best essays on poetry

Best Words, Best Order

Essays on Poetry

• © 2003
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• Stephen Dobyns

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Table of contents (16 chapters)

Front matter, metaphor and the authenticating act of memory, writing the reader’s life, notes on free verse, pacing: the ways a poem moves, the function of tone, the voices one listens to, the traffic between two worlds, rilke’s growth as a poet, mandelstam: the poem as event, chekhov’s sense of writing as seen through his letters, ritsos and the metaphysical moment, cemetery nights, the maker’s manipulation of time, the passerby in the birdless street, the problem of beauty and the requirements of art, back matter, about this book, about the author, bibliographic information.

Book Title : Best Words, Best Order

Book Subtitle : Essays on Poetry

Authors : Stephen Dobyns

DOI : https://doi.org/10.1007/978-1-349-73116-9

Publisher : Palgrave Macmillan New York

eBook Packages : Palgrave Literature & Performing Arts Collection , Literature, Cultural and Media Studies (R0)

Copyright Information : Palgrave Macmillan, a division of Nature America Inc. 2003

Softcover ISBN : 978-1-4039-6147-1 Published: 30 May 2003

eBook ISBN : 978-1-349-73116-9 Published: 30 April 2016

Edition Number : 2

Number of Pages : XIV, 398

Topics : Poetry and Poetics

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A Full Guide to Writing a Perfect Poem Analysis Essay

01 October, 2020

14 minutes read

Author:  Elizabeth Brown

Poem analysis is one of the most complicated essay types. It requires the utmost creativity and dedication. Even those who regularly attend a literary class and have enough experience in poem analysis essay elaboration may face considerable difficulties while dealing with the particular poem. The given article aims to provide the detailed guidelines on how to write a poem analysis, elucidate the main principles of writing the essay of the given type, and share with you the handy tips that will help you get the highest score for your poetry analysis. In addition to developing analysis skills, you would be able to take advantage of the poetry analysis essay example to base your poetry analysis essay on, as well as learn how to find a way out in case you have no motivation and your creative assignment must be presented on time.

What Is a Poetry Analysis Essay?

A poetry analysis essay is a type of creative write-up that implies reviewing a poem from different perspectives by dealing with its structural, artistic, and functional pieces. Since the poetry expresses very complicated feelings that may have different meanings depending on the backgrounds of both author and reader, it would not be enough just to focus on the text of the poem you are going to analyze. Poetry has a lot more complex structure and cannot be considered without its special rhythm, images, as well as implied and obvious sense.

While analyzing the poem, the students need to do in-depth research as to its content, taking into account the effect the poetry has or may have on the readers.

Preparing for the Poetry Analysis Writing

The process of preparation for the poem analysis essay writing is almost as important as writing itself. Without completing these stages, you may be at risk of failing your creative assignment. Learn them carefully to remember once and for good.

Thoroughly read the poem several times

The rereading of the poem assigned for analysis will help to catch its concepts and ideas. You will have a possibility to define the rhythm of the poem, its type, and list the techniques applied by the author.

While identifying the type of the poem, you need to define whether you are dealing with:

• Lyric poem – the one that elucidates feelings, experiences, and the emotional state of the author. It is usually short and doesn’t contain any narration;
• Limerick – consists of 5 lines, the first, second, and fifth of which rhyme with one another;
• Sonnet – a poem consisting of 14 lines characterized by an iambic pentameter. William Shakespeare wrote sonnets which have made him famous;
• Ode – 10-line poem aimed at praising someone or something;
• Haiku – a short 3-line poem originated from Japan. It reflects the deep sense hidden behind the ordinary phenomena and events of the physical world;
• Free-verse – poetry with no rhyme.

The type of the poem usually affects its structure and content, so it is important to be aware of all the recognized kinds to set a proper beginning to your poetry analysis.

Find out more about the poem background

Find as much information as possible about the author of the poem, the cultural background of the period it was written in, preludes to its creation, etc. All these data will help you get a better understanding of the poem’s sense and explain much to you in terms of the concepts the poem contains.

Define a subject matter of the poem

This is one of the most challenging tasks since as a rule, the subject matter of the poem isn’t clearly stated by the poets. They don’t want the readers to know immediately what their piece of writing is about and suggest everyone find something different between the lines.

What is the subject matter? In a nutshell, it is the main idea of the poem. Usually, a poem may have a couple of subjects, that is why it is important to list each of them.

In order to correctly identify the goals of a definite poem, you would need to dive into the in-depth research.

Check the historical background of the poetry. The author might have been inspired to write a poem based on some events that occurred in those times or people he met. The lines you analyze may be generated by his reaction to some epoch events. All this information can be easily found online.

Choose poem theories you will support

In the variety of ideas the poem may convey, it is important to stick to only several most important messages you think the author wanted to share with the readers. Each of the listed ideas must be supported by the corresponding evidence as proof of your opinion.

