how many essays for ap lit

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How to Write the AP Lit Prose Essay with Examples

March 30, 2024

AP Lit Prose Essay Examples – The College Board’s Advanced Placement Literature and Composition Course is one of the most enriching experiences that high school students can have. It exposes you to literature that most people don’t encounter until college , and it helps you develop analytical and critical thinking skills that will enhance the quality of your life, both inside and outside of school. The AP Lit Exam reflects the rigor of the course. The exam uses consistent question types, weighting, and scoring parameters each year . This means that, as you prepare for the exam, you can look at previous questions, responses, score criteria, and scorer commentary to help you practice until your essays are perfect.

What is the AP Lit Free Response testing? 

In AP Literature, you read books, short stories, and poetry, and you learn how to commit the complex act of literary analysis . But what does that mean? Well, “to analyze” literally means breaking a larger idea into smaller and smaller pieces until the pieces are small enough that they can help us to understand the larger idea. When we’re performing literary analysis, we’re breaking down a piece of literature into smaller and smaller pieces until we can use those pieces to better understand the piece of literature itself.

So, for example, let’s say you’re presented with a passage from a short story to analyze. The AP Lit Exam will ask you to write an essay with an essay with a clear, defensible thesis statement that makes an argument about the story, based on some literary elements in the short story. After reading the passage, you might talk about how foreshadowing, allusion, and dialogue work together to demonstrate something essential in the text. Then, you’ll use examples of each of those three literary elements (that you pull directly from the passage) to build your argument. You’ll finish the essay with a conclusion that uses clear reasoning to tell your reader why your argument makes sense.

AP Lit Prose Essay Examples (Continued)

But what’s the point of all of this? Why do they ask you to write these essays?

Well, the essay is, once again, testing your ability to conduct literary analysis. However, the thing that you’re also doing behind that literary analysis is a complex process of both inductive and deductive reasoning. Inductive reasoning takes a series of points of evidence and draws a larger conclusion. Deductive reasoning departs from the point of a broader premise and draws a singular conclusion. In an analytical essay like this one, you’re using small pieces of evidence to draw a larger conclusion (your thesis statement) and then you’re taking your thesis statement as a larger premise from which you derive your ultimate conclusion.

So, the exam scorers are looking at your ability to craft a strong thesis statement (a singular sentence that makes an argument), use evidence and reasoning to support that argument, and then to write the essay well. This is something they call “sophistication,” but they’re looking for well-organized thoughts carried through clear, complete sentences.

This entire process is something you can and will use throughout your life. Law, engineering, medicine—whatever pursuit, you name it—utilizes these forms of reasoning to run experiments, build cases, and persuade audiences. The process of this kind of clear, analytical thinking can be honed, developed, and made easier through repetition.

Practice Makes Perfect

Because the AP Literature Exam maintains continuity across the years, you can pull old exam copies, read the passages, and write responses. A good AP Lit teacher is going to have you do this time and time again in class until you have the formula down. But, it’s also something you can do on your own, if you’re interested in further developing your skills.

AP Lit Prose Essay Examples 

Let’s take a look at some examples of questions, answers and scorer responses that will help you to get a better idea of how to craft your own AP Literature exam essays.

In the exam in 2023, students were asked to read a poem by Alice Cary titled “Autumn,” which was published in 1874. In it, the speaker contemplates the start of autumn. Then, students are asked to craft a well-written essay which uses literary techniques to convey the speaker’s complex response to the changing seasons.

The following is an essay that received a perfect 6 on the exam. There are grammar and usage errors throughout the essay, which is important to note: even though the writer makes some mistakes, the structure and form of their argument was strong enough to merit a 6. This is what your scorers will be looking for when they read your essay.

Example Essay 

Romantic and hyperbolic imagery is used to illustrate the speaker’s unenthusiastic opinion of the coming of autumn, which conveys Cary’s idea that change is difficult to accept but necessary for growth.

Romantic imagery is utilized to demonstrate the speaker’s warm regard for the season of summer and emphasize her regretfulness for autumn’s coming, conveying the uncomfortable change away from idyllic familiarity. Summer, is portrayed in the image of a woman who “from her golden collar slips/and strays through stubble fields/and moans aloud.” Associated with sensuality and wealth, the speaker implies the interconnection between a season and bounty, comfort, and pleasure. Yet, this romantic view is dismantled by autumn, causing Summer to “slip” and “stray through stubble fields.” Thus, the coming of real change dethrones a constructed, romantic personification of summer,  conveying the speaker’s reluctance for her ideal season to be dethroned by something much less decorated and adored.

Summer, “she lies on pillows of the yellow leaves,/ And tries the old tunes for over an hour”, is contrasted with bright imagery of fallen leaves/ The juxtaposition between Summer’s character and the setting provides insight into the positivity of change—the yellow leaves—by its contrast with the failures of attempting to sustain old habits or practices, “old tunes”. “She lies on pillows” creates a sympathetic, passive image of summer in reaction to the coming of Autumn, contrasting her failures to sustain “old tunes.” According to this, it is understood that the speaker recognizes the foolishness of attempting to prevent what is to come, but her wishfulness to counter the natural progression of time.

Hyperbolic imagery displays the discrepancies between unrealistic, exaggerated perceptions of change and the reality of progress, continuing the perpetuation of Cary’s idea that change must be embraced rather than rejected. “Shorter and shorter now the twilight clips/The days, as though the sunset gates they crowd”, syntax and diction are used to literally separate different aspects of the progression of time. In an ironic parallel to the literal language, the action of twilight’s “clip” and the subject, “the days,” are cut off from each other into two different lines, emphasizing a sense of jarring and discomfort. Sunset, and Twilight are named, made into distinct entities from the day, dramatizing the shortening of night-time into fall. The dramatic, sudden implications for the change bring to mind the switch between summer and winter, rather than a transitional season like fall—emphasizing the Speaker’s perspective rather than a factual narration of the experience.

She says “the proud meadow-pink hangs down her head/Against the earth’s chilly bosom, witched with frost”. Implying pride and defeat, and the word “witched,” the speaker brings a sense of conflict, morality, and even good versus evil into the transition between seasons. Rather than a smooth, welcome change, the speaker is practically against the coming of fall. The hyperbole present in the poem serves to illustrate the Speaker’s perspective and ideas on the coming of fall, which are characterized by reluctance and hostility to change from comfort.

The topic of this poem, Fall–a season characterized by change and the deconstruction of the spring and summer landscape—is juxtaposed with the final line which evokes the season of Spring. From this, it is clear that the speaker appreciates beautiful and blossoming change. However, they resent that which destroys familiar paradigms and norms. Fall, seen as the death of summer, is characterized as a regression, though the turning of seasons is a product of the literal passage of time. Utilizing romantic imagery and hyperbole to shape the Speaker’s perspective, Cary emphasizes the need to embrace change though it is difficult, because growth is not possible without hardship or discomfort.

Scoring Criteria: Why did this essay do so well? 

When it comes to scoring well, there are some rather formulaic things that the judges are searching for. You might think that it’s important to “stand out” or “be creative” in your writing. However, aside from concerns about “sophistication,” which essentially means you know how to organize thoughts into sentences and you can use language that isn’t entirely elementary, you should really focus on sticking to a form. This will show the scorers that you know how to follow that inductive/deductive reasoning process that we mentioned earlier, and it will help to present your ideas in the most clear, coherent way possible to someone who is reading and scoring hundreds of essays.

