reading essay on books

• Importance Of Reading Essay

Importance of Reading Essay

500+ words essay on reading.

Reading is a key to learning. It’s a skill that everyone should develop in their life. The ability to read enables us to discover new facts and opens the door to a new world of ideas, stories and opportunities. We can gather ample information and use it in the right direction to perform various tasks in our life. The habit of reading also increases our knowledge and makes us more intellectual and sensible. With the help of this essay on the Importance of Reading, we will help you know the benefits of reading and its various advantages in our life. Students must go through this essay in detail, as it will help them to create their own essay based on this topic.

Importance of Reading

Reading is one of the best hobbies that one can have. It’s fun to read different types of books. By reading the books, we get to know the people of different areas around the world, different cultures, traditions and much more. There is so much to explore by reading different books. They are the abundance of knowledge and are best friends of human beings. We get to know about every field and area by reading books related to it. There are various types of books available in the market, such as science and technology books, fictitious books, cultural books, historical events and wars related books etc. Also, there are many magazines and novels which people can read anytime and anywhere while travelling to utilise their time effectively.

Benefits of Reading for Students

Reading plays an important role in academics and has an impactful influence on learning. Researchers have highlighted the value of developing reading skills and the benefits of reading to children at an early age. Children who cannot read well at the end of primary school are less likely to succeed in secondary school and, in adulthood, are likely to earn less than their peers. Therefore, the focus is given to encouraging students to develop reading habits.

Reading is an indispensable skill. It is fundamentally interrelated to the process of education and to students achieving educational success. Reading helps students to learn how to use language to make sense of words. It improves their vocabulary, information-processing skills and comprehension. Discussions generated by reading in the classroom can be used to encourage students to construct meanings and connect ideas and experiences across texts. They can use their knowledge to clear their doubts and understand the topic in a better way. The development of good reading habits and skills improves students’ ability to write.

In today’s world of the modern age and digital era, people can easily access resources online for reading. The online books and availability of ebooks in the form of pdf have made reading much easier. So, everyone should build this habit of reading and devote at least 30 minutes daily. If someone is a beginner, then they can start reading the books based on the area of their interest. By doing so, they will gradually build up a habit of reading and start enjoying it.

Frequently Asked Questions on the Importance of Reading Essay

What is the importance of reading.

1. Improves general knowledge 2. Expands attention span/vocabulary 3. Helps in focusing better 4. Enhances language proficiency

What is the power of reading?

1. Develop inference 2. Improves comprehension skills 3. Cohesive learning 4. Broadens knowledge of various topics

How can reading change a student’s life?

1. Empathy towards others 2. Acquisition of qualities like kindness, courtesy

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Essays About Reading: 5 Examples And Topic Ideas

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

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

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

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

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

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

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

Examples Of Essays About Reading

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Can Reading Make You Happier?

By Ceridwen Dovey

Several years ago, I was given as a gift a remote session with a bibliotherapist at the London headquarters of the School of Life, which offers innovative courses to help people deal with the daily emotional challenges of existence. I have to admit that at first I didn’t really like the idea of being given a reading “prescription.” I’ve generally preferred to mimic Virginia Woolf’s passionate commitment to serendipity in my personal reading discoveries, delighting not only in the books themselves but in the randomly meaningful nature of how I came upon them (on the bus after a breakup, in a backpackers’ hostel in Damascus, or in the dark library stacks at graduate school, while browsing instead of studying). I’ve long been wary of the peculiar evangelism of certain readers: You must read this, they say, thrusting a book into your hands with a beatific gleam in their eyes, with no allowance for the fact that books mean different things to people—or different things to the same person—at various points in our lives. I loved John Updike’s stories about the Maples in my twenties, for example, and hate them in my thirties, and I’m not even exactly sure why.

But the session was a gift, and I found myself unexpectedly enjoying the initial questionnaire about my reading habits that the bibliotherapist, Ella Berthoud, sent me. Nobody had ever asked me these questions before, even though reading fiction is and always has been essential to my life. I love to gorge on books over long breaks—I’ll pack more books than clothes, I told Berthoud. I confided my dirty little secret, which is that I don’t like buying or owning books, and always prefer to get them from the library (which, as I am a writer, does not bring me very good book-sales karma). In response to the question “What is preoccupying you at the moment?,” I was surprised by what I wanted to confess: I am worried about having no spiritual resources to shore myself up against the inevitable future grief of losing somebody I love, I wrote. I’m not religious, and I don’t particularly want to be, but I’d like to read more about other people’s reflections on coming to some sort of early, weird form of faith in a “higher being” as an emotional survival tactic. Simply answering the questions made me feel better, lighter.

We had some satisfying back-and-forths over e-mail, with Berthoud digging deeper, asking about my family’s history and my fear of grief, and when she sent the final reading prescription it was filled with gems, none of which I’d previously read. Among the recommendations was “The Guide,” by R. K. Narayan. Berthoud wrote that it was “a lovely story about a man who starts his working life as a tourist guide at a train station in Malgudi, India, but then goes through many other occupations before finding his unexpected destiny as a spiritual guide.” She had picked it because she hoped it might leave me feeling “strangely enlightened.” Another was “The Gospel According to Jesus Christ,” by José Saramago: “Saramago doesn’t reveal his own spiritual stance here but portrays a vivid and compelling version of the story we know so well.” “Henderson the Rain King,” by Saul Bellow, and “Siddhartha,” by Hermann Hesse, were among other prescribed works of fiction, and she included some nonfiction, too, such as “The Case for God,” by Karen Armstrong, and “Sum,” by the neuroscientist David Eagleman, a “short and wonderful book about possible afterlives.”

Our staff and contributors share their cultural enthusiasms.

I worked my way through the books on the list over the next couple of years, at my own pace—interspersed with my own “discoveries”—and while I am fortunate enough to have my ability to withstand terrible grief untested, thus far, some of the insights I gleaned from these books helped me through something entirely different, when, over several months, I endured acute physical pain. The insights themselves are still nebulous, as learning gained through reading fiction often is—but therein lies its power. In a secular age, I suspect that reading fiction is one of the few remaining paths to transcendence, that elusive state in which the distance between the self and the universe shrinks. Reading fiction makes me lose all sense of self, but at the same time makes me feel most uniquely myself. As Woolf, the most fervent of readers, wrote, a book “splits us into two parts as we read,” for “the state of reading consists in the complete elimination of the ego,” while promising “perpetual union” with another mind.

Bibliotherapy is a very broad term for the ancient practice of encouraging reading for therapeutic effect. The first use of the term is usually dated to a jaunty 1916 article in The Atlantic Monthly , “A Literary Clinic.” In it, the author describes stumbling upon a “bibliopathic institute” run by an acquaintance, Bagster, in the basement of his church, from where he dispenses reading recommendations with healing value. “Bibliotherapy is…a new science,” Bagster explains. “A book may be a stimulant or a sedative or an irritant or a soporific. The point is that it must do something to you, and you ought to know what it is. A book may be of the nature of a soothing syrup or it may be of the nature of a mustard plaster.” To a middle-aged client with “opinions partially ossified,” Bagster gives the following prescription: “You must read more novels. Not pleasant stories that make you forget yourself. They must be searching, drastic, stinging, relentless novels.” (George Bernard Shaw is at the top of the list.) Bagster is finally called away to deal with a patient who has “taken an overdose of war literature,” leaving the author to think about the books that “put new life into us and then set the life pulse strong but slow.”

Today, bibliotherapy takes many different forms, from literature courses run for prison inmates to reading circles for elderly people suffering from dementia. Sometimes it can simply mean one-on-one or group sessions for “lapsed” readers who want to find their way back to an enjoyment of books. Berthoud and her longtime friend and fellow bibliotherapist Susan Elderkin mostly practice “affective” bibliotherapy, advocating the restorative power of reading fiction. The two met at Cambridge University as undergraduates, more than twenty years ago, and bonded immediately over the shared contents of their bookshelves, in particular Italo Calvino’s novel “If on a Winter’s Night a Traveller,” which is itself about the nature of reading. As their friendship developed, they began prescribing novels to cure each other’s ailments, such as a broken heart or career uncertainty. “When Suse was having a crisis about her profession—she wanted to be a writer, but was wondering if she could cope with the inevitable rejection—I gave her Don Marquis’s ‘Archy and Mehitabel’ poems,” Berthoud told me. “If Archy the cockroach could be so dedicated to his art as to jump on the typewriter keys in order to write his free-verse poems every night in the New York offices of the Evening Sun, then surely she should be prepared to suffer for her art, too.” Years later, Elderkin gave Berthoud,who wanted to figure out how to balance being a painter and a mother, Patrick Gale’s novel “Notes from an Exhibition,” about a successful but troubled female artist.

They kept recommending novels to each other, and to friends and family, for many years, and, in 2007, when the philosopher Alain de Botton, a fellow Cambridge classmate, was thinking about starting the School of Life, they pitched to him the idea of running a bibliotherapy clinic. “As far as we knew, nobody was doing it in that form at the time,” Berthoud said. “Bibliotherapy, if it existed at all, tended to be based within a more medical context, with an emphasis on self-help books. But we were dedicated to fiction as the ultimate cure because it gives readers a transformational experience.”

Berthoud and Elderkin trace the method of bibliotherapy all the way back to the Ancient Greeks, “who inscribed above the entrance to a library in Thebes that this was a ‘healing place for the soul.’ ” The practice came into its own at the end of the nineteenth century, when Sigmund Freud began using literature during psychoanalysis sessions. After the First World War, traumatized soldiers returning home from the front were often prescribed a course of reading. “Librarians in the States were given training on how to give books to WWI vets, and there’s a nice story about Jane Austen’s novels being used for bibliotherapeutic purposes at the same time in the U.K.,” Elderkin says. Later in the century, bibliotherapy was used in varying ways in hospitals and libraries, and has more recently been taken up by psychologists, social and aged-care workers, and doctors as a viable mode of therapy.

There is now a network of bibliotherapists selected and trained by Berthoud and Elderkin, and affiliated with the School of Life, working around the world, from New York to Melbourne. The most common ailments people tend to bring to them are the life-juncture transitions, Berthoud says: being stuck in a rut in your career, feeling depressed in your relationship, or suffering bereavement. The bibliotherapists see a lot of retirees, too, who know that they have twenty years of reading ahead of them but perhaps have only previously read crime thrillers, and want to find something new to sustain them. Many seek help adjusting to becoming a parent. “I had a client in New York, a man who was having his first child, and was worried about being responsible for another tiny being,” Berthoud says. “I recommended ‘Room Temperature,’ by Nicholson Baker, which is about a man feeding his baby a bottle and having these meditative thoughts about being a father. And of course 'To Kill a Mockingbird,' because Atticus Finch is the ideal father in literature.”

Berthoud and Elderkin are also the authors of “The Novel Cure: An A-Z of Literary Remedies,” which is written in the style of a medical dictionary and matches ailments (“failure, feeling like a”) with suggested reading cures (“The History of Mr. Polly,” by H. G. Wells). First released in the U.K. in 2013, it is now being published in eighteen countries, and, in an interesting twist, the contract allows for a local editor and reading specialist to adapt up to twenty-five per cent of the ailments and reading recommendations to fit each particular country’s readership and include more native writers. The new, adapted ailments are culturally revealing. In the Dutch edition, one of the adapted ailments is “having too high an opinion of your own child”; in the Indian edition, “public urination” and “cricket, obsession with” are included; the Italians introduced “impotence,” “fear of motorways,” and “desire to embalm”; and the Germans added “hating the world” and “hating parties.” Berthoud and Elderkin are now working on a children’s-literature version, “A Spoonful of Stories,” due out in 2016.

For all avid readers who have been self-medicating with great books their entire lives, it comes as no surprise that reading books can be good for your mental health and your relationships with others, but exactly why and how is now becoming clearer, thanks to new research on reading’s effects on the brain. Since the discovery, in the mid-nineties, of “mirror neurons”—neurons that fire in our brains both when we perform an action ourselves and when we see an action performed by someone else—the neuroscience of empathy has become clearer. A 2011 study published in the Annual Review of Psychology , based on analysis of fMRI brain scans of participants, showed that, when people read about an experience, they display stimulation within the same neurological regions as when they go through that experience themselves. We draw on the same brain networks when we’re reading stories and when we’re trying to guess at another person’s feelings.

Other studies published in 2006 and 2009 showed something similar—that people who read a lot of fiction tend to be better at empathizing with others (even after the researchers had accounted for the potential bias that people with greater empathetic tendencies may prefer to read novels). And, in 2013, an influential study published in Science found that reading literary fiction (rather than popular fiction or literary nonfiction) improved participants’ results on tests that measured social perception and empathy, which are crucial to “theory of mind”: the ability to guess with accuracy what another human being might be thinking or feeling, a skill humans only start to develop around the age of four.

Keith Oatley, a novelist and emeritus professor of cognitive psychology at the University of Toronto, has for many years run a research group interested in the psychology of fiction. “We have started to show how identification with fictional characters occurs, how literary art can improve social abilities, how it can move us emotionally, and can prompt changes of selfhood,” he wrote in his 2011 book, “Such Stuff as Dreams: The Psychology of Fiction.” “Fiction is a kind of simulation, one that runs not on computers but on minds: a simulation of selves in their interactions with others in the social world…based in experience, and involving being able to think of possible futures.” This idea echoes a long-held belief among both writers and readers that books are the best kinds of friends; they give us a chance to rehearse for interactions with others in the world, without doing any lasting damage. In his 1905 essay “On Reading,” Marcel Proust puts it nicely: “With books there is no forced sociability. If we pass the evening with those friends—books—it’s because we really want to. When we leave them, we do so with regret and, when we have left them, there are none of those thoughts that spoil friendship: ‘What did they think of us?’—‘Did we make a mistake and say something tactless?’—‘Did they like us?’—nor is there the anxiety of being forgotten because of displacement by someone else.”

George Eliot, who is rumored to have overcome her grief at losing her life partner through a program of guided reading with a young man who went on to become her husband, believed that “art is the nearest thing to life; it is a mode of amplifying experience and extending our contact with our fellow-men beyond the bounds of our personal lot.” But not everybody agrees with this characterization of fiction reading as having the ability to make us behave better in real life. In her 2007 book, “Empathy and the Novel,” Suzanne Keen takes issue with this “empathy-altruism hypothesis,” and is skeptical about whether empathetic connections made while reading fiction really translate into altruistic, prosocial behavior in the world. She also points out how hard it is to really prove such a hypothesis. “Books can’t make change by themselves—and not everyone feels certain that they ought to,” Keen writes. “As any bookworm knows, readers can also seem antisocial and indolent. Novel reading is not a team sport.” Instead, she urges, we should enjoy what fiction does give us, which is a release from the moral obligation to feel something for invented characters—as you would for a real, live human being in pain or suffering—which paradoxically means readers sometimes “respond with greater empathy to an unreal situation and characters because of the protective fictionality.” And she wholeheartedly supports the personal health benefits of an immersive experience like reading, which “allows a refreshing escape from ordinary, everyday pressures.”