The poetry analysis essay format allows elaborating on several theses that have the most value and weight. Try to build your writing not only on the pure facts that are obvious from the context but also your emotions and feelings the analyzed lines provoke in you.

How to Choose a Poem to Analyze?

If you are free to choose the piece of writing you will base your poem analysis essay on, it is better to select the one you are already familiar with. This may be your favorite poem or one that you have read and analyzed before. In case you face difficulties choosing the subject area of a particular poem, then the best way will be to focus on the idea you feel most confident about. In such a way, you would be able to elaborate on the topic and describe it more precisely.

Now, when you are familiar with the notion of the poetry analysis essay, it’s high time to proceed to poem analysis essay outline. Follow the steps mentioned below to ensure a brilliant structure to your creative assignment.

Best Poem Analysis Essay Topics

• Mother To Son Poem Analysis
• We Real Cool Poem Analysis
• Invictus Poem Analysis
• Richard Cory Poem Analysis
• Ozymandias Poem Analysis
• Barbie Doll Poem Analysis
• Caged Bird Poem Analysis
• Ulysses Poem Analysis
• Dover Beach Poem Analysis
• Annabelle Lee Poem Analysis
• Daddy Poem Analysis
• The Raven Poem Analysis
• The Second Coming Poem Analysis
• Still I Rise Poem Analysis
• If Poem Analysis
• Fire And Ice Poem Analysis
• My Papa’S Waltz Poem Analysis
• Harlem Poem Analysis
• Kubla Khan Poem Analysis
• I Too Poem Analysis
• The Juggler Poem Analysis
• The Fish Poem Analysis
• Jabberwocky Poem Analysis
• Charge Of The Light Brigade Poem Analysis
• The Road Not Taken Poem Analysis
• Landscape With The Fall Of Icarus Poem Analysis
• The History Teacher Poem Analysis
• One Art Poem Analysis
• The Wanderer Poem Analysis
• We Wear The Mask Poem Analysis
• There Will Come Soft Rains Poem Analysis
• Digging Poem Analysis
• The Highwayman Poem Analysis
• The Tyger Poem Analysis
• London Poem Analysis
• Sympathy Poem Analysis
• I Am Joaquin Poem Analysis
• This Is Just To Say Poem Analysis
• Sex Without Love Poem Analysis
• Strange Fruit Poem Analysis
• Dulce Et Decorum Est Poem Analysis
• Emily Dickinson Poem Analysis
• The Flea Poem Analysis
• The Lamb Poem Analysis
• Do Not Go Gentle Into That Good Night Poem Analysis
• My Last Duchess Poetry Analysis

Poem Analysis Essay Outline

As has already been stated, a poetry analysis essay is considered one of the most challenging tasks for the students. Despite the difficulties you may face while dealing with it, the structure of the given type of essay is quite simple. It consists of the introduction, body paragraphs, and the conclusion. In order to get a better understanding of the poem analysis essay structure, check the brief guidelines below.

Introduction

This will be the first section of your essay. The main purpose of the introductory paragraph is to give a reader an idea of what the essay is about and what theses it conveys. The introduction should start with the title of the essay and end with the thesis statement.

The main goal of the introduction is to make readers feel intrigued about the whole concept of the essay and serve as a hook to grab their attention. Include some interesting information about the author, the historical background of the poem, some poem trivia, etc. There is no need to make the introduction too extensive. On the contrary, it should be brief and logical.

Body Paragraphs

The body section should form the main part of poetry analysis. Make sure you have determined a clear focus for your analysis and are ready to elaborate on the main message and meaning of the poem. Mention the tone of the poetry, its speaker, try to describe the recipient of the poem’s idea. Don’t forget to identify the poetic devices and language the author uses to reach the main goals. Describe the imagery and symbolism of the poem, its sound and rhythm.

Try not to stick to too many ideas in your body section, since it may make your essay difficult to understand and too chaotic to perceive. Generalization, however, is also not welcomed. Try to be specific in the description of your perspective.

Make sure the transitions between your paragraphs are smooth and logical to make your essay flow coherent and easy to catch.

In a nutshell, the essay conclusion is a paraphrased thesis statement. Mention it again but in different words to remind the readers of the main purpose of your essay. Sum up the key claims and stress the most important information. The conclusion cannot contain any new ideas and should be used to create a strong impact on the reader. This is your last chance to share your opinion with the audience and convince them your essay is worth readers’ attention.

Problems with writing Your Poem Analysis Essay? Try our Essay Writer Service!

Poem Analysis Essay Examples 

A good poem analysis essay example may serve as a real magic wand to your creative assignment. You may take a look at the structure the other essay authors have used, follow their tone, and get a great share of inspiration and motivation.

