essay of a body

How to write an essay: Body

• What's in this guide
• Introduction
• Essay structure
• Additional resources

Body paragraphs

The essay body itself is organised into paragraphs, according to your plan. Remember that each paragraph focuses on one idea, or aspect of your topic, and should contain at least 4-5 sentences so you can deal with that idea properly.

Each body paragraph has three sections. First is the topic sentence . This lets the reader know what the paragraph is going to be about and the main point it will make. It gives the paragraph’s point straight away. Next – and largest – is the supporting sentences . These expand on the central idea, explaining it in more detail, exploring what it means, and of course giving the evidence and argument that back it up. This is where you use your research to support your argument. Then there is a concluding sentence . This restates the idea in the topic sentence, to remind the reader of your main point. It also shows how that point helps answer the question.

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How to Write a Body Paragraph for a College Essay  

January 29, 2024

No matter the discipline, college success requires mastering several academic basics, including the body paragraph. This article will provide tips on drafting and editing a strong body paragraph before examining several body paragraph examples. Before we look at how to start a body paragraph and how to write a body paragraph for a college essay (or other writing assignment), let’s define what exactly a body paragraph is.

What is a Body Paragraph?

Simply put, a body paragraph consists of everything in an academic essay that does not constitute the introduction and conclusion. It makes up everything in between. In a five-paragraph, thesis-style essay (which most high schoolers encounter before heading off to college), there are three body paragraphs. Longer essays with more complex arguments will include many more body paragraphs.

We might correlate body paragraphs with bodily appendages—say, a leg. Both operate in a somewhat isolated way to perform specific operations, yet are integral to creating a cohesive, functioning whole. A leg helps the body sit, walk, and run. Like legs, body paragraphs work to move an essay along, by leading the reader through several convincing ideas. Together, these ideas, sometimes called topics, or points, work to prove an overall argument, called the essay’s thesis.

If you compared an essay on Kant’s theory of beauty to an essay on migratory birds, you’d notice that the body paragraphs differ drastically. However, on closer inspection, you’d probably find that they included many of the same key components. Most body paragraphs will include specific, detailed evidence, an analysis of the evidence, a conclusion drawn by the author, and several tie-ins to the larger ideas at play. They’ll also include transitions and citations leading the reader to source material. We’ll go into more detail on these components soon. First, let’s see if you’ve organized your essay so that you’ll know how to start a body paragraph.

How to Start a Body Paragraph

It can be tempting to start writing your college essay as soon as you sit down at your desk. The sooner begun, the sooner done, right? I’d recommend resisting that itch. Instead, pull up a blank document on your screen and make an outline. There are numerous reasons to make an outline, and most involve helping you stay on track. This is especially true of longer college papers, like the 60+ page dissertation some seniors are required to write. Even with regular writing assignments with a page count between 4-10, an outline will help you visualize your argumentation strategy. Moreover, it will help you order your key points and their relevant evidence from most to least convincing. This in turn will determine the order of your body paragraphs.

The most convincing sequence of body paragraphs will depend entirely on your paper’s subject.  Let’s say you’re writing about Penelope’s success in outwitting male counterparts in The Odyssey . You may want to begin with Penelope’s weaving, the most obvious way in which Penelope dupes her suitors. You can end with Penelope’s ingenious way of outsmarting her own husband. Because this evidence is more ambiguous it will require a more nuanced analysis. Thus, it’ll work best as your final body paragraph, after readers have already been convinced of more digestible evidence. If in doubt, keep your body paragraph order chronological.

It can be worthwhile to consider your topic from multiple perspectives. You may decide to include a body paragraph that sets out to consider and refute an opposing point to your thesis. This type of body paragraph will often appear near the end of the essay. It works to erase any lingering doubts readers may have had, and requires strong rhetorical techniques.

How to Start a Body Paragraph, Continued

Once you’ve determined which key points will best support your argument and in what order, draft an introduction. This is a crucial step towards writing a body paragraph. First, it will set the tone for the rest of your paper. Second, it will require you to articulate your thesis statement in specific, concise wording. Highlight or bold your thesis statement, so you can refer back to it quickly. You should be looking at your thesis throughout the drafting of your body paragraphs.

Finally, make sure that your introduction indicates which key points you’ll be covering in your body paragraphs, and in what order. While this level of organization might seem like overkill, it will indicate to the reader that your entire paper is minutely thought-out. It will boost your reader’s confidence going in. They’ll feel reassured and open to your thought process if they can see that it follows a clear path.

Now that you have an essay outline and introduction, you’re ready to draft your body paragraphs.

How to Draft a Body Paragraph

At this point, you know your body paragraph topic, the key point you’re trying to make, and you’ve gathered your evidence. The next thing to do is write! The words highlighted in bold below comprise the main components that will make up your body paragraph. (You’ll notice in the body paragraph examples below that the order of these components is flexible.)

Start with a topic sentence . This will indicate the main point you plan to make that will work to support your overall thesis. Your topic sentence also alerts the reader to the change in topic from the last paragraph to the current one. In making this new topic known, you’ll want to create a transition from the last topic to this one.

Transitions appear in nearly every paragraph of a college essay, apart from the introduction. They create a link between disparate ideas. (For example, if your transition comes at the end of paragraph 4, you won’t need a second transition at the beginning of paragraph 5.) The University of Wisconsin-Madison’s Writing Center has a page devoted to Developing Strategic Transitions . Likewise, the University of North Carolina at Chapel Hill’s Writing Center offers help on paragraph transitions .

How to Draft a Body Paragraph for a College Essay ( Continued)

With the topic sentence written, you’ll need to prove your point through tangible evidence. This requires several sentences with various components. You’ll want to provide more context , going into greater detail to situate the reader within the topic. Next, you’ll provide evidence , often in the form of a quote, facts, or data, and supply a source citation . Citing your source is paramount. Sources indicate that your evidence is empirical and objective. It implies that your evidence is knowledge shared by others in the academic community. Sometimes you’ll want to provide multiple pieces of evidence, if the evidence is similar and can be grouped together.

After providing evidence, you must provide an interpretation and analysis of this evidence. In other words, use rhetorical techniques to paraphrase what your evidence seems to suggest. Break down the evidence further and explain and summarize it in new words. Don’t simply skip to your conclusion. Your evidence should never stand for itself. Why? Because your interpretation and analysis allow you to exhibit original, analytical, and critical thinking skills.

Depending on what evidence you’re using, you may repeat some of these components in the same body paragraph. This might look like: more context + further evidence + increased interpretation and analysis . All this will add up to proving and reaffirming your body paragraph’s main point . To do so, conclude your body paragraph by reformulating your thesis statement in light of the information you’ve given. I recommend comparing your original thesis statement to your paragraph’s concluding statement. Do they align? Does your body paragraph create a sound connection to the overall academic argument? If not, you’ll need to fix this issue when you edit your body paragraph.

How to Edit a Body Paragraph

As you go over each body paragraph of your college essay, keep this short checklist in mind.

• Consistency in your argument: If your key points don’t add up to a cogent argument, you’ll need to identify where the inconsistency lies. Often it lies in interpretation and analysis. You may need to improve the way you articulate this component. Try to think like a lawyer: how can you use this evidence to your advantage? If that doesn’t work, you may need to find new evidence. As a last resort, amend your thesis statement.
• Language-level persuasion. Use a broad vocabulary. Vary your sentence structure. Don’t repeat the same words too often, which can induce mental fatigue in the reader. I suggest keeping an online dictionary open on your browser. I find Merriam-Webster user-friendly, since it allows you to toggle between definitions and synonyms. It also includes up-to-date example sentences. Also, don’t forget the power of rhetorical devices .
• Does your writing flow naturally from one idea to the next, or are there jarring breaks? The editing stage is a great place to polish transitions and reinforce the structure as a whole.

Our first body paragraph example comes from the College Transitions article “ How to Write the AP Lang Argument Essay .” Here’s the prompt: Write an essay that argues your position on the value of striving for perfection.

Here’s the example thesis statement, taken from the introduction paragraph: “Striving for perfection can only lead us to shortchange ourselves. Instead, we should value learning, growth, and creativity and not worry whether we are first or fifth best.” Now let’s see how this writer builds an argument against perfection through one main point across two body paragraphs. (While this writer has split this idea into two paragraphs, one to address a problem and one to provide an alternative resolution, it could easily be combined into one paragraph.)

“Students often feel the need to be perfect in their classes, and this can cause students to struggle or stop making an effort in class. In elementary and middle school, for example, I was very nervous about public speaking. When I had to give a speech, my voice would shake, and I would turn very red. My teachers always told me “relax!” and I got Bs on Cs on my speeches. As a result, I put more pressure on myself to do well, spending extra time making my speeches perfect and rehearsing late at night at home. But this pressure only made me more nervous, and I started getting stomach aches before speaking in public.

“Once I got to high school, however, I started doing YouTube make-up tutorials with a friend. We made videos just for fun, and laughed when we made mistakes or said something silly. Only then, when I wasn’t striving to be perfect, did I get more comfortable with public speaking.”

Body Paragraph Example 1 Dissected

In this body paragraph example, the writer uses their personal experience as evidence against the value of striving for perfection. The writer sets up this example with a topic sentence that acts as a transition from the introduction. They also situate the reader in the classroom. The evidence takes the form of emotion and physical reactions to the pressure of public speaking (nervousness, shaking voice, blushing). Evidence also takes the form of poor results (mediocre grades). Rather than interpret the evidence from an analytical perspective, the writer produces more evidence to underline their point. (This method works fine for a narrative-style essay.) It’s clear that working harder to be perfect further increased the student’s nausea.

The writer proves their point in the second paragraph, through a counter-example. The main point is that improvement comes more naturally when the pressure is lifted; when amusement is possible and mistakes aren’t something to fear. This point ties back in with the thesis, that “we should value learning, growth, and creativity” over perfection.

This second body paragraph example comes from the College Transitions article “ How to Write the AP Lang Rhetorical Analysis Essay .” Here’s an abridged version of the prompt: Rosa Parks was an African American civil rights activist who was arrested in 1955 for refusing to give up her seat on a segregated bus in Montgomery, Alabama. Read the passage carefully. Write an essay that analyzes the rhetorical choices Obama makes to convey his message.

Here’s the example thesis statement, taken from the introduction paragraph: “Through the use of diction that portrays Parks as quiet and demure, long lists that emphasize the extent of her impacts, and Biblical references, Obama suggests that all of us are capable of achieving greater good, just as Parks did.” Now read the body paragraph example, below.

“To further illustrate Parks’ impact, Obama incorporates Biblical references that emphasize the importance of “that single moment on the bus” (lines 57-58). In lines 33-35, Obama explains that Parks and the other protestors are “driven by a solemn determination to affirm their God-given dignity” and he also compares their victory to the fall the “ancient walls of Jericho” (line 43). By including these Biblical references, Obama suggests that Parks’ action on the bus did more than correct personal or political wrongs; it also corrected moral and spiritual wrongs. Although Parks had no political power or fortune, she was able to restore a moral balance in our world.”

Body Paragraph Example 2 Dissected

The first sentence in this body paragraph example indicates that the topic is transitioning into biblical references as a means of motivating ordinary citizens. The evidence comes as quotes taken from Obama’s speech. One is a reference to God, and the other an allusion to a story from the bible. The subsequent interpretation and analysis demonstrate that Obama’s biblical references imply a deeper, moral and spiritual significance. The concluding sentence draws together the morality inherent in equal rights with Rosa Parks’ power to spark change. Through the words “no political power or fortune,” and “moral balance,” the writer ties the point proven in this body paragraph back to the thesis statement. Obama promises that “All of us” (no matter how small our influence) “are capable of achieving greater good”—a greater moral good.