So even if you don’t agree that reading fiction makes us treat others better, it is a way of treating ourselves better. Reading has been shown to put our brains into a pleasurable trance-like state, similar to meditation, and it brings the same health benefits of deep relaxation and inner calm. Regular readers sleep better, have lower stress levels, higher self-esteem, and lower rates of depression than non-readers. “Fiction and poetry are doses, medicines,” the author Jeanette Winterson has written. “What they heal is the rupture reality makes on the imagination.”

One of Berthoud’s clients described to me how the group and individual sessions she has had with Berthoud have helped her cope with the fallout from a series of calamities, including losing her husband, the end of a five-year engagement, and a heart attack. “I felt my life was without purpose,” she says. “I felt a failure as a woman.” Among the books Berthoud initially prescribed was John Irving’s novel “The Hotel New Hampshire.” “He was a favorite writer of my husband, [whom] I had felt unable to attempt for sentimental reasons.” She was “astounded and very moved” to see it on the list, and though she had avoided reading her husband’s books up until then, she found reading it to be “a very rewarding emotional experience, both in the literature itself and ridding myself of demons.” She also greatly appreciated Berthoud guiding her to Tom Robbins’s novel “Jitterbug Perfume,” which was “a real learning curve for me about prejudice and experimentation.”

One of the ailments listed in “The Novel Cure” is “overwhelmed by the number of books in the world,” and it’s one I suffer from frequently. Elderkin says this is one of the most common woes of modern readers, and that it remains a major motivation for her and Berthoud’s work as bibliotherapists. “We feel that though more books are being published than ever before, people are in fact selecting from a smaller and smaller pool. Look at the reading lists of most book clubs, and you’ll see all the same books, the ones that have been shouted about in the press. If you actually calculate how many books you read in a year—and how many that means you’re likely to read before you die—you’ll start to realize that you need to be highly selective in order to make the most of your reading time.” And the best way to do that? See a bibliotherapist, as soon as you can, and take them up on their invitation, to borrow some lines from Shakespeare’s “Titus Andronicus”: "Come, and take choice of all my library/And so beguile thy sorrow…"

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📖Essay on Importance of Reading: Samples in 100, 150, and 250 Words

• Updated on  
• Apr 26, 2024

Language learning requires four skills i.e. Listening, Speaking, Reading, and Writing. It is an important part that eventually builds up the communication skills of a person. Reading will help in attaining knowledge of variable fields. It enhances the intellect of a person. Reading helps students to enhance their language fluency. Students must adopt the habit of reading good books. Reading books can also improve the writing skills. If you are a school student and searching for a good sample essay on the importance of reading then, you landed at the right place. Here in this blog, we have covered some sample essays on the importance of reading!

Table of Contents

• 1 Essay on the Importance of Reading in 100 Words
• 2 Essay on Importance of Reading 150 Words
• 3 Essay on Importance of Reading 250 Words
• 4 Short Essay on Importance of Reading

Essay on the Importance of Reading in 100 Words

The English language is considered the global language because it is the most widely spoken language worldwide. Reading is one of the important parts of acquiring complete knowledge of any language. Reading helps in maintaining a good vocabulary that is helpful for every field, whether in school, interviews , competitive exams , or jobs. 

Students must inculcate the habit of reading from a young age. Making a habit of reading good books will eventually convert into an addiction over time and you will surely explore a whole new world of information.

Being exposed to different topics through reading can help you look at the wider perspective of life. You will eventually discover a creative side of yours while developing the habit of reading.

Also Read: Essay on Gaganyaan

Essay on Importance of Reading 150 Words

Reading is considered an important aspect that contributes to the development of the overall personality of any person. If a person wants to do good at a professional level then he/she must practice reading.

There are various advantages of reading. It is not only a source of entertainment but also opens up the creative ability of any person. Reading helps in self-improvement, enhances communication skills, and reduces stress. It is one of the sources of pleasure and also enhances the analytical skills. 

Here are some of the best books to study that may help you enhance your reading skills:

• Harry Potter and the Philosopher’s Stone by J.K. Rowling .
• To Kill a Mockingbird by Harper Lee .
• The Namesake by Jhumpa Lahiri .
• Pride and Prejudice
• The Great Gatsby

A person with good reading skills would be able to communicate with more confidence and shine brighter at the professional level. Reading is a mental exercise, as it can provide you with the best experience because while reading fiction, or non-fiction you use your imagination without any restrictions thereby exploring a whole new world on your own. So, Just Enjoy Reading!

Also Read: Communication Skills to Succeed at Work

Essay on Importance of Reading 250 Words

Reading is a language skill necessary to present yourself in front of others because without being a good reader, it’s difficult to be a good communicator. Reading books should be practised regularly. Books are considered a human’s best friend.

It is right to say that knowledge can’t be stolen. Reading enhances the knowledge of a person. There are numerous benefits of reading.

I love reading books and one of my all-time favorite authors is William Shakespeare. His work “As You Like It” is my favourite book. By reading that book I came across many new words. It enabled me to add many words to my vocabulary that I can use in my life.

Apart from this, there are many other benefits of reading books such as reading can help you write in a certain way that can impress the reader. It also enhances communication skills and serves as a source of entertainment . 

Schools conduct various competitions which directly or indirectly involve reading. Some such competitions include debate, essay writing competitions, elocution, new reading in assembly, etc. All such activities require active reading because without reading a person might not be able to speak on a specific topic.

All such activities are conducted to polish the language skills of students from the very beginning so that they can do good at a professional level.

In conclusion, in a world of technological advancement, you are more likely to get easy access to online reading material available on the internet. So, you must not miss this opportunity and devote some time to reading different kinds of books. 

Also Read: SAT Reading Tips

Short Essay on Importance of Reading

Find a sample of a short essay on importance of reading below:

Also Read: Essay on Social Issues

Reading is a good habit; It helps to improve communication skills; Good books whether fiction or non-fiction widen your imagination skills; You can experience a whole new world while reading; It helps you establish your professional personality; Reading skills help you interact with other people at a personal and professional level; Improves vocabulary; Reading novels is considered a great source of entertainment; It helps you acquire excessive knowledge of different fields; Reading is motivational and a great mental exercise.

Reading is important to build the overall personality of a person. It establishes a sense of professionalism and improves the vocabulary. Adapting a habit of reading books will help in expanding your knowledge and creativity.

Here are some of the best books for students to read: The 7 Habits of Highly Effective People; The Alchemist, The 5 AM Club, Rich Dad Poor Dad, etc.

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Hi, I am Kajal, a pharmacy graduate, currently pursuing management and is an experienced content writer. I have 2-years of writing experience in Ed-tech (digital marketing) company. I am passionate towards writing blogs and am on the path of discovering true potential professionally in the field of content marketing. I am engaged in writing creative content for students which is simple yet creative and engaging and leaves an impact on the reader's mind.

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Friday essay: Alice Pung — how reading changed my life

Author (non-fiction, fiction, young adult), The University of Melbourne

Disclosure statement

Alice Pung does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

University of Melbourne provides funding as a founding partner of The Conversation AU.

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Having survived starvation and been spared execution, my father arrived in this new country, vassal-eyed and sunken-cheeked. I was born less than a month later and he named me Alice because he thought Australia was a Wonderland. Maybe he had vague literary aspirations for me, like most parents have vague infinite dreams for their babies, so small, so bewildered, so egoless. I arrived safe after so many babies had died under the regime created by a man who named himself deliberately after ruthless ambition — Political Potential, or Pol Pot for short.

“There was a tree,” my father told me when I was a teenager, “and this tree was where Pol Pot’s army, the Khmer Rouge, killed babies and toddlers. They would grab the infant by their ankles and swing them against the trunk and smash them again and again until they were dead.”

When I was an adult, I found out that there was not just the one tree. There were many such trees from which no cradle hung.

But as a child, growing up in Australia, the oldest of four, I knew the words to comfort crying babies. They’d been taught to me by my schoolteachers, with rhyme but without reason: when the bough breaks the cradle will fall and down will come baby, cradle and all. A gentle song to rock my sisters to sleep. If my mother understood the words I was singing, she’d yell at me.

My mother was always hollering at me about one thing or another. After the age of eight, I was never left in peace. She repeatedly told me that babies had really soft skulls, that there was even a hole in their heads that hadn’t yet closed. When I looked at my baby sister, I could see something pulsing on the top of her scalp, beneath the skin. Never drop a baby, they warned me, or your life will be over. They spoke in warnings and commands, like Old Testament sages. They’d seen babies dropped dead. Their language was literal, not literary, but it did the trick.

We could not complain that we were dying of boredom because they’d seen death close-up, and it was definitely not caused by a lack of Lego. We could not say that we were starving because at one malarial point in his life, my father thought that if he breathed inwards he could feel his backbone through his stomach. We could never be hungry or bored in our concrete house in Braybrook, behind a carpet factory that spewed out noxious methane smells that sent us to school reeking like whoopee-cushions.

But in this scatological suburb, I was indeed often bored shitless. Imagine this — you go outside and hoons in cobbled-together Holdens wind down their windows and tell you to Go Back Home, Chinks. So you walk home and inside, it’s supposed to be like home. But it’s not a home you know.

It’s a home your parents know, where the older siblings look after the younger ones and your mum works in an airless dark shed at the back making jewellery, and you think it’s called outworking because although she’s at home she’s always out working. Just like her mum in Phnom Penh and her mum’s mum in Phnom Penh and every other poor mum in the history of your family lineage.

“What are you doing here? Stop bothering me,” your mum would tell you. Or when she was desperate, she’d be cajoling: “Take your siblings out. Go for a walk. If you give me just one more hour, I’ll be done.” Her face would be blackened, her fingers cut. She’d have her helmet on, with the visor. She looked like a coal miner.

Back in Cambodia, the eldest siblings looked after the bevy of little ones, all the children roaming around the Central Market, en masse. Here, in these Melbourne suburbs they’d call it a marauding Asian gang, I bet. I preferred to stay at home. I had plenty to keep me occupied there. Our school library let me borrow books, but I can’t even remember the names of the librarians now. They didn’t like some of the kids because sometimes we stole books.

My best friend Lydia read a book about Helen Keller that so moved her, so expanded her 10-year-old sense of the world that she nicked it and stroked the one-line sample of Braille print on the last page until all the raised dots were flat. I nicked books too, books on needlecraft and making soft toys. Sometimes one of my aunts would come by and give us a garbage bag filled with fleecy fabric offcuts from her job sewing tracksuits in her own back shed.

Being a practical kid who bugged her parents at every opportunity possible for new toys, I wanted to have reference manuals on how to make them. I didn’t nick story books or novels because to me, those were like films I often only wanted to experience once.

One day, my baby sister rolled herself off the bed when I was supposed to be watching her. She was three months old. I had just turned nine. My mother ran into the house and railed at me like a dybbuk, “You’re dead! You’re dead!” She scooped my sister out of my hands. “What were you doing? You were meant to watch her!”

“She was asleep,” I sobbed, “I was reading a book.”

While my mother was working to support us in the dark back shed, I had been in the sunlit bedroom, staring for hours and hours on end at little rectangles, only stopping occasionally to make myself some Nescafé coffee with sweetened condensed milk. If this wasn’t the high life, then what was? Those books were not making me any smarter, she might have thought. Or even said, because it was something she was always telling me, because she couldn’t read or write herself. The government had closed down her Chinese school when she was in grade one, as the very first step of ethnic cleansing in Cambodia.

My mother called up my father and roared over the phone for him to come home immediately because I’d let my sister roll off the bed and she might be brain-damaged. “If she’s brain-damaged, you’re going to be dead,” my father said to me, before they both left for the hospital with my sister.

I hated my parents at that moment, but I hated myself more. I also hated the Baby-Sitters Club, all of those 12-year-old girls for whom looking after small children was just an endless series of sleepovers and car-washes and ice-cream parties and they even always got praised and paid for it. The only people I did not hate were my siblings. They were blameless.

This fucking reading , I thought, because this is how I thought back then, punctuated by profanity, because this is how I wrote back then in diaries I made at school of folded paper stapled together with colourful cardboard covers that I’d then take home and fill in with pages and pages of familial injustice. Sometimes the pen dug in so aggressively underlining a word of rage that I’d make a cut through the paper five pages deep. And this is how the kids talked at school, and also some of their parents who picked them up from school. But then I also realised, reading’s the only fucking good thing I have going for me .

It showed me parents who were not only reasonable, but indulgent. They were meant to be friends with their kids. They were meant to foster their creativity and enterprise. They hosted parties and baked cupcakes and laughed when their children messed up the house, and sat them down and explained things to them carefully with great verbal displays of affection. But only if the kids were like Kristy or Stacey or Dawn in the Baby-Sitters Club.

Read more: Friday essay: need a sitter? Revisiting girlhood, feminism and diversity in The Baby-Sitters Club

If they were anything like me, then they didn’t talk very much. We were refugees in school textbooks, there for edification, to induce guilt and gratitude. The presence of third-world people like us in a book immediately stripped that book of any reading-for-pleasure aspirations. We were hard work. We were Objects not Subjects. Or if subjects, subjects of charity and not agents of charity. Always takers, never givers. No wonder people resented us.

Hell, even I resented us! “Girls are more responsible,” my mother always told me. When my aunties dumped their children, my little cousins, with me, they’d always say, “Alice is so good. We trust her.” What’s one or two or three more when you already have so many in the house? they reasoned.

I imagined if some prying interloper had called the cops on my parents when I was young, seeing our makeshift crèche with no adult supervision around. “If you tell the government what I do,” my mother always warned me when I was a child, “they’ll take me away and lock me up and your brother and sisters will be distributed to your aunts and uncles or be put in foster homes.”

What she did — her 14-hour days in the back shed, working with potassium cyanide and other noxious chemicals to produce the jewellery for stores that would then pay her only a couple of dollars per ring or pendant — she thought was a crime. She got paid cash in hand, so she never paid any taxes. She just didn’t understand that she wasn’t the criminal; she was the one being exploited.

My mother began work at 13 in a plastic-bag factory, after her school was closed down. When all the men were at war, the factories were filled with women and children. One afternoon, she told me, she accidentally sliced open a chunk of her leg with the plastic-bag-cutting machine. She had to stay home for the next two weeks. She spent those two weeks worrying whether she’d be replaced by another little girl. In her whole working life, spanning over half a century, my mother has never signed an employment contract because she can’t write or read.

“People can rip me off so easily,” she would often lament, “that’s why I have to have my wits about me at all times.” She’d always count out the exact change when she went grocery shopping even though it mortified me as a kid, and drove those behind her in line nuts. “If they overcharge me and you’re not here, how can I explain anything to them?” she’d ask, “I don’t speak English.”