Check several poetry analysis essay examples that may be of great assistance:

• https://study.com/academy/lesson/poetry-analysis-essay-example-for-english-literature.html
• https://www.slideshare.net/mariefincher/poetry-analysis-essay

Writing Tips for a Poetry Analysis Essay

If you read carefully all the instructions on how to write a poetry analysis essay provided above, you have probably realized that this is not the easiest assignment on Earth. However, you cannot fail and should try your best to present a brilliant essay to get the highest score. To make your life even easier, check these handy tips on how to analysis poetry with a few little steps.

• In case you have a chance to choose a poem for analysis by yourself, try to focus on one you are familiar with, you are interested in, or your favorite one. The writing process will be smooth and easy in case you are working on the task you truly enjoy.
• Before you proceed to the analysis itself, read the poem out loud to your colleague or just to yourself. It will help you find out some hidden details and senses that may result in new ideas.
• Always check the meaning of words you don’t know. Poetry is quite a tricky phenomenon where a single word or phrase can completely change the meaning of the whole piece. 
• Bother to double check if the conclusion of your essay is based on a single idea and is logically linked to the main body. Such an approach will demonstrate your certain focus and clearly elucidate your views. 
• Read between the lines. Poetry is about senses and emotions – it rarely contains one clearly stated subject matter. Describe the hidden meanings and mention the feelings this has provoked in you. Try to elaborate a full picture that would be based on what is said and what is meant.

Write a Poetry Analysis Essay with HandmadeWriting

You may have hundreds of reasons why you can’t write a brilliant poem analysis essay. In addition to the fact that it is one of the most complicated creative assignments, you can have some personal issues. It can be anything from lots of homework, a part-time job, personal problems, lack of time, or just the absence of motivation. In any case, your main task is not to let all these factors influence your reputation and grades. A perfect way out may be asking the real pros of essay writing for professional help.

There are a lot of benefits why you should refer to the professional writing agencies in case you are not in the mood for elaborating your poetry analysis essay. We will only state the most important ones:

• You can be 100% sure your poem analysis essay will be completed brilliantly. All the research processes, outlines, structuring, editing, and proofreading will be performed instead of you. 
• You will get an absolutely unique plagiarism-free piece of writing that deserves the highest score.
• All the authors are extremely creative, talented, and simply in love with poetry. Just tell them what poetry you would like to build your analysis on and enjoy a smooth essay with the logical structure and amazing content.
• Formatting will be done professionally and without any effort from your side. No need to waste your time on such a boring activity.

As you see, there are a lot of advantages to ordering your poetry analysis essay from HandmadeWriting . Having such a perfect essay example now will contribute to your inspiration and professional growth in future.

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Proofs and Theories: Essays on Poetry

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Winner of the 1993 PEN/Martha Albrand Award for First Nonfiction, Proofs and Theories  is a compilation of essays on the work of other poets, as well as reflections on the art. Author Louise Gluck is a former U.S. poet laureate who has written numerous poetry collections, including the  The Wild Iris , which received the Pulitzer Prize.

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The Poetry issue

The Shape of the Void: Toward a Definition of Poetry

“Poetry leaves something out,” our columnist Elisa Gabbert says. But that’s hardly the extent of it.

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By Elisa Gabbert

I once heard a student say poetry is language that’s “coherent enough.” I love a definition this ambiguous. It’s both helpful (there’s a limit to coherence, and the limit is aesthetic) and unhelpful (enough for what, or whom?). It reminds me of a dictionary entry for “detritus” that I copied down in a notebook: “the pieces that are left when something breaks, falls apart, is destroyed, etc.” That seemed so artfully vague to me, so uncharacteristically casual for a dictionary. It has a quality of distraction, of trailing off, of suggesting you already know what detritus means. Part of me resists the question of what poetry is, or resists the answer — you already know what it means.

But let’s answer it anyway, starting with the obvious: If the words have rhyme and meter, it’s poetry. Nonwords with rhyme and meter, as in “Jabberwocky,” also are poetry. And since words in aggregate have at least some rhyme and rhythm, which lines on the page accentuate, any words composed in lines are poetry. There’s something to be said for the obvious. Virginia Woolf wrote of E.M. Forster: “He says the simple things that clever people don’t say; I find him the best of critics for that reason. Suddenly out comes the obvious thing one has overlooked.”

Is there much else? I think so. I think poetry leaves something out. All texts leave something out, of course — otherwise they’d be infinite — but most of the time, more is left out of a poem. Verse, by forcing more white space on the page, is constantly reminding you of what’s not there. This absence of something, this hyper-present absence, is why prose poems take up less space than other prose forms; the longer they get, the less they feel like poems. It’s why fragments are automatically poetic: Erasure turns prose into poems. It’s why any text that’s alluringly cryptic or elusive — a road sign, assembly instructions — is described as poetic. The poetic is not merely beauty in language, but beauty in incoherence, in resistance to common sense. The missingness of poetry slows readers down, making them search for what can’t be found. The encounter is almost inherently frustrating, as though one could not possibly pay enough attention. This is useful: Frustration is erotic.

