a book you read essay

Essays About Reading: 5 Examples And Topic Ideas

As a writer, you love to read and talk to others about reading books. Check out some examples of essays about reading and topic ideas for your essay.

Many people fall in love with good books at an early age, as experiencing the joy of reading can help transport a child’s imagination to new places. Reading isn’t just for fun, of course—the importance of reading has been shown time and again in educational research studies.

If you love to sit down with a good book, you likely want to share your love of reading with others. Reading can offer a new perspective and transport readers to different worlds, whether you’re into autobiographies, books about positive thinking, or stories that share life lessons.

When explaining your love of reading to others, it’s important to let your passion shine through in your writing. Try not to take a negative view of people who don’t enjoy reading, as reading and writing skills are tougher for some people than others.

Talk about the positive effects of reading and how it’s positively benefitted your life. Offer helpful tips on how people can learn to enjoy reading, even if it’s something that they’ve struggled with for a long time. Remember, your goal when writing essays about reading is to make others interested in exploring the world of books as a source of knowledge and entertainment.

Now, let’s explore some popular essays on reading to help get you inspired and some topics that you can use as a starting point for your essay about how books have positively impacted your life.

For help with your essays, check out our round-up of the best essay checkers

Examples Of Essays About Reading

1. The Book That Changed My Life By The New York Times
2. I Read 150+ Books in 2 Years. Here’s How It Changed My Life By Anangsha Alammyan
3. How My Diagnosis Improved My College Experience By Blair Kenney

4. How ‘The Phantom Tollbooth’ Saved Me By Isaac Fitzgerald

5. catcher in the rye: that time a banned book changed my life by pat kelly, topic ideas for essays about reading, 1. how can a high school student improve their reading skills, 2. what’s the best piece of literature ever written, 3. how reading books from authors of varied backgrounds can provide a different perspective, 4. challenging your point of view: how reading essays you disagree with can provide a new perspective.

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1. The Book That Changed My Life By The New York Times

“My error the first time around was to read “Middlemarch” as one would a typical novel. But “Middlemarch” isn’t really about plot and dialogue. It’s all about character, as mediated through the wise and compassionate (but sharply astute) voice of the omniscient narrator. The book shows us that we cannot live without other people and that we cannot live with other people unless we recognize their flaws and foibles in ourselves.” The New York Times

In this collection of reader essays, people share the books that have shaped how they see the world and live their lives. Talking about a life-changing piece of literature can offer a new perspective to people who tend to shy away from reading and can encourage others to pick up your favorite book.

2. I Read 150+ Books in 2 Years. Here’s How It Changed My Life By Anangsha Alammyan

“Consistent reading helps you develop your analytical thinking skills over time. It stimulates your brain and allows you to think in new ways. When you are actively engaged in what you’re reading, you would be able to ask better questions, look at things from a different perspective, identify patterns and make connections.” Anangsha Alammyan

Alammyan shares how she got away from habits that weren’t serving her life (such as scrolling on social media) and instead turned her attention to focus on reading. She shares how she changed her schedule and time management processes to allow herself to devote more time to reading, and she also shares the many ways that she benefited from spending more time on her Kindle and less time on her phone.

3. How My Diagnosis Improved My College Experience By Blair Kenney

“When my learning specialist convinced me that I was an intelligent person with a reading disorder, I gradually stopped hiding from what I was most afraid of—the belief that I was a person of mediocre intelligence with overambitious goals for herself. As I slowly let go of this fear, I became much more aware of my learning issues. For the first time, I felt that I could dig below the surface of my unhappiness in school without being ashamed of what I might find.” Blair Kenney

Reading does not come easily to everyone, and dyslexia can make it especially difficult for a person to process words. In this essay, Kenney shares her experience of being diagnosed with dyslexia during her sophomore year of college at Yale. She gave herself more patience, grew in her confidence, and developed techniques that worked to improve her reading and processing skills.

“I took that book home to finish reading it. I’d sit somewhat uncomfortably in a tree or against a stone wall or, more often than not, in my sparsely decorated bedroom with the door closed as my mother had hushed arguments with my father on the phone. There were many things in the book that went over my head during my first time reading it. But a land left with neither Rhyme nor Reason, as I listened to my parents fight, that I understood.” Isaac Fitzgerald

Books can transport a reader to another world. In this essay, Fitzgerald explains how Norton Juster’s novel allowed him to escape a difficult time in his childhood through the magic of his imagination. Writing about a book that had a significant impact on your childhood can help you form an instant connection with your reader, as many people hold a childhood literature favorite near and dear to their hearts.

“From the first paragraph my mind was blown wide open. It not only changed my whole perspective on what literature could be, it changed the way I looked at myself in relation to the world. This was heavy stuff. Of the countless books I had read up to this point, even the ones written in first person, none of them felt like they were speaking directly to me. Not really anyway.” Pat Kelly

Many readers have had the experience of feeling like a book was written specifically for them, and in this essay, Kelly shares that experience with J.D. Salinger’s classic American novel. Writing about a book that felt like it was written specifically for you can give you the chance to share what was happening in your life when you read the book and the lasting impact that the book had on you as a person.

There are several topic options to choose from when you’re writing about reading. You may want to write about how literature you love has changed your life or how others can develop their reading skills to derive similar pleasure from reading.

Middle and high school students who struggle with reading can feel discouraged when, despite their best efforts, their skills do not improve. Research the latest educational techniques for boosting reading skills in high school students (the research often changes) and offer concrete tips (such as using active reading skills) to help students grow.

It’s an excellent persuasive essay topic; it’s fun to write about the piece of literature you believe to be the greatest of all time. Of course, much of this topic is a matter of opinion, and it’s impossible to prove that one piece of literature is “better” than another. Write your essay about how the piece of literature you consider the best positive affected your life and discuss how it’s impacted the world of literature in general.

The world is full of many perspectives and points of view, and it can be hard to imagine the world through someone else’s eyes. Reading books by authors of different gender, race, or socioeconomic status can help open your eyes to the challenges and issues others face. Explain how reading books by authors with different backgrounds has changed your worldview in your essay.

It’s fun to read the information that reinforces viewpoints that you already have, but doing so doesn’t contribute to expanding your mind and helping you see the world from a different perspective. Explain how pushing oneself to see a different point of view can help you better understand your perspective and help open your eyes to ideas you may not have considered.

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

If you’re stuck picking your next essay topic, check out our round-up of essay topics about education .

Amanda has an M.S.Ed degree from the University of Pennsylvania in School and Mental Health Counseling and is a National Academy of Sports Medicine Certified Personal Trainer. She has experience writing magazine articles, newspaper articles, SEO-friendly web copy, and blog posts.

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How to Write an Essay On Books

To write a good essay about books on a free topic, you just need to understand what you want to get. And, based on this information, make a plan.

To begin with, you need to understand the difference between these concepts:

Are you writing a personal opinion about a book? You can tell whether you liked it or not, what in it caught you or repulsed you.
Or is it an overview of the story lines? A full description of what is written in the book, your thoughts on the main points of the book.
Or is it a description of the book? Then highlight points of interest. This kind of text usually encourages you to read it.

If you are writing an essay on books for school, you probably need to write a book review.

Preparing for the essay

The experts at StudyCrumb Educational Agency assure you that by following a simple procedure, you will be able to write the essay you need quickly and easily.

Choose the book you want to write an essay about. It is better if it is one that you have memorized well. Some teachers recommend writing an essay on your favorite books.
Make a short outline that includes an introduction, the main part, and a conclusion.
Recall what your book is about. Write out a couple of main thoughts that are memorable and seem close to your heart.
Write a review of the book, the kind you’d like to write for your friend. In simple, uncomplicated words.

Essay Writing

Having prepared your drafts and outline for your essay, you’ve already done a tremendous job, and it’s just a matter of doing a little bit more. Be sure to remember that the essay about the book you read is your thoughts, feelings, and emotions about the work itself.

In the water part, write about the plot of the book, about the essence, but don’t reveal the intrigue completely, so that your classmates can read the book too. You can quote a few curious places, but don’t forget to justify why you chose them.

In the main part you should write your personal opinion of what you have read. If the teacher did not mention that the book must necessarily be a favorite, you can also write about the book, which, on the contrary, left a negative residue in your soul.

It is better to make the ending short and concise. Write what you like to read, why you like to read, and recommend the chosen work to read all. Check out http://cheapessaysonline.com/ for quality essay examples for your own inspiration.

Examples of essay on books

An essay about a book leaves the imagination free, especially when you’re a big fan of the book world. But sometimes reading is much easier than writing. So here are a few examples of essays.

Introduction:

“I love to read. Reading helps you immerse yourself in that completely different world. Makes you forget that you are a mere student. You can become a great traveler, fly around the globe, or you can find yourself in a school of magic and learn complex magical sciences. My choice was the Harry Potter book, because that’s the world where I spent my childhood.

“My favorite book is Roald Dahl ‘s Matilda. I think this work is suitable for children as well as adults. Matilda is a little girl with strange parents and a very mean principal. And then, one day, a good teacher shows up at school who treats all the students, including Matilda, with awe. When I was little, I was sure it was just a fairy tale. But now, after rereading this book to refresh my memory, I realize that the book has adult overtones. Matilda is the personification of all the children of the world who face the hostility of adults who should not have been parents or educators.”

The final part:

“I would like to finish my essay about the book “Three Comrades” with the advice: read, look for a moral in any work, and you can become a good person.

These are just examples of how you can write essay on books. Choose your favorite book and write whatever you want to say.

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

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

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

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

The Top Ten

Oliver sacks, the mind’s eye (2010).

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

John Jeremiah Sullivan, Pulphead (2011)

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

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

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

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

Aleksandar Hemon, The Book of My Lives (2013)

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

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

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

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

Hilton Als, White Girls (2013)

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

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

Eula Biss, On Immunity (2014)

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

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

Rebecca Solnit, The Mother of All Questions (2016)

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

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

Valeria Luiselli, Tell Me How It Ends (2017)

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

Zadie Smith, Feel Free (2018)

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

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

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

Dissenting Opinions

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

Elif Batuman, The Possessed (2010)

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

Roxane Gay, Bad Feminist (2014)

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

Rivka Galchen, Little Labors (2016)

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

Charlie Fox, This Young Monster (2017)

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

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

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

Elena Passarello, Animals Strike Curious Poses (2017)

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

Esmé Weijun Wang, The Collected Schizophrenias (2019)

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

Ross Gay, The Book of Delights (2019)

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

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

Honorable Mentions

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

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

Emily Temple

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Reading is Good Habit for Students and Children

500+ words essay on reading is good habit.

Reading is a very good habit that one needs to develop in life. Good books can inform you, enlighten you and lead you in the right direction. There is no better companion than a good book. Reading is important because it is good for your overall well-being. Once you start reading, you experience a whole new world. When you start loving the habit of reading you eventually get addicted to it. Reading develops language skills and vocabulary. Reading books is also a way to relax and reduce stress. It is important to read a good book at least for a few minutes each day to stretch the brain muscles for healthy functioning.

Benefits of Reading

Books really are your best friends as you can rely on them when you are bored, upset, depressed, lonely or annoyed. They will accompany you anytime you want them and enhance your mood. They share with you information and knowledge any time you need. Good books always guide you to the correct path in life. Following are the benefits of reading –

Self Improvement: Reading helps you develop positive thinking. Reading is important because it develops your mind and gives you excessive knowledge and lessons of life. It helps you understand the world around you better. It keeps your mind active and enhances your creative ability.

Communication Skills: Reading improves your vocabulary and develops your communication skills. It helps you learn how to use your language creatively. Not only does it improve your communication but it also makes you a better writer. Good communication is important in every aspect of life.

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Increases Knowledge: Books enable you to have a glimpse into cultures, traditions, arts, history, geography, health, psychology and several other subjects and aspects of life. You get an amazing amount of knowledge and information from books.

Reduces Stress: Reading a good book takes you in a new world and helps you relieve your day to day stress. It has several positive effects on your mind, body, and soul. It stimulates your brain muscles and keeps your brain healthy and strong.

Great Pleasure: When I read a book, I read it for pleasure. I just indulge myself in reading and experience a whole new world. Once I start reading a book I get so captivated I never want to leave it until I finish. It always gives a lot of pleasure to read a good book and cherish it for a lifetime.

Boosts your Imagination and Creativity: Reading takes you to the world of imagination and enhances your creativity. Reading helps you explore life from different perspectives. While you read books you are building new and creative thoughts, images and opinions in your mind. It makes you think creatively, fantasize and use your imagination.

Develops your Analytical Skills: By active reading, you explore several aspects of life. It involves questioning what you read. It helps you develop your thoughts and express your opinions. New ideas and thoughts pop up in your mind by active reading. It stimulates and develops your brain and gives you a new perspective.

Reduces Boredom: Journeys for long hours or a long vacation from work can be pretty boring in spite of all the social sites. Books come in handy and release you from boredom.

Read Different Stages of Reading here.

The habit of reading is one of the best qualities that a person can possess. Books are known to be your best friend for a reason. So it is very important to develop a good reading habit. We must all read on a daily basis for at least 30 minutes to enjoy the sweet fruits of reading. It is a great pleasure to sit in a quiet place and enjoy reading. Reading a good book is the most enjoyable experience one can have.

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How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

An introduction that tells the reader what your essay will focus on.
A main body, divided into paragraphs , that builds an argument using evidence from the text.
A conclusion that clearly states the main point that you have shown with your analysis.

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Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

Who is telling the story?
How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

Novels are often divided into chapters and parts.
Poems are divided into lines, stanzas, and sometime cantos.
Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

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

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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Six non-fiction books you can read in a day

Resolved to read more there may be no more rewarding genre than the short book.

“La Plage” by Alfred-Victor Fournier, circa 1900. A painting of people sitting on a beach, chatting under a parasol.

T HE SHORT book, long underestimated, has a lot going for it. To start with the prosaic: if you want to get through more volumes, short is shrewd. Slender books can be slipped into a bag or coat pocket and plucked out again in an idle moment, so you’ll be more likely to finish them. For adventurous readers the format allows for casual experimentation with new styles, topics and authors. For indecisive ones it can make a bookshop’s universe of possibilities feel less daunting: just scour the shelves for slim spines. Most of all, there is a rare satisfaction in reaching the final pages of a book while still holding the full sweep of its story in your mind. Taut prose is intense and immersive, like a distilled fragrance. These books offer that, too. They must; they don’t have long to make their point. In an era of many distractions, that is a great virtue.

These six non-fiction books include memoir, journalism, essays and pictorial essays. They take you into the bedroom of a grieving husband in imperial China; into the courtroom where a sensational murder trial split New York’s Bukharan Jewish community in the late 2000s; and, classically, into a room of one’s own. In short, they get plenty done in just 150 pages.

Six Records of a Floating Life. By Shen Fu. Translated by Leonard Pratt and Chiang Su-Hui. Penguin Classics; 144 pages; $16 and £9.99

A meditation on extraordinary love and an ordinary life, this memoir was written at the beginning of the 19th century in Qing-dynasty China by a widowed scholar. Despite the lapse of time, Shen Fu’s joys and sorrows feel comfortingly familiar. He was a civil servant who, though highly educated for his time, did not manage to rise up the ranks. He quarrelled with his parents, played drinking games and went on picnics. He also married the love of his life (they had known each other since they were 13 years old) and, as Shen’s memoir reveals, he treated Chen Yun like an equal, admiring her practicality and sparring with her in ad lib poetry competitions. The book has long been cherished in China as a true account of deep love. For modern readers the records may hold some surprises, too. Shen loved flower arranging. And although he and Yun adored each other, she matter-of-factly sought out a concubine for him—with whom, the text implies, she also had sex (lesbian relationships were not especially frowned upon at the time). The translators’ judicious footnotes make the reading all the more pleasurable.

Oranges. By John McPhee. Farrar, Straus and Giroux; 149 pages; $16. Daunt; £9.99

Are there 150 sparkling pages to be written about the everyday orange? John McPhee proves there are. “Oranges”, which evolved from an essay published in the New Yorker in 1966, established a new form of journalism: one that marries whimsy with forensic explanatory reporting. Mr McPhee examines the rise of frozen orange-juice concentrate after the second world war—already then a $700m industry and “the boomiest boom since the Brazilian rubber boom”. He interviews Florida’s orange barons, pickers, packers and pomologists. His essay flows from the fantastic sex life of oranges to the Sanskrit origins of the word ( naranga ) to oranges’ role in the Norman invasion of Sicily. It is sweet to read about Botticelli and Degrees Brix (the standard measure of sugar) in a single sitting. This is also dissection at its sharpest, and eating an orange will never be the same again.

A Room of One’s Own. By Virginia Woolf. Mariner; 128 pages; $16.99. Penguin Modern Classics; £5.99

Among the most influential essays of the 20th century, “A Room of One’s Own” was based on a lecture that Virginia Woolf gave at Newnham College and Girton College, the first two for women at Cambridge University. Woolf lands her best-known line by the second page: “A woman must have money and a room of her own if she is to write fiction.” That sends her down new routes of inquiry. As she relays the train of thought she has while walking around “Oxbridge” (a barely fictitious composite) and London, her wry humour develops a fierceness that builds to anger. “Why are women poor?” she asks. “What effect has poverty on fiction?” And “What conditions are necessary for the creation of works of art?” She summons the work of women over the centuries, from Aphra Behn to the Brontë sisters, to find the answers. The lot of women in Britain has improved dramatically in the century since Woolf wrote her essay. Yet it still feels like essential reading, in particular as a manifesto on the right to form one’s own opinion and express it.

Iphigenia in Forest Hills: Anatomy of a Murder Trial. By Janet Malcolm. Yale University Press; 155 pages; $13.95 and £9.99

If the aim of journalistic inquiry is to provide answers, Janet Malcolm shows, with devastating rigour, that observation can be enough. “Iphigenia in Forest Hills” tells the story of a murder trial in New York in 2009. Mazoltuv Borukhova, a 35-year-old doctor, is accused of paying an acquaintance to kill her husband. Malcolm lays out the facts of the case, then raises the question at the heart of most true-crime stories: “She couldn’t have done it, and she must have done it.” Yet the title, a reference to the Greek myth of Iphigenia, sacrificed daughter of Agamemnon, says it all. This too is a tragedy; its end certain. Malcolm does not offer suspense. Instead, from many small procedural details at the Queens Supreme Court she coaxes bigger, more unsettling questions. Such as, is bias inevitable? “Borukhova’s otherness was her defining characteristic,” notes Malcolm. Observe, her text urges, how decisive the opinion of an expert witness can be. Notice the seduction of certainty—how courtrooms revel in it. See what small tyrannies the judge permits himself. Unshowily, Malcolm makes her point: a trial is perhaps nothing more than “a contest between competing narratives”.

