essay about the book i like most

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Short Essay on the Book I Like the Most [100, 200, 400 Words] With PDF

Our today’s session is going to be focused on writing short essays on the topic of ‘The Book I Like The Most.’ There will be three sets of short essays on the same topic covering different word limits.

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Short Essay on the Book I Like the Most in 100 Words

Out of all the books that I have read, the one I like the most is Ramayana. Ramayana is a Hindu epic that tells the story of Lord Rama. The story starts with Rama’s father, Dasharatha, who was the King of Ayodhya and his three wives. Later Lord Rama is born and the story follows him as he grows up, gets married, is exiled and has to fight various demons and evil creatures.

The main part of the story is where Lord Rama fights the Demon King, Ravana and defeats him. He then returns to his kingdom and rules over the people as a moral and just ruler. This sacred epic written in ancient times teaches us a lot about life.

Short Essay on the Book I Like the Most in 200 Words

Books have the power to fuel our imagination, provide us with knowledge about the outside world and improve our intellect. I love to read books. Reading books also boosts our memory and improves our reading, writing and speaking skills. I have read many fictional and non-fictional books, but the book I like the most is our former president, Dr APJ Abdul Kalam’s autobiography, ‘Wings of fire’. The book covers his life story before he became the president of India.

In the book, Dr Kalam talks about his childhood, his early life, his family and the struggles they had to go through to make ends meet. He talks about his journey from being a small village boy in Tamil Nadu to becoming a leading scientist in Indian space research, nuclear and missile development programs.

His story is indeed inspiring and proves that one can achieve all their dreams if one is sincere and are determined to work hard and persevere. The book also highlights the importance of family in the life of a person and how their support can help one realize even their seemingly impossible dreams.

I have read the book multiple times and it has always left me feeling motivated and filled with determination to chase my dreams. It is indeed an amazing book.

Short Essay on the Book I Like the Most in 400 Words

Books are often referred to as a man’s best friend. They are loyal companions capable of uplifting our moods and providing us with a safe space. Books contain a vast amount of knowledge and information and have helped us evolve in many ways.

Books have the power to fuel our imagination, provide us with knowledge about almost everything and improve our intellect. Reading books also boosts our memory and improves our reading, writing and speaking skills. That is why children are always encouraged to read from a young age.

I love to read books and I grew up reading a variety of books, some fiction and others non-fictional. Fairy tales were my favourite. Reading about the different types of fairies, fairy godmothers, kind princesses, evil queens, witches and wizards was magical in itself. I also liked to read mythological books and found the tales from Greek and Roman mythologies pretty interesting.

As I grew up, my interest shifted to non-fictional books like biographies and autobiographies of famous people as well as memoirs and scientific journals. However, throughout the years, there is one series of books that has remained my favourite and that is the Harry Potter series by J. K. Rowling.

When I was eight years old, I received the first book of the Harry Potter series, ‘Harry Potter and the Philosopher’s stone’, as a birthday present from my aunt. I was delighted. That book introduced me to a whole new world – a world full of magical beings. As I read the book, my mind conjured up images of what that world might look like and my imagination exploded.

The book made me feel a range of emotions. I cried reading about Harry’s suffering. I smiled when Hagrid saved Harry. I felt so happy when Harry, Ron and Hermione became friends and I sat there holding my breath as the end approached.

After I finished the first book, I couldn’t wait to buy the following ones. However, even to this day, the first book holds a special place in my heart. Harry Potter books introduced us to the wizarding world and its workings. They taught us about friendship, about having fun as well as working hard. They also taught us that no matter how strong the evil force is, the good always wins in the end.

I also have many other books that I like. Some of them are ‘Wings of fire’ and ‘Ignited minds’ by Dr APJ Abdul Kalam, ‘Gitanjali’ by Rabindranath Tagore, “To kill a Mockingbird” by Harper Lee and ‘Wuthering Heights’ by Emily Bronte.

I have adopted a very simplistic approach to writing these essays for a better understanding of all kinds of students. If you still have any doubts regarding this session, post them in the comment section below. Join our Telegram channel to get the latest updates on our upcoming sessions. Thank you for being with us,

Essay on The Book I Like Most

Students are often asked to write an essay on The Book I Like Most in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on The Book I Like Most

Introduction.

The book I like most is “Harry Potter and the Philosopher’s Stone” by J.K. Rowling.

Why I Like It

This book takes me into a magical world. It’s full of adventure, friendship, and courage.

Harry, Hermione, and Ron are my favorite characters. They’re brave and kind.

Reading this book is always a joy. It’s my most cherished book.

250 Words Essay on The Book I Like Most

Books are the repositories of wisdom, offering us a window into the minds of great thinkers from different eras and cultures. Among the vast array of books I have read, one that has profoundly influenced me is “1984” by George Orwell.

Conceptual Brilliance

Orwell’s dystopian world, where Big Brother incessantly watches over citizens, is a chilling exploration of totalitarianism. The book’s conceptual brilliance lies in its depiction of a society where individuality is obliterated, and conformity is enforced through psychological manipulation. The concept of “Newspeak” – a language designed to limit free thought – is a stark reminder of the power of language in shaping perceptions.

Characterization

The protagonist, Winston Smith, is an embodiment of rebellion in the face of oppression. His futile resistance against the Party’s tyranny is both heartbreaking and inspiring. His relationship with Julia serves as a beacon of hope amidst the pervasive gloom, further underscoring the human spirit’s resilience.

Relevance Today

“1984” is not just a work of fiction; it’s a prophetic commentary on the dangers of absolute power and the erosion of privacy. In today’s digital age, where surveillance is ubiquitous, Orwell’s vision seems eerily prescient. The book urges us to safeguard our freedom and be vigilant against any form of totalitarian control.

In conclusion, “1984” is a book I cherish for its profound insights into human nature, society, and power dynamics. It’s a timeless masterpiece that has not only enriched my understanding of literature but also shaped my perspective on the world around me.

