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• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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Caulfield, J. (2023, August 14). How to Write a Literary Analysis Essay | A Step-by-Step Guide. Scribbr. Retrieved March 23, 2024, from https://www.scribbr.com/academic-essay/literary-analysis/

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The Ten Best American Essays Since 1950, According to Robert Atwan

in Books , Literature | November 15th, 2012 3 Comments

“Essays can be lots of things, maybe too many things,” writes Atwan in his fore­ward to the 2012 install­ment in the Best Amer­i­can series, “but at the core of the genre is an unmis­tak­able recep­tiv­i­ty to the ever-shift­ing process­es of our minds and moods. If there is any essen­tial char­ac­ter­is­tic we can attribute to the essay, it may be this: that the truest exam­ples of the form enact that ever-shift­ing process, and in that enact­ment we can find the basis for the essay’s qual­i­fi­ca­tion to be regard­ed seri­ous­ly as imag­i­na­tive lit­er­a­ture and the essay­ist’s claim to be tak­en seri­ous­ly as a cre­ative writer.”

In 2001 Atwan and Joyce Car­ol Oates took on the daunt­ing task of trac­ing that ever-shift­ing process through the pre­vi­ous 100 years for  The Best Amer­i­can Essays of the Cen­tu­ry . Recent­ly Atwan returned with a more focused selec­tion for  Pub­lish­ers Week­ly :  “The Top 10 Essays Since 1950.”  To pare it all down to such a small num­ber, Atwan decid­ed to reserve the “New Jour­nal­ism” cat­e­go­ry, with its many mem­o­rable works by Tom Wolfe, Gay Talese, Michael Herr and oth­ers, for some future list. He also made a point of select­ing the best essays , as opposed to exam­ples from the best essay­ists. “A list of the top ten essay­ists since 1950 would fea­ture some dif­fer­ent writ­ers.”

We were inter­est­ed to see that six of the ten best essays are avail­able for free read­ing online. Here is Atwan’s list, along with links to those essays that are on the Web:

• James Bald­win, “Notes of a Native Son,” 1955 (Read it here .)
• Nor­man Mail­er, “The White Negro,” 1957 (Read it here .)
• Susan Son­tag, “Notes on ‘Camp,’ ” 1964 (Read it here .)
• John McPhee, “The Search for Mar­vin Gar­dens,” 1972 (Read it here with a sub­scrip­tion.)
• Joan Did­ion, “The White Album,” 1979
• Annie Dil­lard, “Total Eclipse,” 1982
• Phillip Lopate, “Against Joie de Vivre,” 1986 (Read it here .)
• Edward Hoagland, “Heav­en and Nature,” 1988
• Jo Ann Beard, “The Fourth State of Mat­ter,” 1996 (Read it here .)
• David Fos­ter Wal­lace, “Con­sid­er the Lob­ster,” 2004 (Read it here  in a ver­sion dif­fer­ent from the one pub­lished in his 2005 book of the same name.)

“To my mind,” writes Atwan in his arti­cle, “the best essays are deeply per­son­al (that does­n’t nec­es­sar­i­ly mean auto­bi­o­graph­i­cal) and deeply engaged with issues and ideas. And the best essays show that the name of the genre is also a verb, so they demon­strate a mind in process–reflecting, try­ing-out, essay­ing.”

To read more of Atwan’s com­men­tary, see his  arti­cle in Pub­lish­ers Week­ly .

The pho­to above of Susan Son­tag was tak­en by Peter Hujar in 1966.

Relat­ed Con­tent:

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

by Mike Springer | Permalink | Comments (3) |

Related posts:

Comments (3), 3 comments so far.

Check out Michael Ven­tu­ra’s HEAR THAT LONG SNAKE MOAN: The VooDoo Ori­gins of Rock n’ Roll

Wow I think there’s oth­er greater ones out there. Just need to find them.

Boise mul­ber­ry bags uk http://www.cool-mulberrybags.info/

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What Makes a Great American Essay?

Talking to phillip lopate about thwarted expectations, emerson, and the 21st-century essay boom.

Phillip Lopate spoke to Literary Hub about the new anthology he has edited, The Glorious American Essay . He recounts his own development from an “unpatriotic” young man to someone, later in life, who would embrace such writers as Ralph Waldo Emerson, who personified the simultaneous darkness and optimism underlying the history of the United States. Lopate looks back to the Puritans and forward to writers like Wesley Yang and Jia Tolentino. What is the next face of the essay form?

Literary Hub: We’re at a point, politically speaking, when disagreements about the meaning of the word “American” are particularly vehement. What does the term mean to you in 2020? How has your understanding of the word evolved?

Phillip Lopate : First of all, I am fully aware that even using the word “American” to refer only to the United States is something of an insult to Latin American countries, and if I had said “North American” to signify the US, that might have offended Canadians. Still, I went ahead and put “American” in the title as a synonym for the United States, because I wanted to invoke that powerful positive myth of America as an idea, a democratic aspiration for the world, as well as an imperialist juggernaut replete with many unresolved social inequities, in negative terms.

I will admit that when I was younger, I tended to be very unpatriotic and critical of my country, although once I started to travel abroad and witness authoritarian regimes like Spain under Franco, I could never sign on to the fear that a fascist US was just around the corner.  I came to the conclusion that we have our faults, but our virtues as well.

The more I’ve become interested in American history, the more I’ve seen how today’s problems and possible solutions are nothing new, but keep returning in cycles: economic booms and recessions, anti-immigrant sentiment, regional competition, racist Jim Crow policies followed by human rights advances, vigorous federal regulations and pendulum swings away from governmental intervention.

Part of the thrill in putting together this anthology was to see it operating simultaneously on two tracks: first, it would record the development of a literary form that I loved, the essay, as it evolved over 400 years in this country. At the same time, it would be a running account of the history of the United States, in the hands of these essayists who were contending, directly or indirectly, with the pressing problems of their day. The promise of America was always being weighed against its failure to live up to that standard.

For instance, we have the educator John Dewey arguing for a more democratic schoolhouse, the founder of the settlement house movement Jane Addams analyzing the alienation of young people in big cities, the progressive writer Randolph Bourne describing his own harsh experiences as a disabled person, the feminist Elizabeth Cady Stanton advocating for women’s rights, and W. E. B. Dubois and James Weldon Johnson eloquently addressing racial injustice.

Issues of identity, gender and intersectionality were explored by writers such as Richard Rodriguez, Audre Lorde, Leonard Michaels and N. Scott Momaday, sometimes with touches of irony and self-scrutiny, which have always been assets of the essay form.

LH : If a publisher had asked us to compile an anthology of 100 representative American essays, we wouldn’t know where to start. How did you? What were your criteria?

PL : I thought I knew the field fairly well to begin with, having edited the best-selling Art of the Personal Essay in 1994, taught the form for decades, served on book award juries and so on. But once I started researching and collecting material, I discovered that I had lots of gaps, partly because the mandate I had set for myself was so sweeping.

This time I would not restrict myself to personal essays but would include critical essays, impersonal essays, speeches that were in essence essays (such as George Washington’s Farewell Address or Martin Luther King, Jr’s sermon on Vietnam), letters that functioned as essays (Frederick Douglass’s Letter to His Master).

I wanted to expand the notion of what is  an essay, to include, for instance, polemics such as Thomas Paine’s Common Sense , or one of the Federalist Papers; newspaper columnists (Fanny Fern, Christopher Morley); humorists (James Thurber, Finley Peter Dunne, Dorothy Parker).

But it also occurred to me that fine essayists must exist in every discipline, not only literature, which sent me on a hunt that took me to cultural criticism (Clement Greenberg, Kenneth Burke), theology (Paul Tillich), food writing (M.F. K. Fisher), geography (John Brinkerhoff Jackson), nature writing (John Muir, John Burroughs, Edward Abbey), science writing (Loren Eiseley, Lewis Thomas), philosophy (George Santayana). My one consistent criterion was that the essay be lively, engaging and intelligently written. In short, I had to like it myself.

Of course I would need to include the best-known practitioners of the American essay—Emerson, Thoreau, Mencken, Baldwin, Sontag, etc.—and was happy to do so.  As it turned out, most of the masters of American fiction and poetry also tried their hand successfully at essay-writing, which meant including Nathaniel Hawthorne, Walt Whitman, Theodore Dreiser, Willa Cather, Flannery O’Connor, Ralph Ellison. . .

But I was also eager to uncover powerful if almost forgotten voices such as John Jay Chapman, Agnes Repplier, Randolph Bourne, Mary Austin, or buried treasures such as William Dean Howells’ memoir essay of his days working in his father’s printing shop.

Finally, I wanted to show a wide variety of formal approaches, since the essay is by its very nature and nomenclature an experiment, which brought me to Gertrude Stein and Wayne Koestenbaum. Equally important, I was aided in all these searches by colleagues and friends who kept suggesting other names. For every fertile lead, probably four resulted in dead ends.  Meanwhile, I was having a real learning adventure.

LH: Do you have a personal favorite among American essayists? If so, what appeals to you the most about them?

PL : I do. It’s Ralph Waldo Emerson. He was the one who cleared the ground for US essayists, in his famous piece, “The American Scholar,” which called on us to free ourselves from slavish imitation of European models and to think for ourselves.  So much American thought grows out of Emerson, or is in contention with Emerson, even if that debt is sometimes unacknowledged or unconscious.

What I love about Emerson is his density of thought, and the surprising twists and turns that result from it. I can read an essay of his like “Experience” (the one I included in this anthology) a hundred times and never know where it’s going next.  If it was said of Emily Dickenson that her poems made you feel like the top of your head was spinning, that’s what I feel in reading Emerson. He has a playful skepticism, a knack for thinking against himself.  Each sentence starts a new rabbit of thought scampering off. He’s difficult but worth the trouble.

I once asked Susan Sontag who her favorite American essayist was, and she replied “Emerson, of course.” It’s no surprise that Nietzsche revered Emerson, as did Carlyle, and in our own time, Harold Bloom, Stanley Cavell, Richard Poirier. But here’s a confession: it took me awhile to come around to him.

I found his preacher’s manner and abstractions initially off-putting, I wasn’t sure about the character of the man who was speaking to me. Then I read his Notebooks and the mystery was cracked: suddenly I was able to follow essays such as “Circles” with pure pleasure, seeing as I could the darkness and complexity underneath the optimism.

LH: You make the interesting decision to open the anthology with an essay written in 1726, 50 years before the founding of the republic. Why?

PL : I wanted to start the anthology with the first fully-formed essayistic voices in this land, which turned out to belong to the Puritans. Regardless of the negative associations of zealous prudishness that have come to attach to the adjective “puritanical,” those American colonies founded as religious settlements were spearheaded by some remarkably learned and articulate spokespersons, whose robust prose enriched the American literary canon.

Cotton Mather and Jonathan Edwards were highly cultivated readers, familiar with the traditions of essay-writing, Montaigne and the English, and with the latest science, even as they inveighed against witchcraft. I will admit that it also amused me to open the book with Cotton Mather, a prescriptive, strait-is-the-gate character, and end it with Zadie Smith, who is not only bi-racial but bi-national, dividing her year between London and New York, and whose openness to self-doubt is signaled by her essay collection title, Changing My Mind .

The next group of writers I focused on were the Founding Fathers, Benjamin Franklin, Thomas Paine, Alexander Hamilton, Thomas Jefferson and George Washington, and a foundational feminist, Judith Sargent Murray, who wrote the 1790 essay “On the Equality of the Sexes.” These authors, whose essays preceded, occurred during or immediately followed the founding of the republic, were in some ways the opposite of the Puritans, being for the most part Deists or secular followers of the Enlightenment.

Their attraction to reasoned argument and willingness to entertain possible objections to their points of view inspired a vigorous strand of American essay-writing. So, while we may fix the founding of the United States to a specific year, the actual culture and literature of the country book-ended that date.

LH: You end with Zadie Smith’s “Speaking in Tongues,” published in 2008. Which essay in the last 12 years would be your 101st selection?

PL : Funny you should ask. As it happens, I am currently putting the finishing touches on another anthology, this one entirely devoted to the Contemporary (i.e., 21st century) American Essay. I have been immersed in reading younger, up-and-coming writers, established mid-career writers, and some oldsters who are still going strong (Janet Malcolm, Vivian Gornick, Barry Lopez, John McPhee, for example).

It would be impossible for me to single out any one contemporary essayist, as they are all in different ways contributing to the stew, but just to name some I’ve been tracking recently: Meghan Daum, Maggie Nelson, Sloane Crosley, Eula Biss, Charles D’Ambrosio, Teju Cole, Lia Purpura, John D’Agata, Samantha Irby, Anne Carson, Alexander Chee, Aleksander Hemon, Hilton Als, Mary Cappello, Bernard Cooper, Leslie Jamison, Laura Kipnis, Rivka Galchen, Emily Fox Gordon, Darryl Pinckney, Yiyun Li, David Lazar, Lynn Freed, Ander Monson, David Shields, Rebecca Solnit, John Jeremiah Sullivan, Eileen Myles, Amy Tan, Jonathan Lethem, Chelsea Hodson, Ross Gay, Jia Tolentino, Jenny Boully, Durga Chew-Bose, Brian Blanchfield, Thomas Beller, Terry Castle, Wesley Yang, Floyd Skloot, David Sedaris. . .

Such a banquet of names speaks to the intergenerational appeal of the form. We’re going through a particularly rich time for American essays: especially compared to, 20 years ago, when editors wouldn’t even dare put the word “essays” on the cover, but kept trying to package these variegated assortments as single-theme discourses, we’ve seen many collections that have been commercially successful and attracted considerable critical attention.

It has something to do with the current moment, which has everyone more than a little confused and therefore trusting more than ever those strong individual voices that are willing to cop to their subjective fears, anxieties, doubts and ecstasies.

__________________________________

The Glorious American Essay , edited by Phillip Lopate, is available now.

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12.14: Sample Student Literary Analysis Essays

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• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

The following examples are essays where student writers focused on close-reading a literary work.

While reading these examples, ask yourself the following questions:

• What is the essay's thesis statement, and how do you know it is the thesis statement?
• What is the main idea or topic sentence of each body paragraph, and how does it relate back to the thesis statement?
• Where and how does each essay use evidence (quotes or paraphrase from the literature)?
• What are some of the literary devices or structures the essays analyze or discuss?
• How does each author structure their conclusion, and how does their conclusion differ from their introduction?

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

How Nguyen’s Structure Solidifies the Impact of Sexual Violence in “The Study”

Stripped of innocence, your body taken from you. No matter how much you try to block out the instance in which these two things occurred, memories surface and come back to haunt you. How does a person, a young boy , cope with an event that forever changes his life? Hieu Minh Nguyen deconstructs this very way in which an act of sexual violence affects a survivor. In his poem, “The Study,” the poem's speaker recounts the year in which his molestation took place, describing how his memory filters in and out. Throughout the poem, Nguyen writes in free verse, permitting a structural liberation to become the foundation for his message to shine through. While he moves the readers with this poignant narrative, Nguyen effectively conveys the resulting internal struggles of feeling alone and unseen.