She’d memorise landmarks when driving, because she couldn’t read street signs. During elections, she would put a “1” next to the candidate who looked the most attractive in their photo. And she’d ask me to read the label on her prescription medicines.

“Tell me carefully,” she’d instruct, “too much or too little and you could kill me.” The power over life and death, I thought, not really a responsibility I wanted at eight. But power over life and death is supposed to be what great works of art are about. Sometimes, there’s not a huge chasm between being literate and being literary. They are not opposite ends of a continuum.

Sure, I enjoyed the classics, especially that line in Great Expectations when Pip determines that he will return a gentleman and deliver “gallons of condescension”. But the depictions of working children, children treated as economic units of labour, as instruments for ulterior adult ends – this was nothing new to me.

Looking after children is hard work. No one cares when things go right, it is the natural course of the universe. But everyone swarms in when things go wrong. A whole swat team, sometimes consisting of your own extended family members, ready to whack at you like a revolting bug if harm should befall your minor charges. The sad reality is that when you slap a monetary value onto these services, people sit up.

They pay attention. They first splutter about how outrageous it is. Then slowly they accept it. You hope that one day no children will be left at home, minding other children while their parents work, because all working parents will be able to access good, affordable childcare.

Often when people rail, think of the children! they are not really thinking of the children. Otherwise, they would listen to the children, not condemn the parents for situations beyond their control — illiteracy, minimum wages, poverty.

Jeanette Winterson wrote about art’s ability to coax us away from the mechanical and towards the miraculous. It involves just seeing the extraordinary in the ordinary. To understand that an eight-year-old can and will take responsibility and care of themselves when left to their own devices requires imaginative empathy, not judgement.

Reading showed me what the world could be. My life told me what the world was. It was not Jane Eyre or Lizzie Bennet or even Nancy Drew that opened my life to the possibility of a better existence. It was Ann M. Martin and her Baby-Sitters Club. That children should get paid was a crazy idea, that they should get paid for babysitting even more audacious.

That a handful of pre-teen girls could start a small business from Claudia’s home — beautiful artistic Asian Claudia Kishi with her own fixed phone line — and that they could muster all the neighbourhood children under their care and largesse was revolutionary to me.

In my life, the miraculous does not involve magic. There is nothing that makes the state of childhood particularly magical. There is a lot that is frightening, brutal and cruel about every stage of life. After all, I know that a single tree can harbour a cradle or a grave. But to be able to do what my hardworking, wonderful mother never could — time-travel, mind-read, even never to mistake dish detergent for shampoo because the pictures of fruit on the bottle are similar — this is a gift I will never take for granted.

This is an extract from The Gifts of Reading: Essays on the Joys of Reading, Giving and Receiving Books curated by Jennie Orchard, with all royalties to be donated to Room to Read (RRP $32.99, Hachette Australia), available now.

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How Reading Makes Us More Human

A debate has erupted over whether reading fiction makes human beings more moral. But what if its real value consists in something even more fundamental?

A battle over books has erupted recently on the pages of The New York Times and Time. The opening salvo was Gregory Currie's essay , "Does Great Literature Make Us Better?" which asserts that the widely held belief that reading makes us more moral has little support. In response , Annie Murphy Paul weighed in with "Reading Literature Makes Us Smarter and Nicer." Her argument is that "deep reading," the kind of reading great literature requires, is a distinctive cognitive activity that contributes to our ability to empathize with others; it therefore can, in fact, makes us "smarter and nicer," among other things. Yet these essays aren't so much coming to different conclusions as considering different questions.

To advance her thesis, Paul cites studies by Raymond Mar, a psychologist at York University in Canada, and Keith Oatley, a professor emeritus of cognitive psychology at the University of Toronto. Taken together, their findings suggest that those "who often read fiction appear to be better able to understand other people, empathize with them and view the world from their perspective." It's the kind of thing writer Joyce Carol Oates is talking about when she says, "Reading is the sole means by which we slip, involuntarily, often helplessly, into another's skin, another's voice, another's soul."

Oatley and Mar's conclusions are supported, Paul argues, by recent studies in neuroscience, psychology, and cognitive science. This research shows that "deep reading -- slow, immersive, rich in sensory detail and emotional and moral complexity -- is a distinctive experience," a kind of reading that differs in kind and quality from "the mere decoding of words" that constitutes a good deal of what passes for reading today, particularly for too many of our students in too many of our schools (as I have previously written about here ).

Paul concludes her essay with a reference to the literary critic Frank Kermode, who famously distinguishes between "carnal reading" -- characterized by the hurried, utilitarian information processing that constitutes the bulk of our daily reading diet -- and "spiritual reading," reading done with focused attention for pleasure, reflection, analysis, and growth. It is in this distinction that we find the real difference between the warring factions in what might be a chicken-or-egg scenario: Does great literature make people better, or are good people drawn to reading great literature?

Currie is asking whether reading great literature makes readers more moral  -- a topic taken up by Aristotle in Poetics (which makes an ethical apology for literature) . Currie cites as counter-evidence the well-read, highly cultured Nazis. The problem with this (aside from falling into the trap of Godwin's Law ) is that the Nazis were, in fact, acting in strict conformity to the dictates of a moral code, albeit the perverse code of the Third Reich. But Paul examines the connection of great literature not to our moral selves, but to our spiritual selves.

What good literature can do and does do -- far greater than any importation of morality -- is touch the human soul.

Reading is one of the few distinctively human activities that set us apart from the rest of the animal kingdom. As many scholars have noted, and Paul too mentions in her piece, reading, unlike spoken language, does not come naturally to human beings. It must be taught. Because it goes beyond mere biology, there is something profoundly spiritual -- however one understands that word -- about the human ability, and impulse, to read. In fact, even the various senses in which we use the word captures this: to "read" means not only to decipher a given and learned set of symbols in a mechanistic way, but it also suggests that very human act of finding meaning, of "interpreting" in the sense of "reading" a person or situation. To read in this sense might be considered one of the most spiritual of all human activities.

It is "spiritual reading" -- not merely decoding -- that unleashes the power that good literature has to reach into our souls and, in so doing, draw and connect us to others. This is why the way we read can be even more important than what we read. In fact, reading good literature won't make a reader a better person any more than sitting in a church, synagogue or mosque will. But reading good books well just might.

It did for me. As I relayed in my literary and spiritual memoir , the books I have read over a lifetime have shaped my worldview, my beliefs, and my life as much as anything else. From Great Expectations I learned the power the stories we tell ourselves have to do either harm and good, to ourselves and to others; from Death of a Salesman I learned the dangers of a corrupt version of the American Dream; from Madame Bovary, I learned to embrace the real world rather than escaping into flights of fancy; from Gulliver's Travels I learned the profound limitations of my own finite perspective; and from Jane Eyre I learned how to be myself. These weren't mere intellectual or moral lessons, although they certainly may have begun as such. Rather, the stories from these books and so many others became part of my life story and then, gradually, part of my very soul.

As Eugene H. Peterson explains in Eat this Book , "Reading is an immense gift, but only if the words are assimilated, taken into the soul -- eaten, chewed, gnawed, received in unhurried delight." Peterson describes this ancient art of lectio divina, or spiritual reading, as "reading that enters our souls as food enters our stomachs, spreads through our blood, and becomes ... love and wisdom." More than the books themselves, it is the skills and the desire to read in this way which comprise the essential gift we must give our students and ourselves. But this won't happen by way of nature or by accident.

Maryanne Wolf, director of the Center for Reading and Language Research and author of Proust and the Squid: The Story and Science of the Reading Brain ,  has studied "deep reading" in the context of the science of the brain. She describes the fragility of the brain's ability to read with the kind of sustained attention that allows literature to wield its shaping power over us:

The act of going beyond the text to analyze, infer and think new thoughts is the product of years of formation. It takes time, both in milliseconds and years, and effort to learn to read with deep, expanding comprehension and to execute all these processes as an adult expert reader. ... Because we literally and physiologically can read in multiple ways, how we read--and what we absorb from our reading -- will be influenced by both the content of our reading and the medium we use.

The power of "spiritual reading" is its ability to transcend the immediacy of the material, the moment, or even the moral choice at hand. This isn't the sort of phenomenon that lends itself to the quantifiable data Currie seeks, although Paul demonstrates is possible, to measure. Even so, such reading doesn't make us better so much as it makes us human .

How Should One Read a Book?

Read as if one were writing it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rachel Cusk

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

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Benefits of Reading: Positive Impacts for All Ages Everyday

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From apps to social media to Netflix to video games, there are so many ways to fill your free time that it can be hard to decide what to do. It’s also easy to overlook one of the most fulfilling and beneficial pastimes ever created. Let’s look at the main benefits of reading and how you can highlight them to your child.

What are the main benefits of reading books?

Benefits of reading before bed.

• Benefits of reading to children

Benefits of reading out loud

Why is reading important.

• Does listening to audiobooks have the same benefits?

What are the benefits of reading fiction?

What are the benefits of reading poetry, it’s a gym for your brain.

The act of reading is a remarkable mental feat and reading comprehension uses a lot of your brain power. When you’re thumbing through a novel you’re building a whole world of people, places and events in your mind and remembering it all as you follow the story. This gives your imagination and memory a thorough workout and strengthens networks in various other parts of your brain too. 💪

If you’re reading a non-fiction book you’re also getting an in-depth experience of a subject full of facts and details that you need to hold in your mind to follow the arguments of the writer. 

It’s well known that your memory improves with use as new memories are created and connected to older ones, making them stronger and easier to recall. Scientists have even found that the other parts of the brain activated by reading can continue to improve days after you’ve stopped reading, meaning even just a little bit of reading can go a long way. 

It improves your focus

From Insta stories to tweets to TikTok videos, information is being packaged into ever smaller chunks and researchers believe our attention spans are getting shorter. However, being able to concentrate on one thing for long periods and ignore distractions is essential for school and for work. Reading is an excellent way to improve your concentration skills and the more you read, the better you’ll be able to focus. 🔍

It expands your vocabulary

Reading expands your vocabulary more than any other activity. A rich vocabulary allows you to understand the world in a more sophisticated way. Reading is also great for your grammar skills and lets you communicate your thoughts and ideas more accurately in all areas of your life. 

It’s an education

Reading is the key to knowledge. Reading non-fiction books means you can learn about any subject you choose in as much detail as you want. Fiction allows you to learn about how other people all over the world live their lives and to put yourself in their shoes. This is a great way to improve your empathy and learn to approach other people with an open mind. 

It helps your problem-solving skills

Reading fiction is also fantastic preparation to learn how to solve various types of problems you may not yet have encountered in your own life. You get the chance to follow the characters through all kinds of situations and find out how they deal with challenges big and small. 

Maybe they make the right choices or maybe they don’t, either way, the writer has put a lot of thought and consideration into their story and you can always learn something from a character’s experiences. 🧩

It’s good therapy

Reading about difficult situations characters or real people experience can be hugely beneficial as well. It can be useful to read both fiction and non-fiction books about something you’re going through. Books can act as a type of therapy and help you to feel less alone in your situation. 

This bibliotherapy has proven effective in helping people deal with issues such as depression or other mood disorders. The NHS even prescribes books to help people through its Reading Well programme! 

Books offer the best value-for-money entertainment anywhere! There’s no expensive equipment to buy, no tickets to pay for and no monthly subscription fee. All you need is a library card for your local branch and you’re good to go! 

Your nearest library probably has tens of thousands of different books available, so you’re sure to find a title to hook you. If they don’t have something in particular you're looking for, you can even ask the librarian to order it from another library. 

Some libraries even offer ebooks on loan which you can add to your ereader or tablet 🏛️

It’ll inspire your child

If your children regularly see you reading you’ll be setting a good example. Children tend to copy what they see their parents do and they’ll soon be joining you storybook in hand for some quiet time you can enjoy together. 

It’s great for stress

It’s not most people’s first idea of a relaxation technique, but reading does an awesome job of helping you manage stress. According to research, reading can lead to a lower heart rate and blood pressure and a calmer mind and just six minutes of reading can bring your stress levels down by more than 66%. 

It helps you live longer!

If you still need another reason to commit yourself to read more, how about this: reading can actually help you live longer! Researchers discovered that those who read for half an hour a day had a 23% chance of living longer than people who didn’t read very much. In fact, readers lived around two years longer than non-readers! 🌳

So, if we’ve convinced you that you and your family need more reading in your lives, when is the best time to do it? Well, reading at bedtime allows you to kill two birds with one stone. 

It helps you get a good night’s sleep

Despite its importance, many of us don’t follow good sleep hygiene and spend the hours before bedtime staring at screens big and small, leading to difficulty falling asleep and affecting the quality of our slumber. The NHS found that one in three of us experience poor sleep. 

Choose to read an actual book before bedtime instead of checking your social media or watching Netflix and you can look forward to a better night’s rest. Reading fiction is a good way of relaxing the body and calming your mind and preparing for bed and has been shown to be as relaxing as meditation. 💤

It calms your child

If you treat your child to story time and read to them just before they go to bed you’ll discover that it’s perfect for calming them down and getting them in the right mood for sleep. As a bonus, they’ll get used to sitting still and concentrating on one thing for a long time.

  Benefits of reading to children

  Children can eventually enjoy all the benefits of reading mentioned above but whether they are too small to read much themselves or they just enjoy listening to you tell them a story, they can get some extra value out of the experience if you read to them regularly yourself. 

It gives them a love of learning

If you start by reading to your child you can get them hooked on books and start a habit that will last them throughout their lives and repay your investment over and over again. Children who learn to read for pleasure will go on to enjoy greater academic success throughout their education according to research. 👩🏽‍🎓

It gives them a head-start

Even if your little one is a toddler who isn’t ready to start reading storybooks by themselves, you can give their literacy skills an early boost and teach them to read by reading to them yourself. They might not understand everything but they’ll pick up enough to get the idea. Let them see the words on the page as you read and encourage them to turn the page when you get to the last word. 

By reading to them you’ll be helping them follow the natural rhythms of language, practise their listening skills and expose them to vocabulary they might not get to hear in their day-to-day lives.  

It brings you together

Time spent reading to your child is a wonderful chance to create some beautiful, cosy, loving memories together and strengthen your bond. It will become something like a regular adventure you and your child can look forward to doing together and will remember all your lives. 👩‍👦

It also gives you lots to talk about later and you can have enjoyable discussions about the characters, plots, dilemmas and mysteries you discover during your reading time. 

Even when your child starts to read for themselves, you don’t need to stop your shared storytime. You can swap it up, with them taking on the role of the reader as you listen or you can take turns reading to each other. 

  You’ve probably been taught that the best method of reading is in silence. However, research has found that quiet reading isn’t actually always the better option and that there are in fact some benefits of reading out loud. 📢

It helps you understand

It turns out that speaking as you read can help you understand texts better. You probably read aloud more than you realise. If you’ve ever received a slightly convoluted message or email or you’ve tried to read confusing legal jargon, you’ve probably found yourself repeating the words out loud to more clearly understand what was meant. ✅

It helps you remember

Or perhaps you’ve tried to memorise a phone number or the lines of a speech and you automatically started to say the information aloud to help you remember. 