So, how did this essay succeed? And how can you do the same thing?

First: The Thesis 

On the exam, you can either get one point or zero points for your thesis statement. The scorers said, “The essay responds to the prompt with a defensible thesis located in the introductory paragraph,” which you can read as the first sentence in the essay. This is important to note: you don’t need a flowery hook to seduce your reader; you can just start this brief essay with some strong, simple, declarative sentences—or go right into your thesis.

What makes a good thesis? A good thesis statement does the following things:

• Makes a claim that will be supported by evidence
• Is specific and precise in its use of language
• Argues for an original thought that goes beyond a simple restating of the facts

If you’re sitting here scratching your head wondering how you come up with a thesis statement off the top of your head, let me give you one piece of advice: don’t.

The AP Lit scoring criteria gives you only one point for the thesis for a reason: they’re just looking for the presence of a defensible claim that can be proven by evidence in the rest of the essay.

Second: Write your essay from the inside out 

While the thesis is given one point, the form and content of the essay can receive anywhere from zero to four points. This is where you should place the bulk of your focus.

My best advice goes like this:

• Choose your evidence first
• Develop your commentary about the evidence
• Then draft your thesis statement based on the evidence that you find and the commentary you can create.

It will seem a little counterintuitive: like you’re writing your essay from the inside out. But this is a fundamental skill that will help you in college and beyond. Don’t come up with an argument out of thin air and then try to find evidence to support your claim. Look for the evidence that exists and then ask yourself what it all means. This will also keep you from feeling stuck or blocked at the beginning of the essay. If you prepare for the exam by reviewing the literary devices that you learned in the course and practice locating them in a text, you can quickly and efficiently read a literary passage and choose two or three literary devices that you can analyze.

Third: Use scratch paper to quickly outline your evidence and commentary 

Once you’ve located two or three literary devices at work in the given passage, use scratch paper to draw up a quick outline. Give each literary device a major bullet point. Then, briefly point to the quotes/evidence you’ll use in the essay. Finally, start to think about what the literary device and evidence are doing together. Try to answer the question: what meaning does this bring to the passage?

A sample outline for one paragraph of the above essay might look like this:

Romantic imagery

Portrayal of summer

• Woman who “from her golden collar… moans aloud”
• Summer as bounty

Contrast with Autumn

• Autumn dismantles Summer
• “Stray through stubble fields”
• Autumn is change; it has the power to dethrone the romance of Summer/make summer a bit meaningless

Recognition of change in a positive light

• Summer “lies on pillows / yellow leaves / tries old tunes”
• Bright imagery/fallen leaves
• Attempt to maintain old practices fails: “old tunes”
• But! There is sympathy: “lies on pillows”

Speaker recognizes: she can’t prevent what is to come; wishes to embrace natural passage of time

By the time the writer gets to the end of the outline for their paragraph, they can easily start to draw conclusions about the paragraph based on the evidence they have pulled out. You can see how that thinking might develop over the course of the outline.

Then, the speaker would take the conclusions they’ve drawn and write a “mini claim” that will start each paragraph. The final bullet point of this outline isn’t the same as the mini claim that comes at the top of the second paragraph of the essay, however, it is the conclusion of the paragraph. You would do well to use the concluding thoughts from your outline as the mini claim to start your body paragraph. This will make your paragraphs clear, concise, and help you to construct a coherent argument.

Repeat this process for the other one or two literary devices that you’ve chosen to analyze, and then: take a step back.

Fourth: Draft your thesis 

Once you quickly sketch out your outline, take a moment to “stand back” and see what you’ve drafted. You’ll be able to see that, among your two or three literary devices, you can draw some commonality. You might be able to say, as the writer did here, that romantic and hyperbolic imagery “illustrate the speaker’s unenthusiastic opinion of the coming of autumn,” ultimately illuminating the poet’s idea “that change is difficult to accept but necessary for growth.”

This is an original argument built on the evidence accumulated by the student. It directly answers the prompt by discussing literary techniques that “convey the speaker’s complex response to the changing seasons.” Remember to go back to the prompt and see what direction they want you to head with your thesis, and craft an argument that directly speaks to that prompt.

Then, move ahead to finish your body paragraphs and conclusion.

Fifth: Give each literary device its own body paragraph 

In this essay, the writer examines the use of two literary devices that are supported by multiple pieces of evidence. The first is “romantic imagery” and the second is “hyperbolic imagery.” The writer dedicates one paragraph to each idea. You should do this, too.

This is why it’s important to choose just two or three literary devices. You really don’t have time to dig into more. Plus, more ideas will simply cloud the essay and confuse your reader.

Using your outline, start each body paragraph with a “mini claim” that makes an argument about what it is you’ll be saying in your paragraph. Lay out your pieces of evidence, then provide commentary for why your evidence proves your point about that literary device.

Move onto the next literary device, rinse, and repeat.

Sixth: Commentary and Conclusion 

Finally, you’ll want to end this brief essay with a concluding paragraph that restates your thesis, briefly touches on your most important points from each body paragraph, and includes a development of the argument that you laid out in the essay.

In this particular example essay, the writer concludes by saying, “Utilizing romantic imagery and hyperbole to shape the Speaker’s perspective, Cary emphasizes the need to embrace change though it is difficult, because growth is not possible without hardship or discomfort.” This is a direct restatement of the thesis. At this point, you’ll have reached the end of your essay. Great work!

Seventh: Sophistication 

A final note on scoring criteria: there is one point awarded to what the scoring criteria calls “sophistication.” This is evidenced by the sophistication of thought and providing a nuanced literary analysis, which we’ve already covered in the steps above.

There are some things to avoid, however:

• Sweeping generalizations, such as, “From the beginning of human history, people have always searched for love,” or “Everyone goes through periods of darkness in their lives, much like the writer of this poem.”
• Only hinting at possible interpretations instead of developing your argument
• Oversimplifying your interpretation
• Or, by contrast, using overly flowery or complex language that does not meet your level of preparation or the context of the essay.

Remember to develop your argument with nuance and complexity and to write in a style that is academic but appropriate for the task at hand.

If you want more practice or to check out other exams from the past, go to the College Board’s website .

Brittany Borghi

After earning a BA in Journalism and an MFA in Nonfiction Writing from the University of Iowa, Brittany spent five years as a full-time lecturer in the Rhetoric Department at the University of Iowa. Additionally, she’s held previous roles as a researcher, full-time daily journalist, and book editor. Brittany’s work has been featured in The Iowa Review, The Hopkins Review, and the Pittsburgh City Paper, among others, and she was also a 2021 Pushcart Prize nominee.

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By submitting my email address. i certify that i am 13 years of age or older, agree to recieve marketing email messages from the princeton review, and agree to terms of use., guide to the ap english literature and composition exam.

Do you know how to conduct a close reading of prose and poetry? Can you write effectively under time constraints? The AP ® English Literature and Composition exam tests topics and skills discussed in your AP English Literature course. If you score high enough, your AP English score could earn you college credit!

Check out our AP English Literature Guide for what you need to know about the exam:

• Exam Overview
• Structure & Question Types
• How to Prepare

What’s on the AP English Literature & Composition Exam?

