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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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How to Write a Personal History

Last Updated: December 28, 2023 Approved

This article was co-authored by Pete Canalichio . Pete Canalichio is a Brand Strategist, Licensing Expert, and Founder of BrandAlive. With nearly 30 years of experience at companies such as Coca-Cola and Newell Brands, he specializes in helping brands find the most authentic parts of their story to build a brand strategy. Pete holds an MBA from the University of North Carolina at Chapel Hill and a BS in Physics from the United States Naval Academy. In 2006, he won an MVP Award from Newell Brands for his contributions to their Global Licensing department. He’s also penned the award-winning book, Expand, Grow, Thrive. There are 8 references cited in this article, which can be found at the bottom of the page. wikiHow marks an article as reader-approved once it receives enough positive feedback. In this case, 90% of readers who voted found the article helpful, earning it our reader-approved status. This article has been viewed 176,863 times.

Writing your personal history is something that you may do either as part of an application or as a literary endeavor. In a personal statement for an application, you will need to provide information about history that proves you have the knowledge and experience necessary to perform certain tasks. A personal history, written for your own enjoyment or for publication, will relate your life’s story, requiring some research and a much larger time commitment. With some preparation and a little time management, you will be able to write a strong personal history that will impress an application committee or entertain readers.

Writing a Personal Statement for an Application

• For example, if you are applying to get into medical school and a graduate program in English somewhere else, you will want to avoid spending a lot of time highlighting your extensive medical knowledge in the English application or your remarkable writing skills in the medical school application. Although a review committee might be impressed that you have such diverse interests, they also want to make sure that you have the requisite knowledge to be in the program.

• However, this does not mean that your statement should be formulaic or bland. Follow the guidelines, but give your readers something exciting or memorable to take away from your letter.
• In general medical and law schools ask for a more open-ended personal statement. One the other hand, business and graduate schools tend to ask specific questions. However, each application is different and has it owns guidelines, so be sure to follow those.

• Avoid going off on tangents. Consider whether or not a certain topic fits in your overall theme. If it does not, do not include it.

• Briefly introduce yourself and then provide the framework that the rest of the essay will follow. Allude to things you will discuss later, but do not give it all away.
• Avoid clichés like “my names is Steve and I’m applying to join your program” or “Allow me to introduce myself…”

• For example, if you are applying for medical school, list any experience you have volunteering in a clinic or specific pre-med courses that you found particularly interesting.
• If you are applying for graduate school, be sure to discuss any relevant scholars you like or books you find particularly interesting.

• Avoid clichés like “thank you for taking the time to consider my application” or “It is my sincere hope that you will grant me the opportunity to attend your school.”

• You can also ask someone else to proofread your essay for you. It is often hard for most people to adequately proofread their own writing, so finding someone to read your statement will likely make it better.

Creating Your Own Personal History

• Some examples of important documents might be your birth certificate, photographs or videos of you, correspondence (letters and emails) with other people, and old social media posts.

• Many cellphones have a recording function that will help you save your interviews.

• Try creating a spreadsheet that lists all of the sources that you would like to use. This will help you find them quickly and not lose them.

• You can organize your story thematically to emphasize important interests or life lessons. For example, if you want to highlight your skills as an athlete, you may only mention the life events that are relevant to that subject.
• You can also chronologically format your history to tell a sequential story. Start with the earliest relevant event and move forward in time from there.
• Ultimately, it is up to you how you organize your story, find a style that makes sense and tells your history.

• Try setting a timer for 45 minutes and write until it goes off. Then, take a 15 minute break and start writing again once those 15 minutes are up. Repeat this process as long as you feel fresh and engaged in your writing.
• Find a writing schedule that works best for you.

• If you are publishing your personal history, you will have to work with an editor to get your manuscript ready for publishing. In this circumstance, the editor’s comments often need to be addressed in the manuscript.

Developing Good Writing Habits

• A journal might be useful for freewriting. It will allow you to jot ideas down if you are on the go.

• Keep your documents in a digital spreadsheet for quick reference. You could also organize them in folders if that is more convenient.

• Consider sharing your outline or timeline with someone who you believe will give you good feedback.

• Avoid loud and busy spaces. These can be audibly and visibly distracting. Although it might be cool to work in a coffee shop, it is not an ideal place to write.

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Expert Interview

Thanks for reading our article! If you'd like to learn more about writing a personal history, check out our in-depth interview with Pete Canalichio .

• ↑ https://owl.english.purdue.edu/owl/owlprint/642/
• ↑ http://www.williamcronon.net/researching/documents.htm
• ↑ https://terpconnect.umd.edu/~jklumpp/comm712/narrative.html
• ↑ https://www.inc.com/glenn-leibowitz/8-simple-writing-strategies-that-helped-stephen-king-sell-350-million-books.html
• ↑ http://www.publishersweekly.com/pw/by-topic/authors/pw-select/article/59767-why-all-self-publishers-need-a-good-editor.html
• ↑ https://www.grinnell.edu/sites/default/files/documents/Writing-Personal-Statements-for-Scholarship-Applications.pdf
• ↑ http://writing2.richmond.edu/writing/wweb/outline.html
• ↑ https://lifehacker.com/how-to-stick-to-a-writing-schedule-1653234644

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10 Personal Statement Essay Examples That Worked

What’s covered:, what is a personal statement.

• Essay 1: Summer Program
• Essay 2: Being Bangladeshi-American
• Essay 3: Why Medicine
• Essay 4: Love of Writing
• Essay 5: Starting a Fire
• Essay 6: Dedicating a Track
• Essay 7: Body Image and Eating Disorders
• Essay 8: Becoming a Coach
• Essay 9: Eritrea
• Essay 10: Journaling
• Is Your Personal Statement Strong Enough?

Your personal statement is any essay that you must write for your main application, such as the Common App Essay , University of California Essays , or Coalition Application Essay . This type of essay focuses on your unique experiences, ideas, or beliefs that may not be discussed throughout the rest of your application. This essay should be an opportunity for the admissions officers to get to know you better and give them a glimpse into who you really are.

In this post, we will share 10 different personal statements that were all written by real students. We will also provide commentary on what each essay did well and where there is room for improvement, so you can make your personal statement as strong as possible!

Please note: Looking at examples of real essays students have submitted to colleges can be very beneficial to get inspiration for your essays. You should never copy or plagiarize from these examples when writing your own essays. Colleges can tell when an essay isn’t genuine and will not view students favorably if they plagiarized. 

Personal Statement Examples

Essay example #1: exchange program.

The twisting roads, ornate mosaics, and fragrant scent of freshly ground spices had been so foreign at first. Now in my fifth week of the SNYI-L summer exchange program in Morocco, I felt more comfortable in the city. With a bag full of pastries from the market, I navigated to a bus stop, paid the fare, and began the trip back to my host family’s house. It was hard to believe that only a few years earlier my mom was worried about letting me travel around my home city on my own, let alone a place that I had only lived in for a few weeks. While I had been on a journey towards self-sufficiency and independence for a few years now, it was Morocco that pushed me to become the confident, self-reflective person that I am today.

As a child, my parents pressured me to achieve perfect grades, master my swim strokes, and discover interesting hobbies like playing the oboe and learning to pick locks. I felt compelled to live my life according to their wishes. Of course, this pressure was not a wholly negative factor in my life –– you might even call it support. However, the constant presence of my parents’ hopes for me overcame my own sense of desire and led me to become quite dependent on them. I pushed myself to get straight A’s, complied with years of oboe lessons, and dutifully attended hours of swim practice after school. Despite all these achievements, I felt like I had no sense of self beyond my drive for success. I had always been expected to succeed on the path they had defined. However, this path was interrupted seven years after my parents’ divorce when my dad moved across the country to Oregon.

I missed my dad’s close presence, but I loved my new sense of freedom. My parents’ separation allowed me the space to explore my own strengths and interests as each of them became individually busier. As early as middle school, I was riding the light rail train by myself, reading maps to get myself home, and applying to special academic programs without urging from my parents. Even as I took more initiatives on my own, my parents both continued to see me as somewhat immature. All of that changed three years ago, when I applied and was accepted to the SNYI-L summer exchange program in Morocco. I would be studying Arabic and learning my way around the city of Marrakesh. Although I think my parents were a little surprised when I told them my news, the addition of a fully-funded scholarship convinced them to let me go.

I lived with a host family in Marrakesh and learned that they, too, had high expectations for me. I didn’t know a word of Arabic, and although my host parents and one brother spoke good English, they knew I was there to learn. If I messed up, they patiently corrected me but refused to let me fall into the easy pattern of speaking English just as I did at home. Just as I had when I was younger, I felt pressured and stressed about meeting their expectations. However, one day, as I strolled through the bustling market square after successfully bargaining with one of the street vendors, I realized my mistake. My host family wasn’t being unfair by making me fumble through Arabic. I had applied for this trip, and I had committed to the intensive language study. My host family’s rules about speaking Arabic at home had not been to fulfill their expectations for me, but to help me fulfill my expectations for myself. Similarly, the pressure my parents had put on me as a child had come out of love and their hopes for me, not out of a desire to crush my individuality.

As my bus drove through the still-bustling market square and past the medieval Ben-Youssef madrasa, I realized that becoming independent was a process, not an event. I thought that my parents’ separation when I was ten had been the one experience that would transform me into a self-motivated and autonomous person. It did, but that didn’t mean that I didn’t still have room to grow. Now, although I am even more self-sufficient than I was three years ago, I try to approach every experience with the expectation that it will change me. It’s still difficult, but I understand that just because growth can be uncomfortable doesn’t mean it’s not important.

What the Essay Did Well

This is a nice essay because it delves into particular character trait of the student and how it has been shaped and matured over time. Although it doesn’t focus the essay around a specific anecdote, the essay is still successful because it is centered around this student’s independence. This is a nice approach for a personal statement: highlight a particular trait of yours and explore how it has grown with you.

The ideas in this essay are universal to growing up—living up to parents’ expectations, yearning for freedom, and coming to terms with reality—but it feels unique to the student because of the inclusion of details specific to them. Including their oboe lessons, the experience of riding the light rail by themselves, and the negotiations with a street vendor helps show the reader what these common tropes of growing up looked like for them personally. 

Another strength of the essay is the level of self-reflection included throughout the piece. Since there is no central anecdote tying everything together, an essay about a character trait is only successful when you deeply reflect on how you felt, where you made mistakes, and how that trait impacts your life. The author includes reflection in sentences like “ I felt like I had no sense of self beyond my drive for success, ” and “ I understand that just because growth can be uncomfortable doesn’t mean it’s not important. ” These sentences help us see how the student was impacted and what their point of view is.