Psychologists call this the “production effect” and have discovered that these tactics do actually help people remember things more easily, especially children. 📚

Research from Australia showed that children who were told to read out loud recognized 17% more words compared to children who were asked to read silently. In another study, adults were able to identify 20% more words they had read aloud. 

The theory is that because reading aloud is an active process it makes words more distinctive, and so easier to remember. 🧠

Why read? 

Reading is the most effective way to get information about almost everything and is the key ingredient in learning for school, work and pleasure. On top of this, reading boosts imagination, communication, memory, concentration, and empathy. It also lowers stress levels and leads to a longer life. 

Does listening to audiobooks have the same benefits as reading books?

It can be hard to concentrate for a long time and the experience of reading. With a real book you can quickly scan your eyes back over the page to reread what you’ve missed, this isn’t so easy with an audiobook. A psychology study showed that students who read material did 28% better on a test than those who heard the same material as a podcast. 

Reading fiction is a useful way to develop your empathy, social skills and emotional intelligence. Fictional stories allow you to put yourself in other people's shoes and see things from various perspectives. In fact, brain scans show that many of the parts of the brain you use to interact with other people are also activated when you’re reading fiction. 

Poetry is the home of the most creative, imaginative and beautiful examples of language and allows you to connect those powerful lines to real emotions all of us feel. Poetry is also efficient and a good poet can reveal deep ideas with a simple phrase. Reading poetry can also inspire your creativity and write some expressive verse of your own! 

Reading is something most of us have been doing all our lives and as a result, we can easily take it for granted, but it’s a great all-around experience for your mind and spirit. So, it's really worth digging out your library card and finding books you and your child can read together. 

If your child is having problems with reading, here at GoStudent we have education experts on standby to give you and them a helping hand in improving their literacy skills or any other learning challenges they need support with. Schedule a free trial lesson with GoStudent today!

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Essay on Advantages of Reading Books

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

Let’s take a look…

100 Words Essay on Advantages of Reading Books

Introduction.

Reading books is a great habit with many benefits. It helps in improving knowledge, enhancing imagination, and building vocabulary.

Knowledge Enhancement

Books are a rich source of information. Reading books on various subjects imparts information and increases understanding of various topics.

Imagination Boost

Reading fiction can transport you to different worlds, enhancing your imagination and creativity.

Vocabulary Building

Regular reading exposes you to new words, helping in improving your vocabulary and language skills.

In conclusion, reading books is a rewarding activity that can enrich our lives in many ways.

250 Words Essay on Advantages of Reading Books

Reading books is a timeless activity that holds numerous benefits. In a world where digital distractions abound, books provide an enriching escape that nourishes the mind and soul.

Cognitive Development

Reading books regularly can significantly enhance cognitive abilities. It fosters concentration, improves vocabulary, and stimulates critical thinking. By presenting diverse perspectives and complex narratives, books challenge readers to analyze and interpret information, thereby honing their reasoning skills.

Emotional Intelligence

Books are a window to the human experience. They expose readers to a variety of emotions, situations, and personalities, fostering empathy and emotional intelligence. By identifying with characters and their struggles, readers can better understand and navigate their own emotions.

Knowledge Acquisition

Books are a treasure trove of knowledge. They offer insights into a plethora of subjects, from science and history to philosophy and arts. This knowledge not only enhances one’s understanding of the world but also encourages informed discussions and debates.

Stress Reduction

Reading is a form of escapism that can significantly reduce stress. Immersing oneself in a compelling narrative can distract from daily pressures, providing relaxation and mental tranquility.

In conclusion, reading books is a rewarding activity with numerous benefits. It fosters cognitive development, enhances emotional intelligence, facilitates knowledge acquisition, and reduces stress. As we navigate the complexities of the digital age, let us not forget the timeless value of a good book.

500 Words Essay on Advantages of Reading Books

Reading books is a timeless activity that has been a part of human culture for centuries. Despite the advent of technology and digital media, the significance of reading books remains undiminished. This essay aims to shed light on the numerous advantages that reading books offers, particularly for college students.

Enhancement of Cognitive Abilities

Reading is much more than just a leisure activity. It is a cognitive exercise that strengthens the brain’s functions. Reading complex narratives and academic texts requires concentration, comprehension, and memory, all of which enhance cognitive abilities. According to a study by the American Academy of Neurology, engaging the brain in activities like reading can slow cognitive decline by 32%.

Boosting Emotional Intelligence

Books provide a window into the lives, experiences, and emotions of different characters. As readers navigate through these narratives, they develop empathy and understanding for diverse perspectives. This process enhances emotional intelligence, which is crucial for interpersonal relationships and effective communication.

Knowledge Acquisition and Skill Development

Books are a treasure trove of knowledge. They provide insights into various fields, cultures, philosophies, and historical events. Reading a wide range of books exposes students to different ideas and viewpoints, broadening their understanding of the world. Moreover, books can help students develop specific skills. For example, reading literature can improve writing skills, while reading scientific texts can enhance analytical thinking.

Stress Reduction and Mental Health

Immersing oneself in a good book can be a great stress reliever. It provides an escape from reality, allowing readers to explore different worlds and experiences. According to a study by the University of Sussex, reading can reduce stress levels by up to 68%. Furthermore, reading has been linked to improved mental health, with regular readers showing lower levels of depressive symptoms.

Improving Focus and Discipline

In an era of information overload and constant distractions, reading books can help improve focus and discipline. Unlike skimming through online articles or social media feeds, reading a book requires sustained attention. This practice can enhance the ability to concentrate on other tasks as well, increasing productivity and efficiency.

In conclusion, reading books offers a multitude of benefits, from enhancing cognitive abilities and emotional intelligence to facilitating knowledge acquisition and skill development. It also contributes to stress reduction and improved mental health, while fostering focus and discipline. While digital media and technology have their place in learning, the value of reading books should not be underestimated. For college students, reading can be a powerful tool for personal and academic growth.

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Essay on Benefits of Reading (1300 Words)

Reading helps our minds grow in ways that we can’t be taught in school or at home. No one is born with an innate love of reading, but everyone has the capacity for literacy, reading, and writing.

Reading is more than just something that you do on the bus or on the train. It’s a way of life. Reading is important because it allows us to escape into another world, see things from someone else’s perspective, and empathize with them.

Essay on Benefits of Reading

1 – what is reading.

Reading is the act of decoding letters on a page to extract information. For many, reading has become an everyday activity.

It might happen in the morning when you read your daily news before breakfast, in the evening when you read your favorite blog before bed, or even during the lunch break at work when you catch up on your phone for just five minutes.

For most people, it’s hard to imagine life without reading. However, not everyone can read. Around 15% of the world’s population has some form of learning disability that prevents them from being able to read. This means that they cannot interpret words and sentences on paper or digital screens.

Reading is one of the most popular hobbies in America, with nearly three-quarters of adults reading at least one book per year. Reading can take many forms, from novels to comics to magazines to blogs. It can be done privately or shared with friends.

Reading is good for the mind and body. Research shows that reading can reduce stress, improve sleep quality, promote empathy, and even increase lifespan by as much as two years!

2 – Importance of reading

The first thing to know about reading is that it’s not something that you should force your students to do. Reading should be something you engage them in, not something you force them to do.

Let them enjoy reading for what it is — something enjoyable and entertaining at the same time. Engaging students will help them get more out of reading and will set the stage for future academic success.

As an added bonus, you will both get more out of reading as a teacher and as a student. Empathy Reading opens up your mind to a whole new world. It can be uncomfortable at first, but remember to give them the tools to read the material. Not everyone is great at reading; let them know that you’re willing to help them along the way.

It’s important to read. It’s not some new-fangled, modern idea that everyone is championing, but rather a human instinct that has been with us since the beginning of time. Books are more than just storytellers — they offer understanding and insight into different cultures, languages, ages, genders, classes, ideologies.

Here are some of the many reasons why reading is important:

• Reading is one of the most valuable skills anyone can have. It’s also one of the best ways to escape from reality and find yourself in a whole new world.
• Reading is valuable for children’s development because it helps them learn different things quickly.
• Reading improves your vocabulary which makes it easier for you to understand new words when you see them in your environment.
• Reading is not only an activity for passing time or entertainment; it can be a way to learn about yourself and the world around you.
• Reading is not only fun, but it can be educational, therapeutic, and even life-changing. When you get into a book, you get to know the characters on an emotional level, get lost in their stories, and experience what they’re feeling.

3 – The benefits of reading

Reading is the best way to learn new things, broaden your knowledge, and find inspiration. It also stimulates your brain.

Reading can help you keep your mind sharp and be in control of it. Reading in different genres helps you develop different skills in different ways.

People read to develop their vocabulary, expand their imagination, and to broaden their knowledge.

Reading opens up more doors than people may realize, so it should be a priority for everyone– whether you’re a preteen or an adult.

Reading helps people to become better thinkers and is the key to unlocking people’s minds.

4 – How to develop reading habit

Make sure you get some quiet time every day to read. If you have a regular day at work or school, read on your lunch breaks or after work. Make reading part of your daily routine.

Turn off all distractions when you’re reading, and find a comfortable spot to sit. Do you always have the TV on while you eat? Try turning off the TV, but continuing to watch it when you read.

Binge on your favorite authors. Choose a genre that you’re interested in and read everything written by that author. Then find another author and binge on their books as well. Go back to the beginning of that author’s series and read all of the books in that series.

Read also: How to avoid distractions while reading?

5 – Tips for Better Reading

Reading is a time-honored tradition that has been passed down from generation to generation. It’s believed that reading can improve your vocabulary, grammar, and spelling, as well as your comprehension skills.

Here are some tips for better reading:-

• Know why you want to read. What are you getting out of reading? What are you looking for? If reading isn’t motivating enough for you, make reading something else. It’s okay to do something else.
• Pick the right genre. Reading is fun, but it can also be a chore. That’s because our minds can be easily distracted. If you pick the wrong genre for you, you could end up reading to the point of exhaustion. But on the other hand, if you pick the right genre for you, you might learn new things, or get to know different characters better. Some genres include thrillers, romance novels, mysteries, science fiction, and even picture books. Choose the genre that works for you and read.
• Read aloud to yourself. Listening to yourself reading is a great way to improve your skills. You can also do this if you are reading in a public space. You will help yourself realize when you read words wrong or catch on to grammar and sentence structure.
• Never stop reading. If it’s not interesting for you, you’re going to get bored very fast. Just keep reading. There’s no need to read only what interests you; at the same time, you can’t read everything.
• If you find yourself stuck in a book, don’t force yourself to finish it. If you don’t care for it, set it aside and come back to it later. You can only read a book or magazine a certain number of times before you might start to lose interest.

6 – How to read more

The first thing you can do is start reading more. Whether you want to read on an e-reader or a traditional book, the basic rules are the same:

• Find the tpocs that are interesting.
• Start with your topic of interest.
• Listening to audiobooks will give you a great opportunity to step away from distractions and enjoy a book that you wouldn’t have the time or patience to read on your own. Audiobooks have been my best friend during the work week. Whether I’m commuting or heading out for a run, I’ve found that listening to a book or an audiobook on my commute helps me to listen and do both of those things at once.

Read also: Reading skills (types and strategies)

7 – Conclusion

Reading is something that everyone should do, so be sure to give it a try. There is no other form of education or experience that will give you more life knowledge than reading.

The benefits of reading are far-reaching. Reading can improve your vocabulary, brain function, and emotional intelligence. In addition, it can provide valuable insight into other cultures and worlds.

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

Why I Like Reading Books: a Narrative

• Categories: Reading Books

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Words: 1014 |

Published: Mar 14, 2019

Words: 1014 | Pages: 2 | 6 min read

Table of contents

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

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

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Reading Essay Titles

IELTS essay questions for books and reading topic.

Some people think books are losing importance as a source of information and entertainment. To what extent do you agree? (Reported 2017, GT)

Children who start reading earlier in life, perform better later on in their school studies. How important are early reading skills in a child’s academic performance? What other preschool factors influence a child’s later academic achievements?

Some people think that children who spend a lot of time reading children’s story books are wasting their time which could be better used doing other more useful activities. To what extent do you agree?

Some people think that e-books are the death of paper books while others think that paper books will never disappear. Discuss both sides and give your opinion.

Libraries should focus on improving their technological resources rather than in building a larger collection of paper books. To what extent do you agree?

Public libraries will soon now longer be housed in a building as all facilities and books will be available online for all to access. Discuss the advantages and disadvantages of public libraries only existing online.

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50 Must-Read Contemporary Essay Collections

Liberty Hardy

Liberty Hardy is an unrepentant velocireader, writer, bitey mad lady, and tattoo canvas. Turn-ons include books, books and books. Her favorite exclamation is “Holy cats!” Liberty reads more than should be legal, sleeps very little, frequently writes on her belly with Sharpie markers, and when she dies, she’s leaving her body to library science. Until then, she lives with her three cats, Millay, Farrokh, and Zevon, in Maine. She is also right behind you. Just kidding! She’s too busy reading. Twitter: @MissLiberty

View All posts by Liberty Hardy

I feel like essay collections don’t get enough credit. They’re so wonderful! They’re like short story collections, but TRUE. It’s like going to a truth buffet. You can get information about sooooo many topics, sometimes in one single book! To prove that there are a zillion amazing essay collections out there, I compiled 50 great contemporary essay collections, just from the last 18 months alone.  Ranging in topics from food, nature, politics, sex, celebrity, and more, there is something here for everyone!

I’ve included a brief description from the publisher with each title. Tell us in the comments about which of these you’ve read or other contemporary essay collections that you love. There are a LOT of them. Yay, books!

Must-Read Contemporary Essay Collections

They can’t kill us until they kill us  by hanif abdurraqib.

“In an age of confusion, fear, and loss, Hanif Willis-Abdurraqib’s is a voice that matters. Whether he’s attending a Bruce Springsteen concert the day after visiting Michael Brown’s grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly.”

Would Everybody Please Stop?: Reflections on Life and Other Bad Ideas  by Jenny Allen

“Jenny Allen’s musings range fluidly from the personal to the philosophical. She writes with the familiarity of someone telling a dinner party anecdote, forgoing decorum for candor and comedy. To read  Would Everybody Please Stop?  is to experience life with imaginative and incisive humor.”

Longthroat Memoirs: Soups, Sex and Nigerian Taste Buds  by Yemisi Aribisala

“A sumptuous menu of essays about Nigerian cuisine, lovingly presented by the nation’s top epicurean writer. As well as a mouth-watering appraisal of Nigerian food,  Longthroat Memoirs  is a series of love letters to the Nigerian palate. From the cultural history of soup, to fish as aphrodisiac and the sensual allure of snails,  Longthroat Memoirs  explores the complexities, the meticulousness, and the tactile joy of Nigerian gastronomy.”

