famous literature essays

40 Best Essays of All Time (Including Links & Writing Tips)

I wanted to improve my writing skills. I thought that reading the forty best essays of all time would bring me closer to my goal.

I had little money (buying forty collections of essays was out of the question) so I’ve found them online instead. I’ve hacked through piles of them, and finally, I’ve found the great ones. Now I want to share the whole list with you (with the addition of my notes about writing). Each item on the list has a direct link to the essay, so please click away and indulge yourself. Also, next to each essay, there’s an image of the book that contains the original work.

About this essay list:

Reading essays is like indulging in candy; once you start, it’s hard to stop. I sought out essays that were not only well-crafted but also impactful. These pieces genuinely shifted my perspective. Whether you’re diving in for enjoyment or to hone your writing, these essays promise to leave an imprint. It’s fascinating how an essay can resonate with you, and even if details fade, its essence remains. I haven’t ranked them in any way; they’re all stellar. Skim through, explore the summaries, and pick up some writing tips along the way. For more essay gems, consider “Best American Essays” by Joyce Carol Oates or “101 Essays That Will Change The Way You Think” curated by Brianna Wiest.

40 Best Essays of All Time (With Links And Writing Tips)

1. david sedaris – laugh, kookaburra.

A great family drama takes place against the backdrop of the Australian wilderness. And the Kookaburra laughs… This is one of the top essays of the lot. It’s a great mixture of family reminiscences, travel writing, and advice on what’s most important in life. You’ll also learn an awful lot about the curious culture of the Aussies.

Writing tips from the essay:

• Use analogies (you can make it funny or dramatic to achieve a better effect): “Don’t be afraid,” the waiter said, and he talked to the kookaburra in a soothing, respectful voice, the way you might to a child with a switchblade in his hand”.
• You can touch a few cognate stories in one piece of writing . Reveal the layers gradually. Intertwine them and arrange for a grand finale where everything is finally clear.
• Be on the side of the reader. Become their friend and tell the story naturally, like around the dinner table.
• Use short, punchy sentences. Tell only as much as is required to make your point vivid.
• Conjure sentences that create actual feelings: “I had on a sweater and a jacket, but they weren’t quite enough, and I shivered as we walked toward the body, and saw that it was a . . . what, exactly?”
• You may ask a few tough questions in a row to provoke interest and let the reader think.

2. Charles D’Ambrosio – Documents

Do you think your life punches you in the face all too often? After reading this essay, you will change your mind. Reading about loss and hardships often makes us sad at first, but then enables us to feel grateful for our lives . D’Ambrosio shares his documents (poems, letters) that had a major impact on his life, and brilliantly shows how not to let go of the past.

• The most powerful stories are about your family and the childhood moments that shaped your life.
• You don’t need to build up tension and pussyfoot around the crux of the matter. Instead, surprise the reader by telling it like it is: “The poem was an allegory about his desire to leave our family.” Or: “My father had three sons. I’m the eldest; Danny, the youngest, killed himself sixteen years ago”.
• You can use real documents and quotes from your family and friends. It makes it so much more personal and relatable.
• Don’t cringe before the long sentence if you know it’s a strong one.
• At the end of the essay, you may come back to the first theme to close the circuit.
• Using slightly poetic language is acceptable, as long as it improves the story.

3. E. B. White – Once more to the lake

What does it mean to be a father? Can you see your younger self, reflected in your child? This beautiful essay tells the story of the author, his son, and their traditional stay at a placid lake hidden within the forests of Maine. This place of nature is filled with sunshine and childhood memories. It also provides for one of the greatest meditations on nature and the passing of time.

• Use sophisticated language, but not at the expense of readability.
• Use vivid language to trigger the mirror neurons in the reader’s brain: “I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows”.
• It’s important to mention universal feelings that are rarely talked about (it helps to create a bond between two minds): “You remember one thing, and that suddenly reminds you of another thing. I guess I remembered clearest of all the early mornings when the lake was cool and motionless”.
• Animate the inanimate: “this constant and trustworthy body of water”.
• Mentioning tales of yore is a good way to add some mystery and timelessness to your piece.
• Using double, or even triple “and” in one sentence is fine. It can make the sentence sing.

4. Zadie Smith – Fail Better

Aspiring writers feel tremendous pressure to perform. The daily quota of words often turns out to be nothing more than gibberish. What then? Also, should the writer please the reader or should she be fully independent? What does it mean to be a writer, anyway? This essay is an attempt to answer these questions, but its contents are not only meant for scribblers. Within it, you’ll find some great notes about literary criticism, how we treat art , and the responsibility of the reader.

• A perfect novel ? There’s no such thing.
• The novel always reflects the inner world of the writer. That’s why we’re fascinated with writers.
• Writing is not simply about craftsmanship, but about taking your reader to the unknown lands. In the words of Christopher Hitchens: “Your ideal authors ought to pull you from the foundering of your previous existence, not smilingly guide you into a friendly and peaceable harbor.”
• Style comes from your unique personality and the perception of the world. It takes time to develop it.
• Never try to tell it all. “All” can never be put into language. Take a part of it and tell it the best you can.
• Avoid being cliché. Try to infuse new life into your writing .
• Writing is about your way of being. It’s your game. Paradoxically, if you try to please everyone, your writing will become less appealing. You’ll lose the interest of the readers. This rule doesn’t apply in the business world where you have to write for a specific person (a target audience).
• As a reader, you have responsibilities too. According to the critics, every thirty years, there’s just a handful of great novels. Maybe it’s true. But there’s also an element of personal connection between the reader and the writer. That’s why for one person a novel is a marvel, while for the other, nothing special at all. That’s why you have to search and find the author who will touch you.

5. Virginia Woolf – Death of the Moth

Amid an ordinary day, sitting in a room of her own, Virginia Woolf tells about the epic struggle for survival and the evanescence of life. This short essay is truly powerful. In the beginning, the atmosphere is happy. Life is in full force. And then, suddenly, it fades away. This sense of melancholy would mark the last years of Woolf’s life.

• The melody of language… A good sentence is like music: “Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow- underwing asleep in the shadow of the curtain never fails to rouse in us”.
• You can show the grandest in the mundane (for example, the moth at your window and the drama of life and death).
• Using simple comparisons makes the style more lucid: “Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure”.

6. Meghan Daum – My Misspent Youth

Many of us, at some point or another, dream about living in New York. Meghan Daum’s take on the subject differs slightly from what you might expect. There’s no glamour, no Broadway shows, and no fancy restaurants. Instead, there’s the sullen reality of living in one of the most expensive cities in the world. You’ll get all the juicy details about credit cards, overdue payments, and scrambling for survival. It’s a word of warning. But it’s also a great story about shattered fantasies of living in a big city. Word on the street is: “You ain’t promised mañana in the rotten manzana.”

• You can paint a picture of your former self. What did that person believe in? What kind of world did he or she live in?
• “The day that turned your life around” is a good theme you may use in a story. Memories of a special day are filled with emotions. Strong emotions often breed strong writing.
• Use cultural references and relevant slang to create a context for your story.
• You can tell all the details of the story, even if in some people’s eyes you’ll look like the dumbest motherfucker that ever lived. It adds to the originality.
• Say it in a new way: “In this mindset, the dollars spent, like the mechanics of a machine no one bothers to understand, become an abstraction, an intangible avenue toward self-expression, a mere vehicle of style”.
• You can mix your personal story with the zeitgeist or the ethos of the time.

7. Roger Ebert – Go Gentle Into That Good Night

Probably the greatest film critic of all time, Roger Ebert, tells us not to rage against the dying of the light. This essay is full of courage, erudition, and humanism. From it, we learn about what it means to be dying (Hitchens’ “Mortality” is another great work on that theme). But there’s so much more. It’s a great celebration of life too. It’s about not giving up, and sticking to your principles until the very end. It brings to mind the famous scene from Dead Poets Society where John Keating (Robin Williams) tells his students: “Carpe, carpe diem, seize the day boys, make your lives extraordinary”.

• Start with a powerful sentence: “I know it is coming, and I do not fear it, because I believe there is nothing on the other side of death to fear.”
• Use quotes to prove your point -”‘Ask someone how they feel about death’, he said, ‘and they’ll tell you everyone’s gonna die’. Ask them, ‘In the next 30 seconds?’ No, no, no, that’s not gonna happen”.
• Admit the basic truths about reality in a childlike way (especially after pondering quantum physics) – “I believe my wristwatch exists, and even when I am unconscious, it is ticking all the same. You have to start somewhere”.
• Let other thinkers prove your point. Use quotes and ideas from your favorite authors and friends.

8. George Orwell – Shooting an Elephant

Even after one reading, you’ll remember this one for years. The story, set in British Burma, is about shooting an elephant (it’s not for the squeamish). It’s also the most powerful denunciation of colonialism ever put into writing. Orwell, apparently a free representative of British rule, feels to be nothing more than a puppet succumbing to the whim of the mob.

• The first sentence is the most important one: “In Moulmein, in Lower Burma, I was hated by large numbers of people — the only time in my life that I have been important enough for this to happen to me”.
• You can use just the first paragraph to set the stage for the whole piece of prose.
• Use beautiful language that stirs the imagination: “I remember that it was a cloudy, stuffy morning at the beginning of the rains.” Or: “I watched him beating his bunch of grass against his knees, with that preoccupied grandmotherly air that elephants have.”
• If you’ve ever been to war, you will have a story to tell: “(Never tell me, by the way, that the dead look peaceful. Most of the corpses I have seen looked devilish.)”
• Use simple words, and admit the sad truth only you can perceive: “They did not like me, but with the magical rifle in my hands I was momentarily worth watching”.
• Share words of wisdom to add texture to the writing: “I perceived at this moment that when the white man turns tyrant it is his freedom that he destroys.”
• I highly recommend reading everything written by Orwell, especially if you’re looking for the best essay collections on Amazon or Goodreads.

9. George Orwell – A Hanging

It’s just another day in Burma – time to hang a man. Without much ado, Orwell recounts the grim reality of taking another person’s life. A man is taken from his cage and in a few minutes, he’s going to be hanged. The most horrible thing is the normality of it. It’s a powerful story about human nature. Also, there’s an extraordinary incident with the dog, but I won’t get ahead of myself.

• Create brilliant, yet short descriptions of characters: “He was a Hindu, a puny wisp of a man, with a shaven head and vague liquid eyes. He had a thick, sprouting mustache, absurdly too big for his body, rather like the mustache of a comic man on the films”.
• Understand and share the felt presence of a unique experience: “It is curious, but till that moment I had never realized what it means to destroy a healthy, conscious man”.
• Make your readers hear the sound that will stay with them forever: “And then when the noose was fixed, the prisoner began crying out on his god. It was a high, reiterated cry of “Ram! Ram! Ram! Ram!”
• Make the ending original by refusing the tendency to seek closure or summing it up.

10. Christopher Hitchens – Assassins of The Mind

In one of the greatest essays written in defense of free speech, Christopher Hitchens shares many examples of how modern media kneel to the explicit threats of violence posed by Islamic extremists. He recounts the story of his friend, Salman Rushdie, author of Satanic Verses who, for many years, had to watch over his shoulder because of the fatwa of Ayatollah Khomeini. With his usual wit, Hitchens shares various examples of people who died because of their opinions and of editors who refuse to publish anything related to Islam because of fear (and it was written long before the Charlie Hebdo massacre). After reading the essay, you realize that freedom of expression is one of the most precious things we have and that we have to fight for it. I highly recommend all essay collections penned by Hitchens, especially the ones written for Vanity Fair.

• Assume that the readers will know the cultural references. When they do, their self-esteem goes up – they are a part of an insider group.
• When proving your point, give a variety of real-life examples from eclectic sources. Leave no room for ambiguity or vagueness. Research and overall knowledge are essential here.
• Use italics to emphasize a specific word or phrase (here I use the underlining): “We live now in a climate where every publisher and editor and politician has to weigh in advance the possibility of violent Muslim reprisal. In consequence, several things have not happened.”
• Think about how to make it sound more original: “So there is now a hidden partner in our cultural and academic and publishing and the broadcasting world: a shadowy figure that has, uninvited, drawn up a chair to the table.”

11. Christopher Hitchens – The New Commandments

It’s high time to shatter the tablets and amend the biblical rules of conduct. Watch, as Christopher Hitchens slays one commandment after the other on moral, as well as historical grounds. For example, did you know that there are many versions of the divine law dictated by God to Moses which you can find in the Bible? Aren’t we thus empowered to write our version of a proper moral code? If you approach it with an open mind, this essay may change the way you think about the Bible and religion.

• Take the iconoclastic approach. Have a party on the hallowed soil.
• Use humor to undermine orthodox ideas (it seems to be the best way to deal with an established authority).
• Use sarcasm and irony when appropriate (or not): “Nobody is opposed to a day of rest. The international Communist movement got its start by proclaiming a strike for an eight-hour day on May 1, 1886, against Christian employers who used child labor seven days a week”.
• Defeat God on legal grounds: “Wise lawmakers know that it is a mistake to promulgate legislation that is impossible to obey”.
• Be ruthless in the logic of your argument. Provide evidence.

12. Phillip Lopate – Against Joie de Vivre

While reading this fantastic essay, this quote from Slavoj Žižek kept coming back to me: “I think that the only life of deep satisfaction is a life of eternal struggle, especially struggle with oneself. If you want to remain happy, just remain stupid. Authentic masters are never happy; happiness is a category of slaves”. I can bear the onus of happiness or joie de vivre for some time. But this force enables me to get free and wallow in the sweet feelings of melancholy and nostalgia. By reading this work of Lopate, you’ll enter into the world of an intelligent man who finds most social rituals a drag. It’s worth exploring.

• Go against the grain. Be flamboyant and controversial (if you can handle it).
• Treat the paragraph like a group of thoughts on one theme. Next paragraph, next theme.
• Use references to other artists to set the context and enrich the prose: “These sunny little canvases with their talented innocence, the third-generation spirit of Montmartre, bore testimony to a love of life so unbending as to leave an impression of rigid narrow-mindedness as extreme as any Savonarola. Their rejection of sorrow was total”.
• Capture the emotions in life that are universal, yet remain unspoken.
• Don’t be afraid to share your intimate experiences.

13. Philip Larkin – The Pleasure Principle

This piece comes from the Required Writing collection of personal essays. Larkin argues that reading in verse should be a source of intimate pleasure – not a medley of unintelligible thoughts that only the author can (or can’t?) decipher. It’s a sobering take on modern poetry and a great call to action for all those involved in it. Well worth a read.

• Write about complicated ideas (such as poetry) simply. You can change how people look at things if you express yourself enough.
• Go boldly. The reader wants a bold writer: “We seem to be producing a new kind of bad poetry, not the old kind that tries to move the reader and fails, but one that does not even try”.
• Play with words and sentence length. Create music: “It is time some of you playboys realized, says the judge, that reading a poem is hard work. Fourteen days in stir. Next case”.
• Persuade the reader to take action. Here, direct language is the most effective.

14. Sigmund Freud – Thoughts for the Times on War and Death

This essay reveals Freud’s disillusionment with the whole project of Western civilization. How the peaceful European countries could engage in a war that would eventually cost over 17 million lives? What stirs people to kill each other? Is it their nature, or are they puppets of imperial forces with agendas of their own? From the perspective of time, this work by Freud doesn’t seem to be fully accurate. Even so, it’s well worth your time.

• Commence with long words derived from Latin. Get grandiloquent, make your argument incontrovertible, and leave your audience discombobulated.
• Use unending sentences, so that the reader feels confused, yet impressed.
• Say it well: “In this way, he enjoyed the blue sea and the grey; the beauty of snow-covered mountains and green meadowlands; the magic of northern forests and the splendor of southern vegetation; the mood evoked by landscapes that recall great historical events, and the silence of untouched nature”.
• Human nature is a subject that never gets dry.

15. Zadie Smith – Some Notes on Attunement

“You are privy to a great becoming, but you recognize nothing” – Francis Dolarhyde. This one is about the elusiveness of change occurring within you. For Zadie, it was hard to attune to the vibes of Joni Mitchell – especially her Blue album. But eventually, she grew up to appreciate her genius, and all the other things changed as well. This top essay is all about the relationship between humans, and art. We shouldn’t like art because we’re supposed to. We should like it because it has an instantaneous, emotional effect on us. Although, according to Stansfield (Gary Oldman) in Léon, liking Beethoven is rather mandatory.

• Build an expectation of what’s coming: “The first time I heard her I didn’t hear her at all”.
• Don’t be afraid of repetition if it feels good.
• Psychedelic drugs let you appreciate things you never appreciated.
• Intertwine a personal journey with philosophical musings.
• Show rather than tell: “My friends pitied their eyes. The same look the faithful give you as you hand them back their “literature” and close the door in their faces”.
• Let the poets speak for you: “That time is past, / And all its aching joys are now no
• more, / And all its dizzy raptures”.
• By voicing your anxieties, you can heal the anxieties of the reader. In that way, you say: “I’m just like you. I’m your friend in this struggle”.
• Admit your flaws to make your persona more relatable.

16. Annie Dillard – Total Eclipse

My imagination was always stirred by the scene of the solar eclipse in Pharaoh, by Boleslaw Prus. I wondered about the shock of the disoriented crowd when they saw how their ruler could switch off the light. Getting immersed in this essay by Annie Dillard has a similar effect. It produces amazement and some kind of primeval fear. It’s not only the environment that changes; it’s your mind and the perception of the world. After the eclipse, nothing is going to be the same again.

• Yet again, the power of the first sentence draws you in: “It had been like dying, that sliding down the mountain pass”.
• Don’t miss the extraordinary scene. Then describe it: “Up in the sky, like a crater from some distant cataclysm, was a hollow ring”.
• Use colloquial language. Write as you talk. Short sentences often win.
• Contrast the numinous with the mundane to enthrall the reader.

17. Édouard Levé – When I Look at a Strawberry, I Think of a Tongue

This suicidally beautiful essay will teach you a lot about the appreciation of life and the struggle with mental illness. It’s a collection of personal, apparently unrelated thoughts that show us the rich interior of the author. You look at the real-time thoughts of another person, and then recognize the same patterns within yourself… It sounds like a confession of a person who’s about to take their life, and it’s striking in its originality.

• Use the stream-of-consciousness technique and put random thoughts on paper. Then, polish them: “I have attempted suicide once, I’ve been tempted four times to attempt it”.
• Place the treasure deep within the story: “When I look at a strawberry, I think of a tongue, when I lick one, of a kiss”.
• Don’t worry about what people might think. The more you expose, the more powerful the writing. Readers also take part in the great drama. They experience universal emotions that mostly stay inside.  You can translate them into writing.

18. Gloria E. Anzaldúa – How to Tame a Wild Tongue

Anzaldúa, who was born in south Texas, had to struggle to find her true identity. She was American, but her culture was grounded in Mexico. In this way, she and her people were not fully respected in either of the countries. This essay is an account of her journey of becoming the ambassador of the Chicano (Mexican-American) culture. It’s full of anecdotes, interesting references, and different shades of Spanish. It’s a window into a new cultural dimension that you’ve never experienced before.

• If your mother tongue is not English, but you write in English, use some of your unique homeland vocabulary.
• You come from a rich cultural heritage. You can share it with people who never heard about it, and are not even looking for it, but it is of immense value to them when they discover it.
• Never forget about your identity. It is precious. It is a part of who you are. Even if you migrate, try to preserve it. Use it to your best advantage and become the voice of other people in the same situation.
• Tell them what’s really on your mind: “So if you want to hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity – I am my language”.

19. Kurt Vonnegut – Dispatch From A Man Without a Country

In terms of style, this essay is flawless. It’s simple, conversational, humorous, and yet, full of wisdom. And when Vonnegut becomes a teacher and draws an axis of “beginning – end”, and, “good fortune – bad fortune” to explain literature, it becomes outright hilarious. It’s hard to find an author with such a down-to-earth approach. He doesn’t need to get intellectual to prove a point. And the point could be summed up by the quote from Great Expectations – “On the Rampage, Pip, and off the Rampage, Pip – such is Life!”

• Start with a curious question: “Do you know what a twerp is?”
• Surprise your readers with uncanny analogies: “I am from a family of artists. Here I am, making a living in the arts. It has not been a rebellion. It’s as though I had taken over the family Esso station.”
• Use your natural language without too many special effects. In time, the style will crystalize.
• An amusing lesson in writing from Mr. Vonnegut: “Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college”.
• You can put actual images or vignettes between the paragraphs to illustrate something.

20. Mary Ruefle – On Fear

Most psychologists and gurus agree that fear is the greatest enemy of success or any creative activity. It’s programmed into our minds to keep us away from imaginary harm. Mary Ruefle takes on this basic human emotion with flair. She explores fear from so many angles (especially in the world of poetry-writing) that at the end of this personal essay, you will look at it, dissect it, untangle it, and hopefully be able to say “f**k you” the next time your brain is trying to stop you.

• Research your subject thoroughly. Ask people, have interviews, get expert opinions, and gather as much information as possible. Then scavenge through the fields of data, and pull out the golden bits that will let your prose shine.
• Use powerful quotes to add color to your story: “The poet who embarks on the creation of the poem (as I know by experience), begins with the aimless sensation of a hunter about to embark on a night hunt through the remotest of forests. Unaccountable dread stirs in his heart”. – Lorca.
• Writing advice from the essay: “One of the fears a young writer has is not being able to write as well as he or she wants to, the fear of not being able to sound like X or Y, a favorite author. But out of fear, hopefully, is born a young writer’s voice”.

21. Susan Sontag – Against Interpretation

In this highly intellectual essay, Sontag fights for art and its interpretation. It’s a great lesson, especially for critics and interpreters who endlessly chew on works that simply defy interpretation. Why don’t we just leave the art alone? I always hated it when at school they asked me: “What did the author have in mind when he did X or Y?” Iēsous Pantocrator! Hell if I know! I will judge it through my subjective experience!

• Leave the art alone: “Today is such a time, when the project of interpretation is reactionary, stifling. Like the fumes of the automobile and heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities”.
• When you have something really important to say, style matters less.
• There’s no use in creating a second meaning or inviting interpretation of our art. Just leave it be and let it speak for itself.

22. Nora Ephron – A Few Words About Breasts

This is a heartwarming, coming-of-age story about a young girl who waits in vain for her breasts to grow. It’s simply a humorous and pleasurable read. The size of breasts is a big deal for women. If you’re a man, you may peek into the mind of a woman and learn many interesting things. If you’re a woman, maybe you’ll be able to relate and at last, be at peace with your bosom.

• Touch an interesting subject and establish a strong connection with the readers (in that case, women with small breasts). Let your personality shine through the written piece. If you are lighthearted, show it.
• Use hyphens to create an impression of real talk: “My house was full of apples and peaches and milk and homemade chocolate chip cookies – which were nice, and good for you, but-not-right-before-dinner-or-you’ll-spoil-your-appetite.”
• Use present tense when you tell a story to add more life to it.
• Share the pronounced, memorable traits of characters: “A previous girlfriend named Solange, who was famous throughout Beverly Hills High School for having no pigment in her right eyebrow, had knitted them for him (angora dice)”.

23. Carl Sagan – Does Truth Matter – Science, Pseudoscience, and Civilization

Carl Sagan was one of the greatest proponents of skepticism, and an author of numerous books, including one of my all-time favorites – The Demon-Haunted World . He was also a renowned physicist and the host of the fantastic Cosmos: A Personal Voyage series, which inspired a whole generation to uncover the mysteries of the cosmos. He was also a dedicated weed smoker – clearly ahead of his time. The essay that you’re about to read is a crystallization of his views about true science, and why you should check the evidence before believing in UFOs or similar sorts of crap.

• Tell people the brutal truth they need to hear. Be the one who spells it out for them.
• Give a multitude of examples to prove your point. Giving hard facts helps to establish trust with the readers and show the veracity of your arguments.
• Recommend a good book that will change your reader’s minds – How We Know What Isn’t So: The Fallibility of Human Reason in Everyday Life

24. Paul Graham – How To Do What You Love

How To Do What You Love should be read by every college student and young adult. The Internet is flooded with a large number of articles and videos that are supposed to tell you what to do with your life. Most of them are worthless, but this one is different. It’s sincere, and there’s no hidden agenda behind it. There’s so much we take for granted – what we study, where we work, what we do in our free time… Surely we have another two hundred years to figure it out, right? Life’s too short to be so naïve. Please, read the essay and let it help you gain fulfillment from your work.

• Ask simple, yet thought-provoking questions (especially at the beginning of the paragraph) to engage the reader: “How much are you supposed to like what you do?”
• Let the readers question their basic assumptions: “Prestige is like a powerful magnet that warps even your beliefs about what you enjoy. It causes you to work not on what you like, but what you’d like to like”.
• If you’re writing for a younger audience, you can act as a mentor. It’s beneficial for younger people to read a few words of advice from a person with experience.

25. John Jeremiah Sullivan – Mister Lytle

A young, aspiring writer is about to become a nurse of a fading writer – Mister Lytle (Andrew Nelson Lytle), and there will be trouble. This essay by Sullivan is probably my favorite one from the whole list. The amount of beautiful sentences it contains is just overwhelming. But that’s just a part of its charm. It also takes you to the Old South which has an incredible atmosphere. It’s grim and tawny but you want to stay there for a while.