What Could Be Improved

The largest change this essay would benefit from is to show not tell. The platitude you have heard a million times no doubt, but for good reason. This essay heavily relies on telling the reader what occurred, making us less engaged as the entire reading experience feels more passive. If the student had shown us what happens though, it keeps the reader tied to the action and makes them feel like they are there with the student, making it much more enjoyable to read. 

For example, they tell us about the pressure to succeed their parents placed on them: “ I pushed myself to get straight A’s, complied with years of oboe lessons, and dutifully attended hours of swim practice after school.”  They could have shown us what that pressure looked like with a sentence like this: “ My stomach turned somersaults as my rattling knee thumped against the desk before every test, scared to get anything less than a 95. For five years the painful squawk of the oboe only reminded me of my parents’ claps and whistles at my concerts. I mastered the butterfly, backstroke, and freestyle, fighting against the anchor of their expectations threatening to pull me down.”

If the student had gone through their essay and applied this exercise of bringing more detail and colorful language to sentences that tell the reader what happened, the essay would be really great. 

Table of Contents

Essay Example #2: Being Bangladeshi-American

Life before was good: verdant forests, sumptuous curries, and a devoted family.

Then, my family abandoned our comfortable life in Bangladesh for a chance at the American dream in Los Angeles. Within our first year, my father was diagnosed with thyroid cancer. He lost his battle three weeks before my sixth birthday. Facing a new country without the steady presence of my father, we were vulnerable — prisoners of hardship in the land of the free. We resettled in the Bronx, in my uncle’s renovated basement. It was meant to be our refuge, but I felt more displaced than ever. Gone were the high-rise condos of West L.A.; instead, government projects towered over the neighborhood. Pedestrians no longer smiled and greeted me; the atmosphere was hostile, even toxic. Schoolkids were quick to pick on those they saw as weak or foreign, hurling harsh words I’d never heard before.

Meanwhile, my family began integrating into the local Bangladeshi community. I struggled to understand those who shared my heritage. Bangladeshi mothers stayed home while fathers drove cabs and sold fruit by the roadside — painful societal positions. Riding on crosstown buses or walking home from school, I began to internalize these disparities. During my fleeting encounters with affluent Upper East Siders, I saw kids my age with nannies, parents who wore suits to work, and luxurious apartments with spectacular views. Most took cabs to their destinations: cabs that Bangladeshis drove. I watched the mundane moments of their lives with longing, aching to plant myself in their shoes. Shame prickled down my spine. I distanced myself from my heritage, rejecting the traditional panjabis worn on Eid and refusing the torkari we ate for dinner every day. 

As I grappled with my relationship with the Bangladeshi community, I turned my attention to helping my Bronx community by pursuing an internship with Assemblyman Luis Sepulveda. I handled desk work and took calls, spending the bulk of my time actively listening to the hardships constituents faced — everything from a veteran stripped of his benefits to a grandmother unable to support her bedridden grandchild.

I’d never exposed myself to stories like these, and now I was the first to hear them. As an intern, I could only assist in what felt like the small ways — pointing out local job offerings, printing information on free ESL classes, reaching out to non-profits. But to a community facing an onslaught of intense struggles, I realized that something as small as these actions could have vast impacts. Seeing the immediate consequences of my actions inspired me. Throughout that summer, I internalized my community’s daily challenges in a new light. I began to stop seeing the prevalent underemployment and cramped living quarters less as sources of shame. Instead, I saw them as realities that had to be acknowledged, but could ultimately be remedied. I also realized the benefits of the Bangladeshi culture I had been so ashamed of. My Bangla language skills were an asset to the office, and my understanding of Bangladeshi etiquette allowed for smooth communication between office staff and its constituents. As I helped my neighbors navigate city services, I saw my heritage with pride — a perspective I never expected to have.

I can now appreciate the value of my unique culture and background, and of living with less. This perspective offers room for progress, community integration, and a future worth fighting for. My time with Assemblyman Sepulveda’s office taught me that I can be a change agent in enabling this progression. Far from being ashamed of my community, I want to someday return to local politics in the Bronx to continue helping others access the American Dream. I hope to help my community appreciate the opportunity to make progress together. By embracing reality, I learned to live it. Along the way, I discovered one thing: life is good, but we can make it better.

This student’s passion for social justice and civic duty shines through in this essay because of how honest it is. Sharing their personal experience with immigrating, moving around, being an outsider, and finding a community allows us to see the hardships this student has faced and builds empathy towards their situation. However, what really makes it strong is that they go beyond describing the difficulties they faced and explain the mental impact it had on them as a child: Shame prickled down my spine. I distanced myself from my heritage, rejecting the traditional panjabis worn on Eid and refusing the torkari we ate for dinner every day. 

The rejection of their culture presented at the beginning of the essay creates a nice juxtaposition with the student’s view in the latter half of the essay and helps demonstrate how they have matured. They use their experience interning as a way to delve into a change in their thought process about their culture and show how their passion for social justice began. Using this experience as a mechanism to explore their thoughts and feelings is an excellent example of how items that are included elsewhere on your application should be incorporated into your essay.

This essay prioritizes emotions and personal views over specific anecdotes. Although there are details and certain moments incorporated throughout to emphasize the author’s points, the main focus remains on the student and how they grapple with their culture and identity.  

One area for improvement is the conclusion. Although the forward-looking approach is a nice way to end an essay focused on social justice, it would be nice to include more details and imagery in the conclusion. How does the student want to help their community? What government position do they see themselves holding one day? 

A more impactful ending might look like the student walking into their office at the New York City Housing Authority in 15 years and looking at the plans to build a new development in the Bronx just blocks away from where the grew up that would provide quality housing to people in their Bangladeshi community. They would smile while thinking about how far they have come from that young kid who used to be ashamed of their culture. 

Essay Example #3: Why Medicine

I took my first trip to China to visit my cousin Anna in July of 2014. Distance had kept us apart, but when we were together, we fell into all of our old inside jokes and caught up on each other’s lives. Her sparkling personality and optimistic attitude always brought a smile to my face. This time, however, my heart broke when I saw the effects of her brain cancer; she had suffered from a stroke that paralyzed her left side. She was still herself in many ways, but I could see that the damage to her brain made things difficult for her. I stayed by her every day, providing the support she needed, whether assisting her with eating and drinking, reading to her, or just watching “Friends.” During my flight back home, sorrow and helplessness overwhelmed me. Would I ever see Anna again? Could I have done more to make Anna comfortable? I wished I could stay in China longer to care for her. As I deplaned, I wondered if I could transform my grief to help other children and teenagers in the US who suffered as Anna did.

The day after I got home, as jet lag dragged me awake a few minutes after midnight, I remembered hearing about the Family Reach Foundation (FRF) and its work with children going through treatments at the local hospital and their families. I began volunteering in the FRF’s Children’s Activity Room, where I play with children battling cancer. Volunteering has both made me appreciate my own health and also cherish the new relationships I build with the children and families. We play sports, make figures out of playdoh, and dress up. When they take on the roles of firefighters or fairies, we all get caught up in the game; for that time, they forget the sanitized, stark, impersonal walls of the pediatric oncology ward. Building close relationships with them and seeing them giggle and laugh is so rewarding — I love watching them grow and get better throughout their course of treatment.

Hearing from the parents about their children’s condition and seeing the children recover inspired me to consider medical research. To get started, I enrolled in a summer collegelevel course in Abnormal Psychology. There I worked with Catelyn, a rising college senior, on a data analysis project regarding Dissociative Identity Disorder (DID). Together, we examined the neurological etiology of DID by studying four fMRI and PET cases. I fell in love with gathering data and analyzing the results and was amazed by our final product: several stunning brain images showcasing the areas of hyper and hypoactivity in brains affected by DID. Desire quickly followed my amazement — I want to continue this project and study more brains. Their complexity, delicacy, and importance to every aspect of life fascinate me. Successfully completing this research project gave me a sense of hope; I know I am capable of participating in a large scale research project and potentially making a difference in someone else’s life through my research.

Anna’s diagnosis inspired me to begin volunteering at FRF; from there, I discovered my desire to help people further by contributing to medical research. As my research interest blossomed, I realized that it’s no coincidence that I want to study brains—after all, Anna suffered from brain cancer. Reflecting on these experiences this past year and a half, I see that everything I’ve done is connected. Sadly, a few months after I returned from China, Anna passed away. I am still sad, but as I run a toy truck across the floor and watch one of the little patients’ eyes light up, I imagine that she would be proud of my commitment to pursue medicine and study the brain.

This essay has a very strong emotional core that tugs at the heart strings and makes the reader feel invested. Writing about sickness can be difficult and doesn’t always belong in a personal statement, but in this case it works well because the focus is on how this student cared for her cousin and dealt with the grief and emotions surrounding her condition. Writing about the compassion she showed and the doubts and concerns that filled her mind keeps the focus on the author and her personality. 

This continues when she again discusses the activities she did with the kids at FRF and the personal reflection this experience allowed her to have. For example, she writes: Volunteering has both made me appreciate my own health and also cherish the new relationships I build with the children and families. We play sports, make figures out of playdoh, and dress up.

Concluding the essay with the sad story of her cousin’s passing brings the essay full circle and returns to the emotional heart of the piece to once again build a connection with the reader. However, it finishes on a hopeful note and demonstrates how this student has been able to turn a tragic experience into a source of lifelong inspiration. 

One thing this essay should be cognizant of is that personal statements should not read as summaries of your extracurricular resume. Although this essay doesn’t fully fall into that trap, it does describe two key extracurriculars the student participated in. However, the inclusion of such a strong emotional core running throughout the essay helps keep the focus on the student and her thoughts and feelings during these activities.

To avoid making this mistake, make sure you have a common thread running through your essay and the extracurriculars provide support to the story you are trying to tell, rather than crafting a story around your activities. And, as this essay does, make sure there is lots of personal reflection and feelings weaved throughout to focus attention to you rather than your extracurriculars. 

Essay Example #4: Love of Writing

“I want to be a writer.” This had been my answer to every youthful discussion with the adults in my life about what I would do when I grew up. As early as elementary school, I remember reading my writing pieces aloud to an audience at “Author of the Month” ceremonies. Bearing this goal in mind, and hoping to gain some valuable experience, I signed up for a journalism class during my freshman year. Despite my love for writing, I initially found myself uninterested in the subject and I struggled to enjoy the class. When I thought of writing, I imagined lyrical prose, profound poetry, and thrilling plot lines. Journalism required a laconic style and orderly structure, and I found my teacher’s assignments formulaic and dull. That class shook my confidence as a writer. I was uncertain if I should continue in it for the rest of my high school career.