What’s Next?

Before you body paragraphs come the start and, after your body paragraphs, the conclusion, of course! If you’ve found this article helpful, be sure to read up on how to start a college essay and how to end a college essay .

You may also find the following blogs to be of interest:

• 6 Best Common App Essay Examples
• How to Write the Overcoming Challenges Essay
• UC Essay Examples 
• How to Write the Community Essay
• How to Write the Why this Major? Essay
• College Essay

Kaylen Baker

With a BA in Literary Studies from Middlebury College, an MFA in Fiction from Columbia University, and a Master’s in Translation from Université Paris 8 Vincennes-Saint-Denis, Kaylen has been working with students on their writing for over five years. Previously, Kaylen taught a fiction course for high school students as part of Columbia Artists/Teachers, and served as an English Language Assistant for the French National Department of Education. Kaylen is an experienced writer/translator whose work has been featured in Los Angeles Review, Hybrid, San Francisco Bay Guardian, France Today, and Honolulu Weekly, among others.

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Traditional Academic Essays In Three Parts

Part i: the introduction.

An introduction is usually the first paragraph of your academic essay. If you’re writing a long essay, you might need 2 or 3 paragraphs to introduce your topic to your reader. A good introduction does 2 things:

• Gets the reader’s attention. You can get a reader’s attention by telling a story, providing a statistic, pointing out something strange or interesting, providing and discussing an interesting quote, etc. Be interesting and find some original angle via which to engage others in your topic.
• Provides a specific and debatable thesis statement. The thesis statement is usually just one sentence long, but it might be longer—even a whole paragraph—if the essay you’re writing is long. A good thesis statement makes a debatable point, meaning a point someone might disagree with and argue against. It also serves as a roadmap for what you argue in your paper.

Part II: The Body Paragraphs

Body paragraphs help you prove your thesis and move you along a compelling trajectory from your introduction to your conclusion. If your thesis is a simple one, you might not need a lot of body paragraphs to prove it. If it’s more complicated, you’ll need more body paragraphs. An easy way to remember the parts of a body paragraph is to think of them as the MEAT of your essay:

Main Idea. The part of a topic sentence that states the main idea of the body paragraph. All of the sentences in the paragraph connect to it. Keep in mind that main ideas are…

• like labels. They appear in the first sentence of the paragraph and tell your reader what’s inside the paragraph.
• arguable. They’re not statements of fact; they’re debatable points that you prove with evidence.
• focused. Make a specific point in each paragraph and then prove that point.

Evidence. The parts of a paragraph that prove the main idea. You might include different types of evidence in different sentences. Keep in mind that different disciplines have different ideas about what counts as evidence and they adhere to different citation styles. Examples of evidence include…

• quotations and/or paraphrases from sources.
• facts , e.g. statistics or findings from studies you’ve conducted.
• narratives and/or descriptions , e.g. of your own experiences.

Analysis. The parts of a paragraph that explain the evidence. Make sure you tie the evidence you provide back to the paragraph’s main idea. In other words, discuss the evidence.

Transition. The part of a paragraph that helps you move fluidly from the last paragraph. Transitions appear in topic sentences along with main ideas, and they look both backward and forward in order to help you connect your ideas for your reader. Don’t end paragraphs with transitions; start with them.

Keep in mind that MEAT does not occur in that order. The “ T ransition” and the “ M ain Idea” often combine to form the first sentence—the topic sentence—and then paragraphs contain multiple sentences of evidence and analysis. For example, a paragraph might look like this: TM. E. E. A. E. E. A. A.

Part III: The Conclusion

A conclusion is the last paragraph of your essay, or, if you’re writing a really long essay, you might need 2 or 3 paragraphs to conclude. A conclusion typically does one of two things—or, of course, it can do both:

• Summarizes the argument. Some instructors expect you not to say anything new in your conclusion. They just want you to restate your main points. Especially if you’ve made a long and complicated argument, it’s useful to restate your main points for your reader by the time you’ve gotten to your conclusion. If you opt to do so, keep in mind that you should use different language than you used in your introduction and your body paragraphs. The introduction and conclusion shouldn’t be the same.
• For example, your argument might be significant to studies of a certain time period .
• Alternately, it might be significant to a certain geographical region .
• Alternately still, it might influence how your readers think about the future . You might even opt to speculate about the future and/or call your readers to action in your conclusion.

Handout by Dr. Liliana Naydan. Do not reproduce without permission.

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10 min read

How to write strong essay body paragraphs (with examples)

In this blog post, we'll discuss how to write clear, convincing essay body paragraphs using many examples. We'll also be writing paragraphs together. By the end, you'll have a good understanding of how to write a strong essay body for any topic.

Table of Contents

Introduction, how to structure a body paragraph, creating an outline for our essay body, 1. a strong thesis statment takes a stand, 2. a strong thesis statement allows for debate, 3. a strong thesis statement is specific, writing the first essay body paragraph, how not to write a body paragraph, writing the second essay body paragraph.

After writing a great introduction to our essay, let's make our case in the body paragraphs. These are where we will present our arguments, back them up with evidence, and, in most cases, refute counterarguments. Introductions are very similar across the various types of essays. For example, an argumentative essay's introduction will be near identical to an introduction written for an expository essay. In contrast, the body paragraphs are structured differently depending on the type of essay.

In an expository essay, we are investigating an idea or analyzing the circumstances of a case. In contrast, we want to make compelling points with an argumentative essay to convince readers to agree with us.

The most straightforward technique to make an argument is to provide context first, then make a general point, and lastly back that point up in the following sentences. Not starting with your idea directly but giving context first is crucial in constructing a clear and easy-to-follow paragraph.

How to ideally structure a body paragraph:

• Provide context
• Make your thesis statement
• Support that argument

Now that we have the ideal structure for an argumentative essay, the best step to proceed is to outline the subsequent paragraphs. For the outline, we'll be writing one sentence that is simple in wording and describes the argument that we'll make in that paragraph concisely. Why are we doing that? An outline does more than give you a structure to work off of in the following essay body, thereby saving you time. It also helps you not to repeat yourself or, even worse, to accidentally contradict yourself later on.

While working on the outline, remember that revising your initial topic sentences is completely normal. They do not need to be flawless. Starting the outline with those thoughts can help accelerate writing the entire essay and can be very beneficial in avoiding writer's block.

For the essay body, we'll be proceeding with the topic we've written an introduction for in the previous article - the dangers of social media on society.

These are the main points I would like to make in the essay body regarding the dangers of social media:

Amplification of one's existing beliefs

Skewed comparisons

What makes a polished thesis statement?

Now that we've got our main points, let's create our outline for the body by writing one clear and straightforward topic sentence (which is the same as a thesis statement) for each idea. How do we write a great topic sentence? First, take a look at the three characteristics of a strong thesis statement.

Consider this thesis statement:

'While social media can have some negative effects, it can also be used positively.'

What stand does it take? Which negative and positive aspects does the author mean? While this one:

'Because social media is linked to a rise in mental health problems, it poses a danger to users.'

takes a clear stand and is very precise about the object of discussion.

If your thesis statement is not arguable, then your paper will not likely be enjoyable to read. Consider this thesis statement:

'Lots of people around the globe use social media.'

It does not allow for much discussion at all. Even if you were to argue that more or fewer people are using it on this planet, that wouldn't make for a very compelling argument.

'Although social media has numerous benefits, its various risks, including cyberbullying and possible addiction, mostly outweigh its benefits.'

Whether or not you consider this statement true, it allows for much more discussion than the previous one. It provides a basis for an engaging, thought-provoking paper by taking a position that you can discuss.

A thesis statement is one sentence that clearly states what you will discuss in that paragraph. It should give an overview of the main points you will discuss and show how these relate to your topic. For example, if you were to examine the rapid growth of social media, consider this thesis statement:

'There are many reasons for the rise in social media usage.'

That thesis statement is weak for two reasons. First, depending on the length of your essay, you might need to narrow your focus because the "rise in social media usage" can be a large and broad topic you cannot address adequately in a few pages. Secondly, the term "many reasons" is vague and does not give the reader an idea of what you will discuss in your paper.

In contrast, consider this thesis statement:

'The rise in social media usage is due to the increasing popularity of platforms like Facebook and Twitter, allowing users to connect with friends and share information effortlessly.'

Why is this better? Not only does it abide by the first two rules by allowing for debate and taking a stand, but this statement also narrows the subject down and identifies significant reasons for the increasing popularity of social media.

In conclusion : A strong thesis statement takes a clear stand, allows for discussion, and is specific.

Let's make use of how to write a good thopic sentence and put it into practise for our two main points from before. This is what good topic sentences could look like:

Echo chambers facilitated by social media promote political segregation in society.

Applied to the second argument:

Viewing other people's lives online through a distorted lens can lead to feelings of envy and inadequacy, as well as unrealistic expectations about one's life.

These topic sentences will be a very convenient structure for the whole body of our essay. Let's build out the first body paragraph, then closely examine how we did it so you can apply it to your essay.

Example: First body paragraph

If social media users mostly see content that reaffirms their existing beliefs, it can create an "echo chamber" effect. The echo chamber effect describes the user's limited exposure to diverse perspectives, making it challenging to examine those beliefs critically, thereby contributing to society's political polarization. This polarization emerges from social media becoming increasingly based on algorithms, which cater content to users based on their past interactions on the site. Further contributing to this shared narrative is the very nature of social media, allowing politically like-minded individuals to connect (Sunstein, 2018). Consequently, exposure to only one side of the argument can make it very difficult to see the other side's perspective, marginalizing opposing viewpoints. The entrenchment of one's beliefs by constant reaffirmation and amplification of political ideas results in segregation along partisan lines.

Sunstein, C. R (2018). #Republic: Divided Democracy in the Age of Social Media. Princeton: Princeton University Press.

In the first sentence, we provide context for the argument that we are about to make. Then, in the second sentence, we clearly state the topic we are addressing (social media contributing to political polarization).

Our topic sentence tells readers that a detailed discussion of the echo chamber effect and its consequences is coming next. All the following sentences, which make up most of the paragraph, either a) explain or b) support this point.

Finally, we answer the questions about how social media facilitates the echo chamber effect and the consequences. Try implementing the same structure in your essay body paragraph to allow for a logical and cohesive argument.

These paragraphs should be focused, so don't incorporate multiple arguments into one. Squeezing ideas into a single paragraph makes it challenging for readers to follow your reasoning. Instead, reserve each body paragraph for a single statement to be discussed and only switch to the next section once you feel that you thoroughly explained and supported your topic sentence.

Let's look at an example that might seem appropriate initially but should be modified.

Negative example: Try identifying the main argument

Over the past decade, social media platforms have become increasingly popular methods of communication and networking. However, these platforms' algorithmic nature fosters echo chambers or online spaces where users only encounter information that reinforces their existing beliefs. This echo chamber effect can lead to a lack of understanding or empathy for those with different perspectives and can even amplify the effects of confirmation bias. The same principle of one-sided exposure to opinions can be abstracted and applied to the biased subjection to lifestyles we see on social media. The constant exposure to these highly-curated and often unrealistic portrayals of other people's lives can lead us to believe that our own lives are inadequate in comparison. These feelings of inadequacy can be especially harmful to young people, who are still developing their sense of self.

Let's analyze this essay paragraph. Introducing the topic sentence by stating the social functions of social media is very useful because it provides context for the following argument. Naming those functions in the first sentence also allows for a smooth transition by contrasting the initial sentence ("However, ...") with the topic sentence. Also, the topic sentence abides by our three rules for creating a strong thesis statement:

• Taking a clear stand: algorithms are substantial contributors to the echo chamber effect
• Allowing for debate: there is literature rejecting this claim
• Being specific: analyzing a specific cause of the effect (algorithms).