500 Words Essay on The Book I Like Most

The realm of literature is vast, encompassing countless books that have shaped minds, influenced cultures, and altered perceptions. Among such a diverse range, the book I appreciate most is George Orwell’s “1984.” This dystopian novel is a profound exploration of totalitarianism, individuality, and the power of language, which resonates deeply with me.

The Resonance of Dystopia

The dystopian setting of “1984” is a grim projection of a totalitarian society, a world that Orwell envisioned could emerge in the aftermath of World War II. This dystopia is not merely a backdrop for the narrative but a character in its own right, embodying the oppressive regime that seeks to control every aspect of individual life. The chilling vision of a society where privacy is non-existent, history is manipulated, and free thought is punishable, serves as a stark reminder of the perils of unchecked power. This dystopian portrayal resonates with me as it underscores the value of freedom and the importance of vigilance against the potential abuse of power.

The Struggle for Individuality

The protagonist, Winston Smith, is a cog in the machine of this oppressive regime, yet he yearns for individuality and personal freedom. His struggle against the system, his pursuit of truth, and his yearning for love, all represent the human spirit’s resilience in the face of adversity. Winston’s journey is a testament to the indomitable human spirit, a theme that resonates with me. It encourages introspection about the value we place on our individuality and freedom, and the lengths we are willing to go to preserve them.

The Power of Language

Orwell’s “1984” also delves into the power of language and its manipulation for political ends. The concept of “Newspeak,” a language designed by the regime to limit free thought, is a potent symbol of linguistic control. This exploration of language and its potential for manipulation is particularly relevant in today’s era of misinformation and propaganda. It encourages critical thinking about the information we consume and the importance of linguistic precision.

In conclusion, “1984” stands out to me due to its exploration of pertinent themes such as totalitarianism, individuality, and the power of language. It serves as a stark reminder of the perils of unchecked power, the value of individual freedom, and the potential manipulation of language. This timeless piece of literature continues to resonate with me, offering insights that are as relevant today as they were when Orwell penned them. It is a book that I believe every individual, especially those shaping their worldview, should read and ponder upon.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

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Apart from these, you can look at all the essays by clicking here .

Happy studying!

Essay on “The Book I Like The Most ” for Kids and Students, English Essay, Paragraph, Speech for Class 7, 8, 9, 10, and 12 for College and Competitive Exams.

The Book I Like The Most

Life for most of us is pretty hectic. Nothing exciting or adventurous ever seems to happen. The solution to this is to read books.

Books are an important medium, suitable for all age groups. Even elders read books to escape from their hectic schedule sometimes.

A book that makes a person smile and relieves the boredom and dullness is worth reading. Today it is said that books are not about reading alone, but also for gaining some useful knowledge from them.

Some days back, the Book Fair was held in Pragati Maidan. I, along with a few of my friends went to purchase books. Although I purchased many books the book I liked most was in English by Mrs. Gaskell. It was a fiction book- Ruth. It has been published by J.M. Dents and Sons Ltd. It was first published in the year 1967, and since then it has been republished every year.

Since I had heard so much about Mrs. Gaskell’s work. I knew that Ruth would not disappoint me which was true enough.

Ruth, the heroine of the book deals with a love affair at fifteen which brings humiliation and a life of secrecy for the little girl as she is reduced by the man of upper class society.

This story also reflects that the classes appear in every country be it India or any other country. It is one of the world’s most familiar stories, but the author has treated a very sober theme with freshness and with considerable courage having regard to the time (the time of England revolution) and the theme (An unwed girl with a child).

It not only used to happen then, but now also it continues i.e., the exploitation of the weaker class by the upper class.

After reading this book, I have decided that I will work for the rights of women.

So, I can say that this book has changed my whole outlook towards the life.

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10 Lines, Short And Long Essay On My Favourite Book For Kids

Key Points To Note While Writing An Essay On My Favourite Book For Lower Primary Classes

Importance of books in life, 10 lines on ‘my favourite book’ for kids, a paragraph on ‘my favourite book’ for kids, short essay on ‘my favourite book’ in english for kids, long essay on ‘my favourite book’ for children, what will your child learn by writing an essay on ‘my favourite book’.

Reading is the most effective learning method, and we all know the value of children reading literature. In truth, books have always been and will remain the greatest path to knowledge. If you’ve ever pondered how to start reading without becoming weary, this is your opportunity to do so. Continue reading these sample essays on ‘My Favourite Book’ for classes 1, 2, and 3 or ‘The Book I Like The Most’, and get some ideas for writing an essay on your own.

Essay writing on ‘my favourite book’ is easy. Let us guide you with some points to remember.

Begin by writing an introduction about the author and some background information on the book.
Then, in a clean, straightforward manner, compose the primary text, and end with a proper conclusion.

Books are vital in each child’s life. They bring kids to a fantasy universe, introduce them to the big world out there, and improve their reading and writing skills, memory, and cognition. We cannot emphasise the value of literature in the kids’ lives as it expands their minds and serves as portals into the universe surrounding us. They leave a long-lasting impression on children.

Younger children can be expected to write their essay in a simple format. Guide them to jot down their points and write them out in grammatically correct sentences. Below are ten points on the essay for class 1 & class 2:

Books are a treasure trove of knowledge.
Reading books is an excellent habit that gives us insight and expertise.
They help us improve our brain power and expand our vocabulary.
I like reading books about fairy tales.
Fairy tale books have fascinating stories about fairies and their companions in fairyland.
I read these books every night before going to sleep.
The book I’m currently reading has some lovely stories with big pictures!
The book’s illustration makes it more enjoyable to read.
The pictures in the book make it easy to imagine the fantasy world.
My friends and I always exchange our books, so we get to read many new books.

Books are our great buddies since they provide all the information about the world. One of my favourite books is ‘The Jungle Book’. Rudyard Kipling wrote ‘The Jungle Book’ in 1894. The story revolves around Mowgli, a human kid raised by wolves in a wild forest.

