essay writing courage

5 Inspiring Essays on Courage

Courage is a value held in high regard. There are countless quotes and explanations of what “courage” is. Some believe it’s the same as being fearless, while others say that courage is doing the right thing even if you’re afraid. Brene Brown says that “You can choose courage, or you can choose comfort, but you can’t choose both.” Courage is about stepping outside of what’s familiar and comfortable. Here are five essays exploring what courage looks like:

“The Gift and Power of Emotional Courage” (2017) – Susan David

While technically not an essay, the transcript from this 2017 TEDTalk (and the speech itself) is a powerful exploration of emotional courage. Dr. Susan David, who lost her father when she was 15, describes how she dealt with grief. Societies often encourage people to suppress these types of emotions. She talks about a “radical acceptance” of every emotion, even the hard ones, and how this acceptance is necessary for true happiness. This acceptance isn’t easy. It takes courage. She has an especially poignant way of describing courage: she calls it “fear walking.”

Dr. Susan David is a world-leading management thinker and Harvard Medical School psychologist. She’s also an author and contributor to publications like The Harvard Business Review, New York Times, and more. David lectures around the world for clients like the United Nations, Google, and the World Economic Forum.

“Profile in Courage” (2004) – Dana Calvo

The photo of a single protester facing off a line of tanks is one of history’s most iconic images. In this essay from Smithsonian Magazine, readers learn the story behind it. In 1989, students from over three dozen universities gathered in Tiananmen Square to protest government corruption, joblessness, and attacks on free speech. The government declared martial law, sending tens of thousands of troops to the area. Violence erupted. Several hundred protesters were killed, thousands wounded. The story of the photograph, taken by 33-year old Jeff Widener of the Associated Press, is a story of courage.

Dana Calvo is a former national and foreign journalist. She now works in television.

“This Is A Crisis of Civil-Military Relations” (2020) – Eliot A. Cohen

In this piece, author Eliot Cohen examines what’s going on with military leadership in the age of the Trump administration. While these people are willing to “take a bullet” for America and take on responsibility for the “gravest decisions anyone can make,” they must now show a different kind of courage. Under President Trump’s leadership, the military brass must stand up and risk getting fired. While this essay describes a specific situation between two incredibly powerful branches of American society, it taps into the essence of courage. Courage comes with risks. It often requires people to risk something they didn’t anticipate losing.

Eliot A. Cohen is the dean of The John Hopkins University School of Advanced International Studies. He served as the Counselor of the Department of State from 2007-2009. A contributing writer at The Atlantic, he’s also the author of The Big Stick: The Limits of Soft Power and the Necessity of Military Force.

“How To Find and Practice Courage” (2020) – Manfred F. R. Kets de Vries

This essay opens with a story of a CEO who went against shareholder advice to do what he believed was right, even as he feared the consequences. What gave him courage? Had it always been there under the surface? If you’re interested in brain science and the psychology behind courage, this is a great piece. At the end, it offers techniques on how to “practice courage,” such as going out of your comfort zone and taking care of your body when it’s afraid.

Manfred F.R. Kets de Vries is a psychoanalyst, management scholar, and executive coach. At INSEAD in France, Abu Dhabi, and Singapore , he is the Distinguished Clinical Professor of Leadership Development and Organizational Change. He wrote Down the Rabbit Hole of Leadership: Leadership Pathology in Everyday Life (2018).

“The Six Attributes of Courage” – Melanie Greenberg

What is courage? It’s something most people recognize when they see it, but there are different kinds of courage. In this essay, Dr. Greenberg briefly describes six defining characteristics of courage. She uses quotes from people like Nelson Mandela, Ralph Waldo Emerson, and others. Attributes include following your heart and letting go of what’s familiar and comfortable. The piece concludes with a courage-building exercise.

Dr. Melanie Greenberg is a psychologist, speaker, author, and coach. Her book The Stress-Proof Brain is an Amazon bestseller. She travels the world giving talks to non-profits, businesses, and professional organizations. Active on Twitter, she has been featured in media like CNN, Forbes, BBC Radio, and more.

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Essays on Courage

Courage is an important trait, as it helps people to get through difficult times and cope with any challenges – you can explore this and more in your courage essay. Each day as we wake, we have courage in the face of the unknown. Many authors of courage essays think that courage and fear are mutually exclusive, but it is the other way around – there can be no courage without fear, as courage means acting regardless of fear, overcoming it. Some essays on courage note that what opposes courage is cowardice – a trait that people should strive to cast away, as it affects self-esteem and can stop people’s progress in life, leaving them unfulfilled. Peruse our courage essay samples if you want your essay to be more informational. We handpicked samples of essays for you to read – please find them below!

The Novel "Profiles of Courage" The novel "Profiles of Courage" is made up of a number of brief volume biographies that describe various acts of daring and courage performed by various US senators. In theory, these lawmakers contributed significantly to the development of democracy and government in contemporary American society. They...

Words: 1214

Masada, which in Hebrew translates as "fortress," is a location of magnificence and royal splendor and is unique in the eyes of Jews who still regard it as delightfully the last trench defended by a small number of Jewish Zealots against the Roman assault in 73 AD. The group that...

Words: 1840

During the interview, search for fairness, loyalty, modesty, bravery, dedication, devotion, zeal, positivity, trust, intelligence, resolve, empathy, and compassion in the leader.Throughout his technical and leadership roles, the interviewed leader displayed the above attributes. Furthermore, the leader demonstrated confidence, intellect, and maturity in his leadership positions. Notably, the leaders instilled...

Words: 1200

An Antihero: Faust in Johann Wolfgang von Goethe s Faust An antihero is a protagonist character in a given story that lacks the characteristics synonymous with a traditional hero, such as morals, bravery, and idealism. The antihero can often be depicted as doing the right thing, although this is often driven...

Rikki-Tikki-Tavi: A Brave and Valiant Mongoose Rikki-Tikki-Tavi is a short story in The Jungle Book by Rudyard Kipling. It's the story of a young Indian grey mongoose who is brave and valiant. The story has been anthologized and published in various versions as a short book. We will look at its...

The Cheyenne people are the westernmost tribes of the Algonquin band. They used to live far to the east of where they now live. They remained in set settlements and engaged in practices such as land farming, but they later relocated to the west and southwest, leaving some of their...

Words: 1483

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Moral Bravery and Whistleblowing Moral bravery is the desire to do the right thing regardless of the repercussions that might follow. Whistleblowers must choose between remaining anonymous to secure their careers, which are critical to their livelihoods, and disclosing the illegality they find in their workplaces. In the case of WorldCom,...

Mother Courage and Her Children is irrefutably one of the most huge play in the 20th century and has been played in many components of the world attracting big crowds, it is currently the biggest antiwar play of all time. It was written by a German dramatist, and due to...

Words: 1097

The provided study of the theme of bravery is based and focused on a single narrative with a strong thematic emphasis and intrigues. The tale is a very lively and handy source of many outstanding thematic lessons of considerable worth and taste. It is one of Kate Chopin's finest works...

Courage in Literature Courage is the desire or option to face agony, intimidation, discomfort, the threat of confusion. Its synonyms are courage and bravery. It may be either actual or spiritual. Physical courage is defined as bravery in the face of suffering, death, or adversity. On the other hand, moral bravery...

Words: 1219

In Harper Lee's novel To Kill a Mockingbird, he highlights several examples of bravery and heroism in the small Alabama town that is mocked for its social tensions and suffering. Throughout the two years that they spent in Alabama, the novel focuses on Finch's family. Scout, Jem, Atticus, and Tom...

Words: 1585

Nikos Kazantzakis was born in a tumultuous environment in which Create was battling for its independence. He defines his father as a fierce individual who instilled in his son a sense of human integrity, bravery, and love/or pride in becoming a Cretan person. His mother, on the other hand, was...

Words: 1621

Understanding The Meaning of Courage and Its Importance

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2000 Winning Essay by Peter Buttigieg

Profile in Courage Essay Contest Press Release

2000 Essay Contest Winner Peter Buttigieg and Caroline Kennedy

Bernie Sanders

By Peter Buttigieg St. Joseph’s High School in South Bend, Indiana

In this new century, there are a daunting number of important issues which are to be confronted if we are to progress as a nation. Each must be addressed thoroughly and energetically. But in order to accomplish the collective goals of our society, we must first address how we deal with issues. We must re-examine the psychological and political climate of American politics. As it stands, our future is at risk due to a troubling tendency towards cynicism among voters and elected officials. The successful resolution of every issue before us depends on the fundamental question of public integrity.