The speaker recalls his experience with such painful memory through the use of specific punctuation choices. Just by looking at the poem, we see that the first period doesn’t appear until line 14. It finally comes after the speaker reveals to his readers the possible, central purpose for writing this poem: the speaker's molestation. In the first half, the poem makes use of commas, em dashes, and colons, which lends itself to the idea of the speaker stringing along all of these details to make sense of this time in his life. If reading the poem following the conventions of punctuation, a sense of urgency is present here, as well. This is exemplified by the lack of periods to finalize a thought; and instead, Nguyen uses other punctuation marks to connect them. Serving as another connector of thoughts, the two em dashes give emphasis to the role memory plays when the speaker discusses how “no one [had] a face” during that time (Nguyen 9-11). He speaks in this urgent manner until the 14th line, and when he finally gets it off his chest, the pace of the poem changes, as does the more frequent use of the period. This stream-of-consciousness-like section when juxtaposed with the latter half of the poem, causes readers to slow down and pay attention to the details. It also splits the poem in two: a section that talks of the fogginess of memory then transitions into one that remembers it all.

In tandem with the fluctuating nature of memory, the utilization of line breaks and word choice help reflect the damage the molestation has had. Within the first couple of lines of the poem, the poem demands the readers’ attention when the line breaks from “floating” to “dead” as the speaker describes his memory of Little Billy (Nguyen 1-4). This line break averts the readers’ expectation of the direction of the narrative and immediately shifts the tone of the poem. The break also speaks to the effect his trauma has ingrained in him and how “[f]or the longest time,” his only memory of that year revolves around an image of a boy’s death. In a way, the speaker sees himself in Little Billy; or perhaps, he’s representative of the tragic death of his boyhood, how the speaker felt so “dead” after enduring such a traumatic experience, even referring to himself as a “ghost” that he tries to evict from his conscience (Nguyen 24). The feeling that a part of him has died is solidified at the very end of the poem when the speaker describes himself as a nine-year-old boy who’s been “fossilized,” forever changed by this act (Nguyen 29). By choosing words associated with permanence and death, the speaker tries to recreate the atmosphere (for which he felt trapped in) in order for readers to understand the loneliness that came as a result of his trauma. With the assistance of line breaks, more attention is drawn to the speaker's words, intensifying their importance, and demanding to be felt by the readers.

Most importantly, the speaker expresses eloquently, and so heartbreakingly, about the effect sexual violence has on a person. Perhaps what seems to be the most frustrating are the people who fail to believe survivors of these types of crimes. This is evident when he describes “how angry” the tenants were when they filled the pool with cement (Nguyen 4). They seem to represent how people in the speaker's life were dismissive of his assault and who viewed his tragedy as a nuisance of some sorts. This sentiment is bookended when he says, “They say, give us details , so I give them my body. / They say, give us proof , so I give them my body,” (Nguyen 25-26). The repetition of these two lines reinforces the feeling many feel in these scenarios, as they’re often left to deal with trying to make people believe them, or to even see them.

It’s important to recognize how the structure of this poem gives the speaker space to express the pain he’s had to carry for so long. As a characteristic of free verse, the poem doesn’t follow any structured rhyme scheme or meter; which in turn, allows him to not have any constraints in telling his story the way he wants to. The speaker has the freedom to display his experience in a way that evades predictability and engenders authenticity of a story very personal to him. As readers, we abandon anticipating the next rhyme, and instead focus our attention to the other ways, like his punctuation or word choice, in which he effectively tells his story. The speaker recognizes that some part of him no longer belongs to himself, but by writing “The Study,” he shows other survivors that they’re not alone and encourages hope that eventually, they will be freed from the shackles of sexual violence.

Works Cited

Nguyen, Hieu Minh. “The Study” Poets.Org. Academy of American Poets, Coffee House Press, 2018, https://poets.org/poem/study-0 .

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

Poe’s “Usher”: A Mirror of the Fall of the House of Humanity

Right from the outset of the grim story, “The Fall of the House of Usher,” Edgar Allan Poe enmeshes us in a dark, gloomy, hopeless world, alienating his characters and the reader from any sort of physical or psychological norm where such values as hope and happiness could possibly exist. He fatalistically tells the story of how a man (the narrator) comes from the outside world of hope, religion, and everyday society and tries to bring some kind of redeeming happiness to his boyhood friend, Roderick Usher, who not only has physically and psychologically wasted away but is entrapped in a dilapidated house of ever-looming terror with an emaciated and deranged twin sister. Roderick Usher embodies the wasting away of what once was vibrant and alive, and his house of “insufferable gloom” (273), which contains his morbid sister, seems to mirror or reflect this fear of death and annihilation that he most horribly endures. A close reading of the story reveals that Poe uses mirror images, or reflections, to contribute to the fatalistic theme of “Usher”: each reflection serves to intensify an already prevalent tone of hopelessness, darkness, and fatalism.

It could be argued that the house of Roderick Usher is a “house of mirrors,” whose unpleasant and grim reflections create a dark and hopeless setting. For example, the narrator first approaches “the melancholy house of Usher on a dark and soundless day,” and finds a building which causes him a “sense of insufferable gloom,” which “pervades his spirit and causes an iciness, a sinking, a sickening of the heart, an undiscerned dreariness of thought” (273). The narrator then optimistically states: “I reflected that a mere different arrangement of the scene, of the details of the picture, would be sufficient to modify, or perhaps annihilate its capacity for sorrowful impression” (274). But the narrator then sees the reflection of the house in the tarn and experiences a “shudder even more thrilling than before” (274). Thus the reader begins to realize that the narrator cannot change or stop the impending doom that will befall the house of Usher, and maybe humanity. The story cleverly plays with the word reflection : the narrator sees a physical reflection that leads him to a mental reflection about Usher’s surroundings.

The narrator’s disillusionment by such grim reflection continues in the story. For example, he describes Roderick Usher’s face as distinct with signs of old strength but lost vigor: the remains of what used to be. He describes the house as a once happy and vibrant place, which, like Roderick, lost its vitality. Also, the narrator describes Usher’s hair as growing wild on his rather obtrusive head, which directly mirrors the eerie moss and straw covering the outside of the house. The narrator continually longs to see these bleak reflections as a dream, for he states: “Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building” (276). He does not want to face the reality that Usher and his home are doomed to fall, regardless of what he does.

Although there are almost countless examples of these mirror images, two others stand out as important. First, Roderick and his sister, Madeline, are twins. The narrator aptly states just as he and Roderick are entombing Madeline that there is “a striking similitude between brother and sister” (288). Indeed, they are mirror images of each other. Madeline is fading away psychologically and physically, and Roderick is not too far behind! The reflection of “doom” that these two share helps intensify and symbolize the hopelessness of the entire situation; thus, they further develop the fatalistic theme. Second, in the climactic scene where Madeline has been mistakenly entombed alive, there is a pairing of images and sounds as the narrator tries to calm Roderick by reading him a romance story. Events in the story simultaneously unfold with events of the sister escaping her tomb. In the story, the hero breaks out of the coffin. Then, in the story, the dragon’s shriek as he is slain parallels Madeline’s shriek. Finally, the story tells of the clangor of a shield, matched by the sister’s clanging along a metal passageway. As the suspense reaches its climax, Roderick shrieks his last words to his “friend,” the narrator: “Madman! I tell you that she now stands without the door” (296).

Roderick, who slowly falls into insanity, ironically calls the narrator the “Madman.” We are left to reflect on what Poe means by this ironic twist. Poe’s bleak and dark imagery, and his use of mirror reflections, seem only to intensify the hopelessness of “Usher.” We can plausibly conclude that, indeed, the narrator is the “Madman,” for he comes from everyday society, which is a place where hope and faith exist. Poe would probably argue that such a place is opposite to the world of Usher because a world where death is inevitable could not possibly hold such positive values. Therefore, just as Roderick mirrors his sister, the reflection in the tarn mirrors the dilapidation of the house, and the story mirrors the final actions before the death of Usher. “The Fall of the House of Usher” reflects Poe’s view that humanity is hopelessly doomed.

Poe, Edgar Allan. “The Fall of the House of Usher.” 1839. Electronic Text Center, University of Virginia Library . 1995. Web. 1 July 2012. < http://etext.virginia.edu/toc/modeng/public/PoeFall.html >.

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

Don’t Listen to the Egg!: A Close Reading of Lewis Carroll’s “Jabberwocky”

“You seem very clever at explaining words, Sir,” said Alice. “Would you kindly tell me the meaning of the poem called ‘Jabberwocky’?”

“Let’s hear it,” said Humpty Dumpty. “I can explain all the poems that ever were invented—and a good many that haven’t been invented just yet.” (Carroll 164)

In Lewis Carroll’s Through the Looking-Glass , Humpty Dumpty confidently translates (to a not so confident Alice) the complicated language of the poem “Jabberwocky.” The words of the poem, though nonsense, aptly tell the story of the slaying of the Jabberwock. Upon finding “Jabberwocky” on a table in the looking-glass room, Alice is confused by the strange words. She is quite certain that “ somebody killed something ,” but she does not understand much more than that. When later she encounters Humpty Dumpty, she seizes the opportunity at having the knowledgeable egg interpret—or translate—the poem. Since Humpty Dumpty professes to be able to “make a word work” for him, he is quick to agree. Thus he acts like a New Critic who interprets the poem by performing a close reading of it. Through Humpty’s interpretation of the first stanza, however, we see the poem’s deeper comment concerning the practice of interpreting poetry and literature in general—that strict analytical translation destroys the beauty of a poem. In fact, Humpty Dumpty commits the “heresy of paraphrase,” for he fails to understand that meaning cannot be separated from the form or structure of the literary work.

Of the 71 words found in “Jabberwocky,” 43 have no known meaning. They are simply nonsense. Yet through this nonsensical language, the poem manages not only to tell a story but also gives the reader a sense of setting and characterization. One feels, rather than concretely knows, that the setting is dark, wooded, and frightening. The characters, such as the Jubjub bird, the Bandersnatch, and the doomed Jabberwock, also appear in the reader’s head, even though they will not be found in the local zoo. Even though most of the words are not real, the reader is able to understand what goes on because he or she is given free license to imagine what the words denote and connote. Simply, the poem’s nonsense words are the meaning.

Therefore, when Humpty interprets “Jabberwocky” for Alice, he is not doing her any favors, for he actually misreads the poem. Although the poem in its original is constructed from nonsense words, by the time Humpty is done interpreting it, it truly does not make any sense. The first stanza of the original poem is as follows:

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

If we replace, however, the nonsense words of “Jabberwocky” with Humpty’s translated words, the effect would be something like this:

’Twas four o’clock in the afternoon, and the lithe and slimy badger-lizard-corkscrew creatures

Did go round and round and make holes in the grass-plot round the sun-dial:

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

By translating the poem in such a way, Humpty removes the charm or essence—and the beauty, grace, and rhythm—from the poem. The poetry is sacrificed for meaning. Humpty Dumpty commits the heresy of paraphrase. As Cleanth Brooks argues, “The structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations” (203). When the poem is left as nonsense, the reader can easily imagine what a “slithy tove” might be, but when Humpty tells us what it is, he takes that imaginative license away from the reader. The beauty (if that is the proper word) of “Jabberwocky” is in not knowing what the words mean, and yet understanding. By translating the poem, Humpty takes that privilege from the reader. In addition, Humpty fails to recognize that meaning cannot be separated from the structure itself: the nonsense poem reflects this literally—it means “nothing” and achieves this meaning by using “nonsense” words.

Furthermore, the nonsense words Carroll chooses to use in “Jabberwocky” have a magical effect upon the reader; the shadowy sound of the words create the atmosphere, which may be described as a trance-like mood. When Alice first reads the poem, she says it seems to fill her head “with ideas.” The strange-sounding words in the original poem do give one ideas. Why is this? Even though the reader has never heard these words before, he or she is instantly aware of the murky, mysterious mood they set. In other words, diction operates not on the denotative level (the dictionary meaning) but on the connotative level (the emotion(s) they evoke). Thus “Jabberwocky” creates a shadowy mood, and the nonsense words are instrumental in creating this mood. Carroll could not have simply used any nonsense words.

For example, let us change the “dark,” “ominous” words of the first stanza to “lighter,” more “comic” words:

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

Shifting the sounds of the words from dark to light merely takes a shift in thought. To create a specific mood using nonsense words, one must create new words from old words that convey the desired mood. In “Jabberwocky,” Carroll mixes “slimy,” a grim idea, “lithe,” a pliable image, to get a new adjective: “slithy” (a portmanteau word). In this translation, brighter words were used to get a lighter effect. “Mearly” is a combination of “morning” and “early,” and “ringle” is a blend of “ring” and "dingle.” The point is that “Jabberwocky’s” nonsense words are created specifically to convey this shadowy or mysterious mood and are integral to the “meaning.”

Consequently, Humpty’s rendering of the poem leaves the reader with a completely different feeling than does the original poem, which provided us with a sense of ethereal mystery, of a dark and foreign land with exotic creatures and fantastic settings. The mysteriousness is destroyed by Humpty’s literal paraphrase of the creatures and the setting; by doing so, he has taken the beauty away from the poem in his attempt to understand it. He has committed the heresy of paraphrase: “If we allow ourselves to be misled by it [this heresy], we distort the relation of the poem to its ‘truth’… we split the poem between its ‘form’ and its ‘content’” (Brooks 201). Humpty Dumpty’s ultimate demise might be seen to symbolize the heretical split between form and content: as a literary creation, Humpty Dumpty is an egg, a well-wrought urn of nonsense. His fall from the wall cracks him and separates the contents from the container, and not even all the King’s men can put the scrambled egg back together again!

Through the odd characters of a little girl and a foolish egg, “Jabberwocky” suggests a bit of sage advice about reading poetry, advice that the New Critics built their theories on. The importance lies not solely within strict analytical translation or interpretation, but in the overall effect of the imagery and word choice that evokes a meaning inseparable from those literary devices. As Archibald MacLeish so aptly writes: “A poem should not mean / But be.” Sometimes it takes a little nonsense to show us the sense in something.

Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry . 1942. San Diego: Harcourt Brace, 1956. Print.

Carroll, Lewis. Through the Looking-Glass. Alice in Wonderland . 2nd ed. Ed. Donald J. Gray. New York: Norton, 1992. Print.

MacLeish, Archibald. “Ars Poetica.” The Oxford Book of American Poetry . Ed. David Lehman. Oxford: Oxford UP, 2006. 385–86. Print.

Attribution

• Sample Essay 1 received permission from Victoria Morillo to publish, licensed Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International ( CC BY-NC-SA 4.0 )
• Sample Essays 2 and 3 adapted from Cordell, Ryan and John Pennington. "2.5: Student Sample Papers" from Creating Literary Analysis. 2012. Licensed Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported ( CC BY-NC-SA 3.0 )

The Contemporary American Essay

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TITLES CAN BE MISLEADING.  In one sense, The Contemporary American Essay is perfectly chosen. It describes with commendable exactitude the nature of this volume. But though it pinpoints period, country, and genre, its matter-of-fact plainness belies the verve and color of the contents. What Phillip Lopate has so skilfully assembled is “a vast and variegated treasure.” That description is taken from another brilliant anthology, Lydia Fakundiny’s The Art of the Essay (1991). Fakundiny says that essays “make the language of the day” perform the essential task of “saying where we are in the moment of writing.” In so doing, she reckons that—over the centuries—this form of writing has done no less than amass “the memorabilia of individual responsiveness to all that is.” This is the treasure she talks about and that anthologists tap into. Even limiting himself to a fraction of it—just one nation’s essays, written between 2000 and the present—Lopate lays a rare trove of riches before readers.

