me because so much of...

DETROW: Yeah.

ABDURRAQIB: ...My intent with the book was working against a singular aboutness (ph) or positioning the book as something that could be operating against neat description because I think I was trying to tie together multiple ideas, sure, through the single - singular and single lens of basketball. But I kind of wanted to make basketball almost a - just a canvas atop which I was laying a lot of other concerns, be it mortality or place or fatherhood and sonhood (ph) in my case. I think mostly it's a book about mortality. It's a book about the passage of time and attempting to be honest with myself about the realities of time's passing.

DETROW: Yeah, it seems to me like it could also be a book about geography, about being shaped by the place you grew up in and that moment where you choose to stay or leave, or maybe leave and come back. And I was hoping you could read a passage that that deals directly with that for us.

ABDURRAQIB: Of course. Yeah. This is from the third quarter or the third act of the of the book.

(Reading) It bears mentioning that I come from a place people leave. Yes, when LeBron left, the reactions made enough sense to me, I suppose. But there was a part of me that felt entirely unsurprised. People leave this place. There are Midwestern states that are far less discernible on a blank map, sure. Even with an understanding of direction, I am known to mess up the order of the Dakotas. I've been known to point at a great many square-like landscapes while weakly mumbling Nebraska. And so I get it. We don't have it too bad. People at least claim to know that Ohio is shaped like a heart - a jagged heart, a heart with sharp edges, a heart as a weapon. That's why so many people make their way elsewhere.

DETROW: What does Ohio, and specifically, what does Columbus mean to you and who you are?

ABDURRAQIB: I think at this stage in my life, it's the one constant that keeps me tethered to a version of myself that is most recognizable. You know, you don't choose place. Place is something that happens to you. Place is maybe the second choice that is made for you after the choice of who your parents are. But if you have the means and ability, there are those of us who at some point in our lives get to choose a place back. And I think choosing that place back doesn't happen once. I mean, it happens several times. It's like any other relationship. You are choosing to love a place or a person as they are, and then checking in with if you are capable of continuing to love that place or person as they evolve, sometimes as they evolve without you or sometimes as you evolve without them. And so it's a real - a math problem that is always unfolding, someone asking the question of - what have I left behind in my growth, or what has left me behind in a growth that I don't recognize?

So, you know, Columbus doesn't look the way - just from an architectural standpoint - does not look the way it looked when I was young. It doesn't even look the way it looked when I moved back in 2017. And I have to kind of keep asking myself what I can live with. Now that, for me, often means that I turn more inward to the people. And I began to think of the people I love as their own architecture, a much more reliable and much more sturdy architecture than the architecture that is constantly under the siege of gentrification. And that has been grounding for me. It's been grounding for me to say, OK, I can't trust that this building will stay. I can't trust that this basketball court will stay. I can't trust that this mural or any of it will stay. But what I do know is that for now, in a corner of the city or in many corners of the city, there are people who know me in a very specific way, and we have a language that is only ours. And through that language, we render each other as full cities unto ourselves.

DETROW: Yeah. Can you tell me how you thought about basketball more broadly, and LeBron James specifically, weaving in and out of these big questions you're asking? - because in the first - I guess the second and third quarter, really, of the book - and I should say, you organize the book like a basketball game in quarters. You know, you're being really - you're writing these evocative, sad scenes of how, like you said, your life was not unfolding the way you wanted it in a variety of ways. And it's almost like LeBron James is kind of floating through as a specter on the TV screen in the background, keeping you company in a moment where it seems to me like you really needed company. Like, how did you think about your relationship with basketball and the broader moments and the broader thoughts in those moments?

ABDURRAQIB: Oh, man, that's not only such a good question, but that's actually - that's such a good image of LeBron James on the TV in the background because it was that. In a way, it was that in a very plainly material, realistic, literal sense because when I was, say, unhoused - right? - I...

ABDURRAQIB: ...Would kind of - you know, sometimes at night you kind of just wander. You find a place, and you walk through downtown. And I remember very clearly walking through downtown Columbus and just hearing the Cavs games blaring out of open doors to bars or restaurants and things like that, and not having - you know, I couldn't go in there because I had no money to buy anything, and I would eventually get thrown out of those places.

So, you know, I think playing and watching basketball - you know, even though this book is not, like, a heavy, in-depth basketball biography or a basketball memoir, I did spend a lot of time watching old - gosh, so much of the research for this book was me watching clips from the early - mid-2000s of...

ABDURRAQIB: ...LeBron James playing basketball because my headspace while living through that was entirely different. It's like you said, like LeBron was on a screen in the background of a life that was unsatisfying to me. So they were almost, like, being watched through static. And now when I watch them, the static clears, and they're a little bit more pleasureful (ph). And that was really joyful.

DETROW: LeBron James, of course, left the Cavs for a while. He took his talents to South Beach, went to the Miami Heat. You write - and I was a little surprised - that you have a really special place in your heart for, as you call them, the LeBronless (ph) years and the way that you...

ABDURRAQIB: Oh, yeah.

DETROW: ...Interacted with the team. What do you think that says? And why do you think you felt that way and feel that way about the LeBronless Cavs?

ABDURRAQIB: I - you know, I'm trying to think of a softer word than awful. But you know what? They were awful.

DETROW: (Laughter).

ABDURRAQIB: I mean they were (laughter) - but that did not stop them from playing this kind of strange level of hard, at times, because I think it hit a point, particularly in the late season, where it was clear they were giving in and tanking. But some of those guys were, like, old professionals. There's, like, an older Baron Davis on that team. You know, some of these guys, like, did not want to be embarrassed. And...

ABDURRAQIB: ...That, to me, was miraculous to watch where - because they're still professionals. They're still NBA players. And to know that these guys were playing on a team that just could not win games - they just didn't have the talent - but they individually did not want to - at least did not want to give up the appearance that they weren't fighting, there's something beautiful and romantic about that to me.

DETROW: It makes a lot of sense why you end the book around 2016 when the Cavs triumph and bring the championship to Cleveland. But when it comes to the passage of time - and I'll say I'm the exact same age as you, and we're both about the same age as LeBron. When it comes to the passage of time, how do you present-day feel about LeBron James watching the graying LeBron James who's paying so much attention to his lower back? - because I don't have anywhere near the intense relationship with him that you do. But, I mean, I remember reading that Sports Illustrated when it came out. I remember watching him in high school on ESPN, and I feel like going on this - my entire adult life journey with him. And I feel like weirdly protective of LeBron James now, right? Like, you be careful with him.

ABDURRAQIB: Yeah.

DETROW: And I'm wondering how you think about him today and what that leads your brain to, given this long, long, long relationship you have with him.

ABDURRAQIB: I find myself mostly anxious now about LeBron James, even though he is still - I think he's still playing at a high level. I mean, I - you know, I think that's not a controversial statement. But I - while he is still playing at a high level, I do - I'm like everyone else. So I'm kind of aware that it does seem like parts of him - or at least he's paying a bit more attention to the aches that just come with aging, right?

ABDURRAQIB: I have great empathy and sympathy for an athlete who's dedicated their life to a sport, who is maybe even aware that their skills are not what they once were, but still are playing because that's just what they've done. And they are...

ABDURRAQIB: ...In some cases, maybe still in pursuit of one more ring or one more legacy-building exploit that they can attach to their career before moving on to whatever is next. And so I don't know. And I don't think LeBron is at risk of a sharp and brutal decline, but I do worry a bit about him playing past his prime, only because I've never seen him be anything but miraculous on the court. And to witness that, I think, would be devastating in some ways.

And selfishly, I think it would signal some things to me personally about the limits of my own miracle making, not as a basketball player, of course, but as - you know, because a big conceit of the book is LeBron and I are similar in age, and we have - you know, around the same age and all this. And I think a deep flaw is that I've perhaps attached a part of his kind of miraculous playing beyond what people thought to my own idea about what miracle is as you age.

And so, you know, to be witness to a decline, a sharp decline would be fascinating and strange and a bit disorienting. But I hope it doesn't get there. You know, I hope - I would like to see him get one more ring. I don't know when it's going to come or how it's going to come, but I would like to see him get one more. I really would. My dream, selfishly, is that it happens again in Cleveland. He'll come back here and team up with, you know, some good young players and get one more ring for Cleveland because I think Cavs fans, you know, deserve that to the degree that anyone deserves anything in sports. That would be a great storybook ending.