The College Board lists 6 Skill Categories that should be covered in your AP English Literature and Composition course, or as you prepare for the test:

•  Character—Characters in literature show a wide range of values, beliefs, assumptions, biases, and cultural norms, and provide an opportunity to study and explore what the characters represent.
• Setting—A setting and the details associated with it represent a time and place, but also convey values associated with the setting.
• Structure—Structure refers to the arrangements of sections and parts of a text, the relationship of the parts to each other, and the sequence in which the text reveals information. These are all choices made by a writer that allow you to interpret a text.
• Narration—Any narrator’s or speaker’s perspective controls the details and emphases that readers encounter; therefore, narration affects how readers experience and interpret a text.
• Figurative language—Comparisons, representations, and associations shift meaning from the literal to the figurative. Figurative language can include word choice, imagery, and symbols. Simile, metaphor, personification, and allusions are all examples of figurative language.
• Literary argumentation—How do you write about literature yourself? You develop your interpretation (using the first five of the Big Six!) and then communicate it. You need to develop a thesis—a defensible claim—and support it with textual evidence. 

The multiple-choice section of the AP English Literature and Composition exam will be testing your knowledge of the Big Six. Each one is weighted a certain amount in the multiple-choice questions.

AP English Literature & Composition Book List

There is no required reading or book list for the AP English Literature exam, but the College Board provides a list of authors and poets with whom you should be familiar and whose work is of the caliber and density that you are expected to understand. These lists include:

• Poetry: W.H. Auden, Elizabeth Bishop, William Blake, Anne Bradstreet, Edward Kamau Brathwaite, Gwendolyn Brooks, Robert Browning, George Gordon/Lord Byron, Lorna Dee Cervantes, Geoffrey Chaucer, Lucille Clifton, Samuel Taylor Coleridge, Billy Collins, H.D. (Hilda Doolittle), Emily Dickinson, John Donne, Rita Dove, Paul Laurence Dunbar, T.S. Eliot, Robert Frost, Joy Harjo, Seamus Heaney, George Herbert, Garrett Hongo, Gerard Manley Hopkins, Langston Hughes, Ben Jonson, John Keats, Philip Larkin, Robert Lowell, Andrew Marvell, John Milton, Marianne Moore, Sylvia Plath, Edgar Allan Poe, Alexander Pope, Adrienne Rich, Anne Sexton, William Shakespeare, Percy Bysshe Shelley, Leslie Marmon Silko, Cathy Song, Wallace Stevens, Alfred, Lord Tennyson, Derek Walcott, Walt Whitman, Richard Wilbur, William Carlos Williams, William Wordsworth, William Butler Yeats
• Drama: Aeschylus, Edward Albee, Amiri Baraka, Samuel Beckett, Anton Chekhov, Caryl Churchill, William Congreve, Athol Fugard, Lorraine Hansberry, Lillian Hellman, David Henry Hwang, Henrik Ibsen, Ben Jonson, David Mamet, Arthur Miller, Molière, Marsha Norman, Sean O’Casey, Eugene O’Neill, Suzan-Lori Parks, Harold Pinter, Luigi Pirandello, William Shakespeare, George Bernard Shaw, Sam Shepard, Sophocles, Tom Stoppard, Luis Valdez, Oscar Wilde, Tennessee Williams, August Wilson
• Fiction (Novel and Short Story): Chinua Achebe, Sherman Alexie, Isabel Allende, Rudolfo Anaya, Margaret Atwood, Jane Austen, James Baldwin, Saul Bellow, Charlotte Bronte, Emily Bronte, Raymond Carver, Willa Cather, John Cheever, Kate Chopin, Sandra Cisneros, Joseph Conrad, Edwidge Danticat, Daniel Defoe, Anita Desai, Charles Dickens, Fyodor Dostoevsky, George Eliot, Ralph Ellison, Louise Erdrich, William Faulkner, Henry Fielding, F. Scott Fitzgerald, E.M. Forster, Thomas Hardy, Nathaniel Hawthorne, Ernest Hemingway, Zora Neale Hurston, Kazuo Ishiguro, Henry James, Ha Jin, Edward P. Jones, James Joyce, Maxine Hong Kingston, Joy Kogawa, Jhumpa Lahiri, Margaret Laurence, D.H. Lawrence, Chang-rae Lee, Bernard Malamud, Gabriel García Márquez, Cormac McCarthy, Ian McEwan, Herman Melville, Toni Morrison, Bharati Mukherjee, Vladimir Nabokov, Flannery O’Connor, Orhan Pamuk, Katherine Anne Porter, Marilynne Robinson, Jonathan Swift, Mark Twain, John Updike, Alice Walker, Evelyn Waugh, Eudora Welty, Edith Wharton, John Edgar Wideman, Virginia Woolf, Richard Wright
• Expository Prose: Joseph Addison, Gloria Anzaldua, Matthew Arnold, James Baldwin, James Boswell, Joan Didion, Frederick Douglass, W.E.B. Du Bois, Ralph Waldo Emerson, William Hazlitt, bell hooks, Samuel Johnson, Charles Lamb, Thomas Macaulay, Mary McCarthy, John Stuart Mill, George Orwell, Michael Pollan, Richard Rodriguez, Edward Said, Lewis Thomas, Henry David Thoreau, E.B. White, Virginia Woolf

Read More: Review for the exam with our AP English Literature Cram Courses

AP English Literature Structure & Question Types

The AP English Literature & Composition exam takes 3 hours to complete and consists of two sections: a multiple-choice section and a free response section.

Multiple-Choice

AP English Literature multiple-choice questions are grouped in sets.  You will be given 5 passages or poems to read, with 8-13 multiple-choice questions to assess your reading comprehension. Each multiple-choice question has 5 answer choices (A through E). That’s a lot of reading then recalling, understanding, and interpreting. Use your time effectively and wisely! 

Free Response

• Respond to the prompt with a thesis that presents an interpretation and may establish a line of reasoning.
• Select and use evidence to develop and support your line of reasoning.
• Explain the relationship between the evidence and your thesis.
• Use appropriate grammar and punctuation in communicating your argument.

How to Interpret AP English Literature Scores

AP scores are reported from 1 to 5. Colleges are generally looking for a 4 or 5 on the AP English Literature exam, but some may grant credit for a 3. (Here's a quick overview of AP credit policy .) Each test is curved so scores vary from year to year. Here’s how AP English Lit students scored on the May 2022 test:

Source: College Board

How can I prepare?

AP classes are great, but for many students they’re not enough! For a thorough review of AP English Literature content and strategy, pick the AP prep option that works best for your goals and learning style.

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How to Write the AP Lit Poetry Essay

What’s covered:.

• How to Write the AP Literature Poetry Essay
• Tips for Writing The AP Lit Poetry Essay

To strengthen your AP Literature Poetry Essay essay, make sure you prepare ahead of time by knowing how the test is structured, and how to prepare. In this post, we’ll cover the structure of the test and show you how you can write a great AP Literature Poetry Essay.

What is the AP Lit Poetry Essay? 

The AP Literature exam has two sections. Section I contains 55 multiple choice questions, with 1 hour time allotted. This includes at least two prose fiction passages and two poetry passages. 

Section II, on the other hand, is a free response section. Here, students write essays to 3 prompts. These prompts include a literary analysis of a poem, prose fiction, or in a work selected by the student. Because the AP Literature Exam is structured in a specific, predictable manner, it’s helpful to prepare yourself for the types of questions you’ll encounter on test day. 

The Poetry Essay counts for one-third of the total essay section score, so it’s important to know how to approach this section. You’ll want to plan for about 40 minutes on this question, which is plenty of time to read and dissect the prompt, read and markup the poem, write a brief outline, and write a concise, well-thought out essay with a compelling analysis. 

Tips for Writing the AP Lit Poetry Essay

1. focus on the process.