There are forty-nine essays. To attempt to list—still less summarize—them would be inappropriate in a review. In any case, essays are resistant to summary. While academic articles submit to abstracts of their main points, essays, where the voice of the individual is paramount, are a different matter. Reading a book like this is not dissimilar to taking a long, invigorating walk that winds its way through a variety of fascinating terrains. Without attempting to condense its 600-plus pages into a paragraph, noting a few of the landmarks that particularly struck this reader should give some indication of the ground covered.

Lina Ferreira, in “CID-LAX-BOG,” talks about taking part in medical trials that involve being injected with the rabies virus—and through this unlikely lens gives considerable insight into issues of immigration, deportation, and belonging, in particular as these affect international students in America who wish to prolong their stay. Floyd Skloot, in “Gray Area: Thinking with a Damaged Brain,” touches on the nature of mind, brain, and consciousness. He considers how boxing inflicted serious brain injury on his childhood hero, Floyd Patterson. With considerable honesty, courage, and self-awareness, his essay shows how he’s come to terms with his own neurological impairment. Meghan O’Gieblyn’s “Homeschool” poses a whole catalog of questions about education, particularly the ideas behind homeschooling. Her presentation of Rousseau’s Émile as “the vade mecum of modern homeschooling” is particularly revealing—and it’s useful to be reminded that Mary Shelley’s Frankenstein was written in part “as a critique of Rousseau’s pedagogy” rather than being simply the “parable about technological hubris” that it’s often presented as.

Aleksandar Hemon writes a heartbreaking account of a daughter’s death from a rare and virulent form of cancer, showing the power of words in a situation where they may seem powerless. Thomas Beller gives a luminously affectionate and atmospheric memoir about working in a bagel factory. Patricia Hampl’s “Other People’s Secrets” is an at times uncomfortable meditation on the ethics of writing. Joyce Carol Oates, in a rawly disturbing piece about imprisonment and execution, recounts her visit to San Quentin. Rebecca Solnit’s “Cassandra among the Creeps” deftly explores gender inequalities. There are also essays about disfigurement, revenge, race, vaccination, interior design, domestic abuse, and failure. And this is merely to skate over a fraction of what’s offered. Naturally, some essays appeal more than others. But all are finely written pieces. Lest the fluency of the writing make it seem easy, it’s good to have John McPhee’s “Draft No. 4,” a reminder of the sheer hard work involved in writing, and the many revisions that will have happened before each of these impressively polished essays emerged into publication.

In his short and moving “Invitation,” in which he reflects on what he learned from his years of traveling with Indigenous people, Barry Lopez suggests that “perhaps the first rule of everything we endeavor to do is to pay attention.” All of the pieces in The Contemporary American Essay are written by individuals who have followed that rule. Whatever their subject, no matter what stance they take, regardless of their background, or the cadence of the voice they elect to use, these essays are exercises in paying attention. Indeed, it’s almost as if Phillip Lopate used this first rule as his criterion for choosing what to include. It’s sad that Barry Lopez—surely one of the most accomplished nature essayists of our time—died before the book he contributed to appeared.

Unsurprisingly, given the quality of the writing that’s been assembled, the volume beautifully exemplifies many of the key features of the genre. In his influential book The Observing Self: Rediscovering the Essay , Graham Good argues that “anyone who can look attentively, think freely, and write clearly can be as essayist.” The forty-nine essays in Lopate’s selection are pleasingly varied—this is a richly diverse collection—but they all exhibit the attentive looking, freethinking, and clear writing that Good identifies as essential prerequisites. In another well-known characterization of the genre, Edward Hoagland says that essays “hang somewhere on a line between two sturdy poles: this is what I think, and this is what I am.” Again, these forty-nine essays could be arranged on precisely the line Hoagland identifies, some inclining more to one pole, some to the other, some almost dead center between them.

Many readers will be familiar with Phillip Lopate’s landmark 1994 anthology, The Art of the Personal Essay , which—deservedly—remains a key text. Putting it alongside his The Glorious American Essay: One Hundred Essays from Colonial Times to the Present (2020), The Golden Age of the American Essay, 1945–1970 (2021), and now The Contemporary American Essay makes for an impressive quartet. Each volume puts a treasury of first-rate writing before readers. Cumulatively, they constitute an important literary milestone, celebrating—demonstrating—the history, development, and present vigor of this mercurial genre. They also suggest a topic for a future essay: “On the Art of the Anthologist.” It is an art in which Phillip Lopate clearly excels.

Chris Arthur St. Andrews, Scotland

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January 2022

Muscogee writer  Cynthia Leitich Smith , winner of the 2021 NSK Neustadt Prize for Children’s & Young Adult Literature, headlines the January 2022 issue with a reflective essay on “Decolonizing Neverland” in YA lit. Also inside, essays, poetry, fiction, and interview, as well as more than twenty book reviews—plus recommended reads and other great content—make the latest issue of  WLT , like every issue, your passport to great reading.

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How to Write a Conclusion to a Literary Essay

Last Updated: July 3, 2023 Fact Checked

This article was co-authored by Stephanie Wong Ken, MFA . Stephanie Wong Ken is a writer based in Canada. Stephanie's writing has appeared in Joyland, Catapult, Pithead Chapel, Cosmonaut's Avenue, and other publications. She holds an MFA in Fiction and Creative Writing from Portland State University. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 78,253 times.

A literary essay should analyze and evaluate a work of literature or an aspect of a work of literature. You may be required to write a literary essay for Language Arts class or as an assignment for an English Literature course. After a lot of hard work, you may have the majority of your literary essay done and be stuck on the conclusion. A strong conclusion will restate the thesis statement and broaden the scope of the essay in four to six sentences. You should also have an effective last sentence in the essay so you can wrap it up on a high note.

Reworking Your Thesis Statement

• For example, maybe your original thesis statement was, “Though there are elements of tragedy in Shakespeare’s A Midsummer Night’s Dream , the structure, themes, and staging of the play fall into the genre of comedy.”
• You may then rephrase your thesis statement by shifting around some of the language in the original and by using a more precise word choice. For example, the rephrased thesis statement may be, “While there are tragic moments in Shakespeare’s A Midsummer Night’s Dream , the structure, themes, and staging of the play fit within the genre of comedy.”

• You may then revise it to better reflect your essay as a whole, “While tragic events do occur in Shakespeare’s A Midsummer Night’s Dream , the three-act structure, the themes of magic and dreams, as well as the farcical staging of the play indicate that it fits in the genre of comedy.”
• Keep in mind if you make major revisions to your thesis statement, it should only be done to reflect the rest of your essay as a whole. Make sure the original thesis statement in your introduction still compliments or reflects the revised thesis statement in your conclusion.

• You do not need to put “In conclusion,” “In summary,” or “To conclude” before your thesis statement to start the conclusion. This can feel too formal and stilted. Instead, start a new paragraph and launch right into your rephrased thesis statement at the beginning of the conclusion.

Writing the Middle Section of the Conclusion

• For example, you may have a sentence about how the staging of the play affects the genre of the play in your introduction. You could then rephrase this sentence and include it in your conclusion.
• If you read over your introduction and realize some of your ideas have shifted in your body paragraphs, you may need to revise your introduction and use the revisions to then write the middle section of the conclusion.

• For example, maybe you focus on the theme of magic in Shakespeare’s A Midsummer Night’s Dream in the body section of your essay. You can then reiterate the theme of magic by using an image from the play that illustrates the magical element of the text.

• For example, if your essay focuses on how the theme of love in Shakespeare’s A Midsummer Night’s Dream , you may include a quote from the text that illustrates this theme.

• For example, if you are writing an essay about Harper Lee's To Kill A Mockingbird , you may answer the question “so what?” by thinking about how and why Harper Lee's novel discusses issues of race and identity in the South. You could then use your response in the conclusion of the essay.

• For example, you may summarize your essay by noting, "An analysis of scenes between white characters and African-American characters in the novel, as done in this essay, make it clear that Lee is addressing questions of race and identity in the South head-on."

Wrapping Up the Conclusion

• For example, if the focus of your essay is the theme of magic in the text, you may end with an image for the text that includes a magical element that is important to the main character.

• Read over your last sentence and remove any words that seem unnecessary or confusing. Simplify the last sentence of your conclusion so it is concise and to the point.

• For example, you may connect an essay about Harper Lee's To Kill A Mockingbird to modern issues around African-American rights in America.
• Avoid making overblown statements in the conclusion in an attempt to sum up your thoughts. Connecting your essay to a larger context is fine. Trying to connect your essay to vague ideas like “world suffering” or “the wage gap” will only confuse your reader and weaken your conclusion.

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• ↑ https://human.libretexts.org/Bookshelves/Literature_and_Literacy/Writing_and_Critical_Thinking_Through_Literature_(Ringo_and_Kashyap)/12%3A_Writing_About_Literature/12.06%3A_Literary_Thesis_Statements
• ↑ https://writingcenter.unc.edu/tips-and-tools/thesis-statements/
• ↑ https://writingcenter.unc.edu/tips-and-tools/conclusions/
• ↑ https://libguides.usc.edu/writingguide/academicwriting
• ↑ https://lsa.umich.edu/sweetland/undergraduates/writing-guides/how-do-i-write-an-intro--conclusion----body-paragraph.html
• ↑ https://academicguides.waldenu.edu/writingcenter/writingprocess/conclusions
• ↑ https://libguides.usc.edu/writingguide/conclusion
• ↑ https://writingcenter.fas.harvard.edu/pages/ending-essay-conclusions
• ↑ https://www.unr.edu/writing-speaking-center/student-resources/writing-speaking-resources/editing-and-proofreading-techniques

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Introducing the Essay: Twain, Douglass, and American Non-Fiction

Mark Twain (Samuel L. Clemens).

Library of Congress

The essay is perhaps one of the most flexible genres: long or short, personal or analytical, exploring the extraordinary and the mundane. The first collection of personal essays is credited to Michel de Montaigne; his Essais was first published in 1580. The word essay comes from the French verb essayer , which means, "to try."

American essayists examine the political, the historical, and the literary; they investigate what it means to be an "American," ponder the means of creating independent and free citizens, discuss the nature of American literary form, and debate the place of religion in American society. The essay adopts myriad forms, from letters and speeches, to sermons and treatises. Famous American essays range from Thomas Paine's Common Sense and the Federalist Papers scribed by "Publius" (the pen name for Alexander Hamilton, John Jay, and James Madison), to Twain's incisive wit and Emerson and Thoreau's writings on nature and religion in the 19th century.

This lesson plan serves as an introduction to American literary non-fiction writing and focuses primarily on teaching some basic approaches to recognizing rhetorical strategies adopted for persuasive effect in essays and non-fiction. The lesson plan concludes with some suggestions for essay topics and websites that provide guidance in writing essays. Students are encouraged to write an essay using the strategies learned in this lesson or critique a well-known essay based on their new knowledge of rhetorical strategies.

Guiding Questions

What are the different kinds of essays and how are they based in rhetorical tradition?

What are some effective strategies in persuasive writing?

Learning Objectives

Learn the various methods for writing essays and their basis in rhetorical tradition

Learn through example effective strategies for writing essays and argumentative prose

Read and analyze Mark Twain and Frederick Douglass's writing styles

Understand the persuasive appeals: ethos, logos, and pathos.

Apply rhetorical strategies learned in this lesson to essay writing projects of their own.

Lesson Plan Details

This lesson provides only an overview of essay writing, drawing on commonly referenced excerpts from longer non-fiction writing or on short essays from American literary and political figures. Look for links to other lesson plans or websites to expand this lesson for your students, depending on the subject of the class. An English class, for example, might use this lesson as an introduction to the longer EDSITEment curriculum unit on Frederick Douglass's Narrative of the Life of Frederick Douglass . A history class might choose to turn to the Federalist papers; two EDSITEment lesson plans can be adapted in this case: Before and Beyond the Constitution: Chief Executives Compared: The Federalist Papers and The Federalist Debates: Balancing Power Between State and Federal Governments .

The EDSITEment reviewed website Silva Rhetoricae describes the Topics of Invention from Aristotle's Rhetoric, from which most of the current types of essays (Compare/Contrast, Definition, Narrative, etc.) derive.

Read an excerpt from Mark Twain's Life on the Mississippi , often anthologized as the essay "Two Ways of Seeing a River." The essay is available, with questions, as a PDF here , or online as the last three paragraphs of chapter 9 in Mark Twain's Life on the Mississippi , available from the following EDSITEment reviewed website Documenting the American South .

Bartleby maintains a copy of The Cambridge History of English and American Literature, which includes a brief introduction to Life on the Mississippi. Locate Douglass's 1845 Narrative . The selection used in Activity 2 of this lesson is from Chapter One .

Review William Andrews's " Introduction to the Slave Narrative ," at the EDSITEment reviewed website Documenting the American South .

Silva Rhetoricae also has definitions and examples of the following persuasive appeals (click on the word to see in-depth definitions and examples):

• Persuasive Appeals (overview)
• Logos : appeal to reason
• Ethos : appeal to one's own character
• Pathos : appeal to emotion

Activity 1. What is an Essay?

The answer to "what is an essay" brings to mind an old Indian folk tale in which blind men examine an elephant and debate what kind of creature it is. As the folk tale concludes, an essay, like an elephant, can appear to be many things, depending on one's approach. There are many ways to approach an essay topic: by telling a story (Narrative), by making comparisons (Compare/Contrast), by defining (Definition) or categorizing (Division and Classification). There are essays that are specifically written for persuasion, like Martin Luther King, Jr.'s famous "I Have a Dream" speech, and others that make an argument or debate a point more subtly, through the description of a scene or a review of an event. Some essays make use of satire, while others rely on deductive and inductive reasoning.

Introduce the various types of essays by asking students to brainstorm some common methods that they use to persuade someone. For example, if students were going to visit Washington, D.C., ask them to argue what museum or historical site they would want to visit and why. How would they decide what to visit? How would they convince their classmates to choose their selection? You might point students to the EDSITEment-reviewed website ExploreDC to aid in this task (click on "Browse" in the upper-right-hand corner to get a list of popular sights). Note: alternatively, you might places students into groups and pass out examples such as those listed below, asking them to consider the "type" the example represents.

Track answers and suggestions by writing them on the blackboard or projecting them on a screen. Listed below are various common essay types (rhetorical strategies adopted from Aristotelian "Common Topics," discussed more below) with sample answers for the hypothetical trip to Washington. Clearly, student answers will vary, but the important aspect of the exercise is to invite students to recognize the different approaches taken in making an argument. It is also important to note to your students, of course, that rarely does a single essay or argument use only a single technique (as they will discover in the second activity).

Ex: "My uncle was a Vietnam War veteran who died in the war; I would like to see the Memorial."

Description

Ex: "I would visit the FDR Memorial to see the cascading waterfalls, the bold engravings, and the amazing sculptures."

Ex: "To decide on what to visit, I would first buy a guide to the Washington D.C. area; I would mark the pages for the places I would like to visit. Next, I would research them further on the Internet before making my final decisions."