“What is poetry?” is not the same question, quite, as “What is a poem?” How many poems did Emily Dickinson write? It depends what you count. In “Writing in Time,” the scholar Marta Werner writes, of Dickinson’s so-called Master letters, “At their most fundamental, ontological level, we don’t know what they are.” Perhaps my favorite poem of Dickinson’s is not, perhaps, a poem — it’s an odd bit of verse in the form of a letter to her sister-in-law, ending with the loveliest, slantest of rhymes: “Be Sue, while/I am Emily —/Be next, what/you have ever/been, Infinity.” Are the “breaks” really breaks? The letter is written on a small, narrow card; the words go almost to the edge of the paper. I think, too, of Rilke’s letters, which often read like poems. In 1925, he wrote to his Polish translator: “We are the bees of the Invisible. We wildly gather the honey of the visible, in order to store it in the great golden hive of the Invisible.” In these letter-poems, poetry reveals itself as more a mode of writing, a mode of thinking, even a mode of being , than a genre. The poem is not the only unit of poetry; poetic lines in isolation are still poetry. The poem is a vessel; poetry is liquid.

From time to time I’m asked, with bewilderment or derision, if this or that poem isn’t just “prose chopped into lines.” This idea of the free verse poem as “chopped” prose comes from Ezra Pound via Marjorie Perloff, who quotes Pound in her influential essay “The Linear Fallacy,” published in 1981. The essay encourages an oddly suspicious, even paranoid reading of most free verse as phony poetry, as prose in costume. The line, in Perloff’s view, in these ersatz poems, is a “surface device,” a “gimmick.” She removes all the breaks from a C.K. Williams poem to make the case that a stanza without the intentional carriage returns is merely a paragraph.

I find this baffling — as if chopping up prose has no effect. It does have an effect, the way putting more panes in a window changes the view. The architect Christopher Alexander thought big plate glass windows were a mistake, because “they alienate us from the view”: “The smaller the windows are, and the smaller the panes are, the more intensely windows help connect us with what is on the other side. This is an important paradox.” To state the Forsterian obvious again, adding breaks to a paragraph is not always going to make an interesting poem — but most poets don’t write that way. They write in the line , in the company of the void. That changes how you write — and more profoundly, how you think, and even how you are, your mode of being. When you write in the line, there is always an awareness of the mystery, of what is left out. This is why, I suppose, poems can be so confounding. Empty space on the page, that absence of language, provides no clues. But it doesn’t communicate nothing — rather, it communicates nothing . It speaks void, it telegraphs mystery.

By “mystery” I don’t mean metaphor or disguise. Poetry doesn’t, or shouldn’t, achieve mystery only by hiding the known, or translating the known into other, less familiar language. The mystery is unknowing, the unknown — as in Jennifer Huang’s “Departure”: “The things I don’t know have stayed/In this home.” The mystery is the missing mountain in Shane McCrae’s “The Butterflies the Mountain and the Lake”:

the / Butterflies monarch butterflies huge swarms they Migrate and as they migrate south as they Cross Lake Superior instead of flying

South straight across they fly South over the water then fly east still over the water then fly south again / And now biologists believe they turn to avoid a mountain

That disappeared millennia ago.

The missing mountain is still there. As for what is on the page, the language that changes the shape of the void, I’m of the opinion it can be almost anything. One of my favorite books that no one has heard of is “Survey Says!,” by Nathan Austin. It’s just a list of guesses ventured by contestants on “Family Feud,” arranged, most ingeniously, in alphabetical order by their second letter, so you get sequences like this: “A bra. Abraham Lincoln. A building. Scaffolding. Scalpel. A car. A card game. A cat. A cat. Ice cream. Ice cream. Ice cream. Ice cream.” We get the answers; the questions are missing. “Get a manicure. Get a toupee. Get drunk. Retirement fund. Get out of bed. Get ready! Let’s go with manuals. Get sick in there. Let’s say a pet. Let’s say shoes. Bette Davis.” The poetry seems to perform hypnosis, the found rhymes and assonance and anaphora enacting an enchantment, a bewitchery; it seems to be giving subconscious advice. Get ready! You must change your life.

Elisa Gabbert is the author of five collections of poetry, essays and criticism, most recently “ The Unreality of Memory & Other Essays .” Her On Poetry columns appear four times a year.

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Five of the Best Books about Studying Poetry

By Dr Oliver Tearle (Loughborough University)

If you’re studying poetry at school or university, or are simply a fan of the world of verse, it’s useful to have some handy guides standing by to assist with the terminology and to shed light on the various poetic forms used by poets, and the sometimes challenging language of poetry.

In our experience, the following five books are among the greatest books for the student of poetry (though there are, needless to say, many more helpful books on the market) and all five books will help the poetry fan to understand and appreciate poetry to a greater degree.

Disclaimer: as an Amazon Associate, we get commissions for purchases made through links in this post.