Writing is a process, and so is literary analysis. Think less about finding the right answer, or uncovering the correct meaning of the poem (there isn’t one, most of the time). Read the prompt over at least twice, asking yourself carefully what you need to look for as you read. Then, read the poem three times. Once, to get an overall sense of the poem. Second, start to get at nuance; circle anything that’s recurring, underline important language and diction , and note important images or metaphors. In your annotations, you want to think about figurative language , and poetic structure and form . Third, pay attention to subtle shifts in the poem: does the form break, is there an interruption of some sort? When analyzing poetry, it’s important to get a sense of the big picture first, and then zoom in on the details. 

2. Craft a Compelling Thesis

No matter the prompt, you will always need to respond with a substantive thesis. A meaty thesis contains complexity rather than broad generalizations , and points to specifics in the poem.

By examining the colloquial language in Gwendolyn Brooks’s poem, “We Real Cool”, we can see the tension of choosing to be “cool”. This raises important ideas about education, structure, and routine, and the consequences of living to be “real cool”.

Notice how the thesis provides a roadmap of what is to follow in the essay , and identifies key ideas that the essay will explore. It is specific, and not vague. The thesis provides a bigger picture of the text, while zooming in the colloquial language the speaker uses. 

A good thesis points out the why as much as the what . Notice how in the above example, the thesis discusses language in the poem as it connects to a bigger message about the poem. For example, it’s not enough to discuss Emily Dickinson’s enjambment and hyphens. A good thesis will make a compelling argument about why those infamous Dickinson hyphens are so widely questioned and examined. Perhaps a good thesis might suggest that this unique literary device is more about self-examination and the lapse in our own judgement. 

3. Use Textual Evidence 

To support your thesis, always use textual evidence . When you are creating an outline, choose a handful of lines in the poem that will help illuminate your argument. Make sure each claim in your essay is followed by textual evidence, either in the form of a paraphrase, or direct quote . Then, explain exactly how the textual evidence supports your argument . Using this structure will help keep you on track as you write, so that your argument follows a clear narrative that a reader will be able to follow. 

Your essay will need to contain both description of the poem, and analysis . Remember that your job isn’t to describe or paraphrase every aspect of the poem. You also need lots of rich analysis, so be sure to balance your writing by moving from explicit description to deeper analysis. 

4. Strong Organization and Grammar

A great essay for the AP Literature Exam will contain an introduction with a thesis (not necessarily always the last sentence of the paragraph), body paragraphs that contain clear topic sentences, and a conclusion . Be sure to spend time thinking about your organization before you write the paper. Once you start writing, you only want to think about content. It’s helpful to write a quick outline before writing your essay. 

There’s nothing worse than a strong argument with awkward sentences, grammatical errors and spelling mistakes. Make sure to proofread your work before submitting it. Carefully edit your work, paying attention to any run-on sentences, subject-verb agreement, commas, and spelling. You’d be surprised how many mistakes you’ll catch just by rereading your work. 

Common Mistakes on the AP Literature Poetry Essay 

It can be helpful to know what not to do when it comes time to prepare for the AP Literature Poetry Essay. Here are some common mistakes students make on the AP Literature Poetry Essay:

1. Thesis is not arguable and is too general 

Your thesis should be arguable, and indicate the central ideas you will discuss in your essay. Read the prompt carefully and craft your thesis in light of what the prompt asks you to do. If the prompt mentions specific literary devices, find a way to tie those into your thesis. In your thesis, you want to connect to the meaning of the poem itself and what you feel the poet intended when using those particular literary devices.

2. Using vague, general statements rather than focusing on analysis of the poem

Always stay close to the text when writing the AP Literature Poetry Essay. Remember that your job is not to paraphrase but to analyze. Keep explicit descriptions of the poem concise, and spend the majority of your time writing strong analysis backed up by textual evidence.

3. Not using transitions to connect between paragraphs

Make sure it’s not jarring to the reader when you switch to a new idea in a new paragraph. Use transitions and strong topic sentences to seamlessly blend your ideas together into a cohesive essay that flows well and is easy to follow. 

4. Textual evidence is lacking or not fully explained 

Always include quotes from the text and reference specifics whenever you can. Introduce your quote briefly, and then explain how the quote connects back to the topic sentence after. Think about why the quotes connect back to the poet’s central ideas. 

5. Not writing an outline

Of course, to write a fully developed essay you’ll need to spend a few minutes planning out your essay. Write a quick outline with a thesis, paragraph topics and a list of quotes that support your central ideas before getting started.

To improve your writing, take a look at these essay samples from the College Board, with scoring guidelines and commentary. 

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5 Tips for Writing a Great AP Lit Essay

Nervous about the 'free response prompt' on AP Lit? Don't be. We broke it down into manageable steps!

This year, if you’re taking the AP English Literature exam, you’ll be responsible for responding to three questions, which the College Board calls “free response prompts.” First , you’ll write a literary analysis of a poem. Second, you’ll write a literary analysis of a piece of fiction, which could be an excerpt from a play. Third , you’ll analyze a major literary aspect—a theme or a literary device, for example—of a literary work of your choosing.

The last of these prompts attracts perhaps the most attention and, by extension, produces the most anxiety among students. Anyone would admit that such a capacious (‘open, roomy’) question is challenging, especially when a year of AP Lit has taught you to focus on the details of the book you’re reading. And it certainly doesn’t help that this question comes at the very end of the essay, and you and your fingers are about as tired as they could possibly be!

But if you approach the prompt with enthusiasm, it can be the cherry on top of your exam, not the straw that breaks the camel’s back (getting creative with metaphors is always important in AP Lit!).

Here are five tips to help you write a great essay response to the third prompt on the AP Lit exam.

1. Select the perfect work.

Wait a minute—you can write about anything under the sun, as long as the College Board defines it as “a work of literary merit?” How is that even possible? In truth, your evaluators are using this prompt as a way to gauge your analytical abilities no matter the text. You’re not going to be judged for the work you select, as long as it’s substantial enough to ensure your analysis can be rich and meaningful. A good rule to live by: if a work pops into your head and you don’t immediately have at least a few different ideas for how to answer the prompt with it, toss it out of your brainstorming process. You want to find a work that is challenging and complex in order to show that you’re capable of effectively analyzing such works.

You have two main options for selecting the perfect work, both equally effective. The first is probably the most common: choose a book, play, or other literary work you read in AP Lit. Because you read it in class, you will almost surely be familiar with its themes and literary devices. Your second option is to pick a work you’ve read on your own, which could be anything from a novel you adored over summer break or the Shakespeare play you starred in at school. We recommend creating a short list of works you’d like to write about before you take your AP Lit exam, just to have your options at hand. As you’ve learned to do in class, consider each work’s rhetorical situation. This way, if you’re on the fence about whether a work is really “of literary merit,” you can ask your teacher or someone else in the know for an expert second opinion!

2. Practice really does make perfect.

You don’t know what the third free-response prompt will be, but you know that it will be! The College Board’s AP Lit exam page is only one of a gazillion easily accessible resources online that compile prompts from past years and devise hypothetical ones, too. These are great places to look. In the weeks leading up to the exam, we recommend selecting three to seven prompts—the more diverse in content, the better—and practicing with your list of works of literary merit. We recommend practicing with a work no more than two or three times—it’s great to know a text inside and out, but you don’t want to be a one-trick pony in case the prompt on the exam doesn’t lend itself to an essay about that text.