Ex: "The U.S. Holocaust Memorial Museum is less museum and more memorial, as evidenced by its dedication to the memory of all the innocents who were killed in Nazi Germany's attempt to create a "pure" race." Division / Classification (as explained in the EDSITEment-reviewed Silva Rhetoricae website : " [The Division] topic is very closely related to the topic of Definition , but differs in that it is not attempting to classify something by placing it as a species within a genus ." Rather, this common topic focuses on " describing a whole and its constituent parts, or the parts that make up a whole .") Ex: "The Museum of Natural History is the best museum to visit because it has sections dedicated to Dinosaurs, a whole new area for Mammals with lots of stuffed examples, and has the best cafeteria in the entire Smithsonian system."

Compare / Contrast

Ex: "The Lincoln Memorial's Greek style is less appealing to me than the garden feeling inspired by the FDR Memorial, with its open style and rushing water."

Cause and Effect

Ex: "I want to visit the Vietnam War Memorial because it was built as both a monument to the soldiers' sacrifice as well as a testament to the severe cost of the war, reflecting without bias the tensions surrounding the conflict in an effort to bring reconciliation and healing." As you review with students the various ways that they make arguments, note that such methods come from a long history of rhetoric, a system of argumentation and persuasion first extensively detailed by Aristotle around 332 BCE. The EDSITEment-reviewed website Silva Rhetoricae provides a brief Rhetorical Timeline that helps situate the development of rhetoric.

The rhetorical approaches detailed above—which are often assigned as types of essays—derive from the "common topics" detailed in Aristotle's Rhetoric . Common topics are part of the "Topics of Invention," literally meaning "places to find things." See Silva Rhetoricae's description of Topics of Invention for more information and detailed descriptions of most common topics, such as Definition, Division, Comparison, Relationship, Circumstances, and Testimony.

After reviewing the different approaches, students should have enough background information to enable them to locate different essay strategies in a work of prose, such as Mark Twain's "Two Ways of Seeing a River."

Activity 2. Two Ways of Seeing a River

Mark Twain (aka Samuel Longhorne Clemens) wrote with distinct wit and style, whether chronicling the fictional journey of a youth and an escaped slave down the Mississippi or recollecting his own experience as he learned to pilot a riverboat. The last three paragraphs of chapter 9 from Mark Twain's Life on the Mississippi are commonly excerpted in essay anthologies, often titled as "Two Ways of Seeing a River" (or, "Two Views of the Mississippi").

Bartleby maintains a copy of The Cambridge History of English and American Literature, which includes a brief introduction to Life on the Mississippi .

Ask students to read "Two Ways of Seeing a River." The essay is available as a PDF here , or online as the last three paragraphs of chapter 9 in Mark Twain's Life on the Mississippi , available from the EDSITEment-reviewed website Documenting the American South .

The essay is short enough (three paragraphs) to be read in class or at home as an assignment.

As students read the essay, ask them to consider how they would classify this essay, according to the types of essays explored in Activity One. Ask students to note specific references in the text as evidence to support their claim.

Possible answers:

Descriptive essay: Twain certainly employs description through the rich language used to detail the Mississippi river at sunset.

Follow-up questions:

• What is the effect of this description? How does it add to the essay?
• After the rich description in the first paragraph, what is the effect when you read the description of the same stretch of river in the second paragraph?

Cause and Effect essay: students might point out the first two sentences, "I had made a valuable acquisition. But I had lost something, too," sets the stage for a Cause and Effect essay. The essay's theme certainly explores the effect of experience on perception, where gaining knowledge about the river reveals the dangers hidden beneath, replacing innocent awe with informed analysis.

• What is the effect of Mark Twain learning about the river? What causes this change?
• What does he highlight as both the positive and negative effects of this change?

Compare / Contrast essay: this is certainly a compare / contrast essay, where Mark Twain details both the innocent beauty and the analytical dangers of the sublime Mississippi. Students might note how the essay is written as "subject by subject" rather than "point by point," which is to say that each topic is covered fully in turn, rather than each point being compared individually one-to-one.

• Students might note, for example, that by writing "subject by subject," Twain effectively emulates the transition from inexperienced romance to experienced observer, preserving the shock of the transformation for the reader, who is initially captured by the romantic view.
• How does Mark Twain transition from the first view of the river to the second? What language does he use?

Finally, students should examine the concluding paragraph. Twain draws on his comparison of the river in order to offer a thoughtful consideration on the nature of experience and learning. Ask students to consider the analogy (yet another technique in essay writing) of the doctor and patient. What are the benefits and drawbacks of both the innocent and the experienced view?

• In the concluding paragraph, what situation does he compare to his own? How does his essay appeal to a broader audience and cover a wider context?

Activity 3. Frederick Douglass, Audience, and Rhetorical Appeal

This section on Douglass is adapted from Lesson One in the EDSITEment curriculum unit From Courage to Freedom: Frederick Douglass's 1845 Narrative . Teachers who would like to use this lesson plan to segue into a longer unit on narrative non-fiction might choose to continue by following the Douglass curriculum unit to its conclusion.

Frederick Douglass used the narrative non-fiction form to argue against slavery and for emancipation after escaping from a lifetime in slavery. To do so was quite courageous—when Douglass's 1845 Narrative was published, he was still legally considered an escaped slave. Had he been caught, he would have been returned to his master, who certainly would have sold him 'down the river' as punishment.

In this section, students learn how to write for an audience and how to use persuasive appeals to sway the audience into adopting their point of view.

One of the primary considerations in writing is audience. How does one write for a friendly audience? A hostile audience? An indifferent one?

The slave narrative played a part in a larger cultural movement: the abolitionists often used slave narratives as persuasive tools exhibiting the evils of slavery and the necessity for emancipation. William Andrews, in his " Introduction to the Slave Narrative " at the EDSITEment-reviewed website Documenting the American South writes:

"Advertised in the abolitionist press and sold at antislavery meetings throughout the English-speaking world, a significant number of antebellum slave narratives went through multiple editions and sold in the tens of thousands. This popularity was not solely attributable to the publicity the narratives received from the antislavery movement. Readers could see that, as one reviewer put it in 1849, "the slave who endeavors to recover his freedom is associating with himself no small part of the romance of the time."

Ask students to consider who might be Douglass's audience? What was at stake for him to persuade readers of his Narrative of his point of view? What effect might making his Narrative exciting—the "romance of the time," as Andrews puts it—have in connecting with or expanding his audience? Use this as an opportunity to explore with students the climate of pre-Civil War United States and the tension between North and South over the issue of slavery and states' rights.

Convincing the Audience: Preparing the Class for Douglass's Rhetoric

Alert students to the fact that Douglass is a great master of words; he'll never use a word or a phrase without having a persuasive intent. Ask students to list things that help convince them to try something, buy something, or believe something. You might ask students to think about commercials that they find persuasive. After they brainstorm, use the examples to explain that there are three kinds of proof for convincing arguments (described in the Persuasive Appeals overview via EDSITEment-reviewed Silva Rhetoricae

As explained in Silva Rhetoricae 's overview of Persuasive Appeals , Aristotle called such proof "intrinsic," meaning that it is rhetorically supported, as opposed to "extrinsic" proof, such as witnesses.

Chapter One : The Reality of Slave Life.

Read this chapter aloud in class and allow as many students as possible to have a paragraph to read. While the chapter is being read aloud, students should listen and concentrate not only on Douglass's voice, but also on what aspects of slave life he is trying to convey. As they listen, each student should write down what aspects of slave life shocked them, surprised them, pained them. The students should try to put themselves in Douglass's place and imagine what he might have felt.

During class discussion, students might point out

• the fact that Douglass knew neither his birth date nor the name of his father
• the fact that Douglass, as was typical of many slave children, was separated from his mother shortly after birth and never really knew her
• the fact that many slave children were products of liaisons between the master and one of his female slaves; how this relationship often produced antagonism between the master's wife and the slave children as well as between the master's "legitimate" children and his slave children; how the master/father would even sell his slave children
• the fact that at any time, for any particular reason (or not) slaves could be subject to brutal violence.

Review with students the definition of ethos provided by the EDSITEment-reviewed Silva Rhetoricae:

"Ethos names the persuasive appeal of one's character, especially how this character is established by means of the speech or discourse. Aristotle claimed that one needs to appear both knowledgeable about one's subject and benevolent. Cicero said that in classical oratory the initial portion of a speech … was the place to establish one's credibility with the audience."

Revisit the first introductory paragraphs—ask students what they think of Douglass.

• What do they learn about Douglass?
• Ask students to describe Douglass's "voice." What impressions do they have of him as a writer or a person?
• Do students have the impression that Douglass is "knowledgeable" about his subject? Why or why not?
• Do students feel Douglass is "benevolent"? Does Douglass appear to have good will and moral character? How does this add to or subtract from our reception of his

Narrative? Along with the details above, students might point out that:

• Douglass has a masterful command of the English language
• Douglass gives specific dates, locations, and circumstances of his birth, including the fact that so many details of his life were unknown -- a very common occurrence for slaves. This situates Douglass as a "believable" slave -- e.g., he has the credentials and appropriate back-story of a slave in Maryland.
• Douglass deliberately downplays his relationship with his mother, which increases his ethos with his audience. Example: "I received the tidings of her death with much the same emotions I should have probably felt at the death of a stranger." The technical name for this is litotes —where downplaying circumstances or accomplishments gains favor with the audience. In this case, we see that Douglass does, in fact, care for his mother (as he describes with great care her midnight visits), so her loss actually seems more dramatic rather than less (had he, for example, been more melodramatic).

Review with students the definition of logos provided by the EDSITEment-reviewed Silva Rhetoricae:

"Logos names the appeal to reason. Aristotle wished that all communication could be transacted only through this appeal, but given the weaknesses of humanity, he laments, we must resort to the use of the other two appeals. The Greek term logos is laden with many more meanings than simply "reason," and is in fact the term used for "oration."

The Topics of Invention , discussed in Activity 1, above, oftentimes support the logos of an argument.

Douglass outlines a topic that he will continue to pursue in much of his writing—the false use of Christianity as a justification of slavery. He writes (pages 4, 5):

"Every year brings with it multitudes of this class of slaves. It was doubtless in consequence of a knowledge of this fact, that one great statesman of the south predicted the downfall of slavery by the inevitable laws of population. Whether this prophecy is ever fulfilled or not, it is nevertheless plain that a very different-looking class of people are springing up at the south, and are now held in slavery, from those originally brought to this country from Africa; and if their increase will do no other good, it will do away the force of the argument, that God cursed Ham, and therefore American slavery is right. If the lineal descendants of Ham are alone to be scripturally enslaved, it is certain that slavery at the south must soon become unscriptural; for thousands are ushered into the world, annually, who, like myself, owe their existence to white fathers, and those fathers most frequently their own masters."

Ask students to revisit this passage and discuss Douglass's argument. You may need to introduce your students to the story of Ham being cursed, which is briefly outlined in The New Dictionary of Cultural Literacy , available through the EDSITEment-reviewed Internet Public Library:

The "curse of Ham" refers to the biblical story in which Ham, seeing his father drunk and naked, refused to turn away as his two brothers did. When Noah awoke, he cursed Ham and his son Canaan, supposedly causing a darker pigmentation in their descendants. This so-called curse has often been wrongly used to justify racism.

[Please note that Lesson 3 of the Curriculum Unit, Frederick Douglass: From Courage to Freedom , continues the discussion of Douglass's critique of the misuse of Christianity to justify slavery.]

Review with students the definition of pathos provided by the EDSITEment-reviewed Silva Rhetoricae

"Pathos names the appeal to emotion. Cicero encouraged the use of pathos at the conclusion of an oration, but emotional appeals are of course more widely viable. Aristotle's Rhetoric contains a great deal of discussion of affecting the emotions, categorizing the kinds of responses of different demographic groups. Thus, we see the close relations between assessment of pathos and of audience . Pathos is also the category by which we can understand the psychological aspects of rhetoric. Criticism of rhetoric tends to focus on the overemphasis of pathos, emotion, at the expense of logos, the message."

Discuss the following passages in which the master Captain Anthony whips and beats Douglass's Aunt Hester. Either have the students consider the emotional, visual, auditory, and tactile impact on the reader of the underlined words OR give the students the passage WITHOUT the underlining and have them choose the words that create an impact on them.

Questions to ask the students include:

• What effect does the repetition of certain words have on the reader?
• Which words serve as strong images?
• Which verbs seem particularly strong?
• What rhetorical appeals—logos, ethos, pathos—is Douglass using? Is he effective? Why?

"He was a cruel man, hardened by a long life of slaveholding. He would at times seem to take great pleasure in whipping a slave. I have often been awakened at the dawn of day by the most heart-rending shrieks of an old aunt of mine, whom he used to tie up to a jois t, and whip upon her naked back till she was literally covered with blood . No words, no tears, no prayers, from his gory victim , seemed to move his iron heart from its bloody purpose. The louder she screamed , the harder he whipped ; and where the blood ran fastest , there he whipped the longest . He would whip her to make her scream , and whip her to make her hush ; and not until overcome by fatigue, would he cease to swing the blood-clotted cowskin . I remember the first time I ever witnessed this horrible exhibition . I was quite a child, but I well remember it. I never shall forget it whilst I remember any thing. It was the first of a long series of such outrages , of which I was doomed to be a witness and a participant . It struck me with awful force. It was the blood-stained gate , the entrance to the hell of slavery, through which I was about to pass. It was a most terrible spectacle . I wish I could commit to paper the feelings with which I beheld it."

What do all of the details add up to? Students might highlight the failure of slave owners to recognize slaves as human beings with human feelings and attachments, which has a dehumanizing effect not only on the slave but also the slave owner (an important theme for Douglass and is discussed in more detail in Lesson Two of the Douglass curriculum unit if you wish to extend the lesson).

1. Ask students to write an essay, focusing on one of the key essay types. Remind students that they should incorporate other strategies (essay types and persuasive appeals) into their essay if it aids in their argument.

Essay Ideas:

Consider encouraging students to participate in the National Endowment for the Humanities We The People Essay Contest .

Help in writing an Essay:

If students need help in writing their essay, the list below provides various lesson plans, websites, and tutorials for essay writing, all drawn from various EDSITEment reviewed resources.

Writing Guides and Handbooks via Internet Public Library:

• The Writing Center —University of Wisconsin-Madison
• Writing @ Colorado State University
• Purdue University Online Writing Lab
• “How to Write an Essay” by Zachary Schrag

From Documenting the American South :

• Selecting Evidence to Support an Argument : This is a strategy lesson to teach students how to select evidence from a text to support an argument for an essay.