DETROW: The last thing I want to ask about are these vignettes and poems that dot the book in praise of legendary Ohio aviators. Can you tell me what you were trying to do there? And then I'd love to end with you reading a few of them for me.

ABDURRAQIB: Yeah. I'm so glad you asked about that. I haven't gotten to talk about that as much, and that - those were the first things I wrote for the book. I wrote 30 of them...

DETROW: Really?

ABDURRAQIB: ...I think. And of course, they all didn't make it. But that was kind of an exercise, like a brain exercise. And I was trying to play with this idea of starting out with folks who were literally aviators. So it begins with John Glenn and Lonnie Carmen, and then working further and further away from aviation in a literal sense, much like the book is working further and further away from, say, basketball in this concrete sense - because ascension in my mind isn't just moving upward, it is expansion, too. It is, I think, any directional movement away from where your position is. And so I got to be kind of flexible with ideas of ascent and growth and moving upward.

DETROW: And the last aviator you did this for was you. And I'm hoping you can read what you wrote about yourself to end this.

ABDURRAQIB: Oh, gosh. OK, yeah. This is Hanif Abdurraqib, Columbus, Ohio, 1983 to present. (Reading) Never dies in his dreams. In his dreams, he is infinite, has wings, feathers that block the sun. And yet in the real living world, the kid has seen every apocalypse before it arrives, has been the architect of a few bad ones. Still wants to be alive most days. Been resurrected so many damn times, no one is surprised by the magic trick anymore.

DETROW: That's Hanif Abdurraqib, author of the new book "There's Always This Year: On Basketball And Ascension." Thank you so much.

ABDURRAQIB: Thank you, Scott. I really appreciate it.

(SOUNDBITE OF FLEETWOOD MAC SONG, "ALBATROSS")

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A Clear-Eyed Look at the Early Obama Years

Vinson Cunningham’s new novel takes the reader back to a time when many thought the nation’s first Black president had an answer for every American ailment.

Like so many others, I first watched him speak on the night of the 2004 Democratic convention, the year John Kerry became the nominee. He was still a state senator then, his face unlined, his head full of dark-brown hair. He humbly told the audience that his presence there was “pretty unlikely.” His Kenyan father had grown up herding goats; his paternal grandfather cooked for a British soldier. In a Baptist cadence, he quoted from the Declaration of Independence. Jefferson’s words are stirring on their own, but when a certain kind of orator gets hold of them, the effect can feel like thunder, or the Spirit. The country had tumbled into a new century after a contested election and the start of a war in Iraq. Barack Obama spun a convincing vision of the nation as “one people,” in which our ethnic, religious, and ideological differences mattered little.

When I think about what Obama meant to me at the time, my eyes pool with water. I was fresh out of college, taken by the force of his intellect and the way his ideas seemed to cohere and hum. His ear for language was evident in his oratory and in his prose. Dreams From My Father , his first memoir, drew from a humanist tradition of American autobiography laid down by Frederick Douglass, Harriet Jacobs, Malcolm X, and James Baldwin. Toni Morrison’s eulogy of Baldwin in 1987 seemed to foreshadow what many would feel about Obama in 2008: “You made American English honest … You exposed its secrets and reshaped it until it was truly modern dialogic, representative, humane.”

And yet, it wasn’t enough; the reverie wouldn’t, couldn’t last. In Great Expectations , Vinson Cunningham’s debut novel, the New Yorker writer and critic assesses the hope and disillusionment of the Obama years in a thinly veiled political satire cum bildungsroman featuring an Obama-like junior senator as “the candidate,” as well as a multifarious cast of supporting characters who employ their savvy, money, and connections to get him elected as president. Cunningham takes the reader back to a time when many thought Obama had an answer for every American ailment: He would usher the country into a post-race era, offering white people grace and absolution while assuring Black people that they would hereafter get a fair shake.

The novel is a keen look back at the failed promise of those early years, during which the country’s lofty expectations left little room for the candidate’s human fallibility—and obscured the reality of American politics. In this country, progress has usually happened in complicated, nonlinear ways: Hard-won advances are generally followed by forceful backlash and heartbreaking setbacks. Advances in civil rights, economic equality, health-care access, or environmental policy have often triggered reactionary codas; since at least the end of Reconstruction, momentum toward multiracial democracy has inflamed particularly vitriolic responses. Ultimately, Cunningham’s novel reminds the reader that simple solutions—the passage of one just law, the election of a single great leader—are seldom a match for American problems.

Read: The political novel gets very, very specific

The narrator—based on the author himself, who worked on Obama’s 2008 campaign and in his White House—is David Hammond, a 22-year-old single father from uptown Manhattan. Floundering after dropping out of college, he joins the campaign as a fundraising assistant on the recommendation of the well-heeled mother of a teen boy he tutors. As the novel roves from Manhattan to Manchester, New Hampshire; from Los Angeles to Chicago, David, whose true ambition is to be a writer, uses his new role to sharpen his ear and eye. He’s middling at the minutiae of the job but great at interacting with people. He makes friends with his co-workers and stumbles into a tender love affair with another staffer named Regina. Along the way, he loses slivers of his innocence as he sees what lies beneath the campaign’s shimmering exterior: the candidate’s aloofness when he is offstage, the financial improprieties of a few wealthy patrons. Eventually, the blind allegiance of the candidate’s supporters—their belief that the campaign is a “move of God”—begins to feel foreboding.

David often invokes the ecstatic mysticism of religious devotion as a metaphor for the candidate’s hold on his supporters. The senator “reminded me of my pastor,” David says early on, his regal posture bringing to mind a “talismanic maneuver meant to send forth subliminal messages about confidence and power.” One night, on the trail in New Hampshire, David tells Regina about a magic trick he witnessed as a teenager: While waiting outside of church with his friends, he watched as a magician performed a standard sleight of hand, then levitated a few inches off the city pavement. “Everybody screamed. It was mayhem,” David remembers. “Black people love magic,” Regina rejoins, through laughter. It is a detour in a novel of detours and roundabouts, and also a parable that smartly explains how the candidate’s fervent admirers could be so awed by his charisma that they missed the signs of trouble to come.

Sometimes David allows himself to get carried away like everyone else. He thinks about how the candidate and his family had begun to embody some kind of national fantasy of a Black Camelot. “Maybe there was the hope that black , that portentous designation, could finally be subsumed into the mainstream in the way that Kennedy had helped Irish to be. That some long passage of travel was almost done,” he thinks at one point. In that same stream of thought, David suggests that the public’s belief in the candidate’s ability to dismantle the racial hierarchy is largely thanks to his symbolic appeal: It was, he observes, “mostly the look” of the candidate and his glamorous family—an elegant wife and two small daughters—that made supporters believe he could overcome racism. Who wouldn’t want to accept them ?

Read: Our new postracial myth

Privy to the campaign’s disappointments and its weaknesses, David is clear-eyed where others are credulous. With the benefit of hindsight, the reader knows that his skepticism would eventually be validated. In the years since Obama’s election, America has seen the birtherism movement, the rise of the Tea Party, Donald Trump’s presidency, and the dismantling of cornerstone civil-rights victories, including key portions of the Voting Rights Act. Then, of course, there were Obama’s own shortcomings during his presidency, namely his capitulation to forces opposed to his most idealistic visions. He would pass a new health-care bill, but fall short of the goal of universal coverage he campaigned on . He would withdraw troops from Afghanistan but begin a series of what the political scientist Michael J. Boyle called “ shadow wars ,” which were “fought by Special Forces, proxy armies, drones, and other covert means.” According to the Council on Foreign Relations , drone strikes authorized by President Obama led to the deaths of nearly 4,000 people in Pakistan, Yemen, and Somalia; more than 300 of them were civilians.

When Cunningham’s novel closes on that fateful night in November, the night of the candidate’s victory, it’s an ending for David, a graduation, even. The book implies that he will go on to work for the new president, but unlike everyone else in that ecstatic moment, he looks to the coming years soberly, acknowledging that the campaign had spoken “a language of signs,” wherein the symbolism of the moment overwhelmed all else. Already, he seems to know that the country will see no grand, lasting transformation. For many Americans, who felt on a similar, actual night that the world seemed on the precipice of change, the lessons would take much longer to learn.