• Short, distinct sentences are often the most powerful ones: “He had a deathbed, in other words. He didn’t go suddenly”.
• Stay consistent with the mood of the story. When reading Mister Lytle you are immersed in that southern, forsaken, gloomy world, and it’s a pleasure.
• The spectacular language that captures it all: “His French was superb, but his accent in English was best—that extinct mid-Southern, land-grant pioneer speech, with its tinges of the abandoned Celtic urban Northeast (“boned” for burned) and its raw gentility”.
• This essay is just too good. You have to read it.

26. Joan Didion – On Self Respect

Normally, with that title, you would expect some straightforward advice about how to improve your character and get on with your goddamn life – but not from Joan Didion. From the very beginning, you can feel the depth of her thinking, and the unmistakable style of a true woman who’s been hurt. You can learn more from this essay than from whole books about self-improvement . It reminds me of the scene from True Detective, where Frank Semyon tells Ray Velcoro to “own it” after he realizes he killed the wrong man all these years ago. I guess we all have to “own it”, recognize our mistakes, and move forward sometimes.

• Share your moral advice: “Character — the willingness to accept responsibility for one’s own life — is the source from which self-respect springs”.
• It’s worth exploring the subject further from a different angle. It doesn’t matter how many people have already written on self-respect or self-reliance – you can still write passionately about it.
• Whatever happens, you must take responsibility for it. Brave the storms of discontent.

27. Susan Sontag – Notes on Camp

I’ve never read anything so thorough and lucid about an artistic current. After reading this essay, you will know what camp is. But not only that – you will learn about so many artists you’ve never heard of. You will follow their traces and go to places where you’ve never been before. You will vastly increase your appreciation of art. It’s interesting how something written as a list could be so amazing. All the listicles we usually see on the web simply cannot compare with it.

• Talking about artistic sensibilities is a tough job. When you read the essay, you will see how much research, thought and raw intellect came into it. But that’s one of the reasons why people still read it today, even though it was written in 1964.
• You can choose an unorthodox way of expression in the medium for which you produce. For example, Notes on Camp is a listicle – one of the most popular content formats on the web. But in the olden days, it was uncommon to see it in print form.
• Just think about what is camp: “And third among the great creative sensibilities is Camp: the sensibility of failed seriousness, of the theatricalization of experience. Camp refuses both the harmonies of traditional seriousness and the risks of fully identifying with extreme states of feeling”.

28. Ralph Waldo Emerson – Self-Reliance

That’s the oldest one from the lot. Written in 1841, it still inspires generations of people. It will let you understand what it means to be self-made. It contains some of the most memorable quotes of all time. I don’t know why, but this one especially touched me: “Every true man is a cause, a country, and an age; requires infinite spaces and numbers and time fully to accomplish his design, and posterity seems to follow his steps as a train of clients”. Now isn’t it purely individualistic, American thought? Emerson told me (and he will tell you) to do something amazing with my life. The language it contains is a bit archaic, but that just adds to the weight of the argument. You can consider it to be a meeting with a great philosopher who shaped the ethos of the modern United States.

• You can start with a powerful poem that will set the stage for your work.
• Be free in your creative flow. Do not wait for the approval of others: “What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness”.
• Use rhetorical questions to strengthen your argument: “I hear a preacher announce for his text and topic the expediency of one of the institutions of his church. Do I not know beforehand that not possibly say a new and spontaneous word?”

29. David Foster Wallace – Consider The Lobster

When you want simple field notes about a food festival, you needn’t send there the formidable David Foster Wallace. He sees right through the hypocrisy and cruelty behind killing hundreds of thousands of innocent lobsters – by boiling them alive. This essay uncovers some of the worst traits of modern American people. There are no apologies or hedging one’s bets. There’s just plain truth that stabs you in the eye like a lobster claw. After reading this essay, you may reconsider the whole animal-eating business.

• When it’s important, say it plainly and stagger the reader: “[Lobsters] survive right up until they’re boiled. Most of us have been in supermarkets or restaurants that feature tanks of live lobster, from which you can pick out your supper while it watches you point”.
• In your writing, put exact quotes of the people you’ve been interviewing (including slang and grammatical errors). It makes it more vivid, and interesting.
• You can use humor in serious situations to make your story grotesque.
• Use captions to expound on interesting points of your essay.

30. David Foster Wallace – The Nature of the Fun

The famous novelist and author of the most powerful commencement speech ever done is going to tell you about the joys and sorrows of writing a work of fiction. It’s like taking care of a mutant child that constantly oozes smelly liquids. But you love that child and you want others to love it too. It’s a very humorous account of what it means to be an author. If you ever plan to write a novel, you should read that one. And the story about the Chinese farmer is just priceless.

• Base your point on a chimerical analogy. Here, the writer’s unfinished work is a “hideously damaged infant”.
• Even in expository writing, you may share an interesting story to keep things lively.
• Share your true emotions (even when you think they won’t interest anyone). Often, that’s exactly what will interest the reader.
• Read the whole essay for marvelous advice on writing fiction.

31. Margaret Atwood – Attitude

This is not an essay per se, but I included it on the list for the sake of variety. It was delivered as a commencement speech at The University of Toronto, and it’s about keeping the right attitude. Soon after leaving university, most graduates have to forget about safety, parties, and travel and start a new life – one filled with a painful routine that will last until they drop. Atwood says that you don’t have to accept that. You can choose how you react to everything that happens to you (and you don’t have to stay in that dead-end job for the rest of your days).

• At times, we are all too eager to persuade, but the strongest persuasion is not forceful. It’s subtle. It speaks to the heart. It affects you gradually.
• You may be tempted to talk about a subject by first stating what it is not, rather than what it is. Try to avoid that.
• Simple advice for writers (and life in general): “When faced with the inevitable, you always have a choice. You may not be able to alter reality, but you can alter your attitude towards it”.

32. Jo Ann Beard – The Fourth State of Matter

Read that one as soon as possible. It’s one of the most masterful and impactful essays you’ll ever read. It’s like a good horror – a slow build-up, and then your jaw drops to the ground. To summarize the story would be to spoil it, so I recommend that you just dig in and devour this essay in one sitting. It’s a perfect example of “show, don’t tell” writing, where the actions of characters are enough to create the right effect. No need for flowery adjectives here.

• The best story you will tell is going to come from your personal experience.
• Use mysteries that will nag the reader. For example, at the beginning of the essay, we learn about the “vanished husband” but there’s no explanation. We have to keep reading to get the answer.
• Explain it in simple terms: “You’ve got your solid, your liquid, your gas, and then your plasma”. Why complicate?

33. Terence McKenna – Tryptamine Hallucinogens and Consciousness

To me, Terence McKenna was one of the most interesting thinkers of the twentieth century. His many lectures (now available on YouTube) attracted millions of people who suspect that consciousness holds secrets yet to be unveiled. McKenna consumed psychedelic drugs for most of his life and it shows (in a positive way). Many people consider him a looney, and a hippie, but he was so much more than that. He dared to go into the abyss of his psyche and come back to tell the tale. He also wrote many books (the most famous being Food Of The Gods ), built a huge botanical garden in Hawaii , lived with shamans, and was a connoisseur of all things enigmatic and obscure. Take a look at this essay, and learn more about the explorations of the subconscious mind.

• Become the original thinker, but remember that it may require extraordinary measures: “I call myself an explorer rather than a scientist because the area that I’m looking at contains insufficient data to support even the dream of being a science”.
• Learn new words every day to make your thoughts lucid.
• Come up with the most outlandish ideas to push the envelope of what’s possible. Don’t take things for granted or become intellectually lazy. Question everything.

34. Eudora Welty – The Little Store

By reading this little-known essay, you will be transported into the world of the old American South. It’s a remembrance of trips to the little store in a little town. It’s warm and straightforward, and when you read it, you feel like a child once more. All these beautiful memories live inside of us. They lay somewhere deep in our minds, hidden from sight. The work by Eudora Welty is an attempt to uncover some of them and let you get reacquainted with some smells and tastes of the past.

• When you’re from the South, flaunt it. It’s still good old English but sometimes it sounds so foreign. I can hear the Southern accent too: “There were almost tangible smells – licorice recently sucked in a child’s cheek, dill-pickle brine that had leaked through a paper sack in a fresh trail across the wooden floor, ammonia-loaded ice that had been hoisted from wet Croker sacks and slammed into the icebox with its sweet butter at the door, and perhaps the smell of still-untrapped mice”.
• Yet again, never forget your roots.
• Childhood stories can be the most powerful ones. You can write about how they shaped you.

35. John McPhee – The Search for Marvin Gardens

The Search for Marvin Gardens contains many layers of meaning. It’s a story about a Monopoly championship, but also, it’s the author’s search for the lost streets visible on the board of the famous board game. It also presents a historical perspective on the rise and fall of civilizations, and on Atlantic City, which once was a lively place, and then, slowly declined, the streets filled with dirt and broken windows.

• There’s nothing like irony: “A sign- ‘Slow, Children at Play’- has been bent backward by an automobile”.
• Telling the story in apparently unrelated fragments is sometimes better than telling the whole thing in a logical order.
• Creativity is everything. The best writing may come just from connecting two ideas and mixing them to achieve a great effect. Shush! The muse is whispering.

36. Maxine Hong Kingston – No Name Woman

A dead body at the bottom of the well makes for a beautiful literary device. The first line of Orhan Pamuk’s novel My Name Is Red delivers it perfectly: “I am nothing but a corpse now, a body at the bottom of a well”. There’s something creepy about the idea of the well. Just think about the “It puts the lotion in the basket” scene from The Silence of the Lambs. In the first paragraph of Kingston’s essay, we learn about a suicide committed by uncommon means of jumping into the well. But this time it’s a real story. Who was this woman? Why did she do it? Read the essay.

• Mysterious death always gets attention. The macabre details are like daiquiris on a hot day – you savor them – you don’t let them spill.
• One sentence can speak volumes: “But the rare urge west had fixed upon our family, and so my aunt crossed boundaries not delineated in space”.
• It’s interesting to write about cultural differences – especially if you have the relevant experience. Something normal for us is unthinkable for others. Show this different world.
• The subject of sex is never boring.

37. Joan Didion – On Keeping A Notebook

Slouching Towards Bethlehem is one of the most famous collections of essays of all time. In it, you will find a curious piece called On Keeping A Notebook. It’s not only a meditation about keeping a journal. It’s also Didion’s reconciliation with her past self. After reading it, you will seriously reconsider your life’s choices and look at your life from a wider perspective.

• When you write things down in your journal, be more specific – unless you want to write a deep essay about it years later.
• Use the beauty of the language to relate to the past: “I have already lost touch with a couple of people I used to be; one of them, a seventeen-year-old, presents little threat, although it would be of some interest to me to know again what it feels like to sit on a river levee drinking vodka-and-orange-juice and listening to Les Paul and Mary Ford and their echoes sing ‘How High the Moon’ on the car radio”.
• Drop some brand names if you want to feel posh.

38. Joan Didion – Goodbye To All That

This one touched me because I also lived in New York City for a while. I don’t know why, but stories about life in NYC are so often full of charm and this eerie-melancholy-jazz feeling. They are powerful. They go like this: “There was a hard blizzard in NYC. As the sound of sirens faded, Tony descended into the dark world of hustlers and pimps.” That’s pulp literature but in the context of NYC, it always sounds cool. Anyway, this essay is amazing in too many ways. You just have to read it.

• Talk about New York City. They will read it.
• Talk about the human experience: “It did occur to me to call the desk and ask that the air conditioner be turned off, I never called, because I did not know how much to tip whoever might come—was anyone ever so young?”
• Look back at your life and reexamine it. Draw lessons from it.

39. George Orwell – Reflections on Gandhi

George Orwell could see things as they were. No exaggeration, no romanticism – just facts. He recognized totalitarianism and communism for what they were and shared his worries through books like 1984 and Animal Farm . He took the same sober approach when dealing with saints and sages. Today, we regard Gandhi as one of the greatest political leaders of the twentieth century – and rightfully so. But did you know that when asked about the Jews during World War II, Gandhi said that they should commit collective suicide and that it: “would have aroused the world and the people of Germany to Hitler’s violence.” He also recommended utter pacifism in 1942, during the Japanese invasion, even though he knew it would cost millions of lives. But overall he was a good guy. Read the essay and broaden your perspective on the Bapu of the Indian Nation.

• Share a philosophical thought that stops the reader for a moment: “No doubt alcohol, tobacco, and so forth are things that a saint must avoid, but sainthood is also a thing that human beings must avoid”.
• Be straightforward in your writing – no mannerisms, no attempts to create ‘style’, and no invocations of the numinous – unless you feel the mystical vibe.

40. George Orwell – Politics and the English Language

Let Mr. Orwell give you some writing tips. Written in 1946, this essay is still one of the most helpful documents on writing in English. Orwell was probably the first person who exposed the deliberate vagueness of political language. He was very serious about it and I admire his efforts to slay all unclear sentences (including ones written by distinguished professors). But it’s good to make it humorous too from time to time. My favorite examples of that would be the immortal Soft Language sketch by George Carlin or the “Romans Go Home” scene from Monty Python’s Life of Brian. Overall, it’s a great essay filled with examples from many written materials. It’s a must-read for any writer.

• Listen to the master: “This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose.” Do something about it.
• This essay is all about writing better, so go to the source if you want the goodies.

Other Essays You May Find Interesting

The list that I’ve prepared is by no means complete. The literary world is full of exciting essays and you’ll never know which one is going to change your life. I’ve found reading essays very rewarding because sometimes, a single one means more than reading a whole book. It’s almost like wandering around and peeking into the minds of the greatest writers and thinkers that ever lived. To make this list more comprehensive, below I included more essays you may find interesting.

Oliver Sacks – On Libraries

One of the greatest contributors to the knowledge about the human mind, Oliver Sacks meditates on the value of libraries and his love of books.

Noam Chomsky – The Responsibility of Intellectuals

Chomsky did probably more than anyone else to define the role of the intelligentsia in the modern world . There is a war of ideas over there – good and bad – intellectuals are going to be those who ought to be fighting for the former.

Sam Harris – The Riddle of The Gun

Sam Harris, now a famous philosopher and neuroscientist, takes on the problem of gun control in the United States. His thoughts are clear of prejudice. After reading this, you’ll appreciate the value of logical discourse overheated, irrational debate that more often than not has real implications on policy.

Tim Ferriss – Some Practical Thoughts on Suicide

This piece was written as a blog post , but it’s worth your time. The author of the NYT bestseller The 4-Hour Workweek shares an emotional story about how he almost killed himself, and what can you do to save yourself or your friends from suicide.

Edward Said – Reflections on Exile

The life of Edward Said was a truly fascinating one. Born in Jerusalem, he lived between Palestine and Egypt and finally settled down in the United States, where he completed his most famous work – Orientalism. In this essay, he shares his thoughts about what it means to be in exile.

Richard Feynman – It’s as Simple as One, Two, Three…

Richard Feynman is one of the most interesting minds of the twentieth century. He was a brilliant physicist, but also an undeniably great communicator of science, an artist, and a traveler. By reading this essay, you can observe his thought process when he tries to figure out what affects our perception of time. It’s a truly fascinating read.

Rabindranath Tagore – The Religion of The Forest

I like to think about Tagore as my spiritual Friend. His poems are just marvelous. They are like some of the Persian verses that praise love, nature, and the unity of all things. By reading this short essay, you will learn a lot about Indian philosophy and its relation to its Western counterpart.

Richard Dawkins – Letter To His 10-Year-Old Daughter

Every father should be able to articulate his philosophy of life to his children. With this letter that’s similar to what you find in the Paris Review essays , the famed atheist and defender of reason, Richard Dawkins, does exactly that. It’s beautifully written and stresses the importance of looking at evidence when we’re trying to make sense of the world.

Albert Camus – The Minotaur (or, The Stop In Oran)

Each person requires a period of solitude – a period when one’s able to gather thoughts and make sense of life. There are many places where you may attempt to find quietude. Albert Camus tells about his favorite one.

Koty Neelis – 21 Incredible Life Lessons From Anthony Bourdain

I included it as the last one because it’s not really an essay, but I just had to put it somewhere. In this listicle, you’ll find the 21 most original thoughts of the high-profile cook, writer, and TV host, Anthony Bourdain. Some of them are shocking, others are funny, but they’re all worth checking out.

Lucius Annaeus Seneca – On the Shortness of Life

It’s similar to the Rubaiyat of Omar Khayyam because it praises life. Seneca shares some of his stoic philosophy and tells you not to waste your time on stupidities. Drink! – for once dead you shall never return.

Bertrand Russell – In Praise of Idleness

This old essay is a must-read for modern humans. We are so preoccupied with our work, our phones, and all the media input we drown in our business. Bertrand Russell tells you to chill out a bit – maybe it will do you some good.

James Baldwin – Stranger in the Village

It’s an essay on the author’s experiences as an African-American in a Swiss village, exploring race, identity, and alienation while highlighting the complexities of racial dynamics and the quest for belonging.

Bonus – More writing tips from two great books

The mission to improve my writing skills took me further than just going through the essays. I’ve come across some great books on writing too. I highly recommend you read them in their entirety. They’re written beautifully and contain lots of useful knowledge. Below you’ll find random (but useful) notes that I took from The Sense of Style and On Writing.

The Sense of Style – By Steven Pinker

• Style manuals are full of inconsistencies. Following their advice might not be the best idea. They might make your prose boring.
• Grammarians from all eras condemn students for not knowing grammar. But it just evolves. It cannot be rigid.
• “Nothing worth learning can be taught” – Oscar Wilde. It’s hard to learn to write from a manual – you have to read, write, and analyze.
• Good writing makes you imagine things and feel them for yourself – use word pictures.
• Don’t fear using voluptuous words.
• Phonesthetics – or how the words sound.
• Use parallel language (consistency of tense).
• Good writing finishes strong.
• Write to someone. Never write for no one in mind. Try to show people your view of the world.
• Don’t tell everything you are going to say in summary (signposting) – be logical, but be conversational.
• Don’t be pompous.
• Don’t use quotation marks where they don’t “belong”. Be confident about your style.
• Don’t hedge your claims (research first, and then tell it like it is).
• Avoid clichés and meta-concepts (concepts about concepts). Be more straightforward!
• Not prevention – but prevents or prevented – don’t use dead nouns.
• Be more vivid while using your mother tongue – don’t use passive where it’s not needed. Direct the reader’s gaze to something in the world.
• The curse of knowledge – the reader doesn’t know what you know – beware of that.
• Explain technical terms.
• Use examples when you explain a difficult term.
• If you ever say “I think I understand this” it probably means you don’t.
• It’s better to underestimate the lingo of your readers than to overestimate it.
• Functional fixedness – if we know some object (or idea) well, we tend to see it in terms of usage, not just as an object.
• Use concrete language instead of an abstraction.
• Show your work to people before you publish (get feedback!).
• Wait for a few days and then revise, revise, revise. Think about clarity and the sound of sentences. Then show it to someone. Then revise one more time. Then publish (if it’s to be serious work).
• Look at it from the perspective of other people.
• Omit needless words.
• Put the heaviest words at the end of the sentence.
• It’s good to use the passive, but only when appropriate.
• Check all text for cohesion. Make sure that the sentences flow gently.
• In expository work, go from general to more specific. But in journalism start from the big news and then give more details.
• Use the paragraph break to give the reader a moment to take a breath.
• Use the verb instead of a noun (make it more active) – not “cancellation”, but “canceled”. But after you introduce the action, you can refer to it with a noun.
• Avoid too many negations.
• If you write about why something is so, don’t spend too much time writing about why it is not.

On Writing Well – By William Zinsser

• Writing is a craft. You need to sit down every day and practice your craft.
• You should re-write and polish your prose a lot.
• Throw out all the clutter. Don’t keep it because you like it. Aim for readability.
• Look at the best examples of English literature . There’s hardly any needless garbage there.
• Use shorter expressions. Don’t add extra words that don’t bring any value to your work.
• Don’t use pompous language. Use simple language and say plainly what’s going on (“because” equals “because”).
• The media and politics are full of cluttered prose (because it helps them to cover up for their mistakes).
• You can’t add style to your work (and especially, don’t add fancy words to create an illusion of style). That will look fake. You need to develop a style.
• Write in the “I” mode. Write to a friend or just for yourself. Show your personality. There is a person behind the writing.
• Choose your words carefully. Use the dictionary to learn different shades of meaning.
• Remember about phonology. Make music with words .
• The lead is essential. Pull the reader in. Otherwise, your article is dead.
• You don’t have to make the final judgment on any topic. Just pick the right angle.
• Do your research. Not just obvious research, but a deep one.
• When it’s time to stop, stop. And finish strong. Think about the last sentence. Surprise them.
• Use quotations. Ask people. Get them talking.
• If you write about travel, it must be significant to the reader. Don’t bother with the obvious. Choose your words with special care. Avoid travel clichés at all costs. Don’t tell that the sand was white and there were rocks on the beach. Look for the right detail.
• If you want to learn how to write about art, travel, science, etc. – read the best examples available. Learn from the masters.
• Concentrate on one big idea (“Let’s not go peeing down both legs”).
• “The reader has to feel that the writer is feeling good.”
• One very helpful question: “What is the piece really about?” (Not just “What the piece is about?”)

Now immerse yourself in the world of essays

By reading the essays from the list above, you’ll become a better writer , a better reader, but also a better person. An essay is a special form of writing. It is the only literary form that I know of that is an absolute requirement for career or educational advancement. Nowadays, you can use an AI essay writer or an AI essay generator that will get the writing done for you, but if you have personal integrity and strong moral principles, avoid doing this at all costs. For me as a writer, the effect of these authors’ masterpieces is often deeply personal. You won’t be able to find the beautiful thoughts they contain in any other literary form. I hope you enjoy the read and that it will inspire you to do your writing. This list is only an attempt to share some of the best essays available online. Next up, you may want to check the list of magazines and websites that accept personal essays .

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The Best George Orwell Essays Everyone Should Read

By Dr Oliver Tearle (Loughborough University)

George Orwell (1903-50) is known around the world for his satirical novella Animal Farm and his dystopian novel Nineteen Eighty-Four , but he was arguably at his best in the essay form. Below, we’ve selected and introduced ten of Orwell’s best essays for the interested newcomer to his non-fiction, but there are many more we could have added. What do you think is George Orwell’s greatest essay?

1. ‘ Why I Write ’.

This 1946 essay is notable for at least two reasons: one, it gives us a neat little autobiography detailing Orwell’s development as a writer; and two, it includes four ‘motives for writing’ which break down as egoism (wanting to seem clever), aesthetic enthusiasm (taking delight in the sounds of words etc.), the historical impulse (wanting to record things for posterity), and the political purpose (wanting to ‘push the world in a certain direction’).

2. ‘ Politics and the English Language ’.

The English language is ‘in a bad way’, Orwell argues in this famous essay from 1946. As its title suggests, Orwell identifies a link between the (degraded) English language of his time and the degraded political situation: Orwell sees modern political discourse as being less a matter of words chosen for their clear meanings than a series of stock phrases slung together.

Orwell concludes with six rules or guidelines for political writers and essayists, which include: never use a long word when a short one will do, or a specialist or foreign term when a simpler English one should suffice.

We have analysed this classic essay here .

3. ‘ Shooting an Elephant ’.

This is an early Orwell essay, from 1936. In it, he recalls his (possibly fictionalised) experiences as a police officer in Burma, when he had to shoot an elephant that had got out of hand. Orwell extrapolates from this one event, seeing it as a microcosm of imperialism, wherein the coloniser loses his humanity and freedom through oppressing others.

We have analysed this essay here .

4. ‘ Decline of the English Murder ’.

In this 1946 essay, Orwell writes about the British fascination with murder, focusing in particular on the period of 1850-1925, which Orwell identifies as the golden age or ‘great period in murder’ in the media and literature. But what has happened to murder in the British newspapers?

Orwell claims that the Second World War has desensitised people to brutal acts of killing, but also that there is less style and art in modern murders. Oscar Wilde would no doubt agree with Orwell’s point of view!

5. ‘ Confessions of a Book Reviewer ’.

This 1946 essay makes book-reviewing as a profession or trade – something that seems so appealing and aspirational to many book-lovers – look like a life of drudgery. Why, Orwell asks, does virtually every book that’s published have to be reviewed? It would be best, he argues, to be more discriminating and devote more column inches to the most deserving of books.

6. ‘ A Hanging ’.

This is another Burmese recollection from Orwell, and a very early work, dating from 1931. Orwell describes a condemned criminal being executed by hanging, using this event as a way in to thinking about capital punishment and how, as Orwell put it elsewhere, a premeditated execution can seem more inhumane than a thousand murders.

We discuss this Orwell essay in more detail here .

7. ‘ The Lion and the Unicorn ’.

Subtitled ‘Socialism and the English Genius’, this is another essay Orwell wrote about Britain in the wake of the outbreak of the Second World War. Published in 1941, this essay takes its title from the heraldic symbols for England (the lion) and Scotland (the unicorn). Orwell argues that some sort of socialist revolution is needed to wrest Britain out of its outmoded ways and an overhaul of the British class system will help Britain to defeat the Nazis.