From Silva Rhetoricae :

• A comprehensive list of rhetorical devices, including sections on the three persuasive appeals —ethos, pathos, and logos
• Concord Review Emerson Prize 2004 Essay Contest Winners (history writing for secondary students)

Style Guides:

• MLA: http://www.mla.org/style
• APA: http://www.apastyle.org/
• Chicago: http://www.press.uchicago.edu/Misc/Chicago/cmosfaq/cmosfaq.html

2. Have students read a famous essay or speech and examine the rhetorical strategies used. What makes the essay or speech great? How does the author effectively convey their ideas? EDSITEment Websites with Famous Essays, Speeches, and other non-fictional prose:

• Martin Luther King, Jr.'s "I Have a Dream"
• The Federalist Papers via The Avalon Project at Yale Law School
• Thoreau's Essays via American Studies at UVA
• Selected Essays of Thomas Paine (including Common Sense) via American Studies at UVA
• The Souls of Black Folk , by W.E.B. DuBois at American Studies at UVA

Selected EDSITEment Websites

American Memory

• Chapter One : The Reality of Slave Life

American Studies at the University of Virginia

• Thoreau's Essays
• Selected Essays of Thomas Paine (including Common Sense)
• The Souls of Black Folk , by W.E.B. DuBois

Avalon Project at Yale Law School

• The Federalist Papers

Documenting the American South

• Life of Mark Twain
• Introduction to the Slave Narrative
• Selecting Evidence to Support an Argument

Great American Speeches

• Martin Luther King, Jr.'s famous "I Have a Dream"

Internet Public Library

• brief introduction to Life on the Mississippi
• The New Dictionary of Cultural Literacy

Silva Rhetoricae

• Topics of Invention  
• three persuasive appeals

Writing Guides and Handbooks 

Materials & Media

Introducing the essay: worksheet 1 - two ways of seeing a river, introducing the essay: worksheet 2 - frederick douglass: the reality of slavery.

Choose Your Test

Sat / act prep online guides and tips, expert's guide to the ap literature exam.

Advanced Placement (AP)

If you're planning to take the AP English Literature and Composition exam, you'll need to get familiar with what to expect on the test. Whether the 2023 test date of Wednesday, May 3, is near or far, I'm here to help you get serious about preparing for the exam.

In this guide, I'll go over the test's format and question types, how it's graded, best practices for preparation, and test-day tips. You'll be on your way to AP English Lit success in no time!

AP English Literature: Exam Format and Question Types

The AP Literature Exam is a three-hour exam that contains two sections in this order:

• An hour-long, 55-question multiple-choice section
• A two-hour, three-question free-response section

The exam tests your ability to analyze works and excerpts of literature and cogently communicate that analysis in essay form.

Read on for a breakdown of the two different sections and their question types.

Section I: Multiple Choice

The multiple-choice section, or Section I of the AP Literature exam, is 60 minutes long and has 55 questions. It counts for 45% of your overall exam grade .

You can expect to see five excerpts of prose and poetry. You will always get at least two prose passages (fiction or drama) and two poetry passages. In general, you will not be given the author, date, or title for these works, though occasionally the title of a poem will be given. Unusual words are also sometimes defined for you.

The date ranges of these works could fall from the 16th to the 21st century. Most works will be originally written in English, but you might occasionally see a passage in translation.

There are, generally speaking, eight kinds of questions you can expect to see on the AP English Literature and Composition exam. I'll break each of them down here and give you tips on how to identify and approach them.

"Pretty flowers carried by ladies" is not one of the question types.

The 8 Multiple-Choice Question Types on the AP Literature Exam

Without further delay, here are the eight question types you can expect to see on the AP Lit exam. All questions are taken from the sample questions on the AP Course and Exam Description .

#1: Reading Comprehension

These questions test your ability to understand what the passage is saying on a pretty basic level . They don't require you to do a lot of interpretation—you just need to know what's going on.

You can identify this question type from words and phrases such as "according to," "mentioned," "asserting," and so on. You'll succeed on these questions as long as you carefully read the text . Note that you might have to go back and reread parts to make sure you understand what the passage is saying.

#2: Inference

These questions ask you to infer something—a character or narrator's opinion, an author's intention, etc.—based on what is said in the passage . It will be something that isn't stated directly or concretely but that you can assume based on what's clearly written in the passage. You can identify these questions from words such as "infer" and "imply."

The key to these questions is to not get tripped up by the fact that you are making an inference—there will be a best answer, and it will be the choice that is best supported by what is actually found in the passage .

In many ways, inference questions are like second-level reading comprehension questions: you need to know not just what a passage says, but also what it means.

#3: Identifying and Interpreting Figurative Language

These are questions for which you have to either identify what word or phrase is figurative language or provide the meaning of a figurative phrase . You can identify these as they will either explicitly mention figurative language (or a figurative device, such as a simile or metaphor ) or include a figurative phrase in the question itself.

The meaning of figurative phrases can normally be determined by that phrase's context in the passage—what is said around it? What is the phrase referring to?

Example 1: Identifying

Example 2: Interpreting

#4: Literary Technique

These questions involve identifying why an author does what they do , from using a particular phrase to repeating certain words. Basically, what techniques is the author using to construct the passage/poem, and to what effect?

You can identify these questions by words/phrases such as "serves chiefly to," "effect," "evoke," and "in order to." A good way to approach these questions is to ask yourself: so what? Why did the author use these particular words or this particular structure?

#5: Character Analysis

These questions ask you to describe something about a character . You can spot them because they will refer directly to characters' attitudes, opinions, beliefs, or relationships with other characters .

This is, in many ways, a special kind of inference question , since you are inferring the broader personality of the character based on the evidence in a passage. Also, these crop up much more commonly for prose passages than they do for poetry ones.

#6: Overall Passage Questions

Some questions ask you to identify or describe something about the passage or poem as a whole : its purpose, tone, genre, etc. You can identify these by phrases such as "in the passage" and "as a whole."

To answer these questions, you need to think about the excerpt with a bird's-eye view . What is the overall picture created by all the tiny details?

#7: Structure

Some AP Lit questions will ask you about specific structural elements of the passage: a shift in tone, a digression, the specific form of a poem, etc . Often these questions will specify a part of the passage/poem and ask you to identify what that part is accomplishing.

Being able to identify and understand the significance of any shifts —structural, tonal, in genre, and so on—will be of key importance for these questions.

#8: Grammar/Nuts & Bolts

Very occasionally you will be asked a specific grammar question , such as what word an adjective is modifying. I'd also include in this category super-specific questions such as those that ask about the meter of a poem (e.g., iambic pentameter).

These questions are less about literary artistry and more about the fairly dry technique involved in having a fluent command of the English language .

That covers the eight question types on the multiple-choice section. Now, let's take a look at the free-response section of the AP Literature exam.

Keep track of the nuts and bolts of grammar.

Section II: Free Response

The AP Literature Free Response section is two hours long and involves three free-response essay questions , so you'll have about 40 minutes per essay. That's not a lot of time considering this section of the test counts for 55% of your overall exam grade !

Note, though, that no one will prompt you to move from essay to essay, so you can theoretically divide up the time however you want. Just be sure to leave enough time for each essay! Skipping an essay, or running out of time so you have to rush through one, can really impact your final test score.

The first two essays are literary analysis essays of specific passages, with one poem and one prose excerpt. The final essay is an analysis of a given theme in a work selected by you , the student.

Essays 1 & 2: Literary Passage Analysis

For the first two essays, you'll be presented with an excerpt and directed to analyze the excerpt for a given theme, device, or development . One of the passages will be poetry, and one will be prose. You will be provided with the author of the work, the approximate date, and some orienting information (i.e., the plot context of an excerpt from a novel).

Below are some sample questions from the 2022 Free Response Questions .

Looking for help studying for your AP exam?

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Essay 3: Thematic Analysis

For the third and final essay, you'll be asked to discuss a particular theme in a work that you select . You will be provided with a list of notable works that address the given theme below the prompt, but you can also choose to discuss any "work of literary merit."

So while you do have the power to choose which work you wish to write an essay about , the key words here are "literary merit." That means no genre fiction! Stick to safe bets like authors in the list on pages 10-11 of the old 2014 AP Lit Course Description .

(I know, I know—lots of genre fiction works do have literary merit and Shakespeare actually began as low culture, and so on and so forth. Indeed, you might find academic designations of "literary merit" elitist and problematic, but the time to rage against the literary establishment is not your AP Lit test! Save it for a really, really good college admissions essay instead .)

Here's a sample question from 2022:

As you can see, the list of works provided spans many time periods and countries : there are ancient Greek plays ( Antigone ), modern literary works (such as Margaret Atwood's The Handmaid's Tale ), Shakespeare plays ( The Tempest ), 19th-century English plays ( The Importance of Being Earnest ), etc. So you have a lot to work with!

Also note that you can choose a work of "comparable literary merit." That means you can select a work not on this list as long as it's as difficult and meaningful as the example titles you've been given. So for example, Jane Eyre or East of Eden would be great choices, but Twilight or The Hunger Games would not.

Our advice? If you're not sure what a work of "comparable literary merit" is, stick to the titles on the provided list .

You might even see something by this guy.

How Is the AP Literature Test Graded?

The multiple-choice section of the exam comprises 45% of your total exam score; the three essays, or free-response section, comprise the other 55%. Each essay, then, is worth about 18% of your grade.

As on other AP exams, your raw score will be converted to a score from 1-5 . You don't have to get every point possible to get a 5 by any means. In 2022, 16.9% of students received 5s on the AP English Literature test, the 14th highest 5 score out of the 38 different AP exams.

So, how do you calculate your raw scores?

Multiple-Choice Scoring

For the multiple-choice section, you receive 1 point for each question you answer correctly . There's no guessing penalty, so you should answer every question—but guess only after you're able to eliminate any answer you know is wrong to up your chances of choosing the right one.

Free-Response Scoring

Scoring for multiple choice is pretty straightforward; however, essay scoring is a little more complicated.

Each of your essays will receive a score from 0 to 6 based on the College Board rubric , which also includes question-specific rubrics. All the rubrics are very similar, with only minor differences between them.

Each essay rubric has three elements you'll be graded on:

• Thesis (0-1 points)
• Evidence and Commentary (0-4 points)
• Sophistication (0-1 points)

We'll be looking at the current rubric for the AP Lit exam , which was released in September 2019, and what every score means for each of the three elements above:

To get a high-scoring essay in the 5-6 point range, you'll need to not only come up with an original and intriguing argument that you thoroughly support with textual evidence, but you’ll also need to stay focused, organized, and clear. And all in just 40 minutes per essay!

If getting a high score on this section sounds like a tall order, that's because it is.

Practice makes perfect!

Skill-Building for Success on the AP Literature Exam

There are several things you can do to hone your skills and best prepare for the AP Lit exam.

Read Some Books, Maybe More Than Once

One of the most important steps you can take to prepare for the AP Literature and Composition exam is to read a lot and read well . You'll be reading a wide variety of notable literary works in your AP English Literature course, but additional reading will help you further develop your analytical reading skills .

I suggest checking out this list of notable authors in the 2014 AP Lit Course Description (pages 10-11).

In addition to reading broadly, you'll want to become especially familiar with the details of four to five books with different themes so you'll be prepared to write a strong student-choice essay. You should know the plot, themes, characters, and structural details of these books inside and out.

See my AP English Literature Reading List for more guidance.

Read (and Interpret) Poetry

One thing students might not do very much on their own time but that will help a lot with AP Lit exam prep is to read poetry. Try to read poems from a lot of eras and authors to get familiar with the language.

We know that poetry can be intimidating. That's why we've put together a bunch of guides to help you crack the poetry code (so to speak). You can learn more about poetic devices —like imagery and i ambic pentameter —in our comprehensive guide. Then you can see those analytical skills in action in our expert analysis of " Do not go gentle into that good night " by Dylan Thomas.

When you think you have a grip on basic comprehension, you can then move on to close reading (see below).

Hone Your Close Reading and Analysis Skills

Your AP class will likely focus heavily on close reading and analysis of prose and poetry, but extra practice won't hurt you. Close reading is the ability to identify which techniques the author is using and why. You'll need to be able to do this both to gather evidence for original arguments on the free-response questions and to answer analytical multiple-choice questions.

Here are some helpful close reading resources for prose :

• University of Wisconsin-Madison Writing Center's guide to close reading
• Harvard College Writing Center's close reading guide
• Purdue OWL's article on steering clear of close reading "pitfalls"

And here are some for poetry :

• University of Wisconsin-Madison's poetry-reading guide
• This guide to reading poetry at Poets.org (complete with two poetry close readings)
• Our own expert analyses of famous poems, such as " Ozymandias ", and the 10 famous sonnets you should know

Learn Literary and Poetic Devices

You'll want to be familiar with literary terms so that any test questions that ask about them will make sense to you. Again, you'll probably learn most of these in class, but it doesn't hurt to brush up on them.

Here are some comprehensive lists of literary terms with definitions :

• The 31 Literary Devices You Must Know
• The 20 Poetic Devices You Must Know
• The 9 Literary Elements You'll Find In Every Story
• What Is Imagery?
• Understanding Assonance
• What Is Iambic Pentameter in Poetry?
• Simile vs Metaphor: The 1 Big Difference
• 10 Personification Examples in Poetry, Literature, and More

Practice Writing Essays

The majority of your grade on the AP English Lit exam comes from essays, so it's critical that you practice your timed essay-writing skills . You of course should use the College Board's released free-response questions to practice writing complete timed essays of each type, but you can also practice quickly outlining thorough essays that are well supported with textual evidence.

Take Practice Tests

Taking practice tests is a great way to prepare for the exam. It will help you get familiar with the exam format and overall experience . You can get sample questions from the Course and Exam Description , the College Board website , and our guide to AP English Lit practice test resources .

Be aware that the released exams don't have complete slates of free-response questions, so you might need to supplement these with released free-response questions .

Since there are three complete released exams, you can take one toward the beginning of your prep time to get familiar with the exam and set a benchmark, and one toward the end to make sure the experience is fresh in your mind and to check your progress.

Don't wander like a lonely cloud through your AP Lit prep.

AP Literature: 6 Critical Test-Day Tips

Before we wrap up, here are my six top tips for AP Lit test day:

• #1: On the multiple-choice section, it's to your advantage to answer every question. If you eliminate all the answers you know are wrong before guessing, you'll raise your chances of guessing the correct one.
• #2: Don't rely on your memory of the passage when answering multiple-choice questions (or when writing essays, for that matter). Look back at the passage!
• #3: Interact with the text : circle, mark, underline, make notes—whatever floats your boat. This will help you retain information and actively engage with the passage.
• #4: This was mentioned above, but it's critical that you know four to five books well for the student-choice essay . You'll want to know all the characters, the plot, the themes, and any major devices or motifs the author uses throughout.
• #5: Be sure to plan out your essays! Organization and focus are critical for high-scoring AP Literature essays. An outline will take you a few minutes, but it will help your writing process go much faster.
• #6: Manage your time on essays closely. One strategy is to start with the essay you think will be the easiest to write. This way you'll be able to get through it while thinking about the other two essays.

And don't forget to eat breakfast! Apron optional.

AP Literature Exam: Key Takeaways

The AP Literature exam is a three-hour test that includes an hour-long multiple-choice section based on five prose and poetry passages and with 55 questions, and a two-hour free-response section with three essays : one analyzing a poetry passage, one analyzing a prose passage, and one analyzing a work chosen by you, the student.

The multiple-choice section is worth 45% of your total score , and the free-response section is worth 55% . The three essays are each scored on a rubric of 0-6, and raw scores are converted to a final scaled score from 1 to 5.

Here are some things you can do to prepare for the exam:

• Read books and be particularly familiar with four to five works for the student-choice essays
• Read poetry
• Work on your close reading and analysis skills
• Learn common literary devices
• Practice writing essays
• Take practice tests!

On test day, be sure to really look closely at all the passages and really interact with them by marking the text in a way that makes sense to you. This will help on both multiple-choice questions and the free-response essays. You should also outline your essays before you write them.

With all this in mind, you're well on your way to AP Lit success!

What's Next?