Subtitled  A Guide to Reading Poetry for Pleasure and Practical Criticism , this book – which was updated for a second edition in 2005 – is a wonderfully clear and comprehensive introduction to the appreciation of poetry. John Lennard shows how we can enjoy poetry by understanding its technical features and techniques: his epigraph, from C. L. R. James, suggests a parallel between appreciating cricket and appreciating poetry.

If we know nothing of the technical aspects of the game of cricket, we can still enjoy it, but if we understand how the game works and what techniques the players use, we can ground our enjoyment in something more specific and informed than ‘mere impressionism’. Invaluable for any student of poetry at university (and very helpful for those at school), but also useful for anyone who wishes to understand the rules of metre, rhyme, syntax, and form in more depth.

This is a highly readable introduction to the practice of literary criticism: how to analyse a poem . Padel considers 52 different poems and offers a close reading of them, beautifully bringing out the subtle meanings of the poetry and the ways in which the poet generates such meanings.

Christopher Ricks,  The Force of Poetry .

This 1984 volume is a collection of essays written during the 1960s-1980s, by one of the greatest living critics of poetry. Upon reading Ricks’s biography of Tennyson, W. H. Auden called Ricks ‘exactly the kind of critic every poet dreams of finding’.

But Ricks is also a brilliant writer too, with a fondness (some would say weakness) for puns and wordplay of all kinds. He clearly has great fun pondering the significance of a semi-colon or set of parentheses, or the meaning of a particular image or word. This volume includes essays on, among others, medieval poet John Gower , John Milton, Samuel Johnson , Geoffrey Hill, Stevie Smith, and – indeed, William Empson, author of our next book recommendation.

William Empson (1906-1984) was a poet as well as a critic, and this probably helped him to get under the skin, as it were, of many of the poems he analyses in this pioneering work of poetry criticism, published in 1930 and written when he was still only in his early twenties (and completed shortly after he had been expelled from the University of Cambridge when contraceptives were found in his rooms).

Taking his examples from Geoffrey Chaucer as well as T. S. Eliot, Empson wittily examines the various ways in which poets generate ambiguity in their work, from simple examples to more complex and less easily resolved instances. Jonathan Bate called Empson the funniest critic of the twentieth century . He is also one of the most illuminating.

This book is aimed at those who want to understand how poetry works but also want to write it as well, and Fry is an amiable and informative guide, taking us through the various forms and stylistic features poets use. Despite its focus on such things, the book is never dry and manages to inform and educate as well as entertain.

So much for our five recommendations, which we think should adorn the bookshelf of any poetry fan. But have you got an alternative recommendation for ‘best introduction to poetry’ or ‘greatest books for the student of poetry’? If so, let us know – we realise this list of five books is hardly comprehensive, but merely a whistle-stop introduction to what’s out there.

For more poetry help, see our advice for the close reading of poetry and our English literature essay tips . For the word-lover, we recommend this little-known dictionary of weird and wonderful words .

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4 thoughts on “Five of the Best Books about Studying Poetry”

Add “How Does a Poem Mean?” by poet and critic (and lover of odd words) John Ciardi.

I’m a fan of John Hollander’s RHYME’S REASON, too. In it he details how to write in a bunch of different classic poetic forms — in those poetic forms. Very entertaining.

Reblogged this on Recommended book and blog news, poetry and tarot inspiration and commented: Glad Stephen Fry was included, this book is the definitive introduction to both common and obscure verse forms and should be on every aspiring poets shelf or those who just love the art

Reblogged this on nativemericangirl's Blog .

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Poems & Essays

• Poetry in Motion NYC

Stopping By

In this interview series, we ask writers, musicians, curators, and innovators to reflect on influence, memory, language, shared spaces, and the power of poetry to bring us together.

The Poet’s Nightstand

Poets talk about five books that have made a big impression on them recently.

Visiting Poet

In this series, we introduce readers to poets from around the world through a selection of poems and a brief essay on their life and work.

In Their Own Words

Poets and translators on their work.

Storefront Poems

Poetry & Grief

Poets, writers, and musicians trace the long relationship between poetry and music.

First Loves, Remembered

Poets reflect on the poems that first captured their imaginations.

Reading Through The Decades

The Poetry Society of America celebrates its 110th Anniversary, and to mark the occasion, we have invited 11 acclaimed poets to help us create Reading Through the Decades , a video survey of American poetry over the past 110 years.

Reading in the Dark

Poets reflect on the poems they return to in difficult times.

Poetry & Environmental Justice

The Poetry Society of America and Greenpeace USA invited eight poets to reflect on a poem that has shaped their understanding of environmental justice, including how it feels to live through the climate crisis, the lived experience of communities in harm’s way, or the power structures that reinforce environmental inequality.

Saying His Name

Terrance Hayes explores how Emmett Till has become a haunting, powerful figure in Black poetry.

Poetry & Protest

Curated reading lists presented as part of the Poetry Coalition's annual theme.