The long essay contains a section, ‘England Your England’, which is often reprinted as a standalone essay, written as the German bomber planes were whizzing overhead during the Blitz of 1941. This part of the essay is a critique of blind English patriotism during wartime and an attempt to pin down ‘English’ values at a time when England itself was under threat from Nazi invasion.

8. ‘ My Country Right or Left ’.

This 1940 essay shows what a complex and nuanced thinker Orwell was when it came to political labels such as ‘left-wing’ and ‘right-wing’. Although Orwell was on the left, he also held patriotic (although not exactly fervently nationalistic) attitudes towards England which many of his comrades on the left found baffling.

As with ‘England Your England’ above, the wartime context is central to Orwell’s argument, and lends his discussion of the relationship between left-wing politics and patriotic values an urgency and immediacy.

9. ‘ Bookshop Memories ’.

As well as writing on politics and being a writer, Orwell also wrote perceptively about readers and book-buyers – as in this 1936 essay, published the same year as his novel Keep the Aspidistra Flying , which combined both bookshops and writers (the novel focuses on Gordon Comstock, an aspiring poet).

In ‘Bookshop Memories’, reflecting on his own time working as an assistant in a bookshop, Orwell divides those who haunt bookshops into various types: the snobs after a first edition, the Oriental students, and so on.

10. ‘ A Nice Cup of Tea ’.

Orwell didn’t just write about literature and politics. He also wrote about things like the perfect pub, and how to make the best cup of tea, for the London Evening Standard in the late 1940s. Here, in this essay from 1946, Orwell offers eleven ‘golden rules’ for making a tasty cuppa, arguing that people disagree vehemently how to make a perfect cup of tea because it is one of the ‘mainstays of civilisation’. Hear, hear.

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3 thoughts on “The Best George Orwell Essays Everyone Should Read”

Thanks, Orwell was a master at combining wisdom and readability. I also like his essay on Edward Lear, although some of his observations are very much of their time: https://edwardleartrail.wordpress.com/2018/10/16/george-orwell-on-edward-lear/

The Everyman edition of Orwell’s essays (1200 pages !) is my desert island book. I like Shooting the Elephant altho Julian Barnes seems to believe this is fictitious. Is this still a live debate ?

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The 25 Greatest Essay Collections of All Time

Today marks the release of Aleksandar Hemon’s excellent book of personal essays, The Book of My Lives , which we loved, and which we’re convinced deserves a place in the literary canon. To that end, we were inspired to put together our list of the greatest essay collections of all time, from the classic to the contemporary, from the personal to the critical. In making our choices, we’ve steered away from posthumous omnibuses (Michel de Montaigne’s Complete Essays , the collected Orwell, etc.) and multi-author compilations, and given what might be undue weight to our favorite writers (as one does). After the jump, our picks for the 25 greatest essay collections of all time. Feel free to disagree with us, praise our intellect, or create an entirely new list in the comments.

The Book of My Lives , Aleksandar Hemon

Hemon’s memoir in essays is in turns wryly hilarious, intellectually searching, and deeply troubling. It’s the life story of a fascinating, quietly brilliant man, and it reads as such. For fans of chess and ill-advised theme parties and growing up more than once.

Slouching Towards Bethlehem , Joan Didion

Well, obviously. Didion’s extraordinary book of essays, expertly surveying both her native California in the 1960s and her own internal landscape with clear eyes and one eyebrow raised ever so slightly. This collection, her first, helped establish the idea of journalism as art, and continues to put wind in the sails of many writers after her, hoping to move in that Didion direction.

Pulphead , John Jeremiah Sullivan

This was one of those books that this writer deemed required reading for all immediate family and friends. Sullivan’s sharply observed essays take us from Christian rock festivals to underground caves to his own home, and introduce us to 19-century geniuses, imagined professors and Axl Rose. Smart, curious, and humane, this is everything an essay collection should be.

The Boys of My Youth , Jo Ann Beard

Another memoir-in-essays, or perhaps just a collection of personal narratives, Jo Ann Beard’s award-winning volume is a masterpiece. Not only does it include the luminous, emotionally destructive “The Fourth State of the Matter,” which we’ve already implored you to read , but also the incredible “Bulldozing the Baby,” which takes on a smaller tragedy: a three-year-old Beard’s separation from her doll Hal. “The gorgeous thing about Hal,” she tells us, “was that not only was he my friend, he was also my slave. I made the majority of our decisions, including the bathtub one, which in retrospect was the beginning of the end.”

Consider the Lobster , David Foster Wallace

This one’s another “duh” moment, at least if you’re a fan of the literary essay. One of the most brilliant essayists of all time, Wallace pushes the boundaries (of the form, of our patience, of his own brain) and comes back with a classic collection of writing on everything from John Updike to, well, lobsters. You’ll laugh out loud right before you rethink your whole life. And then repeat.

Notes of a Native Son , James Baldwin

Baldwin’s most influential work is a witty, passionate portrait of black life and social change in America in the 1940s and early 1950s. His essays, like so many of the greats’, are both incisive social critiques and rigorous investigations into the self, told with a perfect tension between humor and righteous fury.

Naked , David Sedaris

His essays often read more like short stories than they do social criticism (though there’s a healthy, if perhaps implied, dose of that slippery subject), but no one makes us laugh harder or longer. A genius of the form.

Against Interpretation , Susan Sontag

This collection, Sontag’s first, is a dazzling feat of intellectualism. Her essays dissect not only art but the way we think about art, imploring us to “reveal the sensuous surface of art without mucking about in it.” It also contains the brilliant “Notes on ‘Camp,'” one of our all-time favorites.

The Common Reader , Virginia Woolf

Woolf is a literary giant for a reason — she was as incisive and brilliant a critic as she was a novelist. These witty essays, written for the common reader (“He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of whole- a portrait of a man, a sketch of an age, a theory of the art of writing”), are as illuminating and engrossing as they were when they were written.

Teaching a Stone to Talk , Annie Dillard

This is Dillard’s only book of essays, but boy is it a blazingly good one. The slender volume, filled with examinations of nature both human and not, is deft of thought and tongue, and well worth anyone’s time. As the Chicago Sun-Times ‘s Edward Abbey gushed, “This little book is haloed and informed throughout by Dillard’s distinctive passion and intensity, a sort of intellectual radiance that reminds me both Thoreau and Emily Dickinson.”

Thirteen Ways of Looking at a Black Man , Henry Louis Gates Jr.

In this eloquent volume of essays, all but one of which were originally published in the New Yorker , Gates argues against the notion of the singularly representable “black man,” preferring to represent him in a myriad of diverse profiles, from James Baldwin to Colin Powell. Humane, incisive, and satisfyingly journalistic, Gates cobbles together the ultimate portrait of the 20th-century African-American male by refusing to cobble it together, and raises important questions about race and identity even as he entertains.

Otherwise Known As the Human Condition , Geoff Dyer

This book of essays, which won the National Book Critics Circle Award in the year of its publication, covers 25 years of the uncategorizable, inimitable Geoff Dyer’s work — casually erudite and yet liable to fascinate anyone wandering in the door, witty and breathing and full of truth. As Sam Lipsyte said, “You read Dyer for his caustic wit, of course, his exquisite and perceptive crankiness, and his deep and exciting intellectual connections, but from these enthralling rants and cultural investigations there finally emerges another Dyer, a generous seeker of human feeling and experience, a man perhaps closer than he thinks to what he believes his hero Camus achieved: ‘a heart free of bitterness.'”

Art and Ardor , Cynthia Ozick

Look, Cynthia Ozick is a genius. One of David Foster Wallace’s favorite writers, and one of ours, Ozick has no less than seven essay collections to her name, and we could have chosen any one of them, each sharper and more perfectly self-conscious than the last. This one, however, includes her stunner “A Drugstore in Winter,” which was chosen by Joyce Carol Oates for The Best American Essays of the Century , so we’ll go with it.

No More Nice Girls , Ellen Willis

The venerable Ellen Willis was the first pop music critic for The New Yorker , and a rollicking anti-authoritarian, feminist, all-around bad-ass woman who had a hell of a way with words. This collection examines the women’s movement, the plight of the aging radical, race relations, cultural politics, drugs, and Picasso. Among other things.

The War Against Cliché , Martin Amis

As you know if you’ve ever heard him talk , Martin Amis is not only a notorious grouch but a sharp critical mind, particularly when it comes to literature. That quality is on full display in this collection, which spans nearly 30 years and twice as many subjects, from Vladimir Nabokov (his hero) to chess to writing about sex. Love him or hate him, there’s no denying that he’s a brilliant old grump.

Cultural Amnesia: Necessary Memories From History and the Arts , Clive James

James’s collection is a strange beast, not like any other essay collection on this list but its own breed. An encyclopedia of modern culture, the book collects 110 new biographical essays, which provide more than enough room for James to flex his formidable intellect and curiosity, as he wanders off on tangents, anecdotes, and cultural criticism. It’s not the only who’s who you need, but it’s a who’s who you need.

I Feel Bad About My Neck: And Other Thoughts on Being a Woman , Nora Ephron

Oh Nora, we miss you. Again, we could have picked any of her collections here — candid, hilarious, and willing to give it to you straight, she’s like a best friend and mentor in one, only much more interesting than any of either you’ve ever had.

Arguably , Christopher Hitchens

No matter what you think of his politics (or his rhetorical strategies), there’s no denying that Christopher Hitchens was one of the most brilliant minds — and one of the most brilliant debaters — of the century. In this collection, packed with cultural commentary, literary journalism, and political writing, he is at his liveliest, his funniest, his exactingly wittiest. He’s also just as caustic as ever.

The Solace of Open Spaces , Gretel Ehrlich

Gretel Ehrlich is a poet, and in this collection, you’ll know it. In 1976, she moved to Wyoming and became a cowherd, and nearly a decade later, she published this lovely, funny set of essays about rural life in the American West.”Keenly observed the world is transformed,” she writes. “The landscape is engorged with detail, every movement on it chillingly sharp. The air between people is charged. Days unfold, bathed in their own music. Nights become hallucinatory; dreams, prescient.”

The Braindead Megaphone , George Saunders

Saunders may be the man of the moment, but he’s been at work for a long while, and not only on his celebrated short stories. His single collection of essays applies the same humor and deliciously slant view to the real world — which manages to display nearly as much absurdity as one of his trademark stories.

Against Joie de Vivre , Phillip Lopate

“Over the years,” the title essay begins, “I have developed a distaste for the spectacle of joie de vivre , the knack of knowing how to live.” Lopate goes on to dissect, in pleasantly sardonic terms, the modern dinner party. Smart and thought-provoking throughout (and not as crotchety as all that), this collection is conversational but weighty, something to be discussed at length with friends at your next — oh well, you know.

Sex and the River Styx , Edward Hoagland

Edward Hoagland, who John Updike deemed “the best essayist of my generation,” has a long and storied career and a fat bibliography, so we hesitate to choose such a recent installment in the writer’s canon. Then again, Garrison Keillor thinks it’s his best yet , so perhaps we’re not far off. Hoagland is a great nature writer (name checked by many as the modern Thoreau) but in truth, he’s just as fascinated by humanity, musing that “human nature is interstitial with nature, and not to be shunned by a naturalist.” Elegant and thoughtful, Hoagland may warn us that he’s heading towards the River Styx, but we’ll hang on to him a while longer.

Changing My Mind , Zadie Smith

Smith may be best known for her novels (and she should be), but to our eyes she is also emerging as an excellent essayist in her own right, passionate and thoughtful. Plus, any essay collection that talks about Barack Obama via Pygmalion is a winner in our book.

My Misspent Youth , Meghan Daum

Like so many other writers on this list, Daum dives head first into the culture and comes up with meat in her mouth. Her voice is fresh and her narratives daring, honest and endlessly entertaining.

The White Album , Joan Didion

Yes, Joan Didion is on this list twice, because Joan Didion is the master of the modern essay, tearing at our assumptions and building our world in brisk, clever strokes. Deal.

Classic British and American Essays and Speeches

English Prose From Jack London to Dorothy Parker

U.S. National Archives and Records Administration / Wikimedia Commons / Public Domain

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

From the works and musings of Walt Witman to those of Virginia Woolf, some of the cultural heroes and prolific artists of prose are listed below--along with some of the world's greatest essays and speeches  ever composed by these British and American literary treasures.

George Ade (1866-1944)

George Ade was an America playwright, newspaper columnist and humorist whose greatest recognition was "Fables in Slang" (1899), a satire that explored the colloquial vernacular of America. Ade eventually succeeded in doing what he set out to do: Make America laugh.

• The Difference Between Learning and Learning How : "In due time the Faculty gave the Degree of M.A. to what was left of Otis and still his Ambition was not satisfied."
• Luxuries: "About sixty-five per cent of all the people in the world think they are getting along great when they are not starving to death."
• Vacations: "The planet you are now visiting may be the only one you ever see."

Susan B. Anthony (1820-1906)

American activist Susan B. Anthony crusaded for the women's suffrage movement, making way for the Nineteenth Amendment to the US Constitution in 1920, giving women the right to vote. Anthony is principally known for the six-volume "History of Woman Suffrage." 

• On Women's Right to Vote : "The only question left to be settled now is: Are women persons?"

Robert Benchley (1889-1945)

The writings of American humorist, actor and drama critic Robert Benchley are considered his best achievement. His socially awkward, slightly confused persona allowed him to write about the inanity of the world to great effect.

• Advice to Writers : "A terrible plague of insufferably artificial and affected authors"
• Business Letters : "As it stands now things are pretty black for the boy."
• Christmas Afternoon : "Done in the Manner, If Not in the Spirit of Dickens"
• Do Insects Think? : "It really was more like a child of our own than a wasp, except that it looked more like a wasp than a child of our own."
• The Most Popular Book of the Month: "In practice, the book is not flawless. There are five hundred thousand names, each with a corresponding telephone number."

Joseph Conrad (1857-1924)

British novelist and short-story writer Joseph Conrad rendered about the "tragedy of loneliness" at sea and became known for his colorful, rich descriptions about the sea and other exotic places. He is regarded as one of the greatest English novelists of all time.

• Outside Literature : "A sea voyage would have done him good. But it was I who went to sea--this time bound to Calcutta."

Frederick Douglass (1818-1895)

American Frederick Douglass' great oratory and literary skills helped him to become the first African American citizen to hold high office in the US government. He was one of the 19th century's most prominent human rights activist, and his autobiography, "Life and Times of Frederick Douglass" (1882), became an American literary classic.

• The Destiny of Colored Americans : "Slavery is the peculiar weakness of America, as well as its peculiar crime."
• A Glorious Resurrection: "My long-crushed spirit rose."

W.E.B. Du Bois (1868-1963)

W.E.B. Du Bois was an American scholar and human rights activist, a respected author and historian of literature. His literature and studies analyzed the unreachable depths of American racism. Du Bois' seminal work is a collection of 14 essays titled "The Souls of Black Folk" (1903). 

• Of Mr. Booker T. Washington and Others : "Mr. Washington represents in Negro thought the old attitude of adjustment and submission."
• Of the Passing of the First-Born : "He knew no color-line, poor dear--and the Veil, though it shadowed him, had not yet darkened half his sun."

F. Scott Fitzgerald (1896-1940)

Known foremost for his novel "The Great Gatsby," American novelist and short-story writer F. Scott Fitzgerald was also a renown playboy and had a tumultuous life compounded by alcoholism and depression. Only after his death did he become known as a preeminent American literary author. 

• What I Think and Feel at 25: "The main thing is to be your own kind of a darn fool."

Ben Hecht  (1894-1964)

American novelist, short-story writer and playwright Ben Hecht is remembered as one of Hollywood's greatest screenplay writers and may best be remembered for "Scarface," Wuthering Heights" and "Guys and Dolls."

• Fog Patterns : "Yes, we are all lost and wandering in the thick mists. We have no destinations."
• Letters: "You would see a procession of mysterious figures flitting through the streets, an unending swarm of dim ones, queer ones."

Ernest Hemingway  (1899-1961)

American novelist Ernest Hemingway won the 1954 Nobel Prize in Literature for "his mastery of the art of narrative ... and for the influence he has exerted on contemporary style" as demonstrated in his brilliant novel "The Old Man and the Sea."

• American Bohemians in Paris: "The scum of Greenwich Village, New York, has been skimmed off and deposited in large ladles on that section of Paris adjacent to the Café Rotonde."
• Camping Out : "Any man of average office intelligence can make at least as good a pie as his wife."

Martin Luther King Jr.  (1929-1968)

Civil rights activist and minister Martin Luther King Jr., winner of the Nobel Peace Prize in 1964, may be best known for "I Have A Dream," in which he wrote about love, peace, nonviolent activism and equality between all races.

• I Have a Dream : "Now is the time to make justice a reality for all of God's children."
• Reading Quiz on "I Have a Dream"
• Ten Things You Should Know About Dr. King's "I Have a Dream" Speech

Jack London  (1876-1916)

Nineteenth-century American author and journalist Jack London is best known for his adventures "White Fang" and "The Call of the Wild." London published more than 50 books over the last 16 years of his life, including "John Barleycorn," which was somewhat of a memoir about his lifelong battle with alcohol.

• The Somnambulists : "[T]his archdeceiver believes all that they tell him. He reads only the newspapers and magazines that tell him what he wants to be told."
• The Story of an Eyewitness: The San Francisco Earthquake : "Not in history has a modern imperial city been so completely destroyed."
• Reading Quiz on "The San Francisco Earthquake"
• What Life Means to Me : "I accepted that up above me was all that was fine and noble and gracious, all that gave decency and dignity to life."

H.L. Mencken  (1880-1956)

American journalist, activist and editor H.L. Mencken was also a very influential literary critic. His columns were popular not only for their literary criticism, but also for their questioning of popular political, social and cultural views.

• The Hills of Zion : "Dayton was having a roaring time. It was better than the circus."
• The Libido for the Ugly : "Out of the melting pot emerges a race which hates beauty."
• Literature and the Schoolma'm : "The essence of a sound style is that it cannot be reduced to rules."
• The Lower Depths : "The worst idiots, even among pedagogues, are the teachers of English."
• Portrait of an Ideal World : "All the great villainies of history have been perpetrated by sober men, and chiefly by teetotalers."

Christopher Morley  (1890-1957)

American writer Christopher Morley was popular for his literary columns in the "New York Evening Post," among other literary magazines. His many collections of essays and columns were "lighthearted, vigorous displays of the English language." 

• 1100 Words : "Let us be brief, crisp, packed with thought."
• The Art of Walking : "Sometimes it seems as though literature were a co-product of legs and head."
• A Morning in Marathon: "[W]e flashed onto the Hackensack marshes and into the fully minted gold of superb morning."
• On Going to Bed : "The happier creatures ... take the tide of sleep at the flood and are borne calmly and with gracious gentleness out to great waters of nothingness."

George Orwell  (1903-1950)

This British novelist, essayist and critic is best known for his novels "1984" and "Animal Farm." George Orwell's disdain for imperialism (he considered himself an anarchist) guided him in his life as well as through some of his writings.

• A Hanging : "We all began laughing again. ... The dead man was a hundred yards away."
• Why Are Beggars Despised? : "A beggar, looked at realistically, is simply a businessman, getting his living."

Dorothy Parker  (1893-1967)

Witty American poet and short-story writer Dorothy Parker began as an editorial assistant at "Vogue" and eventually became the book reviewer known as the "Constant Reader" for "The New Yorker." Among her hundreds of works, Parker won the 1929 O. Henry Award for her short story "Big Blond."

• Good Souls: "They are fated to go through life, congenial pariahs. They live out their little lives, mingling with the world, yet never a part of it."
• Mrs. Post Enlarges on Etiquette : "As one delves deeper and deeper into  Etiquette , disquieting thoughts come."

Bertrand Russell  (1872-1970)

British philosopher and social reformer Bertrand Russell won the Nobel Prize in Literature in 1950 "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought." Russell was one of the foremost philosophers of the 20th century.

• In Praise of Idleness : "The road to happiness and prosperity lies in an organized diminution of work."

Margaret Sanger  (1879-1966)

American activist Margaret Sanger was a sex educator, nurse and women's rights advocate. She began the first feminist publication, "The Woman Rebel," in 1914. 

• The Turbid Ebb and Flow of Misery: "My own cozy and comfortable family existence was becoming a reproach to me."

George Bernard Shaw  (1856-1950)

An Irish dramatist and critic, George Bernard Shaw was also a socialist propagandist and winner of the 1925 Nobel Prize in Literature (which he didn't receive until 1926) for "his work which is marked by both idealism and beauty." Shaw wrote more than 60 plays during his lifetime.

• Preface to Pygmalion: "It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him."
• She Would Have Enjoyed It: "Why does a funeral always sharpen one's sense of humor?"
• Why Law Is Indispensable: "Laws deaden the conscience of individuals by relieving them of responsibility."
• The Art of Political Lying : "Considering that natural disposition in many men to lie, and in multitudes to believe, I have been perplexed what to do with that maxim so frequent in everybody's mouth, that truth will at last prevail."
• Hints Toward an Essay on Conversation : "This degeneracy of conversation ... hath been owing, among other causes, to the custom arisen, for sometime past, of excluding women from any share in our society."
• A Meditation Upon a Broomstick : "But a broomstick is an emblem of a tree standing on its head."

Henry David Thoreau  (1817-1862)

American essayist, poet and philosopher Henry David Thoreau is most known for his masterful work, "Walden," about living a life close to nature. He was a dedicated abolitionist and a strong practitioner of civil disobedience.

• The Battle of the Ants : "I never learned which party was victorious, nor the cause of the war."
• The Landlord: "If we do not look up to the Landlord, we look round for him on all emergencies, for he is a man of infinite experience, who unites hands with wit."
• The Last Days of John Brown : "[T]he one great rule of composition--and if I were a professor of rhetoric I should insist on this--is, to  speak the truth ."

James Thurber  (1894-1961)

American author and illustrator James Thurber is best known for his contributions to "The New Yorker." Via his contributions to the magazine, his cartoons became some of the most popular in the United States.

• The Subjunctive Mood : "Husbands are suspicious of all subjunctives. Wives should avoid them."
• Which: "Never monkey with 'which.'"

Anthony Trollope  (1815-1882)

British author Anthony Trollope is best known for his writing in the Victorian Era--some of his work includes a series of novels known as "The Chronicles of Barsetshire." Trollope also wrote on political, social and gender issues.

• The Plumber : "The plumber is doubtless aware that he is odious. He feels himself, like Dickens's turnpike-man, to be the enemy of mankind."

Mark Twain  (1835-1910)

Mark Twain was an American humorist, journalist, lecturer and novelist best known for his classic American novels "The Adventures of Tom Sawyer" and "Adventures of Huckleberry Finn." With his wit and grand telling of tales, Twain is nothing short of an American national treasure. 

• Advice to Youth : "Always obey your parents, when they are present."
• Corn-Pone Opinions : "Tell me whar a man gits his corn pone, en I'll tell you what his 'pinions is."
• The Danger of Lying in Bed : "The danger isn't in traveling by rail, but in trusting to those deadly beds."
• A Fable : "You can find in a text whatever you bring."
• Fenimore Cooper's Literary Offences : " Deerslayer  is just simply a literary delirium tremens."
• The Lowest Animal : "[W]e have descended and degenerated ... till we have reached the bottom stage of development."
• On the Decay of the Art of Lying: "Lying is universal: we all do it; we all must do it."
• Two Ways of Seeing a River : "All the grace, the beauty, the poetry had gone out of the majestic river!"
• Unconscious Plagiarism : "[P]ride protects a man from deliberately stealing other people's ideas."

H.G. Wells  (1866-1944)

British author and historian H.G. Wells is best known for his works of science fiction, including "The Time Machine," "The First Men in the Moon" and "The War of the Worlds." Wells wrote an astounding 161 full-length books. 

• For Freedom of Spelling: The Discovery of an Art: "Why should correct spelling be the one absolutely essential literary merit?"
• Of Conversation: An Apology: "I am no blowfly to buzz my way through the universe."
• The Pleasure of Quarrelling : "Without quarreling you have not fully appreciated your fellow-man."
• The Possible Collapse of Civilisation: "Modern warfare is an insanity, not a sane business proposition."
• The Writing of Essays: "The art of the essayist ... may be learnt in a brief ten minutes or so."

Walt Whitman  (1819-1892)

American poet and journalist Walt Whitman's verse collection "Leaves of Grass" is an American literature landmark. Ralph Waldo Emerson praised the collection as "the most extraordinary piece of wit and wisdom" America had yet contributed.

• A Glimpse of War's Hell Scenes: "There was no exultation, very little said, almost nothing, yet every man there contributed his shot."
• Slang in America : "Language in the largest sense ... is really the greatest of studies."
• Street Yarn: "Come and walk in New York streets."

Virginia Woolf  (1882-1941)

British author Virginia Woolf may be best known for her modernist classics "Mrs. Dalloway" and "To the Lighthouse." But she also produced feminist texts such as "A Room of One's Own" and "Three Guineas" and wrote pioneering essays on the politics of power, artistic theory and literary history.