A new attitude has swept American politics. Candidates have discovered that is easier to be elected by not offending anyone rather than by impressing the voters. Politicians are rushing for the center, careful not to stick their necks out on issues. Most Democrats shy away from the word “liberal” like a horrid accusation. Republican presidential hopeful George W. Bush uses the centrist rhetoric of “compassionate conservatism” while Pat Buchanan, once considered a mainstream Republican, has been driven off the ideological edge of the G.O.P. Just as film producers shoot different endings and let test audiences select the most pleasing, some candidates run “test platforms” through sample groups to see which is most likely to win before they speak out on major issue. This disturbing trend reveals cynicism, a double-sided problem, which is perhaps, the greatest threat to the continued success of the American political system.

Cynical candidates have developed an ability to outgrow their convictions in order to win power. Cynical citizens have given up on the election process, going to the polls at one of the lowest rates in the democratic world. Such an atmosphere inevitably distances our society from its leadership and is thus a fundamental threat to the principles of democracy. It also calls into question what motivates a run for office – in many cases, apparently, only the desire to occupy it. Fortunately for the political process, there remain a number of committed individuals who are steadfast enough in their beliefs to run for office to benefit their fellow Americans. Such people are willing to eschew political and personal comfort and convenience because they believe they can make a difference. One outstanding and inspiring example of such integrity is the country’s only Independent Congressman, Vermont’s Bernie Sanders.

Sanders’ courage is evident in the first word he uses to describe himself: “Socialist”. In a country where Communism is still the dirtiest of ideological dirty words, in a climate where even liberalism is considered radical, and Socialism is immediately and perhaps willfully confused with Communism, a politician dares to call himself a socialist? He does indeed. Here is someone who has “looked into his own soul” and expressed an ideology, the endorsement of which, in today’s political atmosphere, is analogous to a self-inflicted gunshot wound. Even though he has lived through a time in which an admitted socialist could not act in a film, let alone hold a Congressional seat, Sanders is not afraid to be candid about his political persuasion.

After numerous political defeats in his traditionally Republican state, Sanders won the office of mayor of Burlington by ten votes. A successful and popular mayor, he went on to win Vermont’s one Congressional seat in 1990. Since then, he has taken many courageous and politically risky stands on issues facing the nation. He has come under fire from various conservative religious groups because of his support for same-sex marriages. His stance on gun control led to NRA-organized media campaigns against him. Sanders has also shown creativity in organizing drug-shopping trips to Canada for senior citizens to call attention to inflated drug prices in the United States.

While impressive, Sanders’ candor does not itself represent political courage. The nation is teeming with outspoken radicals in one form or another. Most are sooner called crazy than courageous. It is the second half of Sanders’ political role that puts the first half into perspective: he is a powerful force for conciliation and bi-partisanship on Capitol Hill. In Profiles in Courage , John F. Kennedy wrote that “we should not be too hasty in condemning all compromise as bad morals. For politics and legislation are not matters for inflexible principles or unattainable ideals.” It may seem strange that someone so steadfast in his principles has a reputation as a peacemaker between divided forces in Washington, but this is what makes Sanders truly remarkable. He represents President Kennedy’s ideal of “compromises of issues, not of principles.”

Sanders has used his unique position as the lone Independent Congressman to help Democrats and Republicans force hearings on the internal structure of the International Monetary Fund, which he sees as excessively powerful and unaccountable. He also succeeded in quietly persuading reluctant Republicans and President Clinton to ban the import of products made by under-age workers. Sanders drew some criticism from the far left when he chose to grudgingly endorse President Clinton’s bids for election and re-election as President. Sanders explained that while he disagreed with many of Clinton’s centrist policies, he felt that he was the best option for America’s working class.

Sanders’ positions on many difficult issues are commendable, but his real impact has been as a reaction to the cynical climate which threatens the effectiveness of the democratic system. His energy, candor, conviction, and ability to bring people together stand against the current of opportunism, moral compromise, and partisanship which runs rampant on the American political scene. He and few others like him have the power to restore principle and leadership in Congress and to win back the faith of a voting public weary and wary of political opportunism. Above all, I commend Bernie Sanders for giving me an answer to those who say American young people see politics as a cesspool of corruption, beyond redemption. I have heard that no sensible young person today would want to give his or her life to public service. I can personally assure you this is untrue.

Bibliography

Dunne, Nancy. “IMF Chief Faces a Grilling from Lone Independent Warrior of Capitol Hill.” Financial Times . 21 April 1998.

Greenhouse, Steven. “Measure to Ban Import Items Made By Children in Bondage.” New York Times . 1 October 1997.

“Homepage for Congressman Bernie Sanders.” http://www.house.gov/bernie (7 January, 2000).

Kennedy, John F. Profiles in Courage . New York: Harper & Brothers, 1956.

Nichols, John. “Go Knock on Some Doors: Bernie Sanders Sounds Off.” The Progressive. May 1996.

Greater Good Science Center • Magazine • In Action • In Education

Education Articles & More

Six ways to find your courage during challenging times, courage doesn’t have to look dramatic or fearless. sometimes it looks more like quiet perseverance..

“We teach who we are,” says educational philosopher Parker Palmer.

Early in my teaching career, I participated in a series of retreats led by the Center for Courage and Renewal, inspired by Palmer’s book The Courage to Teach . Palmer reminds us that our sense of self plays out in our work every day—and living with courage and integrity means finding balance and alignment between our inner and outer selves. In other words, our identities, values, and beliefs inform the selves we bring to others.

But how do we find the courage to stand up for our coworkers, students, neighbors, family and friends, and ourselves amid exhausting and unprecedented challenges? The truth is, I’m not particularly thrilled with the person I’ve been bringing to work lately. On some mornings, I’m simply looking for the courage to get out of bed.

If you are like me, there are days when you feel emotionally weary, inept, and cynical—all characteristics of burnout . However, I’m finding that the science of courage offers a psychological lifeline, helping us to clarify what really matters so that we can find a steadier, values-based resolve—and even inspire it in others. I dove into the courage research with teachers in mind, but these tips are for everyone.

Fortunately, courage comes in many forms. Although definitions range, researchers tend to agree that it features three primary components: a risk, an intention, and a goal that may benefit others. In a classic example, a student defends a peer who is being verbally assaulted by a bully, by interrupting the bully and telling them to stop. This purposeful act may come at a cost—perhaps socially or physically.

But courage doesn’t have to look dramatic or fearless. We express it in both bold and quiet ways. In fact, “ general courage ,” the confident or seemingly brazen actions perceived by others, differs from “ personal courage ,” those actions that are courageous in the minds of the actors themselves. It all depends on how you view the challenge in front of you and the fears associated with performing a particular behavior. In other words, these days, some of us may need significant “personal courage” to get out of bed and face the day on behalf of those students we value and care about.

Why is just showing up courageous? Daily stressors can pile up, leading to emotional exhaustion, a sense of detachment from your work, and the feeling that you simply aren’t as capable as you thought you were—and if you don’t feel capable, you may not feel particularly confident. Yet courage is also associated with other positive character strengths , like persistence and integrity.

The good news is that there are many ways to tap into our capacity for courage, whether we are adults or students. Here are six.

1. See yourself as courageous

First, if we describe ourselves as “courageous,” we are more likely to act courageously . In other words, if I tell myself that I’m a courageous person as I park in the school parking lot and walk into my school, it may actually give me a psychological boost and inspire me to meet the day with greater self-assurance.

Alternatively, we can take time to note and label all the courageous actions we have already taken in our lives. For example, when you consider how your childhood struggles inform your current relationships with coworkers or students, or how you made it through college as a single mom, or how you’ve learned to cope with a chronic health issue, you may be more likely to experience positive emotions while reconnecting with personal values and beliefs that can inspire future courageous behaviors.

Consider conducting an inventory of past actions with your students or colleagues so that you can identify and celebrate individual acts of courage together. Then, discuss how those actions influence who you are now and who you want to be.