Ways of Seeing. By John Berger. Penguin Modern Classics; 155 pages; $11 and £9.99

Adapted from a four-part BBC television series of the same name that aired in 1972, John Berger’s book will probably change how you think about art. Four essays consider the reproduction of art; the female form and the male gaze; how ownership influences art; and publicity and the illusion of authority. These are delightfully complemented by three wordless pictorial essays, bold visual arguments for Berger’s incantatory opening—which purposely appears right on the cover of this edition—that “seeing comes before words”. He shows how the meaning of art is always influenced by how and where it is viewed. Berger’s book is naturally a product of its time, too: Marxist, radical and preoccupied with the ruling class. But it made complex ideas about a closed world accessible and engaging. Its influence is lasting: read the review we wrote for its 50th anniversary .

A Man’s Place. By Annie Ernaux. Translated by Tanya Leslie. Seven Stories Press; 96 pages; $13.95. Fitzcarraldo Editions; £7.99

Annie Ernaux made her mark with autobiographical fiction in which, as we wrote when she received the Nobel prize in literature in 2022, she remakes “the private and the ordinary into something profound”. But to write a radically short biography of her father the French author had to strip away all pretence; she abandoned a first attempt at a novel with “feelings of disgust”. “If I wish to tell the story of a life governed by necessity,” she writes, “I have no right to adopt an artistic approach.” The result is a spare, starkly beautiful memoir. Its studied restraint, almost ethnographic, is the work of a daughter at pains to do justice to the life of a father whom she felt she could no longer truly know: “Although it had something to do with class, it was different, indefinable. Like fractured love.” Like many others of his era, he first laboured on a farm, then entered a factory and finally worked for himself, as a shopkeeper in rural Normandy. Ms Ernaux strove, she writes, to convey both his happiness and “the humiliating limitations” of his class. It is the story of a generation, but also firmly her father’s own.

Ms Ernaux wrote a short biography of her mother, “A Woman’s Story”. It is as accomplished as that about her father, and secured her reputation with French readers . If you enjoyed Janet Malcolm’s “Iphigenia in Forest Hills”, try “Still Pictures”, a short book published posthumously that is also perhaps her most personal. We reviewed it last year here . New to John McPhee’s writing? He has written more than 30 books. After “Oranges”, why not try his most recent, “Tabula Rasa”—it comes in at under 200 pages. We offered our appraisal here .

From the June 8th 2024 edition

Discover stories from this section and more in the list of contents

Seven memoirs help explain Europe past and present

Their authors are very different, but the continent’s tumultuous history has shaped them all

Five of the best books on climbing mountains

The books and a documentary that capture the pull of the peaks

Five novels that imagine dictatorship in America

A gripping way into thinking about democracy under threat

How to Write a Book Review: A Comprehensive Tutorial With Examples

You don’t need to be a literary expert to craft captivating book reviews. With one in every three readers selecting books based on insightful reviews, your opinions can guide fellow bibliophiles toward their next literary adventure.

Learning how to write a book review will not only help you excel at your assigned tasks, but you’ll also contribute valuable insights to the book-loving community and turn your passion into a professional pursuit.

In this comprehensive guide, PaperPerk will walk you through a few simple steps to master the art of writing book reviews so you can confidently embark on this rewarding journey.

What is a Book Review?

A book review is a critical evaluation of a book, offering insights into its content, quality, and impact. It helps readers make informed decisions about whether to read the book.

Writing a book review as an assignment benefits students in multiple ways. Firstly, it teaches them how to write a book review by developing their analytical skills as they evaluate the content, themes, and writing style .

Secondly, it enhances their ability to express opinions and provide constructive criticism. Additionally, book review assignments expose students to various publications and genres, broadening their knowledge.

Furthermore, these tasks foster essential skills for academic success, like critical thinking and the ability to synthesize information. By now, we’re sure you want to learn how to write a book review, so let’s look at the book review template first.

Table of Contents

Book Review Template

How to Write a Book Review- A Step by Step Guide

Check out these 5 straightforward steps for composing the best book review.

Step 1: Planning Your Book Review – The Art of Getting Started

You’ve decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let’s take a step back and plan your approach. Since knowing how to write a book review that’s both informative and engaging is an art in itself.

Choosing Your Literature

First things first, pick the book you want to review. This might seem like a no-brainer, but selecting a book that genuinely interests you will make the review process more enjoyable and your insights more authentic.

Crafting the Master Plan

Next, create an outline that covers all the essential points you want to discuss in your review. This will serve as the roadmap for your writing journey.

The Devil is in the Details

As you read, note any information that stands out, whether it overwhelms, underwhelms, or simply intrigues you. Pay attention to:

The characters and their development
The plot and its intricacies
Any themes, symbols, or motifs you find noteworthy

Remember to reserve a body paragraph for each point you want to discuss.

The Key Questions to Ponder

When planning your book review, consider the following questions:

What’s the plot (if any)? Understanding the driving force behind the book will help you craft a more effective review.
Is the plot interesting? Did the book hold your attention and keep you turning the pages?
Are the writing techniques effective? Does the author’s style captivate you, making you want to read (or reread) the text?
Are the characters or the information believable? Do the characters/plot/information feel real, and can you relate to them?
Would you recommend the book to anyone? Consider if the book is worthy of being recommended, whether to impress someone or to support a point in a literature class.
What could improve? Always keep an eye out for areas that could be improved. Providing constructive criticism can enhance the quality of literature.

Step 2 – Crafting the Perfect Introduction to Write a Book Review

In this second step of “how to write a book review,” we’re focusing on the art of creating a powerful opening that will hook your audience and set the stage for your analysis.

Identify Your Book and Author

Begin by mentioning the book you’ve chosen, including its title and the author’s name. This informs your readers and establishes the subject of your review.

Ponder the Title

Next, discuss the mental images or emotions the book’s title evokes in your mind . This helps your readers understand your initial feelings and expectations before diving into the book.

Judge the Book by Its Cover (Just a Little)

Take a moment to talk about the book’s cover. Did it intrigue you? Did it hint at what to expect from the story or the author’s writing style? Sharing your thoughts on the cover can offer a unique perspective on how the book presents itself to potential readers.

Present Your Thesis

Now it’s time to introduce your thesis. This statement should be a concise and insightful summary of your opinion of the book. For example:

“Normal People” by Sally Rooney is a captivating portrayal of the complexities of human relationships, exploring themes of love, class, and self-discovery with exceptional depth and authenticity.

Ensure that your thesis is relevant to the points or quotes you plan to discuss throughout your review.

Incorporating these elements into your introduction will create a strong foundation for your book review. Your readers will be eager to learn more about your thoughts and insights on the book, setting the stage for a compelling and thought-provoking analysis.

How to Write a Book Review: Step 3 – Building Brilliant Body Paragraphs

You’ve planned your review and written an attention-grabbing introduction. Now it’s time for the main event: crafting the body paragraphs of your book review. In this step of “how to write a book review,” we’ll explore the art of constructing engaging and insightful body paragraphs that will keep your readers hooked.

Summarize Without Spoilers

Begin by summarizing a specific section of the book, not revealing any major plot twists or spoilers. Your goal is to give your readers a taste of the story without ruining surprises.

Support Your Viewpoint with Quotes

Next, choose three quotes from the book that support your viewpoint or opinion. These quotes should be relevant to the section you’re summarizing and help illustrate your thoughts on the book.

Analyze the Quotes

Write a summary of each quote in your own words, explaining how it made you feel or what it led you to think about the book or the author’s writing. This analysis should provide insight into your perspective and demonstrate your understanding of the text.

Structure Your Body Paragraphs

Dedicate one body paragraph to each quote, ensuring your writing is well-connected, coherent, and easy to understand.

For example:

In Jane Eyre , Charlotte Brontë writes, “I am no bird; and no net ensnares me.” This powerful statement highlights Jane’s fierce independence and refusal to be trapped by societal expectations.
In Normal People , Sally Rooney explores the complexities of love and friendship when she writes, “It was culture as class performance, literature fetishized for its ability to take educated people on false emotional journeys.” This quote reveals the author’s astute observations on the role of culture and class in shaping personal relationships.
In Wuthering Heights , Emily Brontë captures the tumultuous nature of love with the quote, “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.” This poignant line emphasizes the deep, unbreakable bond between the story’s central characters.

By following these guidelines, you’ll create body paragraphs that are both captivating and insightful, enhancing your book review and providing your readers with a deeper understanding of the literary work.

How to Write a Book Review: Step 4 – Crafting a Captivating Conclusion

You’ve navigated through planning, introductions, and body paragraphs with finesse. Now it’s time to wrap up your book review with a conclusion that leaves a lasting impression . In this final step of “how to write a book review,” we’ll explore the art of writing a memorable and persuasive conclusion.

Summarize Your Analysis

Begin by summarizing the key points you’ve presented in the body paragraphs. This helps to remind your readers of the insights and arguments you’ve shared throughout your review.

Offer Your Final Conclusion

Next, provide a conclusion that reflects your overall feelings about the book. This is your chance to leave a lasting impression and persuade your readers to consider your perspective.

Address the Book’s Appeal

Now, answer the question: Is this book worth reading? Be clear about who would enjoy the book and who might not. Discuss the taste preferences and circumstances that make the book more appealing to some readers than others.

For example: The Alchemist is a book that can enchant a young teen, but those who are already well-versed in classic literature might find it less engaging.

Be Subtle and Balanced

Avoid simply stating whether you “liked” or “disliked” the book. Instead, use nuanced language to convey your message. Highlight the pros and cons of reading the type of literature you’ve reviewed, offering a balanced perspective.

Bringing It All Together

By following these guidelines, you’ll craft a conclusion that leaves your readers with a clear understanding of your thoughts and opinions on the book. Your review will be a valuable resource for those considering whether to pick up the book, and your witty and insightful analysis will make your review a pleasure to read. So conquer the world of book reviews, one captivating conclusion at a time!

How to Write a Book Review: Step 5 – Rating the Book (Optional)

You’ve masterfully crafted your book review, from the introduction to the conclusion. But wait, there’s one more step you might consider before calling it a day: rating the book. In this optional step of “how to write a book review,” we’ll explore the benefits and methods of assigning a rating to the book you’ve reviewed.

Why Rate the Book?

Sometimes, when writing a professional book review, it may not be appropriate to state whether you liked or disliked the book. In such cases, assigning a rating can be an effective way to get your message across without explicitly sharing your personal opinion.

How to Rate the Book

There are various rating systems you can use to evaluate the book, such as:

A star rating (e.g., 1 to 5 stars)
A numerical score (e.g., 1 to 10)
A letter grade (e.g., A+ to F)

Choose a rating system that best suits your style and the format of your review. Be consistent in your rating criteria, considering writing quality, character development, plot, and overall enjoyment.

Tips for Rating the Book

Here are some tips for rating the book effectively:

Be honest: Your rating should reflect your true feelings about the book. Don’t inflate or deflate your rating based on external factors, such as the book’s popularity or the author’s reputation.
Be fair:Consider the book’s merits and shortcomings when rating. Even if you didn’t enjoy the book, recognize its strengths and acknowledge them in your rating.
Be clear: Explain the rationale behind your rating so your readers understand the factors that influenced your evaluation.

Wrapping Up

By including a rating in your book review, you provide your readers with an additional insight into your thoughts on the book. While this step is optional, it can be a valuable tool for conveying your message subtly yet effectively. So, rate those books confidently, adding a touch of wit and wisdom to your book reviews.

Additional Tips on How to Write a Book Review: A Guide

In this segment, we’ll explore additional tips on how to write a book review. Get ready to captivate your readers and make your review a memorable one!

Hook ’em with an Intriguing Introduction

Keep your introduction precise and to the point. Readers have the attention span of a goldfish these days, so don’t let them swim away in boredom. Start with a bang and keep them hooked!

Embrace the World of Fiction

When learning how to write a book review, remember that reviewing fiction is often more engaging and effective. If your professor hasn’t assigned you a specific book, dive into the realm of fiction and select a novel that piques your interest.

Opinionated with Gusto

Don’t shy away from adding your own opinion to your review. A good book review always features the writer’s viewpoint and constructive criticism. After all, your readers want to know what you think!

Express Your Love (or Lack Thereof)

If you adored the book, let your readers know! Use phrases like “I’ll definitely return to this book again” to convey your enthusiasm. Conversely, be honest but respectful even if the book wasn’t your cup of tea.

Templates and Examples and Expert Help: Your Trusty Sidekicks

Feeling lost? You can always get help from formats, book review examples or online college paper writing service platforms. These trusty sidekicks will help you navigate the world of book reviews with ease.

Be a Champion for New Writers and Literature

Remember to uplift new writers and pieces of literature. If you want to suggest improvements, do so kindly and constructively. There’s no need to be mean about anyone’s books – we’re all in this literary adventure together!

Criticize with Clarity, Not Cruelty

When adding criticism to your review, be clear but not mean. Remember, there’s a fine line between constructive criticism and cruelty. Tread lightly and keep your reader’s feelings in mind.

Avoid the Comparison Trap

Resist the urge to compare one writer’s book with another. Every book holds its worth, and comparing them will only confuse your reader. Stick to discussing the book at hand, and let it shine in its own light.

Top 7 Mistakes and How to Avoid Them

Writing a book review can be a delightful and rewarding experience, especially when you balance analysis, wit, and personal insights. However, some common mistakes can kill the brilliance of your review.

In this section of “how to write a book review,” we’ll explore the top 7 blunders writers commit and how to steer clear of them, with a dash of modernist literature examples and tips for students writing book reviews as assignments.

Succumbing to the Lure of Plot Summaries

Mistake: Diving headfirst into a plot summary instead of dissecting the book’s themes, characters, and writing style.

Example: “The Bell Jar chronicles the life of a young woman who experiences a mental breakdown.”

How to Avoid: Delve into the book’s deeper aspects, such as its portrayal of mental health, societal expectations, and the author’s distinctive narrative voice. Offer thoughtful insights and reflections, making your review a treasure trove of analysis.

Unleashing the Spoiler Kraken

Mistake: Spilling major plot twists or the ending without providing a spoiler warning, effectively ruining the reading experience for potential readers.

Example: “In Metamorphosis, the protagonist’s transformation into a monstrous insect leads to…”

How to Avoid: Tread carefully when discussing significant plot developments, and consider using spoiler warnings. Focus on the impact of these plot points on the overall narrative, character growth, or thematic resonance.

Riding the Personal Bias Express

Mistake: Allowing personal bias to hijack the review without providing sufficient evidence or reasoning to support opinions.

Example: “I detest books about existential crises, so The Sun Also Rises was a snoozefest.”

How to Avoid: While personal opinions are valid, it’s crucial to back them up with specific examples from the book. Discuss aspects like writing style, character development, or pacing to support your evaluation and provide a more balanced perspective.

Wielding the Vague Language Saber

Mistake: Resorting to generic, vague language that fails to capture the nuances of the book and can come across as clichéd.

Example: “This book was mind-blowing. It’s a must-read for everyone.”

How to Avoid: Use precise and descriptive language to express your thoughts. Employ specific examples and quotations to highlight memorable scenes, the author’s unique writing style, or the impact of the book’s themes on readers.

Ignoring the Contextualization Compass

Mistake: Neglecting to provide context about the author, genre, or cultural relevance of the book, leaving readers without a proper frame of reference.

Example: “This book is dull and unoriginal.”

How to Avoid: Offer readers a broader understanding by discussing the author’s background, the genre conventions the book adheres to or subverts, and any societal or historical contexts that inform the narrative. This helps readers appreciate the book’s uniqueness and relevance.

Overindulging in Personal Preferences

Mistake: Letting personal preferences overshadow an objective assessment of the book’s merits.

Example: “I don’t like stream-of-consciousness writing, so this book is automatically bad.”

How to Avoid: Acknowledge personal preferences but strive to evaluate the book objectively. Focus on the book’s strengths and weaknesses, considering how well it achieves its goals within its genre or intended audience.

Forgetting the Target Audience Telescope

Mistake: Failing to mention the book’s target audience or who might enjoy it, leading to confusion for potential readers.

Example: “This book is great for everyone.”

How to Avoid: Contemplate the book’s intended audience, genre, and themes. Mention who might particularly enjoy the book based on these factors, whether it’s fans of a specific genre, readers interested in character-driven stories, or those seeking thought-provoking narratives.

By dodging these common pitfalls, writers can craft insightful, balanced, and engaging book reviews that help readers make informed decisions about their reading choices.

These tips are particularly beneficial for students writing book reviews as assignments, as they ensure a well-rounded and thoughtful analysis.!

Many students requested us to cover how to write a book review. This thorough guide is sure to help you. At Paperperk, professionals are dedicated to helping students find their balance. We understand the importance of good grades, so we offer the finest writing service , ensuring students stay ahead of the curve. So seek expert help because only Paperperk is your perfect solution!

What is the difference between a book review and a report?

Who is the target audience for book reviews and book reports, how do book reviews and reports differ in length and content, can i write professional book reviews, what are the key aspects of writing professional book reviews, how can i enhance my book-reviewing skills to write professional reviews, what should be included in a good book review.

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17 Book Review Examples to Help You Write the Perfect Review

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Blog – Posted on Friday, Mar 29

17 book review examples to help you write the perfect review.

It’s an exciting time to be a book reviewer. Once confined to print newspapers and journals, reviews now dot many corridors of the Internet — forever helping others discover their next great read. That said, every book reviewer will face a familiar panic: how can you do justice to a great book in just a thousand words?

As you know, the best way to learn how to do something is by immersing yourself in it. Luckily, the Internet (i.e. Goodreads and other review sites , in particular) has made book reviews more accessible than ever — which means that there are a lot of book reviews examples out there for you to view!