Beyond Measure: Essays  by Rachel Z. Arndt

“ Beyond Measure  is a fascinating exploration of the rituals, routines, metrics and expectations through which we attempt to quantify and ascribe value to our lives. With mordant humor and penetrating intellect, Arndt casts her gaze beyond event-driven narratives to the machinery underlying them: judo competitions measured in weigh-ins and wait times; the significance of the elliptical’s stationary churn; the rote scripts of dating apps; the stupefying sameness of the daily commute.”

Magic Hours  by Tom Bissell

“Award-winning essayist Tom Bissell explores the highs and lows of the creative process. He takes us from the set of  The Big Bang Theory  to the first novel of Ernest Hemingway to the final work of David Foster Wallace; from the films of Werner Herzog to the film of Tommy Wiseau to the editorial meeting in which Paula Fox’s work was relaunched into the world. Originally published in magazines such as  The Believer ,  The New Yorker , and  Harper’s , these essays represent ten years of Bissell’s best writing on every aspect of creation—be it Iraq War documentaries or video-game character voices—and will provoke as much thought as they do laughter.”

Dead Girls: Essays on Surviving an American Obsession  by Alice Bolin

“In this poignant collection, Alice Bolin examines iconic American works from the essays of Joan Didion and James Baldwin to  Twin Peaks , Britney Spears, and  Serial , illuminating the widespread obsession with women who are abused, killed, and disenfranchised, and whose bodies (dead and alive) are used as props to bolster men’s stories. Smart and accessible, thoughtful and heartfelt, Bolin investigates the implications of our cultural fixations, and her own role as a consumer and creator.”

Betwixt-and-Between: Essays on the Writing Life  by Jenny Boully

“Jenny Boully’s essays are ripe with romance and sensual pleasures, drawing connections between the digression, reflection, imagination, and experience that characterizes falling in love as well as the life of a writer. Literary theory, philosophy, and linguistics rub up against memory, dreamscapes, and fancy, making the practice of writing a metaphor for the illusory nature of experience.  Betwixt and Between  is, in many ways, simply a book about how to live.”

Wedding Toasts I’ll Never Give by Ada Calhoun

“In  Wedding Toasts I’ll Never Give , Ada Calhoun presents an unflinching but also loving portrait of her own marriage, opening a long-overdue conversation about the institution as it truly is: not the happy ending of a love story or a relic doomed by high divorce rates, but the beginning of a challenging new chapter of which ‘the first twenty years are the hardest.'”

How to Write an Autobiographical Novel: Essays  by Alexander Chee

“ How to Write an Autobiographical Novel  is the author’s manifesto on the entangling of life, literature, and politics, and how the lessons learned from a life spent reading and writing fiction have changed him. In these essays, he grows from student to teacher, reader to writer, and reckons with his identities as a son, a gay man, a Korean American, an artist, an activist, a lover, and a friend. He examines some of the most formative experiences of his life and the nation’s history, including his father’s death, the AIDS crisis, 9/11, the jobs that supported his writing—Tarot-reading, bookselling, cater-waiting for William F. Buckley—the writing of his first novel,  Edinburgh , and the election of Donald Trump.”

Too Much and Not the Mood: Essays  by Durga Chew-Bose

“ Too Much and Not the Mood is a beautiful and surprising exploration of what it means to be a first-generation, creative young woman working today. On April 11, 1931, Virginia Woolf ended her entry in A Writer’s Diary with the words ‘too much and not the mood’ to describe her frustration with placating her readers, what she described as the ‘cramming in and the cutting out.’ She wondered if she had anything at all that was truly worth saying. The attitude of that sentiment inspired Durga Chew-Bose to gather own writing in this lyrical collection of poetic essays that examine personhood and artistic growth. Drawing inspiration from a diverse group of incisive and inquiring female authors, Chew-Bose captures the inner restlessness that keeps her always on the brink of creative expression.”

We Were Eight Years in Power: An American Tragedy  by Ta-Nehisi Coates

“‘We were eight years in power’ was the lament of Reconstruction-era black politicians as the American experiment in multiracial democracy ended with the return of white supremacist rule in the South. In this sweeping collection of new and selected essays, Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a black president followed by a vicious backlash that fueled the election of the man Coates argues is America’s ‘first white president.'”

Look Alive Out There: Essays by Sloane Crosley

“In  Look Alive Out There,  whether it’s scaling active volcanoes, crashing shivas, playing herself on  Gossip Girl,  befriending swingers, or squinting down the barrel of the fertility gun, Crosley continues to rise to the occasion with unmatchable nerve and electric one-liners. And as her subjects become more serious, her essays deliver not just laughs but lasting emotional heft and insight. Crosley has taken up the gauntlets thrown by her predecessors—Dorothy Parker, Nora Ephron, David Sedaris—and crafted something rare, affecting, and true.”

Fl â neuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London  by Lauren Elkin

“Part cultural meander, part memoir,  Flâneuse  takes us on a distinctly cosmopolitan jaunt that begins in New York, where Elkin grew up, and transports us to Paris via Venice, Tokyo, and London, all cities in which she’s lived. We are shown the paths beaten by such  flâneuses  as the cross-dressing nineteenth-century novelist George Sand, the Parisian artist Sophie Calle, the wartime correspondent Martha Gellhorn, and the writer Jean Rhys. With tenacity and insight, Elkin creates a mosaic of what urban settings have meant to women, charting through literature, art, history, and film the sometimes exhilarating, sometimes fraught relationship that women have with the metropolis.”

Idiophone  by Amy Fusselman

“Leaping from ballet to quiltmaking, from the The Nutcracker to an Annie-B Parson interview,  Idiophone  is a strikingly original meditation on risk-taking and provocation in art and a unabashedly honest, funny, and intimate consideration of art-making in the context of motherhood, and motherhood in the context of addiction. Amy Fusselman’s compact, beautifully digressive essay feels both surprising and effortless, fueled by broad-ranging curiosity, and, fundamentally, joy.”

Not That Bad: Dispatches from Rape Culture  by Roxane Gay

“In this valuable and revealing anthology, cultural critic and bestselling author Roxane Gay collects original and previously published pieces that address what it means to live in a world where women have to measure the harassment, violence, and aggression they face, and where they are ‘routinely second-guessed, blown off, discredited, denigrated, besmirched, belittled, patronized, mocked, shamed, gaslit, insulted, bullied’ for speaking out.”

Sunshine State: Essays  by Sarah Gerard

“With the personal insight of  The Empathy Exams , the societal exposal of  Nickel and Dimed , and the stylistic innovation and intensity of her own break-out debut novel  Binary Star , Sarah Gerard’s  Sunshine State  uses the intimately personal to unearth the deep reservoirs of humanity buried in the corners of our world often hardest to face.”

The Art of the Wasted Day  by Patricia Hampl

“ The Art of the Wasted Day  is a picaresque travelogue of leisure written from a lifelong enchantment with solitude. Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of ‘retirement’ in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne—the hero of this book—who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay.”

A Really Big Lunch: The Roving Gourmand on Food and Life  by Jim Harrison

“Jim Harrison’s legendary gourmandise is on full display in  A Really Big Lunch . From the titular  New Yorker  piece about a French lunch that went to thirty-seven courses, to pieces from  Brick ,  Playboy , Kermit Lynch Newsletter, and more on the relationship between hunter and prey, or the obscure language of wine reviews,  A Really Big Lunch  is shot through with Harrison’s pointed aperçus and keen delight in the pleasures of the senses. And between the lines the pieces give glimpses of Harrison’s life over the last three decades.  A Really Big Lunch  is a literary delight that will satisfy every appetite.”

Insomniac City: New York, Oliver, and Me  by Bill Hayes

“Bill Hayes came to New York City in 2009 with a one-way ticket and only the vaguest idea of how he would get by. But, at forty-eight years old, having spent decades in San Francisco, he craved change. Grieving over the death of his partner, he quickly discovered the profound consolations of the city’s incessant rhythms, the sight of the Empire State Building against the night sky, and New Yorkers themselves, kindred souls that Hayes, a lifelong insomniac, encountered on late-night strolls with his camera.”

Would You Rather?: A Memoir of Growing Up and Coming Out  by Katie Heaney

“Here, for the first time, Katie opens up about realizing at the age of twenty-eight that she is gay. In these poignant, funny essays, she wrestles with her shifting sexuality and identity, and describes what it was like coming out to everyone she knows (and everyone she doesn’t). As she revisits her past, looking for any ‘clues’ that might have predicted this outcome, Katie reveals that life doesn’t always move directly from point A to point B—no matter how much we would like it to.”

Tonight I’m Someone Else: Essays  by Chelsea Hodson

“From graffiti gangs and  Grand Theft Auto  to sugar daddies, Schopenhauer, and a deadly game of Russian roulette, in these essays, Chelsea Hodson probes her own desires to examine where the physical and the proprietary collide. She asks what our privacy, our intimacy, and our own bodies are worth in the increasingly digital world of liking, linking, and sharing.”

We Are Never Meeting in Real Life.: Essays  by Samantha Irby

“With  We Are Never Meeting in Real Life. , ‘bitches gotta eat’ blogger and comedian Samantha Irby turns the serio-comic essay into an art form. Whether talking about how her difficult childhood has led to a problem in making ‘adult’ budgets, explaining why she should be the new Bachelorette—she’s ’35-ish, but could easily pass for 60-something’—detailing a disastrous pilgrimage-slash-romantic-vacation to Nashville to scatter her estranged father’s ashes, sharing awkward sexual encounters, or dispensing advice on how to navigate friendships with former drinking buddies who are now suburban moms—hang in there for the Costco loot—she’s as deft at poking fun at the ghosts of her past self as she is at capturing powerful emotional truths.”

This Will Be My Undoing: Living at the Intersection of Black, Female, and Feminist in (White) America  by Morgan Jerkins

“Doubly disenfranchised by race and gender, often deprived of a place within the mostly white mainstream feminist movement, black women are objectified, silenced, and marginalized with devastating consequences, in ways both obvious and subtle, that are rarely acknowledged in our country’s larger discussion about inequality. In  This Will Be My Undoing , Jerkins becomes both narrator and subject to expose the social, cultural, and historical story of black female oppression that influences the black community as well as the white, male-dominated world at large.”

Everywhere Home: A Life in Essays  by Fenton Johnson

“Part retrospective, part memoir, Fenton Johnson’s collection  Everywhere Home: A Life in Essays  explores sexuality, religion, geography, the AIDS crisis, and more. Johnson’s wanderings take him from the hills of Kentucky to those of San Francisco, from the streets of Paris to the sidewalks of Calcutta. Along the way, he investigates questions large and small: What’s the relationship between artists and museums, illuminated in a New Guinean display of shrunken heads? What’s the difference between empiricism and intuition?”

One Day We’ll All Be Dead and None of This Will Matter: Essays  by Scaachi Koul

“In  One Day We’ll All Be Dead and None of This Will Matter , Scaachi Koul deploys her razor-sharp humor to share all the fears, outrages, and mortifying moments of her life. She learned from an early age what made her miserable, and for Scaachi anything can be cause for despair. Whether it’s a shopping trip gone awry; enduring awkward conversations with her bikini waxer; overcoming her fear of flying while vacationing halfway around the world; dealing with Internet trolls, or navigating the fears and anxieties of her parents. Alongside these personal stories are pointed observations about life as a woman of color: where every aspect of her appearance is open for critique, derision, or outright scorn; where strict gender rules bind in both Western and Indian cultures, leaving little room for a woman not solely focused on marriage and children to have a career (and a life) for herself.”

Tell Me How It Ends: An Essay in 40 Questions  by Valeria Luiselli and jon lee anderson (translator)

“A damning confrontation between the American dream and the reality of undocumented children seeking a new life in the U.S. Structured around the 40 questions Luiselli translates and asks undocumented Latin American children facing deportation,  Tell Me How It Ends  (an expansion of her 2016 Freeman’s essay of the same name) humanizes these young migrants and highlights the contradiction between the idea of America as a fiction for immigrants and the reality of racism and fear—both here and back home.”

All the Lives I Want: Essays About My Best Friends Who Happen to Be Famous Strangers  by Alana Massey

“Mixing Didion’s affected cool with moments of giddy celebrity worship, Massey examines the lives of the women who reflect our greatest aspirations and darkest fears back onto us. These essays are personal without being confessional and clever in a way that invites readers into the joke. A cultural critique and a finely wrought fan letter, interwoven with stories that are achingly personal, All the Lives I Want is also an exploration of mental illness, the sex industry, and the dangers of loving too hard.”

Typewriters, Bombs, Jellyfish: Essays  by Tom McCarthy

“Certain points of reference recur with dreamlike insistence—among them the artist Ed Ruscha’s  Royal Road Test , a photographic documentation of the roadside debris of a Royal typewriter hurled from the window of a traveling car; the great blooms of jellyfish that are filling the oceans and gumming up the machinery of commerce and military domination—and the question throughout is: How can art explode the restraining conventions of so-called realism, whether aesthetic or political, to engage in the active reinvention of the world?”

Nasty Women: Feminism, Resistance, and Revolution in Trump’s America  by Samhita Mukhopadhyay and Kate Harding

“When 53 percent of white women voted for Donald Trump and 94 percent of black women voted for Hillary Clinton, how can women unite in Trump’s America? Nasty Women includes inspiring essays from a diverse group of talented women writers who seek to provide a broad look at how we got here and what we need to do to move forward.”

Don’t Call Me Princess: Essays on Girls, Women, Sex, and Life  by Peggy Orenstein

“Named one of the ’40 women who changed the media business in the last 40 years’ by  Columbia Journalism Review , Peggy Orenstein is one of the most prominent, unflinching feminist voices of our time. Her writing has broken ground and broken silences on topics as wide-ranging as miscarriage, motherhood, breast cancer, princess culture and the importance of girls’ sexual pleasure. Her unique blend of investigative reporting, personal revelation and unexpected humor has made her books bestselling classics.”

When You Find Out the World Is Against You: And Other Funny Memories About Awful Moments  by Kelly Oxford

“Kelly Oxford likes to blow up the internet. Whether it is with the kind of Tweets that lead  Rolling Stone  to name her one of the Funniest People on Twitter or with pictures of her hilariously adorable family (human and animal) or with something much more serious, like creating the hashtag #NotOkay, where millions of women came together to share their stories of sexual assault, Kelly has a unique, razor-sharp perspective on modern life. As a screen writer, professional sh*t disturber, wife and mother of three, Kelly is about everything but the status quo.”