3. Outline, outline, outline!

Whether for AP exams , the SAT , or the ACT , you’ve heard the dictum a million times—outlines make better essays, even when your time feels extremely limited! When it’s time for the test, this can feel a little bit trite, but we challenge you to find one soul in the grand history of the AP English Literature exam who hasn’t benefited from creating even a rough outline. This is the place where your reasoning and organization come alive. We recommend devoting 5-7 minutes to your outline—the lower end if you’re confident you know the text inside and out and just need to nail down your claims and evidence, and the higher end if you need to jog your memory and give your thesis a bit more time to gestate.

What should your outline include? Keep it clear and concise. You definitely want to write your thesis; plan the topics of your body paragraphs, including potential topic sentences; and—a helpful, oft-forgotten third part—remind yourself why the work you’ve chosen is the best for the prompt. This last part won’t be formally integrated into your essay, but it’s extremely helpful as you try to stay focused and pointed while writing what can feel like an impossible broad essay.

4. Each paragraph is a new opportunity to be creative

The third free-response prompt, and the AP Lit exam in general, is extremely structured. It can feel downright constricting. The little-known truth about the last essay is that it’s the most creative part of the whole exam. You not only get to choose the prompt, but within the roughly five-paragraph structure of the essay you’re penning, you get to be quite creative with what you say in each paragraph. There are so many ways to explain to your readers how, say, a symbol illuminates an important theme in a text. We find this knowledge incredibly liberating; paired wisely with the organization that the outline and the essay require, this creative approach can lead to a top-notch essay.

5. Proofread, but not just for the sake of proofreading.

We’ve all been there—time is nearly up, you’ve put the period at the end of your conclusion, and now it’s time to make sure you haven’t written an incoherent jumble of nothingness. This is the last, crucial step before handing in your AP Lit exam and never reading again (just kidding!)

Because you’re so exhausted from hours of test-taking, proofreading your third free-response essay can feel like a chore—a hurdle you have to jump to reach the finish line. But it can also be an opportunity to make sure your argument, your analysis, and your claims and evidence are coherent . We don’t mean that you should restructure your thesis—there isn’t time for that, and we’re sure it’s great, anyway!—but we encourage you to make sure that every sentence is as clear, concise, and (reasonably) creative as possible. Proofreading is the time to read every sentence with a fundamental question in the back of your head: What is this sentence doing, and what are the words that form it doing? If something feels like it’s not pulling its weight, don’t hesitate—change or delete it. Now that you’ve nailed the bigger picture, you must demand only the best from the details.

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Your chance of acceptance, your chancing factors, extracurriculars, writing an ap lit literary argument essay: what are the key elements.

Hi! I'm taking AP Lit this year and I need some help with the literary argument essay. Can someone give me some guidance on the key elements I need to include, like thesis statement, evidence, structure, etc., to have a strong essay? Thank you so much!

Hey! Here are some key elements to include in your essay for a strong result:

1. Introduction: Start with a hook to engage the reader. Introduce the work you'll be discussing (including the title and author). Provide any necessary context or background info.

2. Thesis statement: In a clear, concise sentence, state your overall argument or claim. This should appear towards the end of your introduction.

3. Body paragraphs: In each body paragraph, present a specific point that supports your thesis. Begin with a topic sentence, provide textual evidence (like quotes), and then analyze the significance of that evidence. Make sure to connect each point back to your thesis.

4. Structure: Make sure your essay follows a logical structure. Each paragraph should flow smoothly into the next, and your ideas should be organized in a coherent manner.

5. Conclusion: Restate your thesis (in slightly different words) and summarize your main points. Finish your essay with a final thought that connects your argument to a broader context or theme.

Good luck with your essay, and I hope this helps!

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Sat / act prep online guides and tips, ap literature reading list: 127 great books for your prep.

Advanced Placement (AP)

A lot of students wonder if there's a specific AP English reading list of books they should be reading to succeed on the AP Literature and Composition exam. While there's not an official College-Board AP reading list, there are books that will be more useful for you to read than others as you prepare for the exam. In this article, I'll break down why you need to read books to prepare, how many you should plan on reading, and what you should read—including poetry.

Why Do You Need to Read Books for the AP Literature Test?

This might seem like kind of an obvious question—you need to read books because it's a literature exam! But actually, there are three specific reasons why you need to read novels, poems, and plays in preparation for the AP Lit Test.

To Increase Your Familiarity With Different Eras and Genres of Literature

Reading a diverse array of novels, poetry and plays from different eras and genres will help you be familiar with the language that appears in the various passages on the AP Lit exam's multiple choice and essay sections. If you read primarily modern works, for example, you may stumble through analyzing a Shakespeare sonnet. So, having a basic familiarity level with the language of a broad variety of literary works will help keep you from floundering in confusion on test day because you're seeing a work unlike anything you've ever read.

To Improve Your Close-Reading Skills

You'll also want to read to improve your close-reading and rhetorical analysis skills. When you do read, really engage with the text: think about what the author's doing to construct the novel/poem/play/etc., what literary techniques and motifs are being deployed, and what major themes are at play. You don't necessarily need to drill down to the same degree on every text, but you should always be thinking, "Why did the author write this piece this way?"

For the Student Choice Free-Response Question

Perhaps the most critical piece in reading to prepare for the AP Lit test, however, is for the student choice free-response question. For the third question on the second exam section, you'll be asked to examine how a specific theme works in one novel or play that you choose. The College Board does provide an example list of works, but you can choose any work you like just so long as it has adequate "literary merit." However, you need to be closely familiar with more than one work so that you can be prepared for whatever theme the College Board throws at you!

Note: Not an effective reading method.

How Many Books Do You Need to Read for the AP Exam?

That depends. In terms of reading to increase your familiarity with literature from different eras and genres and to improve your close-reading skills, the more books you have time to read, the better. You'll want to read them all with an eye for comprehension and basic analysis, but you don't necessarily need to focus equally on every book you read.

For the purposes of the student choice question, however, you'll want to read books more closely, so that you could write a detailed, convincing analytical essay about any of their themes. So you should know the plot, characters, themes, and major literary devices or motifs used inside and out. Since you won't know what theme you'll be asked to write about in advance, you'll need to be prepared to write a student choice question on more than just one book.

Of the books you read for prep both in and out of class, choose four to five books that are thematically diverse to learn especially well in preparation for the exam. You may want to read these more than once, and you certainly want to take detailed notes on everything that's going on in those books to help you remember key points and themes. Discussing them with a friend or mentor who has also read the book will help you generate ideas on what's most interesting or intriguing about the work and how its themes operate in the text.

You may be doing some of these activities anyways for books you are assigned to read for class, and those books might be solid choices if you want to be as efficient as possible. Books you write essays about for school are also great choices to include in your four to five book stable since you will be becoming super-familiar with them for the writing you do in class anyways.

In answer to the question, then, of how many books you need to read for the AP Lit exam: you need to know four to five inside and out, and beyond that, the more the better!

Know the books. Love the books.

What Books Do You Need to Read for the AP Exam?

The most important thing for the student choice free-response question is that the work you select needs to have "literary merit." What does this mean? In the context of the College Board, this means you should stick with works of literary fiction. So in general, avoid mysteries, fantasies, romance novels, and so on.

If you're looking for ideas, authors and works that have won prestigious prizes like the Pulitzer, Man Booker, the National Book Award, and so on are good choices. Anything you read specifically for your AP literature class is a good choice, too. If you aren't sure if a particular work has the kind of literary merit the College Board is looking for, ask your AP teacher.