2. Get comfortable with “mistakes”

We can recognize and celebrate courage with others, but it can also be a very internal, day-to-day experience. One of the most common ways we practice courage at work is in our pursuit of learning and personal growth. Research tells us that fear of failure can negatively correlate with courage, but what if it’s OK to make mistakes—and they are even welcomed learning tools?

Studies indicate that students may benefit from making mistakes (and correcting them) rather than avoiding them at all costs. And when researchers reviewed 38 studies of resilience in response to failure, errors, or mistakes, they found that more resilient individuals had lower levels of perfectionism and a more positive way of explaining past events: “I haven’t solved this long division problem yet, but I’ll try another strategy next.”

Another way to address fear of failure is through a simple practice you can share with your students or colleagues called “ Crumpled Reminder ,” where you write about a recent mistake you made, crumple up a paper representing your feelings about that mistake, and then discuss the ways mistakes strengthen brain activity and help us to learn and grow.

Crumpled Reminder

Write down a recent mistake and your feelings about it, and then crumple up the paper. Then reflect on how your mistakes help you learn.

Rather than fearing looming “failures,” seeing daily missteps as opportunities for learning frees all of us to appreciate learning for what it is—a process rather than a performance.

3. Keep trying

Courage at work also requires perseverance. As our fears lessen, we are more likely to persist in learning—to keep trying despite the obstacles ahead of us. And perseverance (or persistence), as a character strength, can also be modeled, observed, and developed. In fact, when adults model persistence in working toward a goal, infants as young as 15 months tend to mimic that behavior.

As teachers, we have a lot of power to influence our students’ efforts by sharing our own vulnerabilities while we read a challenging text, our own self-conscious emotions as we outline a timed essay, our stops and starts while solving a word problem, and our commitment to keep going.

And research suggests that teachers’ growth mindsets, or belief that intelligence grows and changes with effort, can be linked to the development of students’ growth mindsets. This more positive, flexible mindset can improve students’ performance at school, boost their well-being and social competence , and even promote kind, helpful, and prosocial actions. All these benefits may bolster our capacity for courageous actions, too.

4. Look for the heroes

Of course, if we are feeling apathetic, anxious, or fearful about stepping up and doing that next best thing at school or in life, it can be helpful to draw inspiration from others—whether near or far, real or fictional.

According to research , the individuals we admire may represent some aspect of our ideal selves as they demonstrate moral courage through difficult times and a desire to do good in the world. They can also inspire us to live more meaningful lives. Studies suggest that seeing images of heroes may move us to sense greater meaning in our lives—and even increase our drive to help others.

Basic social cognitive theory tells us that we are motivated through “vicarious experiences”—as we witness others’ actions. In fact, when adults observe courageous behaviors in their workplaces , like a teacher standing up for a group of students or a colleague advocating for an important policy, they are more likely to see the potential for organizational change and feel inspired to act courageously themselves.

Our students can benefit from models of courage, too. In the “ Who Are Your Heroes? ” lesson from Giraffe Heroes Project , students listen to and present hero stories, while exploring the risks and benefits of courageous acts. Stories like these can communicate shared values , make us more empathic , and may encourage us to help others .

5. Clarify your values

You may recognize heroism or courage in others, but sometimes struggle to see it in yourself. If so, it may be helpful to ask yourself a few key questions:

What do I value in myself?
What do I “stand for”?
What is important to me?
What are some of my successes and accomplishments?

When researchers measured teachers’ responses to prompts like these, they found that teachers’ anxiety immediately decreased—and they experienced more positive emotions over time when compared to a control group. Teachers’ values drive their goals and behaviors at school, while supporting their well-being and a sense of self-efficacy at work. If we feel clear and capable, we may also feel more courageous.

Philosophers consider courage to be a foundational virtue because it guides us to act on behalf of other virtues or values. In fact, our convictions, values, sense of integrity, honor, and loyalty can all influence our courageous actions. When we experience a threat to our moral code, we are likely to act in a way that upholds our beliefs and values. And the more powerful the belief , the more likely you will not be influenced or swayed by those around you.

You and your students can clarify your values and explore your character strengths through a range of simple practices for both adults and students , like Discovering Your Strengths and Talents , Eight Inner Strengths for Leaders , and Reminders that Encourage Moral Character Strengths .

6. Become part of a social force for courage

Finally, we can act on our values in community. After more than a year of isolation from each other—and the prospect of ongoing public health, environmental, and sociocultural crises—we are finding courage again in groups.

More Education Resources

Visit Greater Good in Education for more information, tips, and practices to support teacher and student well-being. To dive deeper into the research behind these practices and strategies, register for one of our online courses for educators .

Teachers and students are participating in social and emotional communities of practice, circles of courage , and other “ circles ” practices to nurture a sense of belonging, find emotional support, and engage in collective action. Studies indicate that social groups like these promote interdependence, social identity, and cohesion and influence courageous behavior, too.

And one of the most empowering things we can do for our students right now is to support them in being courageous community problem solvers, too.

Tribes Learning Communities curricula focus on active learning and community building among adults and students to reduce violence and increase kindness. For example, in their lesson “ Put Down the Put-Downs ,” students consider how hurtful name-calling really feels and brainstorm ways to end the problem in their classrooms and school. In this case, perspective taking and empathic responses can lead to more courageous and impassioned student action, cultivating a positive school and classroom climates where everyone is honored and valued .

Further, in the lesson “ It’s Up to Us to Stick Our Necks Out ,” students share stories about everyday heroes drawn from a free story bank , and then learn to “Be the Story” by selecting, planning, and enacting a service learning project to address a community challenge (such as homelessness, clean air or water, or a need for increased literacy). As we act on our values together, we may feel a greater sense of agency in a world that feels topsy-turvy right now.

During those dark, winter mornings when you really don’t want to crawl out of bed and face the day, remember that courage can also be a very private, personal act. There will always be risks and challenges to face, but what really matters most—in your gut? Is it love, learning, curiosity, compassion, hope? How do these values inform who you are and how you show up in the world?

These are the key questions that can help us to frame our truest intentions—even on our most difficult days.

New Course! Courage in Education

Face Challenges with Strength, Determination, and Hope

About the Author

Amy L. Eva, Ph.D. , is the associate education director at the Greater Good Science Center. As an educational psychologist and teacher educator with over 25 years in classrooms, she currently writes, presents, and leads online courses focused on student and educator well-being, mindfulness, and courage. Her new book, Surviving Teacher Burnout: A Weekly Guide To Build Resilience, Deal with Emotional Exhaustion, and Stay Inspired in the Classroom, features 52 simple, low-lift strategies for enhancing educators’ social and emotional well-being.

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Should college essays touch on race? Some feel affirmative action ruling leaves no choice

When the supreme court ended affirmative action in higher education, it left the college essay as one of few places where race can play a role in admissions..

Hillary Amofa listens to others member of the Lincoln Park High School step team after...

By The Associated Press

5:20 AM on Mar 28, 2024 CDT

CHICAGO — When she started writing her college essay, Hillary Amofa told the story she thought admissions offices wanted to hear. About being the daughter of immigrants from Ghana and growing up in a small apartment in Chicago. About hardship and struggle.

Then she deleted it all.

“I would just find myself kind of trauma-dumping,” said the 18-year-old senior at Lincoln Park High School in Chicago. “And I’m just like, this doesn’t really say anything about me as a person.”

When the Supreme Court ended affirmative action in higher education, it left the college essay as one of few places where race can play a role in admissions decisions. For many students of color, instantly more was riding on the already high-stakes writing assignment. Some say they felt pressure to exploit their hardships as they competed for a spot on campus.

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Related: Gov. Abbott issues executive order fighting antisemitism at Texas colleges

Amofa was just starting to think about her essay when the court issued its decision, and it left her with a wave of questions. Could she still write about her race? Could she be penalized for it? She wanted to tell colleges about her heritage but she didn’t want to be defined by it.

In English class, Amofa and her classmates read sample essays that all seemed to focus on some trauma or hardship. It left her with the impression she had to write about her life’s hardest moments to show how far she’d come. But she and some of her classmates wondered if their lives had been hard enough to catch the attention of admissions offices.

“For a lot of students, there’s a feeling of, like, having to go through something so horrible to feel worthy of going to school, which is kind of sad,” said Amofa, the daughter of a hospital technician and an Uber driver.

Hillary Amofa (second from left), practices with members of the Lincoln Park High School...