Bagheera, the loving panther, finds a small boy in the jungle and delivers him to the wolf pack. Mama wolf then raises Mowgli as her baby. Daddy wolf teaches Mowgli all the skills of the forest. Mowgli understands the jungle laws and spends most of his time with Baloo and Bagheera. Sher Khan, a dangerous tiger, wants to eat Mowgli. So Mowgli thinks of a plan to rescue himself and succeeds. Everybody in the forest gets happy.

Reading is something I enjoy doing. I’ve read many novels. But, one book holds a special place in my heart, my favourite book, Panchatantra, written by Vishnu Sharma. It has many stories with pictures. Every story has a moral which teaches something good and meaningful in life. I enjoy reading picture books, and this book offered me a variety of stories.

One of my favourite stories from Panchatantra is ‘The Foolish Lion And The Clever Rabbit’. Once upon a time, there was a greedy lion who used to kill animals. Everyone was afraid of him. To reduce the senseless killing, the animals requested the lion to spare them the fear and decided to send one animal to the lion each day. The lion agreed to this agreement. One day, the animals sent a rabbit. He was an intelligent creature. He reached the lion’s cave late and told him that another big lion had stopped him on the way. He told the greedy lion that this second lion was challenging him. The lion felt very angry and decided to teach a good lesson to the other lion. He asked the rabbit to take him to the place where he met the other lion. The clever rabbit took him to a well and told him that the other lion lived in that well. When the greedy lion looked inside the well, he saw his own reflection and mistook it for the second lion. He jumped into the well to attack his competitor but drowned. The rabbit saved himself and the entire forest because of his quick wit and cleverness.

There are many such stories of wit and intelligence in the Panchatantra books. They introduce us to virtues such as compassion, bravery, wisdom, mental presence, and togetherness.

Books are loyal companions that will never abandon you. This holds true for me because you can always find books with and around me.

Books can transport us to other universes without leaving our current location. Books also help us expand our creativity. My family and teachers always motivated me to read and instilled in me the value of books. The book I like most is the Panchatantra. It is an extremely fascinating book. I have finished the book, but I still continue to read it because it is so entertaining!

One of the most prominent Indian authors and scholars, Vishnu Sharma, wrote Panchatantra in Sanskrit in the 3rd century BC. The book was later translated into many different languages. It is a collection of several stories. Vishnu Sharma has done a good job of giving moral life lessons by showcasing the activity of animals. I enjoy the book because it has many stories I love and cherish.

My mother bought this book for me as my birthday present. When I first read this book, it captured my attention instantly. Panchatantra has a unique narration which makes it my favourite book. It teaches us how humble, loving, and caring people always succeed. The book also showcases how bad qualities like cunningness, jealousy, anger and cheating can get you into trouble.

Panchatantra is a narrative of several animal characters in various stories, including a lion named Pingalaka, two bulls named Karnataka and Sanjivaka, a fox named Damanaka, deer named Chars, and so many others. These animals showcase human behaviour that we come across in our daily life.

Even though the book has a variety of stories, the story of The Crab and The Stork is close to my heart. It teaches us about presence of mind and intelligence. The story begins with a stork that was searching for food but could not find any as he was old. Finally, he plans to catch a fish to eat. He goes to a pond and pretends to be sad and depressed. Seeing him gloomy, a fish and a crab ask him why he is upset. The stork makes up a story that humans were going to inhabit the pond to grow crops. They are convinced by this story and are worried about how to stop this. The stork takes all the fish, frogs and other marine animals out of the pond, and slyly uses them for his meal. Finally, it is the turn of the crab to go with the stork, but the crab is aware that his friends are dead. So, the crab uses his intelligence, grabs the stork’s neck, and kills him to save himself.

Panchatantra stories like this one have taught me to think before taking any action. The book educates me on optimism and how to see the brightness at the end of the tunnel. It has made me realise the value of being good to all in any situation.

Thinking about their favourite book will make children mentally revisit all the books they have read and enjoyed. It will also encourage them to analyse what they like about each of the books as they choose their favourite one and think of points to write about. Moreover, as children discuss their assignments in class, it will expose them to a whole new variety of books that they would like to add to their reading wishlist. This assignment will also make children understand the importance of reading for their overall learning. It will also give them good writing practice with a topic that they can enjoy. The samples given here will give your child an idea of how to write this essay independently. So what are you waiting for? Ask your child to pick their favourite book and compose an amazing essay on their own!

1. What Are Some Popular Children’s Books?

The following are a few famous children’s books:

The Very Hungry Caterpillar by Eric Carle
Alice’s Adventures in Wonderland by Lewis Carroll
Charlie And The Chocolate Factory by Roald Dahl
The True Story of Three Little Pigs by Jon Scieszka
Harold and the Purple Crayon by Crockett Johnson
Panchatantra by Vishnu Sharma
The Famous Five by Enid Mary Blyton

2. What Was The Name Of The First Published Book In The World?

The first published book in the world was the Diamond Sutra, printed in AD 868.

We hope that the facts, tips and examples presented here help your child with their essay writing assignment on ‘My Favourite Book.’ We have kept the language simple for them to read and comprehend well, to be able to write in their own words.

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Essay on My Favourite Book for Students and Children

500+ Words Essay on My Favourite Book

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

Harry Potter Series

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

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

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

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

What Harry Potter Series Taught Me?

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

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

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

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

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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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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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Essay on The Most Interesting book I read

Our school library is having books which I like very much. One of my friends showed me a certain book in the library and he said that is his favorite book. He also said that is was the second part of the most famous Adventures of Huckleberry Finn written by Mark Twain.

I borrowed the book from the librarian on the advice of my friend. When I went home that day, I had an immediate lunch, when to my room and started reading the book.

Home interesting was it! It was a wonderful book. The book was full of adventures. The main character was Huckleberry Finn who was a poor English boy whose father was a third class drunkard. This father wanted to get his son’s fortune which he get previously in yet another adventure with Tom Sawyer, his friend. So Finn runs away from the custody of his father and meet another boy. This boy was Jim who had been running away from master. He had been a slave boy.