In this post, we compiled 17 prototypical book review examples in multiple genres to help you figure out how to write the perfect review . If you want to jump straight to the examples, you can skip the next section. Otherwise, let’s first check out what makes up a good review.

Are you interested in becoming a book reviewer? We recommend you check out Reedsy Discovery , where you can earn money for writing reviews — and are guaranteed people will read your reviews! To register as a book reviewer, sign up here.

Pro-tip : But wait! How are you sure if you should become a book reviewer in the first place? If you're on the fence, or curious about your match with a book reviewing career, take our quick quiz:

Should you become a book reviewer?

Find out the answer. Takes 30 seconds!

What must a book review contain?

Like all works of art, no two book reviews will be identical. But fear not: there are a few guidelines for any aspiring book reviewer to follow. Most book reviews, for instance, are less than 1,500 words long, with the sweet spot hitting somewhere around the 1,000-word mark. (However, this may vary depending on the platform on which you’re writing, as we’ll see later.)

In addition, all reviews share some universal elements, as shown in our book review templates . These include:

A review will offer a concise plot summary of the book.
A book review will offer an evaluation of the work.
A book review will offer a recommendation for the audience.

If these are the basic ingredients that make up a book review, it’s the tone and style with which the book reviewer writes that brings the extra panache. This will differ from platform to platform, of course. A book review on Goodreads, for instance, will be much more informal and personal than a book review on Kirkus Reviews, as it is catering to a different audience. However, at the end of the day, the goal of all book reviews is to give the audience the tools to determine whether or not they’d like to read the book themselves.

Keeping that in mind, let’s proceed to some book review examples to put all of this in action.

How much of a book nerd are you, really?

Find out here, once and for all. Takes 30 seconds!

Book review examples for fiction books

Since story is king in the world of fiction, it probably won’t come as any surprise to learn that a book review for a novel will concentrate on how well the story was told .

That said, book reviews in all genres follow the same basic formula that we discussed earlier. In these examples, you’ll be able to see how book reviewers on different platforms expertly intertwine the plot summary and their personal opinions of the book to produce a clear, informative, and concise review.

Note: Some of the book review examples run very long. If a book review is truncated in this post, we’ve indicated by including a […] at the end, but you can always read the entire review if you click on the link provided.

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an "invisible man". People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing. The boy's dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison's first novel, but he has complete control of his story and his style. Watch it.

Lyndsey reviews George Orwell’s 1984 on Goodreads:

YOU. ARE. THE. DEAD. Oh my God. I got the chills so many times toward the end of this book. It completely blew my mind. It managed to surpass my high expectations AND be nothing at all like I expected. Or in Newspeak "Double Plus Good." Let me preface this with an apology. If I sound stunningly inarticulate at times in this review, I can't help it. My mind is completely fried.

This book is like the dystopian Lord of the Rings, with its richly developed culture and economics, not to mention a fully developed language called Newspeak, or rather more of the anti-language, whose purpose is to limit speech and understanding instead of to enhance and expand it. The world-building is so fully fleshed out and spine-tinglingly terrifying that it's almost as if George travelled to such a place, escaped from it, and then just wrote it all down.

I read Fahrenheit 451 over ten years ago in my early teens. At the time, I remember really wanting to read 1984, although I never managed to get my hands on it. I'm almost glad I didn't. Though I would not have admitted it at the time, it would have gone over my head. Or at the very least, I wouldn't have been able to appreciate it fully. […]

The New York Times reviews Lisa Halliday’s Asymmetry :

Three-quarters of the way through Lisa Halliday’s debut novel, “Asymmetry,” a British foreign correspondent named Alistair is spending Christmas on a compound outside of Baghdad. His fellow revelers include cameramen, defense contractors, United Nations employees and aid workers. Someone’s mother has FedExed a HoneyBaked ham from Maine; people are smoking by the swimming pool. It is 2003, just days after Saddam Hussein’s capture, and though the mood is optimistic, Alistair is worrying aloud about the ethics of his chosen profession, wondering if reporting on violence doesn’t indirectly abet violence and questioning why he’d rather be in a combat zone than reading a picture book to his son. But every time he returns to London, he begins to “spin out.” He can’t go home. “You observe what people do with their freedom — what they don’t do — and it’s impossible not to judge them for it,” he says.

The line, embedded unceremoniously in the middle of a page-long paragraph, doubles, like so many others in “Asymmetry,” as literary criticism. Halliday’s novel is so strange and startlingly smart that its mere existence seems like commentary on the state of fiction. One finishes “Asymmetry” for the first or second (or like this reader, third) time and is left wondering what other writers are not doing with their freedom — and, like Alistair, judging them for it.

Despite its title, “Asymmetry” comprises two seemingly unrelated sections of equal length, appended by a slim and quietly shocking coda. Halliday’s prose is clean and lean, almost reportorial in the style of W. G. Sebald, and like the murmurings of a shy person at a cocktail party, often comic only in single clauses. It’s a first novel that reads like the work of an author who has published many books over many years. […]

Emily W. Thompson reviews Michael Doane's The Crossing on Reedsy Discovery :

In Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl.

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

The Narrator initially sticks to the highways, trying to make it to the West Coast as quickly as possible. But a hitchhiker named Duke convinces him to get off the beaten path and enjoy the ride. “There’s not a place that’s like any other,” [39] Dukes contends, and The Narrator realizes he’s right. Suddenly, the trip is about the journey, not just the destination. The Narrator ditches his truck and traverses the deserts and mountains on his bike. He destroys his phone, cutting off ties with his past and living only in the moment.

As he crosses the country, The Narrator connects with several unique personalities whose experiences and views deeply impact his own. Duke, the complicated cowboy and drifter, who opens The Narrator’s eyes to a larger world. Zooey, the waitress in Colorado who opens his heart and reminds him that love can be found in this big world. And Rosie, The Narrator’s sweet landlady in Portland, who helps piece him back together both physically and emotionally.

This supporting cast of characters is excellent. Duke, in particular, is wonderfully nuanced and complicated. He’s a throwback to another time, a man without a cell phone who reads Sartre and sleeps under the stars. Yet he’s also a grifter with a “love ‘em and leave ‘em” attitude that harms those around him. It’s fascinating to watch The Narrator wrestle with Duke’s behavior, trying to determine which to model and which to discard.

Doane creates a relatable protagonist in The Narrator, whose personal growth doesn’t erase his faults. His willingness to hit the road with few resources is admirable, and he’s prescient enough to recognize the jealousy of those who cannot or will not take the leap. His encounters with new foods, places, and people broaden his horizons. Yet his immaturity and selfishness persist. He tells Rosie she’s been a good mother to him but chooses to ignore the continuing concern from his own parents as he effectively disappears from his old life.

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

The Book Smugglers review Anissa Gray’s The Care and Feeding of Ravenously Hungry Girls :

I am still dipping my toes into the literally fiction pool, finding what works for me and what doesn’t. Books like The Care and Feeding of Ravenously Hungry Girls by Anissa Gray are definitely my cup of tea.

Althea and Proctor Cochran had been pillars of their economically disadvantaged community for years – with their local restaurant/small market and their charity drives. Until they are found guilty of fraud for stealing and keeping most of the money they raised and sent to jail. Now disgraced, their entire family is suffering the consequences, specially their twin teenage daughters Baby Vi and Kim. To complicate matters even more: Kim was actually the one to call the police on her parents after yet another fight with her mother. […]

Examples of children’s and YA fiction book reviews

The Book Hookup reviews Angie Thomas’ The Hate U Give :

♥ Quick Thoughts and Rating: 5 stars! I can’t imagine how challenging it would be to tackle the voice of a movement like Black Lives Matter, but I do know that Thomas did it with a finesse only a talented author like herself possibly could. With an unapologetically realistic delivery packed with emotion, The Hate U Give is a crucially important portrayal of the difficulties minorities face in our country every single day. I have no doubt that this book will be met with resistance by some (possibly many) and slapped with a “controversial” label, but if you’ve ever wondered what it was like to walk in a POC’s shoes, then I feel like this is an unflinchingly honest place to start.

In Angie Thomas’s debut novel, Starr Carter bursts on to the YA scene with both heart-wrecking and heartwarming sincerity. This author is definitely one to watch.

♥ Review: The hype around this book has been unquestionable and, admittedly, that made me both eager to get my hands on it and terrified to read it. I mean, what if I was to be the one person that didn’t love it as much as others? (That seems silly now because of how truly mesmerizing THUG was in the most heartbreakingly realistic way.) However, with the relevancy of its summary in regards to the unjust predicaments POC currently face in the US, I knew this one was a must-read, so I was ready to set my fears aside and dive in. That said, I had an altogether more personal, ulterior motive for wanting to read this book. […]

The New York Times reviews Melissa Albert’s The Hazel Wood :

Alice Crewe (a last name she’s chosen for herself) is a fairy tale legacy: the granddaughter of Althea Proserpine, author of a collection of dark-as-night fairy tales called “Tales From the Hinterland.” The book has a cult following, and though Alice has never met her grandmother, she’s learned a little about her through internet research. She hasn’t read the stories, because her mother, Ella Proserpine, forbids it.

Alice and Ella have moved from place to place in an attempt to avoid the “bad luck” that seems to follow them. Weird things have happened. As a child, Alice was kidnapped by a man who took her on a road trip to find her grandmother; he was stopped by the police before they did so. When at 17 she sees that man again, unchanged despite the years, Alice panics. Then Ella goes missing, and Alice turns to Ellery Finch, a schoolmate who’s an Althea Proserpine superfan, for help in tracking down her mother. Not only has Finch read every fairy tale in the collection, but handily, he remembers them, sharing them with Alice as they journey to the mysterious Hazel Wood, the estate of her now-dead grandmother, where they hope to find Ella.

“The Hazel Wood” starts out strange and gets stranger, in the best way possible. (The fairy stories Finch relays, which Albert includes as their own chapters, are as creepy and evocative as you’d hope.) Albert seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth and the world as it appears is false, where just about anything can happen, particularly in the pages of a very good book. It’s a captivating debut. […]

James reviews Margaret Wise Brown’s Goodnight, Moon on Goodreads:

Goodnight Moon by Margaret Wise Brown is one of the books that followers of my blog voted as a must-read for our Children's Book August 2018 Readathon. Come check it out and join the next few weeks!

This picture book was such a delight. I hadn't remembered reading it when I was a child, but it might have been read to me... either way, it was like a whole new experience! It's always so difficult to convince a child to fall asleep at night. I don't have kids, but I do have a 5-month-old puppy who whines for 5 minutes every night when he goes in his cage/crate (hopefully he'll be fully housebroken soon so he can roam around when he wants). I can only imagine! I babysat a lot as a teenager and I have tons of younger cousins, nieces, and nephews, so I've been through it before, too. This was a believable experience, and it really helps show kids how to relax and just let go when it's time to sleep.

The bunny's are adorable. The rhymes are exquisite. I found it pretty fun, but possibly a little dated given many of those things aren't normal routines anymore. But the lessons to take from it are still powerful. Loved it! I want to sample some more books by this fine author and her illustrators.

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

This funny, thoroughly accomplished debut opens with two words: “I’m moving.” They’re spoken by the title character while she swoons across her family’s ottoman, and because Geraldine is a giraffe, her full-on melancholy mode is quite a spectacle. But while Geraldine may be a drama queen (even her mother says so), it won’t take readers long to warm up to her. The move takes Geraldine from Giraffe City, where everyone is like her, to a new school, where everyone else is human. Suddenly, the former extrovert becomes “That Giraffe Girl,” and all she wants to do is hide, which is pretty much impossible. “Even my voice tries to hide,” she says, in the book’s most poignant moment. “It’s gotten quiet and whispery.” Then she meets Cassie, who, though human, is also an outlier (“I’m that girl who wears glasses and likes MATH and always organizes her food”), and things begin to look up.

Lilly’s watercolor-and-ink drawings are as vividly comic and emotionally astute as her writing; just when readers think there are no more ways for Geraldine to contort her long neck, this highly promising talent comes up with something new.

Examples of genre fiction book reviews

Karlyn P reviews Nora Roberts’ Dark Witch , a paranormal romance novel , on Goodreads:

4 stars. Great world-building, weak romance, but still worth the read.

I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle. Sure, there IS a romance in this novel. Sprinkled throughout the book are a few scenes where Iona and Boyle meet, chat, wink at each, flirt some more, sleep together, have a misunderstanding, make up, and then profess their undying love. Very formulaic stuff, and all woven around the more important parts of this book.

The meat of this book is far more focused on the story of the Dark witch and her magically-gifted descendants living in Ireland. Despite being weak on the romance, I really enjoyed it. I think the book is probably better for it, because the romance itself was pretty lackluster stuff.

I absolutely plan to stick with this series as I enjoyed the world building, loved the Ireland setting, and was intrigued by all of the secondary characters. However, If you read Nora Roberts strictly for the romance scenes, this one might disappoint. But if you enjoy a solid background story with some dark magic and prophesies, you might enjoy it as much as I did.

I listened to this one on audio, and felt the narration was excellent.

Emily May reviews R.F. Kuang’s The Poppy Wars , an epic fantasy novel , on Goodreads:

“But I warn you, little warrior. The price of power is pain.”

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

That's a basic list, but this book is all of that and SO MUCH MORE. I know 100% that The Poppy War will be one of my best reads of 2018.

Isn't it just so great when you find one of those books that completely drags you in, makes you fall in love with the characters, and demands that you sit on the edge of your seat for every horrific, nail-biting moment of it? This is one of those books for me. And I must issue a serious content warning: this book explores some very dark themes. Proceed with caution (or not at all) if you are particularly sensitive to scenes of war, drug use and addiction, genocide, racism, sexism, ableism, self-harm, torture, and rape (off-page but extremely horrific).

Because, despite the fairly innocuous first 200 pages, the title speaks the truth: this is a book about war. All of its horrors and atrocities. It is not sugar-coated, and it is often graphic. The "poppy" aspect refers to opium, which is a big part of this book. It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking.

Crime Fiction Lover reviews Jessica Barry’s Freefall , a crime novel:

In some crime novels, the wrongdoing hits you between the eyes from page one. With others it’s a more subtle process, and that’s OK too. So where does Freefall fit into the sliding scale?

In truth, it’s not clear. This is a novel with a thrilling concept at its core. A woman survives plane crash, then runs for her life. However, it is the subtleties at play that will draw you in like a spider beckoning to an unwitting fly.

Like the heroine in Sharon Bolton’s Dead Woman Walking, Allison is lucky to be alive. She was the only passenger in a private plane, belonging to her fiancé, Ben, who was piloting the expensive aircraft, when it came down in woodlands in the Colorado Rockies. Ally is also the only survivor, but rather than sitting back and waiting for rescue, she is soon pulling together items that may help her survive a little longer – first aid kit, energy bars, warm clothes, trainers – before fleeing the scene. If you’re hearing the faint sound of alarm bells ringing, get used to it. There’s much, much more to learn about Ally before this tale is over.

Kirkus Reviews reviews Ernest Cline’s Ready Player One , a science-fiction novel :

Video-game players embrace the quest of a lifetime in a virtual world; screenwriter Cline’s first novel is old wine in new bottles.

The real world, in 2045, is the usual dystopian horror story. So who can blame Wade, our narrator, if he spends most of his time in a virtual world? The 18-year-old, orphaned at 11, has no friends in his vertical trailer park in Oklahoma City, while the OASIS has captivating bells and whistles, and it’s free. Its creator, the legendary billionaire James Halliday, left a curious will. He had devised an elaborate online game, a hunt for a hidden Easter egg. The finder would inherit his estate. Old-fashioned riddles lead to three keys and three gates. Wade, or rather his avatar Parzival, is the first gunter (egg-hunter) to win the Copper Key, first of three.

Halliday was obsessed with the pop culture of the 1980s, primarily the arcade games, so the novel is as much retro as futurist. Parzival’s great strength is that he has absorbed all Halliday’s obsessions; he knows by heart three essential movies, crossing the line from geek to freak. His most formidable competitors are the Sixers, contract gunters working for the evil conglomerate IOI, whose goal is to acquire the OASIS. Cline’s narrative is straightforward but loaded with exposition. It takes a while to reach a scene that crackles with excitement: the meeting between Parzival (now world famous as the lead contender) and Sorrento, the head of IOI. The latter tries to recruit Parzival; when he fails, he issues and executes a death threat. Wade’s trailer is demolished, his relatives killed; luckily Wade was not at home. Too bad this is the dramatic high point. Parzival threads his way between more ’80s games and movies to gain the other keys; it’s clever but not exciting. Even a romance with another avatar and the ultimate “epic throwdown” fail to stir the blood.

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

Nonfiction books are generally written to inform readers about a certain topic. As such, the focus of a nonfiction book review will be on the clarity and effectiveness of this communication . In carrying this out, a book review may analyze the author’s source materials and assess the thesis in order to determine whether or not the book meets expectations.

Again, we’ve included abbreviated versions of long reviews here, so feel free to click on the link to read the entire piece!

The Washington Post reviews David Grann’s Killers of the Flower Moon :

The arc of David Grann’s career reminds one of a software whiz-kid or a latest-thing talk-show host — certainly not an investigative reporter, even if he is one of the best in the business. The newly released movie of his first book, “The Lost City of Z,” is generating all kinds of Oscar talk, and now comes the release of his second book, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film rights to which have already been sold for $5 million in what one industry journal called the “biggest and wildest book rights auction in memory.”

Grann deserves the attention. He’s canny about the stories he chases, he’s willing to go anywhere to chase them, and he’s a maestro in his ability to parcel out information at just the right clip: a hint here, a shading of meaning there, a smartly paced buildup of multiple possibilities followed by an inevitable reversal of readerly expectations or, in some cases, by a thrilling and dislocating pull of the entire narrative rug.