So, where's the problem with this body paragraph?

It begins with what seems like a single argument (social media algorithms contributing to the echo chamber effect). Yet after addressing the consequences of the echo-chamber effect right after the thesis sentence, the author applies the same principle to a whole different topic. At the end of the paragraph, the reader is probably feeling confused. What was the paragraph trying to achieve in the first place?

We should place the second idea of being exposed to curated lifestyles in a separate section instead of shoehorning it into the end of the first one. All sentences following the thesis statement should either explain it or provide evidence (refuting counterarguments falls into this category, too).

With our first body paragraph done and having seen an example of what to avoid, let's take the topic of being exposed to curated lifestyles through social media and construct a separate body paragraph for it. We have already provided sufficient context for the reader to follow our argument, so it is unnecessary for this particular paragraph.

Body paragraph 2

Another cause for social media's destructiveness is the users' inclination to only share the highlights of their lives on social media, consequently distorting our perceptions of reality. A highly filtered view of their life leads to feelings of envy and inadequacy, as well as a distorted understanding of what is considered ordinary (Liu et al., 2018). In addition, frequent social media use is linked to decreased self-esteem and body satisfaction (Perloff, 2014). One way social media can provide a curated view of people's lives is through filters, making photos look more radiant, shadier, more or less saturated, and similar. Further, editing tools allow people to fundamentally change how their photos and videos look before sharing them, allowing for inserting or removing certain parts of the image. Editing tools give people considerable control over how their photos and videos look before sharing them, thereby facilitating the curation of one's online persona.

Perloff, R.M. Social Media Effects on Young Women's Body Image Concerns: Theoretical Perspectives and an Agenda for Research. Sex Roles 71, 363–377 (2014).

Liu, Hongbo & Wu, Laurie & Li, Xiang. (2018). Social Media Envy: How Experience Sharing on Social Networking Sites Drives Millennials' Aspirational Tourism Consumption. Journal of Travel Research. 58. 10.1177/0047287518761615.

Dr. Jacob Neumann put it this way in his book A professors guide to writing essays: 'If you've written strong and clear topic sentences, you're well on your way to creating focused paragraphs.'

They provide the basis for each paragraph's development and content, allowing you not to get caught up in the details and lose sight of the overall objective. It's crucial not to neglect that step. Apply these principles to your essay body, whatever the topic, and you'll set yourself up for the best possible results.

Sources used for creating this article

• Writing a solid thesis statement : https://www.vwu.edu/academics/academic-support/learning-center/pdfs/Thesis-Statement.pdf
• Neumann, Jacob. A professor's guide to writing essays. 2016.

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9.2 Writing Body Paragraphs

Learning objectives.

• Select primary support related to your thesis.
• Support your topic sentences.

If your thesis gives the reader a roadmap to your essay, then body paragraphs should closely follow that map. The reader should be able to predict what follows your introductory paragraph by simply reading the thesis statement.

The body paragraphs present the evidence you have gathered to confirm your thesis. Before you begin to support your thesis in the body, you must find information from a variety of sources that support and give credit to what you are trying to prove.

Select Primary Support for Your Thesis

Without primary support, your argument is not likely to be convincing. Primary support can be described as the major points you choose to expand on your thesis. It is the most important information you select to argue for your point of view. Each point you choose will be incorporated into the topic sentence for each body paragraph you write. Your primary supporting points are further supported by supporting details within the paragraphs.

Remember that a worthy argument is backed by examples. In order to construct a valid argument, good writers conduct lots of background research and take careful notes. They also talk to people knowledgeable about a topic in order to understand its implications before writing about it.

Identify the Characteristics of Good Primary Support

In order to fulfill the requirements of good primary support, the information you choose must meet the following standards:

• Be specific. The main points you make about your thesis and the examples you use to expand on those points need to be specific. Use specific examples to provide the evidence and to build upon your general ideas. These types of examples give your reader something narrow to focus on, and if used properly, they leave little doubt about your claim. General examples, while they convey the necessary information, are not nearly as compelling or useful in writing because they are too obvious and typical.
• Be relevant to the thesis. Primary support is considered strong when it relates directly to the thesis. Primary support should show, explain, or prove your main argument without delving into irrelevant details. When faced with lots of information that could be used to prove your thesis, you may think you need to include it all in your body paragraphs. But effective writers resist the temptation to lose focus. Choose your examples wisely by making sure they directly connect to your thesis.
• Be detailed. Remember that your thesis, while specific, should not be very detailed. The body paragraphs are where you develop the discussion that a thorough essay requires. Using detailed support shows readers that you have considered all the facts and chosen only the most precise details to enhance your point of view.

Prewrite to Identify Primary Supporting Points for a Thesis Statement

Recall that when you prewrite you essentially make a list of examples or reasons why you support your stance. Stemming from each point, you further provide details to support those reasons. After prewriting, you are then able to look back at the information and choose the most compelling pieces you will use in your body paragraphs.

Choose one of the following working thesis statements. On a separate sheet of paper, write for at least five minutes using one of the prewriting techniques you learned in Chapter 8 “The Writing Process: How Do I Begin?” .

• Unleashed dogs on city streets are a dangerous nuisance.
• Students cheat for many different reasons.
• Drug use among teens and young adults is a problem.
• The most important change that should occur at my college or university is ____________________________________________.

Select the Most Effective Primary Supporting Points for a Thesis Statement

After you have prewritten about your working thesis statement, you may have generated a lot of information, which may be edited out later. Remember that your primary support must be relevant to your thesis. Remind yourself of your main argument, and delete any ideas that do not directly relate to it. Omitting unrelated ideas ensures that you will use only the most convincing information in your body paragraphs. Choose at least three of only the most compelling points. These will serve as the topic sentences for your body paragraphs.

Refer to the previous exercise and select three of your most compelling reasons to support the thesis statement. Remember that the points you choose must be specific and relevant to the thesis. The statements you choose will be your primary support points, and you will later incorporate them into the topic sentences for the body paragraphs.

Collaboration

Please share with a classmate and compare your answers.

When you support your thesis, you are revealing evidence. Evidence includes anything that can help support your stance. The following are the kinds of evidence you will encounter as you conduct your research:

• Facts. Facts are the best kind of evidence to use because they often cannot be disputed. They can support your stance by providing background information on or a solid foundation for your point of view. However, some facts may still need explanation. For example, the sentence “The most populated state in the United States is California” is a pure fact, but it may require some explanation to make it relevant to your specific argument.
• Judgments. Judgments are conclusions drawn from the given facts. Judgments are more credible than opinions because they are founded upon careful reasoning and examination of a topic.
• Testimony. Testimony consists of direct quotations from either an eyewitness or an expert witness. An eyewitness is someone who has direct experience with a subject; he adds authenticity to an argument based on facts. An expert witness is a person who has extensive experience with a topic. This person studies the facts and provides commentary based on either facts or judgments, or both. An expert witness adds authority and credibility to an argument.
• Personal observation. Personal observation is similar to testimony, but personal observation consists of your testimony. It reflects what you know to be true because you have experiences and have formed either opinions or judgments about them. For instance, if you are one of five children and your thesis states that being part of a large family is beneficial to a child’s social development, you could use your own experience to support your thesis.

Writing at Work

In any job where you devise a plan, you will need to support the steps that you lay out. This is an area in which you would incorporate primary support into your writing. Choosing only the most specific and relevant information to expand upon the steps will ensure that your plan appears well-thought-out and precise.

You can consult a vast pool of resources to gather support for your stance. Citing relevant information from reliable sources ensures that your reader will take you seriously and consider your assertions. Use any of the following sources for your essay: newspapers or news organization websites, magazines, encyclopedias, and scholarly journals, which are periodicals that address topics in a specialized field.

Choose Supporting Topic Sentences

Each body paragraph contains a topic sentence that states one aspect of your thesis and then expands upon it. Like the thesis statement, each topic sentence should be specific and supported by concrete details, facts, or explanations.

Each body paragraph should comprise the following elements.

topic sentence + supporting details (examples, reasons, or arguments)

As you read in Chapter 8 “The Writing Process: How Do I Begin?” , topic sentences indicate the location and main points of the basic arguments of your essay. These sentences are vital to writing your body paragraphs because they always refer back to and support your thesis statement. Topic sentences are linked to the ideas you have introduced in your thesis, thus reminding readers what your essay is about. A paragraph without a clearly identified topic sentence may be unclear and scattered, just like an essay without a thesis statement.

Unless your teacher instructs otherwise, you should include at least three body paragraphs in your essay. A five-paragraph essay, including the introduction and conclusion, is commonly the standard for exams and essay assignments.

Consider the following the thesis statement:

Author J.D. Salinger relied primarily on his personal life and belief system as the foundation for the themes in the majority of his works.

The following topic sentence is a primary support point for the thesis. The topic sentence states exactly what the controlling idea of the paragraph is. Later, you will see the writer immediately provide support for the sentence.

Salinger, a World War II veteran, suffered from posttraumatic stress disorder, a disorder that influenced themes in many of his works.

In Note 9.19 “Exercise 2” , you chose three of your most convincing points to support the thesis statement you selected from the list. Take each point and incorporate it into a topic sentence for each body paragraph.

Supporting point 1: ____________________________________________

Topic sentence: ____________________________________________

Supporting point 2: ____________________________________________

Supporting point 3: ____________________________________________

Draft Supporting Detail Sentences for Each Primary Support Sentence

After deciding which primary support points you will use as your topic sentences, you must add details to clarify and demonstrate each of those points. These supporting details provide examples, facts, or evidence that support the topic sentence.

The writer drafts possible supporting detail sentences for each primary support sentence based on the thesis statement:

Thesis statement: Unleashed dogs on city streets are a dangerous nuisance.

Supporting point 1: Dogs can scare cyclists and pedestrians.

Supporting details:

• Cyclists are forced to zigzag on the road.
• School children panic and turn wildly on their bikes.
• People who are walking at night freeze in fear.

Supporting point 2:

Loose dogs are traffic hazards.

• Dogs in the street make people swerve their cars.
• To avoid dogs, drivers run into other cars or pedestrians.
• Children coaxing dogs across busy streets create danger.

Supporting point 3: Unleashed dogs damage gardens.

• They step on flowers and vegetables.
• They destroy hedges by urinating on them.
• They mess up lawns by digging holes.

The following paragraph contains supporting detail sentences for the primary support sentence (the topic sentence), which is underlined.

Salinger, a World War II veteran, suffered from posttraumatic stress disorder, a disorder that influenced the themes in many of his works. He did not hide his mental anguish over the horrors of war and once told his daughter, “You never really get the smell of burning flesh out of your nose, no matter how long you live.” His short story “A Perfect Day for a Bananafish” details a day in the life of a WWII veteran who was recently released from an army hospital for psychiatric problems. The man acts questionably with a little girl he meets on the beach before he returns to his hotel room and commits suicide. Another short story, “For Esmé – with Love and Squalor,” is narrated by a traumatized soldier who sparks an unusual relationship with a young girl he meets before he departs to partake in D-Day. Finally, in Salinger’s only novel, The Catcher in the Rye , he continues with the theme of posttraumatic stress, though not directly related to war. From a rest home for the mentally ill, sixteen-year-old Holden Caulfield narrates the story of his nervous breakdown following the death of his younger brother.

Using the three topic sentences you composed for the thesis statement in Note 9.18 “Exercise 1” , draft at least three supporting details for each point.