The two friends go to the sea and get on to a ship. They become friendly with the seamen and go on fishing. They also go to various island in the sea and engage themselves in many adventures. At last they come home. Finn finds that his father had died and hi was no more in danger. Jim also get his freedom with Finn’s help.

This interesting children’s novel had been written by well-known English Author Mark Twain who had previously written the famous book Tom Sawyer. Both these books are popular even today. So many millions of children throughout the English speaking world must have read these books. Much more than Tom Sawyer, it was the Adventures of Huckleberry Finn which was the most interesting book I have ever read.

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E. B. White is one of the most famous children’s book authors. But he should be better known for his essays.

I was well into adulthood before I realized the co-author of my battered copy of The Elements of Style was also the author of Stuart Little and Charlotte’s Web . That’s right, the White of the revered style manual that everyone knew as “Strunk and White” also wrote children’s books…as well as some of the best essays in the English language.

If you’re of a certain age, you might well remember E. B. White’s pointers in The Elements of Style :

Place yourself in the background; write in a way that comes naturally; work from a suitable design; write with nouns and verbs; do not overwrite; do not overstate; avoid the use of qualifiers; do not affect a breezy style; use orthodox spelling; do not explain too much; avoid fancy words; do not take shortcuts at the cost of clarity; prefer the standard to the offbeat; make sure the reader knows who is speaking; do not use dialect; revise and rewrite.

That’s some good advice, much better than the terrible counsel offered on Page 76: “Avoid the elaborate, the pretentious, the coy, and the cute.” Thanks, E. B., I do what I want. ☹️

Born in 1899 in Mount Vernon, N.Y., Elwyn Brooks White attended Cornell University, where he earned the nickname “Andy.” (Weird historical fact: If your last name was White, you were automatically an Andy at Cornell, in honor of the school’s co-founder, Andrew Dickson White. There is no connection to fellow Cornell alum Andy Bernard .) After graduation, White worked as a journalist and an advertising copywriter for several years. He published his first article in The New Yorker the year it was founded, 1925.

White became a staff writer at The New Yorker in 1927, but was an early enthusiast of the work-from-home movement, initially refusing to come to the office and eventually agreeing to come in only on Thursdays. In those days, he shared a small office (“a sort of elongated closet,” he called it) with James Thurber.

His famous officemate later recalled that White had an odd a brilliant habit: When visitors were announced, he would climb out the office window and scamper down the fire escape. “He has avoided the Man in the Reception Room as he has avoided the interviewer, the photographer, the microphone, the rostrum, the literary tea, and the Stork Club,” Thurber later remembered of the chronically shy author. “His life is his own.”

In 1929, White and Thurber co-authored their first book, Is Sex Necessary? Or, Why You Feel the Way You Do . (Don’t worry: It was comic essays.) That same year, White married Katharine Angell, The New Yorker’s fiction editor from its inaugural year until 1960. She was the mother of Roger Angell , the famed essayist and baseball writer who himself became a fiction editor at The New Yorker in the 1950s.

In 1938, White and Katharine moved permanently to a farm in Maine they had purchased five years before. If you’re wondering about the inspiration for 1952’s Charlotte’s Web , look no further than White’s 1948 essay for The Atlantic, “ Death of a Pig .” (He bought the pig with the intention of fattening it for slaughter; instead, he later nursed it through a fatal illness and buried it on the farm.)

Stuart Little had been published seven years before Charlotte’s Web . Along with 1970’s The Trumpet of the Swan , these books have made White one of the nation’s best-known children’s authors. I’m sure White didn’t mind, but by all rights, he should be better known for his essays. He authored over 20 collections of such classics as “Once More to the Lake,” “The Sea and The Wind That Blow,” “The Ring of Time,” “A Slight Sound at Evening” and “Farewell, My Lovely!” Endlessly anthologized, many are also taught in writing workshops to this day.

In 1949, White published Here Is New York , a short book developed from an essay about the pros and cons of living in New York City. In a 2012 essay for America , literary editor Raymond Schroth, S.J., noted White’s juxtaposition in Here Is New York of technological terrors like nuclear bombers (the Soviet Union detonated its first atomic bomb in 1949) with the simple beauties of nature:

Grand Central Terminal has become honky tonk, the great mansions are in decline, and there is generally more tension, irritability and great speed. The subtlest change is that the city is now destructible. A single flight of planes no bigger than a flock of geese could end this island fantasy, burn the towers and crumble the bridges. But the United Nations will make this the capital of the world. The perfect target may become the perfect “demonstration of nonviolence and racial brotherhood.” A block away in an interior garden was an old willow tree. This tree, symbol of the city, White said, must survive.

“It is a battered tree, long suffering and much climbed, held together by strands of wire but beloved of those who know it,” White wrote in Here Is New York . “In a way it symbolizes the city: life under difficulties, growth against odds, sap-rise in the midst of concrete, and the steady reaching for the sun. Whenever I look at it nowadays, and feel the cold shadow of the planes, I think: ‘This must be saved, this particular thing, this very tree.’”

The tree lasted for another six decades —two more than the Cold War, in fact—before finally being chopped down in 2009.

In a 1954 review of books by White and James Michener, America literary editor Harold C. Gardiner, S.J. , said White “has one of the most distinctive styles discernible on the American literary scene.” Since even the most cursory review of Father Gardiner’s many years of commentary shows he hated almost everything, it was quite a compliment. (Later in the review, he noted that “Mr. Michener, who has done better in his other books, comes a cropper here mainly because his style is wooden, sententious and dull.”)

In 1963, White received the Presidential Medal of Freedom for his writings. Fifteen years later, he was awarded a special Pulitzer Prize for “his letters, essays, and the full body of his work.” In 2005, the composer Nico Muhly debuted a song cycle based on The Elements of Style at the New York Public Library. Among its signature moments was a tenor offering more of White’s good advice, this time in song:

Do not use a hyphen between words that can be better written as one word .