• The Decay of Essay Writing : "Under the decent veil of print one can indulge one's egoism to the full."
• The Modern Essay : "The essay must lap us about and draw its curtain across the world."
• The Patron and the Crocus : "Be sure you choose your patron wisely."
• Street Haunting: A London Adventure : "Into each of these lives one could penetrate a little way."
• Writing for My Eye Only: "I can trace some increase of ease in my professional writing which I attribute to my casual half hours after tea."
• A List of Every Nobel Prize Winner in Literature
• 42 Must-Read Feminist Female Authors
• Biography of John Updike, Pulitzer Prize Winning American Author
• Complete List of John Steinbeck's Books
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• 6 Speeches by American Authors for Secondary ELA Classrooms
• 10 Important Contemporary and Late-20th-Century Authors
• Notable Authors of the 19th Century
• Sinclair Lewis, First American to Win Nobel Prize for Literature
• A Brief Overview of American Literary Periods
• American Author Maps: Informational Texts in the English Classroom
• Mark Twain: His Life and His Humor
• Jack London: His Life and Work
• Top 100 Women of History
• What is a Familiar Essay in Composition?
• Biography of Ernest Hemingway, Pulitzer and Nobel Prize Winning Writer

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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) |

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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.

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The Top 10 Essays Since 1950

Robert Atwan, the founder of The Best American Essays series, picks the 10 best essays of the postwar period. Links to the essays are provided when available.

Fortunately, when I worked with Joyce Carol Oates on The Best American Essays of the Century (that’s the last century, by the way), we weren’t restricted to ten selections. So to make my list of the top ten essays since 1950 less impossible, I decided to exclude all the great examples of New Journalism--Tom Wolfe, Gay Talese, Michael Herr, and many others can be reserved for another list. I also decided to include only American writers, so such outstanding English-language essayists as Chris Arthur and Tim Robinson are missing, though they have appeared in The Best American Essays series. And I selected essays , not essayists . A list of the top ten essayists since 1950 would feature some different writers.

To my mind, 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.

James Baldwin, "Notes of a Native Son" (originally appeared in Harper’s , 1955)

“I had never thought of myself as an essayist,” wrote James Baldwin, who was finishing his novel Giovanni’s Room while he worked on what would become one of the great American essays. Against a violent historical background, Baldwin recalls his deeply troubled relationship with his father and explores his growing awareness of himself as a black American. Some today may question the relevance of the essay in our brave new “post-racial” world, though Baldwin considered the essay still relevant in 1984 and, had he lived to see it, the election of Barak Obama may not have changed his mind. However you view the racial politics, the prose is undeniably hypnotic, beautifully modulated and yet full of urgency. Langston Hughes nailed it when he described Baldwin’s “illuminating intensity.” The essay was collected in Notes of a Native Son courageously (at the time) published by Beacon Press in 1955.

Norman Mailer, "The White Negro" (originally appeared in Dissent , 1957)

An essay that packed an enormous wallop at the time may make some of us cringe today with its hyperbolic dialectics and hyperventilated metaphysics. But Mailer’s attempt to define the “hipster”–in what reads in part like a prose version of Ginsberg’s “Howl”–is suddenly relevant again, as new essays keep appearing with a similar definitional purpose, though no one would mistake Mailer’s hipster (“a philosophical psychopath”) for the ones we now find in Mailer’s old Brooklyn neighborhoods. Odd, how terms can bounce back into life with an entirely different set of connotations. What might Mailer call the new hipsters? Squares?

Read the essay here .

Susan Sontag, "Notes on 'Camp'" (originally appeared in Partisan Review , 1964)

Like Mailer’s “White Negro,” Sontag’s groundbreaking essay was an ambitious attempt to define a modern sensibility, in this case “camp,” a word that was then almost exclusively associated with the gay world. I was familiar with it as an undergraduate, hearing it used often by a set of friends, department store window decorators in Manhattan. Before I heard Sontag—thirty-one, glamorous, dressed entirely in black-- read the essay on publication at a Partisan Review gathering, I had simply interpreted “campy” as an exaggerated style or over-the-top behavior. But after Sontag unpacked the concept, with the help of Oscar Wilde, I began to see the cultural world in a different light. “The whole point of camp,” she writes, “is to dethrone the serious.” Her essay, collected in Against Interpretation (1966), is not in itself an example of camp.

John McPhee, "The Search for Marvin Gardens" (originally appeared in The New Yorker , 1972)

“Go. I roll the dice—a six and a two. Through the air I move my token, the flatiron, to Vermont Avenue, where dog packs range.” And so we move, in this brilliantly conceived essay, from a series of Monopoly games to a decaying Atlantic City, the once renowned resort town that inspired America’s most popular board game. As the games progress and as properties are rapidly snapped up, McPhee juxtaposes the well-known sites on the board—Atlantic Avenue, Park Place—with actual visits to their crumbling locations. He goes to jail, not just in the game but in fact, portraying what life has now become in a city that in better days was a Boardwalk Empire. At essay’s end, he finds the elusive Marvin Gardens. The essay was collected in Pieces of the Frame (1975).

Read the essay here (subscription required).

Joan Didion, "The White Album" (originally appeared in New West , 1979)

Huey Newton, Eldridge Cleaver, and the Black Panthers, a recording session with Jim Morrison and the Doors, the San Francisco State riots, the Manson murders—all of these, and much more, figure prominently in Didion’s brilliant mosaic distillation (or phantasmagoric album) of California life in the late 1960s. Yet despite a cast of characters larger than most Hollywood epics, “The White Album” is a highly personal essay, right down to Didion’s report of her psychiatric tests as an outpatient in a Santa Monica hospital in the summer of 1968. “We tell ourselves stories in order to live,” the essay famously begins, and as it progresses nervously through cuts and flashes of reportage, with transcripts, interviews, and testimonies, we realize that all of our stories are questionable, “the imposition of a narrative line upon disparate images.” Portions of the essay appeared in installments in 1968-69 but it wasn’t until 1979 that Didion published the complete essay in New West magazine; it then became the lead essay of her book, The White Album (1979).

Annie Dillard, "Total Eclipse" (originally appeared in Antaeus , 1982)

In her introduction to The Best American Essays 1988 , Annie Dillard claims that “The essay can do everything a poem can do, and everything a short story can do—everything but fake it.” Her essay “Total Eclipse” easily makes her case for the imaginative power of a genre that is still undervalued as a branch of imaginative literature. “Total Eclipse” has it all—the climactic intensity of short fiction, the interwoven imagery of poetry, and the meditative dynamics of the personal essay: “This was the universe about which we have read so much and never before felt: the universe as a clockwork of loose spheres flung at stupefying, unauthorized speeds.” The essay, which first appeared in Antaeus in 1982 was collected in Teaching a Stone to Talk (1982), a slim volume that ranks among the best essay collections of the past fifty years.

Phillip Lopate, "Against Joie de Vivre" (originally appeared in Ploughshares , 1986)

This is an essay that made me glad I’d started The Best American Essays the year before. I’d been looking for essays that grew out of a vibrant Montaignean spirit—personal essays that were witty, conversational, reflective, confessional, and yet always about something worth discussing. And here was exactly what I’d been looking for. I might have found such writing several decades earlier but in the 80s it was relatively rare; Lopate had found a creative way to insert the old familiar essay into the contemporary world: “Over the years,” Lopate begins, “I have developed a distaste for the spectacle of joie de vivre , the knack of knowing how to live.” He goes on to dissect in comic yet astute detail the rituals of the modern dinner party. The essay was selected by Gay Talese for The Best American Essays 1987 and collected in Against Joie de Vivre in 1989 .

Edward Hoagland, "Heaven and Nature" (originally appeared in Harper’s, 1988)

“The best essayist of my generation,” is how John Updike described Edward Hoagland, who must be one of the most prolific essayists of our time as well. “Essays,” Hoagland wrote, “are how we speak to one another in print—caroming thoughts not merely in order to convey a certain packet of information, but with a special edge or bounce of personal character in a kind of public letter.” I could easily have selected many other Hoagland essays for this list (such as “The Courage of Turtles”), but I’m especially fond of “Heaven and Nature,” which shows Hoagland at his best, balancing the public and private, the well-crafted general observation with the clinching vivid example. The essay, selected by Geoffrey Wolff for The Best American Essays 1989 and collected in Heart’s Desire (1988), is an unforgettable meditation not so much on suicide as on how we remarkably manage to stay alive.

Jo Ann Beard, "The Fourth State of Matter" (originally appeared in The New Yorker , 1996)

A question for nonfiction writing students: When writing a true story based on actual events, how does the narrator create dramatic tension when most readers can be expected to know what happens in the end? To see how skillfully this can be done turn to Jo Ann Beard’s astonishing personal story about a graduate student’s murderous rampage on the University of Iowa campus in 1991. “Plasma is the fourth state of matter,” writes Beard, who worked in the U of I’s physics department at the time of the incident, “You’ve got your solid, your liquid, your gas, and there’s your plasma. In outer space there’s the plasmasphere and the plasmapause.” Besides plasma, in this emotion-packed essay you will find entangled in all the tension a lovable, dying collie, invasive squirrels, an estranged husband, the seriously disturbed gunman, and his victims, one of them among the author’s dearest friends. Selected by Ian Frazier for The Best American Essays 1997 , the essay was collected in Beard’s award-winning volume, The Boys of My Youth (1998).

David Foster Wallace, "Consider the Lobster" (originally appeared in Gourmet , 2004)

They may at first look like magazine articles—those factually-driven, expansive pieces on the Illinois State Fair, a luxury cruise ship, the adult video awards, or John McCain’s 2000 presidential campaign—but once you uncover the disguise and get inside them you are in the midst of essayistic genius. One of David Foster Wallace’s shortest and most essayistic is his “coverage” of the annual Maine Lobster Festival, “Consider the Lobster.” The Festival becomes much more than an occasion to observe “the World’s Largest Lobster Cooker” in action as Wallace poses an uncomfortable question to readers of the upscale food magazine: “Is it all right to boil a sentient creature alive just for our gustatory pleasure?” Don’t gloss over the footnotes. Susan Orlean selected the essay for The Best American Essays 2004 and Wallace collected it in Consider the Lobster and Other Essays (2005).

Read the essay here . (Note: the electronic version from Gourmet magazine’s archives differs from the essay that appears in The Best American Essays and in his book, Consider the Lobster. )

I wish I could include twenty more essays but these ten in themselves comprise a wonderful and wide-ranging mini-anthology, one that showcases some of the most outstanding literary voices of our time. Readers who’d like to see more of the best essays since 1950 should take a look at The Best American Essays of the Century (2000).

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50 Must-Read Contemporary Essay Collections

Liberty Hardy

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

View All posts by Liberty Hardy

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

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

Must-Read Contemporary Essay Collections

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

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

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

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

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

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

Beyond Measure: Essays  by Rachel Z. Arndt

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

Magic Hours  by Tom Bissell

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

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

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

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

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

Wedding Toasts I’ll Never Give by Ada Calhoun

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

How to Write an Autobiographical Novel: Essays  by Alexander Chee

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

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

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

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

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

Look Alive Out There: Essays by Sloane Crosley

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

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

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

Idiophone  by Amy Fusselman

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

Not That Bad: Dispatches from Rape Culture  by Roxane Gay

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

Sunshine State: Essays  by Sarah Gerard

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

The Art of the Wasted Day  by Patricia Hampl

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

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

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

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

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

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

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

Tonight I’m Someone Else: Essays  by Chelsea Hodson

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

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

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

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

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

Everywhere Home: A Life in Essays  by Fenton Johnson

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

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

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

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

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

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

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

Typewriters, Bombs, Jellyfish: Essays  by Tom McCarthy

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

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

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

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

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

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

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

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

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

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

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

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

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

What Are We Doing Here?: Essays  by Marilynne Robinson

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

Double Bind: Women on Ambition  by Robin Romm

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

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

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

Curry: Eating, Reading, and Race by Naben Ruthnum

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

The River of Consciousness  by Oliver Sacks

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

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

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

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

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

Feel Free: Essays by Zadie Smith

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

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

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

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

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

Against Memoir: Complaints, Confessions & Criticisms  by Michelle Tea

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

A Twenty Minute Silence Followed by Applause  by Shawn Wen

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

Acid West: Essays  by Joshua Wheeler

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

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

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

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

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

Can You Tolerate This?: Essays  by Ashleigh Young

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

What are your favorite contemporary essay collections?

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Jeffrey R. Wilson

Essays on hamlet.

Written as the author taught Hamlet every semester for a decade, these lightning essays ask big conceptual questions about the play with the urgency of a Shakespeare lover, and answer them with the rigor of a Shakespeare scholar. In doing so, Hamlet becomes a lens for life today, generating insights on everything from xenophobia, American fraternities, and religious fundamentalism to structural misogyny, suicide contagion, and toxic love.

Prioritizing close reading over historical context, these explorations are highly textual and highly theoretical, often philosophical, ethical, social, and political. Readers see King Hamlet as a pre-modern villain, King Claudius as a modern villain, and Prince Hamlet as a post-modern villain. Hamlet’s feigned madness becomes a window into failed insanity defenses in legal trials. He knows he’s being watched in “To be or not to be”: the soliloquy is a satire of philosophy. Horatio emerges as Shakespeare’s authorial avatar for meta-theatrical commentary, Fortinbras as the hero of the play. Fate becomes a viable concept for modern life, and honor a source of tragedy. The metaphor of music in the play makes Ophelia Hamlet’s instrument. Shakespeare, like the modern corporation, stands against sexism, yet perpetuates it unknowingly. We hear his thoughts on single parenting, sending children off to college, and the working class, plus his advice on acting and writing, and his claims to be the next Homer or Virgil. In the context of four centuries of Hamlet hate, we hear how the text draws audiences in, how it became so famous, and why it continues to captivate audiences.

At a time when the humanities are said to be in crisis, these essays are concrete examples of the mind-altering power of literature and literary studies, unravelling the ongoing implications of the English language’s most significant artistic object of the past millennium.

Publications

Why is Hamlet the most famous English artwork of the past millennium? Is it a sexist text? Why does Hamlet speak in prose? Why must he die? Does Hamlet depict revenge, or justice? How did the death of Shakespeare’s son, Hamnet, transform into a story about a son dealing with the death of a father? Did Shakespeare know Aristotle’s theory of tragedy? How did our literary icon, Shakespeare, see his literary icons, Homer and Virgil? Why is there so much comedy in Shakespeare’s greatest tragedy? Why is love a force of evil in the play? Did Shakespeare believe there’s a divinity that shapes our ends? How did he define virtue? What did he think about psychology? politics? philosophy? What was Shakespeare’s image of himself as an author? What can he, arguably the greatest writer of all time, teach us about our own writing? What was his theory of literature? Why do people like Hamlet ? How do the Hamlet haters of today compare to those of yesteryears? Is it dangerous for our children to read a play that’s all about suicide? 

These are some of the questions asked in this book, a collection of essays on Shakespeare’s Hamlet stemming from my time teaching the play every semester in my Why Shakespeare? course at Harvard University. During this time, I saw a series of bright young minds from wildly diverse backgrounds find their footing in Hamlet, and it taught me a lot about how Shakespeare’s tragedy works, and why it remains with us in the modern world. Beyond ghosts, revenge, and tragedy, Hamlet is a play about being in college, being in love, gender, misogyny, friendship, theater, philosophy, theology, injustice, loss, comedy, depression, death, self-doubt, mental illness, white privilege, overbearing parents, existential angst, international politics, the classics, the afterlife, and the meaning of it all. 

These essays grow from the central paradox of the play: it helps us understand the world we live in, yet we don't really understand the text itself very well. For all the attention given to Hamlet , there’s no consensus on the big questions—how it works, why it grips people so fiercely, what it’s about. These essays pose first-order questions about what happens in Hamlet and why, mobilizing answers for reflections on life, making the essays both highly textual and highly theoretical. 

Each semester that I taught the play, I would write a new essay about Hamlet . They were meant to be models for students, the sort of essay that undergrads read and write – more rigorous than the puff pieces in the popular press, but riskier than the scholarship in most academic journals. While I later added scholarly outerwear, these pieces all began just like the essays I was assigning to students – as short close readings with a reader and a text and a desire to determine meaning when faced with a puzzling question or problem. 

The turn from text to context in recent scholarly books about Hamlet is quizzical since we still don’t have a strong sense of, to quote the title of John Dover Wilson’s 1935 book, What Happens in Hamlet. Is the ghost real? Is Hamlet mad, or just faking? Why does he delay? These are the kinds of questions students love to ask, but they haven’t been – can’t be – answered by reading the play in the context of its sources (recently addressed in Laurie Johnson’s The Tain of Hamlet [2013]), its multiple texts (analyzed by Paul Menzer in The Hamlets [2008] and Zachary Lesser in Hamlet after Q1 [2015]), the Protestant reformation (the focus of Stephen Greenblatt’s Hamlet in Purgatory [2001] and John E. Curran, Jr.’s Hamlet, Protestantism, and the Mourning of Contingency [2006]), Renaissance humanism (see Rhodri Lewis, Hamlet and the Vision of Darkness [2017]), Elizabethan political theory (see Margreta de Grazia, Hamlet without Hamlet [2007]), the play’s reception history (see David Bevington, Murder Most Foul: Hamlet through the Ages [2011]), its appropriation by modern philosophers (covered in Simon Critchley and Jamieson Webster’s The Hamlet Doctrine [2013] and Andrew Cutrofello’s All for Nothing: Hamlet’s Negativity [2014]), or its recent global travels (addressed, for example, in Margaret Latvian’s Hamlet’s Arab Journey [2011] and Dominic Dromgoole’s Hamlet Globe to Globe [2017]). 

Considering the context and afterlives of Hamlet is a worthy pursuit. I certainly consulted the above books for my essays, yet the confidence that comes from introducing context obscures the sharp panic we feel when confronting Shakespeare’s text itself. Even as the excellent recent book from Sonya Freeman Loftis, Allison Kellar, and Lisa Ulevich announces Hamlet has entered “an age of textual exhaustion,” there’s an odd tendency to avoid the text of Hamlet —to grasp for something more firm—when writing about it. There is a need to return to the text in a more immediate way to understand how Hamlet operates as a literary work, and how it can help us understand the world in which we live. 

That latter goal, yes, clings nostalgically to the notion that literature can help us understand life. Questions about life send us to literature in search of answers. Those of us who love literature learn to ask and answer questions about it as we become professional literary scholars. But often our answers to the questions scholars ask of literature do not connect back up with the questions about life that sent us to literature in the first place—which are often philosophical, ethical, social, and political. Those first-order questions are diluted and avoided in the minutia of much scholarship, left unanswered. Thus, my goal was to pose questions about Hamlet with the urgency of a Shakespeare lover and to answer them with the rigor of a Shakespeare scholar. 

In doing so, these essays challenge the conventional relationship between literature and theory. They pursue a kind of criticism where literature is not merely the recipient of philosophical ideas in the service of exegesis. Instead, the creative risks of literature provide exemplars to be theorized outward to help us understand on-going issues in life today. Beyond an occasion for the demonstration of existing theory, literature is a source for the creation of new theory.

Chapter One How Hamlet Works

Whether you love or hate Hamlet , you can acknowledge its massive popularity. So how does Hamlet work? How does it create audience enjoyment? Why is it so appealing, and to whom? Of all the available options, why Hamlet ? This chapter entertains three possible explanations for why the play is so popular in the modern world: the literary answer (as the English language’s best artwork about death—one of the very few universal human experiences in a modern world increasingly marked by cultural differences— Hamlet is timeless); the theatrical answer (with its mixture of tragedy and comedy, the role of Hamlet requires the best actor of each age, and the play’s popularity derives from the celebrity of its stars); and the philosophical answer (the play invites, encourages, facilitates, and sustains philosophical introspection and conversation from people who do not usually do such things, who find themselves doing those things with Hamlet , who sometimes feel embarrassed about doing those things, but who ultimately find the experience of having done them rewarding).

Chapter Two “It Started Like a Guilty Thing”: The Beginning of Hamlet and the Beginning of Modern Politics

King Hamlet is a tyrant and King Claudius a traitor but, because Shakespeare asked us to experience the events in Hamlet from the perspective of the young Prince Hamlet, we are much more inclined to detect and detest King Claudius’s political failings than King Hamlet’s. If so, then Shakespeare’s play Hamlet , so often seen as the birth of modern psychology, might also tell us a little bit about the beginnings of modern politics as well.

Chapter Three Horatio as Author: Storytelling and Stoic Tragedy

This chapter addresses Horatio’s emotionlessness in light of his role as a narrator, using this discussion to think about Shakespeare’s motives for writing tragedy in the wake of his son’s death. By rationalizing pain and suffering as tragedy, both Horatio and Shakespeare were able to avoid the self-destruction entailed in Hamlet’s emotional response to life’s hardships and injustices. Thus, the stoic Horatio, rather than the passionate Hamlet who repeatedly interrupts ‘The Mousetrap’, is the best authorial avatar for a Shakespeare who strategically wrote himself and his own voice out of his works. This argument then expands into a theory of ‘authorial catharsis’ and the suggestion that we can conceive of Shakespeare as a ‘poet of reason’ in contrast to a ‘poet of emotion’.

Chapter Four “To thine own self be true”: What Shakespeare Says about Sending Our Children Off to College

What does “To thine own self be true” actually mean? Be yourself? Don’t change who you are? Follow your own convictions? Don’t lie to yourself? This chapter argues that, if we understand meaning as intent, then “To thine own self be true” means, paradoxically, that “the self” does not exist. Or, more accurately, Shakespeare’s Hamlet implies that “the self” exists only as a rhetorical, philosophical, and psychological construct that we use to make sense of our experiences and actions in the world, not as anything real. If this is so, then this passage may offer us a way of thinking about Shakespeare as not just a playwright but also a moral philosopher, one who did his ethics in drama.

Chapter Five In Defense of Polonius

Your wife dies. You raise two children by yourself. You build a great career to provide for your family. You send your son off to college in another country, though you know he’s not ready. Now the prince wants to marry your daughter—that’s not easy to navigate. Then—get this—while you’re trying to save the queen’s life, the prince murders you. Your death destroys your kids. They die tragically. And what do you get for your efforts? Centuries of Shakespeare scholars dumping on you. If we see Polonius not through the eyes of his enemy, Prince Hamlet—the point of view Shakespeare’s play asks audiences to adopt—but in analogy to the common challenges of twenty-first-century parenting, Polonius is a single father struggling with work-life balance who sadly choses his career over his daughter’s well-being.

Chapter Six Sigma Alpha Elsinore: The Culture of Drunkenness in Shakespeare’s Hamlet

Claudius likes to party—a bit too much. He frequently binge drinks, is arguably an alcoholic, but not an aberration. Hamlet says Denmark is internationally known for heavy drinking. That’s what Shakespeare would have heard in the sixteenth century. By the seventeenth, English writers feared Denmark had taught their nation its drinking habits. Synthesizing criticism on alcoholism as an individual problem in Shakespeare’s texts and times with scholarship on national drinking habits in the early-modern age, this essay asks what the tragedy of alcoholism looks like when located not on the level of the individual, but on the level of a culture, as Shakespeare depicted in Hamlet. One window into these early-modern cultures of drunkenness is sociological studies of American college fraternities, especially the social-learning theories that explain how one person—one culture—teaches another its habits. For Claudius’s alcoholism is both culturally learned and culturally significant. And, as in fraternities, alcoholism in Hamlet is bound up with wealth, privilege, toxic masculinity, and tragedy. Thus, alcohol imagistically reappears in the vial of “cursed hebona,” Ophelia’s liquid death, and the poisoned cup in the final scene—moments that stand out in recent performances and adaptations with alcoholic Claudiuses and Gertrudes.

Chapter Seven Tragic Foundationalism

This chapter puts the modern philosopher Alain Badiou’s theory of foundationalism into dialogue with the early-modern playwright William Shakespeare’s play Hamlet . Doing so allows us to identify a new candidate for Hamlet’s traditionally hard-to-define hamartia – i.e., his “tragic mistake” – but it also allows us to consider the possibility of foundationalism as hamartia. Tragic foundationalism is the notion that fidelity to a single and substantive truth at the expense of an openness to evidence, reason, and change is an acute mistake which can lead to miscalculations of fact and virtue that create conflict and can end up in catastrophic destruction and the downfall of otherwise strong and noble people.

Chapter Eight “As a stranger give it welcome”: Shakespeare’s Advice for First-Year College Students

Encountering a new idea can be like meeting a strange person for the first time. Similarly, we dismiss new ideas before we get to know them. There is an answer to the problem of the human antipathy to strangeness in a somewhat strange place: a single line usually overlooked in William Shakespeare’s play Hamlet . If the ghost is “wondrous strange,” Hamlet says, invoking the ancient ethics of hospitality, “Therefore as a stranger give it welcome.” In this word, strange, and the social conventions attached to it, is both the instinctual, animalistic fear and aggression toward what is new and different (the problem) and a cultivated, humane response in hospitality and curiosity (the solution). Intellectual xenia is the answer to intellectual xenophobia.