Too Fat, Too Slutty, Too Loud: The Rise and Reign of the Unruly Woman  by Anne Helen Petersen

“You know the type: the woman who won’t shut up, who’s too brazen, too opinionated—too much. She’s the unruly woman, and she embodies one of the most provocative and powerful forms of womanhood today. In  Too Fat, Too Slutty, Too Loud , Anne Helen Petersen uses the lens of ‘unruliness’ to explore the ascension of pop culture powerhouses like Lena Dunham, Nicki Minaj, and Kim Kardashian, exploring why the public loves to love (and hate) these controversial figures. With its brisk, incisive analysis,  Too Fat, Too Slutty, Too Loud  will be a conversation-starting book on what makes and breaks celebrity today.”

Well, That Escalated Quickly: Memoirs and Mistakes of an Accidental Activist  by Franchesca Ramsey

“In her first book, Ramsey uses her own experiences as an accidental activist to explore the many ways we communicate with each other—from the highs of bridging gaps and making connections to the many pitfalls that accompany talking about race, power, sexuality, and gender in an unpredictable public space…the internet.”

Shrewed: A Wry and Closely Observed Look at the Lives of Women and Girls  by Elizabeth Renzetti

“Drawing upon Renzetti’s decades of reporting on feminist issues,  Shrewed  is a book about feminism’s crossroads. From Hillary Clinton’s failed campaign to the quest for equal pay, from the lessons we can learn from old ladies to the future of feminism in a turbulent world, Renzetti takes a pointed, witty look at how far we’ve come—and how far we have to go.”

What Are We Doing Here?: Essays  by Marilynne Robinson

“In this new essay collection she trains her incisive mind on our modern political climate and the mysteries of faith. Whether she is investigating how the work of great thinkers about America like Emerson and Tocqueville inform our political consciousness or discussing the way that beauty informs and disciplines daily life, Robinson’s peerless prose and boundless humanity are on full display.”

Double Bind: Women on Ambition  by Robin Romm

“‘A work of courage and ferocious honesty’ (Diana Abu-Jaber),  Double Bind  could not come at a more urgent time. Even as major figures from Gloria Steinem to Beyoncé embrace the word ‘feminism,’ the word ‘ambition’ remains loaded with ambivalence. Many women see it as synonymous with strident or aggressive, yet most feel compelled to strive and achieve—the seeming contradiction leaving them in a perpetual double bind. Ayana Mathis, Molly Ringwald, Roxane Gay, and a constellation of ‘nimble thinkers . . . dismantle this maddening paradox’ ( O, The Oprah Magazine ) with candor, wit, and rage. Women who have made landmark achievements in fields as diverse as law, dog sledding, and butchery weigh in, breaking the last feminist taboo once and for all.”

The Destiny Thief: Essays on Writing, Writers and Life  by Richard Russo

“In these nine essays, Richard Russo provides insight into his life as a writer, teacher, friend, and reader. From a commencement speech he gave at Colby College, to the story of how an oddly placed toilet made him reevaluate the purpose of humor in art and life, to a comprehensive analysis of Mark Twain’s value, to his harrowing journey accompanying a dear friend as she pursued gender-reassignment surgery,  The Destiny Thief  reflects the broad interests and experiences of one of America’s most beloved authors. Warm, funny, wise, and poignant, the essays included here traverse Russo’s writing life, expanding our understanding of who he is and how his singular, incredibly generous mind works. An utter joy to read, they give deep insight into the creative process from the prospective of one of our greatest writers.”

Curry: Eating, Reading, and Race by Naben Ruthnum

“Curry is a dish that doesn’t quite exist, but, as this wildly funny and sharp essay points out, a dish that doesn’t properly exist can have infinite, equally authentic variations. By grappling with novels, recipes, travelogues, pop culture, and his own upbringing, Naben Ruthnum depicts how the distinctive taste of curry has often become maladroit shorthand for brown identity. With the sardonic wit of Gita Mehta’s  Karma Cola  and the refined, obsessive palette of Bill Buford’s  Heat , Ruthnum sinks his teeth into the story of how the beloved flavor calcified into an aesthetic genre that limits the imaginations of writers, readers, and eaters.”

The River of Consciousness  by Oliver Sacks

“Sacks, an Oxford-educated polymath, had a deep familiarity not only with literature and medicine but with botany, animal anatomy, chemistry, the history of science, philosophy, and psychology.  The River of Consciousness  is one of two books Sacks was working on up to his death, and it reveals his ability to make unexpected connections, his sheer joy in knowledge, and his unceasing, timeless project to understand what makes us human.”

All the Women in My Family Sing: Women Write the World: Essays on Equality, Justice, and Freedom (Nothing But the Truth So Help Me God)  by Deborah Santana and America Ferrera

“ All the Women in My Family Sing  is an anthology documenting the experiences of women of color at the dawn of the twenty-first century. It is a vital collection of prose and poetry whose topics range from the pressures of being the vice-president of a Fortune 500 Company, to escaping the killing fields of Cambodia, to the struggles inside immigration, identity, romance, and self-worth. These brief, trenchant essays capture the aspirations and wisdom of women of color as they exercise autonomy, creativity, and dignity and build bridges to heal the brokenness in today’s turbulent world.”

We Wear the Mask: 15 True Stories of Passing in America  by Brando Skyhorse and Lisa Page

“For some, ‘passing’ means opportunity, access, or safety. Others don’t willingly pass but are ‘passed’ in specific situations by someone else.  We Wear the Mask , edited by  Brando Skyhorse  and  Lisa Page , is an illuminating and timely anthology that examines the complex reality of passing in America. Skyhorse, a Mexican American, writes about how his mother passed him as an American Indian before he learned who he really is. Page shares how her white mother didn’t tell friends about her black ex-husband or that her children were, in fact, biracial.”

Feel Free: Essays by Zadie Smith

“Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world’s preeminent fiction writers, but also a brilliant and singular essayist. She contributes regularly to  The New Yorker  and the  New York Review of Books  on a range of subjects, and each piece of hers is a literary event in its own right.”

The Mother of All Questions: Further Reports from the Feminist Revolutions  by Rebecca Solnit

“In a timely follow-up to her national bestseller  Men Explain Things to Me , Rebecca Solnit offers indispensable commentary on women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more. In characteristic style, Solnit mixes humor, keen analysis, and powerful insight in these essays.”

The Wrong Way to Save Your Life: Essays  by Megan Stielstra

“Whether she’s imagining the implications of open-carry laws on college campuses, recounting the story of going underwater on the mortgage of her first home, or revealing the unexpected pains and joys of marriage and motherhood, Stielstra’s work informs, impels, enlightens, and embraces us all. The result is something beautiful—this story, her courage, and, potentially, our own.”

Against Memoir: Complaints, Confessions & Criticisms  by Michelle Tea

“Delivered with her signature honesty and dark humor, this is Tea’s first-ever collection of journalistic writing. As she blurs the line between telling other people’s stories and her own, she turns an investigative eye to the genre that’s nurtured her entire career—memoir—and considers the price that art demands be paid from life.”

A Twenty Minute Silence Followed by Applause  by Shawn Wen

“In precise, jewel-like scenes and vignettes,  A Twenty Minute Silence Followed by Applause  pays homage to the singular genius of a mostly-forgotten art form. Drawing on interviews, archival research, and meticulously observed performances, Wen translates the gestural language of mime into a lyric written portrait by turns whimsical, melancholic, and haunting.”

Acid West: Essays  by Joshua Wheeler

“The radical evolution of American identity, from cowboys to drone warriors to space explorers, is a story rooted in southern New Mexico.  Acid West  illuminates this history, clawing at the bounds of genre to reveal a place that is, for better or worse, home. By turns intimate, absurd, and frightening,  Acid West  is an enlightening deep-dive into a prophetic desert at the bottom of America.”

Sexographies  by Gabriela Wiener and Lucy Greaves And jennifer adcock (Translators)

“In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle—all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives.  Sexographies  is an eye-opening, kamikaze journey across the contours of the human body and mind.”

The Nature Fix: Why Nature Makes Us Happier, Healthier, and More Creative  by Florence Williams

“From forest trails in Korea, to islands in Finland, to eucalyptus groves in California, Florence Williams investigates the science behind nature’s positive effects on the brain. Delving into brand-new research, she uncovers the powers of the natural world to improve health, promote reflection and innovation, and strengthen our relationships. As our modern lives shift dramatically indoors, these ideas—and the answers they yield—are more urgent than ever.”

Can You Tolerate This?: Essays  by Ashleigh Young

“ Can You Tolerate This?  presents a vivid self-portrait of an introspective yet widely curious young woman, the colorful, isolated community in which she comes of age, and the uneasy tensions—between safety and risk, love and solitude, the catharsis of grief and the ecstasy of creation—that define our lives.”

What are your favorite contemporary essay collections?

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Essay on Books for Students and Children

500 Words Essay on Books

Books are referred to as a man’s best friend . They are very beneficial for mankind and have helped it evolve. There is a powerhouse of information and knowledge. Books offer us so many things without asking for anything in return. Books leave a deep impact on us and are responsible for uplifting our mood.

This is why we suggest children read books from an early age to gain knowledge. The best part about books is that there are various types of books. One can read any type to gain different types of knowledge. Reading must be done by people of all ages. It not only widens our thinking but also enhances our vocabulary.

Different Genres of Books

There are different genres of books available for book readers. Every day, thousands of books are released in the market ranging from travel books to fictional books. We can pick any book of our interest to expand our knowledge and enjoy the reading experience.

Firstly, we have travel books, which tell us about the experience of various travelers. They introduce us to different places in the world without moving from our place. It gives us traveling tips which we can use in the future. Then, we have history books which state historical events. They teach about the eras and how people lived in times gone by.

Furthermore, we have technology books that teach us about technological developments and different equipment. You can also read fashion and lifestyle books to get up to date with the latest trends in the fashion industry.

Most importantly, there are self-help books and motivational books . These books help in the personality development of an individual. They inspire us to do well in life and also bring a positive change in ourselves. Finally, we have fictional books. They are based on the writer’s imagination and help us in enhancing our imagination too. They are very entertaining and keep us intrigued until the very end.

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

Benefits of Reading Books

There are not one but various advantages of reading books. To begin with, it improves our knowledge on a variety of subjects. Moreover, it makes us wiser. When we learn different things, we learn to deal with them differently too. Similarly, books also keep us entertained. They kill our boredom and give us great company when we are alone.

Furthermore, books help us to recognize our areas of interest. They also determine our career choice to a great extent. Most importantly, books improve our vocabulary . We learn new words from it and that widens our vocabulary. In addition, books boost our creativity. They help us discover a completely new side.

In other words, books make us more fluent in languages. They enhance our writing skills too. Plus, we become more confident after the knowledge of books. They help us in debating, public speaking , quizzes and more.

In short, books give us a newer perspective and gives us a deeper understanding of things. It impacts our personality positively as well. Thus, we see how books provide us with so many benefits. We should encourage everyone to read more books and useless phones.

FAQs on Books

Q.1 State the different genres of books.

A.1 Books come in different genres. Some of them are travel books, history books, technology books, fashion and lifestyle books, self-help books, motivational books, and fictional books.

Q.2 Why are books important?

A.2 Books are of great importance to mankind. They enhance our knowledge and vocabulary. They keep us entertained and also widen our perspective. This, in turn, makes us more confident and wise.

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Importance of Reading Books Essay - 100, 200, 500 Words

One of the nicest pastimes one may engage in is reading. It's enjoyable to read a variety of novels. We learn a lot about individuals from different parts of the world, their cultures, traditions, and much more by reading books. By reading various novels, one can discover so much. They are people's closest friends and offer a wealth of knowledge. We learn about every subject and topic by reading books about it. There are many different kinds of books available on the market, including publications about science and technology, fiction, culture, historical events, and warfare.

100 Words Essay On Importance Of Reading Books

Books have a vital recreational function in addition to being a source of knowledge. The statement that books provide a window into another world is seldom understated. They are effective stress relievers because they allow us to forget about the pressures and worries of daily life. There is a book for everyone, which is an added bonus and makes this the ideal stress reliever. It aids in brain and memory stimulation through improved cognitive performance. Additionally, it keeps the creative energies flowing. Your mind will remain active and healthy as a result. Every time we read a book, we are learning something new.

200 Words Essay On Importance Of Reading Books

Excellent scholars and thinkers expressed their knowledge and understanding of life in the form of books. Many things can be understood and learned by reading. Because of this, reading is advised as a daily brain booster and a way to learn new information. Reading inspires creativity, growth, and original thought. It is a prudent investment in one's personality with countless long-lasting benefits. You have to remember the place, the characters, their backstories, their attitudes, the subplots, and a tonne of other things every time you read a book. As your brain becomes more adept at remembering everything, your memory gets better.

Reading is a fundamental skill that has numerous benefits and impacts almost every aspect of a person's life. It not only improves vocabulary, comprehension and language skills, but also expands one's knowledge, perspective and understanding of the world. Reading can also stimulate creativity and imagination, relieve stress, and provide a source of entertainment and relaxation. Additionally, reading helps to develop critical thinking and analytical skills, making individuals better equipped to solve problems and make informed decisions. In today's digital age, reading is more accessible than ever, and it can be done in a variety of formats, including books, magazines, newspapers, and e-books . The importance of reading cannot be overstated and it is a habit that should be cultivated from a young age.

500 Words Essay on Reading Books

The ability to read allows us to learn new information and gives us access to a wide range of opportunities, ideas, and tales. We can gather a lot of information and apply it correctly to carry out a variety of duties in our lives. Reading regularly broadens our knowledge and improves our intelligence and sense of judgment. Early reading encouragement aids children's understanding of their surroundings.

One of the reading's key benefits is its ability to enhance critical thinking skills. For instance, reading a mystery novel can help you think more effectively. What elements of a story enable one to draw a conclusion? If the novel is based on actual events, you could periodically wonder if the author is correct. Making significant decisions frequently requires the use of critical thinking abilities. Comparing reading to watching television requires distinct types of thought and information processing. As you read more, you become more aware of what you're reading and its significance.

Because we live in a culture where competition dominates every part of life, we need to nurture a child's personality so that they have a lot of self-confidence. Books have a significant role in our educational process . Books are extensive knowledge archives. Publications can be found all around us in a variety of formats, including magazines, novels, self-help, and scholarly books. They were able to develop a genre that perfectly suited everyone's requirements. Whether it was for bedtime reading or study material, everyone has had some sort of connection to books. This wasn't always the case, though.

In the past, books were not as readily available as they are today. The advancement of printing technology has reduced the cost of books and increased accessibility for everyone. Books encourage our imagination and inventiveness while assisting us in visualising the material.

The growth of a person is significantly impacted by reading. Language development is the primary and most significant advantage of reading. It expands our comprehension of words beyond their meaning to include the context of their use, which aids in vocabulary development. The second is the growth of cognitive capacities, particularly in young children. It aids in the development of viewpoints on numerous topics, from the self to society.

Reading allows us to take in information, making it a passive learning method, according to the study. This makes it possible for us to comprehend challenges in society and personal difficulties in a more thorough and holistic way. The advantages that books provide us still holds true even in a world where everything can be found online.