All of these strengths are on display in “Killers of the Flower Moon.” Around the turn of the 20th century, oil was discovered underneath Osage lands in the Oklahoma Territory, lands that were soon to become part of the state of Oklahoma. Through foresight and legal maneuvering, the Osage found a way to permanently attach that oil to themselves and shield it from the prying hands of white interlopers; this mechanism was known as “headrights,” which forbade the outright sale of oil rights and granted each full member of the tribe — and, supposedly, no one else — a share in the proceeds from any lease arrangement. For a while, the fail-safes did their job, and the Osage got rich — diamond-ring and chauffeured-car and imported-French-fashion rich — following which quite a large group of white men started to work like devils to separate the Osage from their money. And soon enough, and predictably enough, this work involved murder. Here in Jazz Age America’s most isolated of locales, dozens or even hundreds of Osage in possession of great fortunes — and of the potential for even greater fortunes in the future — were dispatched by poison, by gunshot and by dynamite. […]

Stacked Books reviews Malcolm Gladwell’s Outliers :

I’ve heard a lot of great things about Malcolm Gladwell’s writing. Friends and co-workers tell me that his subjects are interesting and his writing style is easy to follow without talking down to the reader. I wasn’t disappointed with Outliers. In it, Gladwell tackles the subject of success – how people obtain it and what contributes to extraordinary success as opposed to everyday success.

The thesis – that our success depends much more on circumstances out of our control than any effort we put forth – isn’t exactly revolutionary. Most of us know it to be true. However, I don’t think I’m lying when I say that most of us also believe that we if we just try that much harder and develop our talent that much further, it will be enough to become wildly successful, despite bad or just mediocre beginnings. Not so, says Gladwell.

Most of the evidence Gladwell gives us is anecdotal, which is my favorite kind to read. I can’t really speak to how scientifically valid it is, but it sure makes for engrossing listening. For example, did you know that successful hockey players are almost all born in January, February, or March? Kids born during these months are older than the others kids when they start playing in the youth leagues, which means they’re already better at the game (because they’re bigger). Thus, they get more play time, which means their skill increases at a faster rate, and it compounds as time goes by. Within a few years, they’re much, much better than the kids born just a few months later in the year. Basically, these kids’ birthdates are a huge factor in their success as adults – and it’s nothing they can do anything about. If anyone could make hockey interesting to a Texan who only grudgingly admits the sport even exists, it’s Gladwell. […]

Quill and Quire reviews Rick Prashaw’s Soar, Adam, Soar :

Ten years ago, I read a book called Almost Perfect. The young-adult novel by Brian Katcher won some awards and was held up as a powerful, nuanced portrayal of a young trans person. But the reality did not live up to the book’s billing. Instead, it turned out to be a one-dimensional and highly fetishized portrait of a trans person’s life, one that was nevertheless repeatedly dubbed “realistic” and “affecting” by non-transgender readers possessing only a vague, mass-market understanding of trans experiences.

In the intervening decade, trans narratives have emerged further into the literary spotlight, but those authored by trans people ourselves – and by trans men in particular – have seemed to fall under the shadow of cisgender sensationalized imaginings. Two current Canadian releases – Soar, Adam, Soar and This One Looks Like a Boy – provide a pointed object lesson into why trans-authored work about transgender experiences remains critical.

To be fair, Soar, Adam, Soar isn’t just a story about a trans man. It’s also a story about epilepsy, the medical establishment, and coming of age as seen through a grieving father’s eyes. Adam, Prashaw’s trans son, died unexpectedly at age 22. Woven through the elder Prashaw’s narrative are excerpts from Adam’s social media posts, giving us glimpses into the young man’s interior life as he traverses his late teens and early 20s. […]

Book Geeks reviews Elizabeth Gilbert’s Eat, Pray, Love :

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

“Eat Pray Love” is so popular that it is almost impossible to not read it. Having felt ashamed many times on my not having read this book, I quietly ordered the book (before I saw the movie) from amazon.in and sat down to read it. I don’t remember what I expected it to be – maybe more like a chick lit thing but it turned out quite different. The book is a real story and is a short journal from the time when its writer went travelling to three different countries in pursuit of three different things – Italy (Pleasure), India (Spirituality), Bali (Balance) and this is what corresponds to the book’s name – EAT (in Italy), PRAY (in India) and LOVE (in Bali, Indonesia). These are also the three Is – ITALY, INDIA, INDONESIA.

Though she had everything a middle-aged American woman can aspire for – MONEY, CAREER, FRIENDS, HUSBAND; Elizabeth was not happy in her life, she wasn’t happy in her marriage. Having suffered a terrible divorce and terrible breakup soon after, Elizabeth was shattered. She didn’t know where to go and what to do – all she knew was that she wanted to run away. So she set out on a weird adventure – she will go to three countries in a year and see if she can find out what she was looking for in life. This book is about that life changing journey that she takes for one whole year. […]

Emily May reviews Michelle Obama’s Becoming on Goodreads:

Look, I'm not a happy crier. I might cry at songs about leaving and missing someone; I might cry at books where things don't work out; I might cry at movies where someone dies. I've just never really understood why people get all choked up over happy, inspirational things. But Michelle Obama's kindness and empathy changed that. This book had me in tears for all the right reasons.

This is not really a book about politics, though political experiences obviously do come into it. It's a shame that some will dismiss this book because of a difference in political opinion, when it is really about a woman's life. About growing up poor and black on the South Side of Chicago; about getting married and struggling to maintain that marriage; about motherhood; about being thrown into an amazing and terrifying position.

I hate words like "inspirational" because they've become so overdone and cheesy, but I just have to say it-- Michelle Obama is an inspiration. I had the privilege of seeing her speak at The Forum in Inglewood, and she is one of the warmest, funniest, smartest, down-to-earth people I have ever seen in this world.

And yes, I know we present what we want the world to see, but I truly do think it's genuine. I think she is someone who really cares about people - especially kids - and wants to give them better lives and opportunities.

She's obviously intelligent, but she also doesn't gussy up her words. She talks straight, with an openness and honesty rarely seen. She's been one of the most powerful women in the world, she's been a graduate of Princeton and Harvard Law School, she's had her own successful career, and yet she has remained throughout that same girl - Michelle Robinson - from a working class family in Chicago.

I don't think there's anyone who wouldn't benefit from reading this book.

Hopefully, this post has given you a better idea of how to write a book review. You might be wondering how to put all of this knowledge into action now! Many book reviewers start out by setting up a book blog. If you don’t have time to research the intricacies of HTML, check out Reedsy Discovery — where you can read indie books for free and review them without going through the hassle of creating a blog. To register as a book reviewer , go here .

And if you’d like to see even more book review examples, simply go to this directory of book review blogs and click on any one of them to see a wealth of good book reviews. Beyond that, it's up to you to pick up a book and pen — and start reviewing!

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Discovery | Reviewer | Version A | 2024-01

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How Should One Read a Book?

Read as if one were writing it.

A painting of a woman reading at a table.

Jean-Baptiste-Camille Corot, Young Girl Reading , c. 1868. Courtesy National Gallery of Art, Washington.

At this late hour of the world’s history, books are to be found in almost every room of the house—in the nursery, in the drawing room, in the dining room, in the kitchen. But in some houses they have become such a company that they have to be accommodated with a room of their own—a reading room, a library, a study. Let us imagine that we are now in such a room; that it is a sunny room, with windows opening on a garden, so that we can hear the trees rustling, the gardener talking, the donkey braying, the old women gossiping at the pump—and all the ordinary processes of life pursuing the casual irregular way which they have pursued these many hundreds of years. As casually, as persistently, books have been coming together on the shelves. Novels, poems, histories, memoirs, dictionaries, maps, directories; black letter books and brand new books; books in French and Greek and Latin; of all shapes and sizes and values, bought for purposes of research, bought to amuse a railway journey, bought by miscellaneous beings, of one temperament and another, serious and frivolous, men of action and men of letters.

Now, one may well ask oneself, strolling into such a room as this, how am I to read these books? What is the right way to set about it? They are so many and so various. My appetite is so fitful and so capricious. What am I to do to get the utmost possible pleasure out of them? And is it pleasure, or profit, or what is it that I should seek? I will lay before you some of the thoughts that have come to me on such an occasion as this. But you will notice the note of interrogation at the end of my title. One may think about reading as much as one chooses, but no one is going to lay down laws about it. Here in this room, if nowhere else, we breathe the air of freedom. Here simple and learned, man and woman are alike. For though reading seems so simple—a mere matter of knowing the alphabet—it is indeed so difficult that it is doubtful whether anybody knows anything about it. Paris is the capital of France; King John signed the Magna Charta; those are facts; those can be taught; but how are we to teach people so to read “Paradise Lost” as to see that it is a great poem, or “Tess of the D’Urbervilles” so as to see that it is a good novel? How are we to learn the art of reading for ourselves? Without attempting to lay down laws upon a subject that has not been legalized, I will make a few suggestions, which may serve to show you how not to read, or to stimulate you to think out better methods of your own.

And directly we begin to ask how should one read a book we are faced by the fact that books differ; there are poems, novels, biographies on the book shelf there; each differs from the other as a tiger differs from a tortoise, a tortoise from an elephant. Our attitude must always be changing, it is clear. From different books we must ask different qualities. Simple as this sounds, people are always behaving as if all books were of the same species—as if there were only tortoises or nothing but tigers. It makes them furious to find a novelist bringing Queen Victoria to the throne six months before her time; they will praise a poet enthusiastically for teaching them that a violet has four petals and a daisy almost invariably ten. You will save a great deal of time and temper better kept for worthier objects if you will try to make out before you begin to read what qualities you expect of a novelist, what of a poet, what of a biographer. The tortoise is bald and shiny; the tiger has a thick coat of yellow fur. So books too differ: one has its fur, the other has its baldness.

To be able to read books without reading them, to skip and saunter, to suspend judgment, to lounge and loaf down the alleys and bye-streets of letters is the best way of rejuvenating one’s own creative power.

Yes; but for all that the problem is not so simple in a library as at the Zoölogical Gardens. Books have a great deal in common; they are always overflowing their boundaries; they are always breeding new species from unexpected matches among themselves. It is difficult to know how to approach them, to which species each belongs. But if we remember, as we turn to the bookcase, that each of these books was written by a pen which, consciously or unconsciously, tried to trace out a design, avoiding this, accepting that, adventuring the other; if we try to follow the writer in his experiment from the first word to the last, without imposing our design upon him, then we shall have a good chance of getting hold of the right end of the string.

To read a book well, one should read it as if one were writing it. Begin not by sitting on the bench among the judges but by standing in the dock with the criminal. Be his fellow worker, become his accomplice. Even, if you wish merely to read books, begin by writing them. For this certainly is true—one cannot write the most ordinary little story, attempt to describe the simplest event—meeting a beggar, shall we say, in the street, without coming up against difficulties that the greatest of novelists have had to face. In order that we may realize, however briefly and crudely, the main divisions into which novelists group themselves, let us imagine how differently Defoe, Jane Austen, and Thomas Hardy would describe the same incident—this meeting a beggar in the street. Defoe is a master of narrative. His prime effort will be to reduce the beggar’s story to perfect order and simplicity. This happened first, that next, the other thing third. He will put in nothing, however attractive, that will tire the reader unnecessarily, or divert his attention from what he wishes him to know. He will also make us believe, since he is a master, not of romance or of comedy, but of narrative, that everything that happened is true. He will be extremely precise therefore. This happened, as he tells us on the first pages of” Robinson Crusoe,” on the first of September. More subtly and artfully, he will hypnotize us into a state of belief by dropping out casually some little unnecessary fact—for instance, “my father called me one morning into his chamber, where he was confined by the gout.” His father’s gout is not necessary to the story, but it is necessary to the truth of the story, for it is thus that anybody who is speaking the truth adds some small irrelevant detail without thinking. Further, he will choose a type of sentence which is flowing but not too full, exact but not epigrammatic. His aim will be to present the thing itself without distortion from his own angle of vision. He will meet the subject face to face, four-square, without turning aside for a moment to point out that this was tragic, or that beautiful; and his aim is perfectly achieved.

But let us not for a moment confuse it with Jane Austen’s aim. Had she met a beggar woman, no doubt she would have been interested in the beggar’s story. But she would have seen at once that for her purposes the whole incident must be transformed. Streets and the open air and adventures mean nothing to her, artistically. It is character that interests her. She would at once make the beggar into a comfortable elderly man of the upper middle classes, seated by his fireside at his ease. Then, instead of plunging into the story vigorously and veraciously, she will write a few paragraphs of accurate and artfully seasoned introduction, summing up the circumstances and sketching the character of the gentleman she wishes us to know. “Matrimony as the origin of change was always disagreeable” to Mr. Woodhouse, she says. Almost immediately, she thinks it well to let us see that her words are corroborated by Mr. Woodhouse himself. We hear him talking. “Poor Miss Taylor!—I wish she were here again. What a pity it is that Mr. Weston ever thought of her.” And when Mr. Woodhouse has talked enough to reveal himself from the inside, she then thinks it time to let us see him through his daughter’s eyes. “You got Hannah that good place. Nobody thought of Hannah till you mentioned her.” Thus she shows us Emma flattering him and humoring him. Finally then, we have Mr. Woodhouse’s character seen from three different points of view at once; as he sees himself; as his daughter sees him; and as he is seen by the marvellous eye of that invisible lady Jane Austen herself. All three meet in one, and thus we can pass round her characters free, apparently, from any guidance but our own.

Now let Thomas Hardy choose the same theme—a beggar met in the street—and at once two great changes will be visible. The street will be transformed into a vast and sombre heath; the man or woman will take on some of the size and indistinctness of a statue. Further, the relations of this human being will not be towards other people, but towards the heath, towards man as law-giver, towards those powers which are in control of man’s destiny. Once more our perspective will be completely changed. All the qualities which were admirable in “Robinson Crusoe,” admirable in “Emma,” will be neglected or absent. The direct literal statement of Defoe is gone. There is none of the clear, exact brilliance of Jane Austen. Indeed, if we come to Hardy from one of these great writers we shall exclaim at first that he is “melodramatic” or “unreal” compared with them. But we should bethink us that there are at least two sides to the human soul; the light side and the dark side. In company, the light side of the mind is exposed; in solitude, the dark. Both are equally real, equally important. But a novelist will always tend to expose one rather than the other; and Hardy, who is a novelist of the dark side, will contrive that no clear, steady light falls upon his people’s faces, that they are not closely observed in drawing rooms, that they come in contact with moors, sheep, the sky and the stars, and in their solitude are directly at the mercy of the gods. If Jane Austen’s characters are real in the drawing room, they would not exist at all upon the top of Stonehenge. Feeble and clumsy in drawing rooms, Hardy’s people are large-limbed and vigorous out of doors. To achieve his purpose Hardy is neither literal and four-square like Defoe, nor deft and pointed like Jane Austen. He is cumbrous, involved, metaphorical. Where Jane Austen describes manners, he describes nature. Where she is matter of fact, he is romantic and poetical. As both are great artists, each is careful to observe the laws of his own perspective, and will not be found confusing us (as so many lesser writers do) by introducing two different kinds of reality into the same book.

Yet it is very difficult not to wish them less scrupulous. Frequent are the complaints that Jane Austen is too prosaic, Thomas Hardy too melodramatic. And we have to remind ourselves that it is necessary to approach every writer differently in order to get from him all he can give us. We have to remember that it is one of the qualities of greatness that it brings heaven and earth and human nature into conformity with its own vision. It is by reason of this masterliness of theirs, this uncompromising idiosyncrasy, that great writers often require us to make heroic efforts in order to read them rightly. They bend us and break us. To go from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith, from Richardson to Kipling, is to be wrenched and distorted, thrown this way and then that. Besides, everyone is born with a natural bias of his own in one direction rather than in another. He instinctively accepts Hardy’s vision rather than Jane Austen’s, and, reading with the current and not against it, is carried on easily and swiftly by the impetus of his own bent to the heart of his author’s genius. But then Jane Austen is repulsive to him. He can scarcely stagger through the desert of her novels.

Sometimes this natural antagonism is too great to be overcome, but trial is always worth making. For these difficult and inaccessible books, with all their preliminary harshness, often yield the richest fruits in the end, and so curiously is the brain compounded that while tracts of literature repel at one season, they are appetizing and essential at another.

If, then, this is true—that books are of very different types, and that to read them rightly we have to bend our imaginations powerfully, first one way, then another—it is clear that reading is one of the most arduous and exhausting of occupations. Often the pages fly before us and we seem, so keen is our interest, to be living and not even holding the volume in our hands. But the more exciting the book, the more danger we run of over-reading. The symptoms are familiar. Suddenly the book becomes dull as ditchwater and heavy as lead. We yawn and stretch and cannot attend. The highest flights of Shakespeare and Milton become intolerable. And we say to ourselves—is Keats a fool or am I?—a painful question, a question, moreover, that need not be asked if we realized how great a part the art of not reading plays in the art of reading. To be able to read books without reading them, to skip and saunter, to suspend judgment, to lounge and loaf down the alleys and bye-streets of letters is the best way of rejuvenating one’s own creative power. All biographies and memoirs, all the hybrid books which are largely made up of facts, serve to restore to us the power of reading real books—that is to say, works of pure imagination. That they serve also to impart knowledge and to improve the mind is true and important, but if we are considering how to read books for pleasure, not how to provide an adequate pension for one’s widow, this other property of theirs is even more valuable and important. But here again one should know what one is after. One is after rest, and fun, and oddity, and some stimulus to one’s own jaded creative power. One has left one’s bare and angular tower and is strolling along the street looking in at the open windows. After solitude and concentration, the open air, the sight of other people absorbed in innumerable activities, comes upon us with an indescribable fascination.