Chapter Nine Parallels in Hamlet

Hamlet is more parallely than other texts. Fortinbras, Hamlet, and Laertes have their fathers murdered, then seek revenge. Brothers King Hamlet and King Claudius mirror brothers Old Norway and Old Fortinbras. Hamlet and Ophelia both lose their fathers, go mad, but there’s a method in their madness, and become suicidal. King Hamlet and Polonius are both domineering fathers. Hamlet and Polonius are both scholars, actors, verbose, pedantic, detectives using indirection, spying upon others, “by indirections find directions out." King Hamlet and King Claudius are both kings who are killed. Claudius using Rosencrantz and Guildenstern to spy on Hamlet mirrors Polonius using Reynaldo to spy on Laertes. Reynaldo and Hamlet both pretend to be something other than what they are in order to spy on and detect foes. Young Fortinbras and Prince Hamlet both have their forward momentum “arrest[ed].” Pyrrhus and Hamlet are son seeking revenge but paused a “neutral to his will.” The main plot of Hamlet reappears in the play-within-the-play. The Act I duel between King Hamlet and Old Fortinbras echoes in the Act V duel between Hamlet and Laertes. Claudius and Hamlet are both king killers. Sheesh—why are there so many dang parallels in Hamlet ? Is there some detectable reason why the story of Hamlet would call for the literary device of parallelism?

Chapter Ten Rosencrantz and Guildenstern: Why Hamlet Has Two Childhood Friends, Not Just One

Why have two of Hamlet’s childhood friends rather than just one? Do Rosencrantz and Guildenstern have individuated personalities? First of all, by increasing the number of friends who visit Hamlet, Shakespeare creates an atmosphere of being outnumbered, of multiple enemies encroaching upon Hamlet, of Hamlet feeling that the world is against him. Second, Rosencrantz and Guildenstern are not interchangeable, as commonly thought. Shakespeare gave each an individuated personality. Guildenstern is friendlier with Hamlet, and their friendship collapses, while Rosencrantz is more distant and devious—a frenemy.

Chapter Eleven Shakespeare on the Classics, Shakespeare as a Classic: A Reading of Aeneas’s Tale to Dido

Of all the stories Shakespeare might have chosen, why have Hamlet ask the players to recite Aeneas’ tale to Dido of Pyrrhus’s slaughter of Priam? In this story, which comes not from Homer’s Iliad but from Virgil’s Aeneid and had already been adapted for the Elizabethan stage in Christopher Marlowe’s The Tragedy of Dido, Pyrrhus – more commonly known as Neoptolemus, the son of the famous Greek warrior Achilles – savagely slays Priam, the king of the Trojans and the father of Paris, who killed Pyrrhus’s father, Achilles, who killed Paris’s brother, Hector, who killed Achilles’s comrade, Patroclus. Clearly, the theme of revenge at work in this story would have appealed to Shakespeare as he was writing what would become the greatest revenge tragedy of all time. Moreover, Aeneas’s tale to Dido supplied Shakespeare with all of the connections he sought to make at this crucial point in his play and his career – connections between himself and Marlowe, between the start of Hamlet and the end, between Prince Hamlet and King Claudius, between epic poetry and tragic drama, and between the classical literature Shakespeare was still reading hundreds of years later and his own potential as a classic who might (and would) be read hundreds of years into the future.

Chapter Twelve How Theater Works, according to Hamlet

According to Hamlet, people who are guilty of a crime will, when seeing that crime represented on stage, “proclaim [their] malefactions”—but that simply isn’t how theater works. Guilty people sit though shows that depict their crimes all the time without being prompted to public confession. Why did Shakespeare—a remarkably observant student of theater—write this demonstrably false theory of drama into his protagonist? And why did Shakespeare then write the plot of the play to affirm that obviously inaccurate vision of theater? For Claudius is indeed stirred to confession by the play-within-the-play. Perhaps Hamlet’s theory of people proclaiming malefactions upon seeing their crimes represented onstage is not as outlandish as it first appears. Perhaps four centuries of obsession with Hamlet is the English-speaking world proclaiming its malefactions upon seeing them represented dramatically.

Chapter Thirteen “To be, or not to be”: Shakespeare Against Philosophy

This chapter hazards a new reading of the most famous passage in Western literature: “To be, or not to be” from William Shakespeare’s Hamlet . With this line, Hamlet poses his personal struggle, a question of life and death, as a metaphysical problem, as a question of existence and nothingness. However, “To be, or not to be” is not what it seems to be. It seems to be a representation of tragic angst, yet a consideration of the context of the speech reveals that “To be, or not to be” is actually a satire of philosophy and Shakespeare’s representation of the theatricality of everyday life. In this chapter, a close reading of the context and meaning of this passage leads into an attempt to formulate a Shakespearean image of philosophy.

Chapter Fourteen Contagious Suicide in and Around Hamlet

As in society today, suicide is contagious in Hamlet , at least in the example of Ophelia, the only death by suicide in the play, because she only becomes suicidal after hearing Hamlet talk about his own suicidal thoughts in “To be, or not to be.” Just as there are media guidelines for reporting on suicide, there are better and worse ways of handling Hamlet . Careful suicide coverage can change public misperceptions and reduce suicide contagion. Is the same true for careful literary criticism and classroom discussion of suicide texts? How can teachers and literary critics reduce suicide contagion and increase help-seeking behavior?

Chapter Fifteen Is Hamlet a Sexist Text? Overt Misogyny vs. Unconscious Bias

Students and fans of Shakespeare’s Hamlet persistently ask a question scholars and critics of the play have not yet definitively answered: is it a sexist text? The author of this text has been described as everything from a male chauvinist pig to a trailblazing proto-feminist, but recent work on the science behind discrimination and prejudice offers a new, better vocabulary in the notion of unconscious bias. More pervasive and slippery than explicit bigotry, unconscious bias involves the subtle, often unintentional words and actions which indicate the presence of biases we may not be aware of, ones we may even fight against. The Shakespeare who wrote Hamlet exhibited an unconscious bias against women, I argue, even as he sought to critique the mistreatment of women in a patriarchal society. The evidence for this unconscious bias is not to be found in the misogynistic statements made by the characters in the play. It exists, instead, in the demonstrable preference Shakespeare showed for men over women when deciding where to deploy his literary talents. Thus, Shakespeare's Hamlet is a powerful literary example – one which speaks to, say, the modern corporation – showing that deliberate efforts for egalitarianism do not insulate one from the effects of structural inequalities that both stem from and create unconscious bias.

Chapter Sixteen Style and Purpose in Acting and Writing

Purpose and style are connected in academic writing. To answer the question of style ( How should we write academic papers? ) we must first answer the question of purpose ( Why do we write academic papers? ). We can answer these questions, I suggest, by turning to an unexpected style guide that’s more than 400 years old: the famous passage on “the purpose of playing” in William Shakespeare’s Hamlet . In both acting and writing, a high style often accompanies an expressive purpose attempting to impress an elite audience yet actually alienating intellectual people, while a low style and mimetic purpose effectively engage an intellectual audience.

Chapter Seventeen 13 Ways of Looking at a Ghost

Why doesn’t Gertrude see the Ghost of King Hamlet in Act III, even though Horatio, Bernardo, Francisco, Marcellus, and Prince Hamlet all saw it in Act I? It’s a bit embarrassing that Shakespeare scholars don’t have a widely agreed-upon consensus that explains this really basic question that puzzles a lot of people who read or see Hamlet .

Chapter Eighteen The Tragedy of Love in Hamlet

The word “love” appears 84 times in Shakespeare’s Hamlet . “Father” only appears 73 times, “play” 60, “think” 55, “mother” 46, “mad” 44, “soul” 40, “God" 39, “death” 38, “life” 34, “nothing” 28, “son” 26, “honor” 21, “spirit” 19, “kill” 18, “revenge” 14, and “action” 12. Love isn’t the first theme that comes to mind when we think of Hamlet , but is surprisingly prominent. But love is tragic in Hamlet . The bloody catastrophe at the end of that play is principally driven not by hatred or a longing for revenge, but by love.

Chapter Nineteen Ophelia’s Songs: Moral Agency, Manipulation, and the Metaphor of Music in Hamlet

This chapter reads Ophelia’s songs in Act IV of Shakespeare’s Hamlet in the context of the meaning of music established elsewhere in the play. While the songs are usually seen as a marker of Ophelia’s madness (as a result of the death of her father) or freedom (from the constraints of patriarchy), they come – when read in light of the metaphor of music as manipulation – to symbolize her role as a pawn in Hamlet’s efforts to deceive his family. Thus, music was Shakespeare’s platform for connecting Ophelia’s story to one of the central questions in Hamlet : Do we have control over our own actions (like the musician), or are we controlled by others (like the instrument)?

Chapter Twenty A Quantitative Study of Prose and Verse in Hamlet

Why does Hamlet have so much prose? Did Shakespeare deliberately shift from verse to prose to signal something to his audiences? How would actors have handled the shifts from verse to prose? Would audiences have detected shifts from verse to prose? Is there an overarching principle that governs Shakespeare’s decision to use prose—a coherent principle that says, “If X, then use prose?”

Chapter Twenty-One The Fortunes of Fate in Hamlet : Divine Providence and Social Determinism

In Hamlet , fate is attacked from both sides: “fortune” presents a world of random happenstance, “will” a theory of efficacious human action. On this backdrop, this essay considers—irrespective of what the characters say and believe—what the structure and imagery Shakespeare wrote into Hamlet say about the possibility that some version of fate is at work in the play. I contend the world of Hamlet is governed by neither fate nor fortune, nor even the Christianized version of fate called “providence.” Yet there is a modern, secular, disenchanted form of fate at work in Hamlet—what is sometimes called “social determinism”—which calls into question the freedom of the individual will. As such, Shakespeare’s Hamlet both commented on the transformation of pagan fate into Christian providence that happened in the centuries leading up to the play, and anticipated the further transformation of fate from a theological to a sociological idea, which occurred in the centuries following Hamlet .

Chapter Twenty-Two The Working Class in Hamlet

There’s a lot for working-class folks to hate about Hamlet —not just because it’s old, dusty, difficult to understand, crammed down our throats in school, and filled with frills, tights, and those weird lace neck thingies that are just socially awkward to think about. Peak Renaissance weirdness. Claustrophobicly cloistered inside the castle of Elsinore, quaintly angsty over royal family problems, Hamlet feels like the literary epitome of elitism. “Lawless resolutes” is how the Wittenberg scholar Horatio describes the soldiers who join Fortinbras’s army in exchange “for food.” The Prince Hamlet who has never worked a day in his life denigrates Polonius as a “fishmonger”: quite the insult for a royal advisor to be called a working man. And King Claudius complains of the simplicity of "the distracted multitude.” But, in Hamlet , Shakespeare juxtaposed the nobles’ denigrations of the working class as readily available metaphors for all-things-awful with the rather valuable behavior of working-class characters themselves. When allowed to represent themselves, the working class in Hamlet are characterized as makers of things—of material goods and services like ships, graves, and plays, but also of ethical and political virtues like security, education, justice, and democracy. Meanwhile, Elsinore has a bad case of affluenza, the make-believe disease invented by an American lawyer who argued that his client's social privilege was so great that it created an obliviousness to law. While social elites rot society through the twin corrosives of political corruption and scholarly detachment, the working class keeps the machine running. They build the ships, plays, and graves society needs to function, and monitor the nuts-and-bolts of the ideals—like education and justice—that we aspire to uphold.

Chapter Twenty-Three The Honor Code at Harvard and in Hamlet

Students at Harvard College are asked, when they first join the school and several times during their years there, to affirm their awareness of and commitment to the school’s honor code. But instead of “the foundation of our community” that it is at Harvard, honor is tragic in Hamlet —a source of anxiety, blunder, and catastrophe. As this chapter shows, looking at Hamlet from our place at Harvard can bring us to see what a tangled knot honor can be, and we can start to theorize the difference between heroic and tragic honor.

Chapter Twenty-Four The Meaning of Death in Shakespeare’s Hamlet

By connecting the ways characters live their lives in Hamlet to the ways they die – on-stage or off, poisoned or stabbed, etc. – Shakespeare symbolized hamartia in catastrophe. In advancing this argument, this chapter develops two supporting ideas. First, the dissemination of tragic necessity: Shakespeare distributed the Aristotelian notion of tragic necessity – a causal relationship between a character’s hamartia (fault or error) and the catastrophe at the end of the play – from the protagonist to the other characters, such that, in Hamlet , those who are guilty must die, and those who die are guilty. Second, the spectacularity of death: there exists in Hamlet a positive correlation between the severity of a character’s hamartia (error or flaw) and the “spectacularity” of his or her death – that is, the extent to which it is presented as a visible and visceral spectacle on-stage.

Chapter Twenty-Five Tragic Excess in Hamlet

In Hamlet , Shakespeare paralleled the situations of Hamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamlet moves too slowly, Laertes too swiftly – and they both die at the end of the play – but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes. As argued in this essay, Shakespeare endorsed the virtue of balance by allowing Fortinbras to be one of the very few survivors of the play. In other words, excess is tragic in Hamlet .

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English literature essays, an english literature essay archive, written by our students, with subjects ranging from shakespeare to artistotle, and from dickens to hemingway, essay subjects in alphabetical order:.

• Aristotle: Poetics

Margaret Atwood

Margaret atwood 'gertrude talks back'.

• Matthew Arnold

John Bunyan: The Pilgrim's Progress and Geoffrey Chaucer: The Canterbury Tales

• Jonathan Bayliss
• Lewis Carroll, Samuel Beckett
• Saul Bellow and Ken Kesey
• Castiglione: The Courtier
• Joseph Conrad: Heart of Darkness
• Kate Chopin: The Awakening
• T S Eliot, Albert Camus
• Charles Dickens
• John Donne: Love poetry
• John Dryden: Translation of Ovid
• T S Eliot: Four Quartets
• Henry Fielding
• William Faulkner: Sartoris
• Graham Greene: Brighton Rock
• Ibsen, Lawrence, Galsworthy
• Jonathan Swift and John Gay
• Oliver Goldsmith
• Ernest Hemingway
• Nathaniel Hawthorne: The Scarlet Letter

Thomas Hardy: Tess of the d'Urbervilles

• Carl Gustav Jung

James Joyce: A Portrait of the Artist as a Young Man

• Jon Jost: American independent film-maker
• Jamaica Kincaid, Merle Hodge, George Lamming
• Rudyard Kipling: Kim
• D. H. Lawrence: Women in Love

Henry Lawson: 'Eureka!'

• Ian McEwan: The Cement Garden
• Jennifer Maiden: The Winter Baby
• Machiavelli: The Prince
• Toni Morrison: Beloved and Jazz

R K Narayan

• R K Narayan: The English Teacher
• R K Narayan: The Guide
• Alexander Pope: The Rape of the Lock
• Brian Patten
• Harold Pinter
• Sylvia Plath and Alice Walker

Jean Rhys: Wide Sargasso Sea. Charlotte Bronte: Jane Eyre

• Edmund Spenser: The Faerie Queene
• Shakespeare: Antony and Cleopatra
• Shakespeare: Coriolanus
• Shakespeare: Hamlet
• Shakespeare: Measure for Measure

Shakespeare: Shakespeare's Women

Shakespeare: the winter's tale and the tempest.

• Shakespeare: Twelfth Night
• Sir Philip Sidney: Astrophil and Stella
• Tom Stoppard

William Styron: Sophie's Choice

• William Wordsworth

Miscellaneous

• Alice, Harry Potter and the computer game

Indian women's writing

• New York! New York!
• Photography and the New Native American Aesthetic
• Renaissance poetry
• Renaissance tragedy and investigator heroes
• Romanticism
• Studying English Literature
• The Age of Reason
• The author, the text, and the reader
• The Spy in the Computer
• What is literary writing?
• Margaret Atwood: Bodily Harm and The Handmaid's Tale
• Margaret Atwood 'Gertrude Talks Back'
• John Bunyan: The Pilgrim's Progress and Geoffrey Chaucer: The Canterbury Tales
• Thomas Hardy: Tess of the d'Urbervilles
• James Joyce: A Portrait of the Artist as a Young Man: Will McManus
• James Joyce: A Portrait of the Artist as a Young Man: Ian Mackean
• James Joyce: A Portrait of the Artist as a Young Man: Ben Foley
• Henry Lawson: 'Eureka!'
• R K Narayan's vision of life
• Jean Rhys: Wide Sargasso Sea. Charlotte Bronte: Jane Eyre: Doubles
• Jean Rhys: Wide Sargasso Sea. Charlotte Bronte: Jane Eyre: Symbolism
• Shakespeare: Shakespeare's Women
• Shakespeare: The Winter's Tale and The Tempest
• William Styron: Sophie's Choice
• William Wordsworth and Lucy
• Indian women's writing

Writers on Writing: 20 Best Essays on Writing from Famous Authors

By Jason Boyd

Updated August 7, 2021

What better way to learn about writing novels, short stories, or any creative work than from essays on writing from legendary writers.

Whether you’re gearing up for your first run at a novel ( NaNoWriMo approaches) or looking for a tune-up before embarking on your umpteenth creative writing project, you need inspiration.

May as well be inspired by the best. And maybe be taught a thing or two along the way!

Books vs Essays on Writing Fiction

Why did we choose essays?

Firstly, we certainly may write an article in the future on books from writers on writing. So, there’s no harm in leaving that topic to the side.

But chiefly, our concern is wanting to lend a hand that can be used right now. Right away. With speed.

An essay can be read in a sitting or on the way from one thing to the next, but a book is a time investment. We wanted the delivery to be quick.

Not only do we live in a fast paced world, it can be a bit of a waste to read an entire book about writing a book. Most writers would likely say you’re better off reading a great novel. Or writing one.

Not that we discourage books or any written work on the subject of writing. We don’t . But we wanted a solution for the busy working class person looking to learn the craft.

Someone with limited time but boundless spirit.

This is for you.

20 Essays from Famous Writers on Writing Fiction

We chose to not repeat authors, although quite a few writers that made this list penned multiple essays worth reading.

We picked our favorite and tried to mention the other noteworthy reads somewhere in their entry.

So, without further ado, let’s take a look at our selection of essays from writers on writing.

20) Quick Cuts: The Novel Follows Film Into a World of Fewer Words by E.L. Doctorow

E.L. Doctorow , noted essayist and author of Ragtime , is no stranger to Hollywood.

With many adaptations under his belt, including Ragtime and Billy Bathgate , Doctorow is well suited to discuss the differences between film and literature.

This essay, published in The New York Times , opines on the changes in literature since the advent of the motion picture.

Notable differences include quickening of pace, shortening of exposition, and more personal narratives.

It’s an especially fine read for anyone looking to find distinction between the disciplines of screenwriting and prose.

Brief Excerpt, “Quick Cuts: The Novel Follows Film Into a World of Fewer Words”

“Beyond that, the rise of film art is coincident with the tendency of novelists to conceive of compositions less symphonic and more solo voiced, intimate personalist work expressive of the operating consciousness. A case could be made that the novel’s steady retreat from realism is as much a result of film’s expansive record of the way the world looks as it is of the increasing sophistications of literature itself.” E.L. Doctorow

19) The Ecstasy of Influence by Jonathan Lethem

Jonathan Lethem , author of Motherless Brooklyn , is known for his blending of multiple genres.

It only makes sense that he should write so eloquently on the power and responsibility of using influences in original work.

This essay, published originally in Harper’s Magazine , explores the challenges artists face when composing something that pays homage or outright borrows from older works. 

Where does one draw the line between plagiarism and inspiration?

Brief Excerpt, “The Ecstasy of Influence”

“Blues and jazz musicians have long been enabled by a kind of ‘open source’ culture, in which pre-existing melodic fragments and larger musical frameworks are freely reworked. Technology has only multiplied the possibilities; musicians have gained the power to duplicate sounds literally rather than simply approximate them through allusion. In Seventies Jamaica, King Tubby and Lee ‘Scratch’ Perry deconstructed recorded music, using astonishingly primitive pre-digital hardware, creating what they called ‘versions.’ The recombinant nature of their means of production quickly spread to DJs in New York and London. Today an endless, gloriously impure, and fundamentally social process generates countless hours of music.” Jonathan Lethem

18) Tradition and the Individual Talent by T.S. Eliot

Pulitzer Prize-winning poet T.S. Eliot , writer of The Waste Land and Four Quartets , is as known for his literary criticism and influence as an editor than for his original work.

Thus, it makes sense to include his essay on writing in a vacuum, or rather, the impossibility of such a feat. The literary equivalent of Sir Isaac Newton ‘s phrase “ standing upon the shoulders of giants ,” Eliot’s essay actually caused quite a stir at the time. 

Much like everything in the life of T.S. Eliot.

This essay, hosted now by the Poetry Foundation and originally collected in The Sacred Wood: Essays on Poetry and Criticism , nearly creates an ouroboros effect. 

A “writers on writing” essay from a writer talking about writers writing on the heels of other writers.

Sorry, we couldn’t resist.

Brief Excerpt, “Tradition and the Individual Talent”

“No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. I mean this as a principle of aesthetic, not merely historical, criticism. The necessity that he shall conform, that he shall cohere, is not onesided; what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them.” T.S. Eliot

17) On Style by Susan Sontag

Legendary essayist and activist Susan Sontag , author of In America , exudes a confident personal style.

Sontag is a bit of a Renaissance woman: professor of philosophy, journalist, novelist, playwright, photographer, and much more. To boot, she did this during divisive times, starting in the early 1960s.

It makes sense that we should pay attention to her thoughts on style, especially as she argues for its close juxtaposition to artistic norms. 

In “ On Style ,” published in Against Interpretation and Other Essays , Sontag attempts to differentiate style from content.

Perhaps too academic for some beginners, this essay nonetheless helps to shake up preconceptions on the purpose of style in modern writing.

Brief Excerpt, “On Style”

“This means that the notion of style, generically considered, has a specific, historical meaning. It is not only that styles belong to a time and a place; and that our perception of the style of a given work of art is always charged with an awareness of the work’s historicity, its place in a chronology. Further: the visibility of styles is itself a product of historical consciousness. Were it not for departures from, or experimentation with, previous artistic norms which are known to us, we could never recognize the profile of a new style.” Susan Sontag

16) Reflections on Writing by Henry Miller

Author of the infamously banned Tropic of Cancer , Henry Miller blurs the line between autobiography and fiction.

“Miller’s revolution, though, was not a political one,” writes Ralph B. Sipper in the Los Angeles Times’ Miller’s Tale: Henry Hits 100 . “It was the wedding of his life and his art. Actual and imagined experiences became indistinguishable from each other.”

This aspect of the legend’s style lends itself well to Henry Miller’s overarching essay, a true reflection , about a life spent writing.

Brief Excerpt, “Reflections on Writing”

“I believe that one has to pass beyond the sphere and influence of art. Art is only a means to life, to the life more abundant. It is not in itself the life more abundant. It merely points the way, something which is overlooked not only by the public, but very often by the artist himself. In becoming an end it defeats itself. Most artists are defeating life by their very attempt to grapple with it. They have split the egg in two. All art, I firmly believe, will one day disappear. But the artist will remain, and life itself will become not ‘an art,’ but art, i.e., will definitely and for all time usurp the field. In any true sense we are certainly not yet alive.” Henry Miller

15) Fairy Tale Is Form, Form Is Fairy Tale by Kate Bernheimer

Writer, editor, and critic Kate Bernheimer knows a thing or two about fairy tales.

She’s the founder and editor of the journal Fairy Tale Review , editor of numerous collections on the subject, and an author of fairy tales herself.

So, when Kate Bernheimer talks about fairy tales, you listen. Her essay “ Fairy Tale is Form, Form is Fairy Tale ” explores the underlying structure of fairy tales and its prevalence in much more than old Brothers Grimm stories. 

Brief Excerpt, “Fairy Tale Is Form, Form Is Fairy Tale”

“Perhaps if we recognize the pleasure in form that can be derived from fairy tales, we might be able to move beyond a discussion of who has more of a claim to the ‘realistic’ or the classical in contemporary letters. An increased appreciation of the techniques in fairy tales not only forges a mutual appreciation between writers from so-called mainstream and avant-garde traditions but also, I would argue, connects all of us in the act of living.” Kate Bernheimer

14) Uncanny the Singing That Comes from Certain Husks by Joy Williams

Author of State of Grace and Pulitzer-prize finalist The Quick and the Dead , novelist, essayist, and short story writer Joy Williams could certainly be considered a writer’s writer.

It makes her especially suited to answer the age old question: why do writers write?

In her essay meditating upon the impetus to write, “ Uncanny the Singing That Comes from Certain Husks ,” collected first in the anthology Why I Write: Thoughts on the Craft of Fiction , Williams offers several perspectives.

While there are no clear, definitive answers, burgeoning writers may find solace in the seemingly ubiquitous search for meaning.