Reading books can uplift you when you're feeling sad or uninspired and even provide you with company while everyone else is busy. One benefit of reading is that it helps to calm the body and mind. You can refuel much more quickly by reading. Reading is the best way to unwind after a long day. Due to the concentration required to read literature or fiction, readers can tune out distractions from their daily lives, fostering inner serenity and enhancing general health.

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

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

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

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

The Top Ten

Oliver sacks, the mind’s eye (2010).

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

John Jeremiah Sullivan, Pulphead (2011)

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

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

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

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

Aleksandar Hemon, The Book of My Lives (2013)

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

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

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

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

Hilton Als, White Girls (2013)

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

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

Eula Biss, On Immunity (2014)

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

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

Rebecca Solnit, The Mother of All Questions (2016)

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

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

Valeria Luiselli, Tell Me How It Ends (2017)

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

Zadie Smith, Feel Free (2018)

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

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

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

Dissenting Opinions

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

Elif Batuman, The Possessed (2010)

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

Roxane Gay, Bad Feminist (2014)

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

Rivka Galchen, Little Labors (2016)

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

Charlie Fox, This Young Monster (2017)

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

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

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

Elena Passarello, Animals Strike Curious Poses (2017)

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

Esmé Weijun Wang, The Collected Schizophrenias (2019)

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

Ross Gay, The Book of Delights (2019)

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

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

Honorable Mentions

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

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

Emily Temple

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Happy Arbor Day! These 20 books will change the way you think about trees

The trees in this photo are amazing (and not just because they happen to be growing in a very Instagrammable heart shape around Baker Lake in Quebec, Canada.) Read on for a tree appreciation reading list for Arbor Day. Sebastien St-Jean/AFP via Getty Images hide caption

The trees in this photo are amazing (and not just because they happen to be growing in a very Instagrammable heart shape around Baker Lake in Quebec, Canada.) Read on for a tree appreciation reading list for Arbor Day.

Trees communicate. They migrate. They protect. They heal. This year for Arbor Day this year we climbed into the NPR archives to find our favorite arboreal fiction, nonfiction and kids' books.

Scroll down to find excerpts from interviews and reviews, plus recommendations from Books We Love — NPR's annual, year-end books guide .

Twelve Trees: The Deep Roots of Our Future by Daniel Lewis, 2024

There are tens of thousands of tree species on Earth, but writer Daniel Lewis focused in on just a dozen in his book, Twelve Trees. Lewis spoke with Ari Shapiro on All Things Considered in March: "The natural world needs our attentions, plural ..." he said. "I want people to understand that the salvation of trees can be our salvation."

Lewis believes trees and people have more in common than you might think. "These 12 trees each say something about ourselves because trees are not just about trees. ... We live among them, and they live among us, so I think we have an obligation to understand them better."

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Better Living Through Birding: Notes from a Black Man in the Natural World by Christian Cooper, 2023

Christian Cooper was birdwatching in Central Park in 2020 when a white woman falsely accused him of threatening her. His book Better Living Through Birding chronicles life as a Black birder, gay activist and Marvel comics writer and editor. In 2023 he told Terry Gross on Fresh Air : "Birds belong to no one. They are for everyone to enjoy. And it is an incredibly healing thing to be out there in whatever habitat the birds are in, to connect with the wild and to just see these feathered wonders going about their business of life."

The Treeline: The Last Forest and the Future of Life on Earth by Ben Rawlence, 2022

Trees are on the move — in ways they shouldn't need to be. Structured as a study of half a dozen trees from the boreal forest – the wide band of trees near the Arctic Circle – The Treeline traces the canopy around the world, noting where trees have vanished or are creeping ever northward. But this isn't just a landscape diary; whether in Canada, Greenland, or Norway, author Ben Rawlence emphasizes portraits of people, especially Indigenous communities facing the front lines of climate change, and scientists chronicling the imminent, dramatic changes ahead of us. A sounding alarm, and a call to action. — Genevieve Valentine, author and book critic

Finding the Mother Tree: Discovering the Wisdom of the Forest by Suzanne Simard, 2021

Trees are "social creatures" that communicate with each other in cooperative ways ecologist Suzanne Simard told Dave Davies on Fresh Air in 2021. Her memoir Finding the Mother Tree describes her research on cooperation and symbiosis in the forest, and shares how her study of trees took on a new resonance when she was diagnosed with breast cancer. Simard explained that trees in a forest are often linked to each other via an older tree she calls a "mother" or "hub" tree. "The seedlings will link into the network of the old trees and benefit from that huge uptake resource capacity," Simard said. "And the old trees would also pass a little bit of carbon and nutrients and water to the little seedlings, at crucial times in their lives, that actually help them survive."

The Journeys of Trees: A Story About Forests, People, and the Future by Zach St. George, 2020

Forests migrate: They are on the move away from danger and always have been. Now, these are not the dour-faced Ents of J.R.R. Tolkien's Lord of the Rings , who are downright speedy compared to the agonizingly slow march of Earth's trees and forests. But the journeys of trees, and the forces that drive that titular phrase, are an engrossing tale of nature's survival, the increasing speed of climate change and of the people working to preserve these most ancient creatures. Author and reporter Zach St. George presents a thoroughly researched story about what we can learn from some of Earth's oldest residents if we just stop and listen. — Steve Mullis, former editor/producer, Morning Edition

Hanging Tree Guitars by Freeman Vines with Zoe van Buren, photography by Timothy Duffy, 2020

Part memoir, part photo essay, Hanging Tree Guitars is the story of North Carolina luthier Freeman Vines. He crafts guitars from found materials and hunks of old wood, including some from a tree once used for a lynching. Vines, 78, explains how the wood talks to him, and he reflects on growing up in a sharecropper's family under Jim Crow. "I had learned that the white man was what controlled the code," he says. Timothy Duffy's tintype images of Vines and his guitars are stunning, including one where Vines is sitting in a field with his guitars strung on a frame overhead. — Debbie Elliott, correspondent, National Desk

Forest Bathing: How Trees Can Help You Find Health and Happiness by Qing Li, 2018

In 2018, Marcelo Gleiser wrote an essay for NPR about the practice of forest bathing. Gleiser wrote: "In Japan, the country that has the highest population density in the world but also vast expanses of green forests (about 3,000 miles of them), an ancient tradition tries to balance out the crush from urban living. It's known as shinrin-yoku , or ' forest bathing .' It's the practice of spending prolonged periods of time with trees in order to gain from their many health benefits. ... Dr. Qing Li, the world's foremost expert in forest medicine, introduces readers to the healing practice of forest bathing — and the art and science of how trees can enrich your life. ... Dr. Li's book is itself a tribute to forests and the magnificence of trees, featuring more than 100 color photographs of forests around the world."

Urban Forests: A Natural History of Trees and People in the American Cityscape by Jill Jonnes, 2016

Next time you're outside, look up. Trees are so ubiquitous that it's easy to take them for granted. But Urban Forests makes you stop and pay attention to the "living landmarks" standing tall in America's cities. From Thomas Jefferson's time to present day, Jill Jonnes explores the essential roles trees play in urban centers — filtering air, providing habitat, offering shade, calming nerves and more. I loved this book because it's both for history lovers and for tree devotees. It's a good read — best done under the canopy of your favorite tree. — Jeanine Herbst, news anchor

The Hidden Life of Trees: What They Feel, How They Communicate―Discoveries from A Secret World by Peter Wohlleben, translated by Jane Billinghurst, 2016

In 2016, Alva Noë wrote an essay for NPR about Peter Wohlleben's book The Hidden Life of Trees. Noë said: "The book is dreamy and strange; it tells about trees and their tightknit communities in the forest. The book is full of science. But it's written from the standpoint of a person who lives and works with trees in the forest rather than someone who studies them. ... The Wood Wide Web he describes is a community of trees and microbes, aphids, fungi and birds, one in which dense connectivity and mutual interdependence are the norm (and are missing in the forest-farms of the modern world). Communication, shared and competing interests, learning and adaptation, all play a critical role."

The Tree Doctor by Marie Mutsuki Mockett, 2024

A woman returns to her California hometown to help her ailing mother move into a care facility. Dismayed by the condition of her mother's garden, she calls a nursery for help and meets Dean — the tree doctor. As book critic Michael Schaub wrote : "Her attempt to save the fuchsias leads her to a whirlwind relationship that confirms to her what she already, in the back of her mind, knows: Her life as a wife and mother has caused her to neglect herself, and she needs to save herself even more urgently than she needs to rescue her mother's flowers. The Tree Doctor is an excellent novel, one that beautifully chronicles one woman's response to a series of life-changing crises."

The Island of Missing Trees by Elif Shafak, 2021

The characters in this book are immigrants from Cyprus, the Mediterranean island where Greece and Turkey went to war in the 1970s. But the narrator? It's a fig tree. Novelist Elif Shafak spoke with Morning Edition 's Steve Inskeep in 2021 about her decision tell the story from a tree's perspective . "I wanted an observer that lives longer than human beings," Shafak said. "Trees have this longevity. They were here before us, and they will most probably be here long after we humans have disappeared. ... What does it mean to be rooted, uprooted and rerooted?"

The Overstory: A Novel by Richard Powers, 2018

The Overstory begins with the nine characters whose lives will intersect as the novel unfolds. Each has some kind of connection with a tree. These stories, so beautifully told and intricately crafted, perfectly set the stage for this saga about a small band of radical environmentalists who are determined to save an old-growth forest in the Pacific Northwest. They pay a heavy price for their determination. As Richard Powers pulls you into their lives and fills you with astonishing facts about trees, he deftly pits that price against the cost of allowing these magnificent forests to be destroyed. — Lynn Neary, former correspondent, Culture Desk

The Lie Tree by Frances Hardinge, 2016

Frances Hardinge's Gothic fantasy The Lie Tree starts in the middle of a dreary downpour and feels like it ought only to be read during one as well. It's the story of Faith Sunderly, her naturalist father's mysterious murder and the magical tree that grows truth-revealing fruits only when Faith whispers lies to it. This book feels destined to be read in the middle of a dark and stormy night, preferably under the covers and with a secret flashlight. However, Hardinge's writing is so beautiful and her atmosphere so evocative that it could probably leave you shivering even if you read it on a sunny tropical beach. — Margaret Willison, librarian and book critic

Kids' Books

Listen to the Language of the Trees: A Story of How Forests Communicate Underground by Tera Kelley, illustrated by Marie Hermansson, 2022

If you know about the "Wood Wide Web," then you know that trees communicate through the fungi that connect their roots. Still, did you know about how they support one another with extra food? How they can tell their offspring apart from other trees? How they can warn other trees when insects attack? Consider this the preeminent book for kids on the topic, complemented with illustrations both beautiful and clear-cut, making a tangle of a topic as easy as (forgive me) falling off a log! (For ages 4 to 8) — Betsy Bird, book critic and author of Long Road to the Circus

Berry Song by Michaela Goade, 2022

Radiant illustrations by Caldecott-winning illustrator Michaela Goade ( We Are Water Protectors ) practically leap from the pages of her latest picture book with joy and warmth. Goade's first foray into authorship is a triumphant love song to the Tlingit people. A heartwarming story of a girl and her grandmother, and the joy they get from nature's offerings. A rich and beautiful book meant to be shared. (For ages 4 to 8) — Juanita Giles, executive director, Virginia Children's Book Festival

The Tree in Me by Corinna Luyken, 2021

"The first thing you will notice about Corinna Luyken's The Tree in Me is the pink," wrote Juanita Giles, executive director of the Virginia Children's Book Festival, in 2021. "Not a soft, gentle pink; not an Easter egg pink, but NEON PINK, and lots of it. Pink cheeks, pink flowers, pink trees, pink AIR. Neon pink is practically bursting from the cover like, well, like happiness."

In spare, poetic text, the book describes how every child is like a tree, rooted in nature. "In all of my original sketches for the book, I was using shades of green," Luyken told Giles. "But as the visual story started to develop, I realized that the green was making the book feel too literal ... and I wanted it to be much more expansive and universal than that. I wanted it to be a larger, shape shifting, timeless tree." (For ages 4 to 8)

Everything You Need for a Treehouse by Carter Higgins, illustrated by Emily Hughes, 2018

Get ready for your imagination to explode! Read this book, and pass out the crayons — or set up a library fort! Everything You Need for a Treehouse is all about seeing something that's not there and imagining your world as you want it to be. From building treehouses to just lying on your back and telling stories about clouds — anything is possible. I wasn't surprised to get to the end and see that it was written by a librarian, because every imagined treehouse feels like a book in itself, capturing a mood or a need. The one made of glass and filled with flowers, the one that looks like a library, they're all cozier and more fun than the next. (For ages 3 to 6) — Justine Kenin, editor, All Things Considered

Wishtree by Katherine Applegate, 2017

Did you know trees can talk? An impressive, more-than-200-year-old oak named Red is the narrator of Katherine Applegate's Wishtree . For centuries, neighbors have been leaving their wishes on scraps of paper and cloth in Red's hallows and branches. When Samar and her Muslim family move nearby, they are met with intolerance and hostility. Red is touched by Samar's simple wish and determined to make it come true, even at the risk of being cut down. This tender story is powerful without being preachy. (For ages 8 to 12) — Lisa Yee, author of Maizy Chen's Last Chance

The Night Gardener by Terry Fan and Eric Fan, 2016

Beautifully drawn, this evocative book is deceptively simple. When a boy discovers that the tree outside his window has been magically transformed into an owl, he seeks to find the reason why. As more and more wondrous topiaries appear all along Grimloch Lane, the mystery deepens. That's when the boy, William, meets an enigmatic man who enlists his help. In The Night Gardener, brothers Terry and Eric Fan have created a gorgeous book about a small town that comes alive, and a young boy whose life has been irrevocably changed. (For ages 4 to 8) — Lisa Yee, author of Maizy Chen's Last Chance

Tap the Magic Tree by Christie Matheson, 2013

Who wouldn't want the opportunity to take a tree from a bare trunk to spring blossoms, to fruitful summer, to loss in autumn, to winter snow, and back to spring beginnings again? Simple instructions in spare, rhyming text encourage readers to add and subtract elements — tap once to add a leaf, touch buds to turn them into flowers, shake the tree to make the apples kerplop to the ground. Christie Matheson offers children the opportunity to help a tree grow and change throughout a year — what a powerful feeling! (For ages 4 to 8) — Mara Alpert, children's librarian, Los Angeles Public Library

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8 New Books We Recommend This Week

Suggested reading from critics and editors at The New York Times.

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Violence and its impact on writers anchor three of our recommended books this week: Michael Korda offers a group biography of the soldier-poets of World War I, while Kristine Ervin writes about her mother’s murder and Salman Rushdie relives the knife attack that almost took his life two years ago.

