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new literature essay

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).

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English literature essays, an english literature essay archive, written by our students, with subjects ranging from shakespeare to artistotle, and from dickens to hemingway, essay subjects in alphabetical order:.

  • Aristotle: Poetics

Margaret Atwood

Margaret atwood 'gertrude talks back'.

  • Matthew Arnold

John Bunyan: The Pilgrim's Progress and Geoffrey Chaucer: The Canterbury Tales

  • Jonathan Bayliss
  • Lewis Carroll, Samuel Beckett
  • Saul Bellow and Ken Kesey
  • Castiglione: The Courtier
  • Joseph Conrad: Heart of Darkness
  • Kate Chopin: The Awakening
  • T S Eliot, Albert Camus
  • Charles Dickens
  • John Donne: Love poetry
  • John Dryden: Translation of Ovid
  • T S Eliot: Four Quartets
  • Henry Fielding
  • William Faulkner: Sartoris
  • Graham Greene: Brighton Rock
  • Ibsen, Lawrence, Galsworthy
  • Jonathan Swift and John Gay
  • Oliver Goldsmith
  • Ernest Hemingway
  • Nathaniel Hawthorne: The Scarlet Letter

Thomas Hardy: Tess of the d'Urbervilles

  • Carl Gustav Jung

James Joyce: A Portrait of the Artist as a Young Man

  • Jon Jost: American independent film-maker
  • Jamaica Kincaid, Merle Hodge, George Lamming
  • Rudyard Kipling: Kim
  • D. H. Lawrence: Women in Love

Henry Lawson: 'Eureka!'

  • Ian McEwan: The Cement Garden
  • Jennifer Maiden: The Winter Baby
  • Machiavelli: The Prince
  • Toni Morrison: Beloved and Jazz

R K Narayan

  • R K Narayan: The English Teacher
  • R K Narayan: The Guide
  • Alexander Pope: The Rape of the Lock
  • Brian Patten
  • Harold Pinter
  • Sylvia Plath and Alice Walker

Jean Rhys: Wide Sargasso Sea. Charlotte Bronte: Jane Eyre

  • Edmund Spenser: The Faerie Queene
  • Shakespeare: Antony and Cleopatra
  • Shakespeare: Coriolanus
  • Shakespeare: Hamlet
  • Shakespeare: Measure for Measure

Shakespeare: Shakespeare's Women

Shakespeare: the winter's tale and the tempest.

  • Shakespeare: Twelfth Night
  • Sir Philip Sidney: Astrophil and Stella
  • Tom Stoppard

William Styron: Sophie's Choice

  • William Wordsworth

Miscellaneous

  • Alice, Harry Potter and the computer game

Indian women's writing

  • New York! New York!
  • Photography and the New Native American Aesthetic
  • Renaissance poetry
  • Renaissance tragedy and investigator heroes
  • Romanticism
  • Studying English Literature
  • The Age of Reason
  • The author, the text, and the reader
  • The Spy in the Computer
  • What is literary writing?
  • Margaret Atwood: Bodily Harm and The Handmaid's Tale
  • Margaret Atwood 'Gertrude Talks Back'
  • John Bunyan: The Pilgrim's Progress and Geoffrey Chaucer: The Canterbury Tales
  • Thomas Hardy: Tess of the d'Urbervilles
  • James Joyce: A Portrait of the Artist as a Young Man: Will McManus
  • James Joyce: A Portrait of the Artist as a Young Man: Ian Mackean
  • James Joyce: A Portrait of the Artist as a Young Man: Ben Foley
  • Henry Lawson: 'Eureka!'
  • R K Narayan's vision of life
  • Jean Rhys: Wide Sargasso Sea. Charlotte Bronte: Jane Eyre: Doubles
  • Jean Rhys: Wide Sargasso Sea. Charlotte Bronte: Jane Eyre: Symbolism
  • Shakespeare: Shakespeare's Women
  • Shakespeare: The Winter's Tale and The Tempest
  • William Styron: Sophie's Choice
  • William Wordsworth and Lucy
  • Indian women's writing

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Essays About Literature: Top 6 Examples and 8 Prompts

Society and culture are formed around literature. If you are writing essays about literature, you can use the essay examples and prompts featured in our guide.

It has been said that language holds the key to all human activities, and literature is the expression of language. It teaches new words and phrases, allows us to better our communication skills, and helps us learn more about ourselves.

Whether you are reading poems or novels, we often see parts of ourselves in the characters and themes presented by the authors. Literature gives us ideas and helps us determine what to say, while language gives form and structure to our ideas, helping us convey them.

6 Helpful Essay Examples

1. importance of literature by william anderson, 2. philippine literature by jean hodges, 3. african literature by morris marshall.

  • 4.  Nine Questions From Children’s Literature That Every Person Should Answer by Shaunta Grimes

5. Exploring tyranny and power in Macbeth by Tom Davey

6. guide to the classics: homer’s odyssey by jo adetunji, 1. the importance of literature, 2. comparing and contrasting two works of literature  , 3. the use of literary devices, 4. popular adaptations of literature, 5. gender roles in literature, 6. analysis of your chosen literary work, 7. fiction vs. non-fiction, 8. literature as an art form.

“Life before literature was practical and predictable, but in the present-day, literature has expanded into countless libraries and into the minds of many as the gateway for comprehension and curiosity of the human mind and the world around them. Literature is of great importance and is studied upon as it provides the ability to connect human relationships and define what is right and what is wrong.”

Anderson writes about why an understanding of literature is crucial. It allows us to see different perspectives of people from different periods, countries, and cultures: we are given the ability to see the world from an entirely new lens. As a result, we obtain a better judgment of situations. In a world where anything can happen, literature gives us the key to enacting change for ourselves and others. You might also be interested in these essays about Beowulf .

“So successful were the efforts of colonists to blot out the memory of the country’s largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country’s wealth of ethnic traditions and disseminating them in schools through mass media. The rise of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the “Filipino identity.””

In her essay, Hodges writes about the history of Philippine literature. Unfortunately, much of Philippine literary history has been obscured by Spanish colonization, as the written works of the Spanish largely replaced the oral tradition of the native Filipinos. A heightened sense of nationalism has recently led to a resurgence in Filipino tradition, including ancient Philippine literature. 

“In fact, the common denominator of the cultures of the African continent is undoubtedly the oral tradition. Writing on black Africa started in the middle Ages with the introduction of the Arabic language and later, in the nineteenth century with introduction of the Latin alphabet. Since 1934, with the birth of the “Negritude.” African authors began to write in French or in English.”

Marshall explores the history of African literature, particularly the languages it was written over time. It was initially written in Arabic and native languages; however, with the “Negritude” movement, writers began composing their works in French or English. This movement allowed African writers to spread their work and gain notoriety. Marshall gives examples of African literature, shedding light on their lyrical content. 

4.   Nine Questions From Children’s Literature That Every Person Should Answer by Shaunta Grimes

“ They asked me questions — questions about who I am, what I value, and where I’m headed — and pushed me to think about the answers. At some point in our lives, we decide we know everything we need to know. We stop asking questions. To remember what’s important, it sometimes helps to return to that place of childlike curiosity and wonder.”

Grimes’ essay is a testament to how much we can learn from literature, even as simple as children’s stories. She explains how different works of children’s literature, such as Charlotte’s Web and Little Women, can inspire us, help us maximize our imagination, and remind us of the fleeting nature of life. Most importantly, however, they remind us that the future is uncertain, and maximizing it is up to us. 

“This is a world where the moral bar has been lowered; a world which ‘sinks beneath the yoke’. In the Macbeths, we see just how terribly the human soul can be corrupted. However, this struggle is played out within other characters too. Perhaps we’re left wondering: in such a dog-eat-dog world, how would we fare?”

The corruption that power can lead to is genuine; Davey explains how this theme is present in Shakespeare’s Macbeth . Even after being honored, Macbeth still wishes to be king and commits heinous acts of violence to achieve his goals. Violence is prevalent throughout the play, but Macbeth and Lady Macbeth exemplify the vicious cycle of bloodshed through their ambition and power. 