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10 books to add to your reading list in April

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Critic Bethanne Patrick recommends 10 promising titles, fiction and nonfiction, to consider for your April reading list.

April’s book releases cover some difficult topics, including Salman Rushdie discussing his 2022 maiming, Leigh Bardugo’s fiction about the dark arts and Ada Limón’s poetry anthology about our fragile world. However, like April, there is also sunshine: Leif Enger’s wild Great Lakes love story, Helen Tworkov’s beautiful memoir of Buddhism and a collection of the inimitable Maggie Nelson’s essays. Happy reading, happy spring!

I Cheerfully Refuse: A Novel By Leif Enger Grove Press: 336 pages, $28 (April 2)

An unusual and meaningful surprise awaits readers of Enger’s latest, which takes place largely on Lake Superior, as a man named Rainy tries to reunite with his beloved wife, Lark. While the world around this couple, a dystopian near-future American where billionaires control everything, could not be bleaker, the author’s retelling of the myth of Orpheus (who went to the underworld to rescue his wife) contains the authentic hope of a born optimist.

The Familiar: A Novel By Leigh Bardugo Flatiron Books: 400 pages, $30 (April 9)

Bardugo departs from novels of dark academia in a standalone to make the hairs on your neck stand up, set in 16th century Spain. A hidden Sephardic Jew and scullery maid named Luzia Cotado matches wits with fellow servant Guillén Santángel. Luzia discovers a secret of Guillén’s, but she’s already fallen in love with him. And because he knows hers, too, they might both avoid the Spanish Inquisition. It’s a gorgeous tale of enchantments both supernatural and earthly.

The Sleepwalkers: A Novel By Scarlett Thomas Simon & Schuster: 304 pages, $28 (April 9)

A couple honeymoons at a Greek resort. What could go wrong? In Thomas’ hands, plenty – especially as the author has never written a comfortable story; her books, from “PopCo ” to “Oligarchy,” crackle with unreliable characters, as well as big philosophical ideas. In this case, the new marriage’s breakdown is chronicled through letters between the spouses, and sometimes bits of ephemera, that ultimately untangle a dark mystery relating to the title.

The Garden: A Novel By Clare Beams Doubleday: 304 pages, $28 (April 10)

Few novels of literary fiction are written as well as “The Garden,” let alone given its sadly relevant retro setting, a 1940s country-estate obstetrical program. Irene Willard walks through its gates having endured five miscarriages; pregnant again, she and her war-veteran husband George desperately hope for a live birth. But as Irene discovers more about the woman who controls all here, Dr. Bishop, she fears carrying to term as much as she once feared pregnancy loss.

Reboot: A Novel By Justin Taylor Pantheon: 304 pages, $28 (April 23)

David Crader, former teen TV heartthrob, just wants to reboot his career when his old show “Rev Beach” has a moment. His life has devolved through substance abuse, divorce and underemployment. But when he and colleagues launch a remake, devolution continues: The protagonist’s struggles are mirrored by climate-change issues, from flooding to wildfires. Despite that darkness, Taylor’s gift for satire might make this a must-read for 2024 beach bags.

You Are Here: Poetry in the Natural World By Ada Limón (Editor) Milkweed Editions: 176 pages, $25 (April 2)

A wondrous artist herself, Limón is currently poet laureate of the United States, and this anthology is part of her signature project, “You Are Here,” which will also feature poetry as public art in seven national parks. Released in conjunction with the Library of Congress, the collection features 50 previously unpublished poems by luminaries including Jericho Brown, Joy Harjo, Carl Phillips and Diane Seuss, each focusing on a piece of regional landscape.

Like Love: Essays and Conversations By Maggie Nelson Graywolf Press: 336 pages, $32 (April 2)

While all of the pieces in Nelson’s new book have previously been published elsewhere, they’re made fresh here both through being collected and through their chronological placement. Readers can practically watch Nelson’s incisive mind growing and changing as she speaks with colleagues such as Hilton Als and Judith Butler, or as she writes about queerness, motherhood, violence, the lyrics of Prince and the devastating loss of a friend.

Knife: Meditations After an Attempted Murder By Salman Rushdie Random House: 204 pages, $28 (April 16)

On Aug. 12, 2022, the author Salman Rushdie was speaking at upstate New York’s Chautauqua festival when a man rushed the stage and attempted to murder him. Rushdie, a target of Iranian religious leaders since 1989, was permanently injured. In this book, he shares his experience for the first time, having said that this was essential for him to write. In this way, he answers violence with art, once again reminding us all that freedom of expression must be protected.

Lotus Girl: My Life at the Crossroads of Buddhism and America By Helen Tworkov St. Martin’s Essentials: 336 pages, $29 (April 16)

Dworkov, founder of the magazine Tricycle, chronicles her move from a 1960s young-adult interest in Buddhism to travels through Asia and deep study in the United States of the different strands that follow the Buddha’s teachings. Tworkov mentions luminaries such as the artist Richard Serra, the composer Charles Mingus and the Dalai Lama, but she’s not name dropping. Instead, she’s strewing fragrant petals from her singular path to mindfulness that may help us find ours.

The Demon of Unrest: A Saga of Hubris, Heartbreak, and Heroism at the Dawn of the Civil War By Erik Larson Crown: 592 pages, $35 (April 30)

Even diehard Civil War aficionados will learn from Larson’s look at the six months between Lincoln’s 1860 election and the surrender of Union troops under Maj. Robert Anderson at Charleston’s Ft. Sumter. Larson details Anderson’s secret Christmas redeployment and explores this individual’s contradictions as a former slave owner who loyally follows Lincoln’s orders. The author also shares first-person perspective from the famous diaries of the upper-class Southerner Mary Chesnut. All together, the book provides a riveting reexamination of a nation in tumult.

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Donald Trump and Megan Mullally performing the Green Acres theme song at the Emmy Awards, Los Angeles, September 2005

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In the Warsaw Ghetto in October 1941 Mary Berg, then a teenager, wrote in her diary about the improbable persistence of laughter in that hellish place:

Every day at the Art Café on Leszno Street one can hear songs and satires on the police, the ambulance service, the rickshaws, and even the Gestapo, in a veiled fashion. The typhus epidemic itself is the subject of jokes. It is laughter through tears, but it is laughter. This is our only weapon in the ghetto—our people laugh at death and at the Nazi decrees. Humor is the only thing the Nazis cannot understand.

Berg here movingly expresses a common and comforting idea. Laughter is one of the few weapons that the weak have against the strong. Gallows humor is the one thing that cannot be taken away from those who are about to be hanged, the final death-defying assertion of human dignity and freedom. And the hangmen don’t get the jokes. Fascists don’t understand humor.

There is great consolation in these thoughts. Yet is it really true that fascists don’t get humor? Racist, misogynistic, antisemitic, xenophobic, antidisabled, and antiqueer jokes have always been used to dehumanize those who are being victimized. The ghetto humor that Berg recorded was a way of keeping self-pity at bay. But as Sigmund Freud pointed out, jokes can also be a way of shutting down pity itself by identifying those who are being laughed at as the ones not worthy of it: “A saving in pity is one of the most frequent sources of humorous pleasure.” Humor, as in Berg’s description, may be a way of telling us not to feel sorry for ourselves. But it is more often a way of telling us not to feel sorry for others. It creates an economy of compassion, limiting it to those who are laughing and excluding those who are being laughed at. It makes the polarization of humanity fun.

Around the time that Berg was writing her diary, Theodor Adorno and Max Horkheimer were pointing to the relationship between Nazi rallies and this kind of comedy. The rally, they suggested, was an arena in which a release that was otherwise forbidden was officially permitted:

The anti-Semites gather to celebrate the moment when authority lifts the ban; that moment alone makes them a collective, constituting the community of kindred spirits. Their ranting is organized laughter. The more dreadful the accusations and threats, the greater the fury, the more withering is the scorn. Rage, mockery, and poisoned imitation are fundamentally the same thing.

Donald Trump is not a Nazi, and his followers are (mostly) not fascists. But it is not hard to see how this description resonates with his campaign appearances. Trump is America’s biggest comedian. His badinage is hardly Wildean, but his put-downs, honed to the sharpness of stilettos, are many people’s idea of fun. For them, he makes anger, fear, and resentment entertaining.