This year’s senior class is the first in decades to navigate college admissions without affirmative action. The Supreme Court upheld the practice in decisions going back to the 1970s, but this court’s conservative supermajority found it is unconstitutional for colleges to give students extra weight because of their race alone.

Still, the decision left room for race to play an indirect role: Chief Justice John Roberts wrote universities can still consider how an applicant’s life was shaped by their race, “so long as that discussion is concretely tied to a quality of character or unique ability.”

“A benefit to a student who overcame racial discrimination, for example, must be tied to that student’s courage and determination,” he wrote.

Scores of colleges responded with new essay prompts asking about students’ backgrounds. Brown University asked applicants how “an aspect of your growing up has inspired or challenged you.” Rice University asked students how their perspectives were shaped by their “background, experiences, upbringing, and/or racial identity.”

Do schools ‘expect a sob story’?

When Darrian Merritt started writing his essay, he knew the stakes were higher than ever because of the court’s decision. His first instinct was to write about events that led to him going to live with his grandmother as a child.

Those were painful memories, but he thought they might play well at schools like Yale, Stanford and Vanderbilt.

“I feel like the admissions committee might expect a sob story or a tragic story,” said Merritt, a senior in Cleveland. “And if you don’t provide that, then maybe they’re not going to feel like you went through enough to deserve having a spot at the university. I wrestled with that a lot.”

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He wrote drafts focusing on his childhood, but it never amounted to more than a collection of memories. Eventually he abandoned the idea and aimed for an essay that would stand out for its positivity.

Merritt wrote about a summer camp where he started to feel more comfortable in his own skin. He described embracing his personality and defying his tendency to please others. The essay had humor — it centered on a water gun fight where he had victory in sight but, in a comedic twist, slipped and fell. But the essay also reflects on his feelings of not being “Black enough” and getting made fun of for listening to “white people music.”

“I was like, ‘OK, I’m going to write this for me, and we’re just going to see how it goes,’” he said. “It just felt real, and it felt like an honest story.”

The essay describes a breakthrough as he learned “to take ownership of myself and my future by sharing my true personality with the people I encounter. ... I realized that the first chapter of my own story had just been written.”

Ruling prompts pivots on essay topics

Like many students, Max Decker of Portland, Ore., had drafted a college essay on one topic, only to change direction after the Supreme Court ruling in June.

Decker initially wrote about his love for video games. In a childhood surrounded by constant change, navigating his parents’ divorce, the games he took from place to place on his Nintendo DS were a source of comfort.

But the essay he submitted to colleges focused on the community he found through Word is Bond, a leadership group for young Black men in Portland.

Max Decker, a senior at Lincoln High School in Portland, Ore., sits Wednesday, March 20,...

As the only biracial, Jewish kid with divorced parents in a predominantly white, Christian community, Decker wrote he constantly felt like the odd one out. On a trip with Word is Bond to Capitol Hill, he and friends who looked just like him shook hands with lawmakers. The experience, he wrote, changed how he saw himself.

“It’s because I’m different that I provide something precious to the world, not the other way around,” he wrote.

As a first-generation college student, Decker thought about the subtle ways his peers seemed to know more about navigating the admissions process. They made sure to get into advanced classes at the start of high school, and they knew how to secure glowing letters of recommendation.

If writing about race would give him a slight edge and show admissions officers a fuller picture of his achievements, he wanted to take that small advantage.

His first memory about race, Decker said, was when he went to get a haircut in elementary school and the barber made rude comments about his curly hair. Until recently, the insecurity that moment created led him to keep his hair buzzed short.

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Through Word is Bond, Decker said he found a space to explore his identity as a Black man. It was one of the first times he was surrounded by Black peers and saw Black role models. It filled him with a sense of pride in his identity. No more buzzcut.

The pressure to write about race involved a tradeoff with other important things in his life, Decker said. That included his passion for journalism, like the piece he wrote on efforts to revive a once-thriving Black neighborhood in Portland. In the end, he squeezed in 100 characters about his journalism under the application’s activities section.

“My final essay, it felt true to myself. But the difference between that and my other essay was the fact that it wasn’t the truth that I necessarily wanted to share,” said Decker, whose top college choice is Tulane, in New Orleans, because of the region’s diversity. “It felt like I just had to limit the truth I was sharing to what I feel like the world is expecting of me.”

Spelling out the impact of race

Before the Supreme Court ruling, it seemed a given to Imani Laird that colleges would consider the ways that race had touched her life. But now, she felt like she had to spell it out.

As she started her essay, she reflected on how she had faced bias or felt overlooked as a Black student in predominantly white spaces.

There was the year in math class when the teacher kept calling her by the name of another Black student. There were the comments that she’d have an easier time getting into college because she was Black.

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“I didn’t have it easier because of my race,” said Laird, a senior at Newton South High School in the Boston suburbs who was accepted at Wellesley and Howard University, and is waiting to hear from several Ivy League colleges. “I had stuff I had to overcome.”

In her final essays, she wrote about her grandfather, who served in the military but was denied access to GI Bill benefits because of his race.

She described how discrimination fueled her ambition to excel and pursue a career in public policy.

“So, I never settled for mediocrity,” she wrote. “Regardless of the subject, my goal in class was not just to participate but to excel. Beyond academics, I wanted to excel while remembering what started this motivation in the first place.”

Will schools lose racial diversity?

Amofa used to think affirmative action was only a factor at schools like Harvard and Yale. After the court’s ruling, she was surprised to find that race was taken into account even at some public universities she was applying to.

Now, without affirmative action, she wondered if mostly white schools will become even whiter.

It’s been on her mind as she chooses between Indiana University and the University of Dayton, both of which have relatively few Black students. When she was one of the only Black students in her grade school, she could fall back on her family and Ghanaian friends at church. At college, she worries about loneliness.

“That’s what I’m nervous about,” she said. “Going and just feeling so isolated, even though I’m constantly around people.”

Hillary Amofa is shown at Lincoln Park High School in Chicago on Friday, March 8, 2024.

The first drafts of her essay focused on growing up in a low-income family, sharing a bedroom with her brother and grandmother. But it didn’t tell colleges about who she is now, she said.

Her final essay tells how she came to embrace her natural hair. She wrote about going to a mostly white grade school where classmates made jokes about her afro. When her grandmother sent her back with braids or cornrows, they made fun of those too.

Over time, she ignored their insults and found beauty in the styles worn by women in her life. She now runs a business doing braids and other hairstyles in her neighborhood.

“I stopped seeing myself through the lens of the European traditional beauty standards and started seeing myself through the lens that I created,” Amofa wrote.

“Criticism will persist, but it loses its power when you know there’s a crown on your head!”

By Collin Binkley, Annie Ma and Noreen Nasir of The Associated Press

The Associated Press

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Sob stories? Trauma dumps? Black kids worry about writing college essays after affirmative action ban

When the Supreme Court ended affirmative action in higher education, it left the college essay as one of few places where race can play a role in admissions decisions.

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CHICAGO (AP) — When she started writing her college essay, Hillary Amofa told the story she thought admissions offices wanted to hear. About being the daughter of immigrants from Ghana and growing up in a small apartment in Chicago. About hardship and struggle.

Then she deleted it all.

When the Supreme Court ended affirmative action in higher education , it left the college essay as one of few places where race can play a role in admissions decisions. For many students of color, instantly more was riding on the already high-stakes writing assignment. Some say they felt pressure to exploit their hardships as they competed for a spot on campus.

“A benefit to a student who overcame racial discrimination, for example, must be tied to that student’s courage and determination,” he wrote.

Wondering if schools ‘expect a sob story’

Those were painful memories, but he thought they might play well at schools like Yale, Stanford and Vanderbilt.

“I was like, ‘OK, I’m going to write this for me, and we’re just going to see how it goes,’” he said. “It just felt real, and it felt like an honest story.”

The essay describes a breakthrough as he learned “to take ownership of myself and my future by sharing my true personality with the people I encounter. … I realized that the first chapter of my own story had just been written.”

A ruling prompts pivots on essay topics

Like many students, Max Decker of Portland, Oregon, had drafted a college essay on one topic, only to change direction after the Supreme Court ruling in June.

But the essay he submitted to colleges focused on the community he found through Word is Bond, a leadership group for young Black men in Portland.

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“It’s because I’m different that I provide something precious to the world, not the other way around,” he wrote.