“Polyphemus is blinded but survives the attack and curses the voyage home of the Ithacans. All of Odysseus’s men are eventually killed, and he alone survives his return home, mostly because of his versatility and cleverness. There is a strong element of the trickster figure about Homer’s Odysseus.”

Adetunji also exposes a notable work of literature, in this case, Homer’s Odyssey . She goes over the epic poem and its historical context and discusses Odysseus’ most important traits: cleverness and courage. As the story progresses, he displays great courage and bravery in his exploits, using his cunning and wit to outsmart his foes. Finally, Adetunji references modern interpretations of the Odyssey in film, literature, and other media.

8 Prompts for Essays About Literature

In your essay, write about the importance of literature; explain why we need to study literature and how it can help us in the future. Then, give examples of literary works that teach important moral lessons as evidence. 

For your essay, choose two works of literature with similar themes. Then, discuss their similarities and differences in plot, theme, and characters. For example, these themes could include death, grief, love and hate, or relationships. You can also discuss which of the two pieces of literature presents your chosen theme better. 

Essays about literature: The use of literary devices

Writers use literary devices to enhance their literary works and emphasize important points. Literary devices include personification, similes, metaphors, and more. You can write about the effectiveness of literary devices and the reasoning behind their usage. Research and give examples of instances where authors use literary devices effectively to enhance their message.  

Literature has been adapted into cinema, television, and other media time and again, with series such as Lord of the Rings and Harry Potter turning into blockbuster franchises. Explore how these adaptations diverge from their source material yet retain the key themes the writer composed the work with in mind. If this seems confusing, research first and read some essay examples. 

Literature reflects the ideas of the period it is from; for example, ancient Greek literature, such as Antigone, depicts the ideal woman as largely obedient and subservient, to an extent. For your essay, you can write about how gender roles have evolved in literature throughout the years, specifically about women. Be sure to give examples to support your points. 

Choose a work of literature that interests you and analyze it in your essay. You can use your favorite novel, book, or screenplay, explain the key themes and characters and summarize the plot. Analyze the key messages in your chosen piece of literature, and discuss how the themes are enhanced through the author’s writing techniques.

Essays about literature: Fiction Vs. Non-Fiction

Literature can be divided into two categories: fiction, from the writer’s imagination, and non-fiction, written about actual events. Explore their similarities and differences, and give your opinion on which is better. For a strong argument, provide ample supporting details and cite credible sources.  

Literature is an art form that uses language, so do you believe it is more effective in conveying its message? Write about how literature compares to other art forms such as painting and sculpture; state your argument and defend it adequately. 

Tip: If writing an essay sounds like a lot of work, simplify it. Write a simple 5 paragraph essay instead.

For help picking your next essay topic, check out the best essay topics about social media .

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Examples logo

10+ Literature Essay Examples [ University, College, Argumentative ]

10 Literature Essay Examples University College Modern

Some would say that literature has been the foundation of life. It has the ability to emphasize worldly issues and human cataclysm. These are written in paragraphs that makes our minds imagine things based on what the context is showing us. It enables every individual to see what others may perceive and even make other living being like animals and plants to be characters of a particular piece. Literature provided each one a chance to catch a lesson about life experiences from the tragic stories to the happiest one.

In this article, we will be going to talk about literature essay . As we have known, all essays follows the same structure which is the introduction, body paragraphs and conclusion. Writing an essay would not require much as long as you are able to comply with what is being required. See examples of other essays like expository essay , narrative essay and more.

10+ Literature Essay Examples

1. literature analysis essay.

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2. Automated Literature Essay

automated literature essay

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3. Modern Literature Essay

modern literature essay

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4. Critical Literature Essay

critical literature essay

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5. Organization Literature Essay

organization literature essay

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6. Literature Essay Template

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7. Outline Structure for Literary Essay

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8. University Literature Essay

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9. Novelist Literature Essay

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10. English Literature Essay

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11. Basic Literature Essay

basic literature essay

What is a Literature Essay?

A literature essay is an academic work that is written commonly with the existence of literature writings or piece or an analysis. It may examine or evaluate a particular literary work. It also tells about the theme of it. Literary essays maybe all about any writings such as books or anything related to literature.

This type of paper needs a particular format to follow. When engaging yourself with an academic writing , you also have to maintain a specific writing style. You can’t write like a journalist or a blogger. All you have to be is an essay writer that reads various literary books to create a literature essay for your target readers.

Basically, you have to follow some steps that will help you achieve a good literary essay. You have to understand the purpose of a literary analysis and its format, create a plan with regards to your writing activity, begin to write and don’t forget to edit in case there are possible errors that needs certain changes.

Also, consider this elements that would help your essay be organized. Know your subject, the form, your writing style, the theme, the relationship between the form and content and the main plot and subplot, the characters’ strengths and weaknesses and the storyline strengths and weaknesses.

How to Start your Literature Essay?

It is better to be aware of all the elements and structure an essay should include. It will be much easier for you to begin with your literary essay outline . The question now is “how do you start?”

In your introduction, it is always your goal to grab the attention of your readers. Bring the focus to the main point or main idea of your essay. You may also start with using a quote from a famous author. You are also allowed to put some background information about the literary piece you are analyzing. Don’t forget to include a thesis statement to maintain clarity within your work.

How to End your Literature Essay?

Every essay needs a strong conclusion. This should be able to convince all of your readers. How do you write a conclusion of your essay?

Do not try to attempt introducing new ideas in your conclusion. The main role of your conclusion is to give a summary and a restatement of your main ideas. It could also be making necessary comments that is in lined with your perspective.

What is the minimum number of paragraphs in an essay?

Normally, essays would usually have a minimum of three to four paragraphs.

In writing a literature essay, what should your title indicate?

Your title should indicate what you mostly focus on. It is best to keep it concise as possible.

Where do we usually put out topic sentence?

Topic sentences should be placed at the beginning of your paragraph.

Writing a literary essay is not an easy thing to do. You have to keep your focus on the main idea and at the same time fill in the necessary contents needed in every outline. As we grow older, we begin to discover every good aspect a literature has and what makes it special.

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English and American Studies pp 163–177 Cite as

The New Literatures in English

  • Katja Sarkowsky &
  • Frank Schulze-Engler  

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The New Literatures in English are not that new altogether. They have emerged from processes of colonization that transformed large tracts of the world from the late fifteenth century onwards, and some of them can trace their beginnings to the nineteenth or even late eighteenth century, when English, Irish or Scottish settlers in the Caribbean, Canada or South Africa first began to create an ‘overseas literature,’ and enslaved or colonized people first began to reflect on their current situation and future perspectives utilizing the medium of what was then ‘the colonizer’s tongue.’ Other literatures in English are indeed new, sometimes startlingly so: as distinct literary fields, West African literature in English emerged in the 1950s, East African literature in English in the 1960s, indigenous writing in Canada, Australia and New Zealand in the 1970s, and Black and Asian British Literature in the 1980s.

  • Literary History
  • Colonial Rule
  • Late Eighteenth Century
  • Colonial Power
  • National Literature

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Frye, Northrop. “Conclusion to a Literary History of Canada.” Literary History of Canada . Ed. Carl F. Klinck. Toronto: University of Toronto Press, 1965. 213–50.

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Martin Middeke ( Professor of English Literature, Visiting Professor of English ), Timo Müller ( Assistant Professor of American Studies ), Christina Wald ( Assistant Professor of English Literature ) & Hubert Zapf ( Professor of American Literature ) ( Professor of English Literature, Visiting Professor of English ),  ( Assistant Professor of American Studies ),  ( Assistant Professor of English Literature ) &  ( Professor of American Literature )

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Sarkowsky, K., Schulze-Engler, F. (2012). The New Literatures in English. In: Middeke, M., Müller, T., Wald, C., Zapf, H. (eds) English and American Studies. J.B. Metzler, Stuttgart. https://doi.org/10.1007/978-3-476-00406-2_4

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In the summer of 2022, I lost my mind. At first, it seemed I was simply overwhelmed because life had become very difficult, and I needed to — had every right to — blow off some steam. Our family was losing its apartment and had to find another one, fast, in a rental market gone so wild that people were offering over the asking price on rent. My husband, Keith, was preparing to publish a book, Raising Raffi, about our son, a book he’d written with my support and permission but that, as publication loomed, I began to have mixed feelings about. To cope with the stress, I asked my psychiatrist to increase the dosage of the antidepressant I’d been on for years. Sometime around then, I started talking too fast and drinking a lot.