Brief Excerpt, “Uncanny the Singing That Comes from Certain Husks” by Joy Williams

“The writer doesn’t trust his enemies, of course, who are wrong about his writing, but he doesn’t trust his friends, either, who he hopes are right. The writer trusts nothing he writes—it should be too reckless and alive for that, it should be beautiful and menacing and slightly out of his control. It should want to live itself somehow. The writer dies—he can die before he dies, it happens all the time, he dies as a writer—but the work wants to live.” Joy Williams

13) The Fringe Benefits of Failure, and the Importance of Imagination by J.K. Rowling

You might say J.K. Rowling knows a thing or two about imagination.

What some casual readers–or even fans–of the Harry Potter author might not know is that Rowling faced poverty and abject failure before finding publishing success.

This combination made for the perfect 2008 commencement speech at Harvard University . Although not an essay at first, the speech became a smash hit, garnering the most views of all Harvard commencement addresses . 

And, appropriately so, it was later printed as an essay/e-book titled Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination .

Sure to inspire, and possibly soothe or reassure, the speech and resulting transcription should be read by any aspiring writer.

Brief Excerpt, “The Fringe Benefits of Failure, and the Importance of Imagination”

“So why do I talk about the benefits of failure? Simply because failure meant a stripping away of the inessential. I stopped pretending to myself that I was anything other than what I was, and began to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at anything else, I might never have found the determination to succeed in the one arena I believed I truly belonged. I was set free, because my greatest fear had been realised, and I was still alive, and I still had a daughter whom I adored, and I had an old typewriter and a big idea. And so rock bottom became the solid foundation on which I rebuilt my life.” J.K. Rowling

12) Write Till You Drop by Annie Dillard

Poet, essayist, memoirist, novelist, and critic Annie Dillard has a Pulitzer Prize for General Nonfiction to her name as well as finalist honors for the PEN/Faulkner Award for Fiction .

Add to this a bevy of published work, “ Write Till You Drop ” is certainly a motto Annie Dillard lives by. 

In her essay, the author of Pilgim at Tinker Creek offers up directives of great relevance for every writer. That’s because the essay’s crux, made plain in the title, is an urging to write. 

Yet, the nuance of the advice is what makes this essay especially motivating and highly recommended for any writing aspirant.

Brief Excerpt, “Write Till You Drop”

“Write as if you were dying. At the same time, assume you write for an audience consisting solely of terminal patients. That is, after all, the case. What would you begin writing if you knew you would die soon? What could you say to a dying person that would not enrage by its triviality?” Annie Dillard

11) Why I Write by Joan Didion

National Book Award for Nonfiction winner and finalist for the Pulitzer Prize for Biography/Autobiography Joan Didion is a legend.

The author of The Year of Magical Thinking and Slouching Towards Bethlehem , Didion has been described as belonging to the school of New Journalism, which places an emphasis on narrative storytelling and literary techniques in order to communicate its facts.

As such an accomplished and versatile writer, Didion makes a singular subject for the age-old question of why do writers write . 

Just like any essay on the subject, Joan Didion’s take is irreplaceably useful for writers. If for no other reason than it frames the writing pursuit as a shared experience resplendent in multiple shades and colors. 

The effect being that of a warm and communal embrace.  

Brief Excerpt, “Why I Write”

“When I talk about pictures in my mind I am talking, quite specifically, about images that shimmer around the edges. There used to be an illustration in every elementary psychology book showing a cat drawn by a patient in varying stages of schizophrenia. This cat had a shimmer around it. You could see the molecular structure breaking down at the very edges of the cat: the cat became the background and the background the cat, everything interacting, exchanging ions. People on hallucinogens describe the same perception of objects. I’m not a schizophrenic, nor do I take hallucinogens, but certain images do shimmer for me.” Joan Didion

10) That Crafty Feeling by Zadie Smith

Author Zadie Smith bears nearly too many awards to count.

Beginning with White Teeth , her debut novel that took the critical world by storm, Zadie Smith established herself as one of the most noteworthy writers of the modern generation.

How appropriate then, that she spoke to the craft of writing in “ That Crafty Feeling ,” her lecture for students of the Columbia University writing program in March 2008. Smith later collected the speech in essay form in her book Changing My Mind: Occasional Essays .

In her essay, Smith explores many aspects of the writing process, making it a must-read for the sheer fact of learning the variances writers take to arrive at the written word.

Brief Excerpt, “That Crafty Feeling”

“Some writers won’t read a word of any novel while they’re writing their own. Not one word. They don’t even want to see the cover of a novel. As they write, the world of fiction dies: no one has ever written, no one is writing, no one will ever write again. Try to recommend a good novel to a writer of this type while he’s writing and he’ll give you a look like you just stabbed him in the heart with a kitchen knife. It’s a matter of temperament. Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels.” Zadie Smith

9) The Poetic Principle by Edgar Allan Poe

Legendary American poet, critic, editor, and author Edgar Allan Poe knows how to move you.

In “ The Poetic Principle ,” the author of The Raven and The Fall of the House of Usher breaks down exactly how he achieves this feat.

The essay is a must-read for writers not because one should necessarily follow Edgar Allan Poe’s prescription as a kind of formula. 

Instead, it should serve as an example that artistic work doesn’t have to be of a purely ecstatic origin. 

Writing can be a calculated affair, in part, aimed toward achieving a desired effect.

Brief Excerpt, “The Poetic Principle”

“Thus, although in a very cursory and imperfect manner, I have endeavored to convey to you my conception of the Poetic Principle. It has been my purpose to suggest that, while this Principle itself is , strictly and simply, the Human Aspiration for Supernal Beauty , the manifestation of the Principle is always found in an elevating excitement of the Soul — quite independent of that passion which is the intoxication of the Heart — or of that Truth which is the satisfaction of the Reason.” Edgar Allan Poe

8) Fenimore Cooper’s Literary Offenses by Mark Twain

One might call Mark Twain something of an authority on the craft of writing.

American writer, humorist, entrepreneur, publisher, and lecturer Samuel Langhorne Clemens , better known by his pen name of Mark Twain , earned the honorific of “father of American literature” by William Faulkner himself.

This all contributes to the fact that no one has ever been as thoroughly dragged through the mud and put on a mocking display as Fenimore Cooper.  

The deed was done by Mark Twain’s own hand in the Adventures of Huckleberry Finn author’s critical essay “ Fenimore Cooper’s Literary Offenses .”

In what amounts to a public tar and feathering, Twain deconstructs Cooper’s writing down to the level of individual word choice.

The essay illustrates many do’s via its adamant don’ts. Not to mention the tiny bit of schadenfreude contained in Cooper’s literary trial. 

Brief Excerpt, “Fenimore Cooper’s Literary Offenses”

“Cooper’s word-sense was singularly dull. When a person has a poor ear for music he will flat and sharp right along without knowing it. He keeps near the tune, but is not the tune. When a person has a poor ear for words, the result is a literary flatting and sharping; you perceive what he is intending to say, but you also perceive that he does not say it. This is Cooper. He was not a word-musician. His ear was satisfied with the approximate words. I will furnish some circumstantial evidence in support of this charge.” Mark Twain

7) Everything You Need to Know About Writing Successfully – in Ten Minutes by Stephen King

Whether you’re a fan or not, there are two undeniable facts about Stephen King . He can write like a whirlwind, and he’s successful at it.

Stephen King has penned more than 60 books, including The Stand and The Dark Tower series, and created his very own multiverse . Among other accolades, he’s received the National Medal of Arts from the U.S. National Endowment for the Arts, and the National Book Foundation awarded him the Medal for Distinguished Contribution to American Letters. 

Oh, and his net worth is estimated to reside somewhere around $400 million . Plus, he’s sold more than 350 million copies of his books worldwide. A success, we’d say, even if some critics dislike him .

In addition to writing one of the most-sought books on the writing life and process, On Writing: A Memoir of the Craft , he’s written numerous essays. In the field of writers on writing, he’s nearly overqualified.

Seems he’s well qualified for the essay “ Everything You Need to Know About Writing Successfully – in Ten Minutes ,” which out of all the essays on our list wins the prize for most enticing title.

As fans of Stephen King, we recommend you gobble up anything he has to say on the profession. But regardless, like the title says, it’s only 10 minutes long.

Brief Excerpt, “Everything You Need to Know About Writing Successfully – in Ten Minutes”

“You want to write a story? Fine. Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus. Better yet, throw your thesaurus into the wastebasket. The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time. Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule.” Stephen King

6) Why I Write by George Orwell

Legendary author Eric Arthur Blair , better known by his pen name George Orwell , stands firmly in the great pantheon of 20th century writers.

Author of 1984 and Animal Farm , one might think Orwell’s reason for writing is solely to correct societal wrongs or fight injustices.

First printed in Gangrel (Summer 1946) and later collected in Such, Such Were the Joys , Orwell’s essay “ Why I Write ” details his motivations to write. 

Written at first as a response to an editor’s query, the essay serves as both a personal one and an objective observation of the impetus to create.

“I had the lonely child’s habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. Nevertheless the volume of serious — i.e. seriously intended — writing which I produced all through my childhood and boyhood would not amount to half a dozen pages.” George Orwell

5) Where Do You Get Your Ideas? by Neil Gaiman

When one of today’s greatest originators of fresh concepts tells you that ideas are just one “small component” of writing, you listen.

Neil Gaiman , author of American Gods , The Sandman , Stardust , Coraline , and more, holds a mountain of awards. Among them, the Hugo, Nebula, and Bram Stoker awards. Not to mention a Newbery and Carnegie medal. 

And Book of the Year in the British National Book Awards for The Ocean at the End of the Lane .

Written on his own blog, Neil Gaiman’s essay on where he gets his ideas answers the age-old, and somewhat frustrating, question that every writer inevitably gets.

There are no glib answers (okay, maybe a few). He shares his process with sincerity, and packages it partly in a little story, because that’s just what good writers do.

Brief Excerpt, “Where Do You Get Your Ideas?”

“The Ideas aren’t the hard bit. They’re a small component of the whole. Creating believable people who do more or less what you tell them to is much harder. And hardest by far is the process of simply sitting down and putting one word after another to construct whatever it is you’re trying to build: making it interesting, making it new.” Neil Gaiman

4) Despite Tough Guys, Life Is Not the Only School for Real Novelists by Kurt Vonnegut Jr.

If ever there was a writer’s writer, it’s Kurt Vonnegut Jr. When he gives advice, you listen.

The legendary literary and science fiction author, writer of Slaughterhouse-Five , Vonnegut taught at the esteemed University of Iowa’s writer’s workshop in addition to The City College of New York and Harvard University. 

It was in defense of creative writing programs and teachers everywhere that he wrote his essay, “ Despite Tough Guys, Life Is Not the Only School for Real Novelists .”

Not to disparage the school of hard knocks. Quite the opposite. 

Kurt Vonnegut instead shows another way of looking at creative writing instructors. 

As an extension of a writer’s best friend–a good editor.

Brief Excerpt, “Despite Tough Guys, Life Is Not the Only School for Real Novelists”

“Much is known about how to tell a story, rules for sociability, for how to be a friend to a reader so the reader won’t stop reading, how to be a good date on a blind date with a total stranger.” Kurt Vonnegut Jr.

3) Thoughts on Writing by Elizabeth Gilbert

Elizabeth Gilbert knows writing.

Author of numerous works and amazing TED Talks presenter, Gilbert is everything a writer could want to be. 

She writes fiction, non-fiction, books about writing, globe trots while freelancing for magazines, and is a journalist. As of late, she’s transformed into a teacher of sorts, sharing her knowledge far and wide, and one of the leaders in the topic of writers on writing.

Her published material includes Pilgrims (Pushcart Prize winner and finalist for the PEN/Hemingway Award), Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India and Indonesia (199 weeks on The New York Times Bestseller List and turned into a movie starring Julia Roberts ), and Big Magic: Creative Living Beyond Fear (where she shares the wealth).

To say her essay, “ Thoughts on Writing ,” published on her own blog, is worth the time of any aspiring writer–of any form, medium, or genre–is a drastic understatement.

Brief Excerpt, “Thoughts on Writing”

“As for discipline – it’s important, but sort of over-rated. The more important virtue for a writer, I believe, is self-forgiveness. Because your writing will always disappoint you. Your laziness will always disappoint you.” Elizabeth Gilbert

2) The Nature of the Fun by David Foster Wallace

A literary giant in the making cut short by suicidal depression, David Foster Wallace is counted among many of today’s brilliant creative minds.

Author of Infinite Jest , a novel that every intelligentsia claims to have read, although few have managed to conquer its substantial length, Wallace talked extensively about the subject of craft. As a teacher and pundit, he’s let his thoughts be known. 

And for writers on writing, he’s often considered a preeminent expert on the topic.

However, “ The Nature of the Fun ” answers that basic question posed to nearly every writer throughout history–why do you write? 

For Wallace, the answer is in surprisingly stark contrast to everything else in the tragic writer’s life.

Brief Excerpt, “The Nature of the Fun”

“In the beginning, when you first start out trying to write fiction, the whole endeavor’s about fun. You don’t expect anybody else to read it. You’re writing almost wholly to get yourself off. To enable your own fantasies and deviant logics and to escape or transform parts of yourself you don’t like. And it works – and it’s terrific fun. Then, if you have good luck and people seem to like what you do, and you actually start to get paid for it, and get to see your stuff professionally typeset and bound and blurbed and reviewed and even (once) being read on the a.m. subway by a pretty girl you don’t even know it seems to make it even more fun.” David Foster Wallace

1) Not Knowing by Donald Barthelme

Donald Barthelme is almost certainly not a name you know.

Although there are exceptions, even the most devout of readers overlook the absurdist and surrealist stylings of the postmodern short story writer and teacher. 

Funny, considering such eye catching titles as Sixty Stories and Forty Stories .

However, Barthelme was a regular on the pages of The New Yorker , as well as other literary magazines of his time. He even founded one– Fiction .

But don’t fret that you don’t know him. As Barthelme indicates in “ Not Knowing ,” his essay on the creative process, lack of knowledge can lead to invention. 

That’s just one reason we recommend this for your reading list, which includes our sincere hope that you also pick up some of Barthelme’s fiction.

Brief Excerpt, “Not Knowing”

“The not-knowing is crucial to art, is what permits art to be made. Without the scanning process engendered by not-knowing, without the possibility of having the mind move in unanticipated directions, there would be no invention.” Donald Barthelme

Writers on writing and essays on writing are almost a sub-genre in itself.

For writers out there, be careful that you don’t get sucked into the habit of consuming one diatribe after another, hoping to find eternal wisdom, without actually writing yourself. 

It can be alluring, to soak in the soup of published authors, to feel like you’re holding conversations with the greatest minds. Afterall, for some aspiring writers, it’s the end goal of getting published. However, one must start with the actual writing itself, so don’t dawdle too long.

Of course, we hope that these relatively short essays won’t keep you for long. And they’re just meaty enough to be satiating.

Now, get to writing! (including dropping into the comments to share your own writing advice)

Jason Boyd is a science fiction author, geek enthusiast, and former cubicle owner. When not working on his MA in Creative Writing, he's trying to figure out how magnets work.

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31 Of The Most Beautiful And Profound Passages In Literature You’ll Want To Read Over And Over Again

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Whenever I’m feeling uninspired I look to a collection of my favorite literary quotes I keep in a document on my computer. Today was one of those days. As I was re-reading some of these and remembering why I love writing, reading, and the power of words and a good story, I thought perhaps someone somewhere out there might be feeling the same as me this morning. Here are 31 of the most beautiful passages in literature .

“Atticus said to Jem one day, “I’d rather you shot at tin cans in the backyard, but I know you’ll go after birds. Shoot all the blue jays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.” That was the only time I ever heard Atticus say it was a sin to do something, and I asked Miss Maudie about it. “Your father’s right,” she said. “Mockingbirds don’t do one thing except make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corn cribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.” – Harper Lee, To Kill a Mockingbird

“i took a deep breath and listened to the old brag of my heart. i am, i am, i am.” – sylvia plath, the bell jar, “we believe that we can change the things around us in accordance with our desires—we believe it because otherwise we can see no favourable outcome. we do not think of the outcome which generally comes to pass and is also favourable: we do not succeed in changing things in accordance with our desires, but gradually our desires change. the situation that we hoped to change because it was intolerable becomes unimportant to us. we have failed to surmount the obstacle, as we were absolutely determined to do, but life has taken us round it, led us beyond it, and then if we turn round to gaze into the distance of the past, we can barely see it, so imperceptible has it become.” – marcel proust, in search of lost time, “the most beautiful things in the world cannot be seen or touched, they are felt with the heart.” – antoine de saint-exupéry, the little prince, “hello babies. welcome to earth. it’s hot in the summer and cold in the winter. it’s round and wet and crowded. on the outside, babies, you’ve got a hundred years here. there’s only one rule that i know of, babies-“god damn it, you’ve got to be kind.” – kurt vonnegut, god bless you, mr. rosewater, “why, sometimes i’ve believed as many as six impossible things before breakfast.” – lewis carroll, alice in wonderland, “we are all in the gutter, but some of us are looking at the stars.” – oscar wilde, lady windermere’s fan, “i must not fear. fear is the mind-killer. fear is the little-death that brings total obliteration. i will face my fear. i will permit it to pass over me and through me. and when it has gone past i will turn the inner eye to see its path. where the fear has gone there will be nothing. only i will remain.” – frank herbert, dune, “nolite te bastardes carborundorum.” (don’t let the bastards grind you down) – margaret atwood, the handmaid’s tale, “just remember that the things you put into your head are there forever, he said. you might want to think about that. you forget some things, dont you yes. you forget what you want to remember and you remember what you want to forget.” – cormac mccarthy,  the road, “you can tell yourself that you would be willing to lose everything you have in order to get something you want. but it’s a catch-22: all of those things you’re willing to lose are what make you recognizable. lose them, and you’ve lost yourself.” – jodi picoult, handle with care, “the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.” – jack kerouac, on the road, “he allowed himself to be swayed by his conviction that human beings are not born once and for all on the day their mothers give birth to them, but that life obliges them over and over again to give birth to themselves.” ― gabriel garcí­a márquez, love in the time of cholera, “there is an idea of a patrick bateman, some kind of abstraction, but there is no real me, only an entity, something illusory, and though i can hide my cold gaze and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable: i simply am not there.” – bret easton ellis, american psycho, “sometimes fate is like a small sandstorm that keeps changing directions. you change direction but the sandstorm chases you. you turn again, but the storm adjusts. over and over you play this out, like some ominous dance with death just before dawn. why because this storm isn’t something that blew in from far away, something that has nothing to do with you. this storm is you. something inside of you. so all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. there’s no sun there, no moon, no direction, no sense of time. just fine white sand swirling up into the sky like pulverized bones. that’s the kind of sandstorm you need to imagine., and you really will have to make it through that violent, metaphysical, symbolic storm. no matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. people will bleed there, and you will bleed too. hot, red blood. you’ll catch that blood in your hands, your own blood and the blood of others., and once the storm is over you won’t remember how you made it through, how you managed to survive. you won’t even be sure, in fact, whether the storm is really over. but one thing is certain. when you come out of the storm you won’t be the same person who walked in. that’s what this storm’s all about.” – haruki murakami, kafka on the shore, “a heart is not judged by how much you love; but by how much you are loved by others” – l. frank baum, the wonderful wizard of oz, “sometimes i can hear my bones straining under the weight of all the lives i’m not living.”- jonathan safran foer, extremely loud and incredibly close, “the most important things are the hardest to say. they are the things you get ashamed of, because words diminish them — words shrink things that seemed limitless when they were in your head to no more than living size when they’re brought out. but it’s more than that, isn’t it the most important things lie too close to wherever your secret heart is buried, like landmarks to a treasure your enemies would love to steal away. and you may make revelations that cost you dearly only to have people look at you in a funny way, not understanding what you’ve said at all, or why you thought it was so important that you almost cried while you were saying it. that’s the worst, i think. when the secret stays locked within not for want of a teller but for want of an understanding ear.” stephen king, different seasons, “i don’t have any problem understanding why people flunk out of college or quit their jobs or cheat on each other or break the law or spray-paint walls. a little bit outside of things is where some people feel each other. we do it to replace the frame of family. we do it to erase and remake our origins in their own images. to say, i too was here.” – lidia yuknavitch, the chronology of water, “i never believed in santa claus. none of us kids did. mom and dad refused to let us. they couldn’t afford expensive presents and they didn’t want us to think we weren’t as good as other kids who, on christmas morning, found all sorts of fancy toys under the tree that were supposedly left by santa claus. dad had lost his job at the gypsum, and when christmas came that year, we had no money at all. on christmas eve, dad took each one of us kids out into the desert night one by one., “pick out your favorite star”, dad said., “i like that one” i said., dad grinned, “that’s venus”, he said. he explained to me that planets glowed because reflected light was constant and stars twinkled because their light pulsed., “i like it anyway” i said., “what the hell,” dad said. “it’s christmas. you can have a planet if you want.” and he gave me venus., venus didn’t have any moons or satellites or even a magnetic field, but it did have an atmosphere sort of similar to earth’s, except it was super hot-about 500 degrees or more. “so,” dad said, “when the sun starts to burn out and earth turns cold, everyone might want to move to venus to get warm. and they’ll have to get permission from your descendants first., we laughed about all the kids who believed in the santa myth and got nothing for christmas but a bunch of cheap plastic toys. “years from now, when all the junk they got is broken and long forgotten,” dad said, “you’ll still have your stars.” – jeannette walls, the glass castle, “lolita, light of my life, fire of my loins. my sin, my soul. lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. lo. lee. ta. she was lo, plain lo, in the morning, standing four feet ten in one sock. she was lola in slacks. she was dolly at school. she was dolores on the dotted line. but in my arms she was always lolita. did she have a precursor she did, indeed she did. in point of fact, there might have been no lolita at all had i not loved, one summer, an initial girl-child. in a princedom by the sea. oh when about as many years before lolita was born as my age was that summer. you can always count on a murderer for a fancy prose style. ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. look at this tangle of thorns.” vladimir nabokov, lolita, “you think because he doesn’t love you that you are worthless. you think that because he doesn’t want you anymore that he is right — that his judgement and opinion of you are correct. if he throws you out, then you are garbage. you think he belongs to you because you want to belong to him. don’t. it’s a bad word, ‘belong.’ especially when you put it with somebody you love. love shouldn’t be like that. did you ever see the way the clouds love a mountain they circle all around it; sometimes you can’t even see the mountain for the clouds. but you know what you go up top and what do you see his head. the clouds never cover the head. his head pokes through, beacuse the clouds let him; they don’t wrap him up. they let him keep his head up high, free, with nothing to hide him or bind him. you can’t own a human being. you can’t lose what you don’t own. suppose you did own him. could you really love somebody who was absolutely nobody without you you really want somebody like that somebody who falls apart when you walk out the door you don’t, do you and neither does he. you’re turning over your whole life to him. your whole life, girl. and if it means so little to you that you can just give it away, hand it to him, then why should it mean any more to him he can’t value you more than you value yourself.” – toni morrison, song of solomon, “…i think we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. we forget all too soon the things we thought we could never forget. we forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.” ― joan didion, slouching towards bethlehem, “i don’t let anyone touch me,” i finally said. why not” why not because i was tired of men. hanging in doorways, standing too close, their smell of beer or fifteen-year-old whiskey. men who didn’t come to the emergency room with you, men who left on christmas eve. men who slammed the security gates, who made you love them then changed their minds. forests of boys, their ragged shrubs full of eyes following you, grabbing your breasts, waving their money, eyes already knocking you down, taking what they felt was theirs. (…) it was a play and i knew how it ended, i didn’t want to audition for any of the roles. it was no game, no casual thrill. it was three-bullet russian roulette.” – janet fitch, white oleander, “i wanted so badly to lie down next to her on the couch, to wrap my arms around her and sleep. not fuck, like in those movies. not even have sex. just sleep together in the most innocent sense of the phrase. but i lacked the courage and she had a boyfriend and i was gawky and she was gorgeous and i was hopelessly boring and she was endlessly fascinating. so i walked back to my room and collapsed on the bottom bunk, thinking that if people were rain, i was drizzle and she was hurricane.” ― john green, looking for alaska, “but i tried, didn’t i goddamnit, at least i did that.” – ken kesey, one flew over the cuckoo’s nest, “if you’re going to try, go all the way. otherwise, don’t even start. this could mean losing girlfriends, wives, relatives and maybe even your mind. it could mean not eating for three or four days. it could mean freezing on a park bench. it could mean jail. it could mean derision. it could mean mockery–isolation. isolation is the gift. all the others are a test of your endurance, of how much you really want to do it. and, you’ll do it, despite rejection and the worst odds. and it will be better than anything else you can imagine. if you’re going to try, go all the way. there is no other feeling like that. you will be alone with the gods, and the nights will flame with fire. you will ride life straight to perfect laughter. it’s the only good fight there is.” ― charles bukowski, factotum, “i will be very careful the next time i fall in love, she told herself. also, she had made a promise to herself that she intended on keeping. she was never going to go out with another writer: no matter how charming, sensitive, inventive or fun they could be. they weren’t worth it in the long run. they were emotionally too expensive and the upkeep was complicated. they were like having a vacuum cleaner around the house that broke all the time and only einstein could fix it. she wanted her next lover to be a broom.” ― richard brautigan, sombrero fallout, “usually we walk around constantly believing ourselves. “i’m okay” we say. “i’m alright”. but sometimes the truth arrives on you and you can’t get it off. that’s when you realize that sometimes it isn’t even an answer–it’s a question. even now, i wonder how much of my life is convinced.” ― markus zusak, the book thief, “i love you without knowing how, or when, or from where. i love you simply, without problems or pride: i love you in this way because i do not know any other way of loving but this, in which there is no i or you, so intimate that your hand upon my chest is my hand, so intimate that when i fall asleep your eyes close.” ― pablo neruda, 100 love sonnets, “it doesn’t interest me what you do for a living. i want to know what you ache for, and if you dare to dream of meeting your heart’s longing., it doesn’t interest me how old you are. i want to know if you will risk looking like a fool for love, for your dream, for the adventure of being alive., it doesn’t interest me what planets are squaring your moon. i want to know if you have touched the center of your own sorrow, if you have been opened by life’s betrayals or have become shriveled and closed from fear of further paini want to know if you can sit with pain, mine or your own, without moving to hide it or fade it, or fix it., i want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning us to be careful, to be realistic, to remember the limitations of being human., it doesn’t interest me if the story you are telling me is true. i want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul; if you can be faithless and therefore trustworthy., i want to know if you can see beauty even when it’s not pretty, every day,and if you can source your own life from its presence., i want to know if you can live with failure, yours and mine, and still stand on the edge of the lake and shout to the silver of the full moon, “yes”, it doesn’t interest me to know where you live or how much money you have. i want to know if you can get up, after the night of grief and despair, weary and bruised to the bone, and do what needs to be done to feed the children., it doesn’t interest me who you know or how you came to be here. i want to know if you will stand in the center of the fire with me and not shrink back., it doesn’t interest me where or what or with whom you have studied. i want to know what sustains you, from the inside, when all else falls away., i want to know if you can be alone with yourself and if you truly like the company you keep in the empty moments.”, ― oriah mountain dreamer, the invitation, koty neelis.