Despite my misgivings, I decided that I couldn’t make a final decision on whether to quit journalism until I had some experience working for a paper outside of the classroom. The following year, I applied to be a staff reporter on our school newspaper. I hoped this would help me become more self-driven and creative, rather than merely writing articles that my teacher assigned. To my surprise, my time on staff was worlds away from what I experienced in the journalism class. Although I was unaccustomed to working in a fast-paced environment and initially found it burdensome to research and complete high-quality stories in a relatively short amount of time, I also found it exciting. I enjoyed learning more about topics and events on campus that I did not know much about; some of my stories that I covered in my first semester concerned a chess tournament, a food drive, and a Spanish immersion party. I relished in the freedom I had to explore and learn, and to write more independently than I could in a classroom.

Although I enjoyed many aspects of working for the paper immediately, reporting also pushed me outside of my comfort zone. I am a shy person, and speaking with people I did not know intimidated me. During my first interview, I met with the basketball coach to prepare for a story about the team’s winning streak. As I approached his office, I felt everything from my toes to my tongue freeze into a solid block, and I could hardly get out my opening questions. Fortunately, the coach was very kind and helped me through the conversation. Encouraged, I prepared for my next interview with more confidence. After a few weeks of practice, I even started to look forward to interviewing people on campus. That first journalism class may have bored me, but even if journalism in practice was challenging, it was anything but tedious.

Over the course of that year, I grew to love writing for our school newspaper. Reporting made me aware of my surroundings, and made me want to know more about current events on campus and in the town where I grew up. By interacting with people all over campus, I came to understand the breadth of individuals and communities that make up my high school. I felt far more connected to diverse parts of my school through my work as a journalist, and I realized that journalism gave me a window into seeing beyond my own experiences. The style of news writing may be different from what I used to think “writing” meant, but I learned that I can still derive exciting plots from events that may have gone unnoticed if not for my stories. I no longer struggle to approach others, and truly enjoy getting to know people and recognizing their accomplishments through my writing. Becoming a writer may be a difficult path, but it is as rewarding as I hoped when I was young.

This essay is clearly structured in a manner that makes it flow very nicely and contributes to its success. It starts with a quote to draw in the reader and show this student’s life-long passion for writing. Then it addresses the challenges of facing new, unfamiliar territory and how this student overcame it. Finally, it concludes by reflecting on this eye-opening experience and a nod to their younger self from the introduction. Having a well-thought out and sequential structure with clear transitions makes it extremely easy for the reader to follow along and take away the main idea.

Another positive aspect of the essay is the use of strong and expressive language. Sentences like “ When I thought of writing, I imagined lyrical prose, profound poetry, and thrilling plot lines ” stand out because of the intentional use of words like “lyrical”, “profound”, and “thrilling” to convey the student’s love of writing. The author also uses an active voice to capture the readers’ attention and keep us engaged. They rely on their language and diction to reveal details to the reader, for instance saying “ I felt everything from my toes to my tongue freeze into a solid block ” to describe feeling nervous.

This essay is already very strong, so there isn’t much that needs to be changed. One thing that could take the essay from great to outstanding would be to throw in more quotes, internal dialogue, and sensory descriptors.

It would be nice to see the nerves they felt interviewing the coach by including dialogue like “ Um…I want to interview you about…uh…”.  They could have shown their original distaste for journalism by narrating the thoughts running through their head. The fast-paced environment of their newspaper could have come to life with descriptions about the clacking of keyboards and the whirl of people running around laying out articles.

Essay Example #5: Starting a Fire

Was I no longer the beloved daughter of nature, whisperer of trees? Knee-high rubber boots, camouflage, bug spray—I wore the garb and perfume of a proud wild woman, yet there I was, hunched over the pathetic pile of stubborn sticks, utterly stumped, on the verge of tears. As a child, I had considered myself a kind of rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free. I knew the cracks of the earth like the scars on my own rough palms. Yet here I was, ten years later, incapable of performing the most fundamental outdoor task: I could not, for the life of me, start a fire. 

Furiously I rubbed the twigs together—rubbed and rubbed until shreds of skin flaked from my fingers. No smoke. The twigs were too young, too sticky-green; I tossed them away with a shower of curses, and began tearing through the underbrush in search of a more flammable collection. My efforts were fruitless. Livid, I bit a rejected twig, determined to prove that the forest had spurned me, offering only young, wet bones that would never burn. But the wood cracked like carrots between my teeth—old, brittle, and bitter. Roaring and nursing my aching palms, I retreated to the tent, where I sulked and awaited the jeers of my family. 

Rattling their empty worm cans and reeking of fat fish, my brother and cousins swaggered into the campsite. Immediately, they noticed the minor stick massacre by the fire pit and called to me, their deep voices already sharp with contempt. 

“Where’s the fire, Princess Clara?” they taunted. “Having some trouble?” They prodded me with the ends of the chewed branches and, with a few effortless scrapes of wood on rock, sparked a red and roaring flame. My face burned long after I left the fire pit. The camp stank of salmon and shame. 

In the tent, I pondered my failure. Was I so dainty? Was I that incapable? I thought of my hands, how calloused and capable they had been, how tender and smooth they had become. It had been years since I’d kneaded mud between my fingers; instead of scaling a white pine, I’d practiced scales on my piano, my hands softening into those of a musician—fleshy and sensitive. And I’d gotten glasses, having grown horrifically nearsighted; long nights of dim lighting and thick books had done this. I couldn’t remember the last time I had lain down on a hill, barefaced, and seen the stars without having to squint. Crawling along the edge of the tent, a spider confirmed my transformation—he disgusted me, and I felt an overwhelming urge to squash him. 

Yet, I realized I hadn’t really changed—I had only shifted perspective. I still eagerly explored new worlds, but through poems and prose rather than pastures and puddles. I’d grown to prefer the boom of a bass over that of a bullfrog, learned to coax a different kind of fire from wood, having developed a burn for writing rhymes and scrawling hypotheses. 

That night, I stayed up late with my journal and wrote about the spider I had decided not to kill. I had tolerated him just barely, only shrieking when he jumped—it helped to watch him decorate the corners of the tent with his delicate webs, knowing that he couldn’t start fires, either. When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.

This student is an excellent writer, which allows a simple story to be outstandingly compelling. The author articulates her points beautifully and creatively through her immense use of details and figurative language. Lines like “a rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees,” and “rubbed and rubbed until shreds of skin flaked from my fingers,” create vivid images that draw the reader in. 

The flowery and descriptive prose also contributes to the nice juxtaposition between the old Clara and the new Clara. The latter half of the essay contrasts elements of nature with music and writing to demonstrate how natural these interests are for her now. This sentence perfectly encapsulates the contrast she is trying to build: “It had been years since I’d kneaded mud between my fingers; instead of scaling a white pine, I’d practiced scales on my piano, my hands softening into those of a musician—fleshy and sensitive.”

In addition to being well-written, this essay is thematically cohesive. It begins with the simple introduction “Fire!” and ends with the following image: “When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.” This full-circle approach leaves readers satisfied and impressed.

There is very little this essay should change, however one thing to be cautious about is having an essay that is overly-descriptive. We know from the essay that this student likes to read and write, and depending on other elements of her application, it might make total sense to have such a flowery and ornate writing style. However, your personal statement needs to reflect your voice as well as your personality. If you would never use language like this in conversation or your writing, don’t put it in your personal statement. Make sure there is a balance between eloquence and your personal voice.

Essay Example #6: Dedicating a Track

“Getting beat is one thing – it’s part of competing – but I want no part in losing.” Coach Rob Stark’s motto never fails to remind me of his encouragement on early-morning bus rides to track meets around the state. I’ve always appreciated the phrase, but an experience last June helped me understand its more profound, universal meaning.

Stark, as we affectionately call him, has coached track at my high school for 25 years. His care, dedication, and emphasis on developing good character has left an enduring impact on me and hundreds of other students. Not only did he help me discover my talent and love for running, but he also taught me the importance of commitment and discipline and to approach every endeavor with the passion and intensity that I bring to running. When I learned a neighboring high school had dedicated their track to a longtime coach, I felt that Stark deserved similar honors.

Our school district’s board of education indicated they would only dedicate our track to Stark if I could demonstrate that he was extraordinary. I took charge and mobilized my teammates to distribute petitions, reach out to alumni, and compile statistics on the many team and individual champions Stark had coached over the years. We received astounding support, collecting almost 3,000 signatures and pages of endorsements from across the community. With help from my teammates, I presented this evidence to the board.

They didn’t bite. 

Most members argued that dedicating the track was a low priority. Knowing that we had to act quickly to convince them of its importance, I called a team meeting where we drafted a rebuttal for the next board meeting. To my surprise, they chose me to deliver it. I was far from the best public speaker in the group, and I felt nervous about going before the unsympathetic board again. However, at that second meeting, I discovered that I enjoy articulating and arguing for something that I’m passionate about.

Public speaking resembles a cross country race. Walking to the starting line, you have to trust your training and quell your last minute doubts. When the gun fires, you can’t think too hard about anything; your performance has to be instinctual, natural, even relaxed. At the next board meeting, the podium was my starting line. As I walked up to it, familiar butterflies fluttered in my stomach. Instead of the track stretching out in front of me, I faced the vast audience of teachers, board members, and my teammates. I felt my adrenaline build, and reassured myself: I’ve put in the work, my argument is powerful and sound. As the board president told me to introduce myself, I heard, “runners set” in the back of my mind. She finished speaking, and Bang! The brief silence was the gunshot for me to begin. 

The next few minutes blurred together, but when the dust settled, I knew from the board members’ expressions and the audience’s thunderous approval that I had run quite a race. Unfortunately, it wasn’t enough; the board voted down our proposal. I was disappointed, but proud of myself, my team, and our collaboration off the track. We stood up for a cause we believed in, and I overcame my worries about being a leader. Although I discovered that changing the status quo through an elected body can be a painstakingly difficult process and requires perseverance, I learned that I enjoy the challenges this effort offers. Last month, one of the school board members joked that I had become a “regular” – I now often show up to meetings to advocate for a variety of causes, including better environmental practices in cafeterias and safer equipment for athletes.

Just as Stark taught me, I worked passionately to achieve my goal. I may have been beaten when I appealed to the board, but I certainly didn’t lose, and that would have made Stark proud.

This essay effectively conveys this student’s compassion for others, initiative, and determination—all great qualities to exemplify in a personal statement!

Although they rely on telling us a lot of what happened up until the board meeting, the use of running a race (their passion) as a metaphor for public speaking provides a lot of insight into the fear that this student overcame to work towards something bigger than themself. Comparing a podium to the starting line, the audience to the track, and silence to the gunshot is a nice way of demonstrating this student’s passion for cross country running without making that the focus of the story.

The essay does a nice job of coming full circle at the end by explaining what the quote from the beginning meant to them after this experience. Without explicitly saying “ I now know that what Stark actually meant is…” they rely on the strength of their argument above to make it obvious to the reader what it means to get beat but not lose. 