I felt invincibly alive, powerful, and self-assured, troubled only by impatience with how slowly everyone around me was moving and thinking. Drinking felt necessary because it slightly calmed my racing brain. Some days, I’d have drinks with breakfast, lunch, and dinner, which I ate at restaurants so the drink order didn’t seem too unusual. Who doesn’t have an Aperol spritz on the way home from the gym in the morning? The restaurant meals cost money, as did the gym, as did all the other random things I bought, spending money we didn’t really have on ill-fitting lingerie from Instagram and workout clothes and lots of planters from Etsy. I grew distant and impatient with Keith as the book’s publication approached, even as I planned a giant party to celebrate its launch. At the party, everyone got COVID. I handed out cigarettes from a giant salad bowl — I had gone from smoking once or twice a day to chain-smoking whenever I could get away with it. When well-meaning friends tried to point out what was going on, I screamed at them and pointed out everything that was wrong in their lives. And most crucially, I became convinced that my marriage was over and had been over for years.

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I built a case against my husband in my mind. This book of his was simply the culmination of a pattern: He had always put his career before mine; while I had tended to our children during the pandemic, he had written a book about parenting. I tried to balance writing my own novel with drop-offs, pickups, sick days, and planning meals and shopping and cooking, most of which had always been my primary responsibility since I was a freelancer and Keith had a full-time job teaching journalism. We were incompatible in every way, except that we could talk to each other as we could to no one else, but that seemed beside the point. More relevant: I spent money like it was water, never budgeting, leaving Keith to make sure we made rent every month. Every few months, we’d have a fight about this and I’d vow to change; some system would be put in place, but it never stuck. We were headed for disaster, and finally it came.

Our last fight happened after a long day spent at a wedding upstate. I’d been drinking, first spiked lemonade at lunch alone and then boxed wine during the wedding reception, where I couldn’t eat any of the food — it all contained wheat, and I have celiac disease. When we got back, late, to the house where we were staying, I ordered takeout and demanded he go pick it up for me. Calling from the restaurant, he was incensed. Did I know how much my takeout order had cost? I hadn’t paid attention as I checked boxes in the app, nor had I realized that our bank account was perilously low — I never looked at receipts or opened statements. Not knowing this, I felt like he was actually denying me food, basic sustenance. It was the last straw. I packed a bag as the kids played happily with their cousins downstairs, then waited by the side of the road for a friend who lived nearby to come pick me up, even as Keith stood there begging me to stay. But his words washed over me; I was made of stone. I said it was over — really over. This was it, the definitive moment I’d been waiting for. I had a concrete reason to leave.

A few days later, still upstate at my friend’s house, I had a Zoom call with my therapist and my psychiatrist, who both urged me in no uncertain terms to check myself into a psychiatric hospital. Even I couldn’t ignore a message that clear. My friend drove me to the city, stopping for burgers along the way — I should have relished the burger more, as it was some of the last noninstitutional food I would eat for a long time — and helped me check into NYU Langone. My bags were searched, and anything that could be used as a weapon was removed, including my mascara. I spent my first night there in a gown in a cold holding room with no phone, nothing but my thoughts. Eventually, a bed upstairs became free and I was brought to the psych ward, where I was introduced to a roommate, had blood drawn, and was given the first of many pills that would help me stop feeling so irrepressibly energetic and angry. They started me on lithium right away. In a meeting with a team of psychiatrists, they broke the news: I had been diagnosed with bipolar disorder; they weren’t sure which kind yet. They gave me a nicotine patch every few hours plus Klonopin and Seroquel and lithium.

I wasn’t being held involuntarily, which meant I could write letters on an official form explaining why I ought to be released, which the psychiatrists then had three days to consider. I attached extra notebook pages to the letters explaining that I was divorcing my husband and was terrified I would never be able to see my kids again if I was declared unfit because I was insane. These letters did not result in my release; if anything, they prolonged my stay. I got my phone back — it would soon be revoked again, wisely — but in that brief interim, I sent out a newsletter to my hundreds of subscribers declaring that I was getting a divorce and asking them to Venmo me money for the custody battle I foresaw. In this newsletter, I also referenced Shakespeare. The drugs clearly had not kicked in yet. I cycled through three different roommates, all of whom were lovely, though I preferred the depressed one to the borderline ones. We amused ourselves during the day by going to art therapy, music therapy, and meetings with our psychiatrists. I made a lot of beaded bracelets.

In the meetings with the shrinks, I steadfastly maintained that I was sane and that my main problem was the ending of my marriage. I put Keith, and my mother, on a list of people who weren’t allowed to visit me. Undaunted, Keith brought me gluten-free egg sandwiches in the morning, which I grudgingly ate — anything for a break from the hospital food. My parents came up from D.C. and helped Keith take care of our children. I was in the hospital for a little more than three weeks, almost the entire month of October, longer than I’d ever been away from my kids before in their lives. I celebrated my 41st birthday in the hospital and received a lot of very creative cards that my fellow crazies had decorated during art therapy. Eventually, the drugs began to work: I could tell they were working because instead of feeling energetic, I suddenly couldn’t stop crying. The tears came involuntarily, like vomit. I cried continuously for hours and had to be given gabapentin in order to sleep.

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On the day I was released, I didn’t let anyone pick me up. I expected the superhuman strength I’d felt for months to carry me, but it was gone, lithiumed away. Instead, I felt almost paralyzed as I carried my bags to a cab. When I arrived at my apartment, I couldn’t figure out where I should sleep. It didn’t feel like my home anymore. We couldn’t afford to live separately, even temporarily, but the one thing that our somewhat decrepit, inconveniently located new apartment had in its favor was two small attic bedrooms and one larger bedroom downstairs. I claimed this downstairs room for myself and began to live there alone, coming into contact with Keith only when we had to be together with our children.

You might assume that my fixation on divorce would have subsided now that my mental health had stabilized and I was on strong antipsychotic medication. But I still did not want to stay in my marriage. If anything, I felt a newfound clarity: Keith and I had fundamentally incompatible selves. Our marriage had been built on a flaw. My husband was older, more established and successful in his career. These were the facts, so it had to be my job to do more of the work at home. Unless, of course, I decided to take myself and my work as seriously as he took his. But that was unappealing; I had managed to publish three books before turning 40, but I didn’t want to work all the time, like he does.

I wondered if my marriage would always feel like a competition and if the only way to call the competition a draw would be to end it.

We picked the kids up from school and dropped them off, or really mostly Keith did. I appeared at meals and tried to act normal. I was at a loss for what to do much of the time. I attended AA meetings and the DBT meetings required by the hospital outpatient program, and I read. I read books about insanity: Darkness Visible, The Bell Jar, An Unquiet Mind, Postcards From the Edge. I tried to understand what was happening to me, but nothing seemed to resonate until I began to read books about divorce. I felt I was preparing myself for what was coming. The first book I read was Rachel Cusk’s Aftermath, which has become the go-to literary divorce bible since its 2012 publication. In it, Cusk describes the way her life shattered and recomposed after the dissolution of her marriage, when her daughters were still very young. She makes the case for the untenability of her relationship by explaining that men and women are fundamentally unequal. She posits that men and women who marry and have children are perpetually fighting separate battles, lost to each other: “The baby can seem like something her husband has given her as a substitute for himself, a kind of transitional object, like a doll, for her to hold so that he can return to the world. And he does, he leaves her, returning to work, setting sail for Troy. He is free, for in the baby the romance of man and woman has been concluded: each can now do without the other.”