Poetry & Democracy

Essays and poems on democracy, presented as part of the Poetry Coalition's annual theme.

Conversations with poets, editors, and artists.

Remembrances, appreciations, and remarks.

Latinx-Caribbean Poetry

Poems and notes by participants in the 2017 Latinx-Caribbean Poetry Conference. Co-presented with the Gallatin Writing Program and CantoMundo.

Latino/a Poets Roundtable

Discussions on Latinx poetry in the 21st Century.

New American Poets

Work from first first books by some of today's most innovative and interesting poets. This series was presented biannually from 2003-2015.

Black Poets Speak Out

Poets, activists, educators, and organizers on the #blackpoetsspeakout project.

Poets on poets and poems from the past.

Site Visits

Interviews with poetry editors of online publications.

Ars Poetica

Rachel Eliza Griffiths' photographs of poets accompanied by a poem.

Thematic essays on beauty, politics, poetic forms, and more.

Red, White, & Blue

Poets on poetry's role in the political landscape.

First Loves

Poets on the first poems they adored. Edited by Carmela Ciuraru, and expanded into her anthology First Loves: Poets Introduce the Essential Poems that Captivated and Inspired Them .

Poets on their favorite word. Essays selected from the anthology One Word , edited by Molly McQuade.

Q & A: American Poetry

Poets answer the question: "What's American about American Poetry?"

Q & A: Chapbook Publishers

Publishers, printers, and editors discuss their process.

Remembering Katrina

Poems in response to Hurricane Katrina.

Yet Do I Marvel

Poets on the history and current state of African-American poetry.

Archival recordings from the Poetry Society of America events

Top 20 Famous Poems: Inspiring Poems For Your Next Essay

Are you looking for famous poems to study for your next essay? Then, check out these top 20 poems to inspire your next writing project.

Poetry has a way of capturing human emotion and conveying it in the written word through rhyme and meter. Many famous poets have made their mark on literature worldwide, writing everything from love poems to nonsense poems that explore the way words can work together to create verse.

Taking a closer look at famous poems can help to truly understand the impact that poetry has had. Here are 20 works of famous poetry that have impacted the world of literature.

1.“Still I Rise” by Maya Angelou

2. “stopping by woods on a snowy evening” by robert frost, 3. “the road not taken” by robert frost, 4. sonnet 18 by william shakespeare, 5. “do not go gentle into that good night” by dylan thomas, 6. “i wandered lonely as a cloud” by william wordsworth, 7. “how do i love thee” by elizabeth barrett browning, 8. “she walks in beauty” by lord byron, 9. “the waste land” by t.s. eliot, 10. “the raven” by edgar allan poe, 11. “jabberwocky” by lewis carroll, 12. “o captain my captain” by walt whitman, 13. “invictus” by william ernest henley, 14. “the love song of j. alfred prufrock” by t.s. eliot, 15. “fire and ice” by robert frost, 16. “every day you play” by pablo neruda, 17. “because i could not stop for death” by emily dickinson, 18. “if-” by rudyard kipling, 19. “paul revere’s ride” by henry wadsworth longfellow, 20. “ozymandias” by percy bysshe shelley.

“ Still I Rise ” is in the third poetry collection by American poet Maya Angelou. This poem pays homage to the human spirit even as it overcomes discrimination and hardship. To write, Angelou tapped into her experiences as a black American woman.

In the poem, Angelou talks bout how others have downplayed her , her accomplishment, and her people, trying to break her spirit. And yet, she rises above these problems to find success.

“You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I’ll rise.”

Written in 1922, “ Stopping by the Woods on a Snowy Evening ” uses imagery, personification, and repetition to create a memorable poem. It displays iambic tetrameter and appears on the surface to have a simple meaning. This poem is distinctive in how simple it appears, yet how well it holds to the meter and rhyme scheme. Simplicity and accuracy are not easy to attain.

“Whose woods these are I think I know.  His house is in the village, though; He will not see me stopping here To watch his woods fill up with snow.“

Perhaps one of the most commonly-studied poems in American literature, “ The Road Not Taken ,” talks about a young man traveling through the forest when he comes to a fork in the road. He chooses the “one less traveled by” and states it has made all the difference. The final lines of this poem have become part of modern society, showing up in movies, commercials, and graduation speeches every year.

Many people know the final lines of this poem, even if they do not know that they came from a famous American poet. The poem’s lines are now part of over 400 book titles or subtitles, and that fact alone, combined with its general popularity, earns it a spot on this list.

“I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.”

Perhaps one of his most famous love poems, Sonnet 18 , starts with one of Shakespeare’s most iconic lines. As he compares his lady love to a summer’s day, hearts swoon, and romantics take note.

Sonnet 18 follows the 14-line structure of most English sonnets. It has three quatrains and a couplet and follows iambic pentameter. The poem’s romantic lines make it a favorite to quote to an object of affection.