For anyone who questions how much talent and charisma this requires, there is a simple answer: Ron DeSantis. Why did DeSantis’s attempt to appeal to Republican voters as a straitlaced version of Trump fall so flat? Because Trumpism without the cruel laughter is nothing. It needs its creator’s fusion of rage, mockery, and poisoned imitation, whether of a reporter with a disability or (in a dumb show that Trump has been playing out in his speeches in recent months) of Joe Biden apparently unable to find his way off a stage. It demands the withering scorn for Sleepy Joe and Crooked Hillary, Crazy Liz and Ron DeSanctimonious, Cryin’ Chuck and Phoney Fani. It requires the lifting of taboos to create a community of kindred spirits. It depends on Trump’s ability to be pitiless in his ridicule of the targets of his contempt while allowing his audience to feel deeply sorry for itself. (If tragedy, as Aristotle claimed, involves terror and pity, Trump’s tragicomedy deals in terror and self-pity.)

Hard as it is to understand, especially for those of us who are too terrified to be amused, Trump’s ranting is organized laughter. To understand his continuing hold over his fans, we have to ask: Why is he funny?

This is not the 1930s or the 1940s, and we should not expect this toxic laughter to be organized quite as it was then. Trump functions in a culture supersaturated with knowingness and irony. In twentieth-century European fascism, the relationship between words and actions was clear: the end point of mockery was annihilation. Now, the joke is “only a joke.” Populist politics exploits the doubleness of comedy—the way that “only a joke” can so easily become “no joke”—to create a relationship of active connivance between the leader and his followers in which everything is permissible because nothing is serious.

This shift has happened in Europe, too. Think of Boris Johnson’s clown act, his deliberately ruffled hair, rumpled clothes, and ludicrous language. Or think of Giorgia Meloni, the first Italian prime minister from the far right since Benito Mussolini, posting on election day in September 2022 a TikTok video of herself holding two large melons ( meloni in Italian) in front of her breasts: fascism as adolescent snigger. It is impossible to think of previous far-right leaders engaging in such public self-mockery. Only in our time is it possible for a politician to create a sense of cultlike authority by using the collusiveness of comedy, the idea that the leader and his followers are united by being in on the joke.

Trump may be a narcissist, but he has a long history of this kind of self-caricature. When he did the Top Ten List on the David Letterman show in 2009, he seemed entirely comfortable delivering with a knowing smirk the top ten “financial tips” written for him, including “When nobody’s watching I go into a 7/11 and stick my head under a soda nozzle”; “Save money by styling your own hair” (pointing to his own improbable coiffure); “Sell North Dakota to the Chinese”; “If all else fails, steal someone’s identity”; and “The fastest way to get rich: marry and divorce me.” This performance, moreover, was the occasion for Trump’s entry into the world of social media. His first ever tweet was: “Be sure to tune in and watch Donald Trump on Late Night with David Letterman as he presents the Top Ten List tonight!”

At the 2005 Emmy Awards, Trump dressed in blue overalls and a straw hat and, brandishing a pitchfork, sang the theme song from the 1960s TV comedy Green Acres . Trump is a terrible singer and a worse actor, but he seemed completely unembarrassed on stage. He understood the joke: that Oliver, the fictional character he was impersonating, is a wealthy Manhattanite who moves to rustic Hooterville to run a farm, following his dream of the simple life—an alternative self that was amusing because it was, for Trump, unimaginable. But he may have sensed that there was also a deep cultural resonance. The Apprentice was “reality TV ,” a form in which the actual and the fictional are completely fused.

Green Acres , scenes from which played on a screen behind Trump as he was singing, pioneered this kind of metatelevision. Its debut episode set it up as a supposed documentary presented by a well-known former newscaster. Its characters regularly broke the fourth wall. When Oliver launched into rhapsodic speeches about American rural values, a fife rendition of “Yankee Doodle” would play on the soundtrack, and the other characters would move around in puzzlement trying to figure out where the musician was. Eva Gabor, playing Oliver’s pampered wife, admits on the show that her only real talent is doing impressions of Zsa Zsa Gabor, the actor’s more famous real-life sister.

The critic Armond White wrote in 1985 that “ Green Acres ’ surreal rationale is to capture the moment American gothic turns American comic.” Trump playing Oliver in 2005 may be the moment American comedy turned gothic again. Whoever had the idea of connecting Trump back to Green Acres clearly understood that “Donald Trump” had by then also become a metatelevision character, a real-life failed businessman who impersonated an ultrasuccessful mogul on The Apprentice . And Trump went along with the conceit because he instinctively understood that self-parody was not a threat to his image—it was his image. This connection to Green Acres was reestablished by Trump himself as president of the United States. In December 2018, as he was about to sign the Farm Bill into law, Trump tweeted, “Farm Bill signing in 15 minutes! #Emmys #TBT,” with a clip of himself in the Green Acres spoof. Hooterville and the White House were as one.

What is new in the development of antidemocratic politics is that Trump brings all this comic doubleness—the confusion of the real and the performative, of character and caricature—to bear on the authoritarian persona of the caudillo, the duce, the strongman savior. The prototype dictators of the far right may have looked absurd to their critics (“Hitler,” wrote Adorno and Horkheimer, “can gesticulate like a clown, Mussolini risk false notes like a provincial tenor”), but within the community of their followers and the shadow community of their intended victims, their histrionics had to be taken entirely seriously. Trump, on the other hand, retains all his self-aware absurdity even while creating a political persona of immense consequence.

This comic-authoritarian politics has some advantages over the older dictatorial style. It allows a threat to democracy to appear as at worst a tasteless prank: in the 2016 presidential campaign even liberal outlets like The New York Times took Hillary Clinton’s e-mails far more seriously than Trump’s open stirring of hatred against Mexicans and Muslims. Funny-autocratic functions better in a society like that of the US, where the boundaries of acceptable insult are still shifting and mainstream hate-mongering still has to be light on its feet. It allows racial insults and brazen lies to be issued, as it were, in inverted commas. If you don’t see those invisible quotation marks, you are not smart enough—or you are too deeply infected by the woke mind virus—to be in on the joke. You are not part of the laughing community. The importance of not being earnest is that it defines the boundaries of the tribe. The earnest are the enemy.

The extreme right in America was very quick to understand the potency of “only a joke” in the Internet age. In a 2001 study of three hate speech websites sympathetic to the Ku Klux Klan, Michael Billig noted that each of them described itself on its home page as a humorous exercise. The largest, called “N…..jokes KKK ” (the ellipsis is mine) carried the disclaimers: “You agree by entering this site, that this type of joke is legal where you live, and you agree that you recognize this site is meant as a joke not to be taken seriously”; “And you agree that this site is a comedy site, not a real racist site”; “We ARE NOT real life racists.”

What does “real life” even mean when Klansmen are not really racist? The power of this “humorous” mode of discourse lies at least partly in the way it blurs the distinctions between the real and the symbolic, and between words and actions. Consider the example of some of the men tried for their alleged parts in a 2020 plot to kidnap Gretchen Whitmer, the Democratic governor of Michigan. One of them, Barry Croft, insisted at his trial in 2022 that he was joking most of the time when he posted on Facebook questions like “Which governor is going to end up being dragged off and hung for treason first?” Another, Brandon Caserta, was acquitted in 2022 in part because he successfully pleaded that violent statements he made on Facebook and in secretly recorded meetings of the group were not serious. These included claims that the Second Amendment sanctions the killing of “agents of the government when they become tyrannical.” “I may kill dozens of agents but eventually die in the process,” Caserta wrote on Facebook in May 2020. He later posted that he would beat government agents so hard they would “beg til they couldn’t beg any more because their mouth is so full of blood.”

At Croft’s trial, his defense attorney put it to an FBI witness that a meme Croft posted showing thirty bullets as “30 votes that count” was “A little tongue-in-cheek? A little bit funny?” On the second season of Jon Ronson’s superb podcast series for the BBC , Things Fell Apart , Caserta acknowledges that, on the secret recordings, he is heard to urge his fellow militia members that any lawyers advocating for the Covid vaccine be decapitated in their own homes, speaks of “wanting Zionist banker blood,” and advocates blowing up buildings where the vaccine is manufactured. He nonetheless insists to Ronson:

This isn’t something I’m dead serious about. This is nothing I ever planned. It’s funny, dude! It’s funny! It’s fun to blow stuff up. It’s fun to shoot guns. It’s fun to say ridiculous offensive shit. And if it offends you, so what? I don’t care about your feelings and how you feel about words. Sorry!