If you're taking other AP exams this year, you might be interested in our other AP resources: from the Ultimate Guide to the US History Exam , to the Ultimate AP Chemistry Study Guide , to the Best AP Psychology Study Guide , we have tons of articles on AP courses and exams for you !

Looking for practice exams? Here are some tips on how to find the best AP practice tests . We've also got comprehensive lists of practice tests for AP Psychology , AP Biology , AP Chemistry , and AP US History .

Deciding which APs to take? Take a look through the complete list of AP courses and tests , read our analysis of which AP classes are the hardest and easiest , and learn how many AP classes you should take .

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Literary Analysis: Essay Prompts, Outline, & American Literature Topics

• 📚 Literary Analysis Definition

🧩 Elements of a Literary Analysis

• 📝 Literary Analysis Outline
• 💡 Literary Analysis Prompts
• 🤔 Topics for Literary Analysis
• 🗽 American Literature Topics
• ☘️ British & Irish Literature Topics

🌐 Classic European Literature Topics

🗺️ world literature essay topics.

It’s high time to discuss everything about literary analysis in detail!

📚 What Is Literary Analysis?

Literary analysis (literary criticism) is the process of interpreting a piece of literature. It implies a critical look at a text to understand the author’s message.

In this assignment, you trace tiny symbols and puzzles left by the author. As a reward, you get to the main idea. It is essential to differentiate a literary analysis from a summary where you just restate ideas from a text. Here, you need to dig into them and interpret them. Here are the main steps of a literary criticism process:

• Interpretation

What Is the Purpose of a Literary Analysis Essay?

Literary analysis has several purposes. Here are some of them:

• Understanding and interpreting the author’s point of view.
• Looking deeper into the literary work canvas and finding new meanings in it.
• Making up an opinion about the book.
• Estimating a book in general, its strong and weak sides.

The proper literary analysis includes many details. You should provide not a summary but an interpretation . In the end, it can be considered a separate work.

Brainstorming and observing the following aspects makes writing more manageable.

📝 Literary Analysis Essay Outline – 3 Parts

We want to present you with a complete literary analysis outline. The parts from the section below will navigate you through writing your work.

Introduction of a Literary Analysis Essay

When writing a literary analysis, you examine the whole text and its components. So we recommend starting from the primary constituents. Here’s what you can include in your literary analysis essay intro :

• In many cases, there’s already a lot said in the title – look at it more precisely.
• Don’t forget to mention the author and give a piece of information about them.
• Get the reader’s attention with a good hook . It will make the audience interested in your writing.
• Give some background information about the book. For example, you can mention the context of when and where it was created.

Body of a Literary Analysis Essay

The body is the “fleshiest” part of your paper. Let’s see how to make it complete and exciting.

• Introduce the contents of the section in a topic sentence .
• Provide the reader with the evidence you’ve collected. It can be quotations, specific details from the book, or summarized sentences . Mind that you have to give your interpretations.
• Smoothen the transition to the next paragraph with a closing sentence .

Conclusion of a Literary Analysis Essay

To wrap up your analysis, you will need a proper conclusion . Let’s look at its components:

• A paraphrased thesis statement – reformulate your thesis preserving its main idea.
• A summary of your work – give a quick review of the most significant points.
• Only the information you already gave – don’t introduce any new facts.

💡5 Literary Analysis Prompts

The section below gives you clues on building an excellent literary analysis. You can choose any of them to focus your work on something specific.

1. Analyze a Character’s Behavior, Choices, and Motifs

First, you have to choose a character who resonates with you. In that case, your analysis will be more profound. You will enjoy writing it. Use the following or similar questions to perform it:

2. Compare Internal Conflict Vs. External Conflict

There is often a conflict or several in a literary work. It is something that makes a story engaging. Try to find it and put it to the test. For example, answer these questions:

3. Focus on a Specific Sentence

An author can put a lot of significance even into one sentence. If you manage to find it, you’ll get the key to understanding the whole point of the work. Try to find a sentence or several that got your attention and made you reflect on them.

4. Evaluate the Role of Setting

The setting often plays a significant role in a storyline. Look for the descriptions that may resonate with the characters’ state and the atmosphere.

5. Research the Background and Its Meaning

The majority of literary pieces resonate with historical or cultural contexts. You can use it for the analysis.

🤔 307 Literary Analysis Essay Topics

Consider the topics below for deep analysis. You’ll find titles to any taste, including American, British, and European literature.

Try our remarkable research title generator if these 300+ topics are not enough. It’s free and easy to use!

🗽 American Literature Essay Topics

• The language and narrative in The Great Gatsby by F. Scott Fitzgerald .
• Analyze themes of the American Revolutionary period in literature.
• Devil’s presence in “Young Goodman Brown” by Nathaniel Hawthorne.
• Reunion of Daisy and Gatsby in The Great Gatsby novel by Francis Scott Fitzgerald .
• Is “The Power of Sympathy” the first American Novel?
• “A Ghetto Takes Shape: Black Cleveland” by Kusmer .
• Vietnam War in The Things They Carried novel by Tim O’Brien .
• The moral education of early America in “The Power of Sympathy.”
• A disease of Marriage in “The Story of an Hour” by Chopin.
• Religion and public life in American Grace by Putnam .
• The friendship in Moby Dick: should it be an example for others?
• “A Rose for Emily”: Analysis of a short story by William Faulkner .
• The language and themes in the poem “The Road Not Taken” by Robert Frost .
• Elaborate on race and enslavement topics pictured in Moby Dick.
• Kate Chopin’s background in “Story of an Hour.”
• Racism experiences in the Black Like Me book by John Griffin .
• Research the anti-slavery narratives in early American literature.
• Gender struggles in To the Lighthouse by Virginia Woolf .
• Composition of “The Things They Carried” by Tim O’Brien .
• Moby Dick: How did the sermon that Ishmael heard affect him?
• Marriage in “The Awakening” Novel by Kate Chopin.
• Behind a Convict’s Eyes by K. C. Carceral: Book review .
• How does Walter Whitman use symbols in “Leaves of Grass”?
• American Grace : A book by Robert Putnam and David Campbell .
• Walt Whitman poetry: how to read and understand it?
• Civil War history: “A Year in the South” by Ash .
• Symbolism in “A Wall of Fire Rising” by Edwidge Danticat .
• Walter Whitman: what are the controversial themes in “Leaves of Grass”?
• Plot analysis of “Hills Like White Elephants” by Ernest Hemingway.
• What is the deistic influence in Walter Whitman’s poetry?
• Religion in American Grace by Putnam and Campbell .
• Harlem Renaissance in “The New Negro” by Alain Locke .
• What does “athletic friendship” mean in Walter Whitman’s poetry?
• An Eye For An I: Critical Analysis of Poe’s “Tell-Tale Heart.”
• Grief in the novel The Lovely Bones by Alice Sebold .
• Tom Sawyer by Mark Twain: a racist or anti-racist novel?
• Cultural heritage in “Everyday Use” by Alice Walker .
• Lessons learned from “A Good Man Is Hard to Find” short story by Flannery O’Connor .
• Compare and contrast two characters of Mark Twain: Huckleberry Finn and Tom Sawyer.
• How to describe the American society in Twain’s “The Adventures of Huckleberry Finn?”
• The concepts of good and evil in Young Lions by Irwin Shaw.
• Black women in Incidents in the Life of a Slave Girl by Harriet Jacobs .
• Female characters in Death of a Salesman by A. Miller .
• Compare and contrast three main characters of Irwin Shaw’s “Young Lions.”
• “Where Are You Going, Where Have You Been?” vs. “Smooth Talk”: Connie’s character.
• How do Holden’s relationships with people differ in “The Catcher in the Rye” by J.D. Salinger?
• Analysis of different works by Edgar Allan Poe .
• The Crucible by Arthur Miller: Parallels with McCarthyism .
• Analyze the imagery, structure, and syntax in Emily Dickinson’s poetry.
• Chinese and American Women in Joy Luck Club novel and film.
• The American decadence themes in Grapes of Wrath by J. Steinbeck.
• Time in “A Rose for Emily” by William Faulkner .
• The theme of consequences in “The Cask of Amontillado” by Edgar Allan Poe .
• Crime and punishment in Theodor Dreiser’s “American Tragedy.”
• How is the process of growing up reflected in “The Catcher in the Rye” by J.D. Salinger?
• Can we see James Joyce’s influence in William Faulkner’s novels?
• The Adventures of Huckleberry Finn by Mark Twain: Injustice of slavery and racism .
• Hidden symbols in “The Storm” by Kate Chopin .
• To Kill a Mockingbird: the metamorphoses of Jem and Scout in the novel.
• “The Glass Menagerie” by Tennessee Williams character review.
• All the Colors We Are : Children’s anti-bias book by Kissinger .
• What do Clyde Griffiths and Frank Cowperwood of Theodor Dreiser’s novels have in common?
• Rhetoric in “A Good Man Is Hard to Find” by Flannery O’Connor .
• The Financier: can Frank Cowperwood be a role model for young and ambitious people?
• “The 7 Habits of Highly Effective People” by Steve Covey: book concepts.
• The Sound and the Fury: how do four different perspectives of narrative help understand the novel?
• Analysis of the play Fences by August Wilson .
• Fate in “A Good Man is Hard to Find” by F. O’Connor .
• To Kill a Mockingbird: is Atticus a role model of a parent and a decent person?
• “Death of a Salesman” by Arthur Miller: Willy Loman Character Analysis.
• Elaborate on the wide range of racist issues in the novel “To Kill a Mockingbird.”
• Women’s struggles in “The Story of an Hour” by Kate Chopin .
• How is American Dream depicted in “American Tragedy”?
• Symbolism in Williams’ “The Glass Menagerie.”
• Signs of feminism in “The Scarlet Letter” by Nathaniel Hawthorne.
• Comparison of “The Storm” and “The Story of an Hour” by Kate Chopin .
• American ideology in Thomas Paine’s “Common Sense.”
• The American dream in the play “Death of a Salesman.”
• How does Margaret Mitchell show the war tragedy in Gone with the Wind?
• Blindness in “Cathedral” by Raymond Carver .
• Gender roles in “The Story of an Hour” by Kate Chopin .
• Vanity Fair by William Thackeray: does the book’s structure allow us to call it “a novel”?
• The importance of “The Making of a Quagmire” by David Halberstam.
• Explore transcendentalism topic in James Fenimore Cooper’s “The Last of the Mohicans.”
• “We Wear the Mask” and “The Negro Speaks of Rivers” analysis .
• The importance of learning in “Life of Frederick Douglass, an American Slave” by Frederick Douglass .
• Does The Song of Hiawatha by Henry Wadsworth Longfellow have one main idea?
• “Daddy” by Sylvia Plath: Review .
• The Song of Hiawatha: the struggle between vice and virtue.
• Gender relations on the example of “Trifle” by Glaspell.
• Real life in “Into the Wild” by Jon Krakauer .
• The Song of Hiawatha: the gap between reality and the ideal.
• Cabico’s “Check One” poem: Motif-based analysis .
• Moral ambiguity in Nathaniel Hawthorne’s “The Scarlet Letter.”
• “The Road Not Taken” by Robert Frost: The poem as a metaphor .
• Innocence vs. guilt in “The Tell-Tale Heart” by Edgar Allan Poe .
• The horrors of war in Ernest Hemingway’s novel “Farewell to Arms.”
• Dave’s character in “The Man Who Was Almost a Man” by Richard Wright.
• The oppression of women in “Woman Hollering Creek” by Sandra Cisneros .
• How does Harriette Stowe show the slavery horrors in “Uncle Tom’s Cabin”?
• “A Rose for Emily” literary analysis .
• Fallacies in “Boxing, Doctors – Round Two” by Cohn .
• What are the symbols and settings that make Poe’s works recognizable?
• Analysis of «Cod» by Mark Kurlansky .
• The hypocrisy of the civilized society in “ The Adventures of Huckleberry Finn .”
• “The Jungle” by Upton Sinclair: the dark alleys of capitalism.
• Analysis of “Roman Fever” by Edith Wharton .
• Autobiographical motives in Jack London’s “Martin Eden.”
• Analysis of “Everyday Use” by Alice Walker .
• Nietzschean individualism versus socialism in Jack London’s “Martin Eden.”
• Comparison of “The Cask of Amontillado” and “Tell-Tale Heart” by Edgar Allan Poe .
• Illusory of the distorted American ideals in Theodor Dreiser’s “Sister Carrie.”
• “Everyday Use” by Alice Walker: plot analysis.
• “American Tragedy” – a story about urbanization, modernization, and alienation.
• “Daddy Issues” by Sandra Tsing Loh: The rhetorical analysis .
• What is the idea of the “average” American way of life depicted in Sinclair Lewis’ “Babbitt”?
• Dreams and hopes in A Raisin in the Sun by Lorraine Hansberry .
• Comparison of “Barn Burning” and “A Rose for Emily” by William Faulkner .
• How does Sinclair Lewis accomplish to create drama with the details?
• The life of black people in Nella Larsen’s ‘Passing.’
• What is the devastating cost of success in “The Great Gatsby” by F. S. Fitzgerald?
• “The Story of an Hour” by Kate Chopin: Review .
• Religiousness in “A Good Man Is Hard to Find” by O’Connor .
• Southern families issues in “The Sound and The Fury” by W. Faulkner.
• “Who Moved My Cheese” by Spencer Johnson: description of the book and its relation to business.
• “Light in August”: Complex and violent relations between men and women.
• The Lottery by Shirley Jackson: Literary analysis .
• Imagery and symbolism in “The Open Boat” by Stephen Crane .
• “The Sound and the Fury: are there innocent characters in the Compson family?
• Analysis of Adventures of Huckleberry Finn by Mark Twain .
• The rise and decline of the Southern aristocracy in “The Snopes trilogy.”
• “A Rose for Emily” by William Faulkner: the role of point of view.
• Symbolism in the short story “Hills Like White Elephants” by Ernest Hemingway .
• How are the themes of struggle, pride, and death revealed in “The Old Man and the Sea”?
• Emily Grierson in “A Rose for Emily” by William Faulkner .
• “In Cold Blood”: the context for the crime created in society.
• Gender roles in the play The Glass Menagerie by Tennessee Williams .
• The theme of mental health in “The Yellow Wallpaper” story by Charlotte Gilman .
• What Southern Gothic signs can we find in Truman Capote’s “In Cold Blood”?
• The Boy Who Would Be a Helicopter analysis .
• “Because I Could Not Stop for Death” poem by Emily Dickinson .
• Explore the unique style of Kurt Vonnegut in “Slaughter House Five.”
• Cultural identity in “Everyday Use” by Alice Walker .
• The influence of “The Cask of Amontillado” on Bierce’s work .
• Lieutenant Jimmy Cross in “The Things They Carried” by Tim O’Brien.
• Ethical problems in John Updike’s novel “The Centaur.”
• Rubber hose in Death of a Salesman by Miller .