One of the biggest areas of improvement in the intro, however, is how the essay tells us Stark’s impact rather than showing us: His care, dedication, and emphasis on developing good character has left an enduring impact on me and hundreds of other students. Not only did he help me discover my talent and love for running, but he also taught me the importance of commitment and discipline and to approach every endeavor with the passion and intensity that I bring to running.

The writer could’ve helped us feel a stronger emotional connection to Stark if they had included examples of Stark’s qualities, rather than explicitly stating them. For example, they could’ve written something like: Stark was the kind of person who would give you gas money if you told him your parents couldn’t afford to pick you up from practice. And he actually did that—several times. At track meets, alumni regularly would come talk to him and tell him how he’d changed their lives. Before Stark, I was ambivalent about running and was on the JV team, but his encouragement motivated me to run longer and harder and eventually make varsity. Because of him, I approach every endeavor with the passion and intensity that I bring to running.

Essay Example #7: Body Image and Eating Disorders

I press the “discover” button on my Instagram app, hoping to find enticing pictures to satisfy my boredom. Scrolling through, I see funny videos and mouth-watering pictures of food. However, one image stops me immediately. A fit teenage girl with a “perfect body” relaxes in a bikini on a beach. Beneath it, I see a slew of flattering comments. I shake with disapproval over the image’s unrealistic quality. However, part of me still wants to have a body like hers so that others will make similar comments to me.

I would like to resolve a silent issue that harms many teenagers and adults: negative self image and low self-esteem in a world where social media shapes how people view each other. When people see the façades others wear to create an “ideal” image, they can develop poor thought patterns rooted in negative self-talk. The constant comparisons to “perfect” others make people feel small. In this new digital age, it is hard to distinguish authentic from artificial representations.

When I was 11, I developed anorexia nervosa. Though I was already thin, I wanted to be skinny like the models that I saw on the magazine covers on the grocery store stands. Little did I know that those models probably also suffered from disorders, and that photoshop erased their flaws. I preferred being underweight to being healthy. No matter how little I ate or how thin I was, I always thought that I was too fat. I became obsessed with the number on the scale and would try to eat the least that I could without my parents urging me to take more. Fortunately, I stopped engaging in anorexic behaviors before middle school. However, my underlying mental habits did not change. The images that had provoked my disorder in the first place were still a constant presence in my life.

By age 15, I was in recovery from anorexia, but suffered from depression. While I used to only compare myself to models, the growth of social media meant I also compared myself to my friends and acquaintances. I felt left out when I saw my friends’ excitement about lake trips they had taken without me. As I scrolled past endless photos of my flawless, thin classmates with hundreds of likes and affirming comments, I felt my jealousy spiral. I wanted to be admired and loved by other people too. However, I felt that I could never be enough. I began to hate the way that I looked, and felt nothing in my life was good enough. I wanted to be called “perfect” and “body goals,” so I tried to only post at certain times of day to maximize my “likes.” When that didn’t work, I started to feel too anxious to post anything at all.  

Body image insecurities and social media comparisons affect thousands of people – men, women, children, and adults – every day. I am lucky – after a few months of my destructive social media habits, I came across a video that pointed out the illusory nature of social media; many Instagram posts only show off good things while people hide their flaws. I began going to therapy, and recovered from my depression. To address the problem of self-image and social media, we can all focus on what matters on the inside and not what is on the surface. As an effort to become healthy internally, I started a club at my school to promote clean eating and radiating beauty from within. It has helped me grow in my confidence, and today I’m not afraid to show others my struggles by sharing my experience with eating disorders. Someday, I hope to make this club a national organization to help teenagers and adults across the country. I support the idea of body positivity and embracing difference, not “perfection.” After all, how can we be ourselves if we all look the same?

This essay covers the difficult topics of eating disorders and mental health. If you’re thinking about covering similar topics in your essay, we recommend reading our post Should You Talk About Mental Health in College Essays?

The short answer is that, yes, you can talk about mental health, but it can be risky. If you do go that route, it’s important to focus on what you learned from the experience.

The strength of this essay is the student’s vulnerability, in excerpts such as this: I wanted to be admired and loved by other people too. However, I felt that I could never be enough. I began to hate the way that I looked, and felt nothing in my life was good enough. I wanted to be called “perfect” and “body goals,” so I tried to only post at certain times of day to maximize my “likes.”

The student goes on to share how they recovered from their depression through an eye-opening video and therapy sessions, and they’re now helping others find their self-worth as well. It’s great that this essay looks towards the future and shares the writer’s goals of making their club a national organization; we can see their ambition and compassion.

The main weakness of this essay is that it doesn’t focus enough on their recovery process, which is arguably the most important part. They could’ve told us more about the video they watched or the process of starting their club and the interactions they’ve had with other members. Especially when sharing such a vulnerable topic, there should be vulnerability in the recovery process too. That way, the reader can fully appreciate all that this student has overcome.

Essay Example #8: Becoming a Coach

”Advanced females ages 13 to 14 please proceed to staging with your coaches at this time.” Skittering around the room, eyes wide and pleading, I frantically explained my situation to nearby coaches. The seconds ticked away in my head; every polite refusal increased my desperation.

Despair weighed me down. I sank to my knees as a stream of competitors, coaches, and officials flowed around me. My dojang had no coach, and the tournament rules prohibited me from competing without one.

Although I wanted to remain strong, doubts began to cloud my mind. I could not help wondering: what was the point of perfecting my skills if I would never even compete? The other members of my team, who had found coaches minutes earlier, attempted to comfort me, but I barely heard their words. They couldn’t understand my despair at being left on the outside, and I never wanted them to understand.

Since my first lesson 12 years ago, the members of my dojang have become family. I have watched them grow up, finding my own happiness in theirs. Together, we have honed our kicks, blocks, and strikes. We have pushed one another to aim higher and become better martial artists. Although my dojang had searched for a reliable coach for years, we had not found one. When we attended competitions in the past, my teammates and I had always gotten lucky and found a sympathetic coach. Now, I knew this practice was unsustainable. It would devastate me to see the other members of my dojang in my situation, unable to compete and losing hope as a result. My dojang needed a coach, and I decided it was up to me to find one.

I first approached the adults in the dojang – both instructors and members’ parents. However, these attempts only reacquainted me with polite refusals. Everyone I asked told me they couldn’t devote multiple weekends per year to competitions. I soon realized that I would have become the coach myself.

At first, the inner workings of tournaments were a mystery to me. To prepare myself for success as a coach, I spent the next year as an official and took coaching classes on the side. I learned everything from motivational strategies to technical, behind-the-scenes components of Taekwondo competitions. Though I emerged with new knowledge and confidence in my capabilities, others did not share this faith.

Parents threw me disbelieving looks when they learned that their children’s coach was only a child herself. My self-confidence was my armor, deflecting their surly glances. Every armor is penetrable, however, and as the relentless barrage of doubts pounded my resilience, it began to wear down. I grew unsure of my own abilities.

Despite the attack, I refused to give up. When I saw the shining eyes of the youngest students preparing for their first competition, I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was. The knowledge that I could solve my dojang’s longtime problem motivated me to overcome my apprehension.

Now that my dojang flourishes at competitions, the attacks on me have weakened, but not ended. I may never win the approval of every parent; at times, I am still tormented by doubts, but I find solace in the fact that members of my dojang now only worry about competing to the best of their abilities.

Now, as I arrive at a tournament with my students, I close my eyes and remember the past. I visualize the frantic search for a coach and the chaos amongst my teammates as we competed with one another to find coaches before the staging calls for our respective divisions. I open my eyes to the exact opposite scene. Lacking a coach hurt my ability to compete, but I am proud to know that no member of my dojang will have to face that problem again.

This essay begins with an in-the-moment narrative that really illustrates the chaos of looking for a coach last-minute. We feel the writer’s emotions, particularly her dejectedness, at not being able to compete. Starting an essay in media res  is a great way to capture the attention of your readers and build anticipation for what comes next.

Through this essay, we can see how gutsy and determined the student is in deciding to become a coach themselves. She shows us these characteristics through their actions, rather than explicitly telling us: To prepare myself for success as a coach, I spent the next year as an official and took coaching classes on the side.  Also, by discussing the opposition she faced and how it affected her, the student is open and vulnerable about the reality of the situation.

The essay comes full circle as the author recalls the frantic situations in seeking out a coach, but this is no longer a concern for them and their team. Overall, this essay is extremely effective in painting this student as mature, bold, and compassionate.

The biggest thing this essay needs to work on is showing not telling. Throughout the essay, the student tells us that she “emerged with new knowledge and confidence,” she “grew unsure of her own abilities,” and she “refused to give up”. What we really want to know is what this looks like.

Instead of saying she “emerged with new knowledge and confidence” she should have shared how she taught a new move to a fellow team-member without hesitation. Rather than telling us she “grew unsure of her own abilities” she should have shown what that looked like by including her internal dialogue and rhetorical questions that ran through her mind. She could have demonstrated what “refusing to give up” looks like by explaining how she kept learning coaching techniques on her own, turned to a mentor for advice, or devised a plan to win over the trust of parents. 

Essay Example #9: Eritrea

No one knows where Eritrea is.

On the first day of school, for the past nine years, I would pensively stand in front of a class, a teacher, a stranger  waiting for the inevitable question: Where are you from?

I smile politely, my dimples accentuating my ambiguous features. “Eritrea,” I answer promptly and proudly. But I  am always prepared. Before their expression can deepen into confusion, ready to ask “where is that,” I elaborate,  perhaps with a fleeting hint of exasperation, “East Africa, near Ethiopia.”

Sometimes, I single out the key-shaped hermit nation on a map, stunning teachers who have “never had a student  from there!” Grinning, I resist the urge to remark, “You didn’t even know it existed until two minutes ago!”

Eritrea is to the East of Ethiopia, its arid coastline clutches the lucrative Red Sea. Battle scars litter the ancient  streets – the colonial Italian architecture lathered with bullet holes, the mosques mangled with mortar shells.  Originally part of the world’s first Christian kingdom, Eritrea passed through the hands of colonial Italy, Britain, and  Ethiopia for over a century, until a bloody thirty year war of Independence liberated us.

But these are facts that anyone can know with a quick Google search. These are facts that I have memorised and compounded, first from my Grandmother and now from pristine books  borrowed from the library.

No historical narrative, however, can adequately capture what Eritrea is.  No one knows the aroma of bushels of potatoes, tomatoes, and garlic – still covered in dirt – that leads you to the open-air market. No one knows the poignant scent of spices, arranged in orange piles reminiscent of compacted  dunes.  No one knows how to haggle stubborn herders for sheep and roosters for Christmas celebrations as deliberately as my mother. No one can replicate the perfect balance of spices in dorho and tsebhi as well as my grandmother,  her gnarly hands stirring the pot with ancient precision (chastising my clumsy knife work with the potatoes).  It’s impossible to learn when the injera is ready – the exact moment you have to lift the lid of the mogogo. Do it too  early (or too late) and the flatbread becomes mangled and gross. It is a sixth sense passed through matriarchal  lineages.