The twist of logic here is striking: Caserta equates blowing stuff up and shooting people with saying ridiculous offensive shit. Violent words and violent actions are all covered by the same disclaimer—one that Trump’s apologists use to blur the relationship between his words and his followers’ actions in the assault on the Capitol on January 6, 2021. In the Trumpian twilight zone where democracy is dying but not yet dead, the connection between words (“fight like hell”) and deeds (the armed invasion of the Capitol) must be both strong and weak, sufficiently “no joke” to be understood by the faithful yet sufficiently “only a joke” to be deniable to the infidels. The comic mode is what creates the plausible deniability that in turn allows what used to be mainstream Republicans (and some Democrats) to remain in denial about what Trumpism really means.

For those who love Trump, there is something carnivalesque in all of this. In his discussion of “mediaeval laughter” in Rabelais and His World , Mikhail Bakhtin wrote that “one might say that it builds its own world versus the official world, its own church versus the official church, its own state versus the official state.” Bakhtin suggested that the

festive liberation of laughter…was a temporary suspension of the entire official system with all its prohibitions and hierarchic barriers. For a short time life came out of its usual, legalized and consecrated furrows and entered the sphere of utopian freedom.

Trump and many of his followers have made this quite literal. They create their own America, their own republic, their own notions of legality, their own church of the leader’s cult, their own state versus what they see as the official state. In this way, extreme polarization becomes a sphere of utopian freedom.

This is the capacious zone in which Trump’s comedy operates, an arena that admits everyone who gets the joke, from those who fantasize about killing tyrants, decapitating lawyers, and torturing government agents to those who just like to blow off steam by listening to their hero saying stuff that riles the woke enemy. It is crucial that in Trump’s delivery there is no shift from mockery to seriousness, no line between entertainment and violence. His singsong tone is generous and flexible, serving equally well for vaudeville and vituperation. In his streams of consciousness, they flow together as complementary currents.

In the recent speeches in which he has upped the ante on openly fascist rhetoric by characterizing his opponents as “vermin” and accusing immigrants of “poisoning the blood of our country,” it is notable that his cadence is soft, almost lilting. There is no warning to his audience that these comments are of a different order. They are not even applause lines. By underplaying them, Trump leaves open the fundamental question: Is his mimicking of Hitler’s imagery just another impersonation, all of a piece with the way he does Biden and Haley in funny voices or even with the way he sings the theme song from Green Acres ?

Even when Trump actually goes the whole way and acknowledges that his rhetoric is indeed Hitlerian, as he did in a speech in Iowa after the alarmed reaction of liberals to his previous “poisoning the blood” speech, it is in a passage that jumbles together murderous intent, complaint about the media, and comic acting: “They are destroying the blood of our country. That’s what they’re doing…. They don’t like it when I said that. And I never read Mein Kampf .” But he makes the “Kampf” funny, puckering his lips and elongating the “pf” so it sounds like a rude noise. He continues: “They said ‘Oh, Hitler said that.’” Then he adds his defense: “in a much different way.” It is the stand-up comedian’s credo: it’s not the jokes, it’s the way you tell ’em. And this is, indeed, true—the difference is in the way he tells it, in a voice whose ambiguous pitch has been perfected over many years of performance.

The knowingness is all. In the speech in Conway, South Carolina, on February 10, in which he openly encouraged Russia to attack “delinquent” members of NATO , this startling statement, with potential world-historical consequences, was preceded by Trump’s metatheatrical riff on the idea of “fun.” What was fun, he told his followers, was the reaction he could provoke just by saying “Barack Hussein Obama”:

Every time I say it, anytime I want to have a little fun…even though the country is going to hell, we have to have a little bit of fun…. Remember Rush Limbaugh, he’d go “Barack Hooosaynn Obama”—I wonder what he was getting at.

He then segued into another commentary on his own well-honed send-up of Joe Biden: “I do the imitation where Biden can’t find his way off the stage…. So I do the imitation—is this fun?—I say this guy can’t put two sentences together…and then I go ‘Watch!’” (He said the word with a comic pout.) “I’ll imitate him. I go like this: ‘Haw!’” Trump hunches his shoulders and extends his arm, in a parody of Biden’s gestures. In this burlesque, Trump is not just mimicking his opponent; he is explicitly reenacting his own previous mocking impersonation, complete with commentary. He is simultaneously speaking, acting, and speaking about his acting.

It is within this “fun” frame that Trump proceeded to insinuate that there is something awry with Nikki Haley’s marriage: “Where’s her husband? Oh he’s away…. What happened to her husband? What happened to her husband! Where is he? He’s gone. He knew, he knew.” He and presumably many members of the audience were aware that Michael Haley is currently serving in Djibouti with the South Carolina National Guard. But as part of the show, with the funny voices and the exaggerated gestures, that lurid hint at some mysteriously unmentionable scandal (“He knew, he knew”) is somehow amusing. And then so is Trump’s story about telling an unnamed head of a “big” NATO country that the US would not defend it from invasion and—the punch line—that he would “encourage” Russia “to do whatever the hell they want.” Here Trump is acting in both senses, both ostentatiously performing and exerting a real influence on global politics—but which is which? How can we tell the dancer from the dance?

This shuffling in a typical Trump speech of different levels of seriousness—personal grudges beside grave geopolitics, savage venom mixed with knockabout farce, possible truths rubbing up against outrageous lies—creates a force field of incongruities. Between the looming solidity of Trump’s body and the airy, distracted quality of his words, in which weightless notions fly off before they are fully expressed, he seems at once immovable and in manic flux.

Incongruity has long been seen as one of the conditions of comedy. Francis Hutcheson in Reflections Upon Laughter (1725) noted that it is “this contrast or opposition of ideas of dignity and meanness which is the occasion of laughter.” The supposedly dignified idea of “greatness” is vital to Trump’s presence and rhetoric. But it is inextricably intertwined with the mean, the inconsequential, even the infantile. He is at one moment the grandiose man of destiny and the next a naughty child—an incongruity that can be contained only within an organized laughter in which the juxtaposition of incompatibilities is the essence of fun. This is why Trump’s lapses into pure gibberish—like telling a National Rifle Association gathering in Harrisburg, Pennsylvania, on February 9 that the Democrats are planning to “change the name of Pennsylvania” and that, in relation to the marble columns in the hall, it was “incredible how they could [have been built] years ago without the powerful tractors that you have today”—do not make his fans alarmed about his mental acuity. Cognitive dysfunction is not a worry with a man whose métier is cognitive dissonance.

Part of the dissonance is that Trump’s stand-up routine is completely dependent on the idea that he and his audience most despise: political correctness. Like much of the worst of contemporary comedy, Trump both amuses and thrills his audience by telling them that he is saying what he is not allowed to say. “Beautiful women,” he said at the rally in South Carolina after pointing to a group of female superfans in the audience. “You’re not allowed to say that anymore, but I’ll say it…. That usually is the end of a career, but I’ll say it.” There are so many layers to a moment like this: the idea that the woke mob is stopping manly men from complimenting attractive women, a sideways nod toward the “pussygate” tapes that should have ended Trump’s political career but didn’t, a dig at the Me Too movement, a reiteration of Trump’s right to categorize women as “my type” or “not my type,” the power of the leader to lift prohibitions—not just for himself but, in this carnivalesque arena of utopian freedom, for everyone in the audience.

Flirting with the unsayable has long been part of his shtick. If we go all the way back to May 1992 to watch Trump on Letterman’s show, there is a moment when Trump silently mouths the word “shit.” He does this in a way that must have been practiced rather than spontaneous—it takes some skill to form an unspoken word so clearly for a TV audience that everyone immediately understands it. Letterman plays his straight man: “You ain’t that rich, Don, you can’t come on here and say that.” But of course Trump did not “say” it. A sympathetic audience loves a moment like this because it is invited to do the transgressive part in its head. It gets the pleasure of filling in the blank.

Trump’s audiences, in other words, are not passive. This comedy is a joint enterprise of performer and listener. It gives those listeners the opportunity for consent and collusion. Consider a televised speech Trump gave at the Al Smith Dinner, hosted by the Catholic archbishop of New York, Cardinal Timothy Dolan, in October 2016, near the end of the presidential campaign. The dinner, held to raise money for Catholic charities, is traditionally the last occasion on which the two main presidential candidates share a stage—Hillary Clinton was also present. Trump deadpanned that he knew he would have a receptive audience because “so many of you in the archdiocese already have a place in your heart for a guy who started out as a carpenter working for his father. I was a carpenter working for my father. True.”