The windows of the houses are open; the blinds are drawn up. One can see the whole household without their knowing that they are being seen. One can see them sitting round the dinner table, talking, reading, playing games. Sometimes they seem to be quarrelling—but what about? Or they are laughing—but what is the joke? Down in the basement the cook is reading a newspaper aloud, while the housemaid is making a piece of toast; in comes the kitchen maid and they all start talking at the same moment—but what are they saying? Upstairs a girl is dressing to go to a party. But where is she going? There is an old lady sitting at her bedroom window with some kind of wool work in her hand and a fine green parrot in a cage beside her. And what is she thinking? All this life has somehow come together; there is a reason for it; a coherency in it, could one but seize it. The biographer answers the innumerable questions which we ask as we stand outside on the pavement looking in at the open window. Indeed there is nothing more interesting than to pick one’s way about among these vast depositories of facts, to make up the lives of men and women, to create their complex minds and households from the extraordinary abundance and litter and confusion of matter which lies strewn about. A thimble, a skull, a pair of scissors, a sheaf of sonnets, are given us, and we have to create, to combine, to put these incongruous things together. There is, too, a quality in facts, an emotion which comes from knowing that men and women actually did and suffered these things, which only the greatest novelists can surpass. Captain Scott, starving and freezing to death in the snow, affects us as deeply as any made-up story of adventure by Conrad or Defoe; but it affects us differently. The biography differs from the novel. To ask a biographer to give us the same kind of pleasure that we get from a novelist is to misuse and misread him. Directly he says “John Jones was born at five-thirty in the morning of August 13, I 862,” he has committed himself, focussed his lens upon fact, and if he then begins to romance, the perspective becomes blurred, we grow suspicious, and our faith in his integrity as a writer is destroyed. In the same way fact destroys fiction. If Thackeray, for example, had quoted an actual newspaper account of the Battle of Waterloo in “Vanity Fair,” the whole fabric of his story would have been destroyed, as a stone destroys a bubble.

But it is undoubted that these hybrid books, these warehouses and depositories of facts, play a great part in resting the brain and restoring its zest of imagination. The work of building up a life for oneself from skulls, thimbles, scissors, and sonnets stimulates our interest in creation and rouses our wish to see the work beautifully and powerfully done by a Flaubert or a Tolstoi. Moreover, however interesting facts may be, they are an inferior form of fiction, and gradually we become impatient of their weakness and diffuseness, of their compromises and evasions, of the slovenly sentences which they make for themselves, and are eager to revive ourselves with the greater intensity and truth of fiction.

It is necessary to have in hand an immense reserve of imaginative energy in order to attack the steeps of poetry. Here are none of those gradual introductions, those resemblances to the familiar world of daily life with which the novelist entices us into his world of imagination. All is violent, opposite, unrelated. But various causes, such as bad books, the worry of carrying on life efficiently, the intermittent but powerful shocks dealt us by beauty, and the incalculable impulses of our own minds and bodies frequently put us into that state of mind in which poetry is a necessity. The sight of a crocus in a garden will suddenly bring to mind all the spring days that have ever been. One then desires the general, not the particular; the whole, not the detail; to turn uppermost the dark side of the mind; to be in contact with silence, solitude, and all men and women and not this particular Richard, or that particular Anne. Metaphors are then more expressive than plain statements.

Thus in order to read poetry rightly, one must be in a rash, an extreme, a generous state of mind in which many of the supports and comforts of literature are done without. Its power of make-believe, its representative power, is dispensed with in favor of its extremities and extravagances. The representation is often at a very far remove from the thing represented, so that we have to use all our energies of mind to grasp the relation between, for example, the song of a nightingale and the image and ideas which that song stirs in the mind. Thus reading poetry often seems a state of rhapsody in which rhyme and metre and sound stir the mind as wine and dance stir the body, and we read on, understanding with the senses, not with the intellect, in a state of intoxication. Yet all this intoxication and intensity of delight depend upon the exactitude and truth of the image, on its being the counterpart of the reality within. Remote and extravagant as some of Shakespeare’s images seem, far-fetched and ethereal as some of Keats’s, at the moment of reading they seem the cap and culmination of the thought; its final expression. But it is useless to labor the matter in cold blood. Anyone who has read a poem with pleasure will remember the sudden conviction, the sudden recollection (for it seems sometimes as if we were about to say, or had in some previous existence already said, what Shakespeare is actually now saying), which accompany the reading of poetry, and give it its exaltation and intensity. But such reading is attended, whether consciously or unconsciously, with the utmost stretch and vigilance of the faculties, of the reason no less than of the imagination. We are always verifying the poet’s statements, making a flying comparison, to the best of our powers, between the beauty he makes outside and the beauty we are aware of within. For the humblest among us is endowed with the power of comparison. The simplest (provided he loves reading) has that already within him to which he makes what is given him—by poet or novelist—correspond.

With that saying, of course, the cat is out of the bag. For this admission that we can compare, discriminate, brings us to this further point. Reading is not merely sympathizing and understanding; it is also criticizing and judging. Hitherto our endeavor has been to read books as a writer writes them. We have been trying to understand, to appreciate, to interpret, to sympathize. But now, when the book is finished, the reader must leave the dock and mount the bench. He must cease to be the friend; he must become the judge. And this is no mere figure of speech. The mind seems (“seems,” for all is obscure that takes place in the mind) to go through two processes in reading. One might be called the actual reading; the other the after reading. During the actual reading, when we hold the book in our hands, there are incessant distractions and interruptions. New impressions are always completing or cancelling the old. One’s judgment is suspended, for one does not know what is coming next. Surprise, admiration, boredom, interest, succeed each other in such quick succession that when, at last, the end is reached, one is for the most part in a state of complete bewilderment. Is it good? or bad? What kind of book is it? How good a book is it? The friction of reading and the emotion of reading beat up too much dust to let us find clear answers to these questions. If we are asked our opinion, we cannot give it. Parts of the book seem to have sunk away, others to be starting out in undue prominence. Then perhaps it is better to take up some different pursuit—to walk, to talk, to dig, to listen to music. The book upon which we have spent so much time and thought fades entirely out of sight. But suddenly, as one is picking a snail from a rose, tying a shoe, perhaps, doing something distant and different, the whole book floats to the top of the mind complete. Some process seems to have been finished without one’s being aware of it. The different details which have accumulated in reading assemble themselves in their proper places. The book takes on a definite shape; it becomes a castle, a cowshed, a gothic ruin, as the case may be. Now one can think of the book as a whole, and the book as a whole is different, and gives one a different emotion, from the book received currently in several different parts. Its symmetry and proportion, its confusion and distortion can cause great delight or great disgust apart from the pleasure given by each detail as it is separately realized. Holding this complete shape in mind it now becomes necessary to arrive at some opinion of the book’s merits, for though it is possible to receive the greatest pleasure and excitement from the first process, the actual reading, though this is of the utmost importance, it is not so profound or so lasting as the pleasure we get when the second process—the after reading—is finished, and we hold the book clear, secure, and (to the best of our powers) complete in our minds.

But how, we may ask, are we to decide any of these questions—is it good, or is it bad?—how good is it, how bad is it? Not much help can be looked for from outside. Critics abound; criticisms pullulate; but minds differ too much to admit of close correspondence in matters of detail, and nothing is more disastrous than to crush one’s own foot into another person’s shoe. When we want to decide a particular case, we can best help ourselves, not by reading criticism, but by realizing our own impression as acutely as possible and referring this to the judgments which we have gradually formulated in the past. There they hang in the wardrobe of our mind—the shapes of the books we have read, as we hung them up and put them away when we had done with them. If we have just read “Clarissa Harlowe,” for example, let us see how it shows up against the shape of “Anna Karenina.” At once the outlines of the two books are cut out against each other as a house with its chimneys bristling and its gables sloping is cut out against a harvest moon. At once Richardson’s qualities—his verbosity, his obliqueness—are contrasted with Tolstoi’s brevity and directness. And what is the reason of this difference in their approach? And how does our emotion at different crises of the two books compare? And what must we attribute to the eighteenth century, and what to Russia and the translator? But the questions which suggest themselves are innumerable. They ramify infinitely, and many of them are apparently irrelevant. Yet it is by asking them and pursuing the answers as far as we can go that we arrive at our standard of values, and decide in the end that the book we have just read is of this kind or of that, has merit in that degree or in this. And it is now, when we have kept closely to our own impression, formulated independently our own judgment, that we can most profitably help ourselves to the judgments of the great critics—Dryden, Johnson, and the rest. It is when we can best defend our own opinions that we get most from theirs.

So, then—to sum up the different points we have reached in this essay—have we found any answer to our question, how should we read a book? Clearly, no answer that will do for everyone; but perhaps a few suggestions. In the first place, a good reader will give the writer the benefit of every doubt; the help of all his imagination; will follow as closely, interpret as intelligently as he can. In the next place, he will judge with the utmost severity. Every book, he will remember, has the right to be judged by the best of its kind. He will be adventurous, broad in his choice, true to his own instincts, yet ready to consider those of other people. This is an outline which can be filled, in at taste and at leisure, but to read something after this fashion is to be a reader whom writers respect. It is by the means of such readers that masterpieces are helped into the world.

If the moralists ask us how we can justify our love of reading, we can make use of some such excuse as this. But if we are honest, we know that no such excuse is needed. It is true that we get nothing whatsoever except pleasure from reading; it is true that the wisest of us is unable to say what that pleasure may be. But that pleasure—mysterious, unknown, useless as it is—is enough. That pleasure is so curious, so complex, so immensely fertilizing to the mind of anyone who enjoys it, and so wide in its effects, that it would not be in the least surprising to discover, on the day of judgment when secrets are revealed and the obscure is made plain, that the reason why we have grown from pigs to men and women, and come out from our caves, and dropped our bows and arrows, and sat round the fire and talked and drunk and made merry and given to the poor and helped the sick and made pavements and houses and erected some sort of shelter and society on the waste of the world, is nothing but this: we have loved reading.

Rachel Cusk

Renaissance women, fady joudah, you might also like, september twilight, the tolstoyans, thirty clocks strike the hour, new perspectives, enduring writing..

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The Writing Center • University of North Carolina at Chapel Hill

Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

The name of the author and the book title and the main theme.
Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

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Overcoming challenges in analytical essay writing, how should i format my college essay properly, the importance of reading books for people – free persuasive essay sample.

Books expand our knowledge and conception of the world around us (Jiken, Solidarity for Books). One may argue that films and TV documentaries do that too, but I believe that books are a much better alternative, since they allow each reader to experience the same story using one’s own imagination. When a hundred people watch a film or a TV show, they see the same content—whatever the director and the producer wish to show. Books are different. The experience achieved through reading is richer and more personal, since the same description and the same word choice will result in as many different interpretations as there are readers. We are all unique, and books allow us to experience whatever is narrated in the light of our own personal values, through our ideas and our imagination.

In addition, books enrich our vocabulary, introduce us to new notions, and offer a wider choice of words to us. With every book we read, we become more intelligent (Singh, The Braininess of Books). Even reading one seemingly more primitive pulp fiction book per month can enrich one’s personal vocabulary with dozens of new words, help us build more concise sentences on our own, and express oneself better, make one’s speech more intelligent and sophisticated. Watching certain TV programs and documentary films can also widen one’s vocabulary, but hardly as effectively as books do, since reading operates with both more sophisticated visual and audio (if reading aloud) receptors. Moreover, our imagination reproduces mental pictures of what we are reading about, so a new word automatically links to a certain image and a particular feeling that it relates to. Therefore, reading books is a wonderful tool when it comes to learning and developing one’s vocabulary at any age.

Books are a fantastic source of inspiration. Unlike fine art, architecture, or travelling, books help us create our own mental illustration for what we read on paper. In a way, books make us all artists and creators of our own mental cartoons, movies, or illustration collections (Curtis, Book Artists). Every image we create ourselves is automatically allotted a certain emotion, whether a simple or a more complicated one. Every mental image that a written word projects is vibrant with feelings and emotions. This is what makes books powerful and memorable. Books are an endless source of inspiration and motivation to become a better person.

I am certain that creating a system of symbols and eventually an alphabet, words, and books was the greatest series of inventions of humankind. The books I am talking about are classics, those that do not have an expiration date and will be priceless for any generation. They will continue sparking new ideas, inspiring new deeds, and enriching the lives of every generation to come. I am positive that books will eventually regain their popularity with today’s youth, since unlike the popular kinds of entertainment in fashion today, books are those roots to which people will go back, in search of the motivation, inspiration, and aspiration to find the true meaning and value of life.

1. Siam, Nyugen. Book Stats: Why We Should Care (2006). Wisconsin Daily Press.

2. Jiken, Howard. Solidarity for Books (2010). Lazy Bird Publishing.

3. Singh, Jaghan. The Braininess of Books (2011). Sharala Publishing.

4. Curtis, Brain. Book Artists (2012). Ant Hill Press.

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10 noteworthy books for June

A witty essay collection and thrilling historical fiction await you.

Great new reads for June include a lavish thriller set in the international art world, historical fiction in Renaissance Italy and a medical mystery memoir from a young mother.

‘I’ve Tried Being Nice: Essays,’ by Ann Leary

Leary had an epiphany while dealing with a neighbor whose off-leash dogs were wreaking havoc. As she delivered a stern warning — “Look, I’ve tried being nice …” — the inveterate people-pleaser suddenly understood one of the benefits of getting older: the power of indifference. In funny and unpretentious essays on topics that include selling a beloved house, interacting with fans of her famous husband, Denis, becoming an empty nester and recovering from alcoholism, Leary shares stories from a lifetime of wanting to be liked. (Marysue Rucci, June 4)

‘Malas,’ by Marcela Fuentes

Set in a border town on the Texas side of the Rio Grande, Fuentes’s lively novel explores the intergenerational connection between two strong women. Lulu Muñoz is trying to keep her punk rock band a secret from her substance-abusing father while avoiding thoughts of her garish upcoming quinceañera celebration. When the enigmatic Pilar makes a surprise appearance at a funeral, she and Lulu form a friendship that leads to unexpected discoveries. (Viking, June 4)

‘Hell Gate Bridge: A Memoir of Motherhood, Madness, and Hope,’ by Barrie Miskin

Miskin’s searing memoir about her experience with a mysterious mental illness during and after her pregnancy provides a haunting window into the state of health care in the United States. Having weaned herself from antidepressants as a precaution before pregnancy, Miskin began an alarming descent into delusions and suicidal ideation which continued after her baby was born. A proper diagnosis of a rare and incurable disorder began her journey away from darkness, allowing her to fully experience being a wife, teacher and mother. (Woodhall Press, June 4)

‘Service,’ by Sarah Gilmartin

When Daniel, one of Dublin’s top chefs, faces accusations of sexual assault, Hannah’s mind returns to the summer she spent waitressing at his high-end restaurant — the excitement of the glamorous dining room, the pressures of the kitchen and the wild parties after hours, where something sinister happened that changed her life. Meanwhile, Daniel’s wife, Julie, is hiding from the paparazzi and trying to understand the allegations against the man she loves. In alternating chapters, Gilmartin gives voice to Daniel, Hannah and Julie, perceptively delving into issues of silence, complicity and the aftermath of violence. (Pushkin Press, June 4)

‘The Throne,’ by Franco Bernini, translated by Oonagh Stransky

The first in a planned trilogy, Bernini’s engrossing historical novel follows Machiavelli’s trajectory through the corridors of power in 16th-century Italy. Sent by the Florentine Republic to spy on the plotting Cesare Borgia, Machiavelli shrewdly accepts a proposal to chronicle Borgia’s life story. As the relationship between the biographer and his subject evolves, each man relies on the other to achieve his political ambitions, yet only one will succeed. (Europa, June 11)

‘The Final Act of Juliette Willoughby,’ by Ellery Lloyd

Lloyd’s engaging historical mystery moves swiftly between pre-World War II Parisian art studios, the elite academic corridors of early 1990s Cambridge University and present-day Dubai, where a controversial masterpiece by British heiress and surrealist artist Juliette Willoughby appears on display after it was presumed lost in the fire that claimed her life. Art history scholars had been suspicious about the truth behind the painting’s loss, and the continuing investigation — with possible ties to a murder — uncovers scandalous secrets that someone might go to great lengths to keep quiet. (Harper, June 11)

‘Moonbound,’ by Robin Sloan

The author of “Mr. Penumbra’s 24-Hour Bookstore” returns with a far-flung sci-fi adventure that begins 11,000 years in the future, when animals can talk and genetic manipulators called wizards rule. After 12-year-old Ariel fails to comply with a wizard’s directive to remove a sword from a stone, he is forced to flee the only place he has ever known in the company of a sentient ancient artifact whose purpose is to contain all the knowledge of human history. Ariel and his companion set out on a quest to save his home from the vindictive wizard, encountering danger and finding new friendships along the way. (MCD, June 11)

‘God Bless You, Otis Spunkmeyer,’ by Joseph Earl Thomas

Joseph Thomas — not the author but the novel’s similarly-named protagonist — is many things: an Iraq Army veteran; a single father; an emergency room technician at a North Philadelphia hospital; an Ivy-league student of medicine; and a Black man trying to find his place in a country that often judges him unfairly. Struggling to maintain balance between the incessant obligations of work, school and fatherhood, his everyday encounters are a continuous reminder of the difficulties he has faced while trying to build a life for himself. Joseph’s travails, told in a forceful stream of consciousness, expose the daily rhythms, obstacles and joys of one man’s life. (Grand Central, June 18)

‘Hombrecito,’ by Santiago Jose Sanchez

Sanchez’s powerful first novel follows a young boy from Colombia to the United States and back again as he struggles with abandonment issues, acclimating to a new homeland and grappling with his own queer sexual awakening. With a “father-shaped hole” in his heart, he pushes away from his single mother in a raucous attempt to define his own life. But accompanying her back to Colombia as an adult allows him to reconsider the childhood images he had of his parents — and perhaps find grace and acceptance. (Riverhead, June 25)

‘Husbands and Lovers,’ by Beatriz Williams

Single mother Mallory Dunne has just sent her 10-year-old son, Sam, off to summer camp when she gets an alarming call — her son has consumed a poisonous death cap mushroom. With Sam needing a new kidney that she can’t provide, Mallory’s only options are to contact Sam’s father, whom she hasn’t seen in more than a decade, or to locate her mother’s recently discovered birth family. In another timeline, Hannah Ainsworth, a traumatized World War II survivor married to a British diplomat in 1950s Egypt, finds comfort in the arms of the manager of one of the grandest hotels in Cairo, reawakening a part of her she thought was lost. The experiences of these women as mothers in two different times and places link them together in surprising ways. (Ballantine, June 25)

Correction: An earlier version of this story misspelled Denis Leary’s first name. The article has been corrected.

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Essay on Reading Books

The habit of Reading Books is considered to be one of the most elite habits of all. Books are the means to store precious information either in a textual or pictorial manner. A book is such a wonderful and magnificent object that it takes a whole different amount of passion and discipline to construct a book and the same passion to study and sink that knowledge within. Here are a few sample essays on reading books.

100 Words Essay on Reading Books

200 words essay on reading books, 500 words essay on reading books.