White died in 1985 at his farm in Maine. His wife Katharine had died eight years earlier. His obituary in The New York Times quoted William Shawn, the legendary editor of The New Yorker:

His literary style was as pure as any in our language. It was singular, colloquial, clear, unforced, thoroughly American and utterly beautiful. Because of his quiet influence, several generations of this country's writers write better than they might have done. He never wrote a mean or careless sentence. He was impervious to literary, intellectual and political fashion. He was ageless, and his writing was timeless.

Our poetry selection for this week is “ Another Doubting Sonnet ,” by Renee Emerson. Readers can view all of America ’s published poems here .

Also, news from the Catholic Book Club: We are reading Norwegian novelist and 2023 Nobel Prize winner Jon Fosse’s multi-volume work Septology . Click here to buy the book, and click here to sign up for our Facebook discussion group .

In this space every week, America features reviews of and literary commentary on one particular writer or group of writers (both new and old; our archives span more than a century), as well as poetry and other offerings from America Media. We hope this will give us a chance to provide you with more in-depth coverage of our literary offerings. It also allows us to alert digital subscribers to some of our online content that doesn’t make it into our newsletters.

Other Catholic Book Club columns:

The spiritual depths of Toni Morrison

What’s all the fuss about Teilhard de Chardin?

Moira Walsh and the art of a brutal movie review

Who’s in hell? Hans Urs von Balthasar had thoughts.

Happy reading!

James T. Keane

James T. Keane is a senior editor at America.

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Paul Scheer Is Most Nervous About Sharing This Part of His New Book (Exclusive)

The comedian and actor’s new essay collection, ‘Joyful Recollections of Trauma,’ is on sale May 21

Paul Scheer originally had some reservations about a chapter in his forthcoming book.

Speaking with PEOPLE at a Los Angeles party for his new essay collection, Joyful Recollections of Trauma , on May 16, the comedian, 48, shared that there was a chapter that he was initially hesitant to include.

“The one chapter I struggled with the most was the ADHD chapter that's at the end because it was something that I got diagnosed with as an older person, as a person with a child,” he said.

The Veep actor said that both his publisher and his wife, Grace and Frankie star June Diane Raphael , encouraged him to include the section in the essay collection, which details the ways his childhood experiences have impacted his life.

“She's like, ‘It's the first time I feel like I understood you, like I understood what having your issue is like,'" Scheer said of Raphael. "And it's been odd because it's the one thing that I've told really no one."

Related: Comedian Paul Scheer Announces Release Date for His New Memoir with Funny Throwback Photos (Exclusive)

Despite how difficult it was for Scheer to write that part of the book, he recalled that early readers were impacted impacted by the chapter, and that they told him it spoke to them.

“That was really hard for me, to be that vulnerable, because I think it's still fresh with me, whereas the other stuff was a little bit more dealt with on some level,” he said. “And then I realized that what I respond to in any kind of art, whether it's film, TV or books, is that personal thing, that journey. And it's like my book isn't prescriptive in any way, but it is personal.”

“I felt like I realize now I like that chapter being in it because I'm like, ‘Oh, if I would've read that chapter, I might have checked myself out if someone else wrote it,’” he added. “And really, that's how I found out that I had ADHD, was [by] reading other people's dealing with it. So that was something that was really hard for me to be out there with, but also I'm now proud that it's there.”

Family also plays a prominent role in Scheer’s book, as the actor said that he dedicates the book to his parents, as well as his wife and their sons, Gus and Sam.

Related: Paul Scheer and June Diane Raphael Welcome a Son

“They challenge me in the best ways and they bring me to a place that does make me better, that I want to be a great parent to them,” Scheer said of his kids. “I know I'm going to have faults. I know I'm going to make a mistake, but they make me want to be a person that is aware…they make me want to be better.”

“I don't think I could have written this book without being a father because that perspective of being a father allowed me to look at my childhood differently, and I think has colored how I treat them and how I am with them,” he continued.

Related: June Diane Raphael and Paul Scheer Throw Star-Studded Dance Party for Charity

Scheer added that writing his book ultimately became a way to see how far he’s come in his life and career.

“I think the reason why I was able to write this book now was because of the work I did,” he says. “I didn't treat the book [as] my therapy as much as a reflection of the work that I've done on myself, so I was able to feel comfortable.”

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human-interest stories. Joyful Recollections of Trauma will hit shelves on May 21, and is now available for preorder, wherever books are sold.

For more People news, make sure to sign up for our newsletter!

Read the original article on People .

Samantha Burkardt/Getty Paul Scheer in 2024

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The Book I Enjoyed The Most (Essay Sample)

Table of Contents

The Book I enjoyed the most

Introduction.

Reading your favorite book promotes a relaxation method to overcome stress and anxiety. The reason behind is that it seeks to make you calmer as you read the details of the book’s content that satisfies your interest. The chosen book that I enjoy reading is Cinderella, which is a fairy tale themed book that presents about a person who met her love interest that changed her life permanently. This is the book that I enjoyed the most that has been able to ensure that it significantly fulfill one’s desire to allow their dreams to have a temporary relief. This is because every person has the tendency to utilize their fantasy in order to satisfy their dreams in a temporary way. This is the reason why I enjoy reading the book that seeks to measure my interest as well as to improve the way I perceive things in life.

I love the book, which is why I consider enjoying it because there is significance from the plot of the story that can relate to my personal life. There is a reflective interest applied by the book that enhances my knowledge and belief that I will be able to relate my personal issues with the book’s scenes. This is because the context is focused on a person’s childhood interest wherein it presents who a child struggles with their childhood challenges. It reflects the chance to know the logical way of improving your cognition in order to accomplish a certain task. All throughout the book’s storyline, it seeks to enhance the advantage of measuring the way that you could cope up with several stressful activities that makes your life better (Rowling, 1997).