At our relationship’s lowest moments, this metaphor had barely been a metaphor. I remembered, the previous winter, Keith going off on a reporting trip to Ukraine at the very beginning of the war, leaving me and the kids with very little assurance of his safety. I had felt okay for the first couple of days until I heard on the news of bombing very close to where he was staying. After that, I went and bummed a cigarette from a neighbor, leaving the kids sleeping in their beds in order to do so. It was my first cigarette in 15 years. Though that had been the winter before my mania began, I believe the first seeds of it were sown then: leaving the children, smoking the cigarette, resenting Keith for putting himself in harm’s way and going out into the greater world while I tended to lunches, homework, and laundry as though everything were normal.

In Nora Ephron’s Heartburn, as in Aftermath, I found an airtight case for divorce. The husband was the villain and the wife the wronged party, and the inevitable result was splitting up. I felt an echo of this later on when I read Lyz Lenz’s polemic This American Ex-Wife, out this month, marketed as “a deeply validating manifesto on the gender politics of marriage (bad) and divorce (actually pretty good!).” The book begins by detailing how Lenz’s husband rarely did household chores and hid belongings of hers that he didn’t like — e.g., a mug that said WRITE LIKE A MOTHERFUCKER — in a box in the basement. “I didn’t want to waste my one wild and precious life telling a grown man where to find the ketchup,” Lenz writes. “What was compelling about my marriage wasn’t its evils or its villains, but its commonplace horror.”

This was not quite the way I felt. Even though I could not stand to see my husband’s face or hear his voice, even though I still felt the same simmering resentment I had since I entered the hospital, I also found myself feeling pangs of sympathy for him. After all, he was going through this too. When we were inevitably together, at mealtimes that were silent unless the children spoke, I could see how wounded he was, how he was barely keeping it together. His clothes hung off his gaunt frame. And at night, when we passed in the kitchen making cups of tea that we would take to our respective rooms, he sometimes asked me for a hug, just a hug. One time I gave in and felt his ribs through his T-shirt. He must have lost at least 15 pounds.

It began to seem like I only ever talked to friends who had been through divorces or were contemplating them. One friend who didn’t know whether to split up with her husband thought opening their marriage might be the answer. Another friend described the ease of sharing custody of his young daughter, then admitted that he and his ex-wife still had sex most weekends. In my chronically undecided state, I admired both of these friends who had found, or might have found, a way to split the difference. Maybe it was possible to break up and remain friends with an ex, something that had never happened to me before in my entire life. Maybe it was possible to be married and not married at the same time. Then I went a little further in my imagination, and the idea of someone else having sex with my husband made me want to gag with jealousy. Maybe that meant something. I was so confused, and the confusion seemed to have no end.

I read more books about divorce. I received an early copy of Sarah Manguso’s Liars, marketed as “a searing novel about being a wife, a mother, and an artist, and how marriage makes liars out of us all.” In it, John, a creative dilettante, and Jane, a writer, meet and soon decide to marry. Liars describes their marriage from beginning to end, a span of almost 15 years, and is narrated by Jane. The beginning of their relationship is delirious: “I tried to explain that first ferocious hunger and couldn’t. It came from somewhere beyond reason.” But the opening of that book also contains a warning. “Then I married a man, as women do. My life became archetypal, a drag show of nuclear familyhood. I got enmeshed in a story that had already been told ten billion times.” I felt perversely reassured that I was merely adding another story to the 10 billion. It made it seem less like it was my fault.

The beginning of my relationship with my husband wasn’t that dramatic or definitive. I thought I was getting into something casual with someone I didn’t even know if I particularly liked, much less loved, but was still oddly fascinated by. I wanted to see the way he lived, to see if I could emulate it and become more like him. He lived with roommates in his 30s — well, that was the price you paid if you wanted to do nothing but write. I wanted what he had, his seriousness about his work. We went on dates where we both sat with our laptops in a café, writing, and this was somehow the most romantic thing I’d ever experienced. On our third date, we went to his father’s home on Cape Cod to dog-sit for a weekend, and it was awkward in the car until we realized we were both thinking about the same Mary Gaitskill story, “A Romantic Weekend,” in which a couple with dramatically mismatched needs learn the truth about each other through painful trial and error. Our weekend was awkward, too, but not nearly as awkward as the one in the story. On the way home, I remember admiring Keith’s driving, effortless yet masterful. I trusted him in the car completely. A whisper of a thought: He would make a good father.

In Liars, cracks begin to form almost immediately, even before John and Jane get engaged; she is accepted to a prestigious fellowship and he isn’t, and he is forthright about his fear that she will become more successful than he is: “A moment later he said he didn’t want to be the unsuccessful partner of the successful person. Then he apologized and said that he’d just wanted to be honest. I said, It was brave and considerate to tell me. ”

Through the next few years, so gradually that it’s almost imperceptible, John makes it impossible for Jane to succeed. He launches tech companies that require cross-country moves, forcing Jane to bounce between adjunct-teaching gigs. And then, of course, they have a baby. The problem with the baby is that Jane wants everything to be perfect for him and throws herself into creating a tidy home and an ideal child-development scenario, whereas John works more and more, moving the family again as one start-up fails and another flourishes. Jane begins to wonder whether she has created a prison for herself but pacifies herself with the thought that her situation is normal: “No married woman I knew was better off, so I determined to carry on. After all, I was a control freak, a neat freak, a crazy person.” The story John tells her about herself becomes her own story for a while. For a while, it’s impossible to know whose story is the truth.

I thought about Keith’s side of the story when I read Liars. Maybe it was the lack of alcohol’s blur that enabled me to see this clearly for the first time — I began to see how burdened he had been, had always been, with a partner who refused to plan for the future and who took on, without being asked, household chores that could just as easily have been distributed evenly. Our situation had never been as clear-cut as it was for Lyz Lenz; Keith had never refused to take out the trash or hidden my favorite mug. But he worked more and later hours, and my intermittent book advances and freelance income could not be counted on to pay our rent. As soon as we’d had a child, he had been shunted into the role of breadwinner without choosing it or claiming it. At first, I did all the cooking because I liked cooking and then, when I stopped liking cooking, I did it anyway out of habit. For our marriage to change, we would have needed to consciously decide to change it, insofar as our essential natures and our financial situation would allow. But when were we supposed to have found the time to do that? It was maddening that the root of our fracture was so commonplace and clichéd — and that even though the problem was ordinary, I still couldn’t think my way out of it.

Splinters: Another Kind of Love Story, by Leslie Jamison , is in some ways the successor to Aftermath — the latest divorce book by a literary superstar. It is mostly an account of Jamison’s passionate marriage to a fellow writer, C., and the way that marriage fell apart after her career accelerated and they had a child together. It then details her first months of life as a single mother and her forays into dating. In it, she is strenuously fair to C., taking much of the blame for the dissolution of their marriage. But she can’t avoid describing his anger that her book merits an extensive tour, while his novel — based on his relationship with his first wife, who had died of leukemia — fails commercially. “It didn’t get the reception he had hoped for,” Jamison writes, and now, “I could feel him struggling. He wanted to support me, but there was a thorn in every interview.” C. grows distant, refusing to publicly perform the charming self that Jamison fell in love with. “I wished there was a way to say, Your work matters, that didn’t involve muting my own,” Jamison writes.