Reading books is an incredible experience that can transport you to different worlds, introduce you to new ideas and cultures, and broaden your understanding of the world. It's a form of escape from the daily routine, and a way to engage with characters, stories and events that would not be possible in real life. Whether you prefer fiction or nonfiction, books have the power to challenge, inspire, and entertain. With the turn of each page, you gain new knowledge, develop empathy, and engage in introspection. Reading books is a lifelong journey of discovery and growth that can enrich your life in countless ways.

Reading books is an activity that has been enjoyed by people of all ages and cultures for centuries. This pastime offers numerous benefits, both for individuals and society as a whole.

One of the most significant benefits of reading books is the improvement of one's cognitive skills . By reading, we engage our brains, and the more we read, the more we exercise our cognitive abilities, including our ability to concentrate, comprehend, and retain information. This leads to enhanced problem-solving skills, better memory and a greater ability to understand complex concepts.

Another benefit of reading books is the expansion of one's knowledge and understanding of the world. Through reading, we have the opportunity to gain insights into different cultures, time periods, and ways of life. This can broaden our perspectives and help us become more informed and understanding citizens of the world. In addition, books can challenge our beliefs and assumptions, providing opportunities for personal growth and intellectual development.

Reading books is also a great form of entertainment . Whether we are reading a mystery, a romance, or a science-fiction novel, books can provide hours of escape and enjoyment. They allow us to immerse ourselves in different worlds, meet new characters, and experience new emotions. This form of entertainment provides a welcome break from the stresses of daily life and can help reduce anxiety and promote relaxation.

The habit of reading books is not just a hobby but a complete lifestyle . The way it brings development in one’s character and personality from within is just magical. The importance of reading is to give people the ability to self-study but has numerous other benefits. When you read, you explore your true prospect of thinking. You get the venture of how the same lines could deliver a brand new set of thoughts and pictures in your mind just with a little change in the emotions. This is the kind of self-exploration reading provides.

Having a diverse set of knowledge can be of great help as it removes the bar of limited knowledge . Every social group has a different set of interests and by consuming all of that in yourself, you allow yourself to become a part of any group easily. A person who consumes more knowledge is considered the wisest. Your ideas are what draws people to you, wanting them to listen more and makes you one of the interesting people they interact with.

Reading is the most important means of human-to-human communication and getting to know different cultures, leading to the development and maturation of human language abilities, and is the source of development and mature human personality. Reading is very important to increase self-confidence, develop and strengthen character by acquiring a wealth of information and experience that a person needs in all areas of life, and to become an educated person. Not everyone in their lives gets the gift of knowledge and the ability to comprehend what they are looking at. Not everyone is privileged enough to be able to widen their knowledge without the help of someone else.

Reading is an art, and to have this art is equal to having the greatest weapon in your hand. No one can steal your ability to read once you learn it. You become free to consume knowledge about any topic you like.

Significance of Reading

Reading leads to the expansion of human thinking and intellectual capacities and strengthens your spirit. Every genre teaches something whether it is fictional or non-fictional. When fiction teaches you to imagine, self-help teaches you how to live life to the fullest. Reading is not limited to books only, you can read wherever you want, whatever you want and whenever you want and it all will be worth it. Knowledge is never known to be a curse and what is not a curse, is always beneficial.

My Reading Experience

The kind of books that got me into reading are self-help books. They inspired me in a way no other genre could. The writer Mark Manson is the greatest of all time to me. If you'll just search for self-help books over the internet then among the best sellers, two of the books would be his. The kind of discipline they brought into my life transformed me into a completely different person. These kinds of books give us an opportunity to dive deep into ourselves and learn about our true potential which is what happened to me and brought me into writing.

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Describe a book you have recently read – IELTS Cue Card Sample Answers

Updated On Sep 18, 2023

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Describe a book you have recently read – IELTS Cue Card Sample Answers

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This article contains the Describe a book you have recently read Cue Card Sample Answers.

During Part 2 of the IELTS Speaking test, you will have exactly one minute to prepare and speak on a specific topic. This is the IELTS cue card task. You can learn how to communicate clearly and successfully by reviewing sample answers.

This IELTS cue card gives you an opportunity to share one of your opinions about a book you have recently read.

Practise IELTS Speaking Part 2 by referencing the Cue Card Sample Answers below.

Before you start, take a look at the introduction to Speaking Part 2 below!

Learn How to Prepare a Cue Card now!

Describe a book you read

You should say:

Who wrote this book?
What it is about?
When you read it?
And explain why you liked it.

Sample Answer 1

Being a bibliophile, I try my best to complete at least one book a week. Earlier, I used to read 4-5 books a month. However, gradually, the numbers declined as I got held up in other important tasks. So, with the new year, I have taken a resolution to finish a minimum of 2 books a month. Having said that, I spent the last week reading A Bend in the Road by Nicholas Sparks.

The main protagonists of this book are Miles Ryan and Sarah Andrews. The former loses his wife to a hit-and-run accident. After going through a tough time in his life and spending two years trying to find the person behind this accident, Miles begins dating his son – Jonah’s – teacher, Sarah Andrews.

With time, their relationship turns stronger, and they fall deeply in love with each other. However, Miles comes across new evidence pertaining to the death of his wife. And, this person is somehow related to Sarah.

This is a romantic novel that showcases the attributes of love, sacrifice, and letting go. I like the way the author described diverse emotions keenly and precisely. Also, I liked the way of writing that the author put forth in this book.

Sample Answer 2

On a Saturday evening, I was lying down with this book called “ Tell me your dreams” by Sidney Sheldon. Thanks to the maid, who served hot tea.

The book had an irresistible start. Initially, it describes three women, their love life and the mysterious ways in which their lovers are killed. After some time, the plot becomes gripping. It is revealed that they are three personalities of the same woman, Ashley, who suffered from multiple personality disorder and had murdered the men mercilessly.

Later, it is revealed that Ashley had a traumatic childhood which caused her to create these identities. Ashley is represented by a lawyer friend of her father. The court finally accepts that it was Ashley’s condition that made her kill and orders psychiatric treatment. She gets treated in the hospital and regains sanity.

The book has revealed an episode in the life of a psychiatrically affected person. It gave me an insight into the lives of women experiencing wounding disturbances in their childhood. Infact, when I come across news about murders, especially when the charges are against a lady, I suspect whether the woman is really guilty. The book cast such an effect on me.

Grant: agree to give or allow (something requested) to. Eg: He was granted permission to take leave
Curious: interested in learning about people or things around you Eg: Rose was curious about her results.
Impulsively: without forethought; on impulse; suddenly. Eg: Rose impulsively decided to buy the diamond necklace.
Found out: discover something or come to know about something. Eg: The treasure box hidden in the backyard was found out.
Novelty: the quality of being new, original, or unusual Eg: The tourists are still a novelty on this remote island
In hindsight: the ability to understand an event or situation only after it has happened Eg: In hindsight, I should have taken the job offer.

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Janet had been an IELTS Trainer before she dived into the field of Content Writing. During her days of being a Trainer, Janet had written essays and sample answers which got her students an 8+ band in the IELTS Test. Her contributions to our articles have been engaging and simple to help the students understand and grasp the information with ease. Janet, born and brought up in California, had no idea about the IELTS until she moved to study in Canada. Her peers leaned to her for help as her first language was English.

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Book Titles in Essays: Formatting Rules and Examples

How do you write the title of a book in an essay?

A short answer: You look at the assignment’s requirements, see the citation style you should use, and go to a corresponding manual to see what rules it prescribes for writing book titles.

That’s when you might hit a snag:

Most rules for the main styles — APA, MLA, and Chicago — seem identical at first glance. It’s easy to miss a preposition or punctuation rule, capitalize a wrong word, or forget about italics. The devil is in the details, and the final grade for your paper depends on them.

Why not gather the formatting rules for all the citation styles in one place so that it’s more comfortable to compare them and spot specifics?

We’ve got you covered:

In this article, our essay writers share the guidelines for citing book titles in five styles. You’ll see how to write a book title in an essay and how to introduce authors. For the sake of clarity, examples are also here.

What is the title of a book in an essay?

You have several options for formatting a book title in your essay.

First, you can mention it in the essay’s body if you are quoting or paraphrasing information from the book. Also, when compiling a bibliography of the resources you used for research, you’ll need book titles for the reference list.

A book’s title and the details of its author are also essential components in the structure of book review . You’ll mention it in the introduction before summarizing a book’s plot, characters, and themes.

How to put book title in essay:

Use italics
Don’t underline or use quotation marks, please
Don’t capitalize minor words like prepositions and conjunctions of three or fewer letters ( a, of, to, the, etc.) unless they are the first or last word in a book’s title

How to write a book title and author in an essay?

Details to consider:

Is it an in-text mention or part of a reference list?
Are you writing about an entire book or one of its chapters?
Does the book have one or several authors?
Does the book have a subtitle?
Is it an independent publication or a collection of essays, series, or short stories? Are you introducing a poem in your essay?

The answers to these questions will give you a clear understanding of how to write a book title and author in an essay. The formatting rules will depend on the above factors and the citation style you should follow. (We’ve covered the two main styles — APA and MLA — in our essay writing book , available on Amazon.)

There are also some general rules to remember, regardless of the style. Let’s move to them and explore the principles of citing book titles inside and out.

How to Introduce a Book in an Essay: General Rules

Here’s what all the styles agree on in terms of how to introduce a book in an essay:

1 — Italicize the titles of self-contained books. If you mention a novel, a movie, a stand-alone poem, a play, a database, or a website, there’s no need to use quotation marks. For example:

Harry Potter by J.K. Rowling
Shakespeare’s Romeo and Juliet
If by Rudyard Kipling

2 — The titles of parts within a book should go in quotation marks: chapter titles, titles of poems inside a collection, acts or scenes in a play, and so on. For example:

The Great Gatsby’s “Chapter 5: The Meeting”
“The Mirror of Erised” from Harry Potter and the Philosopher’s Stone

3 — Capitalize both stand-alone book titles and the parts within a complete work. For example:

The Dark Tower: The Gunslinger by Stephen King
“Sometimes They Come Back” from Stephen King’s Night Shift

4 — When the title of a book goes within another title (like in cases with monographs about novels or poems), you should also use italics for independent works and single quotation marks for short stories and parts of books.

For example, this is how to write the title of a journal article containing the book’s title:

“The Unbearable Weight of Authenticity: Zora Neale Hurston’s Their Eyes Were Watching God and a Theory of Touristic Reading.”

And this is how you’d write a journal article title containing the title of a short story:

“Individualism in O’Connor’s ‘A Good Man is Hard to Find.'”

When to use a capital letter is the trickiest part of writing book titles in essays. The rules vary between style guides and their editions, which can appear confusing and make it more challenging for students to align with the requirements and ensure consistency.

Below, we’ll explore how to put book title in essay according to five different citation styles: APA, MLA, Chicago, CSE, and AMA.

How to Write the Title of a Book in an Essay: Citation Styles

While most students use APA and MLA citation styles in their academic papers, some institutions also assign alternatives like AMA or CSE. We’ve chosen the five most widespread styles for this guide so that you can have all the rules in one place and see the tiny differences between them for more precise writing.

Here, you’ll find the book title writing guidelines for these styles:

APA (the American Psychological Association)
MLA (the Modern Language Association)
Chicago, aka CMOS (the Chicago Manual of Style)
CSE (the Council of Science Editors)
AMA (the American Medical Association)

We also recommend using an AI essay checker to revise your papers and reference lists once your drafts are ready. Whatever style you use to cite sources, this will help ensure that your text doesn’t look AI-generated. (Believe us, your teachers won’t appreciate it.)

APA is the documentation style that the American Psychological Association uses for citing sources. Originated in 1929, this form of writing is standard for social sciences like psychology, communications, sociology, and anthropology. Sometimes, it also relates to engineering, nursing, education, and other corresponding fields.

APA addresses manuscripts for journals and the academic papers students write in college. It’s the most popular and common citation style for the essays your teachers will assign during a course.

The latest version is APA Style’s 7th edition, released in 2020.

When it comes to formatting the title of a book in an essay, APA style’s requirements are easy to remember. Take a look:

Write the title in italicsDo not use quotation marks (unless you’re speaking about the book’s chapter, not the entire piece)Capitalize the first and last words, proper names, and all words of four or more letters ( etc.)Capitalize words that appear after punctuation marks (colons, semicolons, em dashes, etc.), even if it’s an article or a short prepositionCapitalize the second part of hyphenated wordsDo not capitalize articles ( ) or prepositions/conjunctions of three or fewer letters unless they come first or last
Examples:

Start with the last name, followed by the initials and separated with a commaIf a book has several authors, enumerate them alphabetically; use “&” before the last author in the listIf it’s an edited work, use the editor’s last name and initials and add “Ed.” In the case of several editors, enumerate them alphabetically and add “Eds.” after the namesIf the work has both an author and an editor, place the author in the beginning and add the editor’s name in brackets after the book titleIn the case of a corporate author, write the organization’s name in full
Examples:
Kulish, M.Fitzgerald, F. Scott, Hemingway, E., & Vonnegut K.Black S. . (White A. & Brown L., Eds.)American Psychological Association

MLA is a citation style created by the Modern Language Association and is mainly used in humanities like linguistics, literature, philosophy, and cultural and media studies. It’s the second most used style (after APA), with the most recent manual released in 2021 (the 9th edition).

The manual focuses on the formatting rules for in-text citations, which most users find challenging. It also has expanded guidelines on research papers, grammar mechanics, and inclusive language.

Here’s how to write a book title in an essay, according to MLA:

Write the title in italicsDo not use quotation marks (unless you’re speaking about the book’s chapter, not the entire piece)Capitalize the first and last words, proper names, all significant words, and subordinating conjunctions ( etc.)Do not capitalize articles ( ), prepositions (unless they come first or last), or coordinating conjunctions ( etc.)
Examples:

Start with the last name, followed by the first name and separated with a commaIf a book has several authors, enumerate them like on the title page: Use the last-first-name system for the first author and then name the others in the usual name-surname order. Place “and” before the last author in the listIf there’s a corporate author, use the organization’s name
Examples:
Yohansen, MaikKing, Stephen, and Owen KingModern Language Association

The Chicago Manual of Style (CMOS) is more common for published works than college papers. Many see it as the top one for writers, editors, and publishers to follow when formatting content. Unlike APA or MLA, Chicago style provides two methods for documenting sources:

Author-date , recommended for works in the physical, natural, and social sciences. It requires using parenthetical citations in the text, with a corresponding entry on the reference page.
Notes-bibliography , recommended for works in humanities and some social sciences. It requires using numbered footnotes in the text, with a corresponding shortened citation at the bottom of the page and a fuller citation on the reference page.

The author-date system is similar to APA style and, thus, more common for college essays. When in-text, you mention the author, the date, and the page number (if applicable) in parentheses after the quotation. Like this:

Enlightenment thinkers, such as Kant, believed in the “universal, eternal, and … immutable qualities of all of humanity” (Harvey 1990, 12).

We can almost hear you asking:

“Can you write my essay in this format?”

Yes, we can. Whenever necessary, ask our academic expert for help with your written assignments. When asking your question, provide detailed requirements, including the citation style you need, so that they know what formatting rules to follow.

Below, let’s explore how to put a book title in an essay in CMOS:

Write the title in italicsDo not use quotation marks (unless you’re speaking about the book’s chapter, not the entire piece)Capitalize the first and last words, proper names, and all significant wordsDo not capitalize articles ( ), prepositions, or conjunctions (regardless of their length) unless they are the first or the last words of the title or come after a colon
Examples:

Start with the last name, followed by the first name and separated with a commaIf a book has several authors, enumerate them like on the title page: Use the last-first-name system for the first author and then name the others in the usual name-surname order. Place “and” before the last author in the listIf there’s a corporate author, use the organization’s name
Examples:
Bahrianyi, IvanGolding, William, and Harper LeeUniversity of Chicago Press

Previously known as CBE (the Council of Biology Editors), this style provided formatting guidelines for the editors of biology journals. Today, we know it as CSE (the Council of Science Editors), and it includes many scientific fields in the life sciences, the physical sciences, and mathematics.

As with CMOS, CSE style recommends two systems for documenting sources:

Citation-sequence , listing sources on a reference page according to the order of their appearance in the document.
Name-year , which is similar to the author-date system used in Chicago and APA.

The complete guide is available in Scientific Style and Format: The CSE Manual for Authors, Editors, and Publishers (8th ed.) by the Council of Science Editors. Below, we’ll explore how to write a book title in an essay according to this citation style.


Do not use italics, underlines, or quotation marks for book titlesUse a sentence case; only capitalize the first word in the title, proper names, acronyms, and initials Examples: Plant cell culture: essential methodsThe man who loved childrenThe bridge of San Luis Rey	Start with the last name, followed by the initials and with no commas or periods between themIf a book has several authors, enumerate them like on the title page; use “&” before the last author in the listIf there’s a corporate author, use the organization’s name Examples: Salinger JDMoore A, Tolkien JRR, & Woolf VCouncil of Science Editors

AMA stands for the American Medical Association, so it’s a standard citation style in medicine. While it’s less popular than APA or MLA, we’ve decided to include it in this guide anyway, given that medical students might find it helpful.

Is AMA citation the same as APA?

Not quite. While sharing some nuances, the core difference between these two citation styles is that AMA doesn’t use an author-date system in the text. Instead, we use a superscript numbering system here. Like this:

“Smith² argues that….”

Also, unlike APA, AMA style doesn’t organize the reference list alphabetically, but numerically, based upon the order of the sources’ appearances in the text.

How to write the title of a book in an essay when you use AMA style:


Write book titles in italicsCapitalize all significant words, including two-letter verbs like “be” or “is”For book chapters, only capitalize the first words, proper names, and abbreviations that you’d typically capitalizeDo not use quotation marks Examples:	Start with the last name, followed by the initials and with no commas or periods between themIf a book has several authors, enumerate them like on the title page; use “&” before the last author in the listIf there’s a corporate author, use the organization’s name Examples: Fitzgerald FSBahrianyi I, Khvylovy M, & Pidmohylny VAmerican Medical Association

How to Format a Book Title in an Essay

Long story short, most citation styles agree on using the same format for book titles in essays: capitalized, italicized, and with no underlining or quotation mark (unless you write about a book’s chapter or a shorter work like an article, an essay, or a poem within a more extensive work).