What is the joke here? That Trump is like Jesus Christ. Imagine if Clinton had attempted an equivalent gag. There would have been outrage and uproar: Clinton has insulted all Christians by making a blasphemous comparison between herself and the divine Savior. But the cameras cut to Dolan, a sycophantic supporter of Trump, and showed him laughing heartily. And if the cardinal found it funny, it was funny. It was thus an in-joke. If Clinton had made it, it would be the ultimate out-joke, proof of the Democrats’ contempt for people of faith.

But what is allowed as funny will sooner or later be proposed seriously. Many of those attending Trump rallies now wear T-shirts that proclaim “Jesus Is My Savior. Trump Is My President.” Some of them illustrate the slogan with a picture of an ethereal Christ laying both his hands on Trump’s shoulders. What begins as a risqué quip ends up as a religious icon. There is no line here between sacrilege and devotion, transgressive humor and religious veneration.

Just as Trump’s jokes can become literal, his ugly realities can be bathed in the soothing balm of laughter. Long before he ran for president, he was indulged on the late-night talk shows as the hilarious huckster. In 1986 Letterman tried repeatedly to get Trump to tell him how much money he had, and when he continually evaded the question, Letterman broke the tension with the laugh-line, “You act like you’re running for something.” In December 2005 Conan O’Brien asked him, “You also have an online school? Is that correct?” Trump replied, “Trump University—if you want to learn how to get rich.” The audience howled with laughter, presumably not because they thought he was kidding but because the very words “Trump University” are innately absurd. When he did that Top Ten List on Letterman in 2009, Trump’s comic financial advice included “For tip number four, simply send me $29.95.”

But these jokes came true. Trump wouldn’t say how much he was worth because his net worth was partly fictional. Trump did run for something. Trump University was an innately funny idea that people took seriously enough to enable Trump to rip them off. And Trump does want you to send him $29.95—the first thing you get on Trump’s official website is an insistent demand: “Donate Today.” This is the thing about Trump’s form of organized laughter, in which the idea of humor obscures the distinction between outlandish words and real-life actions. Sooner or later, the first becomes the second. The in-joke becomes the killer line.

March 21, 2024

Who Should Regulate Online Speech?

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Fintan O’Toole is the Advising Editor at The New York Review and a columnist for The Irish Times. His most recent book, We Don’t Know Ourselves: A Personal History of Modern Ireland , was published in the US last year. (March 2024)

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Opinion Christine Blasey Ford is no hero, if justice is the measure

An earlier version of this column misspelled the name of Mollie Hemingway. This version has been corrected.

Christine Blasey Ford is promoting her new memoir to acclaim from certain quarters, including a glowing review by the New York Times. Meanwhile, the man she accused of being a witness to her alleged sexual assault by now-Supreme Court Justice Brett M. Kavanaugh more than 40 years ago can’t get his own book reviewed or even mentioned by mainstream newspapers.

You know me. I can’t resist flipping over a cow patty to see what’s underneath.

Ford, you’ll recall, is the California psychologist with two front doors in her house who, in testimony to the Senate Judiciary Committee in 2018, accused Kavanaugh of assaulting her at a high-school-era party while another boy, Mark Judge, allegedly stood by. Judge, who kept his distance and silence during Kavanaugh’s confirmation hearings — in part, he has said , to avoid further harassment by Democratic interlocutors — released his own version of those events and the aftermath in “ The Devil’s Triangle: Mark Judge vs the New American Stasi ” (2022).

As with Kavanaugh, Ford’s accusation against Judge was embraced by most of the news media despite an absence of evidence or corroborating testimony. No one who was supposed to have been at the party where Ford was allegedly assaulted remembered it, or her. Ford herself was unable to nail down the year the party took place (but settled on 1982 after several stabs) or where it was held, how she got there, how she got home or any other details, except that she herself had consumed just one beer, according to her testimony. Her claims against Kavanaugh ultimately were unsubstantiated.

Even so, the awards and accolades for Ford keep coming. During a recent appearance on “The View,” she was nearly sanctified for her “bravery.” Not one of the “View” chin-wags seemed to have done any research. They merely checked the box next to “female” and continued to hold in contempt the male who became a Supreme Court justice. Whoopi Goldberg summed it up: “To face those people the way they were looking and dealing with you, that is bravery under a whole different kind of fire.”

A fair-minded person would also wonder what it was like to be in Kavanaugh’s seat.

And what about Judge? “Roadkill” is the way constitutional lawyer Jonathan Turley described Judge’s invisible role in this tale. Of course, Judge and Kavanaugh were and are distinct people whose adult lives could not be more different. Kavanaugh was the kind of boy who kept a detailed calendar of his busy activities and who had a stellar career as a federal judge.

Judge, who chronicled his heavy-drinking school days in his 1997 book, “ Wasted: Tales of a Gen X Drunk ,” was a teenage alcoholic who had to claw his way to sobriety and suffered accordingly. He told Martha MacCallum during a recent Fox News interview that the effects of being essentially locked in a stockade for public ridicule and condemnation included “suicidal ideation” and “economic issues.”

Under interrogation by Democrats on the Senate Judiciary Committee, Kavanaugh was forced to review his youthful beer consumption, which he admitted was gustatory. He wasn’t alone; Ford was a drinker, too, according to friends and outlined in the deeply researched book “ Justice on Trial ” by Mollie Hemingway and Carrie Severino.

In my own research for a book that never came to fruition, I also learned that Ford was a party girl, which means she and I would have been friends. Her real “best friend” at the time, Leland Keyser, was known as her designated driver in those days, according to several of her friends cited in yet another book, “ The Education of Brett Kavanaugh ” by New York Times writers Robin Pogrebin and Kate Kelly.

A straight-A student and athlete who became a professional golfer, Keyser had her driver’s license at the time of the alleged assault.

Keyser, who felt pressured by Ford’s supporters to confirm Ford’s story, testified to the FBI that she had no recollection of any such party and didn’t know Kavanaugh.

When intimidation didn’t work, Ford and her friends implied that Keyser’s testimony couldn’t be trusted because she had “significant health challenges,” as Ford put it during her testimony. It didn’t take long for the meaning here to become public. Keyser had at one point become addicted to painkillers prescribed for golf-related back and neck injuries. She has suffered years of surgeries and pain that continues today, thanks to her commitment to recovery. No meds. She also has had to cope with the psychological effects of her persecution by the anti-Kavanaugh brigade. At least one person from Team Ford tried to persuade her to adjust her story. She refused.

Meanwhile, after five years of silence, Judge has emerged from his bunker with both barrels blazing. One can stand only so much smearing. He was, after all, accused in the public arena of variously urging Kavanaugh on or trying to stop him, all the while laughing, according to Ford. Like Kavanaugh, Judge was presumed guilty — a tragic by-product of the “believe the woman” orthodoxy that emerged during the #MeToo movement — and justly wants to have his say.

It takes guts to try to breach the #MeToo iron curtain, as Judge is attempting to do. It takes no courage at all to enrich yourself at other people’s expense, as Ford has done. Even if she believes her own story or suffered some traumatic event at some time, in the absence of evidence or corroboration, a measure of doubt is called for. This doesn’t necessarily mean she lied, as Hemingway and Severino have noted.

Both Judge and Keyser, it seems, deserve the applause Ford is receiving for perpetuating a questionable history that has damaged so many people, not to mention the judicial system she says she has sought to protect. We know the truth is otherwise, thanks to a video capture of Ford’s lawyer, Debra Katz, saying that her client wanted to block Kavanaugh because of fears he would vote to reverse Roe v. Wade . Ford’s fears might have been justified, but her tactics — which have netted her $1 million in donations plus overnights at Oprah’s — were not.

Nothing good grows under a cow patty, but Ford sure did step in one.

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• The Case for Marrying an Older Man

A woman’s life is all work and little rest. An age gap relationship can help.