Thesis statement: ____________________________________________

Primary supporting point 1: ____________________________________________

Supporting details: ____________________________________________

Primary supporting point 2: ____________________________________________

Primary supporting point 3: ____________________________________________

You have the option of writing your topic sentences in one of three ways. You can state it at the beginning of the body paragraph, or at the end of the paragraph, or you do not have to write it at all. This is called an implied topic sentence. An implied topic sentence lets readers form the main idea for themselves. For beginning writers, it is best to not use implied topic sentences because it makes it harder to focus your writing. Your instructor may also want to clearly identify the sentences that support your thesis. For more information on the placement of thesis statements and implied topic statements, see Chapter 8 “The Writing Process: How Do I Begin?” .

Print out the first draft of your essay and use a highlighter to mark your topic sentences in the body paragraphs. Make sure they are clearly stated and accurately present your paragraphs, as well as accurately reflect your thesis. If your topic sentence contains information that does not exist in the rest of the paragraph, rewrite it to more accurately match the rest of the paragraph.

Key Takeaways

• Your body paragraphs should closely follow the path set forth by your thesis statement.
• Strong body paragraphs contain evidence that supports your thesis.
• Primary support comprises the most important points you use to support your thesis.
• Strong primary support is specific, detailed, and relevant to the thesis.
• Prewriting helps you determine your most compelling primary support.
• Evidence includes facts, judgments, testimony, and personal observation.
• Reliable sources may include newspapers, magazines, academic journals, books, encyclopedias, and firsthand testimony.
• A topic sentence presents one point of your thesis statement while the information in the rest of the paragraph supports that point.
• A body paragraph comprises a topic sentence plus supporting details.

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How to Write a Body Paragraph for an Essay: Guide & Example

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A body paragraph is the main section, where students develop a specific point or argument related to an essay's thesis statement. Typical 5-paragraph essays comprise 3 body paragraphs. Each body paragraph starts with a topic sentence and is followed by evidence, examples and analysis.

Writing a good body paragraph takes craft and mastery. But, lucky for you and us, this guide can give you all the information you might need. We will guide you step by step on how to write a topic sentence , overall structure, and other crucial details. In the end, we bet you’ll understand how to perfect your writing. So keep on reading, and we’ll get this one together!

What Is a Body Paragraph?

The body of an essay is the meat of any good burger. Without it, our burger will not be tasty, or your essay will not be convincing. Thinking of how to start an introduction for an essay ? First, create a thesis statement. It gives your readers the main argument of the overall essay. However, body paragraphs are made for proving the argument you have developed. They are also perfect places for evidence, research, and everything that can make your peace truly convincing. The size will depend on your essay, but three sentences are your bare minimum. Normally, we have three body paragraphs that take up to 80% of our work.  

What Is the Purpose of an Essay Body Paragraph?

Why do we even need body paragraphs of an essay, and what is their purpose? It’s a good question. You might have noticed that our academic world doesn’t believe everything you’re right. So here’s why we need these parts of an essay:

• They make your essay more clear.
• Body paragraphs provide details and evidence that prove your argument.
• They also give you some time to analytically propose our solution for a problem, in case you have given any.
• Main body makes your writing sharp and convincing.

Body Paragraph Structure

We also wanted to talk about parts of a body paragraph . Like any essential part of an essay, this one has a specific structure. It consists of three main parts. Take a look below to find out:

• Topic sentence It summarizes the overall idea of your section.
• Supporting sentences They provide evidence to prove the argument from the beginning of the section.
• Concluding statement Wraps up the section and slowly leads to the next one.

How to Write a Body Paragraph?

Now we can think about how to start a body paragraph. Writing is challenging if one has no good tips or guidelines. So we made sure to include all points one might need. Find all our tricks and hacks from StudyCrumb .

1. Body Paragraph: Topic Sentence Introduction

How to start a topic sentence for a body paragraph? That is an excellent question. First and foremost, you should remember that the topic sentence is put at the beginning of our section. Consequently, it contains the main idea of your paragraph. It is an ideal opportunity to prepare the reader for what they are going to read about next. However, make sure that it doesn’t sound like a fact or a statement that one cannot argue. You've yet to prove it. Something like this will work.  

2. Back Up Your Claim With Evidence in Body of a Paragraph

Body paragraph of an essay was created specifically to add evidence and prove your point. As a consequence, it is an ideal opportunity to include everything that is related to your argument and proves it. The following items are usually used:

• Quotations from research
• Statistics or similar quantitative findings
• Experiences of other professionals in our field
• Schemes or tables retrieved from peer-reviewed sources that support your argument.

Therefore, by including our material that we have mentioned above, you have enough information to prove a claim. You can quote texts or paraphrase authors. But make sure that you give credit to original researchers. Otherwise, you might be facing plagiarism here. Run a plagiarism check before turning your paper in. 

3. Analyze the Evidence in Body Paragraph

Writing a body paragraph also involves not only giving it evidence but also analyzing it. Sadly, it is not enough to randomly put some numbers and statistics without taking our time and commenting on them. First and foremost, you should focus on thorough analysis. Everything you use, each piece of evidence, must be connected with an argument and be explained. Remember that you were making a case and not simply including quotations and words of other authors. To avoid the lack of analysis, make sure that each piece of evidence you use is followed by your own analysis. This combination of proof and your commentary will provide an ideal case for your argument.  

4. Concluding a Body Paragraph

How to end a body paragraph? That is also an excellent question. And we are glad that you asked. We all need some closure. As a consequence, our body paragraph must have some as well. Your concluding sentence provides a quick summary of all the other sentences and details. Mention what our reader has learned and slowly transition to the next paragraph. Also, make sure that you are not using any additional information. It’s not a very good place to do that.  

Transition Words for Body Paragraph

Body paragraph transition words are also crucial for a good flow of your text. What are transition words for essays ? There are those little things that tie everything together. They can show contrast at flow and ensure that our reader stays on top of the material all the time. You might have seen such words:  

• In contrast
• First and foremost
• In conclusion.

Here, our list is endless. But by using them, you keep the attention of your readers and arrange your text in a clear manner. Here’s an example:

Modern horror films greatly rely on jumpscares. In contrast, more old-fashioned movies preferred an eerie atmosphere and carefully crafted starting. 

5. Revise and Proofread Your Body Paragraph

Your essay body paragraph cannot be completed without some proper proofreading. We all make mistakes, especially when it comes to writing. You always should revise and proofread your text to find those embarrassing little errors. Remember, misspelling can happen to anyone. Moreover, the academic world is really harsh with how you write. Therefore, by proofreading your text, you also re-check whether you have proved your argument. It is a perfect opportunity to look critically at your text, analyze evidence and possibly even edit out some sentences. Keep in mind that word count is not the most important part of your essay.  

Tips on Writing a Great Essay Body Paragraph

A good body paragraph will be convincing and full of evidence. Of course, there are certain things to avoid and lots of points to remember. Moreover, there are different structures of body paragraphs depending on the type of work you’re writing. But we still want to include a final list of tips you can use. These tips will help you with the question, " How to write a paper fast ?"

• Start with outlining your sections.
• Keep your thesis statement nearby to recheck whether your body paragraphs prove their main argument.
• Research before you actually start writing.
• Write your topic sentences before adding evidence or quotations.
• Continue asking yourself whether you are given an analysis of your evidence and not just quoting it.

Body Paragraph: Example

We couldn’t leave you without body paragraph examples. Writing will be much easier if you have several examples at your disposal. While checking our example below, think about techniques that can be used to grab the attention of your reader. Besides, keep in mind the basic essay structure  that includes a topic sentence, supporting statements, and a concluding one.  

Final Thoughts on Writing a Body Paragraph

Now we know everything about our body of a paragraph. You might want to practice a little bit. But all tricks and tips are still here to check. Be sure to remember this structure for your essay.

Our academic writing service has everything you need. Our writers know practically everything to help you create, proofread and format your essay in no time.  

Daniel Howard is an Essay Writing guru. He helps students create essays that will strike a chord with the readers.

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Body paragraphs: Moving from general to specific information

Your paper should be organized in a manner that moves from general to specific information. Every time you begin a new subject, think of an inverted pyramid - The broadest range of information sits at the top, and as the paragraph or paper progresses, the author becomes more and more focused on the argument ending with specific, detailed evidence supporting a claim. Lastly, the author explains how and why the information she has just provided connects to and supports her thesis (a brief wrap-up or warrant).

Moving from General to Specific Information

The four elements of a good paragraph (TTEB)

A good paragraph should contain at least the following four elements: T ransition, T opic sentence, specific E vidence and analysis, and a B rief wrap-up sentence (also known as a warrant ) –TTEB!

• A T ransition sentence leading in from a previous paragraph to assure smooth reading. This acts as a hand-off from one idea to the next.
• A T opic sentence that tells the reader what you will be discussing in the paragraph.
• Specific E vidence and analysis that supports one of your claims and that provides a deeper level of detail than your topic sentence.
• A B rief wrap-up sentence that tells the reader how and why this information supports the paper’s thesis. The brief wrap-up is also known as the warrant. The warrant is important to your argument because it connects your reasoning and support to your thesis, and it shows that the information in the paragraph is related to your thesis and helps defend it.

Supporting evidence (induction and deduction)

Induction is the type of reasoning that moves from specific facts to a general conclusion. When you use induction in your paper, you will state your thesis (which is actually the conclusion you have come to after looking at all the facts) and then support your thesis with the facts. The following is an example of induction taken from Dorothy U. Seyler’s Understanding Argument :

There is the dead body of Smith. Smith was shot in his bedroom between the hours of 11:00 p.m. and 2:00 a.m., according to the coroner. Smith was shot with a .32 caliber pistol. The pistol left in the bedroom contains Jones’s fingerprints. Jones was seen, by a neighbor, entering the Smith home at around 11:00 p.m. the night of Smith’s death. A coworker heard Smith and Jones arguing in Smith’s office the morning of the day Smith died.

Conclusion: Jones killed Smith.

Here, then, is the example in bullet form:

• Conclusion: Jones killed Smith
• Support: Smith was shot by Jones’ gun, Jones was seen entering the scene of the crime, Jones and Smith argued earlier in the day Smith died.
• Assumption: The facts are representative, not isolated incidents, and thus reveal a trend, justifying the conclusion drawn.

When you use deduction in an argument, you begin with general premises and move to a specific conclusion. There is a precise pattern you must use when you reason deductively. This pattern is called syllogistic reasoning (the syllogism). Syllogistic reasoning (deduction) is organized in three steps:

• Major premise
• Minor premise

In order for the syllogism (deduction) to work, you must accept that the relationship of the two premises lead, logically, to the conclusion. Here are two examples of deduction or syllogistic reasoning:

• Major premise: All men are mortal.
• Minor premise: Socrates is a man.
• Conclusion: Socrates is mortal.
• Major premise: People who perform with courage and clear purpose in a crisis are great leaders.
• Minor premise: Lincoln was a person who performed with courage and a clear purpose in a crisis.
• Conclusion: Lincoln was a great leader.

So in order for deduction to work in the example involving Socrates, you must agree that (1) all men are mortal (they all die); and (2) Socrates is a man. If you disagree with either of these premises, the conclusion is invalid. The example using Socrates isn’t so difficult to validate. But when you move into more murky water (when you use terms such as courage , clear purpose , and great ), the connections get tenuous.

For example, some historians might argue that Lincoln didn’t really shine until a few years into the Civil War, after many Union losses to Southern leaders such as Robert E. Lee.

The following is a clear example of deduction gone awry:

• Major premise: All dogs make good pets.
• Minor premise: Doogle is a dog.
• Conclusion: Doogle will make a good pet.

If you don’t agree that all dogs make good pets, then the conclusion that Doogle will make a good pet is invalid.

When a premise in a syllogism is missing, the syllogism becomes an enthymeme. Enthymemes can be very effective in argument, but they can also be unethical and lead to invalid conclusions. Authors often use enthymemes to persuade audiences. The following is an example of an enthymeme:

If you have a plasma TV, you are not poor.