There are no sources that catalogue the scent of incense that wafts through the sunlit porch on St. Michael’s; no  films that can capture the luminescence of hundreds of flaming bonfires that fluoresce the sidewalks on Kudus  Yohannes, as excited children chant Ge’ez proverbs whose origin has been lost to time.  You cannot learn the familiarity of walking beneath the towering Gothic figure of the Enda Mariam Cathedral, the  crowds undulating to the ringing of the archaic bells.  I have memorized the sound of the rains hounding the metal roof during kiremti , the heat of the sun pounding  against the Toyota’s window as we sped down towards Ghinda , the opulent brilliance of the stars twinkling in a  sky untainted by light pollution, the scent of warm rolls of bani wafting through the streets at precisely 6 o’clock each day…

I fill my flimsy sketchbook with pictures from my memory. My hand remembers the shapes of the hibiscus drifting  in the wind, the outline of my grandmother (affectionately nicknamed a’abaye ) leaning over the garden, the bizarre architecture of the Fiat Tagliero .  I dice the vegetables with movements handed down from generations. My nose remembers the scent of frying garlic, the sourness of the warm tayta , the sharpness of the mit’mt’a …

This knowledge is intrinsic.  “I am Eritrean,” I repeat. “I am proud.”  Within me is an encyclopedia of history, culture, and idealism.

Eritrea is the coffee made from scratch, the spices drying in the sun, the priests and nuns. Eritrea is wise, filled with ambition, and unseen potential.  Eritrea isn’t a place, it’s an identity.

This is an exceptional essay that provides a window into this student’s culture that really makes their love for their country and heritage leap off the page. The sheer level of details and sensory descriptors this student is able to fit in this space makes the essay stand out. From the smells, to the traditions, sounds, and sights, the author encapsulates all the glory of Eritrea for the reader. 

The vivid images this student is able to create for the reader, whether it is having the tedious conversation with every teacher or cooking in their grandmother’s kitchen, transports us into the story and makes us feel like we are there in the moment with the student. This is a prime example of an essay that shows , not tells.

Besides the amazing imagery, the use of shorter paragraphs also contributes to how engaging this essay is. Employing this tactic helps break up the text to make it more readable and it isolates ideas so they stick out more than if they were enveloped in a large paragraph.

Overall, this is a really strong essay that brings to life this student’s heritage through its use of vivid imagery. This essay exemplifies what it means to show not tell in your writing, and it is a great example of how you can write an intimate personal statement without making yourself the primary focus of your essay. 

There is very little this essay should improve upon, but one thing the student might consider would be to inject more personal reflection into their response. Although we can clearly take away their deep love and passion for their homeland and culture, the essay would be a bit more personal if they included the emotions and feelings they associate with the various aspects of Eritrea. For example, the way their heart swells with pride when their grandmother praises their ability to cook a flatbread or the feeling of serenity when they hear the bells ring out from the cathedral. Including personal details as well as sensory ones would create a wonderful balance of imagery and reflection.

Essay Example #10: Journaling

Flipping past dozens of colorful entries in my journal, I arrive at the final blank sheet. I press my pen lightly to the page, barely scratching its surface to create a series of loops stringing together into sentences. Emotions spill out, and with their release, I feel lightness in my chest. The stream of thoughts slows as I reach the bottom of the page, and I gently close the cover of the worn book: another journal finished.

I add the journal to the stack of eleven books on my nightstand. Struck by the bittersweet sensation of closing a chapter of my life, I grab the notebook at the bottom of the pile to reminisce.

“I want to make a flying mushen to fly in space and your in it” – October 2008

Pulling back the cover of my first Tinkerbell-themed diary, the prompt “My Hopes and Dreams” captures my attention. Though “machine” is misspelled in my scribbled response, I see the beginnings of my past obsession with outer space. At the age of five, I tore through novels about the solar system, experimented with rockets built from plastic straws, and rented Space Shuttle films from Blockbuster to satisfy my curiosities. While I chased down answers to questions as limitless as the universe, I fell in love with learning. Eight journals later, the same relentless curiosity brought me to an airplane descending on San Francisco Bay.

“I wish I had infinite sunsets” – July 2019

I reach for the charcoal notepad near the top of the pile and open to the first page: my flight to the Stanford Pre-Collegiate Summer Institutes. While I was excited to explore bioengineering, anxiety twisted in my stomach as I imagined my destination, unsure of whether I could overcome my shyness and connect with others.

With each new conversation, the sweat on my palms became less noticeable, and I met students from 23 different countries. Many of the moments where I challenged myself socially revolved around the third story deck of the Jerry house. A strange medley of English, Arabic, and Mandarin filled the summer air as my friends and I gathered there every evening, and dialogues at sunset soon became moments of bliss. In our conversations about cultural differences, the possibility of an afterlife, and the plausibility of far-fetched conspiracy theories, I learned to voice my opinion. As I was introduced to different viewpoints, these moments challenged my understanding of the world around me. In my final entries from California, I find excitement to learn from others and increased confidence, a tool that would later allow me to impact my community.

“The beauty in a tower of cans” – June 2020

Returning my gaze to the stack of journals, I stretch to take the floral-patterned book sitting on top. I flip through, eventually finding the beginnings of the organization I created during the outbreak of COVID-19. Since then, Door-to-Door Deliveries has woven its way through my entries and into reality, allowing me to aid high-risk populations through free grocery delivery.

With the confidence I gained the summer before, I took action when seeing others in need rather than letting my shyness hold me back. I reached out to local churches and senior centers to spread word of our services and interacted with customers through our website and social media pages. To further expand our impact, we held two food drives, and I mustered the courage to ask for donations door-to-door. In a tower of canned donations, I saw the value of reaching out to help others and realized my own potential to impact the world around me.

I delicately close the journal in my hands, smiling softly as the memories reappear, one after another. Reaching under my bed, I pull out a fresh notebook and open to its first sheet. I lightly press my pen to the page, “And so begins the next chapter…”

The structuring of this essay makes it easy and enjoyable to read. The student effectively organizes their various life experiences around their tower of journals, which centers the reader and makes the different stories easy to follow. Additionally, the student engages quotes from their journals—and unique formatting of the quotes—to signal that they are moving in time and show us which memory we should follow them to.

Thematically, the student uses the idea of shyness to connect the different memories they draw out of their journals. As the student describes their experiences overcoming shyness at the Stanford Pre-Collegiate Summer Institutes and Door-to-Door Deliveries, this essay can be read as an Overcoming Obstacles essay.

At the end of this essay, readers are fully convinced that this student is dedicated (they have committed to journaling every day), thoughtful (journaling is a thoughtful process and, in the essay, the student reflects thoughtfully on the past), and motivated (they flew across the country for a summer program and started a business). These are definitely qualities admissions officers are looking for in applicants!

Although this essay is already exceptionally strong as it’s written, the first journal entry feels out of place compared to the other two entries that discuss the author’s shyness and determination. It works well for the essay to have an entry from when the student was younger to add some humor (with misspelled words) and nostalgia, but if the student had either connected the quote they chose to the idea of overcoming a fear present in the other two anecdotes or if they had picked a different quote all together related to their shyness, it would have made the entire essay feel more cohesive.

Where to Get Your Personal Statement Edited

Do you want feedback on your personal statement? After rereading your essays countless times, it can be difficult to evaluate your writing objectively. That’s why we created our free Peer Essay Review tool , where you can get a free review of your essay from another student. You can also improve your own writing skills by reviewing other students’ essays. 

If you want a college admissions expert to review your essay, advisors on CollegeVine have helped students refine their writing and submit successful applications to top schools. Find the right advisor for you to improve your chances of getting into your dream school!

Next Step: Supplemental Essays

Essay Guides for Each School

How to Write a Stellar Extracurricular Activity College Essay

4 Tips for Writing a Diversity College Essay

How to Write the “Why This College” Essay

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

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

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

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

The Top Ten

Oliver sacks, the mind’s eye (2010).

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

John Jeremiah Sullivan, Pulphead (2011)

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

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

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

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

Aleksandar Hemon, The Book of My Lives (2013)

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

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

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

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

Hilton Als, White Girls (2013)

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

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

Eula Biss, On Immunity (2014)

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

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

Rebecca Solnit, The Mother of All Questions (2016)

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

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

Valeria Luiselli, Tell Me How It Ends (2017)

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

Zadie Smith, Feel Free (2018)

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

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

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

Dissenting Opinions

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

Elif Batuman, The Possessed (2010)

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

Roxane Gay, Bad Feminist (2014)

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

Rivka Galchen, Little Labors (2016)

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

Charlie Fox, This Young Monster (2017)

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

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

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

Elena Passarello, Animals Strike Curious Poses (2017)

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

Esmé Weijun Wang, The Collected Schizophrenias (2019)

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

Ross Gay, The Book of Delights (2019)

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

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

Honorable Mentions

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

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

Emily Temple

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The Art of Applying®

MBA Admissions Consulting | MPP & MPA Admissions Consulting | Harvard Application Advice

Harvard Kennedy School 2022-2023 Essay Advice: MPP, MPA, MPA/MC, MPA-ID

posted on November 16, 2022

Welcome to the ultimate guide to writing outstanding Harvard Kennedy School essays! Below you’ll find advice for every HKS application essay prompt for the 2022-2023 application cycle.

Table of Contents

Introduction

HKS 2022 Application Deadline

Top 10 Mistakes I See in Harvard Kennedy School Essays

Table of Required Essays by Degree

Personal History Essay Advice

Optional statement essay advice, joint or concurrent degree essay advice, reapplication essay advice, jfk essay advice, mpp essay advice, expectations essay advice, perspectives essay advice, two-year mpa essay advice, career goals essay advice, professional contribution essay advice, biographical profile vs. background summary statement, international development essay advice, public policy essay.

Hey there! I’m Kaneisha Grayson, the author of this article and the founder of The Art of Applying®.

I started The Art of Applying® in 2010 while a joint degree student at Harvard Kennedy School and Harvard Business School. Since then, my team and I have helped hundreds of applicants successfully apply to Harvard Kennedy School through our paid services, blog posts, and Youtube videos.

This blog post has the most up to date advice for the most difficult to write Harvard Kennedy School essays based on what my team and I have seen work for our clients.

If you find a mistake or a needed update in this article, let us know so we can correct it. Our 7000+ loyal email newsletter subscribers and visitors to our website help us keep our advice up to date and helpful for everyone.

If you’d like my team to help you with your Harvard Kennedy School application, contact us for more information.

What is the Harvard Kennedy School 2022 deadline?

The HKS 2022 application deadline is Thursday, December 1, 2022 at 3 pm Eastern Time .