☘️ British & Irish Literature Essay Topics

• What makes “Canterbury tales” by Geoffrey Chaucer a great piece of literature?
• Analysis of the Hamlet play by William Shakespeare .
• What figures of speech does G. Chaucer use to create a humorous narrative in “Canterbury Tales”?
• The image of clergy in “Canterbury Tales” by Geoffrey Chaucer.
• Satire by Jonathan Swift in “A Modest Proposal” essay.
• If the “Faerie Queene” is a great “national” epic, what idea of the English nation does the poem create?
• The idea of dreaming in “A Midsummer Night’s Dream” by William Shakespeare .
• Beowulf: is it a “perfect” hero from the Christian perspective ?
• A separate individual and societal system in Dickens’ novel “Little Dorrit.”
• The Character of Leggatt in “The Secret Sharer” by Joseph Conrad.
• Why did Edmund Spencer invent a poetic diction for his poem, and does that language work?
• The play Hamlet as a tragedy .
• Are Romeo and Juliet a play about revenge? Why?
• What racism issues are presented in “Othello”?
• Describe Othello as a tragic hero in Shakespeare’s play.
• Explore the imagery in John Milton’s “Paradise Lost.”
• Feminism in “A Vindication of the Rights of Woman” by M. Wollstonecraft .
• Female characters in the novel “David Copperfield” by C. Dickens.
• Is the poem “Paradise Lost” morally conflicted? Why?
• Themes in Shakespeare’s “Hamlet.”
• The images of fairies and elves in Shakespeare’s comedy “A Midsummer Night’s Dream.”
• A system of moral standards in Robin Hood’s cycle of stories.
• Victor in “Frankenstein,” the novel by Mary Shelley.
• The hero and author images in P. Sidney’s “Astrophil and Stella.”
• Explore the imagery in John Milton’s “Paradise Lost.”
• Themes in Heart of Darkness by Joseph Conrad .
• Thomas Heywood “A Woman Killed with Kindness”: family drama genre.
• Romeo and Juliet: the problem of love and freedom.
• Impact of gender in Shakespeare’s Othello.
• The image of the villain in Shakespeare’s “Othello.”
• Society criticism in “Careless Lovers” by Edward Ravenscroft .
• What functions do the supernatural powers perform in “Macbeth”?
• The Merchant of Venice: the topics of justice and mercy in the play.
• Review of “The Victorian Internet,” the book by Tom Standage.
• The peculiarities of the author’s irony in John Donne’s “Songs and sonnets.”
• The character of Victor in Frankenstein by Mary Shelley .
• The symbolic images of dreams and thunderstorms in John Donne’s poetry.
• Arcadian motives in Andrew Marvel’s lyrics.
• “Othello” by William Shakespeare: racism problem.
• How is the image of Satan presented in J. Milton’s poetry?
• Frankenstein or the Modern Prometheus by Mary Shelly .
• Compare the image of the lost innocence in Milton’s and Dante’s poetry.
• “The Alchemist” by Ben Jonson: the problems of style.
• Ophelia’s Character in Shakespeare’s Play “Hamlet.”
• The genre and method in the play “Volpone” by Ben Johnson.
• Analysis of “The Rime of the Ancient Mariner” by Samuel Coleridge .
• What unique features of the composition does the play “The Changeling” by T. Middleton include?
• “Perkin Warbeck” by John Ford: theatrical satire genre uniqueness.
• How is madness portrayed in William Shakespeare’s “Play King Lear”?
• The traveling theme in D. Defoe’s “The Life and Strange Surprising Adventures of Robinson Crusoe.”
• The message in the poem “Do Not Go Gentle Into That Good Night” by D. Thomas .
• J. Swift’s “Gulliver’s Travels”: utopia and dystopia in the novel.
• The satire in J. Swift’s pamphlet “A Tale of a Tub.”
• Different nations in “Gulliver’s Travels” by Jonathan Swift.
• A. Pope’s “Windsor-Forest”: specifics of the arcadian motives and plot.
• Satan, Adam, and Eve in “Paradise Lost” Poem by John Milton .
• The primary functions of the “Don Quixote mask” in G. Fielding’s “Don Quixote in England.”
• “Middlemarch” by G. Eliot: the problem of cognition in the novel.
• Women in Shakespeare’s and Chaucer’s works.
• Ideals and symbols in “The Corsair” by Byron.
• Gender in “The Taming of the Shrew” by William Shakespeare .
• The themes of literature and writing in the novel “The Black Prince” by I. Murdoch.
• Symbols in the novel “David Copperfield” by C. Dickens.
• Shakespearean Hamlet’s character analysis.
• “The Quiet American” by G. Greene: love and duty motives.
• Costumes, mood, and tone in the play “Macbeth” by Shakespeare .
• The specifics of the sentimentalism in R. Burn’s poetry.
• English romanticism traditions in “The Wuthering Heights.”
• Romeo from “Romeo and Juliet” by Shakespeare.
• The themes of unity and alienation in “The Wuthering Heights” by E. Bronte.
• The inner and outer beauty in Ch. Bronte’s “Jane Air.”
• “To Be or Not to Be”: Prominent Phrase Analysis.
• Egoism and altruism in “Oliver Twist” by C. Dickens.
• Themes in “Goodbye to Berlin” by Christopher Isherwood .
• Social problematics in the novel “Bleak House” by C. Dickens.
• The themes of the ambitions and happiness in the novel “Big Expectations” by Charles Dickens.
• “Oliver Twist” by Charles Dickens: characters, themes, and stylistic choices.
• Gender issues in the novel “Big Expectations” by Charles Dickens.
• The issues of female emancipation in the novel “The Mill on the Floss” by G. Eliot.
• The role of the Bible in “Paradise Lost” by John Milton .
• The narrator’s role in the novel “The Code of the Woosters” by P. Woodhouse.
• The role of the detective storyline in G. Greene’s “Brighton Rock.”
• Gender and Sexuality in William Shakespeare’s plays.
• Tradition and personality in the novel “1984” by G. Orwell.
• H. Hesse “Steppenwolf”: the spiritual quest of the characters.
• Existential searching in the novel “The Glass Bead Game” by H. Hesse.
• Candide and Pangloss characters and relationship analysis .
• Umberto Eco’s “The Name of the Rose” as a historical novel of a peculiar style.
• The meaning of laughter in Umberto Eco’s “The Name of the Rose.”
• Is Umberto Eco’s “The Name of the Rose” a detective novel?
• The problematics of the book “Foucault’s Pendulum” by U. Eco.
• The image of Beatrice in Dante’s “Divine Comedy.”
• Oedipus: Sophocles’ character.
• Dante’s “Divine Comedy”: the system of characters and level of perception.
• The specifics of narrative style in M. Proust’s “In Search of Lost Time.”
• The problematic characters in the novel “The End of the Night” by F. Mauriac.
• Therese Desqueyroux by François Mauriac: the image of family as a cage.
• “Oedipus the King” by Sophocles: fate versus character.
• The rebel against injustice in Albert Camus’ “The Myth of Sisyphus.”
• The theme of alienation in Albert Camus’ “The Stranger.”
• The motives of doom of time and man in Gottfried Benn’s poetry.
• How does Thomas Mann show the decay of the burgher’s social class in “Buddenbrooks”?
• The genre of a family saga in Thomas Mann’s “Buddenbrooks.”
• Prophecy and fate. “Oedipus the King” by Sophocles.
• The creativity collapse in “Doctor Faustus” by T. Mann.
• The tragedy of the genius in B. Brecht’s “The Life of Galileo.”
• B. Brecht’s “The Life of Galileo”: the moral dilemma between genius and villainy.
• The theme of metamorphosis in the novel “The Trial” by F. Kafka.
• Autobiographical family drama in the novel “Metamorphosis” by F. Kafka.
• The themes of alienation and loneliness in Franz Kafka’s novel “Metamorphosis.”
• An individual in the society in the novel “A Man without qualities” by Robert Musil.
• Jaroslav Hashek’s “The Fate of the Good Soldier Švejk During the World War”: the denial of war and perception of it as madness.
• The symbol of the sick people in The Metamorphosis by Franz Kafka .
• The corruptive influence of the army in Jaroslav Hashek’s “The Fate of the Good Soldier Švejk During the World War.”
• Pacifistic motives in Karel Chapek’s work “Salamander War.”
• The prophecy of historical events in Karel Capek’s novel “Salamander War.”
• The theme of history in the poetry of Antonio Machado: Fields of Castile.
• Federico Lorca’s Poet in New York: the problematics and style.
• Federico Lorca’s Poet in New York: the image of New York and American reality.
• The Thousand & One Nights: folk collection overview.
• “Waiting for Godot” by Samuel Becket: autobiographical experience of occupied France.
• “Waiting for Godot” by Samuel Becket: the peculiarities of language, speech, and dialogues .
• Allegorical presentation of society in the play “Rhinoceros” by E. Ionesco.
• “In the Labyrinth” by Alain Robbe-Grillet: what meaning does the detailed description of things have?
• The features of anti-novel in the “Golden Fruits” by Natali Sarot.
• “Oedipus the King” by Sophocles .
• Patrick Suskind’s “Perfume” as a perfect example of a postmodernist novel.
• The levels of the novel “Perfume” by Patrick Suskind.
• Reflections on friendship and love in the novel “Hello Sadness” by Françoise Sagan.
• The tragedy of disunity and loneliness in “The Time of Indifference” by Alberto Moravia.
• Analysis of important quotations from A Doll’s House by Henrik Ibsen .
• “The Time of Indifference” by Alberto Moravia: why do the characters remain static?
• The image of Rome in the story cycle “Roman Tales” by A. Moravia.
• Magic realism in the novel “100 Years of Solitude” by Gabriel Garcia Marquez.
• “Don Quixote” by Miguel de Servantes: the “insanity” of the main character.
• “War and Peace” by Leo Tolstoy: the concepts of love and duty.
• The peculiarities of women characters in “The Trial” by Franz Kafka .
• The theme of love in “Madame Bovary” by Gustave Flaubert.
• “The Dog in the Manger” by Lope De Vega: the specifics of Italian comedy.
• Voltaire’s “Candid” : forming of individual personality .
• The concept of the Enlightenment person in Jean-Jacques Rousseau’s “Emile, or On Education.”
• Goethe’s “Faust”: biblical references.
• The peculiarities and imagery of F. Schiller’s poetry.
• The ideological and artistic uniqueness of H. Heine’s poetry .
• The genuineness of historical figures in “Danton’s Death” by George Buchner.
• The theme of love in “All Quiet on the Western Front” by Erich Maria Remarque.
• The lost generation theme in “All Quiet on the Western Front” by Erich Maria Remarque.
• Identity formation in “Persepolis” by Satrapi .
• Analysis of Things Fall Apart , a novel by Chinua Achebe .
• Comfort Woman by Nora Okja Keller: Summary & themes .
• Cultural clash in “Dead Men’s Path” by Chinua Achebe .
• Igbo society in Things Fall Apart by Chinua Achebe .
• The theme of virtue in “The Tale of Kieu” by Nguyen Du .
• Women’s struggles in “Three Daughters of China” by Jung Chang .
• The character of Okonkwo in Things Fall Apart by Chinua Achebe .
• The Ramayana of Valmiki , translated by Ralph T. H. Griffith .
• Personal mythology based on “Things Fall Apart” by Chinua Achebe .
• The theme of love in the Kite Runner by Khaled Hosseini .
• Vietnam War in Last Night I Dreamed of Peace by Dang Thuy Tram .
• “The Remains of the Day” by Kazuo Ishiguro .

🔗 References

• How to write a literary analysis essay | Bucks County Community College
• A short guide to close reading for literary analysis; The Writing Center; UW – Madison
• University Writing Center – Literary Analysis
• How to write literary analysis – Sparknotes
• University Writing Center (UWC) – Analyzing Novels & Short Stories
• Writing Prompts for Analyzing Fiction // Purdue Writing Lab
• Summary vs. Analysis | UAGC Writing Center
• Teaching Literary Analysis | Edutopia
• Writing a Literary Analysis – English Resources – Resources by Subject at C. G. O’Kelly Library

414 Proposal Essay Topics for Projects, Research, & Proposal Arguments

725 research proposal topics & title ideas in education, psychology, business, & more.

A Salty Young Critic Explains Internet Culture, Patiently

Famed for her fearless literary takedowns, Lauren Oyler adopts a softer tone in the new essay collection “No Judgment.”

Credit... Miguel Porlan

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By Erin Somers

Erin Somers is a reporter for Publishers Lunch and the author of “Stay Up With Hugo Best.”

• March 18, 2024
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NO JUDGMENTS: Essays, by Lauren Oyler

Why do people like to watch boxing? We admire the fighters: their guts, their footwork. It is elegant yet brutal. It entertains. It is a form of proxy violence — someone else being hit and doing the hitting — that taps into our primal urges.

Lauren Oyler made her name as a pugilist. Her breakout essay on the website BookSlut famously begins, “I have always hated Roxane Gay’s writing.” Her reviews get attention partly because she voices the criticism that one may be too politic to express. Typically, that criticism is harsh. Typically, it is funny. Even her 2021 debut novel, “Fake Accounts,” contains a 40-page parody of the fragmentary novel form that was dominant in that moment, especially among women writers. It goes on for so long that the reader has time to love it, hate it, become exasperated with it, resign herself to it and, finally, admire its diabolical commitment.

Now Oyler has returned with “No Judgment,” a collection of eight essays written specifically for the book. Her sense of humor is present, as is her agile thinking. But fans of blood sport won’t find much here to satisfy their baser appetites. Far from incendiary, the book is cleareyed and grounded. Several essays here provoked the surprising thought, “This is the sanest thing I have ever read on this topic.”

The book begins with an introduction explaining that some of the essays were inspired by “a growing agitation about what I perceived to be misunderstandings and fallacies spreading in cultural criticism and commentary.” Others center on personal experiences. Topics include: the evolution of internet gossip, the flawed social network Goodreads and the creep of the word “vulnerable” into arts criticism. The uniting idea, if there is one, seems to be about how people are using or absorbing media wrong, and how this is annoying.

The essays are long and unhurried, and the fare will be familiar to anyone who spends a lot of time online. Many of them involve Twitter discourses of the past few years. Martin Scorsese’s views on Marvel movies make an appearance, as do the online sagas of the writers Lauren Hough, Kathleen Hale and Elizabeth Gilbert, each of whom raised the hackles of the online reviewing community with a variety of consequences.

The first essay, “Embarrassment, Panic, Opprobrium, Job Loss, Etc.,” traces gossip through the 21st century, from the rise and fall of the website Gawker to #MeToo and whisper networks, and the notorious anonymously sourced list of “bad media men” that shook up the magazine world in 2017. These episodes are fluidly stitched together with added context from history and literature, which is the structure of most of the essays in the book. At its best, it feels like your smart friend explaining to you something you missed on the internet, why it’s important and what it means. Occasionally, it feels like your friend overexplaining these things.

Oyler is a sharp and confident critic, and some interpretations in the book are outstanding. For instance, her reading of the film “Tár,” in an essay called “The Power of Vulnerability,” suggests it is not about cancel culture, as many critics wrote when it first came out, but about what would happen if a woman acted like a man. She writes: “We see Tár from rise to downfall, playing the man the entire time. We see her being called maestro. … Most important, we see her in this astounding, unrealistic career, which, in reality, a woman like her would never achieve. Not only because she is a woman, but because she is a woman who acts like a man: cocky, selfish, self-important, rude, on closer inspection a total fraud.” This is an invigorating way to think about the film, and one that sidesteps trite notions of cancellation.