If writing about race would give him a slight edge and show admissions officers a fuller picture of his achievements, he wanted to take that small advantage.

Spelling out the impact of race

Before the Supreme Court ruling, it seemed a given to Imani Laird that colleges would consider the ways that race had touched her life. But now, she felt like she had to spell it out.

As she started her essay, she reflected on how she had faced bias or felt overlooked as a Black student in predominantly white spaces.

“I didn’t have it easier because of my race,” said Laird, a senior at Newton South High School in the Boston suburbs who was accepted at Wellesley and Howard University , and is waiting to hear from several Ivy League colleges. “I had stuff I had to overcome.”

In her final essays, she wrote about her grandfather, who served in the military but was denied access to GI Bill benefits because of his race.

She described how discrimination fueled her ambition to excel and pursue a career in public policy.

Will schools lose racial diversity?

Now, without affirmative action, she wondered if mostly white schools will become even whiter.

“That’s what I’m nervous about,” she said. “Going and just feeling so isolated, even though I’m constantly around people.”

The first drafts of her essay focused on growing up in a low-income family, sharing a bedroom with her brother and grandmother. But it didn’t tell colleges about who she is now, she said.

Over time, she ignored their insults and found beauty in the styles worn by women in her life. She now runs a business doing braids and other hairstyles in her neighborhood.

“I stopped seeing myself through the lens of the European traditional beauty standards and started seeing myself through the lens that I created,” Amofa wrote.

“Criticism will persist, but it loses its power when you know there’s a crown on your head!”

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Writing My Autobiography

A re you still writing?” he asked.

“I am,” I answered.

“What are you working on at the moment?”

“An autobiography,” I said.

“Interesting,” he replied. “Whose?”

The implication here, you will note, is that mine hasn’t been a life sufficiently interesting to merit an autobiography. The implication isn’t altogether foolish. Most autobiographies, at least the best autobiographies, have been written by people who have historical standing, or have known many important people, or have lived in significant times, or have noteworthy family connections or serious lessons to convey . I qualify on none of these grounds. Not that, roughly two years ago when I sat down to write my autobiography, I let that stop me.

An autobiography, to state the obvious, is at base a biography written by its own subject. But how is one to write it: as a matter of setting the record straight, as a form of confessional, as a mode of seeking justice, or as a justification of one’s life? “An autobiography,” wrote George Orwell, “is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats.” Is this true? I prefer to think not.

Autobiography is a complex enterprise, calling for its author not only to know himself but to be honest in conveying that knowledge. “I could inform the dullest author how he might write an interesting book,” wrote Samuel Taylor Coleridge. “Let him relate the events of his own life with Honesty, not disguising the feelings that accompanied them.” One of the nicest things about being a professor, it has been said, is that one gets to talk for fifty minutes without being interrupted. So one of the allurements of autobiography is that one gets to write hundreds of pages about that eminently fascinating character, oneself, even if in doing so one only establishes one’s insignificance.

The great autobiographies—of which there have not been all that many—have been wildly various. One of the first, that of the Renaissance sculptor Benvenuto Cellini, is marked by an almost unrelieved braggadocio: No artist was more perfect, no warrior more brave, no lover more pleasing than the author, or so he would have us believe. Edward Gibbon’s autobiography, though elegantly written, is disappointing in its brevity. That of Jean-Jacques Rousseau, heavily striking the confessional note, might have been told in a booth to a priest. Ben Franklin’s autobiography is full of advice on how the rest of us should live. John Stuart Mill’s is astounding in its account of its author’s prodigiously early education, which began with his learning Greek under his father’s instruction at the age of three. Then there is Henry Adams’s autobiography, suffused with disappointment over his feeling out of joint with his times and the world’s not recognizing his true value. In Making It , Norman Podhoretz wrote an autobiography informed by a single message, which he termed a “dirty little secret,” namely that there is nothing wrong with ambition and that success, despite what leftist intellectuals might claim, is nothing to be ashamed of.

Please note that all of these are books written by men. Might it be that women lack the vanity required to write—or should I say “indulge in”—the literary act of autobiography? In Mary Beard’s Emperor of Rome , I recently read that Agrippina the Younger, the mother of Nero, wrote her autobiography, which has not survived, and which Mary Beard counts as “one of the great losses of all classical literature.” I wish that Jane Austen had written an autobiography, and so too George Eliot and Willa Cather. Perhaps these three women, great writers all, were too sensibly modest for autobiography, that least modest of all literary forms.

A utobiography can be the making or breaking of writers who attempt it. John Stuart Mill’s autobiography has gone a long way toward humanizing a writer whose other writings tend toward the coldly formal. Harold Laski wrote that Mill’s “ Autobiography , in the end the most imperishable of his writings, is a record as noble as any in our literature of consistent devotion to the public good.”

If Mill’s autobiography humanized him, the autobiography of the novelist Anthony Trollope did for him something approaching the reverse. In An Autobiography , Trollope disdains the notion of an author’s needing inspiration to write well. He reports that “there was no day on which it was my positive duty to write for the publishers, as it was my duty to write reports for the Post Office,” where he had a regular job. “I was free to be idle if I pleased. But as I had made up my mind to undertake this second profession [that of novelist], I found it to be expedient to bind myself by certain self-imposed laws.” Trollope recounts—emphasis here on “counts”—that as a novelist he averages forty pages per week, at 250 words per page. He writes: “There are those who would be ashamed to subject themselves to such a taskmaster, and who think that the man who works with his imagination should allow himself to wait till inspiration moves him. When I have heard such doctrine preached, I have hardly been able to repress my scorn.” Trollope then mentions that on the day after he finished his novel Doctor Thorne , he began writing his next novel, The Bertrams . For a long spell the literati refused to forgive Trollope for shearing inspiration away from the creation of literary art, for comparing the job of the novelist to a job at the post office. Only the splendid quality of his many novels eventually won him forgiveness and proper recognition.

A serious biography takes up what the world thinks of its subject, what his friends and family think of him, and—if the information is available in letters, diaries, journals, or interviews—what he thinks of himself. An autobiography is ultimately about the last question: what the author thinks of himself. Yet how many of us have sufficient self-knowledge to give a convincing answer? In her splendid novel Memoirs of Hadrian , Marguerite Yourcenar has Hadrian note: “When I seek deep within me for knowledge of myself what I find is obscure, internal, unformulated, and as secret as any complicity.” The unexamined life may not be worth living, but the scrupulously examined one is rare indeed.

My own life has not provided the richest fodder for autobiography. For one thing, it has not featured much in the way of drama. For another, good fortune has allowed me the freedom to do with my life much as I have wished. I have given my autobiography the title Never Say You’ve Had a Lucky Life , with the subtitle Especially If You’ve Had a Lucky Life . Now well along in its closing chapter, mine, I contend, has been thus far—here I pause to touch wood—a most lucky life.

My title derives from the story of Croesus, who ruled the country of Lydia from circa 585–547 b.c. , and who is perhaps today best known for the phrase “rich as Croesus.” The vastly wealthy Croesus thought himself the luckiest man on earth and asked confirmation of this from Solon, the wise Athenian, who told him that in fact the luckiest man on earth was another Athenian who had two sons in that year’s Olympics. When Croesus asked who was second luckiest, Solon cited another Greek who had a most happy family life. Croesus was displeased but not convinced by Solon’s answers. Years later he was captured by the Persian Cyrus, divested of his kingdom and his wealth, and set on a pyre to be burned alive, before which he was heard to exclaim that Solon had been right. The moral of the story is, of course: Never say you have had a lucky life until you know how your life ends.

I have known serious sadness in my life. I have undergone a divorce. I have become a member of that most dolorous of clubs, parents who have buried one of their children. Yet I have had much to be grateful for. In the final paragraph of a book I wrote some years ago on the subject of ambition, I noted that “We do not choose our parents. We do not choose our historical epoch, or the country of our birth, or the immediate circumstances of our upbringing.” In all these realms, I lucked out. I was born to intelligent, kindly parents; at a time that, though I was drafted into the army, allowed me to miss being called up to fight in any wars; and in the largely unmitigated prosperity enjoyed by the world’s most interesting country, the United States of America.