Which essays are required for each HKS degree application?

Don’t make these mistakes in your harvard kennedy school application.

Sometimes, it’s easier to know what NOT to do. Use this checklist to make sure you don’t make these common mistakes in your Harvard Kennedy School application essays.

Do not wait several sentences or paragraphs to clearly answer the question the prompt is asking.

I know it feels creative and whimsical to start your essay with a story. Or to take the reader on a journey with a big reveal at the end of your essay. And I’m not saying you can’t do that. However, if you are not a strong creative writer, I would advise you to be as straightforward with answering the essay prompts as possible.

Imagine that your essays are policy memos that the U.S. President needs to read before an important meeting.

Do not start your personal statements or application essays with a quote.

The one exception would be if your quote is from one of the “characters” in the story you are telling. Then, a quote could be a compelling way to start the essay. However, what my team of consultants and I see most often are essays that start with quotes from a famous person or public figure. Don’t do that.

You have limited words with which to express yourself. Don’t waste even one sentence on a trite, overused phrase as a shortcut for seeming profound, heartfelt or unique.

Do not write essays that are simply your resume accomplishments in prose format. 

Your resume is the place where you can succinctly summarize the accomplishments and results you have achieved, using numbers as often as possible to quantify the results of your efforts. Your essays are the place where you tell your story, make your case, and communicate your fit with the school and degree program by directly addressing the prompt(s) you’ve been given.

Do not use trite phrases like “I want to change the world.” 

Vague phrases like the one above don’t actually tell the reader anything specific about you as an individual, leader, and team member.

 If you think about it, every human that has ever lived changed the world just by having lived here, right? They made their impact on the world, even if it was a teeny tiny impact. Rather than relying on empty platitudes, be as specific as possible about the type of impact you hope to have.

Do not accidentally mention the wrong school name. 

Nearly every season, we receive materials for editing, where the applicant mentions the wrong school name. It doesn’t mean that your application will automatically be thrown in the trash if you use the wrong school name. However, it shows a lack of proofreading one’s materials. It can also make you look insincere about your commitment to attending that particular school.

Do not submit materials that are over the word limit. 

I know you have a lot you want to share with the HKS admissions committee, but word limits are in place for a reason. When you submit materials that are over the word limit, you annoy the AdCom and make it clear that you disregard directions. By submitting essays that are within the required word limit, you are forced to express yourself in a clear, concise way. This is a skill that you will need as a student at Harvard Kennedy School as well as in your post-HKS career, whether in the public, private, or nonprofit sectors. 

But, Kaneisha, can I submit an essay that is just a few words over the word limit? Like…just give me 20 words extra. Pretty please? Nein! You are applying alongside hundreds of other highly qualified applicants. Do not frustrate, annoy, or disrespect the AdCom’s time by not taking the time to edit your essay down to the word count.

Do not wait until the last minute to write and revise your essays.

HKS takes a holistic view of your entire application. I know that sounds like marketing speak from the Admissions Office, but it’s true. It’s not just about your grades or your test score.

In 2021, I had a client who we helped get into Harvard Kennedy School with a GPA below 2.5 . He worked with our team on strengthening his applicant profile and his essays for ten months : from January 2021 until November 2021.

Your essays are the most important part of your application. The earlier you can start on them, the better. Use the previous year’s prompts as your jumping off point.

How likely is it that the Harvard Kennedy School essay prompts from last year will be different this year?

It is highly unlikely that the the prompts you see on the Harvard Kennedy School website for the prior application season will change substantially in this upcoming application season. In the 12+ years I’ve been in business, I’ve only seen the essays change twice. So the essay prompts change about every 4 years or so.

Optional Do Not’s for your Harvard Kennedy School Essays & Resume

The don’ts below are based on my personal preference and aren’t as important as the “do not”s above.

Do not use “justified alignment” for your essays. 

It creates strange spacing within your sentences. While it may look more polished to you that all of your lines take up the full line, it is a less pleasant reading experience forr the reader.

Do not include your photo on your resume or CV. 

While this is a common practice in some nations outside of the US, it is not common practice in the US.

Do not use “interesting” design elements on your CV.

I prefer a black and white CV with no color, no “interesting” bullet point shapes like diamonds, starts, etc.—just plain filled-in bullets or open bullets. I don’t even really like those horizontal separating lines on CV. I like just words and bullet points on resumes with a good amount of white space, so my eyes can rest and I’m not looking at a wall of text.

Diversity of all kinds (race and ethnicity, gender, gender identity, sexual orientation, nationality, religion, physical abilities, political philosophy, intellectual focus, socioeconomic status, geographic and many others) is important to enriching the educational experience at the Kennedy School.  Please share with us anything in your background or life experience that has shaped your perspectives and how that would contribute to the classroom and community at HKS. (250 word limit)

This essay may feel overwhelming, especially if you feel like you aren’t “different,” “special,” or “diverse” enough. The key with this essay is to remember that everyone adds diversity to the class—not just people you think of as traditionally underrepresented.

The key here is to not worry about if what makes you “you” is special or different enough. It’s to become aware of the intersecting identities that make up your particular identity, and then to choose which of those aspects would benefit your classmates through the sharing of your experiences and perspectives with your classmates.

One area of diversity that may apply to you is being a member of an underrepresented group within a well-represented racial or ethnic group. For example, while Asian-American students are well represented among top universities, southeast Asians, Pacific Islanders, and low-income Asian-American students are very underrepresented . Similarly, white students are well represented, but low-income white students or white students from rural areas are underrepresented.

Another area gaining traction in the cultural zeitgeist is neurodivergence and/or neurodiversity. In fact, after a decade-plus of suspecting I might have ADHD (and being told by my friends that I have ADHD), I (Kaneisha, the founder of The Art of Applying®), got evaluated and diagnosed with ADHD-Combined Type in April 2022.

Imagine my shock—after getting two Masters from Harvard, paying off $150,000 in student loans in seven years as a writer and entrepreneur, growing a business from scratch to a million dollars in revenue, and starting a podcast—learning that I have a brain condition that is considered a disability! 

I’m learning more each day how much my life has been affected by having undiagnosed and untreated ADHD: the challenges I have overcome as well as the benefits of having a brain that works quite differently than most people’s. 

If you fall into the category of being neurodivergent (some examples are ADHD, autism, dyslexia, dyscalculia, dysgraphia, and OCD), you could write about the ways in which navigating your personal, professional, and academic life have been affected by having a “different” kind of brain.

If I were writing this essay, I would write about these areas of diversity that apply to me:

• Growing up in a low-income high crime neighborhood with a high teen pregnancy rate
• Having undiagnosed ADHD for most of my life, and my experiences being “twice exceptional” (both gifted and challenged)
• Being one of few Black students in my college graduating class
• Coming from an extended family that is heavily affected by the prison-industrial complex

Don’t let my list intimidate you; just use it as a list to help you reflect on what makes you different and/or special. 

Here are examples of areas of diversity and/or adversity you could write about in your diversity statement and/or personal history statement:

• Being physically challenged or disabled
• Being a queer person
• Being trans or having a non-conforming gender identity
• Being a person of color
• Having experienced homelessness or food insecurity during your lifetime
• Growing up low-income
• Growing up very wealthy
• Growing up closely related to a person of prominence, fame, or a public figure
• Having served in public office
• Having achieved outstanding business accomplishments
• Having competed in athletics, chess, or related activities on a national or global level
• Having a neurodivergence such as ADHD, autism, epilepsy, Tourette Syndrome (TS), or OCD—whether diagnosed in childhood, adolescence, or adulthood
• Growing up in a single-parent household
• Growing up as an adopted child or foster child
• Growing up with adopted siblings or foster siblings
• Growing up with siblings with special needs
• Growing up with a parent who is an addict 
• Growing up with a parent who has serious mental health issues
• Acknowledging and overcoming addiction
• Discovering and navigating mental health issues
• Growing up across different states and/or countries
• Being a conservative person who plans to attend a liberal- and progressive-leaning school—or vice versa
• Navigating grief after the loss of a loved one
• Being a survivor of trauma (you don’t have to share in detail about your trauma unless you feel comfortable doing so. Be sure to include a content warning.) Table of Contents

If you have any concerns about your prior academic, professional, or personal background that you would like to share with the Admissions Committee, please provide an explanation. (250 word limit) 

Who should write the Harvard Kennedy School Optional Statement?

Even though this essay is titled as an optional statement, I recommend that most applicants to Harvard Kennedy School write the optional essay. The optional statement is your opportunity to raise your hand and say, “Well, actually…” when one of the readers is raising doubts about the strength of your applicant profile and whether you should be given one of the seats in the class.

Since HKS doesn’t have interviews, you don’t have a chance to clarify anything that may be confusing or concerning to the AdCom. The optional statement is your opportunity to stand up for yourself, clarify anything that looks confusing, and reassure the admissions committee that any challenges that held you back in the past won’t keep you from being successful at HKS.

You should write the Harvard Kennedy School Optional Statement if:

• You have C’s, D’s, F’s, W’s, or I’s on your transcript that you want to explain to the AdCom.
• You are applying to the Harvard Kennedy School MC/MPA with 7-9 years of work experience.
• You are applying to the MPP, MPA-ID, or MPA2 with fewer than two years of work experience.
• You are applying to Harvard Kennedy School without a traditional undergraduate degree.
• You are applying to Harvard Kennedy School with a GPA below 3.4.
• You have a gap on your resume of longer than six months.
• You don’t show a clear demonstrated interest in public service from your work experiences and/or volunteer work.

What should your Harvard Kennedy School Optional Statement include?

Your HKS optional essay should answer the following questions:

• What areas of your profile might the admissions committee be concerned about?
• Why did those issues occur?
• How have you since resolved those issues?
• What did you learn about yourself as a result of navigating those issues?
• What will you do if those issues arise while you are at Harvard Kennedy School?

Since you only have 250 words, you can aim to answer each of the above questions in one sentence. That will give your optional essay structure and communicate the essential information the HKS admissions committee members need.

Harvard Kennedy School’s mission is to improve public policy and leadership across the United States and around the world, so people can lead safer, freer, and more prosperous lives. How will a joint/concurrent degree enhance your pursuit of this mission? (400 word limit)

Here is the catch with this essay. According to my understanding, this essay will only be read by Harvard Kennedy School admissions committee—not the other school to which you are applying. (Someone contact me and correct me with written proof or a screenshot if I’m mistaken. I want to make sure I’m providing the most accurate information.) So the key to this essay is to focus on how your Harvard Kennedy School degree will complement your other degree .

What do I mean by that? Well, contrary to what you may think, this essay is not supposed to be where you gush about HBS, HLS, Tuck, or Sloan. Don’t spend a lot of time talking about how amazing the non-HKS school is. The joint/concurrent degree essay is where you talk about how you won’t get everything you need from just a degree from Harvard Business School, Harvard Law School, Dartmouth Tuck, or MIT Sloan for your personal and professional goals.