When creating your own AP Literature reading list for the student choice free-response, try to pick works that are diverse in author, setting, genre, and theme. This will maximize your ability to comprehensively answer a student choice question about pretty much anything with one of the works you've focused on.

So, I might, for example, choose:

A Midsummer Night's Dream , Shakespeare, play, 1605

Major themes and devices: magic, dreams, transformation, foolishness, man vs. woman, play-within-a-play

Wuthering Heights , Emily Bronte, novel, 1847

Major themes and devices: destructive love, exile, social and economic class, suffering and passion, vengeance and violence, unreliable narrator, frame narrative, family dysfunction, intergenerational narratives.

The Age of Innocence , Edith Wharton, novel, 1920

Major themes and devices: Tradition and duty, personal freedom, hypocrisy, irony, social class, family, "maintaining appearances", honor

Wide Sargasso Sea , Jean Rhys, novel, 1966

Major themes and devices: slavery, race, magic, madness, wildness, civilization vs. chaos, imperialism, gender

As you can see, while there is some thematic overlap in my chosen works, they also cover a broad swathe of themes. They are also all very different in style (although you'll just have to take my word on that one unless you go look at all of them yourself), and they span a range of time periods and genres as well.

However, while there's not necessarily a specific, mandated AP Literature reading list, there are books that come up again and again on the suggestion lists for student choice free-response questions. When a book comes up over and over again on exams, this suggests both that it's thematically rich, so you can use it to answer lots of different kinds of questions, and that the College Board sees a lot of value in the work.

To that end, I've assembled a list, separated by time period, of all the books that have appeared on the suggested works list for student choice free-response questions at least twice since 2003. While you certainly shouldn't be aiming to read all of these books (there's way too many for that!), these are all solid choices for the student choice essay. Other books by authors from this list are also going to be strong choices. It's likely that some of your class reading will overlap with this list, too.

I've divided up the works into chunks by time period. In addition to title, each entry includes the author, whether the work is a novel, play, or something else, and when it was first published or performed. Works are alphabetical by author.

Warning: Not all works pictured included in AP Literature reading list below.

Ancient Works

The Queen of AP Literature surveys her kingdom.

Don't get trapped in a literature vortex!

1990-Present

Don't stay in one reading position for too long, or you'll end up like this guy.

An Addendum on Poetry

You probably won't be writing about poetry on your student choice essay—most just aren't meaty enough in terms of action and character to merit a full-length essay on the themes when you don't actually have the poem in front of you (a major exception being The Odyssey ). That doesn't mean that you shouldn't be reading poetry, though! You should be reading a wide variety of poets from different eras to get comfortable with all the varieties of poetic language. This will make the poetry analysis essay and the multiple-choice questions about poetry much easier!

See this list of poets compiled from the list given on page 10 of the AP Course and Exam Description for AP Lit, separated out by time period. For those poets who were working during more than one of the time periods sketched out below, I tried to place them in the era in which they were more active.

I've placed an asterisk next to the most notable and important poets in the list; you should aim to read one or two poems by each of the starred poets to get familiar with a broad range of poetic styles and eras.

14th-17th Centuries

• Anne Bradstreet
• Geoffrey Chaucer
• George Herbert
• Andrew Marvell
• John Milton
• William Shakespeare*

18th-19th Centuries

• William Blake*
• Robert Browning
• Samuel Taylor Coleridge*
• Emily Dickinson*
• Paul Laurence Dunbar
• George Gordon, Lord Byron
• Gerard Manley Hopkins
• John Keats*
• Edgar Allan Poe*
• Alexander Pope*
• Percy Bysshe Shelley*
• Alfred, Lord Tennyson*
• Walt Whitman*
• William Wordsworth*

Early-Mid 20th Century

• W. H. Auden
• Elizabeth Bishop
• H. D. (Hilda Doolittle)
• T. S. Eliot*
• Robert Frost*
• Langston Hughes*
• Philip Larkin
• Robert Lowell
• Marianne Moore
• Sylvia Plath*
• Anne Sexton*
• Wallace Stevens
• William Carlos Williams
• William Butler Yeats*

Late 20th Century-Present

• Edward Kamau Brathwaite
• Gwendolyn Brooks
• Lorna Dee Cervantes
• Lucille Clifton
• Billy Collins
• Seamus Heaney
• Garrett Hongo
• Adrienne Rich
• Leslie Marmon Silko
• Derek Walcott
• Richard Wilbur

You might rather burn books than read them after the exam, but please refrain.

Key Takeaways

Why do you need to read books to prepare for AP Lit? For three reasons:

#1 : To become familiar with a variety of literary eras and genres #2 : To work on your close-reading skills #3 : To become closely familiar with four-five works for the purposes of the student choice free-response essay analyzing a theme in a work of your choice.

How many books do you need to read? Well, you definitely need to get very familiar with four-five for essay-writing purposes, and beyond that, the more the better!

Which books should you read? Check out the AP English Literature reading list in this article to see works that have appeared on two or more "suggested works" lists on free-response prompts since 2003.

And don't forget to read some poetry too! See some College Board recommended poets listed in this article.

What's Next?

See my expert guide to the AP Literature test for more exam tips!

The multiple-choice section of the AP Literature exam is a key part of your score. Learn everything you need to know about it in our complete guide to AP Lit multiple-choice questions.

Taking other APs? Check out our expert guides to the AP Chemistry exam , AP US History , AP World History , AP Psychology , and AP Biology .

Looking for other book recommendation lists from PrepScholar? We've compiled lists of the 7 books you must read if you're a pre-med and the 31 books to read before graduating high school .

Ellen has extensive education mentorship experience and is deeply committed to helping students succeed in all areas of life. She received a BA from Harvard in Folklore and Mythology and is currently pursuing graduate studies at Columbia University.

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Ap® english literature score calculator.

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• Last Updated On: January 29, 2024

If you’re looking for an AP® English Literature score calculator, you’ve come to the right place. Our interactive widget has been used by thousands of students to forecast how they might do come test day.

Need extra help in preparing for AP® English Literature? Check out our AP® English Literature section for tons of review articles or explore The Best AP® English Literature Review Guide for 2022 .

If you’re an educator interested in boosting your AP® English Literature student outcomes, let us know and we’ll tell you how you can get started on Albert for free!

How are you projecting the scoring curve?

At this time, the College Board has not officially released a scoring worksheet that reflects the latest changes in AP® English Literature. In order to create our projected curve, what we have done is taken the relative percentages of the MCQ and FRQ as well as the point values of each question as outlined In the scoring guidelines released for 2020-2021 here .

AP® English Literature

Enter your scores.

Section I: Multiple-Choice

Section II: Free Response - Q1 - Poetry Analysis

Section II: Free Response - Q2 - Prose Fiction Analysis

Section II: Free Response - Q3 - Literary Argument

Section II: Free Response Question 1

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Section II: Free Response Question 3

Section II: Free Response - Question 1

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Looking for AP® English Literature study materials?

Also, check out this reference for the  best AP® English Literature review books .

What is a good AP® English Literature score?

When analyzing your score in AP® English Literature, you should consider the overall scoring criteria for AP® exams. In general, a score of 3 or higher on an AP® exam is a solid score. According to The College Board, a 3 is ‘qualified.’ A 4 is considered ‘well qualified.’ Finally, a 5 is deemed ‘extremely well qualified.’ If you earn a 3, 4, or 5, many colleges and universities will award you college credits. You can learn more about AP® credit policies at your dream schools  here .