The first part of the enthymeme (If you have a plasma TV) is the stated premise. The second part of the statement (you are not poor) is the conclusion. Therefore, the unstated premise is “Only rich people have plasma TVs.” The enthymeme above leads us to an invalid conclusion (people who own plasma TVs are not poor) because there are plenty of people who own plasma TVs who are poor. Let’s look at this enthymeme in a syllogistic structure:

• Major premise: People who own plasma TVs are rich (unstated above).
• Minor premise: You own a plasma TV.
• Conclusion: You are not poor.

To help you understand how induction and deduction can work together to form a solid argument, you may want to look at the United States Declaration of Independence. The first section of the Declaration contains a series of syllogisms, while the middle section is an inductive list of examples. The final section brings the first and second sections together in a compelling conclusion.

Running Has Taught Me to Appreciate What My Body Can Do, Not What Size It Is

Growing up, I was always small and scrawny. I never really noticed my body size until I started high school. I remember hearing people say, "Oh, you're so tiny. How do you do that?" I took pride in being small — something I feel ashamed about now — and the pressure of maintaining that body size led me to be careful about what I ate as I became an adult.

I didn't play sports back then, but my brother ran cross country in high school, and I remember that he would come home stinky and covered in mud. I thought, "This is so silly! Why would you choose to run?" I didn't "get it" until my boyfriend started training for a marathon in 2014. I was 25, and I wanted to understand what he was doing when he left the house for hours at a time. So I just tried running one mile. It was hard, but I kept at it because I wanted to be supportive. That's really why I wanted to get into running.

At the time, I lived near a park with a one-mile loop. I specifically remember the first time I finished that course and didn't feel absolutely exhausted. I think I looked around to see if anyone else was witnessing this moment. It felt both so big and so ordinary at the same time: so big because it was a new feeling; so ordinary because it was already part of a new habit. It was exciting and validating to literally feel the progress of something that had been really hard getting easier and easier.

When you start running, you improve fast . You're running half a mile, then one mile, then one-and-a-half, then two, then three. I started tagging along on my boyfriend's miles, and one day, as we slowed to a jog, he said: "Do you know how long that was? Five miles." Just like when I finished that one-mile loop, this felt like a huge milestone. By then, I was well and truly hooked; I ran the Army Ten-Miler that fall.

Around the same time, I started rethinking my relationship with my body. Before, my approach to eating was "less, less, less." I never had a huge appetite to begin with, but looking back I realize I'd also unconsciously internalized the social pressure to stay small.

But as I began to run more , I realized food is fuel. Making that connection between food and running outcomes was an aha moment. Eating stopped being about controlling the size of my body, and started being more about how to best optimize my performance at this sport that I'd come to love so much.

I was still thin, but I knew that I needed fuel to feel strong on my runs. I've never been a breakfast person, but I started making myself eat a fruit bar before my morning runs. When I was out, I would set an alarm on my phone and eat energy chews every 30 minutes.

I logged two major races in my first two years as a runner: the Marine Corps Marathon in 2015 and Grandma's Marathon in 2017. I made an ambitious goal for the latter event — one that I missed, which ultimately destroyed my relationship with running for a while. I took two years off, and that's when my body really started to change.

I wasn't a "skinny" woman anymore. I no longer heard the "oh you're so tiny" comments. At first, it was an odd, even uncomfortable feeling. Then, a friend who was doing some photos for me — which I felt fairly self-conscious about — admired my muscly calves. Her words stuck with me, and some time later I had another perspective shift, similar to my earlier realization about food being fuel: Heck yes, my calves have grown! Although I wasn't running much at the time, during the previous two years they'd taken an enormous amount of total force over the course of my runs. I was able to celebrate their strength as a result of — even an homage to — my love for the sport.

But our relationships with our bodies ebb and flow, and during the COVID-19 pandemic , I entered an ebb. I felt tired. My depression got worse, and I felt stuck in a vicious cycle: my body wasn't achieving anything for me, and so I wasn't treating it like the amazing machine it is. I felt trapped in it instead of empowered by it.

For several years, I wasn't in a great place with my body image. This discouraged me from getting back into running because I started to think of myself as "out of shape."

But as the pandemic dragged on, I — like so many people — needed a reason to leave the house every day. So I decided to return to running. I started from scratch, using a Couch to 5K program. This time, I felt more empowered and educated. I strength trained and focused on nutrition. I laced up more consistently than I ever had before.

Now, I think my body is probably the same size or even bigger than it was during my break from running, but my relationship with it is totally different. It's strong. I'm not necessarily faster, but I have more energy and passion for what I'm doing.

There's this hill at the end of my regular route. In just the last few weeks, I realized that I've been finishing my runs with my heart rate in an easy zone . Going up that hill is no longer a problem, even though I used to dread it. That's strong.

I've now raced three of four of my spring races, with the Marine Core Historic Half this Sunday. I haven't hit any personal records so far, but I've never completed this many hard-effort runs back-to-back.

face Now when I hear comments like, "Wow, your legs are so strong!" I can take them as the compliments they are . I think the biggest takeaway for me is to focus on what my body can do, not what it looks like — and running helps me keep that perspective.

— As told to Kells McPhillips.

Kells McPhillips is a health and wellness writer living in Los Angeles. In addition to PS, her journalism has appeared in The New York Times, Well+Good, Fortune, Runner's World, Outside, Yoga Journal, and others. On the brand side, she regularly works with Peloton, Calm, and Equinox.

• Personal Essay

Clements Chair (2020) by Full Grown. Courtesy Chris Webb/ Full Grown

Sitting on the art

Given its intimacy with the body and deep play on form and function, furniture is a ripely ambiguous artform of its own.

by Emma Crichton Miller   + BIO

Just outside Paddington Station in London, on the side of a corporate building at 50 Eastbourne Terrace, there is a large clock. Glance at it twice and you will notice there seems to be a miniature man inside, in a three-piece suit, painting then removing the hands of the clock, calmly marking the day, minute by minute. At first, your head cannot organise an idea of how this has happened. Clearly there is no real miniature man inside. Then you understand that you are watching a film, the painstaking result of recording one man’s continuous 12-hour performance, which someone has had the wit to insert into this unremarkable piece of street furniture. Your final experience is of delight that this public clock – a largely redundant piece of architectural decoration in today’s age of mobile phones – has become a philosophical poem, with function intrinsic to its artistry. You are invited to experience time in its existential bareness, as a medium of human action.

The clock is the work of the Dutch designer Maarten Baas, who launched his Real Time project at the Salone del Mobile in Milan in 2009. A trade fair largely dedicated to product design – the best new taps, the most stylish new sofas – it has increasingly seen infiltrating its artier fringe festival (the so-called ‘Fuorisalone’) a whole species of ambiguous object where furniture meets sculpture. Here, what counts is less that the chair or light or clock is comfortable, bright or even beautiful: it must arrest attention like conceptual art. The idea, conceit or story behind it must equal the value of its materials or the ingenuity of its method of construction, which sometimes themselves become part of the salient narrative.

Among such iconic objects we might count the Dutch designer Jeroen Verhoeven’s Cinderella Table (2006). To create this, the young student fed into his computer the outlines of a sinuous 18th-century chest of drawers and an elegant table, both emblems of princely taste, to produce a hybrid conceptual object. It combines the profiles of both objects, visible at right angles to each other, and was painstakingly constructed in plywood by a firm specialising in boat building. The name evokes Walt Disney’s own fun with 18th-century furniture in films such as Beauty and the Beast and also the contrast between the humble material of the table and the luxurious woods and gilding of its grand antecedents.

Cinderella Table (2006) by Jeroen Verhoeven. Courtesy Brooklyn Museum

Another example are Nacho Carbonell’s gigantic irregular mesh and plaster lights, which grow like trees out of simple chairs, creating poetic cocoon-like spaces, evocative, to him, of his childhood home in Spain. Or Thomas Lemut’s sleek metal Gigognes. Olympia. 43 + 38 (2020) nesting tables, whose cracked glazed earthenware tabletops map the cracks in the varnish on the breast of Olympia in Édouard Manet’s scandalous 1863 painting, thereby marrying minimalist precision engineering with a gesture towards human flesh and frailty. These works puzzle, they tease. The more you look, the more you see, and the more their value as cultural objects comes into balance with their aesthetic appeal.

I n many ways, it is obvious that furniture could be a direct expression of human thoughts and feelings. There is its closeness to the human body and its place at the heart of our domestic, social and political lives, both of which make furniture design a fertile medium for exploring the complexities of embodied experience. As the academic John A Fleming commented in ‘The Semiotics of Furniture Form’ (1999): ‘All the objects we make are inscriptions of the human body and mind upon the circumstances of time and space.’ Our closeness to moveable furniture – chairs, small tables – is further underlined by our anthropomorphising talk of the foot, the arm, the back, the head, the leg, the seat. The 17th- and 18th-century European cabinetmakers who rapidly expanded the types and styles of furniture were alert to the ways furniture might reflect contemporary interests. It’s not a huge step from 18th-century rococo furniture mimicking the natural forms their owners might encounter on their rural estates, to the Goodall Chair (2021) and its siblings, literally grown into chair shape by the botanical craftsmen Gavin and Alice Munro. Or compare the elaborate zoomorphic legs of much grand, 18th-century furniture with the exuberantly feminist chair The Grand Lady (2018) of the designer Anna Aagaard Jensen, with its assertively splayed legs.

Semioticians will tell you that all objects tell stories about the societies that produce them. Since the beginning of civilisation, thrones and crowns, the accoutrements of religious ritual and the varieties of stamped coinage have been valued for their symbolic as much as for their functional purpose. And as academics become better at interpreting the material cultures of early civilisations – their vessels, textiles, architecture, furniture and ornaments – so our awareness of their capacity to express a whole range of values and attitudes to the world has grown. But with the Renaissance’s valorisation of the fine artist, the entire class of often elaborately and thoughtfully constructed functional object has been consigned to the category of decorative art. It is valued for its beauty and workmanship, but viewed in contradistinction to the paintings and sculptures – the spiritual emanations – of artists such as Michelangelo and Benvenuto Cellini.

The distinction has been laboriously maintained by the traditional linguistic and educational divides between design and art, enforced within art colleges. In What Is a Designer? (1969), the cabinet maker and poet Norman Potter wondered aloud: ‘Is a Designer an Artist?’, admitting that ‘in the last analysis, every human artefact – whether painting, poem, chair or rubbish bin – evokes and invokes the inescapable totality of a culture, and the hidden assumptions which condition cultural priorities.’ Still, he wanted too to make plain ‘that a designer works through and for other people, and is concerned primarily with their problems rather than his own.’ The idea that it might be legitimate for a designer to seize hold of her task and run with it, not just to serve her customer but to express her individual thoughts and emotions, didn’t occur to him.

They tapped the potential of furniture and other functional objects to become the very embodiment of myth

Potter’s view is consonant with the values of 20th-century modernism, which at the same time as making a democratic hero of the industrial designer, stripped furniture and other functional objects of their right to express anything other than their function. But there were countervailing movements in the early 20th century that resisted such rigidity: the Bauhaus and the Wiener Werkstätte, influenced in part by the ideas of William Morris and John Ruskin , passionate instigators both of Britain’s 19th-century Arts and Crafts movement, who sought to bring art, craft and industrial design closer together, and Russian Constructivism and De Stijl in the Netherlands, which also embraced the opportunity of industrial manufacture to renegotiate traditional boundaries.

More radical were the Surrealists. The French sociologist and philosopher Jean Baudrillard commented in The System of Objects (1968):

The world of the objects of old [he means pre-Industrial manufacture] seems like a theatre of cruelty and instinctual drives in comparison with the formal neutrality and prophylactic ‘whiteness’ of our perfect functional objects.