We also recommend a history of immigration detention in America and, in fiction, new novels by Leigh Bardugo, Terese Svoboda, Caoilinn Hughes and Julia Alvarez. Happy reading. — Gregory Cowles

KNIFE: Meditations After an Attempted Murder Salman Rushdie

In his candid, plain-spoken and gripping new memoir, Rushdie recalls the attempted assassination he survived in 2022 during a presentation about keeping the world’s writers safe from harm. His attacker had piranhic energy. He also had a knife. Rushdie lost an eye, but he has slowly recovered thanks to the attentive care of doctors and the wife he celebrates here.

“A clarifying book. It reminds us of the threats the free world faces. It reminds us of the things worth fighting for.”

From Dwight Garner’s review

Random House | $28

THE FAMILIAR Leigh Bardugo

A lowly servant girl in 16th-century Spain has a secret: There’s magic in her fingertips, perhaps the kind that anxious kings and other assorted schemers would kill for. The best-selling fantasist Bardugo (“Shadow and Bone”) infuses her new standalone novel with both rich historical detail and a heady sense of place and romance.

“Her prose mirrors the Baroque setting, her sentences lush and embroidered with pearls. ... Reading Bardugo is an immersive, sensual experience”

From Danielle Trussoni’s review

Flatiron | $29.99

ROXY AND COCO Terese Svoboda

The titular sisters in Svoboda’s new novel are modern-day harpies, of mythological renown: half-woman, half-bird, fearsome creatures. They’re also social workers, and their very long life’s work is the consideration of children who have been abandoned, neglected or worse.

“Svoboda’s novel comes close to suggesting that people really are for the birds. And yet, some of the most moving moments in ‘Roxy and Coco’ happen between creatures who are desperate for care.”

From Hilary Leichter's review

West Virginia University Press | Paperback, $21.99

IN THE SHADOW OF LIBERTY: The Invisible History of Immigrant Detention in the United States Ana Raquel Minian

The American government has a long record of detaining migrants in places that are, legally speaking, black sites. Minian traces immigration detention from the late 1800s through the present via the stories of four figures, showing how absurd and arbitrary the system can be.

“Storytelling allows Minian to convey the physical and emotional toll of detention with potent specificity. The result is a book-length plea against dehumanization, at least for those who are willing to listen.”

From Jennifer Szalai’s review

Viking | $32

THE ALTERNATIVES Caoilinn Hughes

This novel features four 30-something Irish sisters, all with Ph.D.s and all lonely or a little bit lost in some way. When the oldest of them goes (voluntarily) missing and her younger sisters team up to investigate, Hughes has the catalyst for a witty, bittersweet and often stylistically bold exploration of blood ties and chosen family.

“‘The Alternatives’ is a bold, beautiful, complex novel, and I can’t wait to read what Hughes writes next. She, too, is an unstoppable force.”

From S. Kirk Walsh’s review

Riverhead | $28

THE CEMETERY OF UNTOLD STORIES Julia Alvarez

Returning to her Dominican homeland after decades in America, a weary novelist decides to build a literal graveyard for all her failed and unrealized tales in the lively latest from Alvarez (“In the Time of the Butterflies”), who continues to fuse magical realism with warm humanism.

“Lively, joyous, full of modern details and old tall tales. Any reader with roots and ancestors in other lands lives in a multiple-narrative story, one that we try to share with everyone, though we have to translate it.”

From Luis Alberto Urrea’s review

Algonquin | $28

RABBIT HEART: A Mother’s Murder, a Daughter’s Story Kristine S. Ervin

When Ervin was 8 years old, her mother was abducted from a mall parking lot; her body was found several days later. This gruesome reality is just the beginning of Ervin’s riveting tale, which resists society’s insistence on conflating both her own and her mothers’ identity with victimhood, even as it marks every facet of her life. A lacerating, bracing read that reminds us not just of the actual people behind the true crime genre, but of our own complicity in its consumption.

“Ervin writes with painful clarity about the instability of a childhood defined by public tragedy. The unanswered questions surrounding her mother’s death meant that even the most familiar of places became potential crime scenes, familiar objects indexes of loss.”

From Alissa Bennett’s review

Counterpoint | $27

MUSE OF FIRE: World War I as Seen Through the Lives of the Soldier Poets Michael Korda

In this erudite and often funny group biography of the Allied soldiers who turned their battlefield experiences into verse during the Great War, Korda tracks the whole arc of public opinion as the conflict progressed, from romantic enthusiasm to incandescent rage.

“Korda’s group portrait of soldier poets skillfully depicts how different classes of men experienced the Western Front and offers an entry point into a rich seam of under-read war poetry.”

From Alice Winn’s review

Liveright | $29.99

Explore More in Books

Want to know about the best books to read and the latest news start here..

The complicated, generous life  of Paul Auster, who died on April 30 , yielded a body of work of staggering scope and variety .

“Real Americans,” a new novel by Rachel Khong , follows three generations of Chinese Americans as they all fight for self-determination in their own way .

“The Chocolate War,” published 50 years ago, became one of the most challenged books in the United States. Its author, Robert Cormier, spent years fighting attempts to ban it .

Joan Didion’s distinctive prose and sharp eye were tuned to an outsider’s frequency, telling us about ourselves in essays that are almost reflexively skeptical. Here are her essential works .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

• Reducing <i>The Idea of You</i> to Fan Fiction Is Another Example of Dismissing Women’s Art

Reducing  The Idea of You  to Fan Fiction Is Another Example of Dismissing Women’s Art

I n the spring of 2014, when I set out to write the novel that would become The Idea Of You , I didn’t plan on writing something that was revolutionary or controversial. I wanted to write a story about Solène Marchand, a woman on the cusp of 40 who rediscovers and redefines herself through an unexpected love with a much younger man who happens to be a world-famous celebrity. As someone who was in that age range and who should have just been hitting my stride in my professional life as an actor, I was seeing the sudden shift in parts available to me. The characters had become more staid, the opportunities fewer and further between. I was learning the hard way that in Hollywood , after 40, women are much less desirable. The assumption was that we ceased to be sexual beings and were thus less valuable. I was eager to prove the industry—and our culture at large—wrong, in my own little way.

Shortly after the book’s publication in 2017, I realized I was also bumping up against something else. Some readers were viewing this story about ageism , sexism, the double standard, motherhood, female friendship, agency, and the dark side of celebrity as nothing more than “fluff.” They focused on the love story and the sex to the exclusion of the other pertinent themes of the book. They called it a romance. It was not. Romance novels have specific rules, and my book did not follow them. But it was labeled and categorized as such.

Was it because it centered on a woman’s love story? Because the main characters, Solène  and Hayes Campbell, two consenting adults, had a healthy sexual appetite? Or maybe it was the cover and the publisher’s marketing campaign? I’ll never know. But I started receiving messages from women that began with self-conscious and belittling openings like, “This is not the type of book I typically read, however…” and “I didn’t think I was going to like this book, but…” Then they’d proceed to discuss all the themes I’d set out to grapple with in writing the novel. It was clear they had made assumptions. They didn’t think a story about a woman’s midlife sexual awakening might contain something deeper. They couldn’t imagine it might be both tantalizing and complex. 

I am a lover of literary fiction. I appreciate stories with characters who are not necessarily like me, who expose me to new worlds and new ways of thinking through elegant prose. I crave stories that are multilayered and have something profound to say. But I also enjoy stories that entertain, that provide levity and occasional escapism. And I have always tried to write in a space encompassing both.

Read More: The Most Anticipated Movies of 2024

There’s a scene in The Idea Of You when Hayes, a member of the chart-topping British boy band August Moon, is disparaging his work as the group’s founder, and Solène, a sophisticated art dealer, is imploring him to not discredit what he and his bandmates do.

“It’s art. And it makes people happy,” she says. “And that’s a very good thing. We have this problem in our culture. We take art that appeals to women—film, books, music—and we undervalue it. We assume it can’t be high art. Especially if it’s not dark and tortured and wailing. And it follows that much of that art is created by other women, and so we undervalue them as well. We wrap it up in a pretty pink package and resist calling it art.” 

That sentiment has resonated with me more in the years since I wrote this line of dialogue than ever before. I thought about it when Barbie became the biggest box-office hit of 2023 and the highest-grossing film ever directed by a woman, yet Greta Gerwig and Margot Robbie were not nominated for Best Director or Best Actress, respectively, at the Oscars. I thought about it when I revisited critics’ resistance to Taylor Swift and the dismissal of her fandom for the first decade of her career, writing both off as juvenile and unserious. We all know who got the last laugh there. In April, Swift was named to the Forbes billionaire list, becoming the first musician whose earnings stem solely from her songs and performances to do so. Not so unserious now, is she?

In no other case does Solène’s description of that sentiment feel more personal than with the responses to her story. Labeling it as “fluff” or “fanfiction”—particularly when done by those who have not read it—is both reductive and dismissive. And this is not something that happens to male authors. It’s bad enough that so many novels with female protagonists are labeled women’s fiction , while those with male protagonists are simply fiction , and that these categorizations exist regardless of the fact that fiction readers across the board are disproportionately women. But assuming a novel with a fictional celebrity in a relationship must be based on an existing celebrity—in this case, the internet has decided, Harry Styles —is unimaginative at best and sexist at worst.

There are some brilliant, beloved writers of fanfic out there, but fanfiction is just not what I do. Hayes Campbell, like Solène Marchand and the myriad other characters in this book, was inspired in part by people I’ve encountered and by art I’ve consumed, and he came to life thanks to a healthy dose of my imagination. It’s how most writers I know, regardless of gender, create their characters and their worlds.

Read More: The Idea of You Is About the Ultimate Middle-Aged-Lady Fantasy—Being Noticed

My case is just one symptom of the larger disease in the broader literary world, where comparable works by women and men are given inequitable weight. “First-person narrative by men is still published and reviewed as more serious and gets a lot more money and coverage,” author and academic Kate Zambreno said in a recent New York Times interview. “It’s also usually not dismissed as merely autofiction or memoir, instead read as literature encompassing psychogeography, philosophy, art criticism. Even if a woman is doing exactly that, she’s usually still marketed as merely writing a woman’s experience or, worse, a mom memoir, if she has children.”

What is it about art made by women and marketed toward women that makes us view it as less than—that makes us think they can’t be complex and important? We don’t wrap male writers’ books in pink and tell readers they’re great for the beach. We don’t frown upon consumers of male fiction as juvenile. We don’t reduce their writing to fanfiction and attach a celebrity’s name for clickbait. Bottom line: we don’t undervalue them and their work. 

I never set out to write a novel that would spark this kind of debate. Hayes and Solène’s story has made readers think about their agency and ambition, about love and aging and the meaning of human connection—and it’s made them laugh, cry, wallow, and sigh in the process. Perhaps it is art, after all.

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A writer explores the complexities of her interracial relationship

Nina Sharma contemplates the power of Black and Brown love in her essay collection “The Way You Make Me Feel.”

Shortly after George Floyd’s murder in 2020, The Washington Post ran a news story about interracial families attempting to explain his death to their children. “ A man was unjustly killed here ,” a White father recalls solemnly telling his biracial Black child.

But there was a key gap in coverage: “There are no interracial couples without a white partner” featured in The Post’s article, Nina Sharma observes in her new essay collection, “The Way You Make Me Feel: Love in Black and Brown.” Drawing variously on personal reflections, pop culture and history, Sharma makes it her project to decenter whiteness and highlight a love that has long been relegated to the shadows: that of Black and Brown couples.

Sharma, who is Indian American, is married to Quincy Scott Jones, a Black American educator and poet whom Sharma met at a Fourth of July barbecue, as she recollects in the anthology’s title essay. They had, she writes, grown up just one hour from each other: Jones in a majority-Black suburb of New Jersey, Sharma in Edison, N.J., a town that’s now home to one of the largest concentrations of Indian Americans in the country.

In 16 essays spanning 300 pages, Sharma chronicles her own relationship and places it in conversation with other Afro-Asian love stories. Among them are that of the Black-Indian couple at the center of Mira Nair’s 1991 film, “Mississippi Masala,” and the story of Vice President Harris’s parents. (Sharma refers to Harris as her “time-traveling daughter” while contemplating having children of her own.)

The sweeping but focused collection demonstrates Sharma’s commitment to exploring Afro-Asian intimacy in all its beauty and complexity. In one essay, she probes Donald Trump’s indictment of racial others and grapples with her own immigrant father’s complicated adulation of the former president. Using “Mad Men” as a launchpad, Sharma incisively considers the “nothingness of whiteness”: the luxury White people are accorded to make “something out of nothing,” while Black and Brown stories are always expected to make a statement.

In the book’s standout essay, “Sacrifice,” Sharma meditates on her parents’ suggestion that Quincy shave off his dreadlocks before their wedding. She compares the sanctity of a Hindu head-shaving practice, called mundan, with the violence of shaving the hair of enslaved people. “Head shaving was one of the first acts of enslavement,” Sharma writes, recounting the history of Europeans and slave traders shaving heads as a way of “cutting from enslaved Africans all ties to their place and people, all known markers of identity.”

But Sharma doesn’t simply dismiss the sacrosanct Hindu practice of tonsuring; instead, she treads carefully to highlight its nuances and considers the opposing valences that head-shaving carries in Indian and Black communities. She extends her exploration of hair to Black women’s wigs and weaves, which sometimes source hair from India and China, often selling it to consumers as “true Indian hair.” In the essay’s conclusion, Sharma refuses to comfort readers; instead, she recalls her own wedding, when her older sister complimented a Black guest’s hair. “I love your hair,” her sister said. “Well, you should,” the guest replied. “It’s yours.”

As such moments prove, Sharma’s debut is remarkable for its daring, how unafraid it is to eschew rosy visions of racial solidarity. She interrogates the ongoing anti-Blackness of her family, even after her marriage to Quincy, refusing to glaze the collection with the banal optimism that assumes all people of color have joined forces to avenge racism. As a case in point, Sharma reminds us of the complicity of the Palestinian American owner of the corner market outside which George Floyd was murdered, and that of the Hmong American police officer who stood watching.

Sharma brings the same candor to her own life and its unglamorous details: her multiple mental health hospitalizations, her persistent cheating on a college boyfriend, her struggle to quit smoking cigarettes. The prose is lush, if occasionally cliché, such as when she describes a peck on the lips as an “unbearable lightness” and concludes the book by ruminating on the undefined nature of dividing zero by zero while approaching Exit 0 on a New Jersey highway.

Although that metaphor feels strained, its nod to life’s precarity is apt: “The Way You Make Me Feel” affirms that Black and Brown existence in America comes with no guarantee of collective solidarity, no innate promise of racial equality. The path to justice is uncertain, Sharma reminds us, and we must each work hard — and be bold enough to sacrifice our own comfort — to actualize it.

Meena Venkataramanan writes stories on identity, culture and Asian American communities for The Post.

The Way You Make Me Feel

Love in Black and Brown

By Nina Sharma

Penguin. 323 pp. $27

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