One thing that is interesting is when you are going to establish friendship with your enemies. With the combination of fantasies through magical presentation, the context stimulates your senses and promotes your intellectual understanding. The reason behind for this action is to know the strengths and weaknesses as you are learning more about their behavior and character. This is comparable in real life when a person engages a relationship with other individuals to know their real character. Discovering your real friends is important because you will know who will you trust and cooperate. However, the thing that seems inappropriate is the issue regarding violent crashes between the main character and the antagonist of the film. This is the reason why the movie version restricted the audiences by preventing children aged 13 and below not to watch it because it stimulates violence against other individuals.

Why I enjoyed reading it? This is because it helps me bring back my childhood memories and learn new things. The lesson learned from the book I enjoyed reading the most is all about knowing you should choose as your company. The reason behind is that trust is very valuable to every relationship that you establish with other individual or group. When trust is broken, your friendship or relationship could no longer make sense towards a certain individual who betrayed you while establishing friendship. The book I enjoyed the most is recommended to other readers because they can learn more about balancing their friendships with other individuals. In addition, it is important to explore new things because learning helps a person to improve skills and knowledge whenever there are ideas that are fresh.

Rowling, J.K. (1997). Harry Potter: The Philosopher’s Stone. London: Bloomsbury.

My book is not my baby — but the two do have a lot in common

For me, publishing a book isn't the same as giving birth. it's more like sending my child to preschool, by noa silver.

I remember in my first year of motherhood the way I felt my world grow smaller and more intimate , the pace of my life grow slower and more focused. When my husband would come home from coaching and consulting meetings, networking events, and the workshops he facilitated, he would find me ensconced in the tiny world of our home, wrapped up in the milky sweetness of the baby. The private, domestic realm became my primary realm during those early months of motherhood, when I would walk around and around our small apartment with my baby wrapped to my chest, murmuring “shh, shh,” over and over again, like a mantra, or a prayer. Her heart beating against my heart, recreating womb-like conditions on the outside.

In the same sun-drenched week in August, that baby, my elder daughter, started preschool and I signed a publishing contract for my debut novel, "California Dreaming ." Two years after that, my younger daughter has started at that same preschool, and "California Dreaming" is mere days from being released.

Like those early months of motherhood, writing is an intensely private, solitary act. For me, to write necessitates going inward, it requires shutting out the outside world and external stimuli for the sake of being able to listen fully. My writing process takes inspiration from Anne Lamott’s practice of the one-inch picture frame. All through my daughters’ early years, I would carve out pockets of time — while they napped, or after bedtime, or when they were at the playground — to write. My pace of writing my novel was complementary to the pace of motherhood, the pace of attending to a baby and then a toddler. Each day I wrote just 250 words, filling my one-inch frame.

I am not the first to notice the connection between writing and parenting , but while many have compared publishing a book to giving birth, for me there is an even more apt comparison. Both child and book lived in and then with me for many years after their births. For me, publishing a book feels most parallel to sending my child to preschool for the first time, for it is in both these acts that that which once lived solely inside the private, domestic realm, and within only a few primary relationships, now enters the public sphere.

The distinction between the public and private realms, the separation between domestic and political spheres, has long been deeply intertwined with the preservation of a capitalistic society. Mothering so often happens outside of the public sphere, outside of the public gaze, and much has been written about the hidden, unpaid labor of caretaking. In our society, there is a hiddenness inherent in the domestic realm and a hiddenness to the lives and experiences of women.

Like those early months of motherhood, writing is an intensely private, solitary act.

Perhaps the novel form itself could be considered a kind of public square, a forum in which human relationships, motivations, self-discovery, and journeying gets played out again and again through different lenses, and under different gazes. Historically, even in the context of the novel, significant female life experiences — childbirth and abortion, breastfeeding and postpartum depression — have not been explored nearly as deeply as those life experiences of typical male self-development.

In my writing, I am drawn to exploring the inner lives of women, especially during moments of significant life transitions. In "California Dreaming," the main character is Elena, who, over the course of the novel, grows from a young, idealistic early 20-something, into a 30-year-old woman who reckons with the decisions she has made, the values she holds and the stories she has inherited. It is a bildungsroman, a story form that traces the general and spiritual coming-of-age process, and it is told in the first-person point of view, granting Elena herself the narrative voice to describe her journey. There is an intimacy in using the first-person, a way of drawing near to the narrator that allows for greater play and insight into the narrator’s own development, her way of viewing the world, her inner life.

In an interview with Terry Gross in 1985, the writer Grace Paley reflected, “When you write, you illuminate what’s hidden, and that’s a political act.” For many years, my primary world has been the private, domestic, intimate world of mothering little children and writing and rewriting and editing a novel. A hidden world. And now, gradually, there are bridges between the private and public realms, and that which has been hidden is becoming illuminated, revealed.

In the months after giving birth, I felt the deep truth of the fact that I was not fully separate from my children. And yet, as they have grown, we have each gone through periods of differentiation, of reasserting the boundaries of self. My children no longer exist primarily in a carrier or in my arms; they are no longer solely dyadic extensions of me. They go to school, they have thoughts and experiences and dreams and feelings and wishes that I am not witness to, and that they navigate with peers and teachers and the many other people who populate their life. They have relationships that are their own.

So, too, with my novel. For many years I worked in private tandem with the novel, with my own creative process. In the months since I signed my book deal, however, I have begun to experience the way my creative process—a process of unfolding, refining, listening, and responding—is being transmuted into an object, into something that will go out into the world, into the public sphere, and there take on a life of its own. We are differentiating, my book and I, and soon it will be in relationship with others, with readers who will encounter it as themselves, and form judgments, connections, and opinions about it that are distinct from my own.

Motherhood’s value has often been located in the fact that the children we are mothering will eventually become citizens of the larger society. Similarly, a book on its publishing journey—as I have newfound understanding and appreciation for—ultimately becomes a commodity. The publishing industry measures a book’s success in sales, and even my chance at publishing another book in the future may rest on the sales numbers of my first. In these months of preparing for my book’s launch, of asking bookstores and libraries to stock my book, and friends and family to pre-order, I have been struck by my own doubts of its inherent worth. To ask people to buy it , to spend money on it, has necessarily sent me diving into questions of its value : Will this book change your life? Must it be read? Will you like it? I don’t know.