For all my marriage’s faults, we never fought in public. Friends encouraged us to reconcile, saying, “You always seemed so good together.” (As if there were another way to seem! Standing next to each other at a party, it had always been easy to relax because we couldn’t fight.) And we never did anything but praise each other’s work. Until this last book of my husband’s, that is. I had read Raising Raffi for the first time six months before it was published, while I was out of town for the weekend. I had, at that time, enjoyed reading it — it was refreshing, in a way, to see someone else’s perspective on a part of my own life. I even felt a certain relief that my child’s early years, in all their specificity and cuteness, had been recorded. This work had been accomplished, and I hadn’t had to do it! There had been only a slight pang in the background of that feeling that I hadn’t been the one to do it. But as publication drew nearer, the pang turned into outright anger . The opening chapter described my giving birth to our first son, and I didn’t realize how violated I felt by that until it was vetted by The New Yorker ’s fact-checker after that section was selected as an excerpt for its website. Had a geyser of blood shot out of my vagina? I didn’t actually know. I had been busy at the time. I hung up on the fact-checker who called me, asking her to please call my husband instead. (In case you’re wondering, Keith has read this essay and suggested minimal changes.)

I related to the writers in Splinters trying to love each other despite the underlying thrum of competing ambitions. But most of all, Jamison’s book made me even more terrified about sharing custody. “There was only one time I got on my knees and begged. It happened in our living room, where I knelt beside the wooden coffee table and pleaded not to be away from her for two nights each week,” she writes. Envisioning a future in which we shared custody of our children made me cringe with horror. It seemed like absolute hell. At the time we separated, our younger son was only 4 years old and required stories and cuddles to get to bed. Missing a night of those stories seemed like a punishment neither of us deserved, and yet we would have to sacrifice time with our kids if we were going to escape each other, which seemed like the only possible solution to our problem. Thanksgiving rolled around, and I cooked a festive meal that we ate without looking at each other. Whenever I looked at Keith, I started to cry.

We decided to enter divorce mediation at the beginning of December. On Sixth Avenue, heading to the therapist’s office, we passed the hospital where I’d once been rushed for an emergency fetal EKG when I was pregnant with our first son. His heart had turned out to be fine. But as we passed that spot, I sensed correctly that we were both thinking of that moment, of a time when we had felt so connected in our panic and desperate hope, and now the invisible cord that had bound us had been, if not severed, shredded and torn. For a moment on the sidewalk there, we allowed ourselves to hold hands, remembering.

The therapist was a small older woman with short curly reddish hair. She seemed wise, like she’d seen it all and seen worse. I was the one who talked the most in that session, blaming Keith for making me go crazy, even though I knew this wasn’t technically true or possible: I had gone crazy from a combination of sky-high stress and a too-high SSRI prescription and a latent crazy that had been in me, part of me, since long before Keith married me, since I was born. Still, I blamed his job, his book, his ambition and workaholism, which always surpassed my own efforts. I cried throughout the session; I think we both did. I confessed that I was not the primary wronged person in these negotiations, and to be fair I have to talk about why. Sometime post–Last Fight and pre-hospitalization, I had managed to cheat on my husband. I had been so sure we were basically already divorced that I justified the act to myself; I couldn’t have done it any other way. I had thought I might panic at the last minute or even throw up or faint, but I had gone through with it thanks to the delusional state I was in. There aren’t many more details anyone needs to know. It was just one time, and it was like a drug I used to keep myself from feeling sad about what was really happening. Anyway, there’s a yoga retreat center I’ll never be able to go to again in my life.

At the end of the session, we decided to continue with the therapist but in couples therapy instead of divorce mediation. It was a service she also provided, and as a bonus, it was $100 cheaper per session. She didn’t say why she made this recommendation, but maybe it was our palpable shared grief that convinced her that our marriage was salvageable. Or maybe it was that, despite everything I had told her in that session, she could see that, even in my profound sadness and anger, I looked toward Keith to complete my sentences when I was searching for the right word and that he did the same thing with me. As broken as we were, we were still pieces of one once-whole thing.

My husband would have to forgive me for cheating and wasting our money. I would have to forgive him for treading on my literary territory: our family’s life, my own life. My husband would have to forgive me for having a mental breakdown, leaving him to take care of our family on his own for a month, costing us thousands of uninsured dollars in hospital bills. I would have to forgive him for taking for granted, for years, that I would be available on a sick day or to do an early pickup or to watch the baby while he wrote about our elder son. I would have to forgive him for taking for granted that there would always be dinner on the table without his having to think about how it got there. He would have to forgive me for never taking out the recycling and never learning how to drive so that I could move the car during alternate-side parking. I would have to forgive him for usurping the time and energy and brain space with which I might have written a better book than his. Could the therapist help us overcome what I knew to be true: that we’d gone into marriage already aware that we were destined for constant conflict just because of who we are? The therapist couldn’t help me ask him to do more if I didn’t feel like I deserved it, if I couldn’t bring myself to ask him myself. I had to learn how to ask.

No one asked anything or forgave anything that day in the couples therapist’s office. After what felt like months but was probably only a few days, I was watching Ramy on my laptop in my downstairs-bedroom cave after the kids’ bedtime when some moment struck me as something Keith would love. Acting purely on impulse, I left my room and found him sitting on the couch, drinking tea. I told him I’d been watching this show I thought was funny and that he would really like it. Soon, we were sitting side by side on the couch, watching Ramy together. We went back to our respective rooms afterward, but still, we’d made progress.

After a few more weeks and a season’s worth of shared episodes of Ramy, I ventured for the first time upstairs to Keith’s attic room. It smelled alien to me, and I recognized that this was the pure smell of Keith, not the shared smell of the bedrooms in every apartment we’d lived in together. I lay down next to him in the mess of his bed. He made room for me. We didn’t touch, not yet. But we slept, that night, together. The next night, we went back to sleeping alone.

Pickups and drop-offs became evenly divided among me and Keith and a sitter. Keith learned to make spaghetti with meat sauce. He could even improvise other dishes, with somewhat less success, but he was improving. I made a conscious effort not to tidy the house after the children left for school. I made myself focus on my work even when there was chaos around me. Slowly, I began to be able to make eye contact with Keith again. At couples therapy, we still clutched tissue boxes in our hands, but we used them less. Our separate chairs inched closer together in the room.

That Christmas, we rented a tiny Airbnb near his dad’s house in Falmouth. It had only two bedrooms, one with bunk beds for the kids and one with a king-size bed that took up almost the entirety of the small room. We would have to share a bed for the duration of the trip. The decision I made to reach across the giant bed toward Keith on one of the last nights of the trip felt, again, impulsive. But there were years of information and habit guiding my impulse. Sex felt, paradoxically, completely comfortable and completely new, like losing my virginity. It felt like sleeping with a different person and also like sleeping with the same person, which made sense, in a way. We had become different people while somehow staying the same people we’d always been.

Slowly, over the course of the next months, I moved most of my things upstairs to his room, now our room. We still see the therapist twice a month. We talk about how to make things more equal in our marriage, how not to revert to old patterns. I have, for instance, mostly given up on making dinner, doing it only when it makes more sense in the schedule of our shared day or when I actually want to cook. It turns out that pretty much anyone can throw some spaghetti sauce on some pasta; it also turns out that the kids won’t eat dinner no matter who cooks it, and now we get to experience that frustration equally. Keith’s work is still more stable and prestigious than mine, but we conspire to pretend that this isn’t the case, making sure to leave space for my potential and my leisure. We check in to make sure we’re not bowing to the overwhelming pressure to cede our whole lives to the physical and financial demands, not to mention the fervently expressed wants, of our children. It’s the work that we’d never found time to do before, and it is work. The difference is that we now understand what can happen when we don’t do it. I’m always surprised by how much I initially don’t want to go to therapy and then by how much lighter I feel afterward. For now, those sessions are a convenient container for our marriage’s intractable defects so that we get to spend the rest of our time together focusing on what’s not wrong with us.

The downstairs bedroom is now dormant, a place for occasional guests to stay or for our elder son to lie in bed as he plays video games. Some of my clothes from a year earlier still fill the drawers, but none of it seems like mine. I never go into that room if I can help it. It was the room of my exile from my marriage, from my family. If I could magically disappear it from our apartment, I would do it in a heartbeat. And in the attic bedroom, we are together, not as we were before but as we are now.

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The Beginner's Guide to Writing an Essay | Steps & Examples

An academic essay is a focused piece of writing that develops an idea or argument using evidence, analysis, and interpretation.