In consequence, he says, the ‘repressed gestural system is thus transformed into myth, projection, transcendence.’ But there were those who resisted that repression, tapping the potential of furniture and other functional objects to become the very embodiment of myth – schooled projections of the subconscious. Think of Salvador Dalí’s Mae West lips sofa and his lobster telephones , created in the 1930s for his patron Edward James; Méret Oppenheim’s Object (1936), known in English as ‘Breakfast in Fur’; or Dorothea Tanning’s series Primitive Seating (1982) – animal-print covered chairs, complete with tails! Such work opposed both rationalism and conventional luxury.

In an interview about the show ‘Objects of Desire: Surrealism and Design 1924-Today’, which travelled from the Vitra Design Museum in Germany to the Design Museum in London in 2022, its curator Mateo Kries spoke about Surrealist design as transgressive:

because it rejects the definition of design as merely an industrial practice, as a service by a designer for a manufacturer. It’s looking at design as something that can involve speculation, and even contradiction.

The Surrealists were not alone in pushing boundaries. Even prominent modernist designers – including the Dutchman Gerrit Rietveld, the Finnish designer Alvar Aalto and the French architect-designer Charlotte Perriand – were stretching the forms and materials of furniture in sculptural ways.

T here were shifting responses to the monolith of mass production in the United States as well. Take Wharton Esherick’s revival of hand-crafted wooden furniture, or George Nakashima, renowned for his tables consisting of irregular slices of ancient tree trunk: both expressed a keenness to embed humans once again in nature. Or figures like Isamu Noguchi and Ray and Charles Eames who moved freely between sculpture, architecture and design. In fine art, too, artists and sculptors seized on humble furniture as synecdoches for human presence and physical reality, partly in reaction to the epic, self-involved canvases of the Abstract Expressionists. In Pilgrim (1960), Robert Rauschenberg presented us with an abstract painting where paint spills off the canvas onto a simple chair placed in front, thereby initiating the chair into the world of myth and story conjured in the canvas. However you look at it, the salience of furniture as a conduit for human emotions and signifier of ideas was widely recognised.

Pilgrim (1960) by Robert Rauschenberg. Courtesy and © The Robert Rauschenberg Foundation

Some artists, such as Scott Burton, consciously set out to be both artist and furniture designer at once. Inspired by the earlier 20th-century boundary-crossing movements, Burton made refined steel furniture that combined a monumental simplicity with clear functional purpose. Most of his peers, however, felt they had to be one or the other – or both, but not at the same time. Donald Judd, for instance, fought to keep his minimalist sculptural works and his furniture (sometimes fabricated by the same people in similar materials!) entirely separate, critically and commercially. In his essay ‘It’s Hard to Find a Good Lamp’ (1993), Judd wrote:

The configuration and the scale of art cannot be transposed into furniture and architecture. The intent of art is different from that of the latter, which must be functional. If a chair or a building is not functional, if it appears to be only art, it is ridiculous.

Indeed, Judd began making furniture as a practical expedient, despairing at the ‘junk for consumers’ available in furniture stores. But from an outside perspective, his furniture clearly expresses ideas that cross over with those embodied in his sculpture – and it is hardly comfortable. Judd’s furniture also shows clear debts to the iconic pieces of Rietveld, Aalto et al, whose work he collected. As others have pointed out, part of his aim in drawing a clear line between the motivations behind art and furniture was his anxiety that his minimalist conceptual artwork might in fact be mistaken for design: those beautiful machine-engineered columns of boxes commandeered for knickknacks.

These objects became vivid as artworks only when touched, held, worn, carried

Other artists had no such anxiety. The Austrian artist Franz West developed a practice in the 1960s and ’70s that included abstract sculpture, interactive sculpture, furniture and collage. Using found materials and roughly cut materials, he welded eccentrically shaped furniture that he would place in museums and invite visitors to test-drive. In an interview with Iwona Blazwick from 1991, quoted by Alex Coles in DesignArt (2005), West challenged Judd head-on:

Don Judd said that a chair and a work of art are completely different. My understanding is that it is absolutely not different. If I make a chair, I say it’s an artwork.

Perhaps West’s most original contribution to 20th-century art was his Passstücke ( Adaptives ). In 1973, he began creating compact, portable sculptures using materials such as plaster and papier-mâché. These objects became vivid as artworks only when touched, held, worn, carried, or otherwise physically or cognitively engaged. The engagement of the viewer’s body was critical. ‘The perception of art,’ West once said of his couches, ‘takes place through the pressure points that develop when you lie on it.’ In his self-appointed role as a thorn in the stiff sides of Austrian society, West saw the potential of furniture to offer space for the contingent, battered human body in the palace of fine art.

From the Franz West exhibition at Tate Modern, London in 2019. Courtesy ACME/Flickr

The US sculptor Mike Nevelson was likewise clear that his interest in furniture stemmed from its connection to the human body:

I do not make furniture, or sculptured furniture or furniture sculpture. I am a sculptor who makes sculptures whose shape comes from interpretations of memories of furniture that originally had an anthropomorphic basis.

From a different end of the US spectrum, Wendell Castle, who made his reputation making powerfully sculptural, biomorphic furniture, also saw himself as an artist. He once told The New York Times : ‘I thought of the work as sculpture, not furniture,’ adding: ‘The fact that it was useful didn’t add anything to it, for me.’ Eschewing conventional furniture-building methods, such as joinery, his pieces were created from simple hand drawings using a chainsaw and robot to carve large blocks of laminated wood. By the 1980s, Castle was exploring the expressive potential of resin, and its myriad colours, though in the last decades of his life (he died in 2018) he returned to wood, and that ultimate sculptural medium, bronze. Although he worked like a sculptor, the human body and its potential for physical interaction with the piece was always in mind. Part of the delight in his pieces is the way the viewer’s imagination leaps to occupy the spaces it provides, to enjoy its accommodating curves – even if so much of his furniture is physically off-limits, in museums or private collections.

Ron Arad is a UK-based artist who has long tested the borders of art and design. His 1987 exhibition in the Edward Totah Gallery in London featured chairs, concrete hi-fis and telescopic aerial lights that were as much about furniture as being it. Arad made his name with the Rover Chair created in 1981. Inspired by Pablo Picasso and Marcel Duchamp’s ready-made sculptures , he fused a leather-covered Rover car seat picked up in a scrapyard with tubular steel and Kee Klamp joints. The ingenuity and wit of its construction caught the spirit of the time – Friends of the Earth featured it on the cover of its magazine. His Bookworm (1993) spiral bookcase brought poetry into industrial design, creating a curving shape that evokes the curled-up body reading a book, while gesturing towards the kind of inwardness you get with the experience of being lost inside a book. Considering these various ways that furniture makers turn provocateur, it is tempting to ask if perhaps furniture becomes art when it dialogically implicates the body, as opposed to merely catering to the body’s needs.

Bookworm (1993) by Ron Arad. Courtesy Diane Jones/Flickr

T he group who did more than anyone to liberate furniture from the strict protocols of product design was the Dutch company Droog. In 1993, the art historian Renny Ramakers and the product designer Gijs Bakker joined forces to take a group of experimental young Dutch designers to Milan, to exhibit their work at its prestigious furniture fair. To signal the peculiar quality of their sense of humour, they called themselves Droog or ‘dry’. Their show was the talk of the town, with iconic pieces such as Tejo Remy’s ‘You Can’t Lay Down Your Memory’ Chest of Drawers ( 1991 ), made of found drawers, each with their own history, held together roughly by a belt, or his first Rag Chair (1991), constructed from piles of recycled textiles strapped together into a chair shape, offering a stimulating challenge to Italian opulence.

Rag Chair (1991) by Tejo Remy. Courtesy Droog

In Moving Objects: A Cultural History of Emotive Design (2023), the design historian Damon Taylor notes that the importance of such objects (and many others discussed here) depends on their ability to communicate ideas more than on their functionality. As such, their impact has been hugely abetted by digital communication. Taylor argues that our relationship to such unique and startling objects has changed fundamentally as their images have migrated from niche design publications to the internet and Instagram. The hand-built craft aesthetic, suited to one-off or very limited production, would normally have condemned these pieces to obscurity, but in fact it is precisely their singular or limited-edition nature that lifts them into an authentic communication. Once there are many, the freshness of the story is lost. And while the one-off piece is normally seen as elitist (only one person can own it, after all) when its value lies in its power to tell stories, as carried by an image, it becomes truly democratic furniture, equally available to all. Of course, this cultural currency in turn enhances the value of the physical work for the single owner – an irony not lost on designers such as Job Smeets, whose Robber Baron (2006) series of furniture is today owned almost exclusively by robber barons.

Droog was one offshoot of an educational experiment – the radical programme of design teaching at the Design Academy Eindhoven (DAE) in the Netherlands, which encourages students to see design as a means to address and express many different ideas. Here, Bakker taught Richard Hutten and Jurgen Bey, who in turn taught Baas. Other graduates include Smeets of the Antwerp-based Studio Job, and Wieki Somers and Dylan van den Berg of Studio Wieki Somers. In a recent interview with Carbonell, the Spanish designer commented:

In Eindhoven, what I learnt was very poetic, and the school allowed it to come through. Here, I work with soul, emotion, a story to tell.

The danger is that people pick up on the spectacular look of such works but miss the thought

Pupils who cite Carbonell as an influence include Benjamin Motoc, a recent graduate from Paris, who described in an interview in 2021 the difference between the design education available at DAE and the more rigid curriculum at his previous design college:

[The French tutors] didn’t speak much about how political your work can be, how it can empower people – and how design can contribute to culture and how design can be art. There was no suggestion that design is not always for the masses, that it can be for communities. This is something I learned at DAE.

The belief that design can speak of politics and communities has erupted elsewhere too. In Brazil, two brothers, Humberto and Fernando Campana, founded their company in 1984. They were inspired by Brazil’s own characterful modernist design movement, headed by the architect Oscar Niemeyer, but also by a playfulness and chaotic openness to different influences, materials and techniques arising from their upbringing in the countryside near São Paulo. The Campana brothers transform waste or humble materials into outrageously colourful and intriguing furniture that carries its politics – environmentalism, sustainability, community – lightly. Humberto has said of the surrealist element in their joint work (sadly, Fernando died in 2022):

[W]e always speak about dreams and fantasies; we are storytellers. Even to this day, I still question what I am. Am I a designer or an artist? I don’t care to know, but I have the passion to create my experiences and to show my emotions.

In the past two decades, contemporary, ambitious, conceptually driven furniture has found fans. Commercial galleries and dedicated art fairs have proliferated; auction houses have begun to sell critically acclaimed pieces on the secondary market. In all their wide variety, however, these objects remain hard to define: are they art, are they craft, or even design? The fact that they have not fully found their place in the cultural sphere – that their ambiguity provokes anxiety – is evident in the confusion at art fairs and auctions about how this kind of expressive furniture is to be categorised. Which is usually alongside antique furniture and other decorative arts. Even some museums, whether of design or decorative arts, have taken a while to acknowledge their cultural value. Yet, as the boundaries between media and genre dissolve across all art forms, that recognition is likely to grow.

The danger is that people pick up on the spectacular look of such works but miss the thought. The critical distinction is easily lost between good pieces (where the furniture expresses an idea satisfactorily and its being furniture is part of the meaning) and those where there is just a flippant Oh yes, this is a piece of conceptual furniture because it looks a bit wacky and has a high price tag . And yet conceptual furniture is a thing. Take the work of Lubna Chowdhary, who uses the vernacular of furniture design (or ceramics) to create sculptural objects that interrogate a whole range of ideas relating to function but which are not themselves functional. Her work is indisputably sculpture. Thought-provoking, yes, but not because of its graceful balance on this particular tightrope.