Writing is a form of discovery. Yet can even writing ferret out the quality and meaning of one’s own life? Alexis de Tocqueville, the endlessly quotable Tocqueville, wrote: “The fate of individuals is still more hidden than that of peoples,” and “the destinies of individuals are often as uncertain as those of nations.” Fate, destiny, those two great tricksters, who knows what they have in store for one, even in the final days of one’s life? I, for example, as late as the age of eighteen, had never heard the word “intellectual.” If you had asked me what a man of letters was, I would have said a guy who works at the post office. Yet I have been destined to function as an intellectual for the better part of my adult life, and have more than once been called a man of letters. Fate, destiny, go figure!

T he first question that arises in writing one’s autobiography is what to include and what to exclude. Take, for starters, sex. In his nearly seven-hundred-page autobiography, Journeys of the Mind , the historian of late antiquity Peter Brown waits until page 581 to mention, in the most glancing way, that he is married. Forty or so pages later, the name of a second wife is mentioned. Whether he had children with either of these wives, we never learn. But then, Brown’s is a purely intellectual autobiography, concerned all but exclusively with the development of the author’s mind and those who influenced that development.

My autobiography, though less than half the length of Brown’s, allowed no such luxury of reticence. Sex, especially when I was an adolescent, was a central subject, close to a preoccupation. After all, boys—as I frequently instructed my beautiful granddaughter Annabelle when she was growing up—are brutes. I came of age BP, or Before the Pill, and consummated sex, known in that day as “going all the way,” was not then a serious possibility. Too much was at risk—pregnancy, loss of reputation—for middle-class girls. My friends and I turned to prostitution.

Apart from occasionally picking up streetwalkers on some of Chicago’s darker streets, prostitution for the most part meant trips of sixty or so miles to the bordellos of Braidwood or Kankakee, Illinois. The sex, costing $3, was less than perfunctory. (“Don’t bother to take off your socks or that sweater,” one was instructed.) What was entailed was less sensual pleasure than a rite of passage, of becoming a man, of “losing your cherry,” a phrase I have only recently learned means forgoing one’s innocence. We usually went on these trips in groups of five or six in one or another of our fathers’ cars. Much joking on the way up and even more on the way back. Along Chicago’s Outer Drive, which we took home in those days, there was a Dad’s Old Fashioned Root Beer sign that read, “Have you had it lately?,” which always got a good laugh.

I like to think of myself as a shy pornographer, or, perhaps better, a sly pornographer. By this I mean that in my fiction and where necessary in my essays I do not shy away from the subject of sex, only from the need to describe it in any of its lurid details. So I have done in my autobiography. On the subject of sex in my first marriage (of two), for example, I say merely, “I did not want my money back.” But, then, all sex, if one comes to think about it, is essentially comic, except of course one’s own.

On the inclusion-exclusion question, the next subject I had to consider was money, or my personal finances. Financially I have nothing to brag about. In my autobiography I do, though, occasionally give the exact salaries—none of them spectacular—of the jobs I’ve held. With some hesitation (lest it seem boasting) I mention that a book I wrote on the subject of snobbery earned, with its paperback sale, roughly half-a-million dollars. I fail to mention those of my books that earned paltry royalties, or, as I came to think of them, peasantries. In my autobiography, I contented myself with noting my good fortune in being able to earn enough money doing pretty much what I wished to do and ending up having acquired enough money not to worry overmuch about financial matters. Like the man said, a lucky life.

If I deal glancingly in my autobiography with sex and personal finances, I tried to take a pass on politics. My own political development is of little interest. I started out in my political life a fairly standard liberal—which in those days meant despising Richard Nixon—and have ended up today contemptuous of both our political parties: Tweedledum and Tweedledumber, as the critic Dwight Macdonald referred to them. Forgive the self-congratulatory note, but in politics I prefer to think myself a member in good standing of that third American political party, never alas on the ballot, the anti-BS party.

Of course, sometimes one needs to have a politics, if only to fight off the politics of others. Ours is a time when politics seems to be swamping all else: art, education, journalism, culture generally. I have had the dubious distinction of having been “canceled,” for what were thought my political views, and I write about this experience in my autobiography. I was fired from the editorship of Phi Beta Kappa’s quarterly magazine, the American Scholar —a job I had held for more than twenty years—because of my ostensibly conservative, I suppose I ought to make that “right-wing,” politics. My chief cancellers were two academic feminists and an African-American historian-biographer, who sat on the senate, or governing board, of Phi Beta Kappa.

T he official version given out by Phi Beta Kappa for my cancellation—in those days still known as a firing—was that the magazine was losing subscribers and needed to seek younger readers. Neither assertion was true, but both currently appear in the Wikipedia entry under my name. The New York Times also printed this “official” but untrue version of my cancellation. In fact, I was canceled because I had failed to run anything in the magazine about academic feminism or race, both subjects that had already been done to death elsewhere and that I thought cliché-ridden and hence of little interest for a magazine I specifically tried to keep apolitical. During my twenty-two years at the American Scholar , the name of no current United States president was mentioned. If anything resembling a theme emerged during my editorship, it was the preservation of the tradition of the liberal arts, a subject on which I was able to acquire contributions from Jacques Barzun, Paul Kristeller, Hugh Trevor-Roper, Frederick Crews, and others.

That I was fired not for anything I had done but for things I had failed to do is an indication of how far we had come in the realm of political correctness. I take up this topic in my autobiography, one theme of which is the vast changes that have taken place in American culture over my lifetime. A notable example is an essay on homosexuality that I wrote and published in Harper’s in 1970, a mere fifty-three years ago. The essay made the points that we still did not know much about the origin of male homosexuality, that there was much hypocrisy concerning the subject, that homosexuals were living under considerable social pressure and prejudice, and that given a choice, most people would prefer that their children not be homosexual. This, as I say, was in 1970, before the gay liberation movement had got underway in earnest. The essay attracted a vast number of letters in opposition, and a man named Merle Miller, who claimed I was calling for genocide of homosexuals, wrote a book based on the essay. Gore Vidal, never known for his temperate reasoning, claimed my argument was ad Hitlerum . (Vidal, after contracting Epstein-Barr virus late in life, claimed that “Joseph Epstein gave it to me.”) I have never reprinted the essay in any of my collections because I felt that it would stir up too much strong feeling. For what it is worth, I also happen to be pleased by the greater tolerance accorded homosexuality in the half century since my essay was published.

The larger point is that today neither Harper’s nor any other mainstream magazine would dare to publish that essay. Yet a few years after the essay was published, I was offered a job teaching in the English Department of Northwestern University, and the year after that, I was appointed editor of the American Scholar. Today, of course, neither job would have been available to me.

Do these matters—my cancellation from the American Scholar , my unearned reputation as a homophobe—come under the heading of self-justification? Perhaps so. But then, what better, or at least more convenient, place to attempt to justify oneself than in one’s autobiography?

Many changes have taken place in my lifetime, some for the better, some for the worse, some whose value cannot yet be known. I note, for example, if not the death then the attenuation of the extended family (nephews, nieces, cousins) in American life. Whereas much of my parents’ social life revolved around an extensive cousinage, I today have grandnephews and grandnieces living on both coasts whom I have never met and probably never shall. I imagine some of them one day being notified of my death and responding, “Really? [Pause] What’s for dinner?”

I take up in my autobiography what Philip Rieff called, in his book of this title, the Triumph of the Therapeutic, a development that has altered child-rearing, artistic creation, and much else in our culture. Although the doctrines of Sigmund Freud, Carl Jung, and others are no longer taken as gospel, their secondary influence has conquered much of modern culture. My parents’ generation did not hold with therapeutic culture, which contends that the essentials of life are the achievement of self-esteem and individual happiness, replacing honor, courage, kindness, and generosity.

In my autobiography, I note that when my mother was depressed by her knowledge that she was dying of cancer, a friend suggested that there were support groups for people with terminal diseases, one of which might be helpful. I imagined telling my mother about such groups, and her response: “Let me see,” she is likely to have said. “You want me to go into a room with strangers, where I will listen to their problems and then I’ll tell them mine, and this will make me feel better.” Pause. “Is this the kind of idiot I’ve raised as a son?”

T hen there is digital culture, the verdict on which is not yet in. Digital culture has changed the way we read, think, make social connections, do business, and so much more. I write in my autobiography that in its consequences digital culture is up there with the printing press and the automobile. Its influence is still far from fully fathomed.