The most effective joint/concurrent degree essays will be written the opposite of how most people will write this essay. Most people will write this essay focusing on how amazing the resources, classes, and clubs are at the other school. But you want to focus on, say, 4-6 specific things you will get from your non-HKS school, and then write in just as much detail how your HKS degree will complement and supplement those 4-6 specific things. 

Questions to help you write your Harvard Kennedy School joint / current degree essay:

• What will you learn in the classroom at HKS that you won’t learn at all or as much in the other classroom?
• What clubs are specific to HKS that you are eager to join that don’t exist at the other school?
• What will the HKS alumni network provide you that you can’t get if you only do just the one degree at the other school?
• What personal experiences might you have, and what kinds of people might you meet as a joint / concurrent degree student that you wouldn’t meet if you only did the other school’s degree?

Make sure to not write this essay as if going to HKS alone is not enough of an education. This essay is about showing how going to the other school alone would not be enough of an education for your personal, professional, and academic goals.

The Harvard Kennedy School motto, echoing the President for whom the School is named, is “Ask what you can do.” Please share with the Admissions Committee your plans to create positive change through your public leadership and service. (500 word limit)  

Okay, y’all for this essay, I’m just going to dump a list of the biggest mistakes I see with this essay, and then give you a bunch of questions that you should make sure your JFK essay answers as specifically as possible. 

In general, this is a “career goals” essay. The HKS AdCom wants to know what your ultimate career goal is, and the career journey you could imagine yourself embarking upon to get there.

The biggest mistakes I see with the Harvard Kennedy School JFK essay are:

• Do not bury your career goal several paragraphs in or wait until the last paragraph to clearly answer the question. Do not make the AdCom guess what your plans are. Answer the question upfront in the first 1-2 sentences.
• Do not state a career goal that is too vague.
• Do not state a career goal that is too ambitious with no clear plan to get there. It is not too ambitious to say you want to be the Head of State, but you need to clearly map out the short-term, medium term, and long-term career path to get there.
• Do not state a career goal with no explanation of why that career is driven by your values.
• Do not overly use words like “hope” when discussing your plans: “I hope to take on a career in management consulting at a firm like BCG, Bain, or McKinsey.” No. Use clear, confident words like “plan,” “will,” and “intend to.” Because you totally got this! You don’t have to hope.

If you answer all of the following questions, you’ll be well on your way to writing this essay better than half of the people applying to HKS (who aren’t our clients or didn’t find this blog post in time).

Sample Outline for the Harvard Kennedy School JFK essay:

• Opening sentence: What is your ultimate long-term career goal? Be as specific as possible and state this upfront. Do not make your essay a scavenger hunt where the AdCom has to sift through several paragraphs to figure out the answer to the question they have posed to you.
• When it comes to your career goal, what specific 1-3 issues will you work to have a positive impact? On what specific geographic area and/or specific population do you plan to have a positive impact? Access to water in South Asia, equity in education in the Southern US, trans rights in Latin America, voting rights and access in sub-Saharan Africa, the US childcare epidemic, etc. Notice how I’m not just saying vague things like “sustainability,” “microenterprise,” “venture philanthropy,” or “impact investing.” I am listing specific issues, geographies, and populations. This makes your goal realistic, measurable, and ambitious at the same time rather than wishy-washy wishful thinking.
• What is your immediate career goal after HKS? What role do you want to have? What will you learn in that role? What will you contribute to the organization in that role?
• What is your mid-term career goal after HKS, such as 10 years after graduation? What will you learn in that role? What will you contribute to the organization in that role?
• Concluding sentence: Reiterate your enthusiasm to attend HKS and contribute your particular public service and leadership to the world.

The MPP curriculum is designed to broaden students’ perspective and sharpen skills necessary for a successful career in public service through a rigorous set of courses that draw on the social sciences but are adapted for action. Please describe how the MPP curriculum at HKS would leverage your distinctive abilities and/or fill gaps in your skill set as you equip yourself to achieve your career goals. (500 word limit)

The HKS MPP Essay can feel tricky, because it’s asking you to cover so many different elements. I prefer to answer the question directly within the first sentence, and then to provide more details throughout the essay. 

Within the first 1-2 sentences of this essay, briefly restate your career goal. Restating your career goal provides a clear context for the reader for the rest of your essay. You can even restate your career goal as a part of a sentence that is mostly about something else. 

Here is a sample starting sentence for the HKS MPP Essay that clearly answers the question while restating the career goal and providing clear context for the rest of the essay:

In order to pursue my career goal of being Head of Communications for an equity-focused education nonprofit such as Teach for America, I will need to improve my existing skills in persuasion, public speaking, and written communication. I will also need to gain skills in negotiation, managing and developing team members, budgeting, and quantitative analysis.

Sample Outline for the Harvard Kennedy School MPP Essay:

• Briefly remind the HKS Admissions Committee of your career goal.
• List 2-3 relevant skills that you already have that you’d like to strengthen at HKS.
• List 2-3 relevant skills you’d like to gain as an MPP student at Harvard Kennedy School.
• Discuss 2-3 specific classes you would take that would enhance your skills. State the specific skills and/or subject matter learnings you would gain in those classes.
• Discuss 2-3 classes in which you would be a strong contributor to your classmates’ learnings and for which you already have strong skills.
• Discuss 1-3 student clubs that would play to your strengths and/or fill in gaps.
• Discuss 1-3 Resource Centers at HKS that would enhance your strengths and/or help you improve in developmental areas.
• Conclude your essay 

Additional tips for the HKS MPP Essay:

• Make sure that you aren’t only listing classes taught by men. This is a common oversight among applicants.
• The classes you mention don’t have to be currently taught or scheduled to be taught in the upcoming year. As long as the class has been offered at some point in the last five years, it’s fine.
• When discussing classes that will fill in your skills gaps, list at least one required course and at least one elective.
• When discussing classes that will play to your strengths, it is okay to primarily focus on electives.
• If you are short on space, you can list fewer classes related to your strengths. Focus more on the specific classes you’ll take that will fill in your gaps.
• If you are short on space, you can eliminate discussing student clubs and resource centers.

Describe a time when you did not meet expectations and elaborate on how the experience changed you. (250 word limit) 

I love this question! Even though it can be tough to figure out what to write about, if you choose a genuine topic, and write this essay well, you will easily stand out in the applicant pool. The most straightforward way to respond to this prompt is to write about a time when you did not meet someone’s reasonable expectations. 

However, you can also write about a time when you did not meet what you believe were unreasonable expectations . It’s much more difficult to successfully tackle the second type of essay without coming off as trying to turn an essay discussing a weakness into a strength. If you write about a time when you did not meet unreasonable expectations, then you will need to discuss why you did not speak up about the expectations being unreasonable; you can’t just simply say that someone burdened you with unreasonable expectations. You have to take some responsibility for those unreasonable expectations existing and for you being accountable for meeting them.

You can write about a time when you did not meet expectations in your personal, professional, or academic life.

Outline for HKS Expectations Essay:

• Who had the expectation of you?
• (optional) How was the expectation communicated to you?
• What were the internal obstacles to meeting the expectation? 
• What were the external obstacles to meeting the expectation?
• What did you learn about how to manage the expectations of the person who you let down?
• What did you learn about yourself in not meeting this expectation?
• What lessons can you apply to the future when faced with similar expectations?

Examples of what you could write about for the HKS Expectations Essay:

• Letting your boss, team, or a direct report down at work
• Letting down your partner, family member, or friend in your personal life
• Not meeting your own expectations at work, school, or toward a personal goal

Describe a time when interactions with others and/or an experience caused you to change your mind or expanded your point of view. (250 word limit)  

This essay shows that you are open to influence, open-minded, able to change your mind in the face of new information, and/or willing to admit when you were wrong.

Sample Outline for HKS Perspectives Essay:

• What was your opinion or perspective on the issue at hand at first?
• What made you realize that your opinion or perspective might have been limited or outright wrong?
• What about the interaction or experience in particular helped you be open to changing your mind or expanding your perspective?
• What did your opinion change to or what did it expand to include?
• What did you learn about yourself from this experience?
• What did you learn about the other person from this experience?
• What lessons can you apply to the future when faced with similar experiences, interactions, or opportunities?

There are many pathways one can pursue in order to make a difference in the world. Why is the MPA Program at HKS an appropriate pathway to achieving your goals? (500 word limit)  

Sample Outline for the Harvard Kennedy School Two-Year MPA Essay:

• Briefly remind the HKS Admissions Committee of your career goals within the first two sentences of your essay.
• Discuss 3-4 specific classes you would take that would enhance your skills. State the specific skills and/or subject matter learnings you would gain in those classes that would help you achieve your career goals.
• Are there any treks you could attend or help plan that would help you achieve your career goals?
• Discuss 1-3 Resource Centers at HKS that would help you achieve your career goals.
• What is it about the HKS culture that will help you achieve your career goals?
• What elements of the HKS alumni experience and network will help you achieve your career goals?
• Conclude your essay restating your enthusiasm to attend HKS for the MPA2.

Additional tips for the HKS Two-Year MPA Essay:

Submit a statement that discusses your career goals, as well as the factors that led you to select the Mid-Career MPA program as a means of furthering your personal and professional goals. Be as specific as possible in describing how your expected course of study will enable you to build on your prior professional experience and achieve those goals. (500 word limit)  

Sample Outline for the Harvard Kennedy School Career Goals Essay:

• Spend 1-3 sentences discussing each of the factors that led you to HKS.
• What kind of organization would you like to work at?
• What will you learn here?
• What will you contribute here?
• State the specific skills and/or subject matter learnings you would gain in those classes that would help you achieve your career goals.

Additional tips for the HKS Career Goals Essay:

The prompts for these two short answer questions are so similar that I think there may have actually been a mistake in the Harvard Kennedy School application to ask them both.

In prior years, the MPP application asked for the Biographical Profile, and the MPA/MC application asked for the Background Summary Statement. This year, the MC/MPA application (and perhaps for other degrees) is asking for both of these extremely similar statements.

I’m here to provide as much clarification as I can. Understand that this is my guidance as an admissions consultant, but I am not a member of the HKS Admissions / Enrollment team. I would suggest some of you write to HKS admissions to clarify this requirement, because it really seems like a mistake to me to require both.

I think that what happened is that one question or the other should show up based on which degree you choose (this is called a “conditional form element”), but that for some reason, the condition wasn’t input into the system correctly, so both questions are showing.

What is the prompt for the Biographical Profile?

In 150 words or fewer, provide a biographical profile. Your résumé will contain detailed information on your academic history, professional/internship/volunteer positions held and specific accomplishments. What we seek here is a concise description of your academic/professional journey, career exploration, and areas of interest. Please type your biographical statement in the paragraph box below .