For many years, my primary world has been the private, domestic, intimate world of mothering little children and writing and rewriting and editing a novel. A hidden world.

Here’s what I do know: it had to be written. It called to me again and again during the writing process itself, that private, intimate birthing and caring for of this idea, these characters, this story, this particular viewpoint on the whole messy endeavor that we call life, and I couldn’t not write it.

In many ways, this is the same way I feel toward mothering my children. I don’t know who they will become, or what they will or will not contribute to society. I mother them in this moment, now, because they are here, in front of me, whole and perfect and messy and complete human beings just as they are. I attend to them because I must, because I am called to with my whole self.

It can seem at times that worth and value exist exclusively in the public sphere, in the shared collective, in the process of being witnessed and incorporated into the greater whole. But when this greater whole is one whose meaning rests in capital, then worth and value become markers for how much something contributes to capital: the book that sells well, or the child who grows up to be a “productive” member of society—a worker, a voter, a consumer.

It is not that I am against a shared, collective space, not that I wish for more individualized and individualistic paths toward meaning — far from it. However, in the context of a public sphere that primarily operates in terms of product, output and money, the private realm can sometimes seem a place of refuge, a place where creative process and attentive mothering can actually coexist in harmony, for the sake of attention itself, for the sake of love—and not future production or consumption.

Yet, I wonder whether that coexistence can only occur out of the public gaze, in a hidden domain, or if it would be possible for it to thrive in the public sphere. What kind of relationships could we have, the witnessers and the witnessed, in which we could write and mother from a place of intimate curiosity, where we could do so in a way that feels held by others, by community, where it is neither solely a solitary, lonely endeavor, nor one whose worth is measured in a balance sheet?

Perhaps it is only in a novel where we can fully explore that possibility.

personal stories from writers

What if I can't "savor every single moment" of their childhood?
The "groupie," the ghostwriter and me
My disapproving doctor father hated my work — but we had more in common than I thought

Noa Silver was born in Jerusalem and raised between Scotland and Maine. Her debut novel " California Dreaming " is due out in May.

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Guest Essay

And the Winner Is: Kendrick Lamar. And Old-School Hip-Hop.

A photo illustration with side by side images of Drake and Kendrick Lamar.

By Laurence Ralph

Dr. Ralph is a professor of anthropology at Princeton.

The rap battle between Drake and Kendrick Lamar is about more than whatever personal beefs these two men have with each other. As many have noted , it is a significant moment in hip-hop history, and not just because Mr. Lamar’s diss track “ Not Like Us ,” released last week, has become the hip-hop song with the most plays on U.S. Spotify in a single day — surpassing the high set previously by Drake and Lil Baby.

What sets this rap battle apart from previous high-profile hip-hop feuds is its magnitude and implications for popular music. Hip-hop, born as an underground movement, has long been a global phenomenon, leading certain artists to blur the lines between authenticity and commercialization. The global pop audience has always been more drawn to a simplified hip-hop sound devoid of the complex lyrics and politicized messages that characterize “conscious” rap.

Mr. Lamar’s victory signals a resurgence of lyrically rich rap — and a return to the roots of hip-hop culture — all while establishing a new template for relevance in an era when content can go viral instantly on social media and streaming platforms. If Drake, who has become the face of rap’s mainstream pop faction, has lost this battle, that setback is not his alone.

Mr. Lamar’s ability to write layered and intricate lyrics has long been lauded. But this battle has brought new attention and enthusiasm to the particular artistic element at which he excels. Fans have scrambled to decipher his complex verses with each new release. (The website Genius , where users annotate lyrics, crashed from the volume of visitors investigating this feud.) Mr. Lamar’s apparent decision to remove copyright protections for “Not Like Us” has also enabled a wide dissemination of the track, allowing content creators to monetize posts featuring the song.

Removing these kind of constraints on the distribution of the song signals a new and savvy approach to marketing and sales in the music industry. It’s another facet of Mr. Lamar’s victory — enlisting countless unseen collaborators to spread his message and join his crusade.

Drake has been doing his best to counter and innovate. His second volley in the battle, “Taylor Made Freestyle,” incorporated A.I. to enlist two iconic figures from West Coast hip-hop: Tupac Shakur and Snoop Dogg. (Drake removed the song from social media after objections from Mr. Shakur’s estate .) Drake also took direct aim at Mr. Lamar’s supposed lyrical prowess, taunting him to respond with a “quintuple entendre.”

Underestimating Mr. Lamar — who won a Pulitzer Prize for his album “DAMN.” — was a questionable move. Mr. Lamar’s response, “ Euphoria ,” arrived with the precision and effectiveness of a heat-seeking missile. The title “Euphoria” nods not only to the feeling but to the HBO series on which Drake has been an executive producer — a show known for its controversial portrayal of teenage sexuality, a parallel that underscores Mr. Lamar’s allegations that Drake harbors inappropriate infatuations.

In the arena of rap battles, entendres are wielded precisely because they imbue words with layers of meaning. Nowhere is this more evident than in the stark contrast between love and hate, the poles around which rap oscillates. In a pivotal moment in “Euphoria,” Mr. Lamar adopted the persona of the late rapper DMX, who in 2012 aired his grievances about Drake on “The Breakfast Club,” a radio show that was a cornerstone of hip-hop media. On the track, Mr. Lamar echoes DMX as he snarls at Drake, “I hate the way that you walk, the way that you talk, I hate the way that you dress.”

Drake parried by questioning Mr. Lamar’s authenticity, characterizing his portrayal of Black empowerment as superficial and insincere. But Mr. Lamar swiftly retaliated, targeting Drake’s alleged cultural appropriation. Authenticity in hip-hop is often tied to a rapper’s ability to embody the distinctive sound of their hometown — something Drake, a Canadian of ambiguous racial identity, has skillfully transcended, crossing geographical and musical boundaries and incorporating regional sounds from across the United States, particularly the South.