Speaking of underlined titles:

When googling information on how to write a book title in an essay, you can find questions from people wondering if they need to underline titles in papers. It’s an old-time practice from when essays were written by hand: You can’t italicize when handwriting, so you underline a title to distinguish it.

Check any book review sample online, and you’ll see that underlining isn’t a common practice anymore.

How to format a book title in an essay in your reference list:


	Last name, Initials. (Year of Publishing). Publisher.	King, S. (2019). Scribner.
	Last name, First Name. . Publisher. Year of publication.	King, Stephen. Scribner. 2000.
	Last name, First Name. . Publishing place: Publisher. Year of publication.	King, Stephen. New York City (NY): Viking. 1989.
	Last name Initials. Year of publishing. Book title. Edition. Place of publication: publisher.	Schott J. 2002. Leading antenatal classes: a practical guide. 2nd ed. Boston (MA): Books for Midwives.
	Last name Initials. Publisher; Year of publication.	Gallagher EB. . Temple University Press; 1993.

So, How Do You Write the Title of a Book in an Essay?

Now that you’ve read our detailed guide on how to write a book title in an essay, let’s recap:

Read the guidelines from your teacher before writing: What citation style do you need to follow?
Check the manual for your assigned style (APA, MLA, or any other) to ensure that you format the book titles and author names correctly.
Most citation styles (except for CSE) tell you to italicize and capitalize book titles in essays. Nevertheless, proofread carefully to avoid mistakes with the formatting of prepositions, punctuation, and subtitles.

Are you looking for a title for your next paper? Get help from our essay title generator : Give it several keywords on your topic, and get relevant and creative titles that hook your readers.

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15 LGBTQ+ Books to Read for Pride

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I t should come as no surprise that, as a writer of queer books , I’m also a voracious reader of them. My house is filled with LGBTQ+ novels, poetry, memoirs, zines, essays, plays, short fiction, and much more. I recently got married and my wife’s reading collection subsequently married my own, so now we have double the stacks. You name a gay book and it’s probably somewhere in our home, just waiting to be picked up and loved again.

As a queer person who lives in a state where more books were challenged for removal last year than any other state (and where a slew of laws attempt to silence and oppress LGBTQ+ people), I believe it’s important to champion queer narratives. So much beauty can be found in our stories, and I want to see our community reflected in the world. The list below is not a compilation of my all-time favorites, because that would be too many books to count. Instead, I’ve provided a wide sampling of some of the work that has caught my attention (and my heart) as a queer reader. It’s meant to tempt myriad tastes when it comes to LGBTQ+ reading fare, and I hope you’ll pick up one or several of these books this Pride Month . Of course, just a loving reminder that you can read queer all year. There’s no wrong time to read across the rainbow.

Housemates , Emma Copley Eisenberg

Emma Copley Eisenberg’s debut novel tracks the summer travels of two housemates, Bernie and Leah, as they get to know each other and process what they want to do with their lives. While they drive across the country to settle the estate of Leah’s late (and complicated) former mentor, they begin compiling an archive of photographs and letters that document America through a queer lens. Eisenberg has written a beautiful love story, but she’s also crafted a novel about the enduring power of art and the importance of building community. Tender, introspective, and at times delightfully funny, this is the perfect book to bring on a road trip.

Buy Now : Housemates on Bookshop | Amazon

Bastard Out of Carolina , Dorothy Allison

Dorothy Allison’s 1992 novel is a semi-autobiographical take on her childhood and the strained relationship she had with her mother, who married an abusive man. The protagonist, Ruth Anne “Bone” Boatwright, is the titular bastard of the novel, a girl who longs to better understand herself and her precarious place in the world. Allison personifies South Carolina with all the steamy, sweaty heat of an actual human body. The landscape takes precedent here, with tree bark and riverbanks and dirt roads just as significant as the characters on the page. This is the book that made me want to become a writer.

Buy Now : Bastard Out of Carolina on Bookshop | Amazon

Her Body and Other Parties , Carmen Maria Machado

This short-story collection has gotten a lot of praise over the years, and for good reason: it’s a masterclass on how to write work that refuses to acknowledge literary boundaries. In a rave review in the New York Times , Parul Sehgal called the book “a wild thing,” and I believe this collection is that and much more: feral, ambitious, and exceptionally sultry. The stories here defy genre. Bodies morph and shift monstrously. Prom dresses hold nightmares in their guts. In one story, a character candidly details their sex life as a creeping plague destroys mankind. This is the book that brought back the green ribbon (IYKYK). If you haven’t read any of Carmen Maria Machado’s work, this is a great place to start.

Buy Now : Her Body and Other Parties on Bookshop | Amazon

Wow, No Thank You , Samantha Irby

I’ll go ahead and say it: Sam Irby may be the funniest writer around. She’s irreverent, personable, and not afraid to turn a joke about lesbian bed death into an incredibly moving essay. In her collection, which won a Lambda Literary Award for Bisexual Nonfiction, Irby writes about what it means to live trapped inside a body that rarely does what you want. It’s unruly work, and deeply relatable. Her bodily humor is off-the-charts good; she makes lowbrow feel highbrow. I would be shocked if you didn’t laugh out loud.

Buy Now : Wow, No Thank You on Bookshop | Amazon

Hijab Butch Blues , Lamya H

Lamya is 14 years old when she realizes that her crush on a female teacher means that she is different from other girls in her class. As we follow Lamya (who writes under a pseudonym) through her coming-out process – comparing her journey to the struggles and triumphs of those cited in the Quran – we grow along with her. Warm, fearless, and breathtakingly compassionate, this memoir deftly charts what it’s like to be seen as a queer person, but also how it feels to finally see yourself for who you really are.

Buy Now : Hijab Butch Blues on Bookshop | Amazon

Our Wives Under the Sea , Julia Armfield

It’s that classic queer story: wife goes off on a submarine mission and subsequently comes back wrong . Julia Armfield turns a concept that should be frightening into a love story, one that’s simultaneously haunting and romantic. This debut novel switches perspectives, allowing insight from both wives – one, in the past, journaling from the ocean floor, and the other in the present, dry on land, who is now dealing with the aftermath of the failed operation. It’s a novel about grief, but also? It’s ridiculously sexy.

Buy Now : Our Wives Under the Sea on Bookshop | Amazon

Family Meal , Bryan Washington

Bryan Washington has written about food for publications like The New York Times , but his latest novel takes culinary writing to a whole new level, asking us to taste everything put in front of us, from the bitter to the sweet. In Family Meal Cam is being haunted by the ghost of his recently deceased partner and moves back home in an effort to escape his grief. There, he finds solace with his former childhood best friend, TJ, and though the preparation of elaborate meals, the characters sate their hunger while working through their issues. I’m a sucker for a domestic novel, and Washington writes what I love: families with complex interpersonal issues, love for each other, and also just a hell of a lot of mess.

Buy Now : Family Meal on Bookshop | Amazon

How Far the Light Reaches , Sabrina Imbler

This Los Angeles Book Prize winner isn’t just an exploration of marine life, it’s also a close look into what it means to be queer and trans while navigating a renewed connection with humanity. In a dozen essays , Sabrina Imbler invites us to consider the transformative properties of ocean creatures and compare them to our own bodies. Impressively, Imbler is less interested in knowing why something happens than in working to uncover even greater mysteries. The collection is a plea to consider how little we actually know about sea life as well as how little we know about ourselves or each other.

Buy Now : How Far the Light Reaches on Bookshop | Amazon

FEED , Tommy Pico

Tommy Pico’s a gifted screenwriter – most recently for the award-winning Reservation Dogs – but before he was writing in Hollywood, he was a poet. His book FEED , the last in what he calls his “Teebs tetralogy,” is one of his absolute best. Pico delves into questions about nourishment, home, friendship, culture, and loneliness, all while bringing a spark of genuine humor to the proceedings. Life is a jumble of confusion most of the time, he tells us, but it can also be pretty goddamn funny. It doesn’t hurt that Pico’s writing is achingly gorgeous.

Buy Now : FEED on Bookshop | Amazon

Soft Science , Franny Choi

In this striking collection, Franny Choi weaves together poems of the robotic and of the flesh, asking readers to sit in duality. How do we consume art? How do we ingest the world? This collection feels a bit like a computer port-to-the-skull, but in a thoughtful way. Mankind loves activities that involve repetition and ritual, and computers do too, because we built them in our image. Choi writes about that mimicry with incredible tenderness. Robots are like us, she tells us, they ask questions in order to learn more. At a time when everyone is talking about AI, these poems ask us to observe the Venn-diagram intersection of softness between machine and man. No one is queering the robotic like Franny Choi.

Buy Now : Soft Science on Bookshop | Amazon

Long Live the Tribe of Fatherless Girls , T Kira Māhealani Madden

T Kira Māhealani Madden is one of our greatest Florida writers (among the highest complaints I can bestow as a Florida writer myself). Her debut memoir is steeped in humidity and flecked with beads of sweat, pricked by mosquitoes, and slathered with candy-scented body lotion. This collection contains essays about trauma and sexual assault, connections with parents who sometimes need parenting, coming out, and queerness in the Sunshine State. It’s a book that defies traditional stories of girlhood and coming-of-age narratives in favor of something tangled and ultimately more nuanced: how to grow when you’ve been hurt, and how to give yourself kindness. With this book of grief that’s really a book of love, Madden provides a look at how we live with the people who sometimes fail us.

Buy Now : Long Live the Tribe of Fatherless Girls on Bookshop | Amazon

Let the Record Show , Sarah Schulman

Sarah Schulman has long been on the queer writing scene. In her most recent book, she tackles the history of ACT UP, an alliance of activists that took on the AIDS crisis in America. Schulman includes interviews with more than 200 ACT UP members and doesn’t shy away from any of the rough spots. She provides a thorough and necessary examination of the organization from 1987 to 1993, including its conflicts, triumphs, setbacks, and eventual fissure. This dynamic exploration of a landmark LGBTQ+ movement, which won a Lambda Literary Award for Nonfiction, is a must-read for anyone who wants a firsthand account of an important period in queer history.

Buy Now : Let the Record Show on Bookshop | Amazon

Manywhere , Morgan Thomas

This book takes the concept of Southern nostalgia and gives it a firm and ample twist. The nine stories in Manywhere aren’t concerned with guarding memories of the past; rather, they take a fresh look at the people who sit inside history who haven’t always been counted. Genderqueer and trans characters populate this collection, searching for themselves in the historical record as well as attempting to exist in the present. In one story, a trans woman purchases a pregnancy bump and wears it out in the world. In another, a person chooses to live vicariously through the documented life of an intersex person from Colonial-era Virginia. Queerness feels reimagined in these pages. Morgan Thomas’ writing is promisingly innovative, magnificently scrambling the gender binary.

Buy Now : Manywhere on Bookshop | Amazon

You Exist Too Much , Zaina Arafat

Zaina Arafat’s debut novel tells the story of a Palestinian American’s trek from girlhood to adulthood, albeit in a nonlinear fashion, with pieces coming together to form an extremely satisfying whole. The novel’s protagonist makes personal choices that feel like slippery emotional zigzags. A self-proclaimed “love addict,” she slips from messy relationship to messy relationship, often successfully sabotaging things all on her own. She also has a fraught relationship with her mother, an intense and tough woman she constantly disappoints. You Exist Too Much underscores the fact that human beings are at our most interesting when we’re honest about our failures and our flaws.

Buy Now : You Exist Too Much on Bookshop | Amazon

Edinburgh , Alexander Chee

Twelve-year-old Aphias "Fee" Zhe has a beautiful voice, so he is asked to join an elite boys’ choir. This is what opens Edinburgh , a novel so entrenched in musicality that oftentimes it’s hard to separate the language on the page from the song in your heart. The book takes us through time and through trauma, following Fee as he falls in love and ultimately has his heart broken. He makes mistakes, he learns, he grows, but the ache remains, buried under the flesh like an unseen bruise. Alexander Chee is an exquisite writer , and this novel is proof of his mastery on the sentence level. It made me weep openly on an airplane! If that’s not a ringing endorsement, I don’t know what is.

Buy Now : Edinburgh on Bookshop | Amazon

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This Poetic Queer Travel Memoir Is Both Heartbreaking and Hopeful

Patricia Elzie-Tuttle

Patricia Elzie-Tuttle is a writer, podcaster, librarian, and information fanatic who appreciates potatoes in every single one of their beautiful iterations. Patricia earned a B.A. in Creative Writing and Musical Theatre from the University of Southern California and an MLIS from San Jose State University. Her weekly newsletter, Enthusiastic Encouragement & Dubious Advice offers self-improvement and mental health advice, essays, and resources that pull from her experience as a queer, Black, & Filipina person existing in the world. She is also doing the same on the Enthusiastic Encouragement & Dubious Advice Podcast . More of her written work can also be found in Body Talk: 37 Voices Explore Our Radical Anatomy edited by Kelly Jensen, and, if you’re feeling spicy, in Best Women’s Erotica of the Year, Volume 4 edited by Rachel Kramer Bussel. Patricia has been a Book Riot contributor since 2016 and is currently co-host of the All the Books! podcast and one of the weekly writers of the Read This Book newsletter. She lives in Oakland, CA on unceded Ohlone land with her wife and a positively alarming amount of books. Find her on her Instagram , Bluesky , and LinkTree .

View All posts by Patricia Elzie-Tuttle

How to Live Free in a Dangerous World: A Decolonial Memoir by Shayla Lawson

I’ve said this before, but I truly believe that poets write the best memoirs. The essays in this book range from harrowing to heartbreaking to hopeful, and each one is deeply eye-opening. Lawson has a way of making every place and every feeling palpable to readers.

The author is one person who seems to have crammed a hundred lives into their single existence. One essay takes place in Egypt. They and their young woman friends are single and not dressed as modestly as is typical, and they come a little too close to learning exactly how dangerous that could be. They describe with intimate detail a performance piece they experienced in Japan, and reading their description made it feel like I was also there.

Many of the essays are also explorations of being Black in whichever particular city and country they are in during that story. They write about being in Venice, Italy, and the gondolier who was smitten with them while not fetishizing them. They write about being married and living in Roosteren, Netherlands, and constantly battling white saviorism, thinly veiled racism, and food that sounds absolutely terrible. They write about being Black in Harare, Zimbabwe, and being in a car full of other “Black” people driving recklessly in the dark and the realization that, while they could get in trouble, it will not be from a white cop because there, the police are “Black” too. The story about when they were in France at a beautiful dinner party and opted out of the white people shenanigans really resonated with me.

They also write about becoming disabled over time, about love and community, about loss, and about learning and unlearning, especially around gender as a construct and their own identity. Lawson’s travels could easily make them seem unrelatable to folks who have not had such access; however, each essay exudes connection and cultivates understanding.

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The Most Read Books on Goodreads This Week

How to Write an Essay on a Book You Didn't Read: A Simple, Step-By-Step Guide

Writing an A-level essay about book can be a pain on its own. Typically, it takes solid skills, lots of time, and at least a few rounds of reading in order to craft a top-notch paper. But, do things really have to be so hard?

In this article, we will share with you the handiest tips to help you write an essay on book you haven’t read quickly and easily, and, at the same time, ensure the highest grade. Also, if you want to get help with your dissertation, you can visit dissertation help https://dissertation-service.com/dissertation-help service. On this service you can get professional phd dissertation help.

What Is a Book Review Essay?

In our guide, we will help you learn how to start a book review essay even if you haven’t read the book. But, first, let’s define what a book review essay is.

A book review essay is a short piece of writing that reflects on a particular literary work. Such papers present a whole book review with constructive analysis of the author’s ideas, writing style, techniques, etc.

The main purpose of this task is to check if students have actually read the assigned book, assess how well they understood it, and, also, let them share their own thoughts on it.

How to Write an Essay on a Book?

When pondering over how to write an essay about a book you didn’t read, the first idea that will probably cross your mind is to look for a ready-made essay on the Internet. After all, the chances that someone has already written a good essay on the same topic are pretty high. But, we encourage you not to give in to this temptation so as not to get a low grade.

Instead, use other ready-made essays only as examples for writing your own paper. And follow along with our tips on writing an essay on a book to ensure success!

Take Notes While Reading

So, how to start an essay about a book without reading the whole thing? The first thing to do is to carefully read the requirements for your essay in order to understand what information you need to pay attention to. Then, you will move on to skimming through the book. And the first tip is to always take notes while reading. If you write down the key information and ideas it will significantly simplify the process of essay writing book.

You Must Read Introduction and Conclusion

If you want to succeed in writing essay books without wasting too much time, the main rule you have to remember is that reading the book’s introduction and conclusion is a MUST! You may not read the whole piece, but reading the introduction and conclusion will help you grasp the main idea of the book and understand what the author wants to emphasize in it. This trick will help you gather enough information to reflect on this book in essay.

Quickly Read Chapters of the Whole Book

Reading the first and last chapters (intro and conclusion) is vital, but it’s not always enough to grasp the whole idea. Thus, if you want to learn how to write a book essay well, we advise you to read the first paragraph of each chapter to understand the idea better.

Choose a Couple of Main Points

Since a reading essay is often quite short, no one expects you to examine the whole book from core to core. Thus, when you grasp what the book is about, choose a couple of main points (or more, depending on the length) to focus on in your essay on book.

Make the First Draft

Now, how to introduce a book in an essay? When you get over all the preparatory steps and define your focus points, you can move on to completing your first draft by writing down the most important information and ideas for your essay about the book.

Quotes Are One of the Most Important Points in Your Essay on Book

Direct quotes play a huge role in the process of essay writing books review. Professors love to see them in students’ works, so this is a very responsible step. But, here is a trick - the more quotes you find, the less you will have to write yourself.

To use quotes from the book in essay to your benefit, find chapters that relate to the main points you previously selected and review them to find quotes. After you find quotes that explain or support your point of view, put them in the main paragraphs.

Point Your Sources

When thinking about how to talk about a book in an essay using quotes, the main rule is to always cite your quotes accordingly. It will help the teacher see that you’ve read the book and found all the quotes yourself.