In the summer, in the south of France, my husband and I like to play, rather badly, the lottery. We take long, scorching walks to the village — gratuitous beauty, gratuitous heat — kicking up dust and languid debates over how we’d spend such an influx. I purchase scratch-offs, jackpot tickets, scraping the former with euro coins in restaurants too fine for that. I never cash them in, nor do I check the winning numbers. For I already won something like the lotto, with its gifts and its curses, when he married me.

He is ten years older than I am. I chose him on purpose, not by chance. As far as life decisions go, on balance, I recommend it.

When I was 20 and a junior at Harvard College, a series of great ironies began to mock me. I could study all I wanted, prove myself as exceptional as I liked, and still my fiercest advantage remained so universal it deflated my other plans. My youth. The newness of my face and body. Compellingly effortless; cruelly fleeting. I shared it with the average, idle young woman shrugging down the street. The thought, when it descended on me, jolted my perspective, the way a falling leaf can make you look up: I could diligently craft an ideal existence, over years and years of sleepless nights and industry. Or I could just marry it early.

So naturally I began to lug a heavy suitcase of books each Saturday to the Harvard Business School to work on my Nabokov paper. In one cavernous, well-appointed room sat approximately 50 of the planet’s most suitable bachelors. I had high breasts, most of my eggs, plausible deniability when it came to purity, a flush ponytail, a pep in my step that had yet to run out. Apologies to Progress, but older men still desired those things.

I could not understand why my female classmates did not join me, given their intelligence. Each time I reconsidered the project, it struck me as more reasonable. Why ignore our youth when it amounted to a superpower? Why assume the burdens of womanhood, its too-quick-to-vanish upper hand, but not its brief benefits at least? Perhaps it came easier to avoid the topic wholesale than to accept that women really do have a tragically short window of power, and reason enough to take advantage of that fact while they can. As for me, I liked history, Victorian novels, knew of imminent female pitfalls from all the books I’d read: vampiric boyfriends; labor, at the office and in the hospital, expected simultaneously; a decline in status as we aged, like a looming eclipse. I’d have disliked being called calculating, but I had, like all women, a calculator in my head. I thought it silly to ignore its answers when they pointed to an unfairness for which we really ought to have been preparing.

I was competitive by nature, an English-literature student with all the corresponding major ambitions and minor prospects (Great American novel; email job). A little Bovarist , frantic for new places and ideas; to travel here, to travel there, to be in the room where things happened. I resented the callow boys in my class, who lusted after a particular, socially sanctioned type on campus: thin and sexless, emotionally detached and socially connected, the opposite of me. Restless one Saturday night, I slipped on a red dress and snuck into a graduate-school event, coiling an HDMI cord around my wrist as proof of some technical duty. I danced. I drank for free, until one of the organizers asked me to leave. I called and climbed into an Uber. Then I promptly climbed out of it. For there he was, emerging from the revolving doors. Brown eyes, curved lips, immaculate jacket. I went to him, asked him for a cigarette. A date, days later. A second one, where I discovered he was a person, potentially my favorite kind: funny, clear-eyed, brilliant, on intimate terms with the universe.

I used to love men like men love women — that is, not very well, and with a hunger driven only by my own inadequacies. Not him. In those early days, I spoke fondly of my family, stocked the fridge with his favorite pasta, folded his clothes more neatly than I ever have since. I wrote his mother a thank-you note for hosting me in his native France, something befitting a daughter-in-law. It worked; I meant it. After graduation and my fellowship at Oxford, I stayed in Europe for his career and married him at 23.

Of course I just fell in love. Romances have a setting; I had only intervened to place myself well. Mainly, I spotted the precise trouble of being a woman ahead of time, tried to surf it instead of letting it drown me on principle. I had grown bored of discussions of fair and unfair, equal or unequal , and preferred instead to consider a thing called ease.

The reception of a particular age-gap relationship depends on its obviousness. The greater and more visible the difference in years and status between a man and a woman, the more it strikes others as transactional. Transactional thinking in relationships is both as American as it gets and the least kosher subject in the American romantic lexicon. When a 50-year-old man and a 25-year-old woman walk down the street, the questions form themselves inside of you; they make you feel cynical and obscene: How good of a deal is that? Which party is getting the better one? Would I take it? He is older. Income rises with age, so we assume he has money, at least relative to her; at minimum, more connections and experience. She has supple skin. Energy. Sex. Maybe she gets a Birkin. Maybe he gets a baby long after his prime. The sight of their entwined hands throws a lucid light on the calculations each of us makes, in love, to varying degrees of denial. You could get married in the most romantic place in the world, like I did, and you would still have to sign a contract.

Twenty and 30 is not like 30 and 40; some freshness to my features back then, some clumsiness in my bearing, warped our decade, in the eyes of others, to an uncrossable gulf. Perhaps this explains the anger we felt directed at us at the start of our relationship. People seemed to take us very, very personally. I recall a hellish car ride with a friend of his who began to castigate me in the backseat, in tones so low that only I could hear him. He told me, You wanted a rich boyfriend. You chased and snuck into parties . He spared me the insult of gold digger, but he drew, with other words, the outline for it. Most offended were the single older women, my husband’s classmates. They discussed me in the bathroom at parties when I was in the stall. What does he see in her? What do they talk about? They were concerned about me. They wielded their concern like a bludgeon. They paraphrased without meaning to my favorite line from Nabokov’s Lolita : “You took advantage of my disadvantage,” suspecting me of some weakness he in turn mined. It did not disturb them, so much, to consider that all relationships were trades. The trouble was the trade I’d made struck them as a bad one.

The truth is you can fall in love with someone for all sorts of reasons, tiny transactions, pluses and minuses, whose sum is your affection for each other, your loyalty, your commitment. The way someone picks up your favorite croissant. Their habit of listening hard. What they do for you on your anniversary and your reciprocal gesture, wrapped thoughtfully. The serenity they inspire; your happiness, enlivening it. When someone says they feel unappreciated, what they really mean is you’re in debt to them.

When I think of same-age, same-stage relationships, what I tend to picture is a woman who is doing too much for too little.

I’m 27 now, and most women my age have “partners.” These days, girls become partners quite young. A partner is supposed to be a modern answer to the oppression of marriage, the terrible feeling of someone looming over you, head of a household to which you can only ever be the neck. Necks are vulnerable. The problem with a partner, however, is if you’re equal in all things, you compromise in all things. And men are too skilled at taking .

There is a boy out there who knows how to floss because my friend taught him. Now he kisses college girls with fresh breath. A boy married to my friend who doesn’t know how to pack his own suitcase. She “likes to do it for him.” A million boys who know how to touch a woman, who go to therapy because they were pushed, who learned fidelity, boundaries, decency, manners, to use a top sheet and act humanely beneath it, to call their mothers, match colors, bring flowers to a funeral and inhale, exhale in the face of rage, because some girl, some girl we know, some girl they probably don’t speak to and will never, ever credit, took the time to teach him. All while she was working, raising herself, clawing up the cliff-face of adulthood. Hauling him at her own expense.

I find a post on Reddit where five thousand men try to define “ a woman’s touch .” They describe raised flower beds, blankets, photographs of their loved ones, not hers, sprouting on the mantel overnight. Candles, coasters, side tables. Someone remembering to take lint out of the dryer. To give compliments. I wonder what these women are getting back. I imagine them like Cinderella’s mice, scurrying around, their sole proof of life their contributions to a more central character. On occasion I meet a nice couple, who grew up together. They know each other with a fraternalism tender and alien to me.  But I think of all my friends who failed at this, were failed at this, and I think, No, absolutely not, too risky . Riskier, sometimes, than an age gap.

My younger brother is in his early 20s, handsome, successful, but in many ways: an endearing disaster. By his age, I had long since wisened up. He leaves his clothes in the dryer, takes out a single shirt, steams it for three minutes. His towel on the floor, for someone else to retrieve. His lovely, same-age girlfriend is aching to fix these tendencies, among others. She is capable beyond words. Statistically, they will not end up together. He moved into his first place recently, and she, the girlfriend, supplied him with a long, detailed list of things he needed for his apartment: sheets, towels, hangers, a colander, which made me laugh. She picked out his couch. I will bet you anything she will fix his laundry habits, and if so, they will impress the next girl. If they break up, she will never see that couch again, and he will forget its story. I tell her when I visit because I like her, though I get in trouble for it: You shouldn’t do so much for him, not for someone who is not stuck with you, not for any boy, not even for my wonderful brother.