In the closing lines of “Not Like Us,” Mr. Lamar zeros in on what he sees as Drake’s vulnerability. Mr. Lamar’s artistry shines through as he seamlessly weaves together social commentary and catchy rhythms. He begins by evoking the painful legacy of Black Americans in chains, then highlights Atlanta’s historical significance as a hub for the slave trade in the South — before drawing parallels to Drake’s exploitation of Southern rap culture for personal gain. His indictment culminates with a damning accusation: “You run to Atlanta when you need a few dollars,” he says. Drake is not a “colleague,” he’s a “colonizer.”

Through his incisive lyrics Mr. Lamar exposes the complexities of cultural identity and power dynamics within the rap industry — all while carrying the banner of lyrical rap. His verbal offensive proves the depth and staying power of hip-hop’s history and culture, with its legacy of lyrical dexterity and complexity.

Armed with these tools and talents, Mr. Lamar managed to topple Drake, and in the process has shown himself, by calling on hip-hop’s traditions, to be more relevant to the current moment. At least until the bell sounds to signal the next round.

Laurence Ralph is a professor of anthropology at Princeton and the author of “Sito: An American Teenager and the City That Failed Him.”

Source photographs by Arturo Holmes/MG23 and Prince Williams, via Getty Images.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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Like Love by Maggie Nelson review: wise, genre-defying observations from a very sharp thinker

Maggie nelson delves into the work and minds of other artists to create a deft and polyphonic book.

Maggie Nelson writes about love and life, about tenderness, motherhood and marriage, while not shying away from brutality and coarseness.

While I was reading Maggie Nelson’s latest book, Like Love, for this review, I went to hear her speak in New York. Reading Nelson is magical; hearing her speak is electrifying. It is clear to me – yet again – that she is one of the sharpest thinkers today.

Like Love is a collection of essays, of intimate conversations and communication with some of our most radical minds such as Judith Butler, Jacqueline Rose, Sarah Lucas, Bjork, Wayne Koestenbaum and Tala Madani, mapping Nelson’s writing and friendships, over more than 20 years, arranged chronologically. So much of Nelson’s writing has been about love and longing, and so the book’s title is apt.

Nelson’s writing so far has defied labels, stretching form and genre, unafraid to confront the messiness of life with themes of violence, embodiment and queerness, whether it be in The Art of Cruelty, Bluets or Jane: A Murder, and we see these recurrent themes here too. It is a tough choice but Argonauts, for me, is one of her best works. It showed me the slipperiness and depth of her thinking, as she writes about love and life, about tenderness, motherhood and marriage, while not shying away from brutality and coarseness.

How can we confront danger in our lives and not be afraid of it? And why is it important to step outside our comfort zones in order to be better: better artists, mothers, partners, lovers or just better humans?

Cross Border Story Seeds Project: Teleportation

Mystery and Mayhem

Eulogy for Sir Henry’s Club, Cork

Nelson is delving into other artists’ minds in Like Love, but also delving into her own, as well as tangentially into adjacent conversations and communications with other artists. The result is a polyphonic assemblage, which in less capable hands could have become chaotic but here it is graceful and aesthetic, deftly crossing boundaries and definitions, a concordant symphony.

In her meditations and reflections on others’ works, we see her expansive mind at its best, seamlessly springing from one theme to the next, ever-generous in her assessment of others.

[ Maggie Nelson: ‘I ride on the shoulders of the much wilder and brave’ ]

In her writing on Eve Sedgewick’s posthumous collection, The Weather in Proust, Nelson mines the difference between “knowing” and “realising”, the way we often pride ourselves on our “quicksilver capacity to absorb knowledge” but impatient and unable to hang out for an inordinate amount of time before we can truly “realise” this knowledge and know what to do with it. Reviewing Ben Lerner’s 10:04, Nelson astutely draws out the themes of openness and curiosity, and the importance of paying attention to “our collectivity as well as our individuality”.

In her Q&A with Nelson, Darcey Steineke called Nelson’s writing “open-minded”. Nelson’s supple thinking is admirable in the way she cracks open binaries and draws out the ambivalences of any topic, be it reproduction, love, sexuality or the way we make and observe art. It is her willingness to be open to new ideas, to see the world in an interconnected, capacious manner, that pulls me in.

[ Fiction in translation: from a masterpiece of postwar guilt to femicide in Brazil ]

In conversation with the artist Carolee Schneemann, there is so much justifiable frustration at the 400 years of patriarchy, the invisibility of women in the art world, the way demonisation and censorship have marginalised some bodies more than others. “Why do men hate women?” Nelson asks Schneemann, while wondering if the question was becoming “too tautological”. Without a pause, Scheemann replies, “Never. I will never grow tired of that question.”

Nelson is at her best collaborating, communicating, conferring with other creatives, trying to delve into how they create, what they feel and how they seek pleasure. This book is about poetic friendships, “the craving for connection that art conjures, frustrates and possibly exists to satisfy”. Our culture often encourages solitude and we can be led to believe that we need to be in competition with others in order to stand apart. But Nelson thrives off these interactions, each idea pulsating and throbbing with potential, and we can take it where we want. She trusts her readers to read between the lines and, in doing so, we become better ourselves in many ways.

[ The Argonauts by Maggie Nelson review: challenging and profound ]

In her talk, Nelson emphasised the need to look for magic as we grow older, since magic isn’t as easy to come by. I found after listening to her and reading this unflinching meditation on how we live, that I was thinking more expansively and felt more alive to the potential of magic when it happens next.

There are incredible passages in Like Love. Summarising them, selecting snippets, I am perhaps only really pretending to know this book. But only when I sit with this knowledge for quite a while longer will I truly realise what to do with it all, and how to even begin to apply Nelson’s wisdom to my own life and work.

Pragya Agarwal’s latest book is (M) otherhood: On the Choices of Being a Woman

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