“Shall I compare thee to a summer’s day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date.”

This famous poem by Dylan Thomas is read at two out of every three funerals . It captures the feelings brought on by death and highlights how people who love someone want them to fight against the reality of the end of life.

“ Do Not Go Gentle into That Good Night ” is particularly popular because it sounds so beautiful when read aloud. Thomas got much of his income from working on the radio, and as such, he learned the power of the spoken human voice. This understanding is reflected in the cadence of his verses.

“Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.”

Also known as “Daffodils,” this famous poem from William Wordsworth was written in the early 1800s. It took its inspiration from a walk Wordsworth took with his sister around Glencoyne Bay, where the two came upon a large field of daffodils.

“I Wandered Lonely as a Cloud ” is popular due to its rich imagery. When someone reads it, they can picture the daffodils dancing on the hill. However, unlike other famous poems, it does not necessarily have a double meaning but is simply a tribute to something beautiful in nature.

“I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.”

How Do I Love Thee” is the title of Sonnet 43 by Elizabeth Barrett Browning. This romantic poem indicates that the different ways the speaker loves the object of her affections simply cannot be counted.

Throughout the poem, Browning exudes her passionate love for her husband . She even indicates that her love fills the quiet moments that happen in a home when two people live together. It follows the traditional abba, abba, cd, cd, cd sonnet rhyme scheme.

“How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace.”

This short, lyrical poem follows the iambic tetrameter pattern. It was written in 1814 by Lord Byron, who was inspired by Anne Beatrix Wilmont, his first cousin’s wife when he saw her at a party. “ She Walks in Beauty ” was put to music by Isaac Nation and is considered an excellent example of Romanticism in poetry.

This poem is on the list of famous poetry because of how many times it has been quoted. It has references in The Philadelphian, television shows like M.A.S.H. , Bridgerton, and White Collar, among others.

“She walks in beauty, like the night Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies.”

Considered one of the most influential poems of the 20th century, this poem has dissonance that mirrors what Eliot felt was the fracture of his time. Even though it was written for the 20th century, it still holds value in modern society when society still feels quite disjointed.

Throughout the lines of this poem, Eliot explores his disgust at the state of society following World War I. “ The Waste Land ” explores the thought of spiritual emptiness, which is what Eliot believed he saw in the world around him.

“April is the cruelest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.”

Considered one of the first poems written in America , “The Raven” holds a special place in literature. This poem is considered one about grief, showing several examples of onomatopoeia with the raven tapping and rapping on the chamber door.

The repetition in “ The Raven ” drives the reader towards the end of the poem, where the author quotes the final “nevermore.” The death of his wife, Virginia, in the event that likely triggered the poem because of Poe’s grief over the loss of his wife.

“Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore—     While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. ’Tis some visitor,’ I muttered, ‘tapping at my chamber door—             Only this and nothing more.’”

Lewis Carroll was a novelist, but he often used poetry in his novels. “ Jabberwocky ” is a nonsense poem that was part of Carroll’s 1871 novel Through the Looking-Glass . It tells the story of killing a mythical creature named “the Jabberwock.” In the book, Alice finds the poem in a book when she visits the Red Queen.

With so many unknown words, “ Jabberwocky ” confuses even Alice in the book. The poem is in ballad style, an exciting way to study the style with nonsensical words. Yet it leaves many unanswered questions, which fits the world of Wonderland that Carroll is trying to create.

“’Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.”

“O Captain, My Captain ” is a poem that shows an extended metaphor style. Whitman wrote it in 1865 after the assassination of President Abraham Lincoln. The poem is a tribute to Lincoln and his impact on the country during such a pivotal time in history.

In the three-stanza poem, Whitman compares Lincoln to a ship’s captain. Whitman also uses the literary device of juxtaposition to show the difference between the victory the country was experiencing and the death of its leader, who could not enjoy the victory. In the final stanza, he uses personification when talking about the shores, potentially representing the masses of people welcoming the ship, not knowing that the captain is slain.

“O Captain! my Captain! our fearful trip is done, The ship has weather’d every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring;        But O heart! heart! heart!          O the bleeding drops of red,            Where on the deck my Captain lies,              Fallen cold and dead.”

“ Invictus ” is an important poem in British literature written in 1875 by William Ernest Henley. Its final quatrain is the most famous of the piece, indicating that each master the fate of their soul.

Henley battled tubercular arthritis throughout his life, diagnosed at just 12 years of age. This painful disease was challenging to live with, and he was in the hospital for the amputation of his knee when he wrote “Invictus .” Knowing the personal trials, the author was dealing with makes the poem even more inspiring to the reader.

“It matters not how strait the gate,      How charged with punishments the scroll,    I am the master of my fate:   I am the captain of my soul.”

“The Love Song of J. Alfred Prufrock” is another famous piece by T.S. Eliot. It was his first professionally-published poem , and literary critics believe it marked the initiation of the shift between Romantic verse and Modernism.