Cite sources as required in the guidelines for your essay about reading book provided by the teacher. And remember that the more sources and pages you add, the more it will look like you’ve carefully read the entire book.

Write an Essay on a Book With Us!

In this article, we’ve gathered all the main tips and tricks for successfully writing an essay on a book. However, sometimes even the handiest tips can’t help you create a compelling review of a book in an essay, especially if you lack the time or the task is too complex.

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What to Read When You Have Only Half an Hour

A short story has velocity and verve, and the best ones create an immediate, instinctual bond between the reader and the characters.

A pair of glasses with tiny books surrounding them

For many years, I assumed that the appeal of a short story was that it was, well, short . Instead of slowly reading a novel over weeks, the reader of these bite-size plots can experience character development, crisis, and conclusion in just a few thousand words. But intentionally reading more short stories made me realize that I’d underestimated the form. These works aren’t just compressed novels: They offer an entirely different experience. The writer Joy Williams, who has published both novels and short stories to great praise, once observed : “A novel wants to befriend you, a short story almost never.” Many short stories can be aloof and enigmatic. They pose difficult questions about life and love, and rarely provide answers.

But short stories have other rewards. Whereas a novel might unfold at a leisurely pace, a short story has velocity and verve. And the best ones create an immediate, instinctual bond between the reader and the characters. The format is an inviting place for writers to experiment. Whereas novels are typically expected to give us closure, short stories favor uncertain and searching conclusions—a quality that makes them feel more similar to the incomplete journeys of our own lives.

The six collections below, which take place in realistic and fantastical settings, show off the dazzling range of the short story. Each proves, too, how even brief encounters with a fictional world can linger well after we turn the page.

The Penguin Book of Japanese Short Stories , edited by Jay Rubin

In this idiosyncratic collection of Japanese short stories, “quite old works and very new works” appear side by side, “like an iPod and a gramophone on the same shelf,” Haruki Murakami writes in the introduction. Stories by well-known writers including Murakami, Yukio Mishima, and Yasunari Kawabata (who won the Nobel Prize in Literature in 1968) appear alongside writers who have been translated into English more recently: Banana Yoshimoto, Yōko Ogawa, Mieko Kawakami, and others. The anthology is organized into seven themes, making it easy to pick a story based on your mood. For a sobering encounter with history, turn to the sections “Dread” and “Disasters, Natural and Man-Made.” You’ll find stories such as Yūichi Seirai’s “Insects,” where a young girl awakes after the atomic bombing of Nagasaki with only a grasshopper for company, and Yūya Satō’s “Same as Always,” a cheerfully disturbing story about an exhausted mother who poisons her baby with irradiated vegetables and tap water. Want something lighter and more playful? Under “Modern Life and Other Nonsense,” you’ll find comical stories, such as Kōji Uno’s “Closet LLB,” which describes an idealistic and lazy college graduate who refuses to pick a path in life. And I found myself lingering over Mieko Kawakami’s “Dreams of Love, Etc.,” where a bored housewife in Tokyo befriends an older woman learning to play Liszt on the piano.

Read: Five books that’ll fit right into your busy schedule

Your Duck Is My Duck , by Deborah Eisenberg

Eisenberg is the rare writer who focuses exclusively on the short story. She’s also one of its most acclaimed practitioners: Eisenberg was awarded a Guggenheim fellowship in 1987 and a MacArthur genius grant in 2009. In Your Duck Is My Duck , her most recent collection, she compassionately documents the difficulties of both youth and old age. The children in her stories struggle toward independence, as in “Cross Off and Move On,” where a young girl is caught between two competing lifestyles: the severe discipline of her mother’s world, and the languid glamor represented by her aunts Adela, Bernice, and Charna. Other stories detail the quiet regrets of the elderly: The aging actors in “Taj Mahal” gossip about their shared, debauched past while “waiting with patience and humility to be issued new roles, new shapes.” Throughout, Eisenberg’s intimate, descriptive prose depicts how concerns about money, love, death, and art shape us: “I’m hurtling through time,” a painter remarks in one story, “strapped to an explosive device, my life.”

The Musical Brain , by César Aira, translated by Chris Andrews

Aira is renowned for his energetically surrealist fables and for his prolific output—at 75, the Argentinian writer has published more than 100 books . In The Musical Brain , his first short-story collection published in English, Aira makes ideas from physics, math, and art history enchant and delight readers. “God’s Tea Party” imagines the deity’s birthday celebration, where only apes are invited (humanity, the narrator informs us, has “disappointed Him”)—and the chaos that ensues when a subatomic particle gatecrashes the event in a “systematic, unstoppable, and supremely elegant” manner. Another story, “A Thousand Drops,” is about the perfect art heist: The paint droplets that make up the Mona Lisa escape the Louvre to go on their own adventures. One drop hitchhikes to the Vatican and has an affair with the Pope, while another builds a basketball stadium in rural Mongolia, in the hopes of training a Chinese team to defeat the NBA’s all-stars. Other stories revel in the fanciful pleasures of childhood games: In “The Infinite,” two boys try to name successively larger numbers, until they learn about the showstopping power of the word infinity . Each short story is a thrilling intellectual adventure, with Aira gleefully demolishing the division between the sciences and the arts.

The Atlantic presents: Shorter Stories

Break It Down , by Lydia Davis

Davis is a master of the very short story, and the collection that made her name, Break It Down , includes such works as the four-sentence “What She Knew,” where an insecure young woman tries to understand why men are flirting with her, and the six-sentence “The Fish,” where a woman confronts “certain irrevocable mistakes” in her life, including the dinner she’s cooked for herself. These nimble, acrobatic shorts—which established her as a formidable figure in American literature—are contrasted by longer stories that showcase Davis’s dry humor and keen emotional insight. In “The Letter,” a woman sits through a long-awaited breakup conversation: “Right away she lost her appetite, but he ate very well and ate her dinner too.” And the title story is a cathartic, sensitive look at the cost of a failed relationship: “You’re left with this large heavy pain in you,” a man mourning a lost love reflects, “that you try to numb by reading.” Davis’s stories plunge directly into the hurt of everyday life, leaving the reader both comforted and entertained.

Pond , by Claire-Louise Bennett

“I find mundane objects rather poignant,” Bennett once said , shortly after Pond was published. The 20 stories in this collection offer evocative glimpses of one woman’s life in rural Ireland. Many stories focus on the joys of cooking and entertaining: “Oh, Tomato Puree!” is a whimsical paean to the “kitsch and concentrated splendour” of this pantry staple, while “Finishing Touch” shows a woman carefully planning a party: “Perfectly arranged but low-key,” she reminds herself, having plucked flowers from the garden to “exude an edgeless, living fragrance.” Other stories reveal the narrator’s trembling, urgent desire for human connection. In “A Little Before Seven,” she reflects ruefully on the difficulty of flirting with a love interest. “Awaiting that kiss which somehow settles everything,” she is hesitant and awkward—until a drink emboldens her, and she concludes that “there is no such thing as a false move.” Bennett’s stories are a mesmerizing, strange look at the inner workings of the mind, as well as the beauty of our domestic and natural surroundings.

Read: The surprising power of stories that are shorter than short stories

Exhalation , by Ted Chiang

In Ted Chiang’s science fiction, advanced technologies and alternate realities are the backdrop for deeply human stories. He catapulted to fame with his first collection, Stories of Your Life and Others —and that book’s title story was adapted into the film Arrival , directed by Denis Villeneuve. In his second collection, Exhalation , Chiang writes thoughtful, searching narratives that explore AI’s risks and rewards, species extinction, archaic theories of consciousness, and more. In “The Lifecycle of Software Objects,” a zookeeper named Ana joins a software start-up trying to make endearing AI pets. The start-up fails, but Ana and her coworker, Derek, can’t abandon the digital creatures they’ve grown to love: “The practice of treating conscious beings as if they were toys is all too prevalent,” Derek muses, “and it doesn’t just happen to pets.” Another story, “The Great Silence,” shows an endangered parrot trying to communicate with humans: “Human activity has brought my kind to the brink of extinction, but I don’t blame them for it … They just weren’t paying attention.” Chiang’s fiction is informed by complex scientific concepts, but his writing style makes them accessible and compelling. Despite the unfamiliar settings, each story feels like a prescient and emotionally insightful commentary on the technological challenges facing us today.

When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.

Home — Essay Samples — Life — Reading Books — My Personal Passion: Favorite Books & Authors

Why I Like Reading Books: a Narrative

Categories: Reading Books

About this sample

Words: 1014 |

Published: Mar 14, 2019

Words: 1014 | Pages: 2 | 6 min read

Why i like reading (essay), my favorite type of books, works cited.

Coleridge, S. T. (1817). Biographia Literaria: Or Biographical Sketches of My Literary Life and Opinions. Restless Books.
Lawrence, D. H. (2000). Lady Chatterley's Lover. Wordsworth Editions.
Maas, S. J. (2012). Throne of Glass. Bloomsbury Publishing.
Orwell, G. (1949). 1984. Secker & Warburg.
Shakespeare, W. (2008). The Merchant's Tale. In The Canterbury Tales (2nd ed., pp. 121-134). Penguin Classics.
Stowe, H. B. (1852). Uncle Tom's Cabin. J. P. Jewett and Company.
Tolkein, J. R. R. (2012). The Lord of the Rings. HarperCollins.
Tonnard, M., & Van Kesteren, E. (2007). Reading Ed Ruscha: Novels. Ludion.
Wells, H. G. (1932). Brave New World. Chatto & Windus.
Wood, J. (2014). The Theatre of Absurd. Bloomsbury Publishing.

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Essays About Reading: 5 Examples And Topic Ideas
Reading books by authors of different gender, race, or socioeconomic status can help open your eyes to the challenges and issues others face. Explain how reading books by authors with different backgrounds has changed your worldview in your essay. 4. Challenging Your Point Of View: How Reading Essays You Disagree With Can Provide A New Perspective
50 Must-Read Contemporary Essay Collections
Insomniac City: New York, Oliver, and Me by Bill Hayes. "Bill Hayes came to New York City in 2009 with a one-way ticket and only the vaguest idea of how he would get by. But, at forty-eight years old, having spent decades in San Francisco, he craved change.
How to Write an Essay On Books
Make a short outline that includes an introduction, the main part, and a conclusion. Recall what your book is about. Write out a couple of main thoughts that are memorable and seem close to your heart. Write a review of the book, the kind you'd like to write for your friend. In simple, uncomplicated words.
The Best Reviewed Essay Collections of 2021 ‹ Literary Hub
-Alex Witchel (The New York Times Book Review). 2. Let Me Tell You What I Mean by Joan Didion (Knopf) 14 Rave • 12 Positive • 6 Mixed Read an excerpt from Let Me Tell You What I Mean here "In five decades' worth of essays, reportage and criticism, Didion has documented the charade implicit in how things are, in a first-person, observational style that is not sacrosanct but common ...
How to Write a Reflection Paper in 5 Steps (plus Template and Sample Essay)
Use these 5 tips to write a thoughtful and insightful reflection paper. 1. Answer key questions. To write a reflection paper, you need to be able to observe your own thoughts and reactions to the material you've been given. A good way to start is by answering a series of key questions. For example:
The 10 Best Essay Collections of the Decade ‹ Literary Hub
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.
Reading is Good Habit for Students and Children
500+ Words Essay on Reading is Good Habit. Reading is a very good habit that one needs to develop in life. Good books can inform you, enlighten you and lead you in the right direction. There is no better companion than a good book. Reading is important because it is good for your overall well-being. Once you start reading, you experience a ...
How to Write a Literary Analysis Essay
Table of contents. Step 1: Reading the text and identifying literary devices. Step 2: Coming up with a thesis. Step 3: Writing a title and introduction. Step 4: Writing the body of the essay. Step 5: Writing a conclusion. Other interesting articles.
Six non-fiction books you can read in a day
A Room of One's Own. By Virginia Woolf. Mariner; 128 pages; $16.99. Penguin Modern Classics; £5.99. Among the most influential essays of the 20th century, "A Room of One's Own" was based ...
19 College Essay Topics and Prompts
1. Be considerate with humor. Showing off your sense of humor lets your personality show through your words and can make reading the essay more entertaining. Try including a few sentences that you think will bring a smile to the reader's face, or use adjectives to insert some colorful comedy. 2.
Essay Examples on Reading Books
What Makes a Good Reading Books Essay Topics. When it comes to writing an essay about reading books, choosing the right topic is essential. A good essay topic is one that is interesting, relevant, and allows for in-depth analysis and discussion. To brainstorm and choose a good essay topic, start by considering your own interests and passions.
How to write a book review: format guide, & examples
Step 1: Planning Your Book Review - The Art of Getting Started. You've decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let's take a step back and plan your approach.
Beginner's Guide to Literary Analysis
Step 1: Read the Text Thoroughly. Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand.
17 Book Review Examples to Help You Write the Perfect Review
It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking. Crime Fiction Lover reviews Jessica Barry's Freefall, a crime novel: In some crime novels, the wrongdoing hits you between the eyes from page one. With others it's a more subtle process, and that's OK too.
Virginia Woolf: "How Should One Read a Book?"
Captain Scott, starving and freezing to death in the snow, affects us as deeply as any made-up story of adventure by Conrad or Defoe; but it affects us differently. The biography differs from the novel. To ask a biographer to give us the same kind of pleasure that we get from a novelist is to misuse and misread him.
Book Reviews
This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews. ... If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more ...
Persuasive Essay About Reading Books
The Importance of Reading Books for People - Free Persuasive Essay Sample. It is a disappointment that people read books less often in these days of widespread technological reliance (Siam, Book Stats: Why We Should Care). Books were the primary source of intellectual entertainment just a hundred years ago, but with the invention of radio ...
How to Be a Better Reader
To read more deeply, to do the kind of reading that stimulates your imagination, the single most important thing to do is take your time. You can't read deeply if you're skimming. As the ...
New books to read in June
A witty essay collection and thrilling historical fiction await you. By Becky Meloan Updated June 1, 2024 at 10:00 a.m. EDT | Published June 1, 2024 at 9:00 a.m. EDT
Opinion
They cause users to lose an average of 10 to 20 percent of their body weight, and clinical trials suggest that the next generation of drugs (probably available soon) leads to a 24 percent loss, on ...
Essay on Reading Books
500 Words Essay on Reading Books. The habit of reading books is not just a hobby but a complete lifestyle. The way it brings development in one's character and personality from within is just magical. The importance of reading is to give people the ability to self-study but has numerous other benefits. When you read, you explore your true ...
Describe a book you have recently read
Download Study Plan. This article contains the Describe a book you have recently read Cue Card Sample Answers. During Part 2 of the IELTS Speaking test, you will have exactly one minute to prepare and speak on a specific topic. This is the IELTS cue card task. You can learn how to communicate clearly and successfully by reviewing sample answers.
Book Titles in Essays: Formatting Rules and Examples
2 — The titles of parts within a book should go in quotation marks: chapter titles, titles of poems inside a collection, acts or scenes in a play, and so on. For example: The Great Gatsby's "Chapter 5: The Meeting". "The Mirror of Erised" from Harry Potter and the Philosopher's Stone.
Find Your Next Favorite Book
The Best Books of 2023. Chosen by the staff of the Book Review. Chain-Gang All-Stars. by Nana Kwame Adjei-Brenyah. Master Slave Husband Wife. by Ilyon Woo. The Bee Sting.
15 LGBTQ+ Books to Read for Pride
Bastard Out of Carolina, Dorothy Allison. Dorothy Allison's 1992 novel is a semi-autobiographical take on her childhood and the strained relationship she had with her mother, who married an ...
This Poetic Queer Travel Memoir Is Both Heartbreaking and Hopeful
How to Live Free in a Dangerous World: A Decolonial Memoir by Shayla Lawson. I've said this before, but I truly believe that poets write the best memoirs. The essays in this book range from harrowing to heartbreaking to hopeful, and each one is deeply eye-opening. Lawson has a way of making every place and every feeling palpable to readers.
How to Write an Essay on a Book You Didn't Read
The first thing to do is to carefully read the requirements for your essay in order to understand what information you need to pay attention to. Then, you will move on to skimming through the book. And the first tip is to always take notes while reading. If you write down the key information and ideas it will significantly simplify the process ...
Six Great Short-Story Collections to Dip Into
For many years, I assumed that the appeal of a short story was that it was, well, short.Instead of slowly reading a novel over weeks, the reader of these bite-size plots can experience character ...
Why I Like Reading Books: a Narrative
There's adventure and romance and mystery, along with secret histories, hidden identities, and other surprises. Enemies become allies. Friends betray each other. The story of a young assassin's attempt to save her from captivity becomes something much, much more. And the road to get there is a twisty, emotional mess.

Essays About Reading: 5 Examples And Topic Ideas

Examples Of Essays About Reading

4. How ‘The Phantom Tollbooth’ Saved Me By Isaac Fitzgerald

1. The Book That Changed My Life By The New York Times

2. I Read 150+ Books in 2 Years. Here’s How It Changed My Life By Anangsha Alammyan

3. How My Diagnosis Improved My College Experience By Blair Kenney

How to Write an Essay On Books

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The 10 Best Essay Collections of the Decade

The Top Ten

John Jeremiah Sullivan, Pulphead (2011)

Aleksandar Hemon, The Book of My Lives (2013)

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Hilton Als, White Girls (2013)

Eula Biss, On Immunity (2014)

Rebecca Solnit, The Mother of All Questions (2016)

Valeria Luiselli, Tell Me How It Ends (2017)

Zadie Smith, Feel Free (2018)

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

Dissenting Opinions

Elif Batuman, The Possessed (2010)

Roxane Gay, Bad Feminist (2014)

Rivka Galchen, Little Labors (2016)

Charlie Fox, This Young Monster (2017)

Elena Passarello, Animals Strike Curious Poses (2017)

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Ross Gay, The Book of Delights (2019)

Honorable Mentions

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Six non-fiction books you can read in a day

From the June 8th 2024 edition

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How to Write a Book Review: A Comprehensive Tutorial With Examples

Book Review Template

How to Write a Book Review- A Step by Step Guide

Step 1: Planning Your Book Review – The Art of Getting Started

Choosing Your Literature

Crafting the Master Plan

The Devil is in the Details

The Key Questions to Ponder