There are many types of essays you might write as a student. The content and length of an essay depends on your level, subject of study, and course requirements. However, most essays at university level are argumentative — they aim to persuade the reader of a particular position or perspective on a topic.

The essay writing process consists of three main stages:

  • Preparation: Decide on your topic, do your research, and create an essay outline.
  • Writing : Set out your argument in the introduction, develop it with evidence in the main body, and wrap it up with a conclusion.
  • Revision:  Check your essay on the content, organization, grammar, spelling, and formatting of your essay.

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Table of contents

Essay writing process, preparation for writing an essay, writing the introduction, writing the main body, writing the conclusion, essay checklist, lecture slides, frequently asked questions about writing an essay.

The writing process of preparation, writing, and revisions applies to every essay or paper, but the time and effort spent on each stage depends on the type of essay .

For example, if you’ve been assigned a five-paragraph expository essay for a high school class, you’ll probably spend the most time on the writing stage; for a college-level argumentative essay , on the other hand, you’ll need to spend more time researching your topic and developing an original argument before you start writing.

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Before you start writing, you should make sure you have a clear idea of what you want to say and how you’re going to say it. There are a few key steps you can follow to make sure you’re prepared:

  • Understand your assignment: What is the goal of this essay? What is the length and deadline of the assignment? Is there anything you need to clarify with your teacher or professor?
  • Define a topic: If you’re allowed to choose your own topic , try to pick something that you already know a bit about and that will hold your interest.
  • Do your research: Read  primary and secondary sources and take notes to help you work out your position and angle on the topic. You’ll use these as evidence for your points.
  • Come up with a thesis:  The thesis is the central point or argument that you want to make. A clear thesis is essential for a focused essay—you should keep referring back to it as you write.
  • Create an outline: Map out the rough structure of your essay in an outline . This makes it easier to start writing and keeps you on track as you go.

Once you’ve got a clear idea of what you want to discuss, in what order, and what evidence you’ll use, you’re ready to start writing.

The introduction sets the tone for your essay. It should grab the reader’s interest and inform them of what to expect. The introduction generally comprises 10–20% of the text.

1. Hook your reader

The first sentence of the introduction should pique your reader’s interest and curiosity. This sentence is sometimes called the hook. It might be an intriguing question, a surprising fact, or a bold statement emphasizing the relevance of the topic.

Let’s say we’re writing an essay about the development of Braille (the raised-dot reading and writing system used by visually impaired people). Our hook can make a strong statement about the topic:

The invention of Braille was a major turning point in the history of disability.

2. Provide background on your topic

Next, it’s important to give context that will help your reader understand your argument. This might involve providing background information, giving an overview of important academic work or debates on the topic, and explaining difficult terms. Don’t provide too much detail in the introduction—you can elaborate in the body of your essay.

3. Present the thesis statement

Next, you should formulate your thesis statement— the central argument you’re going to make. The thesis statement provides focus and signals your position on the topic. It is usually one or two sentences long. The thesis statement for our essay on Braille could look like this:

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.

4. Map the structure

In longer essays, you can end the introduction by briefly describing what will be covered in each part of the essay. This guides the reader through your structure and gives a preview of how your argument will develop.

The invention of Braille marked a major turning point in the history of disability. The writing system of raised dots used by blind and 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.

Write your essay introduction

The body of your essay is where you make arguments supporting your thesis, provide evidence, and develop your ideas. Its purpose is to present, interpret, and analyze the information and sources you have gathered to support your argument.

Length of the body text

The length of the body depends on the type of essay. On average, the body comprises 60–80% of your essay. For a high school essay, this could be just three paragraphs, but for a graduate school essay of 6,000 words, the body could take up 8–10 pages.

Paragraph structure

To give your essay a clear structure , it is important to organize it into paragraphs . Each paragraph should be centered around one main point or idea.

That idea is introduced in a  topic sentence . The topic sentence should generally lead on from the previous paragraph and introduce the point to be made in this paragraph. Transition words can be used to create clear connections between sentences.

After the topic sentence, present evidence such as data, examples, or quotes from relevant sources. Be sure to interpret and explain the evidence, and show how it helps develop your overall argument.

Lack of access to reading and writing put blind people at a serious disadvantage in nineteenth-century society. Text was one of the primary methods through which people engaged with culture, communicated with others, and accessed information; without a well-developed reading system that did not rely on sight, blind people were excluded from social participation (Weygand, 2009). While disabled people in general suffered from discrimination, blindness was widely viewed as the worst disability, and it was commonly believed that blind people were incapable of pursuing a profession or improving themselves through culture (Weygand, 2009). This demonstrates the importance of reading and writing to social status at the time: without access to text, it was considered impossible to fully participate in society. Blind people were excluded from the sighted world, but also entirely dependent on sighted people for information and education.

See the full essay example

The conclusion is the final paragraph of an essay. It should generally take up no more than 10–15% of the text . A strong essay conclusion :

  • Returns to your thesis
  • Ties together your main points
  • Shows why your argument matters

A great conclusion should finish with a memorable or impactful sentence that leaves the reader with a strong final impression.

What not to include in a conclusion

To make your essay’s conclusion as strong as possible, there are a few things you should avoid. The most common mistakes are:

  • Including new arguments or evidence
  • Undermining your arguments (e.g. “This is just one approach of many”)
  • Using concluding phrases like “To sum up…” or “In conclusion…”

Braille paved the way for dramatic cultural changes in the way blind people were treated and the opportunities available to them. Louis Braille’s innovation was to reimagine existing reading systems from a blind perspective, and the success of this invention required sighted teachers to adapt to their students’ reality instead of the other way around. In this sense, Braille helped drive broader social changes in the status of blindness. New accessibility tools provide practical advantages to those who need them, but they can also change the perspectives and attitudes of those who do not.

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Checklist: Essay

My essay follows the requirements of the assignment (topic and length ).

My introduction sparks the reader’s interest and provides any necessary background information on the topic.

My introduction contains a thesis statement that states the focus and position of the essay.

I use paragraphs to structure the essay.

I use topic sentences to introduce each paragraph.

Each paragraph has a single focus and a clear connection to the thesis statement.

I make clear transitions between paragraphs and ideas.

My conclusion doesn’t just repeat my points, but draws connections between arguments.

I don’t introduce new arguments or evidence in the conclusion.

I have given an in-text citation for every quote or piece of information I got from another source.

I have included a reference page at the end of my essay, listing full details of all my sources.

My citations and references are correctly formatted according to the required citation style .

My essay has an interesting and informative title.

I have followed all formatting guidelines (e.g. font, page numbers, line spacing).

Your essay meets all the most important requirements. Our editors can give it a final check to help you submit with confidence.

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An essay is a focused piece of writing that explains, argues, describes, or narrates.

In high school, you may have to write many different types of essays to develop your writing skills.

Academic essays at college level are usually argumentative : you develop a clear thesis about your topic and make a case for your position using evidence, analysis and interpretation.

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.

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 .

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.

A topic sentence is a sentence that expresses the main point of a paragraph . Everything else in the paragraph should relate to the topic sentence.

At college level, you must properly cite your sources in all essays , research papers , and other academic texts (except exams and in-class exercises).

Add a citation whenever you quote , paraphrase , or summarize information or ideas from a source. You should also give full source details in a bibliography or reference list at the end of your text.

The exact format of your citations depends on which citation style you are instructed to use. The most common styles are APA , MLA , and Chicago .

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A Long-Forgotten TV Script by Rachel Carson Is Now a Picture Book

In “Something About the Sky,” the National Book Award-winning marine biologist brings her signature sense of wonder to the science of clouds.

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A cut-paper and sumi ink illustration shows a young boy watching a small plane as it soars through the sky trailing cirrus clouds that look like jet stream. The silhouetted boy, the plane and the clouds are cut from black and white paper. The bright sky is rendered with blue ink that fades dark to light from top to bottom.