One of my challenges in writing my autobiography was to avoid seeming to brag about my quite modest accomplishments. In the Rhetoric , Aristotle writes: “Speaking at length about oneself, making false claims, taking the credit for what another has done, these are signs of boastfulness.” I tried not to lapse into boasting. Yet at one point I quote Jacques Barzun, in a letter to me, claiming that as a writer I am in the direct line of William Hazlitt, though in some ways better, for my task—that of finding the proper language to establish both intimacy and critical distance—is in the current day more difficult than in Hazlitt’s. At least I deliberately neglected to mention that, in response to my being fired from the American Scholar, Daniel Patrick Moynihan flew an American flag at half-mast over the Capitol, a flag he sent to me as a souvenir. Quoting others about my accomplishments, is this anything other than boasting by other means? I hope so, though even now I’m not altogether sure.

I have a certain pride in these modest accomplishments. Setting out in life, I never thought I should publish some thirty-odd books or have the good luck to continue writing well into my eighties. The question for me as an autobiographer was how to express that pride without preening. The most efficient way, of course, is never to write an autobiography.

Why, then, did I write mine? Although I have earlier characterized writing as a form of discovery, I did not, in writing my autobiography, expect to discover many radically new things about my character or the general lineaments of my life. Nor did I think that my life bore any lessons that were important to others. I had, and still have, little to confess; I have no hidden desire to be spanked by an NFL linebacker in a nun’s habit. A writer, a mere scribbler, I have led a largely spectatorial life, standing on the sidelines, glass of wine in hand, watching the circus pass before me.

Still, I wrote my autobiography, based in a loose way on Wordsworth’s notion that poetry arises from “emotion recollected in tranquility.” Writing it gave me an opportunity to review my life at the end of my life in a tranquil manner. I was able to note certain trends, parallels, and phenomena that have marked my life and set my destiny.

The first of these, as I remarked earlier, was the fortunate time in which I was born, namely the tail end of the Great Depression—to be specific, in 1937. Because of the Depression, people were having fewer children, and often having them later. (My mother was twenty-seven, my father thirty at my birth.) Born when it was, my generation, though subject to the draft—not, in my experience of it, a bad thing—danced between the wars: We were too young for Korea, too old for Vietnam. We were also children during World War II, the last war the country fully supported, which gave us a love of our country. Ours was a low-population generation, untroubled by the vagaries of college admissions or the trauma of rejection by the school of one’s choice. Colleges, in fact, wanted us.

Or consider parents, another fateful phenomenon over which one has no choice. To be born to thoughtless, or disagreeable, or depressed, or deeply neurotic parents cannot but substantially affect all one’s days. Having a father who is hugely successful in the world can be as dampening to the spirit as having a father who is a failure. And yet about all this one has no say. I have given the chapter on my parents the title “A Winning Ticket in the Parents Lottery,” for my own parents, though neither went to college, were thoughtful, honorable, and in no way psychologically crushing. They gave my younger brother and me the freedom to develop on our own; they never told me what schools to attend, what work to seek, whom or when to marry. I knew I was never at the center of my parents’ lives, yet I also knew I could count on them when I needed their support, which more than once I did, and they did not fail to come through. As I say, a winning ticket.

As one writes about one’s own life, certain themes are likely to emerge that hadn’t previously stood out so emphatically. In my case, one persistent motif is that of older boys, then older men, who have supported or aided me in various ways. A boy nearly two years older than I named Jack Libby saw to it that I wasn’t bullied or pushed around in a neighborhood where I was the youngest kid on the block. In high school, a boy to whom I have given the name Jeremy Klein taught me a thing or two about gambling and corruption generally. Later in life, men eight, nine, ten, even twenty or more years older than I promoted my career: Hilton Kramer in promoting my candidacy for the editorship of the American Scholar , Irving Howe in helping me get a teaching job (without an advanced degree) at Northwestern, John Gross in publishing me regularly on important subjects in the Times Literary Supplement , Edward Shils in ways too numerous to mention. Something there was about me, evidently, that was highly protégéable.

I haven’t yet seen the index for my autobiography, but my guess is that it could have been name-ier. I failed, for example, to include my brief but pleasing friendship with Sol Linowitz. Sol was the chairman of Xerox, and later served the Johnson administration as ambassador to the Organization of American States. He also happened to be a reader of mine, and on my various trips to Washington I was often his guest at the F Street Club, a political lunch club where he reserved a private room in which we told each other jokes, chiefly Jewish jokes. I might also have added my six years as a member of the National Council of the National Endowment for the Arts, whose members included the actors Robert Stack and Celeste Holm, the Balanchine dancer Arthur Mitchell, Robert Joffrey, the soprano Renée Fleming, the novelist Toni Morrison, the dancer and choreographer Martha Graham, the architect I. M. Pei, the painter Helen Frankenthaler, and other highly droppable names.

Confronting one’s regrets is another inescapable element in writing one’s autobiography. Ah, regrets: the red MG convertible one didn’t buy in one’s twenties, the elegant young Asian woman one should have asked to dinner, the year one failed to spend in Paris. The greater the number of one’s regrets, the grander their scope, the sadder, at its close, one’s life figures to be. I come out fairly well in the regrets ledger. I regret not having studied classics at university, and so today I cannot read ancient Greek. I regret not having been a better father to my sons. I regret not asking my mother more questions about her family and not telling my father what a good man I thought he was. As regrets go, these are not minor, yet neither have I found them to be crippling.

Then there is the matter of recognizing one’s quirks, or peculiar habits. A notable one of mine, acquired late in life, is to have become near to the reverse of a hypochondriac. I have not yet reached the stage of anosognosia, or the belief that one is well when one is ill—a stage, by the way, that Chekhov, himself a physician, seems to have attained. I take vitamins, get flu and Covid shots, and watch what I eat, but I try to steer clear of physicians. This tendency kicked in not long after my decades-long primary care physician retired. In his The Body: A Guide for Occupants , Bill Bryson defines good health as the health enjoyed by someone who hasn’t had a physical lately. The ancients made this point more directly, advising bene caca et declina medicos (translation on request) . For a variety of reasons, physicians of the current day are fond of sending patients for a multiplicity of tests: bone density tests, colonoscopies, biopsies, X-rays of all sorts, CT scans, MRIs, stopping only at SATs. I am not keen to discover ailments that don’t bother me. At the age of eighty-seven, I figure I am playing with house money, and I have no wish to upset the house by prodding my health in search of imperfections any more than is absolutely necessary.

The older one gets, unless one’s life is lived in pain or deepest regret, the more fortunate one feels. Not always, not everyone, I suppose. “The longer I live, the more I am inclined to the belief that this earth is used by other planets as a lunatic asylum,” said George Bernard Shaw, who lived to age ninety-four. Though the world seems to be in a hell of a shape just now, I nonetheless prefer to delay my exit for as long as I can. I like it here, continue to find much that is interesting and amusing, and have no wish to depart the planet.

Still, with advancing years I have found my interests narrowing. Not least among my waning interests is that in travel. I like my domestic routine too much to abandon it for foreign countries where the natives figure to be wearing Air Jordan shoes, Ralph Lauren shirts, and cargo pants. Magazines that I once looked forward to, many of which I have written for in the past, no longer contain much that I find worth reading. A former moviegoer, I haven’t been to a movie theater in at least a decade. The high price of concert and opera tickets has driven me away. The supposedly great American playwrights—Arthur Miller, Tennessee Williams, Eugene O’Neill, Edward Albee—have never seemed all that good to me, and I miss them not at all. If all this sounds like a complaint that the culture has deserted me, I don’t feel that it has. I can still listen to my beloved Mozart on discs, read Tolstoy, Jane Austen, Dickens, George Eliot, Willa Cather, and the other great novelists, watch the splendid movies of earlier days on Turner Classics and HBO—live, in other words, on the culture of the past.

“Vho needs dis?” Igor Stravinsky is supposed to have remarked when presented with some new phenomena of the avant-garde or other work in the realm of art without obvious benefit. “Vho needs dis?” is a question that occurred to me more than once or twice as I wrote my autobiography. All I can say is that those who read my autobiography will read of the life of a man lucky enough to have devoted the better part of his days to fitting words together into sentences, sentences into paragraphs, and paragraphs into essays and stories on a wide variety of topics. Now in his autobiography all the sentences and paragraphs are about his own life. He hopes that these sentences are well made, these paragraphs have a point, and together they attain to a respectable truth quotient, containing no falsehoods whatsoever. He hopes that, on these modest grounds at least, his autobiography qualifies as worth reading.