Likewise, in an essay about the forever war of irony versus sincerity, sparked by David Foster Wallace’s 1993 essay “E. Unibus Pluram” and rehashed every few years online, she proposes that the binary itself is fake. “These oppositions are, have always been, reductive, false: A complex work will almost always have both irony and sincerity, and it is possible to express sincere — or authentic, or true — feelings through irony, a rhetorical device that is useful when you want to represent the tension between two conflicting ideas at the same time.”

The collection’s most ambitious essay is an assessment of autofiction as a form rather than a genre. There are many interesting reflections here on Oyler’s own work (“Fake Accounts” is autofiction) and on the work of others — Vladimir Nabokov, Sheila Heti, Sally Rooney and more.

I had never considered, for example, the space between the reader’s projection of an author of autofiction, and who the author really is. That the author can play with this — either defying or reifying the reader’s preconceived notions — is a tool, and a very cool one.

Still, the book’s measuredness cuts both ways. While it likely demonstrates Oyler’s growth as a writer (you can’t be an edgelord all your life), it lacks the boldness of her novel and magazine writing. It is oddly safe. “TED Talks are stupid,” she writes. Well, yeah; The Onion launched a series making fun of them in 2012.

That these essays were written specifically for the book, meaning they did not run as magazine stories or pegged to news events, made me wonder, sometimes, at the why of them. Why these particular topics? Why this set of minor irritations? Is there anything new or definitive about them? Is there a sense of risk, aesthetically or otherwise?

Luckily, the execution is fresh enough to keep one reading. And the barbs, when they do come, are good — in the final essay, a cheap dentist is described as “a tan man in a linoleum hole.” Maybe it’s best to follow the book’s lead and approach it with equanimity: We can appreciate and mourn its maturity both at once.

NO JUDGMENT : Essays | By Lauren Oyler | HarperOne | 288 pp. | $28.99

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Realism in American Literature Essay

Introduction, william dean howells, henry james, stephen crane, frank norris.

In literature, realism is applied to the school of fiction writers describing life with utmost fidelity to fact and detail in opposition to romanticism or classicism. This tendency towards realism is common in modern writing and at different periods, but it became a definite school primarily due to French influence in the later part of the 19 th century. This close analysis and stress on characterization is evident in Balzac and Stendahl, however it was Flaubert who surpassed them in “Madame Bovary”, his masterpiece. Flaubert’s achievement gave rise to works written by Goncourts, J.K. Huymans, de Maupassant, Zola and others. A heated controversy came up regarding the tendency of realistic writing to overstress what is corrupt and sordid; however their influence in the novel has become apparent and their detailed descriptions have lessened.

English realism has been tempered by moderation. Representing periods of its growth are George Eliot, Meredith, George Moore, Hardy, Wells and Bennett. This change is evidenced in the importance put on detailed psychological analysis, as in the novels of James Joyce, Dorothy Richardson, Gorky, Cheknov, Strindberg, Sundermann, Couperons and Hamsum, typifying their respective countries. Corresponding tendencies in the drama are shown in the writings of Ibsen, Hamptman and Galsworthy. “In the United States, Wolfe, Hemingway and Faulkner are among the leading representatives of the modern school of realism.” (Groiler Encyclopedia, 1961: 279). This paper, hopefully will prove Howells, Twain, James, Crane and Norris, respectively prove how five American writers have been categorized as realists.

Our first realist, William Dean Howells (1837 – 1920) was an American man of letters born at Martin’s Ferry, Ohio on March 1, 1837. He was the son of William Cooper Howells, a newspaper proprietor. A compositor at his father’s printing office, he turned journalist with definite literary aims. He became consul at Venice, Editor of the Atlantic Monthly and Harper’s Magazine. He also worked for the New York Times and the Cosmopolitan Magazine.

In 1862, he wed Elinor G. Mead and died May 11, 1920 in New York. He served as president of the American Academy of Arts and Letters from the time it was founded until he died. His 70 works consist of poems, travel books, essays, plays and criticism. His first book was a campaign life of Lincoln and of his books Venetian Life and Italian Journeys are delightful transcripts of personal experience, which cannot otherwise be authentic. He was chosen Leader of the Realistic School in American Literature. His novels reflect analytically the life of his time, realistically, but in proper perspective. “He was a successful short-story (as adjudged by Editha ), a penetrating critic and some of his poems reflect the qualities of his prose, which is consistently clear, compact, exact and felicitous. Several successful faces agreeably reflect his sweet and quiet humor.” (Groiler Encyclopedia, 1961: 30).

We now venture into Howell’s short story, Editha, which was first published in Harper’s Monthly in January of 1905. We hope to glean from it such qualities as will categorize it as realistic writing. To begin with, the setting of the story is the period circa the First World War, which occurred during Howells’ lifetime and Howells makes the reader believe the story actually happened, not just to the characters in the story, but also to many others. It is very clear even in the first paragraph how Howells’ pays attention to detail in his description of the setting. “The air was thick with the war feeling, like the electricity of a storm which had not yet burst. Editha sat looking out into the hot spring afternoon, with her lips parted, and panting with the intensity of the question whether she could let him go”

Lastly, the ending of the story isn’t what most romantics expect and desire. It ends with the sordidness of war. George gets killed and Editha fulfills her promise to him by going to visit his mother who fails to receive her with warmth. This is understandable and realistic since George’s mother cannot come to terms with the war as she and George’s father suffered greatly earlier war. But all’s well that ends well and the realistic approach is for the girl to pick up the pieces of her life and begin to live life again.

Our next American writer of realism is Samuel Clemens more popularly known as Mark Twain. Born in Florida, Missouri, November 30, 1835, Clemens claimed descent on his mother’s side from the Lambtons of Durham, England and on his father’s side, from men who were pirates and slavers. He started life as a compositor. In 1851, he became a steamboat pilot on the Mississippi. From this life was derived his pen name “Mark Twain”, a leadsman’s cry meaning two fathoms. He started his writing career as a compositor. After working as a reporter in Virginia City, Nevada, he tried mining and journalism in San Francisco and visited the Sandwich Islands.

Paying great attention to detail but without exaggeration is part of Twains’ realistic style of writing. “Mart Twain loved the little town of Hannibal. It was tranquilly content, content as slave towns are in general. He remembered it as the white town drowsing in the sunshine of a summer morning… the great Mississippi, the magnificent Mississippi rolling its mile-wide tide along, shining in the sun, the dense forest away on the other side.” (Paine, 1912: n.p.). His book, The Adventures of Tom Sawyer, is the story of an adventurous boyhood along the Mississippi. The realism here is that the account is much like the author’s own. The adventures of Huckleberry Finn, a highly dramatic reflection of river life, and by common consent ranked as the author’s masterpiece. In 1907, Oxford University conferred on him the honorary degree, Doctor of Literature.

Still another proof of realism in Twain’s writing is this vivid representation of scenes in a letter to Will Bowen, a childhood friend: “The old life has swept before me like a panorama, the old life trooped by in their old glory again, the old faces have looked out of the mists of the past, old footsteps have sounded in my listening ears, old hands have clasped mine, old voices have greeted me and the songs I loved ages and ages ago have been wailing down the centuries.”(Cox, 1966: 78).

Henry James (1843 – 1916) comes next. He was an Anglo-American novelist, born in New York. He was the son of Henry James, a well-known Swedenborgian. His older brother was William James. He studied law at Harvard, but early turned his attention to literature, at first in the form of short stories and contributions to periodicals.

James first sent Daisy Miller to the Philadelphia magazine Lippincotts, which rejected it on the basis of their belief that the portrayal of Daisy was “an outrage on American girlhood.” After extensive revisions, he succeeded in burying the unassuming simplicity of his early style under the mannerisms of the Master. The novelette was a great success. His fellow realist, William Dean Howells wrote to James Russell Lowell: “There has been a vast discussion in which nobody felt very deeply, and everybody talked very loudly. The thing went so far that society divided itself into Daily Millerites and anti-Daisy Millerites. I was glad for it for I hoped that in making James so thoroughly known, it would call attention to the beautiful work he had been doing for very few readers.” (Moore 1878: n.p.).

Moore’s introduction to the Penguin edition draws parallels between Daisy and Huck Finn written by fellow realist Mark Twain and Emerson’s concept of self-reliance. Moore says, “For us, the readers, it is Daisy who is on the side of the angels, and I am sure that James meant it to be so, despite the fact that he invoked poetic justice in consigning her to her doom for being such a wicked flouter of convention. If there is one abiding theme which runs through the American experience it is that men and women must have the courage to go it alone, setting their faces resolutely against what they see as arbitrary and outmoded rules and regulations. The relating of this experience is definitely part of James being a realist.

Moore concluded by saying that in Daisy Miller, there is the seed of what we are to find in full bloom at the end of James’ career… the pitting of values of America against those of Europe. The reason Daisy has nothing in common with her fellow Americans in Rome is because they subscribe to the European way of looking at life, a way which so many of James’ novels reveal to be shallow, superficial and cynical. Daisy is honest, fresh and open.

The consensus of opinion regarding naturalism is that it is a sub-genre of realism. All naturalists are also realists; but not all realists are naturalists. The naturalists we shall touch upon are Frank Norris and Stephen Crane. Naturalism has been defined as “the doctrine that there is no interference of any supernatural power in the universe.” (Haddock, n.d.).

Stephen Crane (1871 – 1900), American writer was born in Newark, N.J. In 1890 he moved to New York City to do intermittent reporting for the Herald and Tribune. His first book, Maggie: A Girl of the Streets, picturing life in the slums, was hailed as the first naturalistic novel of the U.S. In 1895 appeared, The Red Badge of Courage, Crane’s great realistic study of ordinary men amidst the storm and tumult of war. It was an instant success.

“Attention turned to Maggie and Crane’s reputation was established. In 1896, from experiences gained when he suffered shipwreck, he wrote The Open Boat, best know short stories. In 1899, he went to live in England where he died in 1900.”(Groiler Encyclopedia, 1961: 203)

Stephen Crane’s The Open Boat is characteristically realistic writing since it endeavors to describe life as it actually happened. It is also naturalism in that it involves the characters’ singular experience in their struggle against nature. The Open Boat is a fictionalized account of a very traumatic personal experience in Crane’s life: a ship on which he was a passenger sank off the coast of Florida, and he found himself one of four men in a tiny open dinghy, struggling to make it through a narrow strip of rough sea and pounding surf that separated them from dry land.

Many sailors or those who travel sea have, at one time or another, undergone a shipwreck experience, but what makes Crane’s narrative naturalist writing is that it accentuates the gulf between an objective journalistic rendering of going down with a ship and the only way to convey the full horror of this experience. In addition to vivid language, Crane uses carefully chosen anecdotes to make the situation seem harrowing.

Frank Norris (1870 – 1902), an American novelist was born in Chicago and educated in Paris, at Harvard and at the University of California. He was war correspondent in South Africa for the San Francisco Chronicle in 1896. He was editor of the San Francisco Wave in 1807. “The powerful realistic Mc. Teague, 1899, was his first novel to attract attention. His uncompleted trilogy, The Epic of the Wheat is generally considered his greatest work. In some ways, his writing seems to have been influenced by the French author, Alphonse Daudet.” (Groiler Encyclopedia, 1961: 73).

A Deal in Wheat by Norris has its protagonist in Sam Lewiston. The setting of the story is factual – a ranch in southwestern Kansas. Lewiston and his wife were two of a vast population of farmers, wheat growers who at that moment were passing through a crisis – a crisis that at any moment might culminate in tragedy. Unable to conduct his farm upon a paying basis at the time when Truslow, the “Great Bear” had sent the price of grain down to sixty-two cents a bushel, Lewiston had turned over his entire property to his creditors and left Kansas for good.

Norris’ account is the singular one – the only one of all the men who has struggled up to the surface again. How many others had gone down in the great ebb? Grim question, he dared not think how many. There were countless ones like Sam who were victims of a great wheat operation – a battle between Bear and Bull. What makes the story an exercise in naturalism is that although there were many who suffered just like Sam, it was only he who made it – who survived, perhaps by hard work or a streak of good luck.

After an extended analysis of the above-mentioned authors known to be American realists, it is not easy to come up with an original definition of American realism . Realism in American literature is a style of fiction writing influenced by the French in which life is described with strict fidelity to fact and detail. Naturalism , on the other hand is a sub-genre of American which involves the character/ characters’ singular struggle against the forces of war, nature and the like. Although there are a lot of similarities between American realism and European realism, from which it originated, the former puts a stress on that which is optimistic and aesthetic, reflecting the American way of viewing life.

Barnhart, C.E. (ed) (1959) The American College Encyclopedic Dictionary (Vols I and II). Chicago: Spencer Press Inc.

Cox, J. (1966) Mark Twain: The Fate of Humor. New Jersey: Princeton University Press.

Groiler Encyclopedia. (1961) New York: Groiler International.

Haddock, P. (Pub) (n.d.) The Concise English Dictionary. USSR: Blackie and Son.

Moore, G. in James, H. (1878) Daisy Miller, A Study in Two Parts. New York: Harper and Brothers. 2007. Web.

Paine, A.B. (1912) Mark Twain, A Biography. New York: Harper and Brothers.

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IvyPanda. (2021, September 13). Realism in American Literature. https://ivypanda.com/essays/realism-in-american-literature/

"Realism in American Literature." IvyPanda , 13 Sept. 2021, ivypanda.com/essays/realism-in-american-literature/.

IvyPanda . (2021) 'Realism in American Literature'. 13 September.

IvyPanda . 2021. "Realism in American Literature." September 13, 2021. https://ivypanda.com/essays/realism-in-american-literature/.

1. IvyPanda . "Realism in American Literature." September 13, 2021. https://ivypanda.com/essays/realism-in-american-literature/.

Bibliography

IvyPanda . "Realism in American Literature." September 13, 2021. https://ivypanda.com/essays/realism-in-american-literature/.

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OUP Handbook on American Street Literature

The editors of the Oxford University Handbook on American Street Literature seek papers that explore the history and themes of this unique genre. Street literature, also known as urban literature, refers to a genre of writing that primarily focuses on the experiences and narratives of individuals from marginalized communities, particularly in urban areas. Street Lit often explores the struggles, triumphs, and complexities of life in poor neighborhoods, shedding light on themes such as crime, violence, poverty, and the pursuit of success. Street literature encompasses various forms of written expression, including novels, short stories, poetry, and non-fiction accounts. What sets street literature apart is its authentic depiction of urban life, providing readers with a raw and unfiltered portrayal of the challenges faced by individuals living in these environments. While some view street literature as controversial due to its gritty content and occasional explicitness, we believe it serves as a powerful tool for cultural expression, empowerment, and social commentary. Topics include “Proto-Street lit narratives in the period of industrialization to emancipation,” “Street Literature, Protest Movements, and Youth Culture of the Mid-Twentieth Century,” “Street Literature’s Resurgence and the Emergence of Chicano, Latinx and Afro-Latino Street Lit,” and “Street Literature and the Age of Mass Media” to name a few. However, we encourage contributors to submit papers that analyze the literary history of urban life in America. We are especially interested in the exploration of topics such as crime and violence, familial and romantic relationships, redemption and second chances, education and knowledge, racial and social injustice, media and publication, and street entrepreneurship and ambition. We also encourage potential contributors to explore other themes and areas of intersectionality that inspire thoughtful writing. Please email abstracts of 250 words and a brief bio to Dennis L. Winston ( [email protected] ) by June 1, 2024 for best consideration.