By Maria Popova

Maria Popova, the creator of TheMarginalian.org and the author of the forthcoming “The Universe in Verse: 15 Windows on Wonder Through Science and Poetry,” has written about Rachel Carson in her book “Figuring.”

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SOMETHING ABOUT THE SKY , by Rachel Carson. Illustrated by Nikki McClure.

A cloud is a spell against indifference, an emblem of the water cycle that makes this planet a living world capable of trees and tenderness, a great cosmic gasp at the improbability that such a world exists, that across the cold expanse of space-time, strewn with billions upon billions of other star systems, there is nothing like it as far as we yet know.

Clouds are almost as old as this world, born when primordial volcanoes first exhaled the chemistry of the molten planet into the sky, but their science is younger than the steam engine. At the dawn of the 19th century, the chemist and amateur meteorologist Luke Howard, still in his 20s, noticed that clouds form in particular shapes under particular conditions. Applying the principles of the newly popular Linnaean taxonomy of the living world to clouds, he named the three main classes cumulus , stratus and cirrus , then braided them into sub-taxonomies.

When a German translation reached Goethe, the polymathic poet with a passion for morphology was so inspired that he sent fan mail to the young man who “distinguished cloud from cloud,” then composed a suite of verses about the main classes. It was Goethe’s poetry, translating the lexicon of an obscure science into the language of wonder, that popularized the cloud names we use today.

A century and a half later, six years before Rachel Carson awakened the modern ecological conscience with her book “Silent Spring” and four years after “The Sea Around Us” earned her the National Book Award (whose judges described it as “a work of scientific accuracy presented with poetic imagination”), the television program “Omnibus” approached her to write “something about the sky,” in response to a request from a young viewer.

This became the title of the segment that aired on March 11, 1956 — a soulful serenade to the science of clouds, emanating from Carson’s credo that “the more clearly we can focus our attention on the wonders and realities of the universe about us the less taste we shall have for the destruction of our race.”

Although celebrated for her books about the sea, Carson had begun her literary career with an eye to the sky.

She was only 11 when her story “A Battle in the Clouds” — inspired by her brother’s time in the Army Air Service during World War I — was published in the popular young people’s magazine St. Nicholas, where the early writings of Edna St. Vincent Millay, F. Scott Fitzgerald and E.E. Cummings also appeared. She eventually enrolled at Pennsylvania Women’s College, intent on majoring in English.

And then, the way all great transformations slip in through the back door of the mansion of our plans, her life took a turn that shaped her future and the history of literature.

To meet the school’s science requirement, Carson took an introductory biology course. She found herself enchanted by the subject and changed her major.

But she never lost her love of literature. “I have always wanted to write,” Carson told her lab partner late one night. “Biology has given me something to write about.”

She was also writing poetry, submitting it to various magazines and receiving rejection slip after rejection slip. Somewhere along the way — training at the Woods Hole Marine Biological Laboratory, working for the U.S. Fish and Wildlife Service, writing reports her boss deemed far too lyrical for a government publication and encouraged her to submit to The Atlantic Monthly — Carson realized that poetry lives in innumerable guises beyond verse.

In 1952, she would rise from the table she shared with the poet Marianne Moore to receive her National Book Award with these words: “The aim of science is to discover and illuminate truth. And that, I take it, is the aim of literature, whether biography or history or fiction. It seems to me, then, that there can be no separate literature of science.”

If there was poetry in her writing, Carson believed, it was not because she “deliberately put it there” but because no one could write truthfully about nature “and leave out the poetry.”

It was a radical idea — that truth and beauty are not in rivalry but in reciprocity, that to write about science with feeling is not to diminish its authority but to deepen it. Carson was modeling a new possibility for generations of writers to come, blurring the line between where science ends and poetry begins.

That was the ethos she took to her “Omnibus” assignment about “the writing of the wind on the sky,” detailing the science of each of the main cloud classes and celebrating them as “the cosmic symbols of a process without which life itself could not exist on earth.”

After coming upon fragments of Carson’s long-lost television script via Orion magazine, the artist Nikki McClure — who grew up immersed in nature, worked for a while at the Department of Ecology and finds daily delight in watching birds under the cedar canopy by her home — was moved to track down the complete original and bring it to life in lyrical illustrations.

Known for her singular cut-paper art, with its stark contrasts and sharp contours, she embraced the creative challenge of finding a whole new technique in order to channel the softness of the sky.

Using paper from a “long-ago” trip to Japan and sumi ink she freely applied with brushes, she let the gentle work of gravity and fluid dynamics pool and fade the mostly blue and black hues into textured layers — a process of “possibility and chance.”

Then, as she recounts in an illustrator’s note at the back of the book, she “cut images with the paper, not just from it”: “The paper and I had a conversation about what might happen.”

What emerges is a kind of tender visual poem, as boldly defiant of category as Carson’s writing.

Although Carson never wrote explicitly for children, she wrote in the language of children: wonder.

Less than a year after “Something About the Sky” aired on “Omnibus,” Carson took over the care of her orphaned grandnephew, Roger, whom she would soon legally adopt. (He’s the small boy romping across McClure’s illustrations.) In what began as an article for Woman’s Home Companion and was later expanded into her posthumously published book “The Sense of Wonder,” she wrote:

If I had influence with the good fairy who is supposed to preside over the christening of all children, I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life, as an unfailing antidote against the boredom and disenchantments of later years, the sterile preoccupation with things that are artificial, the alienation from the sources of our strength.

SOMETHING ABOUT THE SKY | By Rachel Carson | Illustrated by Nikki McClure | Candlewick Studio | 56 pp. | $19.99 | Ages 5 to 8

Explore More in Books

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

In Lucy Sante’s new memoir, “I Heard Her Call My Name,” the author reflects on her life and embarking on a gender transition  in her late 60s.

For people of all ages in Pasadena, Calif., Vroman’s Bookstore, founded in 1894, has been a mainstay in a world of rapid change. Now, its longtime owner says he’s ready to turn over the reins .

The graphic novel series “Aya” explores the pains and pleasures of everyday life in a working-class neighborhood  in West Africa with a modern African woman hero.

Like many Nigerians, the novelist Stephen Buoro has been deeply influenced by the exquisite bedlam of Lagos, a megacity of extremes. Here, he defines the books that make sense of the chaos .

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 .

Savannah Guthrie reveals this was 'the hardest' topic to write about in her book on faith

new literature essay

Savannah Guthrie’s new book on her intimate relationship with God required a leap of faith.

The “Today” show anchor, who has co-authored children’s books about a very capable royal named Princess Penelope Pineapple , battled doubts about her credentials and the significance of what she had to say.

“I actually told the publisher and the agent, ‘OK, let's try this, but everyone needs to know that at any time, I might just say I don't think I can do it or it doesn't feel right and everyone has to be OK with that,’ ” Guthrie, 52, says. “For a long time, I felt like maybe this is just God giving me a project to work on to bring us closer together.”

Emma Heming Willis to publish caregiving book after husband Bruce Willis' dementia diagnosis

She quieted her fears by convincing herself that she should at least try. “I'm just going to put one foot in front of the other,” Guthrie says. “I feel something exciting here. This is something I'm so passionate about.”

Check out: USA TODAY's weekly Best-selling Booklist

From Guthrie’s faith bloomed “ Mostly What God Does: Reflections on Seeking and Finding His Love Everywhere .” The title comes from Ephesians 5:1-2 (The Message) which says, “Mostly what God does is love you.”

“This book is a series of reflections about faith, and it's from the heart,” Guthrie says. “It's really vulnerable and personal. And it's that way because in so many ways, this is the book that I need to read. … I need to be reminded, like we all do, that God loves us and is on our side and has an eternal promise to be present to us. It's not a promise that everything's going to work out our way, or on our timing, or that we're just going to crush life. It's simply a promise that I am here for you. And I'm here with you.”

Guthrie is clear to state in her book that it is not a memoir, in part because her career has been “mostly a blur” she writes. “And I can’t write about other things – things I do remember but I don’t want to talk about,” like the dissolution of her first marriage to journalist Mark Orchard. “There is no scandal here, just disappointment.”