Joseph Epstein is author of Gallimaufry , a collection of essays and reviews.

Image by Museum Rotterdam on Wikimedia Commons , licensed via Creative Commons . Image cropped.

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How Beyoncé Fits Into the Storied Legacy of Black Country

Randall is an award-winning professor, songwriter, and author of My Black Country: A Journey Through Country Music's Black Past, Present, and Future

O n March 16, 1983, the Country Music Association (CMA) celebrated its 25th anniversary, and I was invited. Buddy Killen, the song publisher who pitched “Heartbreak Hotel” to Elvis Presley, thought “the Black girl from Harvard” might just be the second coming of that hit’s songwriter, Mae Boren Axton. He put me on the guest list and paid for the tickets.

It was a complicated night. The event was held at the DAR Constitution Hall, built by the Daughters of the American Revolution, an infamous venue whose management had refused to allow Black opera star Marian Anderson to perform on its stage in 1939. I took special pleasure in seeing guitarist and singer Charley Pride stride onto that stage—in a building named to honor the U.S. Constitution, but run to exclude Black artists—and stake his claim as part of that “We the People” that document claims to represent.

At one point in the ceremony, singer Roy Acuff announced that “country music is a family.” Then he proclaimed Jimmie Rodgers “the father” of that family. But he did not mention Lil Hardin Armstrong, the pianist who played on Rodgers’ hit “Blue Yodel No. 9.” Acuff nodded to Will Rogers, the comedian, but shamelessly omitted DeFord Bailey , the Grand Ole Opry’s first superstar.

My idea to name and spotlight the First Family of Black Country was conceived in that moment. It was nurtured in the silence of missing names. Quiet as it was being kept, country had Black founders. I knew it; Buddy Killen, who arrived in Nashville playing bass for a blackface comedy act on the Grand Ole Opry, knew it; Roy Acuff, who had played on stages with Bailey, Ray Charles, and Pride, knew it. And more than four decades later, Beyoncé knew it when she broke the internet on Super Bowl Sunday by surprise—releasing two country songs and announcing an album, Cowboy Carter , which has her devoted fans in the Beyhive buzzing about line-dancing into the summer of country.

Read More: Beyoncé Has Always Been Country

That evening back in 1983 was constructed to be country’s coming-out party as a musical genre worthy of exceptional respect because it was a reflection and celebration of America at its best. And that best was being defined as a family having only white founders—and not a single Black woman in sight. It was a fallacy that could only last so long.

The way I see it, modern Black country was born on Dec. 10, 1927, when Bailey, descended from enslaved Tennesseans, lifted his harmonica to play “Pan American Blues” on the Nashville radio show Barn Dance. Fast forward to July 16, 1930, in Los Angeles, where Armstrong made country music history as the first Black woman to play on a hillbilly record that sold a million copies. And Lil didn’t just play on the session—her piano drove the session.

Country is not as many have posited: a genre with Black influence but without Black presence. Black women have been present since the earliest days of country’s existence as a recorded and commercially marketed music form. But a custom of cultural redlining has not only kept Black women out of country writing rooms, off country airwaves, off rodeo stages, off the country charts; it has also worked to keep the few Black women who managed to evade the gatekeepers off the entertainment pages, and out of the history books.

This would change. Nobody sitting in the room that night knew it, but there was a little girl toddling around a two-story house in Houston who would bring the long era of -erasing Black country sounds and stories to an abrupt end. The calculated erasure that began at one large public party with expensive tickets in 1983 ended during another, Super Bowl LVIII, when Beyoncé released “Texas Hold ’Em” and “16 Carriages.”

Along with “Daddy Lessons” off of 2016’s Lemonade, these songs have established Beyoncé as heir to a Black country musical tradition that dates back to the 17th century, when the first banjo was strummed by Black hands on American soil. Like DeFord Bailey’s, Beyoncé’s country songs are grounded in aural rural realities: the screech of the passing train, the sound from the local bar where folk are dancing. Like Lil, she understands the power of a costume and a trumpet. Like Ray Charles she brings a whiff of the Black cosmopolitan. Like Charley Pride she exudes a radiant Old Testament Song of Songs sexuality that is at once hot and holy. Like Herb Jeffries she embodies the cowboy who stays close to nature and guns.

The erasure did not end just because Beyoncé Knowles Carter became the first Black female artist to top the country charts, though she did that, on Feb. 24. And there are many others who have laid the groundwork for this catalytic moment: Linda Martell, the Pointer Sisters, Rissi Palmer, Rhiannon Giddens, Mickey Guyton, Brittney Spencer, Reyna Roberts, and O.N.E the Duo, to name just a few.

The erasure ended when she started a sustained national conversation, getting America to talk about and celebrate neglected Black country legacy. The question of “Who can be in country music?” often masks a deeper query about “Who can be a real American?” Beyoncé’s was a loud announcement of a reality long denied, that she was “We the People.” And so were people who looked like her.

I’ve often said that country music is three chords and four truths: life is hard, God is real, whiskey and roads and family provide worthy compensations, and the past is better than the present. That last truth is one of the places where country often experiences a racial split. In much of white country, the past that is better than the present exists in a longed-for and lost mythical Dixie. In Black country, the past that is better than the present exists in a longed-for and lost Africa before colonization.

Country music is commonly defined as American folk music with Celtic, African, and evangelical Christian influences. My ancestors come from Cameroon, Nigeria, and Mali, from Scotland, England, and Ireland. I am country music, embodied. I started songwriting sitting under a Motown cherry tree, about the age of 5, in 1964. I would eat candied cherries, watching a sea of cars flow by on the John C. Lodge Freeway, and let country songs—from my grandmother’s lips, my mother’s radio, my aunt’s -stereo—roll ’round my head. I started off singing other people’s words then one day I started singing my own, the auspicious beginnings of a career that would land me in the top spot on the country charts.

Read More: Black Artists Helped Build Country Music—And Then It Left Them Behind

My daddy hipped me to the fact that it was Lil Hardin on Jimmie Rodgers’ biggest hit, and that there were probably a lot more Black folks passing for white on country records. He would look at some sheet music or hymnal, then ask, “What you bet Traditional was a colored girl?”

I write country music because it is a way to make what is too hard to bear somehow bearable. Beyoncé in “Texas Hold ’Em” does this same work, squaring off against tornadoes, heat waves, and lovers losing courage, as DeFord had squared off against a sense of being relentlessly pursued in “Fox Chase.” Both songs transform hardship into a particular flavor of playful and hopeful joy I recognize as country.

To close out the CMA anniversary show, Ray Charles sang “America the Beautiful.” Listening to the man behind what has been called the greatest country album, 1962’s Modern Sounds in Country and Western Music, it struck me how entwined he was in the legacy of Black country. This was Armstrong and Bailey’s genius child. Next to him was country-as-corn-bread Pride, a spiritual love child to Bailey. On the other side of the family tree, Herb Jeffries, who wasn’t present in the auditorium but should have been, was Armstrong’s stepchild.

Among a sea of white people, including the President and Vice President of the U.S. and the presidents of every major country-music label, I had an inkling I was the only person in that room worried about singing Black cowboys, worried about Jeffries, wondering why he wasn’t there.

Now Beyoncé has changed that room entirely. Cowboy Carter is poised to be a brilliant new beginning and a culmination. As I see it, Beyoncé is the genius child of Ray Charles. The daughter who eclipses the father. The reflected light of her triumph makes visible both the lineage from which she aesthetically descends and the reality that Black country is a big tent with many entry points: from banjos, harmonicas, and cowboy songs to movies and Motown cherry trees. Beyoncé raises this question: If country owes a significant debt to Black culture, what in America doesn’t?

Adapted from My Black Country: A Journey Through Country Music’s Black Past, Present, and Future . Copyright © 2024 by Alice Randall. Reprinted by permission of Black Privilege Publishing, an imprint of Simon & Schuster, LLC.

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Stories like these can communicate shared values, make us more empathic, and may encourage us to help others. 5. Clarify your values. You may recognize heroism or courage in others, but sometimes struggle to see it in yourself. If so, it may be helpful to ask yourself a few key questions:
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