The poem looks at the psyche of a modern man, who is simultaneously eloquent but emotionally stilted. In the poem, the speaker indicates he wants to reach out to his love interest, only to feel he cannot do so. What follows is a monologue that laments the lack of emotional connection that the author can create. Looking for more famous poems, check out our list of Mary Oliver poems .

“Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question… Oh, do not ask, “What is it?” Let us go and make our visit.”

Poet laureate Robert Frost has another short poem that is among the most famous in literature. “ Fire and Ice ” discusses the end of the world using an untraditional rhyme scheme. It asks whether the world will end in an inferno or an ice storm.

Some literary scholars believe “ Fire and Ice” were inspired by Dante’s Inferno , while others claim a conversation with astronomer Harlow Shapley was the basis. In the end, Frost wrote a poem that did not draw any conclusion about how the world will end but instead left the idea up to the reader.

“Some say the world will end in fire, Some say in ice. From what I’ve tasted of desire I hold with those who favor fire. But if it had to perish twice, I think I know enough of hate To say that for destruction ice Is also great And would suffice.”

Not all of the poets on this list come from American or English literature. For example, Nobel Prize-winning poet Pablo Neruda was from Chile and won the Prize for his contributions to literature. He was known for his ability to produce poems full of deep passion, even when talking about everyday things.

“ Every Day You Play ” is a romantic poem that implies sensuality and references flowers while talking about the love interest. It contains one of Neruda’s most famous literary lines, “I want to do with you what spring does with the cherry trees.”

“My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.”

“Because I Could Not Stop for Death” is an elegy poem by Emily Dickinson. The six-stanza poem is written as a personal encounter with Death , a male character who drives a carriage. It indicates the speaker is not afraid of Death, which is a kind companion on this final journey.

This poem is divided into quatrains with an abcb rhyming pattern. The drive-in in the story symbolizes Dickinson’s life, and eventually, Death takes her into the afterlife. The final stanza, in which the speaker is now dead, is more abstract than the rest of the poem. If you are interested in learning about poems, learn the answer to the question is Dr. Seuss poetry .

“Because I could not stop for Death— He kindly stopped for me— The Carriage held but just Ourselves—  And Immortality.”

Though he is more famous for his novels, including The Jungle Book, Rudyard Kipling was also a skilled poet named English Nobel laureate for his work. “ If- ” is, perhaps, his most famous poem. The work is written to serve as parental advice to Kipling’s son, John, advocating for him to look beyond what other people think of him and to make the most out of life’s difficult situations.

Each couplet in the poem starts with the word “if.” it expresses its meaning clearly, serving as a mantra to live by, which may have been Kipling’s goal. Throughout the lines, Kipling gives practical advice for dreaming and planning  while keeping one’s head grounded in realistic goals.

“If you can keep your head when all about you    Are losing theirs and blaming it on you; If you can trust yourself when all men doubt you,    But make allowance for their doubting too; If you can wait and not be tired by waiting,    Or, being lied about, don’t deal in lies, Or, being hated, don’t give way to hating,    And yet don’t look too good, nor talk too wise;”

Longfellow is often revered as one of the most influential American poets , and “Paul Revere’s Ride” is one of his most famous pieces. While this poem does not have much literary analysis because it tells the tale of Revere’s famous ride, its regular rhyme and measure give the impression of a horse galloping through the towns.

Through this poem, Longfellow memorialized Paul Revere’s famous ride. He received inspiration from a tour of Boston he took, giving him the chance to see many of the sights of the famous day for himself. He did take some poetic license in his work, but his line “one, if by land, and two, if by sea” immortalized the signal lanterns that were part of the historic event.

“Listen, my children, and you shall hear Of the midnight ride of Paul Revere, On the eighteenth of April, in Seventy-Five: Hardly a man is now alive Who remembers that famous day and year.”

“ Ozymandias ” is a sonnet by Percy Bysshe Shelley, a 19th-century English Romantic poet. The poem received its inspiration from the Rameses II statue on display at the British Museum during Shelley’s time. It warns against hubris and arrogance, which are common in great leaders.

The sonnet uses iambic pentameter. It showcases the sad image of a fallen statue that once stood to head the greatness of the Pharaoh. Where once a mighty king ruled the land, nothing is left but a decaying, wrecked statute. To learn more, check out our round-up of the best 10 concrete poems !

“And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.”

Nicole Harms has been writing professionally since 2006. She specializes in education content and real estate writing but enjoys a wide gamut of topics. Her goal is to connect with the reader in an engaging, but informative way. Her work has been featured on USA Today, and she ghostwrites for many high-profile companies. As a former teacher, she is passionate about both research and grammar, giving her clients the quality they demand in today's online marketing world.

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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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• Publisher ‏ : ‎ St. Martin's Press; ST MARTIN'S GRIFFIN ed. edition (January 1, 1997)
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