You should also analyze your AP® English Literature score within the context of scoring averages in recent years. In 2020, 60.1% of students who took the AP® English Literature exam received a score of 3 or higher. You can reference the latest distributions here .

What is the average score in AP English Literature?

This average changes each year, depending on exam revisions and the population of students taking the test. As a rule of thumb, The College Board tries to maintain a consistent distribution for every subject. Perhaps the best way to think about an average score in AP® English Literature is to examine multi-year trends. For instance, according to the AP® Student Score Distribution released by the College Board, the mean AP® English Literature score in 2014 was 2.76, 2015 was 2.78, 2016 was 2.75, 2017 was 2.69, 2018 was 2.57, 2019 was 2.62 and 2.84 in 2020. If you add these seven numbers and calculate a raw average, you can discover a multi-year average score in AP® English Literature as 2.72.

Why are AP English Literature scores curved?

To maintain consistent standards, every year the College Board curves its exams. This includes AP® English Literature. At their core, AP® classes are college-level courses. Therefore, The College Board adjusts its scoring guidelines to reflect the rigor of college-level courses.

How do I get a 5 on the AP® English Literature Exam?

This is the million-dollar question! Alas, there’s no magic trick for achieving a 5 in AP® English Literature. The only time-tested methods for achieving a 5 on test day are applied learning, excellent study habits, and deliberate practice. A high score in AP® English Literature requires strong skills in critical reading, literary analysis, and essay composition. So the best route to a 5 on test day is a comprehensive study plan that incorporates all three of those elements.

Here at Albert, we’ve written tons of free review crash course reviews and study guides to help you prepare for AP® English Literature. Check out some of our most popular posts to get started:

• The Ultimate List of AP® English Literature Tips
• The Ultimate SOAPStone Analysis Guide for AP® Exams
• How to Approach AP® English Literature Multiple-Choice Questions

Looking for practice questions for AP® English Literature review? Albert offers the largest collection of AP-aligned AP® English Literature practice questions anywhere. We have nearly 600 multiple-choice and free-response questions to help you prepare for AP® English Lit. Study anywhere, anytime, and receive instant feedback on every question. In 2019, Albert student users beat the national pass rates in AP® English Literature by 32.48%. Try some of our free practice questions here .

Why should I use this AP® English Literature score calculator?

Albert’s AP® English Literature score calculator uses the College Board’s official scoring worksheets for previously released exams. Ours are the most accurate and up-to-date score calculators available. Score calculators are a handy way to stay motivated when you’re prepping for AP® tests. By better understanding how many multiple-choice questions and free-response points you’ll need to achieve a 3, 4, or 5 in AP® English Literature, you can stress less on test day.

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A Mouth Holds Many Things: On the Magic of Hybrid Writing

Dao strom enters a state of slippage.

I am walking along a shoreline. A shoreline is a place, a geography, where two elements—water and sand—meet. We call this place of meeting a line, but it is also the continual erasing of line. How water writes, erases, rewrites. Its own delineation of: the encounter. The shape of how these two realms meet a constant Inconstant. Fluctuation of. Demarcation. Is it water’s tendency to- ward a constant inconstancy that insists on this snaking of lineage—this lineal snaking? Is it water the agent of erasure, even: self- erasure? Or is it the sand’s nature—of both yield and subsume— that refuses, resists, the holding of line? Resists inheritance of the notion line makes record? Surely we know sand is an unreliable canvas. Is ambiguity of canvas. A mutable, shift ing substance of page that does not wish to be page. Together sand and water conspire. Repeatedly evolving and eroding the writing of their own betweens— which is to say: what is a boundary? But a temporality of attempt. At holding anything. (All writing begins as boundary.) I am walking along a shoreline. Line that refuses lineal nature.

I begin here, with this image and attempt to send text across the page evocative of the shape of water, because this is how the hybrid journey begins for me: a realization of the transmutability, the very tenuousness, of boundaries that separate, that supposedly demarcate realms otherwise as distinct as ocean and land. My own arrival into the realm of hybrid writing was, like this tracing of a shoreline, not a direct, not a fixed or predictable path. Here are the facts: I had written and published two books of fiction—the genre that had thus far identified me as a literary author; I had, since my early 20s, also been writing songs on the side; I had an undergraduate background, a naive once-ambition, in filmmaking. I was trying to write what I believed might be another novel, a long-form book. But, images wanted to invade, and a straightforward throughline, characters with character arcs, plot, all those conventional narrative devices, continued to evade me. Instead, interiority and some esoteric, intuitive rhythm wanted to lead—an inner music vying to come through. I was aware of an elliptical nature, an unwieldy energy, at the subtle-beating heart, or twisted gut, of the story I was seeking to tell, that kept balking, digressing askew of the more normative, straight-paved roads expected of a “novel” or “memoir.” The story I was seeking to tell had to do with Vietnam, with my own mixed-cultural family and parental legacies, with the usual diaspora and refugee lineages of war and exodus and inherited traumas, but for whatever reason I could not wrangle those lines—in my case, thorny vines—into a shape that was a legible or “traditional” enough format to be sellable. (“Not to belabor the point, but if you would just write in a more traditional format,” my New York literary agent had once said to me.) But it was not that I was not trying; it was not even that I was trying, intentionally, to be difficult or experimental—it was just that as a writer I am limited: I could not lie, I could not pretend, I could not but follow the impulse of the art itself through which, in truth, I was wrestling with ghosts—and ghosts do not respect walls nor the notion of voicing through a single or same body, consistently.

And so, something in the work kept twisting—defying shape, container, resolution, or closure; the book that wanted to be needed to twist even further afield, needed to buck the leather constraints of “book” itself. I garnered rejections for this manuscript I was trying to write, I was gently released from obligation to my literary agent, also rejected by other agents and publishers. I found myself wandering a hinterland I had no map for—personally, creatively, professionally. In truth this was a very lonely period. At the time I knew no other writers who were trying to work across disciplines. I had no mentors; no community; no assurances that any of it was a very good idea. (No doubt, there existed examples of multidisciplinary artists and experimental writers, but I hadn’t yet encountered them along the path I’d thus far taken.) I kept working, through the isolation and self-doubt, the discovery and alchemy of those 7+ years it took to find—to forge—my way through that first hybrid project, which I eventually arrived at describing as a “memoir in image + text + music.” I found a small press publisher, lost them too (the press folded), made some new friends with whom I formed a loose publishing collective; I did all of my own editing, layout, design—learned the production line—and essentially published my first hybrid project on my own. If I had not taken it into my own hands as such, I am certain it would never have been permitted to enter the world in the form(s) it inhabits.

& what is writing? It begins with cutting. Etymologically: a verb; describing an action. To tear, scratch, carve : line—immaterial motion—impressed into or upon something material. Stone; clay; leaf; pulp; fibers. This tradition of the human and mark-making. & why do we—must we—write? The implement, the stick, the chisel; the discovery of puncture as tool for claim or record. To arm the self or the tribe against forgetting, perhaps. To endeavor to step outside of, outlast, Time. Contained within this tear ( tear ), however, always too an impulse toward ownership. To draw boundary between or around— whether an object, geography, observation, memory, or the ineffability of experience. There is something we wish to keep, somewhere we desire to belong to, that we nonetheless know we are destined —doomed—to lose. From its inception writing was always a preparation. For loss.