Too much work had left my husband, by 30, jaded and uninspired. He’d burned out — but I could reenchant things. I danced at restaurants when they played a song I liked. I turned grocery shopping into an adventure, pleased by what I provided. Ambitious, hungry, he needed someone smart enough to sustain his interest, but flexible enough in her habits to build them around his hours. I could. I do: read myself occupied, make myself free, materialize beside him when he calls for me. In exchange, I left a lucrative but deadening spreadsheet job to write full-time, without having to live like a writer. I learned to cook, a little, and decorate, somewhat poorly. Mostly I get to read, to walk central London and Miami and think in delicious circles, to work hard, when necessary, for free, and write stories for far less than minimum wage when I tally all the hours I take to write them.

At 20, I had felt daunted by the project of becoming my ideal self, couldn’t imagine doing it in tandem with someone, two raw lumps of clay trying to mold one another and only sullying things worse. I’d go on dates with boys my age and leave with the impression they were telling me not about themselves but some person who didn’t exist yet and on whom I was meant to bet regardless. My husband struck me instead as so finished, formed. Analyzable for compatibility. He bore the traces of other women who’d improved him, small but crucial basics like use a coaster ; listen, don’t give advice. Young egos mellow into patience and generosity.

My husband isn’t my partner. He’s my mentor, my lover, and, only in certain contexts, my friend. I’ll never forget it, how he showed me around our first place like he was introducing me to myself: This is the wine you’ll drink, where you’ll keep your clothes, we vacation here, this is the other language we’ll speak, you’ll learn it, and I did. Adulthood seemed a series of exhausting obligations. But his logistics ran so smoothly that he simply tacked mine on. I moved into his flat, onto his level, drag and drop, cleaner thrice a week, bills automatic. By opting out of partnership in my 20s, I granted myself a kind of compartmentalized, liberating selfishness none of my friends have managed. I am the work in progress, the party we worry about, a surprising dominance. When I searched for my first job, at 21, we combined our efforts, for my sake. He had wisdom to impart, contacts with whom he arranged coffees; we spent an afternoon, laughing, drawing up earnest lists of my pros and cons (highly sociable; sloppy math). Meanwhile, I took calls from a dear friend who had a boyfriend her age. Both savagely ambitious, hyperclose and entwined in each other’s projects. If each was a start-up , the other was the first hire, an intense dedication I found riveting. Yet every time she called me, I hung up with the distinct feeling that too much was happening at the same time: both learning to please a boss; to forge more adult relationships with their families; to pay bills and taxes and hang prints on the wall. Neither had any advice to give and certainly no stability. I pictured a three-legged race, two people tied together and hobbling toward every milestone.

I don’t fool myself. My marriage has its cons. There are only so many times one can say “thank you” — for splendid scenes, fine dinners — before the phrase starts to grate. I live in an apartment whose rent he pays and that shapes the freedom with which I can ever be angry with him. He doesn’t have to hold it over my head. It just floats there, complicating usual shorthands to explain dissatisfaction like, You aren’t being supportive lately . It’s a Frenchism to say, “Take a decision,” and from time to time I joke: from whom? Occasionally I find myself in some fabulous country at some fabulous party and I think what a long way I have traveled, like a lucky cloud, and it is frightening to think of oneself as vapor.

Mostly I worry that if he ever betrayed me and I had to move on, I would survive, but would find in my humor, preferences, the way I make coffee or the bed nothing that he did not teach, change, mold, recompose, stamp with his initials, the way Renaissance painters hid in their paintings their faces among a crowd. I wonder if when they looked at their paintings, they saw their own faces first. But this is the wrong question, if our aim is happiness. Like the other question on which I’m expected to dwell: Who is in charge, the man who drives or the woman who put him there so she could enjoy herself? I sit in the car, in the painting it would have taken me a corporate job and 20 years to paint alone, and my concern over who has the upper hand becomes as distant as the horizon, the one he and I made so wide for me.

To be a woman is to race against the clock, in several ways, until there is nothing left to be but run ragged.

We try to put it off, but it will hit us at some point: that we live in a world in which our power has a different shape from that of men, a different distribution of advantage, ours a funnel and theirs an expanding cone. A woman at 20 rarely has to earn her welcome; a boy at 20 will be turned away at the door. A woman at 30 may find a younger woman has taken her seat; a man at 30 will have invited her. I think back to the women in the bathroom, my husband’s classmates. What was my relationship if not an inconvertible sign of this unfairness? What was I doing, in marrying older, if not endorsing it? I had taken advantage of their disadvantage. I had preempted my own. After all, principled women are meant to defy unfairness, to show some integrity or denial, not plan around it, like I had. These were driven women, successful, beautiful, capable. I merely possessed the one thing they had already lost. In getting ahead of the problem, had I pushed them down? If I hadn’t, would it really have made any difference?

When we decided we wanted to be equal to men, we got on men’s time. We worked when they worked, retired when they retired, had to squeeze pregnancy, children, menopause somewhere impossibly in the margins. I have a friend, in her late 20s, who wears a mood ring; these days it is often red, flickering in the air like a siren when she explains her predicament to me. She has raised her fair share of same-age boyfriends. She has put her head down, worked laboriously alongside them, too. At last she is beginning to reap the dividends, earning the income to finally enjoy herself. But it is now, exactly at this precipice of freedom and pleasure, that a time problem comes closing in. If she would like to have children before 35, she must begin her next profession, motherhood, rather soon, compromising inevitably her original one. The same-age partner, equally unsettled in his career, will take only the minimum time off, she guesses, or else pay some cost which will come back to bite her. Everything unfailingly does. If she freezes her eggs to buy time, the decision and its logistics will burden her singly — and perhaps it will not work. Overlay the years a woman is supposed to establish herself in her career and her fertility window and it’s a perfect, miserable circle. By midlife women report feeling invisible, undervalued; it is a telling cliché, that after all this, some husbands leave for a younger girl. So when is her time, exactly? For leisure, ease, liberty? There is no brand of feminism which achieved female rest. If women’s problem in the ’50s was a paralyzing malaise, now it is that they are too active, too capable, never permitted a vacation they didn’t plan. It’s not that our efforts to have it all were fated for failure. They simply weren’t imaginative enough.

For me, my relationship, with its age gap, has alleviated this rush , permitted me to massage the clock, shift its hands to my benefit. Very soon, we will decide to have children, and I don’t panic over last gasps of fun, because I took so many big breaths of it early: on the holidays of someone who had worked a decade longer than I had, in beautiful places when I was young and beautiful, a symmetry I recommend. If such a thing as maternal energy exists, mine was never depleted. I spent the last nearly seven years supported more than I support and I am still not as old as my husband was when he met me. When I have a child, I will expect more help from him than I would if he were younger, for what does professional tenure earn you if not the right to set more limits on work demands — or, if not, to secure some child care, at the very least? When I return to work after maternal upheaval, he will aid me, as he’s always had, with his ability to put himself aside, as younger men are rarely able.

Above all, the great gift of my marriage is flexibility. A chance to live my life before I become responsible for someone else’s — a lover’s, or a child’s. A chance to write. A chance at a destiny that doesn’t adhere rigidly to the routines and timelines of men, but lends itself instead to roomy accommodation, to the very fluidity Betty Friedan dreamed of in 1963 in The Feminine Mystique , but we’ve largely forgotten: some career or style of life that “permits year-to-year variation — a full-time paid job in one community, part-time in another, exercise of the professional skill in serious volunteer work or a period of study during pregnancy or early motherhood when a full-time job is not feasible.” Some things are just not feasible in our current structures. Somewhere along the way we stopped admitting that, and all we did was make women feel like personal failures. I dream of new structures, a world in which women have entry-level jobs in their 30s; alternate avenues for promotion; corporate ladders with balconies on which they can stand still, have a smoke, take a break, make a baby, enjoy themselves, before they keep climbing. Perhaps men long for this in their own way. Actually I am sure of that.

Once, when we first fell in love, I put my head in his lap on a long car ride; I remember his hands on my face, the sun, the twisting turns of a mountain road, surprising and not surprising us like our romance, and his voice, telling me that it was his biggest regret that I was so young, he feared he would lose me. Last week, we looked back at old photos and agreed we’d given each other our respective best years. Sometimes real equality is not so obvious, sometimes it takes turns, sometimes it takes almost a decade to reveal itself.

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