But in her book, broken down into six parts that she’s identified as the essentials of faith – love, presence, praise, grace, hope and purpose – she writes openly of struggling with anxiety and being “utterly terrified” before her 2012 debut as “Today” host . In those moments, Guthrie turned to God.

“God is with me,” she writes. “He’s got me. I am not alone. Whatever happens, I will never be alone. He has brought me to this moment, and he is not about to abandon me now.”

In “Mostly What God Does,” Guthrie says that she and her sister referred to God as “the sixth member of our family” growing up. Faith is how she and Jenna Bush Hager , host of “Today with Hoda & Jenna,” first connected. Now, Guthrie is the godmother of Bush Hager’s son Henry “Hal,” 4, and Bush Hager is the godmother of Guthrie’s daughter Vale, 9.

“I just think of how much good (the book is) going to do,” says Bush Hager, who leads the Read with Jenna book club . “What we need right now, in our world, is more love, and that's basically the thesis of everything she's writing about.”

In addition to writing about God’s unfailing love, Guthrie also addresses the tough questions that people of faith may grapple with: Why would an all-powerful God allow suffering? Why do bad things happen to good people?

“Those were the hardest essays for me to write, but I felt I couldn't ignore them,” says Guthrie. “Spoiler alert: There is no answer. I'm not resolving those unanswerable questions. … I think what I've learned over the years that faith and doubt are not opposite. They are features, they are part and parcel. They go hand in hand. If you don't have doubts sometimes or questions, then I'm not sure you're thinking hard enough about everything, because this world invites doubt, and God invites our questions and is OK with those questions and is eager to engage.”

As for Heaven, Guthrie can’t be 100% sure it exists, but she hangs her hat and potentially her future angel wings on hope.

“I wrote I would rather be hopeful and wrong than hopeless and turn out to be right,” she says. “It's about how are we spending our present? How are we spending this life? What does that posture of hope produce in our own lives? Does anyone know for sure? No, by definition, they don't. No one lives to tell. But for me, the choice became quite simple. I don't need to have all the answers, but I do need to have hope.”

Jenna Bush Hager gets real about her book club, parenting and co-hosting 'Today' show

Hollywood Reporter

Jenny Slate to Release Her Second Book in October (Exclusive)

Jenny Slate is returning to one of her most beloved creative outlets: Processing deep personal change through writing the sort of book that only she could write. The comedian, actress, producer and New York Times best-selling author will release her second essay collection Lifeform on Oct. 22. Slate will tackle her journey through motherhood in all its nearly impossible-to-describe strangeness, complexity and life-altering beauty.

"Completing this new work was a singular pleasure," she says. "I dove deep, and I think I've surfaced more alive than ever, and I am so eager to share it all with anyone who is willing and ready. I know I am!"

The book follows her 2019 debut Little Weirds , which began as a creative exercise in the wake of her 2016 divorce and eventually explored more abstract topics from her life like her relationships with love and feminism and the home in which she grew up. Lifeform promises to be similarly singular in tone and concept while following its own unique structure. It's told through five phases - Single, True Love, Pregnancy, Baby and Ongoing - and includes essays about everything from the dreams of a stork to a fantasy therapy session to Slate's theories about post-partum hair loss. Jean Garnett, Slate's editor, says, "She has a voice and a vision all her own, and she somehow manages to be hilarious, whimsical, and deeply philosophical all at once."

The book's publication comes after Slate's second stand-up special Seasoned Professional , which premieres on Amazon Prime Video on Feb. 23 and also touches on her postpartum experience. "After I had my baby, I was blessed with an instant set of double-D milky psycho-naturals," she jokes to the audience at the Brooklyn Academy of Music. "I, like, negged myself looking at these jugs. I was like ‘Honestly, I don't usually think that funny girls are attractive, but you've got my attention.'" Slate can also be seen (well, technically heard ) in her stop-motion film Marcel the Shell With Shoes On and will star alongside Blake Lively and Hasan Minhaj in the feature adaptation of Colleen Hoover's It Ends With Us , out this summer.

Little, Brown and Company will publish Lifeform . Claudia Ballard at WME handled the publishing deal, and Laura Bonner will be representing international rights.

More from The Hollywood Reporter

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Jenny Slate to Release Her Second Book in October (Exclusive)

Literary Theory and Criticism

Home › Literature › New Criticism

New Criticism

By NASRULLAH MAMBROL on May 30, 2021

New Criticism is a movement in 20th-century literary criticism that arose in reaction to those traditional “extrinsic” approaches that saw a text as making a moral or philosophical statement or as an outcome of social, economic, political, historical, or biographical phenomena. New Criticism holds that a text must be evaluated apart from its context; failure to do so causes the Affective Fallacy , which confuses a text with the emotional or psychological response of its readers, or the Intentional Fallacy, which conflates textual impact and the objectives of the author.

New Criticism assumes that a text is an isolated entity that can be understood through the tools and techniques of close reading, maintains that each text has unique texture, and asserts that what a text says and how it says it are inseparable. The task of the New Critic is to show the way a reader can take the myriad and apparently discordant elements of a text and reconcile or resolve them into a harmonious, thematic whole. In sum, the objective is to unify the text or rather to recognize the inherent but obscured unity therein. The reader’s awareness of and attention to elements of the form of the work mean that a text eventually will yield to the analytical scrutiny and interpretive pressure that close reading provides. Simply put, close reading is the hallmark of New Criticism.

The genesis of New Criticism can be found in the early years of the 20th century in the work of the British philosopher I. A. Richards and his student William Empson. Another important fi gure in the beginnings of New Criticism was the American writer and critic T. S. Eliot . Later practitioners and proponents include John Crowe Ransom, Cleanth Brooks, Allen Tate, Robert Penn Warren, Reni Wellek, and William Wimsatt. In many ways New Criticism runs in temporal parallel to the American modern period.

new literature essay

I. A. Richards

From the 1930s to the 1960s in the United States, New Criticism was the accepted approach to literary study and criticism in scholarly journals and in college and university English departments. Among the lasting legacies of New Criticism is the conviction that surface reading of literature is insufficient; a critic, to arrive at and make sense of the latent potency of a text, must explore very carefully its inner sanctum by noting the presence and the patterns of literary devices within the text. Only this, New Criticism asserts, enables one to decode completely.

New Criticism gave discipline and depth to literary scholarship through emphasis on the text and a close reading thereof. However, the analytic and interpretive moves made in the practice of New Criticism tend to be most effective in lyric and complex intellectual poetry. The inability to deal adequately with other kinds of texts proved to be a significant liability in this approach. Furthermore, the exclusion of writer, reader, and context from scholarly inquiry has made New Criticism vulnerable to serious objections.

Despite its radical origins, New Criticism was fundamentally a conservative enterprise. By the 1960s, its dominance began to erode, and eventually it ceded primacy to critical approaches that demanded examination of the realities of production and reception. Today, although New Criticism has few champions, in many respects it remains an approach to literature from which other critical modes depart or against which they militate.

New Criticism: An Essay
The New Criticism of JC Ransom

BIBLIOGRAPHY Brooks, Cleanth. The Well Wrought Urn: Studies in the Structure of Poetry. New York: Reynal and Hitchcock, 1947. Guerin, Wilfred, et al. A Handbook of Critical Approaches to Literature. 4th ed. New York: Oxford University Press, 1999. Jancovich, Mark. The Cultural Politics of the New Criticism. Cambridge: Cambridge University Press, 1992. Lentricchia, Frank. After the New Criticism. Chicago: University of Chicago Press, 1980. Ransom, John. The New Criticism. New York: New Directions, 1941. Spurland, William, and Michael Fischer, eds. The New Criticism and Contemporary Literary Theory: Connections and Continuities. New York: Garland, 1995. Willingham, John. “The New Criticism: Then and Now.” In Contemporary Literary Theory, edited by Douglas Atkins and Janice Morrow, 24–41. Amherst: University of Massachusetts Press, 1989.

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