Former senior staff writer and producer at Thought Catalog.

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Essays About Literature: Top 6 Examples and 8 Prompts

Society and culture are formed around literature. If you are writing essays about literature, you can use the essay examples and prompts featured in our guide.

It has been said that language holds the key to all human activities, and literature is the expression of language. It teaches new words and phrases, allows us to better our communication skills, and helps us learn more about ourselves.

Whether you are reading poems or novels, we often see parts of ourselves in the characters and themes presented by the authors. Literature gives us ideas and helps us determine what to say, while language gives form and structure to our ideas, helping us convey them.

6 Helpful Essay Examples

1. importance of literature by william anderson, 2. philippine literature by jean hodges, 3. african literature by morris marshall.

• 4.  Nine Questions From Children’s Literature That Every Person Should Answer by Shaunta Grimes

5. Exploring tyranny and power in Macbeth by Tom Davey

6. guide to the classics: homer’s odyssey by jo adetunji, 1. the importance of literature, 2. comparing and contrasting two works of literature  , 3. the use of literary devices, 4. popular adaptations of literature, 5. gender roles in literature, 6. analysis of your chosen literary work, 7. fiction vs. non-fiction, 8. literature as an art form.

“Life before literature was practical and predictable, but in the present-day, literature has expanded into countless libraries and into the minds of many as the gateway for comprehension and curiosity of the human mind and the world around them. Literature is of great importance and is studied upon as it provides the ability to connect human relationships and define what is right and what is wrong.”

Anderson writes about why an understanding of literature is crucial. It allows us to see different perspectives of people from different periods, countries, and cultures: we are given the ability to see the world from an entirely new lens. As a result, we obtain a better judgment of situations. In a world where anything can happen, literature gives us the key to enacting change for ourselves and others. You might also be interested in these essays about Beowulf .

“So successful were the efforts of colonists to blot out the memory of the country’s largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country’s wealth of ethnic traditions and disseminating them in schools through mass media. The rise of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the “Filipino identity.””

In her essay, Hodges writes about the history of Philippine literature. Unfortunately, much of Philippine literary history has been obscured by Spanish colonization, as the written works of the Spanish largely replaced the oral tradition of the native Filipinos. A heightened sense of nationalism has recently led to a resurgence in Filipino tradition, including ancient Philippine literature. 

“In fact, the common denominator of the cultures of the African continent is undoubtedly the oral tradition. Writing on black Africa started in the middle Ages with the introduction of the Arabic language and later, in the nineteenth century with introduction of the Latin alphabet. Since 1934, with the birth of the “Negritude.” African authors began to write in French or in English.”

Marshall explores the history of African literature, particularly the languages it was written over time. It was initially written in Arabic and native languages; however, with the “Negritude” movement, writers began composing their works in French or English. This movement allowed African writers to spread their work and gain notoriety. Marshall gives examples of African literature, shedding light on their lyrical content. 

4.   Nine Questions From Children’s Literature That Every Person Should Answer by Shaunta Grimes

“ They asked me questions — questions about who I am, what I value, and where I’m headed — and pushed me to think about the answers. At some point in our lives, we decide we know everything we need to know. We stop asking questions. To remember what’s important, it sometimes helps to return to that place of childlike curiosity and wonder.”

Grimes’ essay is a testament to how much we can learn from literature, even as simple as children’s stories. She explains how different works of children’s literature, such as Charlotte’s Web and Little Women, can inspire us, help us maximize our imagination, and remind us of the fleeting nature of life. Most importantly, however, they remind us that the future is uncertain, and maximizing it is up to us. 

“This is a world where the moral bar has been lowered; a world which ‘sinks beneath the yoke’. In the Macbeths, we see just how terribly the human soul can be corrupted. However, this struggle is played out within other characters too. Perhaps we’re left wondering: in such a dog-eat-dog world, how would we fare?”

The corruption that power can lead to is genuine; Davey explains how this theme is present in Shakespeare’s Macbeth . Even after being honored, Macbeth still wishes to be king and commits heinous acts of violence to achieve his goals. Violence is prevalent throughout the play, but Macbeth and Lady Macbeth exemplify the vicious cycle of bloodshed through their ambition and power. 

“Polyphemus is blinded but survives the attack and curses the voyage home of the Ithacans. All of Odysseus’s men are eventually killed, and he alone survives his return home, mostly because of his versatility and cleverness. There is a strong element of the trickster figure about Homer’s Odysseus.”

Adetunji also exposes a notable work of literature, in this case, Homer’s Odyssey . She goes over the epic poem and its historical context and discusses Odysseus’ most important traits: cleverness and courage. As the story progresses, he displays great courage and bravery in his exploits, using his cunning and wit to outsmart his foes. Finally, Adetunji references modern interpretations of the Odyssey in film, literature, and other media.

8 Prompts for Essays About Literature

In your essay, write about the importance of literature; explain why we need to study literature and how it can help us in the future. Then, give examples of literary works that teach important moral lessons as evidence. 

For your essay, choose two works of literature with similar themes. Then, discuss their similarities and differences in plot, theme, and characters. For example, these themes could include death, grief, love and hate, or relationships. You can also discuss which of the two pieces of literature presents your chosen theme better. 

Writers use literary devices to enhance their literary works and emphasize important points. Literary devices include personification, similes, metaphors, and more. You can write about the effectiveness of literary devices and the reasoning behind their usage. Research and give examples of instances where authors use literary devices effectively to enhance their message.  

Literature has been adapted into cinema, television, and other media time and again, with series such as Lord of the Rings and Harry Potter turning into blockbuster franchises. Explore how these adaptations diverge from their source material yet retain the key themes the writer composed the work with in mind. If this seems confusing, research first and read some essay examples. 

Literature reflects the ideas of the period it is from; for example, ancient Greek literature, such as Antigone, depicts the ideal woman as largely obedient and subservient, to an extent. For your essay, you can write about how gender roles have evolved in literature throughout the years, specifically about women. Be sure to give examples to support your points. 

Choose a work of literature that interests you and analyze it in your essay. You can use your favorite novel, book, or screenplay, explain the key themes and characters and summarize the plot. Analyze the key messages in your chosen piece of literature, and discuss how the themes are enhanced through the author’s writing techniques.

Literature can be divided into two categories: fiction, from the writer’s imagination, and non-fiction, written about actual events. Explore their similarities and differences, and give your opinion on which is better. For a strong argument, provide ample supporting details and cite credible sources.  

Literature is an art form that uses language, so do you believe it is more effective in conveying its message? Write about how literature compares to other art forms such as painting and sculpture; state your argument and defend it adequately. 

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

For help picking your next essay topic, check out the best essay topics about social media .

Martin is an avid writer specializing in editing and proofreading. He also enjoys literary analysis and writing about food and travel.

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Famous Authors: The 30 Greatest Writers Of All Time

Who are the most  most famous authors the world has ever known ? Perhaps that’s not the real question: we should instead be asking, ‘how can we judge’? With that in mind one can begin to talk about criteria. One can think about which famous writers had the most influence on the world as a result of what they wrote, or how their writings changed the world.

We don’t necessarily have to talk about their writing style or how good their prose is, as that is, in any case, far too subjective: their greatness could simply be about their ideas – ideas that grab the attention of the world and change the world’s perceptions forever. In that case the writing would only be a vehicle for the transmission of the idea they wish to convey. That idea or theory or research is the reason for writing the book.

And then, particularly if we are including Shakespeare as one of the influential writers, we need to look at what kind of writing we are talking about. Shakespeare falls into the fiction writer category and so, perhaps, to find our best writers we should look at other fiction writers whose work had something like the influence of William Shakespeare’s. It should therefore be clear that our list of the thirty greatest writers are all fiction writers. Our criterion will be that they should be poets, dramatists and prose fiction writers who have had a significant influence on the writers who came after them or on the direction of society.

But who, apart from Shakespeare, are the greatest writers of all time? Without further ado, here is a list of thirty of the greatest writers of all time offered by NoSweatShakespeare. It would be impossible to rank them so they are listed in order of their birth dates:

Homer ~850 BCE

Sophocles 496-406 BCE

Virgil (Publius Vergilius Maro) 70 BCE – 19 BCE

The Evangelist, Mark (Author of the Gospel of St Mark) 1st Century CE

Dante (Durante degli Alighieri) 1265-1321

Geoffrey Chaucer 1343-1400

Francois Rabelais 1498-1553

Cervantes (Miguel de Cervantes Cortinas) 1547-1616

John Donne 1572-1631

John Milton 1608-1674

John Bunyan (1628-1688)

Voltaire (François-Marie Arouet) 1694-1778

William Blake 1757-1827

Jane Austen 1775 – 1817

Hans Christian Andersen 1805-1875

Hans Christian Andersen was a Danish playwright, travel writer, poet, novelist and story writer. His fairy tales place him as one of the world’s greatest writers ever. Written basically for children they transcend age barriers because of their universal nature: they reach the deepest levels of the human condition, each story demonstrating something profound about what it means to be a human being… Read more on Hans Christian Anderson >>

Charles Dickens 1812-1870

Herman Melville 1819-1891

Gustave Flaubert 1821-1880

Fyodor Mikhailovich Dostoyevsky 1821-1881

Jules Verne 1828-1905

Leo Tolstoy (Count Lev Nikolayevich Tolstoy) 1828-1910

Emily Dickinson 1830-1886

Unknown as a poet during her lifetime, Emily Dickinson is now regarded by many as one of the most powerful voices of American culture. Her poetry has inspired many other writers, including the Brontes. In 1994 the critic, Harold Bloom, listed her among the twenty-six central writers of Western civilization.  After she died her sister found the almost two thousand poems the poet had written… Read Emily Dickinson quotes . Read more on Emily Dickinson >>

Lewis Carroll (Charles Lutwidge Dodgson) 1832-1898

James Joyce 1882-1941

Franz Kafka 1883-1924

T.S. Eliot 1888-1965

F scott fitzgerald 1896-1940.

Jorge Luis Borges 1899-1986

George Orwell 1903-1950

Gabriel Garcia Marques 1927-2014

Like our list of the thirty greatest writers of all time? Any we’re missing? Check out our list of famous English writers , and most famous American authors .

Fiction writers do not write to transmit an idea or report on research they have done. They use language to make us think that their inventions are real, that the places they create actually exist and that their characters are real people, like us, who love and hate and suffer and strive. They invite us to enter into the world of their text and although they usually write only to entertain, there is a sense in that they point to truths just as real as those reached by Darwin and Einstein. If they do that at the highest level, in creating a world that we both recognise and can be inspired by, they reveal themselves as great writers and influence the world in that way. Like Shakespeare.

So who are these writers who can be placed in the same category as Shakespeare for doing that? Shakespeare is, of course, foremost among the great writers. Apart from writing plays that can be held up like mirrors in which we can see ourselves as human beings clearly, and come to an understanding of many of the things that make us human, Shakespeare’s poetry has had a profound effect on the English language: the way we use it today has been shaped by his words and phrases. It can be difficult at times to utter a sentence in English without using a construction first used by Shakespeare. And whenever we need to find a phrase that will sum something we want to say up perfectly and beautifully, we will find a phrase somewhere in Shakespeare’s works .

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The #2, #3 and #4 writers of all time seem to be missing from this list: #1 Shakespeare #2 Faust as translated by the great poet Walter Arndt–Part II Act V = to anything in Mr. S. and maybe exceeds. #3 Daniel Deronda by G. Eliot #4 Against the Day by Thomas Pynchon #5 Middlemarch

To include neither Proust nor Faulkner is preposterous. No reasonable critic places Orwell, Carrol, Verne or Christian-Anderson above them.

Mr Daly, Your post, at best, is an organized mess. To define in an absolute term that a “reasonable critic” should side with you, is a crash landing of opinion. Your suggestions of authors Faulkner and Proust, is purely for dramatic effect. Salinger and King are above them all.

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Make Lists, Not War

The meta-lists website, best essays of all time – chronological.

A reader suggested I create a meta-list of the best essays of all time, so I did.  I found over 12 best essays lists and several essay anthologies and combined the essays into one meta-list.  The meta-list below includes every essay that was on at least two of the original source lists. They are organized chronologically, by date of publication. For the same list organized by rank, that is, with the essays on the most lists at the top, go HERE .

Note 1:  Some of the essays are actually chapters from books.  In such cases, I have identified the source book.

Note 2: Some of the essays are book-length, such as Virginia Woolf’s A Room of One’s Own .  One book listed as an essay by two listers – Fernando Pessoa’s The Book of Disquiet – is also regularly categorized as a work of fiction.

11 th Century Sei Shonagon – Hateful Things (from The Pillow Book ) (1002) (on 2 lists)

14 th Century Yoshida Kenko – Essays in Idleness (1332) (on 2 lists)

16 th Century Michel de Montaigne – On Some Verses of Virgil (1580) (on 2 lists)

17 th Century Robert Burton – Anatomy of Melancholy (1621) (on 2 lists) John Milton – Areopagitica (1644) (on 2 lists)

18 th Century Jonathan Swift – A Modest Proposal  (1729) (on 3 lists)

19 th Century William Hazlitt – On Going a Journey (1822) (on 2 lists) Charles Lamb – The Superannuated Man (1823) (on 2 lists) William Hazlitt – On the Pleasure of Hating (1823) (on 4 lists) Ralph Waldo Emerson – Self-Reliance (1841) (on 4 lists) Henry David Thoreau – Civil Disobedience (1849) (on 2 lists) Henry David Thoreau – Where I Lived, and What I Lived For (from  Walden ) (1854) (on 2 lists)Henry David Thoreau – Economy (from  Walden ) (1854) (on 2 lists) Henry David Thoreau – Walking (1861) (on 2 lists) Robert Louis Stevenson – The Lantern-Bearers (1888) (on 2 lists)

20 th Century Zora Neale Hurston – How It Feels to Be Colored Me (1928) (on 2 lists) Virginia Woolf – A Room of One’s Own (1928) (on 4 lists) Virginia Woolf – Street Haunting: A London Adventure (1930) (on 3 lists) George Orwell – A Hanging (1931) (on 2 lists) Junichiro Tanizaki – In Praise of Shadows (1933) (on 2 lists) Fernando Pessoa – The Book of Disquiet (1935) (on 2 lists) George Orwell – Shooting an Elephant (1936) (on 6 lists) E.B. White – Once More to the Lake (1941) (on 6 lists) James Agee and Walker Evans – Let Us Now Praise Famous Men (1941) (on 2 lists) Virginia Woolf – The Death of a Moth (1942) (on 4 lists) Simone Weil – On Human Personality (1943) (on 2 lists) M.F.K. Fisher – The Flaw (1943) (on 2 lists) Vladimir Nabokov – Speak, Memory (1951, revised 1966) (on 2 lists) George Orwell – Such, Such Were the Joys (1952) (on 4 lists) Mary McCarthy – Artists in Uniform: A Story (1953) (on 2 lists) James Baldwin – Notes of a Native Son (1955) (on 11 lists) E.B. White – Goodbye to Forty-Eighth Street (1957) (on 2 lists) Martin Luther King, Jr. – Letter from Birmingham Jail (1963) (on 2 lists) Joseph Mitchell – Joe Gould’s Secret (1964) (on 2 lists) Susan Sontag – Against Interpretation (1966) (on 2 lists) Joan Didion – Goodbye To All That (1968) (on 6 lists) Joan Didion – On Keeping A Notebook (1968) (on 5 lists) Joan Didion – In Bed (1968) (on 4 lists) Edward Hoagland – The Courage of Turtles (1970) (on 2 lists) John McPhee – The Search for Marvin Gardens (1972) (on 3 lists) Annie Dillard – Seeing (from  Pilgrim at Tinker Creek ) (1974) (on 2 lists) Maxine Hong Kingston – No Name Woman (from The Woman Warrior ) (1976) (on 2 lists) Joan Didion – The White Album (1968-1978) (on 3 lists) Eudora Welty – The Little Store (1978) (on 3 lists) Annie Dillard – Total Eclipse (1982) (on 5 lists) Annie Dillard – Living Like Weasels (1982) (on 2 lists) Roland Barthes – Camera Lucida: Reflections on Photography (1982) (on 2 lists) Gloria E. Anzaldúa – How to Tame a Wild Tongue (1987) (on 2 lists) Italo Calvino – Exactitude (1988) (on 2 lists) Phillip Lopate – Against Joie de Vivre (1989) (on 3 lists) Richard Rodriguez – Late Victorians (1990) (on 2 lists) Amy Tan – Mother Tongue (1991) (on 4 lists) Seymour Krim – To My Brothers & Sisters in the Failure Business (1991) (on 2 lists) David Wojnarowicz – Being Queer in America: A Journal of Disintegration (1991) (on 2 lists) Anne Carson – The Anthropology of Water (1995) (on 2 lists) Jo Ann Beard – The Fourth State of Matter (1996) (on 5 lists) David Foster Wallace – A Supposedly Fun Thing I Will Never Do Again (1996) (on 5 lists)

21 st Century Susan Sontag – Regarding the Pain of Others (2003) (on 2 lists) David Foster Wallace – Consider The Lobster (2005) (on 4 lists) Etel Adnan – In the Heart of the Heart of Another Country (2005) (on 2 lists) Paul LaFarge – Destroy All Monsters (2006) (on 2 lists) Brian Doyle – Joyas Voladoras (2012) (on 2 lists)

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Famous English Authors and Their Contributions to Literature

Published on: May 2, 2024

The vast scope of literature includes entertaining and enlightening works that span numerous geographic locations, cultural traditions and historical periods. Every category presents its own unique flavor and holds strong literary merit, but English literature has long captivated readers with its compelling themes and vivid descriptions.

It’s difficult to appreciate the true scope and power of English literature without paying homage to the myriad of literary geniuses who have contributed to this impressive body of work. Keep reading for an overview of the most famous English authors, ranging from Middle English poets to contemporary English writers.

The Foundation of English Literature

The term “English literature” is often described as the body of works penned by those living in the British Isles — beginning during the 7th century and extending to the present day. The poem  Beowulf  is often highlighted as the earliest verifiable work of English literature, but it is challenging to date and attribute the works of the 1st millennium.

Middle English helped usher in the literary formats and themes we take for granted today. The transition from Middle English to Early Modern English was marked by two literary masters who were clearly ahead of their time: Geoffrey Chaucer and William Shakespeare.

Geoffrey Chaucer and the Middle Ages

Often referred to as the father of English literature,  Geoffrey Chaucer  is best known as the creative force behind  The Canterbury Tales . That said, he penned many other poems and was also a philosopher, an astronomer and a civil servant.

Chaucer’s works were as eclectic as his numerous interests and professional pursuits. Philosophical quandaries were integrated into many of his poems, along with plenty of humor.

During the 1390s, Chaucer set to work on his magnum opus, The Canterbury Tales . Primarily written in verse, these tales center around a group of storytelling pilgrims who engage in a contest as they travel on horseback to a shrine in Canterbury. In addition to being wonderfully entertaining and thought-provoking, this series of stories popularized the use of Middle English in literature.

William Shakespeare and the Elizabethan Era

No discussion of famous English authors would be complete without a deep dive into the fascinating life of  William Shakespeare . Arguably history’s most famous poet and playwright, Shakespeare deserves credit for creating some of the most iconic characters not only in Elizabethan era literature, but of all time. Many of his concepts and even his phrases remain relevant to this day.

Highly prolific, Shakespeare is believed to have penned 38 plays. These include many noteworthy works that remain popular on the stage, in high school classrooms, on the silver screen and beyond:

• Romeo and Juliet
• Midsummer Night’s Dream

The Evolution of the Novel

As one of the most significant literary formats of the last few centuries, the novel has the unique power to transport us to different worlds while helping us form close connections with compelling characters.

While the novel seems like the quintessential form of English literature, its history is rather short compared to English literature as a whole. The origins of the English novel are believed to lie with early works such as  Robinson Crusoe  and  Pilgrim’s Promise . Talented female writers are believed to have brought extra emotional intensity to this format.

Jane Austen and the Rise of Realism

Featuring compelling heroines who seek both romance and self-actualization, Jane Austen’s novels are rife with social commentary. She is, perhaps, best known for the relatable novel Pride & Prejudice . This is one of the world’s most consistently popular novels and is believed to have sold over  200 million copies .  Pride and Prejudice themes like social class and reputation blend with a page-turning plot to achieve almost universal appeal.

But Pride & Prejudice  is just the beginning. Austen wrote many other novels that felt just as relatable, including  Sense & Sensibility ,  Mansfield Park  and  Emma . Readers are still drawn to her work, in part, because her characters feel so realistic. This stems from one of her primary writing techniques, which is weaving characters’ thoughts into the narrative. While common today, this was unusual for the time.

Charles Dickens and Social Commentary

Like Jane Austen,  Charles Dickens  had a knack for creating memorable characters who left a deep impression on readers. Also, like Austen, Dickens incorporated social commentary into his work, although he was more likely to discuss issues such as poverty and inequality.

Dickens was celebrated in his time and has consistently remained among the most popular novelists since his death in 1870. His most noteworthy works include:

• Oliver Twist
• A Christmas Carol
• David Copperfield
• Great Expectations

Through his compassionate work, Dickens introduced readers to the tragic struggles of street children and the infuriating corruption underscoring their plight. It is due to this frequent exploration of poverty and other social ills that similarly themed works are now referred to as “Dickensian.” Beyond this, he was influential simply because he helped to solidify the novel as a popular source of entertainment.

Romanticism and Gothic Literature

The 18th and 19th centuries were dominated by two closely aligned literary movements, Romanticism and Gothic literature. The former represented a clear rejection of order and harmony, instead bringing imaginative and spontaneous attitudes to the forefront.

Creating an atmosphere of terror, Gothic literature delivered a uniquely foreboding feel using fascinating plots involving curses and revenge. The settings were often gloomy with supernatural beings, and often, passionate romances built into these alluring works.

Mary Shelley and the Birth of Science Fiction

When most people think of science fiction, contemporary works involving space or advanced technology come to mind. However, this genre has fascinated readers for centuries. As one of the most notable Gothic literature authors,  Mary Shelley  helped usher in an appreciation of the weird and wonderful through her iconic novel  Frankenstein .

Capturing the still-relevant fear that modern science could usher in destructive forces,  Frankenstein  delved into the potentially horrific consequences of humans playing god. The novel’s writing style was also unique as an epistolary form, featuring a series of letters that functioned as narrative.

The Brontë Sisters and the Exploration of the Psyche

Charlotte, Emily and Anne Brontë enjoyed writing from a young age. While each presented distinct writing styles, they were linked not only as sisters, but also by their use of emotions to bring their characters to life.

Among the best-known works from this amazing sisterhood includes  Charlotte Brontë’s  Jane Eyre , which emphasized the search for love, independence and self-control. Featuring an intimate first-person style and a surprisingly revolutionary subtext, this novel was ahead of its time.

The destructive power of passion dominated Emily Brontë’s  Wuthering Heights , which featured wonderfully complex characters. A typical  Wuthering Heights analysis will also highlight a setting so gloomy, yet compelling, it feels like a character in and of itself.

Anne Brontë, while not as well-known today, penned one of the earliest works that could arguably be classified as feminist, The Tenant of Wildfell Hall. It detailed the effects of abuse while defying social conventions of the time.