There is not just one way to work. Sometimes, the thoughtfulness is expressed at the level of materials, sometimes at the level of composition, sometimes in dream or fantasy. The design critic Rick Poynor, in his essay ‘Art’s Little Brother’ (2005), offered one account of the appeal of the best pieces:

The mystery comes from the way that our expectations of form’s conventional possibilities and limits are overturned. The sensory, intellectual and emotional satisfactions they offer as pieces to look at, think about and react to – as well as to use – are akin to the experience of sculpture.

He adds that, while art and design exist ‘in a continuum of possibilities’, ‘The most interesting work often happens in the gaps where there is room for manoeuvre and scope for debate.’ It is a highwire act. Lean too much towards function, and the idea seems a tag-on. Lean too far the other way, and it becomes just sculpture. When it works, the hairs stand up on the back of your neck. And you sit down.

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Why Soda is Bad for You: the Health Risks

This essay about the detrimental effects of soda consumption on health. It highlights the risks associated with excessive sugar intake, including diabetes and obesity, as well as the negative impact on dental health due to acidic content. Even diet sodas pose risks due to artificial sweeteners and their potential effects on metabolism and gut health. Furthermore, soda consumption has been linked to cardiovascular issues and may even affect skeletal integrity over time. The essay emphasizes the importance of limiting soda intake and opting for healthier alternatives like water or tea for hydration.

How it works

Effervescent soda, with its saccharine effervescence and invigorating allure, has entrenched itself as a dietary mainstay across the globe. Despite its ubiquity, a mounting body of research and expert testimonies unveil substantial health hazards inherent in habitual soda consumption. From saccharine-laden colas to artificially sweetened diet variants, these libations exert deleterious effects on physical well-being that extend well beyond transient energy surges.

One of the most disconcerting facets of soda is its prodigious sugar quotient. A mere 12-ounce can of regular soda harbors approximately 10 teaspoons of sugar, predominantly in the guise of high fructose corn syrup.

Such egregious sugar ingestion engenders an abrupt surge in blood glucose levels, eliciting a commensurate insulin surge from the pancreas. Repeated glycemic spikes precipitate insulin resistance over time, a harbinger of type 2 diabetes. Cumulative evidence underscores that individuals imbibing sugary beverages daily are markedly predisposed to diabetes onset.

Moreover, apart from diabetes, heightened sugar consumption is inextricably linked to corpulence. Liquid sucrose from soda fails to confer satiety akin to solid sustenance, fomenting augmented caloric intake overall. This calorific surplus accrues as adipose tissue, particularly visceral fat. Soda aficionados are disproportionately susceptible to corpulence, a condition concomitant with myriad health maladies such as cardiovascular ailments and metabolic derangement.

In addition to the perils of sugar, the acidic milieu of soda precipitates profound repercussions on dental integrity. Phosphoric acid and citric acid, prevalent constituents in sodas, corrode dental enamel and furnish an environment conducive to caries formation. The lofty sugar content exacerbates this predicament by furnishing a microbial banquet that further imperils dental health. Habitual soda indulgence invariably fosters accelerated dental caries and attendant odontological tribulations.

Even ostensibly healthier diet sodas, bereft of sucrose, harbor their own panoply of risks. Synthetic sweeteners like aspartame and sucralose have been implicated in metabolic perturbations that paradoxically augment appetite and cravings. Emerging evidence posits that habitual diet soda imbibers exhibit exacerbated weight gain vis-a-vis non-consumers over time. Certain investigations have raised apprehensions regarding artificial sweeteners’ deleterious effects on gut microflora, potentially compromising digestive and immune function.

The impact of soda on cardiovascular health represents another pressing concern. Epidemiological inquiries have evinced a correlative relationship between habitual sugar-laden beverage ingestion and heightened risks of hypertension, dyslipidemia, and cardiovascular morbidity. These sequelae are exacerbated by soda’s high caloric load and attendant adiposity often accompanying its consumption.

In addition to the myriad health risks enumerated above, phosphoric acid, utilized in soda formulations to bolster flavor and extend shelf life, may exact a toll on skeletal integrity. Phosphoric acid interferes with calcium assimilation, potentially engendering osteopenia or osteoporosis over time, especially when soda supplants calcium-rich beverages like milk in one’s dietary regimen.

In summation, the evidence proffered unequivocally attests to the deleterious ramifications of soda consumption, both regular and diet. Excessive sugar, acidity, artificial sweeteners, and chemical adjuncts coalesce to furnish a concoction deleterious to metabolic, cardiovascular, and odontological health. While sporadic soda imbibition may not elicit cataclysmic repercussions, habitual indulgence warrants circumspection. Healthful alternatives such as water, unadulterated tea, or sparkling water furnish hydration and invigoration sans jeopardizing one’s well-being.

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

In 2021 Lilly Dancyger’s first book, “Negative Space,” was praised for its unflinching portrait of her father’s heroin addiction

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

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Thich Nhat Hanh’s Walking Meditation

The late Thich Nhat Hanh emphasized the practice of mindful walking as a profound way to deepen our connection with our body and the earth. Read on and learn how to breathe, take a mindful step, and come back to your true home.

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Many of us walk for the sole purpose of getting from one place to another. Now suppose we are walking to a sacred place. We would walk quietly and take each gentle step with reverence. I propose that we walk this way every time we walk on the earth. The earth is sacred and we touch her with each step. We should be very respectful, because we are walking on our mother. If we walk like that, then every step will be grounding, every step will be nourishing.

We can train ourselves to walk with reverence. Wherever we walk, whether it’s the railway station or the supermarket, we are walking on the earth and so we are in a holy sanctuary. If we remember to walk like that, we can be nourished and find solidity with each step.

To walk in this way, we have to notice each step. Each step made in mindfulness can bring us back to the here and the now. Go slowly. Mindfulness lights our way. We don’t rush. With each breath we may take just one step. We may have run all our life, but now we don’t have to run anymore. This is the time to stop running. To be grounded in the earth is to feel its solidity with each step and know that we are right where we are supposed to be.

Each mindful breath, each mindful step, reminds us that we are alive on this beautiful planet. We don’t need anything else. It is wonderful enough just to be alive, to breathe in, and to make one step. We have arrived at where real life is available—the present moment. If we breathe and walk in this way, we become as solid as a mountain.

There are those of us who have a comfortable house, but we don’t feel that we are at home. We don’t want for anything, and yet we don’t feel at home. All of us are looking for our solid ground, our true home. The earth is our true home and it is always there, beneath us and around us. Breathe, take a mindful step, and arrive. We are already at home.

Uniting Body and Mind

We can’t be grounded in our body if our mind is somewhere else. We each have a body that has been given us by the earth. This body is a wonder. In our daily lives, we may spend many hours forgetting the body. We get lost in our computer or in our worries, fear, or busyness. Walking meditation makes us whole again. Only when we are connected with our body are we truly alive. Healing is not possible without that connection. So walk and breathe in such a way that you can connect with your body deeply.

Walking meditation unites our body and our mind. We combine our breathing with our steps. When we breathe in, we may take two or three steps. When we breathe out, we may take three, four, or five steps. We pay attention to what is comfortable for our body.

Our breathing has the function of helping our body and mind to calm down. As we walk, we can say, Breathing in, I calm my body. Breathing out, I bring peace into my body. Calming the breath calms the body and reduces any pain and tension.

Walking meditation is first and foremost a practice to bring body and mind together peacefully.

When we walk like this, with our breath, we bring our body and our mind back together. Our body and our mind are two aspects of the same reality. If we remove our mind from our body, our body is dead. If we take our body out of our mind, our mind is dead. Don’t think that one can be if the other is not.

Walking meditation is first and foremost a practice to bring body and mind together peacefully. No matter what we do, the place to start is to calm down, because when our mind and our body have calmed down, we see more clearly. When we see our anger or sadness clearly, it dissipates. We begin to feel more compassion for ourselves and others. We can only feel this when body and mind are united.

Walking meditation should not be work. It is very pleasant, especially in the early morning when the air is still very fresh. When we walk mindfully, we see the beauty and the wonder of the earth around us, and we wake up. We see that we are living a very wonderful moment. If our mind is caught and preoccupied with our worries and suffering, we miss these things. We can value each step we take, and each step brings us happiness. When we look again at the earth and the sky, we see that the earth is a wonderful reality.

We Are Not Separate From the Earth

We think that the earth is the earth and we are something outside of the earth. But in fact we are inside of the earth. Imagine that the earth is the tree and we are a leaf. The earth is not the environment, something outside of us that we need to care for. The earth is us. Just as your parents, ancestors, and teachers are inside you, the earth is in you. Taking care of the earth, we take care of ourselves.

When we see that the earth is not just the environment, that the earth is in us, at that moment you can have real communion with the earth. But if we see the earth as only the environment, with ourselves in the center, then we only want to do something for the earth in order for us to survive. But that is not enough. That is a dualistic way of seeing.

We have to practice looking at our planet not just as matter, but as a living and sentient being. The universe, the sun, and the stars have contributed many elements to the earth, and when we look into the earth we see that it’s a very beautiful flower containing the presence of the whole universe. When we look into our own bodily formation, we are made of the same elements as the planet. It has made us. The earth and the universe are inside of us.

When we take mindful steps on the earth, our body and mind unite, and we unite with the earth. The earth gave birth to us and the earth will receive us again. Nothing is lost. Nothing is born. Nothing dies. We don’t need to wait until after our body has disintegrated to go back to Mother Earth. We are going back to Mother Earth at every moment. Whenever we breathe, whenever we step, we are returning to the earth. Even when we scratch ourselves, skin cells will fall and return to the earth.

Breathing in, I know Mother Earth is in me. Breathing out, I know Mother Earth is in me.

Earth includes the life sphere and the atmosphere. So you don’t have to wait until you die to go back to Mother Earth, because you are already in Mother Earth. We have to return to take refuge in our beautiful planet. I know that earth is my home. I don’t need to die in order to go back to Mother Earth. I am in Mother Earth right now, and Mother Earth is in me.

You may like to try this exercise while you walk: Breathing in, I know Mother Earth is in me. Breathing out, I know Mother Earth is in me.

Paul Tillich, the German theologian, said, “God is not a person but not less than a person.” This is true of the earth as well. It is more than a person. It has given birth to millions of species, including human beings. Many ancient cultures believed there was a deity that inhabited the sun, and they worshiped the sun. But when I do walking meditation and touching the earth, I do not have that kind of dualistic view. I am not worshiping the earth as a separate deity outside of myself.

I think of the earth as a bodhisattva, a great and compassionate being. A bodhisattva is a being who has awakening, understanding, and love. Any living being who has awakening, peace, understanding, and love can be called a bodhisattva, but a bodhisattva doesn’t have to be a human being. When we look into a tree, we see the tree is fresh, it nourishes life, and it offers shade and beauty. It’s a place of refuge for so many birds and other creatures. A bodhisattva is not something that is up in the clouds far away from us. Bodhisattvas are all around us. A young person who has love, who has freshness, who has understanding, who offers us a lot of happiness, is a bodhisattva. The pine standing in the garden gives us joy, offers us oxygen, and makes life more beautiful.

When we say that earth is a beautiful bodhisattva, this is not our imagination. It is a fact that the earth is giving life and she is very beautiful. The bodhisattva is not a separate spirit inhabiting the earth; we should transcend that idea. There are not two separate things—the earth, which is a material thing, and the spirit of the earth, a nonmaterial thing that inhabits the earth.