And I am talking about writing, but I am also talking about hybridity. As a kind of writing born out of such losses and knowledge of losses. A writing assembling itself amid/despite the vacuum of interstices, ambiguity of middle-grounds, tangle of intersections. A writing of refusals (to write); a mutability of voice. Ebbs and flows and many, repeated obliterations. A writing that construes itself of edges. Poly- vocalities of entry and egress. Assemblages of disassembly. Multi- plicities. Duplicities. Many -cities.

Let’s return to water. I’ve always had a thing for rivers—I grew up along rivers that flow through the Sierra Nevadas of northern California, where—back in the 1850s—men who had come to mine gold from those rivers dug so much, they changed the course of those waterways. Rivers disrupted; re-formed. And, in the land where I was born, on the other side of the globe (from where had traveled with me those boundary-refusing ghosts), the patterns of rivers there too were heavily influential. Seasonal floods and deltas having cultivated a people who had learned to live in rhythm with the riverine vicissitudes of water; a myth that the first mother of our country’s people wept the rivers into being, and those rivers then had wed her (and thus us) to the sea. A river sends tributaries—many mouths—to the sea. And as this book knows: a mouth holds many things .

Which is to say: the theme of multi- plicity is also a story of erosion. Evasions; evolutions. De- stabilizations. Dispersals; de-centerings. (Dia-sporas.) The ground troubled, re- written. A river breaks from its main vein, because water possesses ability to circumvent obstacles through frag- menting—simultaneously multiplying a nd dividing—itself. In order yet to keep to its initial course. Which was always simply to follow gravity and rejoin the sea, that primeval one-body made of and fed by all the mouths and streams. I see multimodal writing employing a similar tactic. Of breaking apart to bring together.

We are divergent and we are confluent. Most of us arrive here on our own, singly, singularly. We arrive each of us to our particular patch of wet, shifting sand of our own peculiar accord, or chords, let’s say, idiosyncratically learned, then voiced.

Because the path of learning, of discovering, the hybrid realm was not, for me, one guided by mentors or models, especially initially, I followed no one, exactly; no one led or invited me. As is often wanted on the topic of lineage, I could cite the seminal works and names that have held space in this realm—Cha, Adnan, Vicuña, Rankine (et al)—but, in truth, those writers’ works did not come into my knowing until after I had made most of my journey through my first hybrid project, somewhat blindly, fumblingly, feeling as if I were navigating through a hinterland without a map. Yes: they were waiting for me, eventually, when I was ready to find them, and so honored to find them, and began then to also discover my contemporaries working in kindred, liminal spaces. In actuality: I learned from other so-called aspirants—other, current hybrid authors publishing via small presses, lesser-known—at the same time I was discovering the works of what we might call the masters—or mistresses—in the field: an albeit relatively short lineage of hybridexperimental works by women of color working predominantly in English. I feel it important to observe that an initiatory part of this journey, one’s commitment to it, may require (or at least did for me) a dive into the unknown, and willingness to abandon reliance on canonical thinking, canonical measures and validations and examples, as guideposts. At some point the markers stop—you venture into the open grasses of an open field, alone.

And for many of us, this learning, this tracing of invisible trails through overgrown grass, does not occur inside classrooms or existing structures. It arrives rather like a call on the wind we don’t know where it is coming or calling from, that we hear (or feel) from our seat at a desk in a room, perhaps… and it requires us to turn our attention out the windows. Something beyond the glass beckons. A new fracturing of the light, a refracted strange sotto voce sound, new registers of echoes (…)

<We are divergent and we are confluent.> <We are collective without being majority.> <We are multiple without being conglomerate.> <We are scattered <<through/across>> : we are amongst.>

& what kind of writing is it seeks to destroy itself even as it builds itself? & why this performance—under- grass tactic—of divergence / di- versions? this method of the many faces?

& what if I describe the mechanical arms of writing as a technology sutured to our natural limbs, but that we were not born with, and so we learned how to operate them, navigate their inherited (dys)- functions channeled via our [true] [off- center] mouths?

& what if I claim ocean as my literary form, sea as my preferred genre (if I must name one)? May I cite water as my container / conveyor of choice, through which I may allow the unmediated flows of that immaterial substance we call voice ?

To comprehend that one thing can be multiple things at once and still be wholly that one thing; and that multiple things—separate—can simultaneously be the same thing. To understand there is no direct line for arriving at simultaneity or multivalence. To understand hybridity as a way of saying we are neither this nor (completely) that; at the same time we are this and we are that, maybe even that other that, too. And it’s all subject to change. We might dissolve or evolve any boundaries. And we won’t stay put where you think you’ve safely placed us, named us, tried to corral us. There is—necessarily—no formula to repeat us, our arrivals or our formations. Such positions and territories are not always supported, condoned, understood, or even accurately perceived by either the heres or theres one may have strayed from. Hybridity as a challenge to the dominion of identities. Hybridity as a state of slippage, unwilling to capitulate, an accepted tenuousness of being

__________________________________________

From A Mouth Holds Many Things: A De-Canon Hybrid-Literary Collection , edited by Dao Strom and Jyothi Natarajan. Available now via Fonograf Editions. Image still from Dao Strom’s music video for “Jesus/Darkness”; filmed by Roland Dahwen, edited by Kyle Macdonald, 2022.

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Book Review: Memoirist Lilly Dancyger’s penetrating essays explore the power of female friendships

This cover image released by Dial Press shows “First Love” by Lilly Dancyger. (Dial Press via AP)

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Who means more to you — your friends or your lovers? In a vivid, thoughtful and nuanced collection of essays, Lilly Dancyger explores the powerful role that female friendships played in her chaotic upbringing marked by her parents’ heroin use and her father’s untimely death when she was only 12.

“First Love: Essays on Friendship” begins with a beautiful paean to her cousin Sabina, who was raped and murdered at age 20 on her way home from a club. As little kids, their older relatives used to call them Snow White and Rose Red after the Grimm’s fairy tale, “two sisters who are not rivals or foils, but simply love each other.”

That simple, uncomplicated love would become the template for a series of subsequent relationships with girls and women that helped her survive her self-destructive adolescence and provided unconditional support as she scrambled to create a new identity as a “hypercompetent” writer, teacher and editor. “It’s true that I’ve never been satisfied with friendships that stay on the surface. That my friends are my family, my truest beloveds, each relationship a world of its own,” she writes in the title essay “First Love.”

The collection stands out not just for its elegant, unadorned writing but also for the way she effortlessly pivots between personal history and spot-on cultural criticism that both comments on and critiques the way that girls and women have been portrayed — and have portrayed themselves — in the media, including on online platforms like Tumblr and Instagram.

For instance, she examines the 1994 Peter Jackson film, “Heavenly Creatures,” based on the true story of two teenage girls who bludgeoned to death one of their mothers. And in the essay “Sad Girls,” about the suicide of a close friend, she analyzes the allure of self-destructive figures like Sylvia Plath and Janis Joplin to a certain type of teen, including herself, who wallows in sadness and wants to make sure “the world knew we were in pain.”

In the last essay, “On Murder Memoirs,” Dancyger considers the runaway popularity of true crime stories as she tries to explain her decision not to attend the trial of the man charged with killing her cousin — even though she was trained as a journalist and wrote a well-regarded book about her late father that relied on investigative reporting. “When I finally sat down to write about Sabina, the story that came out was not about murder at all,” she says. “It was a love story.”

Readers can be thankful that it did.

AP book reviews: https://apnews.com/hub/book-reviews