The Modernists

Spanning a period beset with huge social and economic changes (between 1890 and World War II), the Modernist era fostered experimental writing styles while integrating then cutting-edge philosophical and psychological concepts. Feelings such as disillusionment pervaded many of these works, although there was also frequently an undercurrent of optimism.

Virginia Woolf and the Stream of Consciousness

Virginia Woolf pioneered the stream of consciousness, emphasizing non-linear writing techniques to capture the nuances of the mind and the unique flow of characters’ thought processes. By focusing on the power of the interior monologue, this approach played a significant role in her well-known novel, Mrs. Dalloway , revealing how memories can influence current perceptions and tackling important themes such as isolation and privilege.

Woolf also wrote many essays on women’s history and politics, including  A Room of One’s Own . Critiquing the patriarchal system and its stifling of female creativity, this impactful essay argued that women could only achieve their full creative potential if they also achieved financial independence.

James Joyce and the Reimagining of the Novel

Irish author  James Joyce  also relied on stream of consciousness techniques while experimenting with absurdism and integrating numerous points of view. With the short story collection  Dubliners,  he hoped to hold up a “nicely polished looking-glass” in the Irish community so that readers could finally recognize (and hopefully address) what the writer regarded as a troubling paralysis.

Joyce took his penchant for experimental writing to a new level with  Ulysses . Structured to align with Homer’s  Odyssey ,  Ulysses  featured a wide array of narrative styles. Over the years,  Ulysses  has gained what  The New Yorker  regards as a “fearsome reputation for difficulty.” Still, there is no denying its status as one of the most influential works of the 20th century.

Post-War British Literature

It is impossible to overstate the influence of World War II on British literature. This was used as a backdrop for many powerful novels and the conceptual framework for both dystopian sagas and historic fiction. There was a distinct bleakness to this period’s most acclaimed works, which decades later, continue to feel hauntingly relevant.

George Orwell and Dystopian Fiction

George Orwell’s initial breakthrough came with the allegorical novella  Animal Farm , which used anthropomorphic animals to reveal the struggle to achieve a free and just society. This novella was inspired by the Bolshevik revolution, with characters representing Karl Marx, Leon Trotsky and Joseph Stalin.

Today, Orwell is best known for the  dystopian novel   1984 , set in an imagined future involving three totalitarian states constantly at war. One of these is known as Oceania, in which the brainwashed population shows obedience and reverence for the leader Big Brother. Featuring a direct writing style and bleak language,  1984  had a huge impact on the dystopian genre and contains compelling themes that still resonate.

Doris Lessing and the Exploration of Identity

A true visionary and the winner of the Nobel Prize for Literature, Doris Lessing was an outspoken novelist who discussed everything from environmentalism to race relations. She was inspired by her childhood in Africa, with several of her early works set in what was then known as Southern Rhodesia (now Zimbabwe).

While she penned a variety of poems, essays and short stories, Lessing’s most acclaimed work is easily the novel  The Golden Notebook , which told the story of the divorced writer Anna Wulf and her mental breakdown. Featuring a fragmented style meant to reflect the similar fragmentation of society,  this saga  aimed to reveal how “any kind of single-mindedness, narrowness, obsession, was bound to lead to mental disorder, if not madness.”

Contemporary Voices

During the last few decades, contemporary writers have demonstrated a clear desire to explore social themes such as inequality and racial tension. There is an ongoing effort to push boundaries while playing with unreliable narrators, non-linear timelines and self-conscious formats such as metafiction.

Zadie Smith and the Multicultural Novel

Zadie Smith took the literary scene by storm when she released her much-anticipated debut novel  White Teeth  in 2000. An ambitious multicultural work and an immediate bestseller, this satirical family story played heavily with themes that would continue to prove popular in the decades to come. This includes the often-significant gaps between expectations and reality.

A tale of an accidental friendship between a Bengali Muslim and an Englishman,  White Teeth  is chock full of sass and beautiful storytelling. Smith has since published several other novels and short stories, along with the play  The Wife of Willesden . Many of these works continue to feature culturally diverse characters and reflections on concepts such as identity and authenticity.

Ian McEwan and the Psychological Novel

Initially devoted to Gothic stories,  Ian McEwan  quickly scored the nickname “Ian Macabre” with his bleak writing style. His efforts to shock were found both in his early novels and in the infamous suspension of his play  Solid Geometry . He earned critical acclaim with thought-provoking works such as  Amsterdam  and especially  Atonement , which was later adapted into an award-winning film.

While he often addresses broad themes by examining the impact of social events on private lives, McEwan’s work involves an intimate glimpse at the human psyche, bringing the interior worlds of his detailed characters to life. He has described one of his central goals in vivid terms, to “incite a naked hunger in readers.”

Discover a Wealth of Inspiration From English Literature

If you find the titles highlighted above compelling, consider taking a deeper dive as you pursue a  Bachelor of Arts in English . As you find inspiration, you can develop your own writing skills with Park University’s  Bachelor of Arts in English and Professional Writing . Request more information  about our English degree programs today.

Park University is accredited  by the  Higher Learning Commission .

Park University is a private, non-profit, institution of higher learning since 1875.

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43 of the Most Iconic Short Stories in the English Language

From washington irving to kristen roupenian.

Last year, I put together this list of the most iconic poems in the English language ; it’s high time to do the same for short stories. But before we go any further, you may be asking: What does “iconic” mean in this context? Can a short story really be iconic in the way of a poem, or a painting, or Elvis?

Well, who knows, but for our purposes, “iconic” means that the story has somehow wormed its way into the general cultural consciousness—a list of the best short stories in the English language would look quite different than the one below. (Also NB that in this case we’re necessarily talking about the American cultural consciousness, weird and wiggly as it is.) When something is iconic, it is a highly recognizable cultural artifact that can be used as a shorthand—which often means it has been referenced in other forms of media. You know, just like Elvis. (So for those of you heading to the comments to complain that these stories are “the usual suspects”—well, exactly.) An iconic short story may be frequently anthologized , which usually means frequently read in classrooms, something that can lead to cultural ubiquity—but interestingly, the correlation isn’t perfect. For instance, Joyce’s “Araby” is anthologized more often, but for my money “The Dead” is more iconic . Film adaptations and catchy, reworkable titles help. But in the end, for better or for worse, you know it when you see it. Which means that, like anything else, it all depends on your point of view—icon status is (like most of the ways we evaluate art) highly subjective.

So, having acknowledged that there’s no real way to make this list, but because this is what we’re all here to do, here are some of the most iconic short stories for American readers in the English language—and a few more that deserve to be more iconic than they are.

Washington Irving, “Rip Van Winkle” (1819) and “The Legend of Sleepy Hollow” (1820) I agonized over whether I should pick “Rip Van Winkle” or “The Legend of Sleepy Hollow” from Irving’s oeuvre. Both have many, many adaptations to their name and are so ubiquitous as to have drifted into the folklore realm. The latter certainly has more memorable recent adaptations, but the former  is the only one with a bridge named after it . Ah, screw it, we’ll count them both.

Edgar Allan Poe, “The Tell-Tale Heart” (1843) Poe’s early stream-of-consciousness horror story, unreliable narrator and heart beating under the floorboards and all, is certainly one of the most adapted—and even more often referenced —short stories in popular culture, and which may or may not be the source for all of the hundreds of stories in which a character is tormented by a sound only they can hear. (Still not quite as ubiquitous as Poe himself , though . . .)

Herman Melville, “Bartleby, the Scrivener” (1853) Once, while I was walking in Brooklyn, carrying my Bartleby tote bag , a woman in an SUV pulled over (on Atlantic Avenue, folks) to excitedly wave at me and yell “Melville! That’s Melville!” Which is all you really need to know about that .

Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890) I will leave it to Kurt Vonnegut, who famously wrote , “I consider anybody a twerp who hasn’t read the greatest American short story, which is “Occurrence at Owl Creek Bridge,” by Ambrose Bierce. It isn’t remotely political. It is a flawless example of American genius, like “Sophisticated Lady” by Duke Ellington or the Franklin stove.”

Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892) Odds are this was the first overtly Feminist text you ever read, at least if you’re of a certain age; it’s become a stand-in for the idea of women being driven insane by the patriarchy—and being ignored by doctors, who deem them “hysterical.” This is another one with lots of adaptations to its name, including a memorable episode of The Twilight Zone , which concludes: “Next time you’re alone, look quickly at the wallpaper, and the ceiling, and the cracks on the sidewalk. Look for the patterns and lines and faces on the wall. Look, if you can, for Sharon Miles, visible only out of the corner of your eye or… in the Twilight Zone.”

Henry James, “The Turn of the Screw” (1898) Technically a novella, but discussed enough as a story that I’ll include it here (same goes for a couple of others on this list, including “The Metamorphosis”). It has, as a work of literature, inspired a seemingly endless amount of speculation, criticism, unpacking, and stance-taking. “In comment after comment, article after article, the evidence has been sifted through and judgments delivered,” Brad Leithauser wrote in The New Yorker . Fine, intelligent readers have confirmed the validity of the ghosts (Truman Capote); equally fine and intelligent readers have thunderously established the governess’s madness (Edmund Wilson).” And nothing that inspires so much interpretive interest could escape the many interpretations into other media: films, episodes of television, and much other literature.

Anton Chekhov, “The Lady with the Toy Dog” (1899) Widely acknowledged as one of Chekhov’s best stories, if not  the  best, and therefore almost no students get through their years at school without reading it. Has been adapted as a film, a ballet, a play, a musical, and most importantly, a Joyce Carol Oates short story.

W. W. Jacobs, “The Monkey’s Paw” (1902) So iconic—be careful what you wish for, is the gist—that you probably didn’t even know it started out as a short story. My favorite version is, of course, the Laurie Anderson song .

O. Henry, “The Gift of the Magi” (1905) According to Wikipedia, there have been 17 different film adaptations of O. Henry’s classic short story about a couple’s thwarted Christmas; the essential format—Della sells her hair to buy Jim a watch chain; Jim sells his watch to buy Della a set of combs—has been referenced and replicated countless times beyond that. I even heard Dax Shepard refer to this story on his podcast the other day, and so I rest my case.

James Joyce, “The Dead” (1914) The last story in Joyce’s collection  Dubliners and one of the best short stories ever written; just ask anyone who wanted to have read some Joyce but couldn’t crack  Ulysses . (Or anyone who could crack  Ulysses  too.) And let’s not forget the John Huston movie starring Anjelica Huston as Gretta.

Franz Kafka, “The Metamorphosis” (1915) Everyone has to read this in school, at some point—which is probably the reason why it’s been parodied, referenced, and adapted many times in just about every format . And why not? What could be more universal than the story of the man who wakes up to find himself transformed into an enormous insect?

Richard Connell, “The Most Dangerous Game” aka “The Hounds of Zaroff” (1924) “The most popular short story ever written in English” is obviously the one about aristocrats hunting people. Widely adapted , but one of my favorite versions is the episode of Dollhouse in which a Richard Connell (no relation except the obvious) hunts Echo with a bow.

Ernest Hemingway, “The Killers” (1927) I was tempted to include “Hills Like White Elephants” because of the number of people forced to read it to learn about dialogue (happily, there are other options ), but “The Killers,” while less often anthologized, is more influential overall, and gave us not only two full length film adaptations and a Tarkovsky short but Tobias Wolff’s “Bullet in the Brain,” which I do think is a very good story to learn from, if not for dialogue, then for story-making.

Zora Neale Hurston, “The Gilded Six-Bits” (1933) Hurston is most famous for  Their Eyes Were Watching God , but those who know will tell you that this story of love, marriage, betrayal, and love again—which was also made into a 2001 film—is a classic, too.

Shirley Jackson, “The Lottery” (1948) The short story that launched a thousand letters to  The New Yorker —or if not a thousand , then at least “a torrent . . . the most mail the magazine had ever received in response to a work of fiction.” Still taught widely in schools, and still chilling.

J. D. Salinger, “A Perfect Day for Bananafish” (1948) The very first story to destroy many a young mind. In a good way, obviously.

Ray Bradbury, “There Will Come Soft Rains” (1950)

Bradbury’s work has thoroughly permeated pop culture; plenty of his stories are widely adapted and referenced, so I could have chosen a few others here (“The Veldt” is my personal favorite). But every year, the image of a smart house going on long after the death of its occupants becomes more chilling and relevant an image; we can’t help but keep going back to it.

Daphne du Maurier, “The Birds” (1952) I know it’s really the Hitchcock film adaptation that’s iconic, but you wouldn’t have the Hitchcock without the du Maurier.

Flannery O’Connor, “A Good Man Is Hard to Find” (1953) Another oft-assigned (and oft-argued-over) story, this one with so many title rip-offs .

Elmore Leonard, “Three-Ten to Yuma” (1953) I know, I know, it’s “Fire in the Hole” that gave us  Justified , and we’re all so very glad. But “Three-Ten to Yuma” has more name recognition—after all, it was adapted into two separate and very good films, the former of which (1957) actually created contemporary slang : in Cuba, Americans are called yumas and the United States is  La Yuma .

Philip K. Dick, “The Minority Report” (1956) As a whole, Philip K. Dick’s work has had massive influence on literature, film, pop culture, and our cultural attitudes toward technology. Most of his best-known works are novels, but when a short story gets made into a Steven Spielberg/Tom Cruise film, you’re basically assuring iconic status right there. (Or at least that’s how it used to work…)

James Baldwin, “Sonny’s Blues” (1957) Baldwin’s best known short story pops up in plenty of anthologies, and can be thanked for being the gateway drug for many budding Baldwin acolytes.

Alan Sillitoe, “The Loneliness of the Long Distance Runner” (1959) Not only is the story itself widely known and read—just ask Rod Blagojevich ( remember him? )—that title has been rewritten and reused thousands of times for varying ends—just ask the reporter who wrote that piece about Blagojevich. Or Adrian Tomine .

John Cheever, “The Swimmer” (1964) Cheever’s most famous story nails something essential about the mid-century American sensibility, and particularly the mid-century American suburbs, which is probably why everyone knows it (it’s also frequently anthologized). Or maybe it’s more about Burt Lancaster’s little shorts ? Either way.

Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966) Another frequently anthologized and unwaveringly excellent short story; and look, it’s no one’s fault that Laura Dern turns everything she touches iconic.

Toni Cade Bambara, “The Lesson” (1972) Yet another story often assigned in schools (the good ones, anyway), which hopefully means one day we’ll wake up and find out that everyone has read it.

Ursula K. Le Guin, “The Ones Who Walk Away from Omelas” (1973) As others have pointed out before me , Le Guin’s most read and most famous short story is almost always chillingly relevant.

Donald Barthelme, “The School” (1974) This one might only be iconic for writers, but considering it’s one of the best short stories ever written (according to me), I simply couldn’t exclude it.

Jamaica Kincaid, “Girl” (1978) Another staple of a writer’s education, and a reader’s; “are you really going to be the kind of woman who the baker won’t let near the bread?” being a kind of bandied-about shibboleth.

Raymond Carver, “What We Talk About When We Talk About Love” (1981) I struggled choosing a Carver story for this list—”Cathedral” is more important, and probably more read, but “What We Talk About When We Talk About Love” has transcended its own form more completely, at least with its title, which has spawned a host of echoes, including Haruki Murakami’s What I Talk About When I Talk About Running , and Nathan Englander’s What We Talk About When We Talk About Anne Frank , to the point that I think it’s recognizable to just about everyone. A quick Google search will reveal that the framing has been used for almost everything you can think of. There’s—and I kid you not—a What We Talk About When We Talk About Books/War/Sex/God/The Tube/Games/Rape/Money/Creative Writing/Nanoclusters/Hebrew/The Weather/Defunding the Police/Free Speech/Taxes/Holes/Climate/The Moon/Waste/Cancel Culture/Impeachment/Gender/Digital Inclusions/Exacerbations of Chronic Obstructive Pulmonary Disease/COVID-19 . You see what I’m getting at here.

Stephen King, “The Body” (1982) Otherwise known, to the general public, as  Stand By Me .

Amy Hempel, “In the Cemetery Where Al Jolson is Buried” (1983) Want to feel bad about your writing? This was the first short story Amy Hempel ever wrote.

Lorrie Moore, “How to Be an Other Woman” (1985) A very very good short story that has given rise to so many bad ones.

Mary Gaitskill, “Secretary” (1988) Bad Behavior  is iconic as a whole , but probably the story to have most acutely permeated the wider culture is “Secretary,” on account of the film adaptation starring Maggie Gyllenhaal and James Spader—despite the fact that it totally butchers the ending.

Amy Tan, “Rules of the Game” (1989) This story originally appeared in The Joy Luck Club , Tan’s mega-bestseller, so probably almost everyone you know has read it. The film version didn’t hurt either.

Tim O’Brien, “The Things They Carried” (1990) Why, it’s only the most anthologized short story of the last 30(ish) years. That’s why even the people you know who haven’t picked up a book in their adult lives have read it.

Denis Johnson, “Emergency” (1992) When I left New York to go get my MFA, a friend gave me a copy of Jesus’ Son with the inscription “Because everyone in your MFA will talk about it and you don’t want to be the girl who hasn’t read it. (It’s also really good).” He was not wrong.

Annie Proulx, “Brokeback Mountain” (1997) Everybody knows this story—even if they only know it from its (massively successful and influential, not to mention the true Best Picture Winner of 2006) film adaptation—and not for nothing, coming out when it did, it went a long way towards making some Americans more comfortable with homosexuality. Open the floodgates, baby.

Jhumpa Lahiri, “A Temporary Matter” (1998) The story that made Lahiri a household name.

Ted Chiang, “Story of Your Life” (1998) Otherwise known as  Arrival . (Also technically a novella.)

Alice Munro, “The Bear Came Over the Mountain” (2001) At this point, almost everyone has read at least some  Alice Munro, right? This story is one of the best from one of the greats, and was also adapted into a fantastic but heartbreaking film,  Away From Her .

Kristen Roupenian, “Cat Person” (2017) Sure, it’s recent, so it’s not quite as ingrained as some of the others here, but it’s also the story that broke the internet —and quite possibly the only New Yorker  story that thousands of people have ever read.

Finally, as is often the case with lists that summarize the mainstream American literary canon of the last 200 years, it is impossible not to recognize that the list above is much too white and male. So for our future and continuing iconography, your friends at Literary Hub suggest reading the following stories, both new and old:

Eudora Welty, “Why I Live at the P.O.” (1941) Clarice Lispector, “The Imitation of the Rose” (1960) Leslie Marmon Silko, “The Man to Send Rain Clouds” (1969) Ralph Ellison, “Cadillac Flambé” (1973) Octavia Butler, “Bloodchild” (1984) Bharati Mukherjee, “The Management of Grief” (1988) John Edgar Wideman, “Fever” (1990) Sandra Cisneros, “Woman Hollering Creek” (1991) Christine Schutt, “To Have and to Hold” (1996) ZZ Packer, “Brownies” (2003) Edward P. Jones, “Marie” (2004) Karen Russell, “Haunting Olivia” (2005) Kelly Link, “Stone Animals” (2005) Edwidge Danticat, “Ghosts” (2008) Yiyun Li, “A Man Like Him” (2008) Claire Vaye Watkins, “Ghosts, Cowboys” (2009) Ottessa Moshfegh, “Bettering Myself” (2013) Amelia Gray, “House Heart” (2013) Zadie Smith, “Meet the President!” (2013) Carmen Maria Machado, “The Husband Stitch” (2014) Diane Cook, “The Way the End of Days Should Be” (2014) Kirstin Valdez Quade, “Five Wounds” (2015) NoViolet Bulawayo, “Shhhh” (2015) Mariana Enriquez, “Spiderweb” (2016) Ken Liu, “State Change” (2016) Helen Oyeyemi, “Sorry Doesn’t Sweeten Her Tea” (2016) Lesley Nneka Arimah, “What Is a Volcano?” (2017) James McBride, “The Christmas Dance” (2017) Viet Thanh Nguyen, “War Years” (2017) Nana Kwame Adjei-Brenyah, “Friday Black” (2018). . .

Honestly, this list could go on forever, but let’s stop and say: more short stories of all kinds in the hands of the general public, please!

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Paul Auster, American author of The New York Trilogy, dies aged 77

The writer of The New York Trilogy, Leviathan and 4 3 2 1 – known for his stylised postmodernist fiction – has died from complications of lung cancer

‘A literary voice for the ages’: Paul Auster remembered by Ian McEwan, Joyce Carol Oates and more

Paul Auster – a life in quotes

Paul Auster – a life in pictures

Paul Auster, the author of 34 books including the acclaimed New York Trilogy, has died aged 77.

The author died on Tuesday due to complications from lung cancer, the Guardian has been told.

Auster became known for his “highly stylised, quirkily riddlesome postmodernist fiction in which narrators are rarely other than unreliable and the bedrock of plot is continually shifting,” the novelist Joyce Carol Oates wrote in 2010.

His stories often play with themes of coincidence, chance and fate. Many of his protagonists are writers themselves, and his body of work is self-referential, with characters from early novels appearing again in later ones.

“Auster has established one of the most distinctive niches in contemporary literature,” wrote critic Michael Dirda in 2008. “His narrative voice is as hypnotic as that of the Ancient Mariner. Start one of his books and by page two you cannot choose but hear.”

The author was born in Newark, New Jersey, in 1947. According to Auster, his writing life began at the age of eight when he missed out on getting an autograph from his baseball hero, Willie Mays, because neither he nor his parents had carried a pencil to the game. From then on, he took a pencil everywhere. “If there’s a pencil in your pocket, there’s a good chance that one day you’ll feel tempted to start using it,” he wrote in a 1995 essay .

While hiking during a summer camp aged 14, Auster witnessed a boy inches away from him getting struck by lightning and dying instantly – an event that he said “absolutely changed” his life and that he thought about “every day”. Chance, “understandably, became a recurring theme in his fiction,” wrote the critic Laura Miller in 2017. A similar incident occurs in Auster’s 2017 Booker-shortlisted novel 4 3 2 1: one of the book’s four versions of protagonist Archie Ferguson runs under a tree at a summer camp and is killed by a falling branch when lightning strikes.

Auster studied at Columbia University before moving to Paris in the early 1970s, where he worked a variety of jobs, including translation, and lived with his “on-again off-again” girlfriend, the writer Lydia Davis, whom he had met while at college. In 1974, they returned to the US and married. In 1977, the couple had a son, Daniel, but separated shortly afterwards.

In January 1979, Auster’s father, Samuel, died, and the event became the seed for the writer’s first memoir, The Invention of Solitude, published in 1982. In it, Auster revealed that his paternal grandfather was shot and killed by his grandmother, who was acquitted on grounds of insanity. “A boy cannot live through this kind of thing without being affected by it as a man,” Auster wrote in reference to his father, with whom he described himself having an “un-movable relationship, cut off from each other on opposite sides of a wall”.

Auster’s breakthrough came with the 1985 publication of City of Glass, the first novel in his New York trilogy. While the books are ostensibly mystery stories, Auster wielded the form to ask existential questions about identity. “The more [Auster’s detectives] stalk their eccentric quarry, the more they seem actually to be stalking the Big Questions – the implications of authorship, the enigmas of epistemology, the veils and masks of language,” wrote the critic and screenwriter Stephen Schiff in 1987.

Auster published regularly throughout the 80s, 90s and 00s, writing more than a dozen novels including Moon Palace (1989), The Music of Chance (1990), The Book of Illusions (2002) and Oracle Night (2003). He also became involved in film, writing the screenplay for Smoke, directed by Wayne Wang, for which he won the Independent Spirit award for best first screenplay in 1995.

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In 1981, Auster met the writer Siri Hustvedt and they married the following year. In 1987 they had a daughter, Sophie, who became a singer and actor. Auster’s 1992 novel Leviathan, about a man who accidentally blows himself up, features a character called Iris Vegan, who is the heroine of Hustvedt’s first novel, The Blindfold.

Auster was better known in Europe than in his native United States: “Merely a bestselling author in these parts,” read a 2007 New York magazine article , “Auster is a rock star in Paris.” In 2006, he was awarded Spain’s Prince of Asturias prize for literature, and in 1993 he was given the Prix Médicis Étranger for Leviathan. He was also a Commandeur de l’Ordre des Arts et des Lettres.

In April 2022, Auster and Davis’s son, Daniel, died from a drug overdose. In March 2023, Hustvedt revealed that Auster was being treated for cancer after having been diagnosed the previous December. His final novel, Baumgartner, about a widowed septuagenarian writer, was published in October.

Auster is survived by Hustvedt, their daughter Sophie Auster, his sister Janet Auster, and a grandson.

• Paul Auster

More on this story

Paul Auster obituary

‘I remember Paul Auster’: a tribute by Jonathan Lethem to his friend

‘Getting a book idea feels like a buzz in the head’: Paul Auster – a life in quotes

Brooklyn’s bard: Paul Auster’s tricksy fiction captivated a generation

‘This might be the last thing I ever write’: Paul Auster on cancer, connection and the fallacy of closure

Paul Auster: ‘The gun that killed my grandfather was the same gun that ruined my father’s life’

Baumgartner by Paul Auster review – love, ageing and loss

Paul Auster: ‘It’s distress that generates art’

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