Our planet earth is itself a true, great bodhisattva. It embodies so many great virtues. The earth is solid—it can carry so many things. It is patient—it takes its time moving glaciers and carving rocks. The earth doesn’t discriminate. We can throw fragrant flowers on the earth, or we can throw urine and excrement on the earth, and the earth purifies it. The earth has a great capacity to endure, and it offers so much to nourish us—water, shelter, food, and air to breathe.

When we recognize the virtues, the talent, the beauty of the earth bodhisattva, love is born. You love the earth and the earth loves you. You would do anything for the well-being of the earth. And the earth will do anything for your well-being. That is the natural outcome of the real loving relationship. The earth is not just your environment, to be taken care of or worshiped; you are each other. Every mindful step can manifest that love.

With each step the earth heals us, and with each step we heal the earth.

Part of love is responsibility. In Buddhism, we speak of meditation as an act of awakening. To awaken is to be awake to something. We need to be awake to the fact that the earth is in danger and living species on earth are also in danger. When we walk mindfully, each step reminds us of our responsibility. We have to protect the earth with the same commitment we have to protect our family and ourselves. The earth can nourish and heal us but it suffers as well. With each step the earth heals us, and with each step we heal the earth.

When we walk mindfully on the face of the earth, we are grounded in her generosity and we cannot help but be grateful. All of the earth’s qualities of patience, stability, creativity, love, and nondiscrimination are available to us when we walk reverently, aware of our connection.

Let the Buddha Walk

I have a student named Sister Tri Hai who spent a long time in prison. She was a peace activist I knew since she was in middle school. She came to the United States to study English literature before going back to Vietnam and becoming a nun. When she was out in the streets advocating for peaceful change, she was arrested and put in prison.

During the day, the prison guards didn’t like her to sit in meditation. When they see someone sitting in a prison cell solidly and stably, it feels a bit threatening. So she waited until the lights had gone out, and she would sit like a person who has freedom. In outer appearance she was caught in the prison. But inside she was completely free. When you sit like that, the walls are not there. You’re in touch with the whole universe. You have more freedom than people outside who are imprisoning themselves in their agitation.

Sister Tri Hai also practiced walking meditation in her prison cell. It was very small—after seven steps she had to turn around and come back. Sitting and walking mindfully gave her space inside. She taught other prisoners in her cell how to sit and how to breathe so they would suffer less. They were in a cold cell, but through their walking meditation, they were grounded in the solid beauty of the earth.

Those of us who can walk on the earth, who can walk in freedom, should do it. If we rush from one place to another, without practicing walking meditation, it is such a waste. What is walking for? Walking is for nothing. It’s just for walking. That is our ultimate aim—walking in the spring breeze. We have to walk so that we have happiness, so that we can be a free person. We have to let go of everything, and not seek or long or search for anything. There is enough for us to be happy.

All the Buddhist stories tell us that the Buddha had a lot of happiness when he sat, when he walked, when he ate. We have some experience of this. We know there are moments when we’re walking or sitting that we are so happy. We also know that there are times, because of illness or physical disability or because our mind is caught elsewhere, when we cannot walk freely like the Buddha. There are those of us who do not have the use of our legs. There are those of us who are in prison, like Sister Tri Hai, and only have a few feet of space. But we can all invite the Buddha to walk for us. When we have difficulty, we can leave that difficulty behind and let the Buddha walk for us. In a while the solidity of the earth can help us return to ourselves.

If we sit mindfully, if we walk mindfully and reverently on the earth, we will generate the energies of mindfulness, of peace, and of compassion in both body and mind.

We are made of body and mind. Our body can radiate the energy of peace and compassion. Our mind also has energy. The energy of the mind can be powerful. If the energy of the mind is filled with fear and anger, it can be very destructive. But if we sit mindfully, if we walk mindfully and reverently on the earth, we will generate the energies of mindfulness, of peace, and of compassion in both body and mind. This kind of energy can heal and transform.

If you walk reverently on the earth with two other people, soaking in the earth’s solidity, you will all three radiate and benefit from the energy of peace and compassion. If three hundred people sit or walk like this, each one generates the energy of mindfulness, peace, and compassion, and everyone in the group receives that healing energy. The energy of peace and mindfulness does not come from elsewhere. It comes from us. It comes from our capacity to breathe, to walk, to sit mindfully and recognize the wonders of life.

When you walk reverently and solidly on this earth and I do the same, we send out waves of compassion and peace. It is this compassion that will heal ourselves, each other, and this beautiful green earth.

Meditation: Walking on the Earth

Walk slowly, in a relaxed way. When you practice this way, your steps are those of the most secure person on earth. Feel the gravity that makes every step attach to the earth. With each step, you are grounded on the earth.

One way to practice walking meditation is to breathe in and take one step, and focus all your attention on the sole of your foot. If you have not arrived fully, 100 percent in the here and the now, don’t take the next step. I’m sure you can take a step like that because there is buddhanature in you. Buddhanature is the capacity of being aware of what is going on. It is what allows you to recognize what you are doing in the current moment and to say to yourself, I am alive, I am taking a step. Anyone can do this. There is a buddha in every one of us, and we should allow the buddha to walk.

While walking, practice conscious breathing by counting steps. Notice each breath and the number of steps you take as you breathe in and as you breathe out. Don’t try to control your breathing. Allow your lungs as much time and air as they need, and simply notice how many steps you take as your lungs fill up and how many you take as they empty, mindful of both your breath and your steps. The link is the counting.

When you walk uphill or downhill, the number of steps per breath will change. Always follow the needs of your lungs. You may notice that your exhalation is longer than your inhalation. You might find that you take three steps during your in-breath and four steps during your out-breath, or two steps, then three steps. If this is comfortable for you, please enjoy practicing this way. You can also try making the in-breath and the out-breath the same length, so that you take three steps with your in-breath and three with your out-breath. Keep walking and you will find the natural connection between your breath and your steps.

Don’t forget to practice smiling. Your half-smile will bring calm and delight to your steps and your breath, and help sustain your attention. After practicing for half an hour or an hour, you will find that your breath, your steps, your counting, and your half-smile all blend together in a marvelous balance of mindfulness. Each step grounds us in the solidity of the earth. With each step we fully arrive in the present moment.

Walking Meditation Poem

I take refuge in Mother Earth. Every breath, every step manifests our love. Every breath brings happiness. Every step brings happiness. I see the whole cosmos in the earth.

Thich Nhat Hanh

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Guest Essay

Europe Is About to Drown in the River of the Radical Right

Ms. Ypi, a professor of political theory at the London School of Economics, wrote from London.

Europe is awash with worry. Ahead of parliamentary elections widely expected to deliver gains to the hard right, European leaders can barely conceal their anxiety. In a speech in late April, President Emmanuel Macron of France captured the prevailing mood. After eloquently warning of threats to the continent, he pronounced the need for a newly powerful Europe, a “Europe puissance.”

As I watched the speech , I was reminded of Niccolò Machiavelli’s comments in the opening pages of “The Prince,” his seminal 16th-century treatise on political power. In a dedication to Lorenzo de’ Medici, the ruler of the Florentine Republic, Machiavelli suggested that politics is in many ways like art. Just as landscape painters imaginatively place themselves in the plains to examine the mountains and on top of mountains to study the plains, so too should rulers inhabit their domains. “To know the nature of the people well, one must be a prince,” Machiavelli wrote, “and to know the nature of princes well, one must be of the people.”

Here was a politician grappling with the first part of Machiavelli’s sentence, an officeholder trying to comprehend the lay of the land. What is power in contemporary Europe, and how should it be exercised by the European Union? Mr. Macron answered in princely fashion, showing awareness of both the finite nature of every political community — Europe is “mortal,” he said — and its cyclical vulnerability to crisis. He concluded with a passionate defense of European “civilization” and urged the creation of a paradigm to revive it.

Yet for all his aspirations, Mr. Macron neglected the second half of Machiavelli’s sentence: that people also form views on their rulers, which rulers ignore at their peril. Mr. Macron brushed aside the many Europeans who feel the bloc is aloof and inaccessible, describing their disenchantment as a result of “false arguments.” The dismissal was no aberration. For decades, the leaders of the European Union have overlooked the people in the plains, shutting out the continent’s citizens from any meaningful political participation. This exclusion has changed the contours of the European landscape, paving the way for the radical right.

When Machiavelli reflected on the crises of his time — among them conflicts between major European powers, discontent with public officials and the collapsing legitimacy of the Roman Catholic Church — he turned to the Roman Republic for inspiration. When there is skepticism about values, he wrote, history is our only remaining guide. The secret to Roman freedom, he explained in the “Discourses on Livy,” was neither its good fortune nor its military might. Instead, it lay in the Romans’ ability to mediate the conflict between wealthy elites and the vast majority of people — or as he put it, “i grandi” (the great) and “il popolo” (the people).

While the inherent tendency of the great, Machiavelli argued, is to accumulate wealth and power to rule the rest, the inherent desire of the people is to avoid being at the elites’ mercy. The clash between the groups generally pulled polities in opposite directions. Yet the Roman Republic had institutions, like the tribunate of the plebs, that sought to empower the people and contain the elites. Only by channeling rather than suppressing this conflict, Machiavelli said, could civic freedom be preserved.

Europe has not heeded his advice. For all its democratic rhetoric, the European Union is closer to an oligarchic institution. Overseen by an unelected body of technocrats in the European Commission, the bloc allows for no popular consultation on policy, let alone participation. Its fiscal rules, which impose strict limits on the budgets of member states, offer protection for the rich while imposing austerity on the poor. From top to bottom, Europe is dominated by the interests of the wealthy few, who restrict the freedom of the many.

Its predicament, of course, is not unique. Businesses, financial institutions, credit rating agencies and powerful interest groups call the shots everywhere, severely constraining the power of politicians. The European Union is far from the worst offender. Still, in nation-states, the semblance of democratic participation can be sustained through allegiance to a shared constitution. In the European Union, whose founding myth is the free market, the case is much harder to make.

The transnational character of the bloc is often supposed to be behind Europeans’ dislike of it. Yet those who resist the current European Union do not do so because it is too cosmopolitan. Very simply, and not unreasonably, they resist it because it fails to represent them. The Parliament for which Europeans will be voting next month, to take one glaring example of the bloc’s lack of democracy, has little legislative power of its own: It tends to merely rubber-stamp decisions made by the commission. It is this representative gap that is filled by the radical right, turning the problem into simple binaries — either you or them, the state or Europe, the white worker or the migrant.

It is perhaps surprising that the bloc’s democratic deficit has become a rallying cry for the radical right, but it explains much of its success. A recent poll , for example, showed that Europe’s citizens are much more concerned about poverty, jobs, living standards and climate change than they are about migration. This suggests that the appeal of the radical right lies less in its obsessive hostility to migrants than in its criticism of the bloc’s failures to address people’s everyday concerns. European politicians could seek to remedy that by changing institutions to improve citizens’ bargaining power and make them feel heard. Instead, they prefer to give stern lectures.

The radical right may be on the rise in Europe, but it does not have to be this way. Politics is always at the mercy of fortune. Yet fortune, as Machiavelli emphasized in “The Prince,” is like a river whose overflow can be prevented by building dikes and dams. If European politicians are increasingly trapped in emergency management, it’s because they have failed in the first task of politics worthy of the name: to diagnose the causes of crisis, to explain who is represented and who is excluded and to defend those whose freedom is endangered.

The politics of the people presented by the radical right may be narrowly ethnocentric, but it is the only one on offer that speaks directly to people’s disillusionment. Our modern princes may choose to look away. Yet as long as the radical right continues to dominate the terms of mainstream debate, while its historical roots are discreetly ignored, no appeal to European values will stop the river in which we’re all about to drown.

Lea Ypi ( @lea_ypi ) is a professor of political theory at the London School of Economics and the author of “Free: Coming of Age at the End of History.”

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