In this statement, focus on answering the exact things they have asked for:

• What was your schooling like from high school, to university, to now? Since they will know where you went to school from your resume, you could focus on what type of school(s) you attended (public, private, elite, prestigious, underfunded, under-resourced, etc.) and how that impacted your career.
• Quickly walk the reader through your career from start to mid-point to present day.
• State 1-3 areas of career and academic interests.

In the Biographical Profile, spend half the essay discussing your academic and professional past, and half the essay discussing your career and academic future interests you plan to explore at HKS and after HKS.

What is the prompt for the Background Summary Statement?

In 300 words or less, summarize your professional profile/background. Your résumé will contain information on titles, positions held, and specific accomplishments, what we seek here is a concise description of your professional journey, career progression and areas of expertise/experience. Specific information on the level of responsibility and impact/scale of work performed to provide context is encouraged.

Think of the Background Summary Statement as a narration of your resume in an easy-to-understand way for someone who may not be familiar with your industry.

Another way to think of the Background Summary Statement is the short introduction that would be given about you before giving a TED talk or graduation speech. It helps the reader / listener contextualize everything else they are going to learn about you.

You can write the Background Summary Statement in the first person (I have worked…) or the third person (Kaneisha Grayson has worked…)

• Once again, walk the reader through your professional journey. Don’t just say where you worked. Tell the reader what you learned and accomplished in your career so far. Think of this as the interview question, “Walk me through your resume.”
• HKS also wants to know about your career progression. How does one job lead into the next? How are your responsibilities increasing and building upon one another? This is especially helpful if career progression and promotions aren’t evident from the job titles on your resume.
• Discuss your areas of expertise and experience, both academically and professionally. You can focus on hard skills, soft skills, and domain expertise. If you aren’t sure what hard skills are versus soft skills, a quick online search for those phrases will give you lots of examples. If you aren’t sure what I mean by “domain expertise,” think of a domain as a subject area, a topic that one can study or research at HKS or in the real world.

The Background Summary Statement should be completely focused on the past, whereas the Biographical Profile is a blend of the past and the future.

But I still think this is actually an error in the HKS application.

Please explain what has changed since your last application . (250) 

What is the Harvard Kennedy School Reapplication Essay supposed to convey?

The HKS Reapplication Essay is supposed to convey that you as an applicant understand that it’s not helpful to simply resubmit the exact sample application as the exact same candidate you were last time. They want you to succinctly tell them what has changed about you personally, professionally, and/or academically since your prior application.

The Harvard Kennedy School Reapplication Essay is your opportunity to help the HKS admissions committee understand that, while you were not previously admitted, you are now even more prepared for the HKS classroom, and even more of a fit for the HKS degree program to which you are applying.

How should I start my Harvard Kennedy School Reapplication Essay?

You only have 250 words for this essay, so you need to get directly to the point. I would start this essay out with a simple sentence that lists the changes in your applicant profile since your prior HKS application. Here is an example:

Since my prior application in 2018, I have taken supplementary coursework, received a higher score on the GRE, gained further clarity on my career goals, and engaged in more volunteer work.

How should I structure the HKS Reapplication Essay? What content should I include?

Here is an outline you can use for your Harvard Kennedy School Reapplication Essay:

• Introductory Sentence
• Discuss any supplementary coursework you have taken.
• Discuss any improved test scores you have to share.
• Discuss any accomplishments, promotions, or changes in your professional experience.
• Discuss any personal accomplishments and/or updates.
• Concluding Sentence

On what note should I end the Harvard Kennedy School Reapplication Essay?

You have so few words for this essay that you can consider not including a concluding sentence. If you have room for a concluding sentence, you can reiterate your enthusiasm for attending Harvard Kennedy School or your hope that the updates you’ve provided are helpful.

Here is a sample concluding sentence for your HKS Reapplication Essay:

I hope that these updates will help the Admissions Committee in the reconsideration of my application.

The Harvard Kennedy School motto, echoing the President for whom the School is named, is “Ask what you can do.” Please share with the Admissions Committee how you have created positive change thus far in your most substantial professional leadership and/or public service role. (500 word limit)

Most applicants will mess up this essay by trying to cram too many stories and roles into this essay. You will write a much stronger essay if you focus on one overarching role in which you were able to create positive change in one big way or multiple smaller, interconnected ways . What I don’t suggest you try and do is write about multiple roles. The prompt is asking for your most substantial professional leadership and/or public service role. That means you should choose one role .

Sample Outline for the Harvard Kennedy School Professional Contribution Essay:

• What were the requirements of you in this role?
• What were the 1-4 positive impacts you were able to have in this role?
• Clearly state the positive impact you were hoping to achieve.
• What challenges, obstacles, and limitations did you and your team face when trying to achieve your goals?
• How did you and your team overcome the obstacles that you faced?
• Clearly state the positive impact you were able to achieve.
• Conclude the essay reiterating your enthusiasm to attend HKS and continue creating positive change.

Discuss your decision to choose international development as your professional career. Also, explain how developing your analytic skills relates to your career in development. (750 word limit) 

For the MPA-ID International Development Essay, you can use the outline and tips I gave for the Career Goals Essay . However, you need to make sure that you also discuss the importance of having strong analytical skills relates to your career in development.

Examples of how analytical skills relates to a career in development:

• Financing 
• Managing limited resources
• Optimizing processes to maximize limited resources
• Decreasing costs
• Increasing output
• Decreasing negative externalities
• Increasing positive externalities

Describe a public policy or public management problem related to international development and analyze a range of solutions. (750 word limit) 

The Harvard Kennedy School Public Policy Essay is similar to the Princeton SPIA Policy Memo, except that you get 750 words rather than four double-spaced pages (about 1000 words).

Sample Outline for the Harvard Kennedy School Public Policy Essay or Princeton SPIA Policy Memo:

Introductory Paragraph: Tell the reader what specific issue you are going to explore, and 3-4 solutions you will analyze.

Background Information: Provide 2-4 sentences providing background information on the issue at hand. What would the reader need to know about the issue you are going to discuss in order to understand your analysis of the possible solutions?

Discuss 3-4 possible solutions. For each of your 3-4 proposed solutions, answer the following questions:

• Clearly state the proposed solution.
• Where, if anywhere, is this solution already being implemented? How is it working?
• What are the hoped for and actual benefits of this solution?
• What are the challenges, obstacles, and limitations of this solution?

Concluding Paragraph: Here is where you can make a recommendation on what should be done now to address the issue (based on your analysis above), and where you can make a recommendation on what could be explored in the future. You should state the solution that has the most potential to address the issue at hand. Propose possible further areas of inquiry. 

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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

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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!

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“ 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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How to write an introduction for a history essay

Every essay needs to begin with an introductory paragraph. It needs to be the first paragraph the marker reads.

While your introduction paragraph might be the first of the paragraphs you write, this is not the only way to do it.

You can choose to write your introduction after you have written the rest of your essay.

This way, you will know what you have argued, and this might make writing the introduction easier.

Either approach is fine. If you do write your introduction first, ensure that you go back and refine it once you have completed your essay. 

What is an ‘introduction paragraph’?

An introductory paragraph is a single paragraph at the start of your essay that prepares your reader for the argument you are going to make in your body paragraphs .

It should provide all of the necessary historical information about your topic and clearly state your argument so that by the end of the paragraph, the marker knows how you are going to structure the rest of your essay.

In general, you should never use quotes from sources in your introduction.

Introduction paragraph structure

While your introduction paragraph does not have to be as long as your body paragraphs , it does have a specific purpose, which you must fulfil.

A well-written introduction paragraph has the following four-part structure (summarised by the acronym BHES).

B – Background sentences

H – Hypothesis

E – Elaboration sentences

S - Signpost sentence

Each of these elements are explained in further detail, with examples, below:

1. Background sentences

The first two or three sentences of your introduction should provide a general introduction to the historical topic which your essay is about. This is done so that when you state your hypothesis , your reader understands the specific point you are arguing about.

Background sentences explain the important historical period, dates, people, places, events and concepts that will be mentioned later in your essay. This information should be drawn from your background research . 

Example background sentences:

Middle Ages (Year 8 Level)

Castles were an important component of Medieval Britain from the time of the Norman conquest in 1066 until they were phased out in the 15 th and 16 th centuries. Initially introduced as wooden motte and bailey structures on geographical strongpoints, they were rapidly replaced by stone fortresses which incorporated sophisticated defensive designs to improve the defenders’ chances of surviving prolonged sieges.

WWI (Year 9 Level)

The First World War began in 1914 following the assassination of Archduke Franz Ferdinand. The subsequent declarations of war from most of Europe drew other countries into the conflict, including Australia. The Australian Imperial Force joined the war as part of Britain’s armed forces and were dispatched to locations in the Middle East and Western Europe.

Civil Rights (Year 10 Level)

The 1967 Referendum sought to amend the Australian Constitution in order to change the legal standing of the indigenous people in Australia. The fact that 90% of Australians voted in favour of the proposed amendments has been attributed to a series of significant events and people who were dedicated to the referendum’s success.

Ancient Rome (Year 11/12 Level)  

In the late second century BC, the Roman novus homo Gaius Marius became one of the most influential men in the Roman Republic. Marius gained this authority through his victory in the Jugurthine War, with his defeat of Jugurtha in 106 BC, and his triumph over the invading Germanic tribes in 101 BC, when he crushed the Teutones at the Battle of Aquae Sextiae (102 BC) and the Cimbri at the Battle of Vercellae (101 BC). Marius also gained great fame through his election to the consulship seven times.

2. Hypothesis

Once you have provided historical context for your essay in your background sentences, you need to state your hypothesis .

A hypothesis is a single sentence that clearly states the argument that your essay will be proving in your body paragraphs .

A good hypothesis contains both the argument and the reasons in support of your argument. 

Example hypotheses:

Medieval castles were designed with features that nullified the superior numbers of besieging armies but were ultimately made obsolete by the development of gunpowder artillery.

Australian soldiers’ opinion of the First World War changed from naïve enthusiasm to pessimistic realism as a result of the harsh realities of modern industrial warfare.

The success of the 1967 Referendum was a direct result of the efforts of First Nations leaders such as Charles Perkins, Faith Bandler and the Federal Council for the Advancement of Aborigines and Torres Strait Islanders.

Gaius Marius was the most one of the most significant personalities in the 1 st century BC due to his effect on the political, military and social structures of the Roman state.

3. Elaboration sentences

Once you have stated your argument in your hypothesis , you need to provide particular information about how you’re going to prove your argument.

Your elaboration sentences should be one or two sentences that provide specific details about how you’re going to cover the argument in your three body paragraphs.

You might also briefly summarise two or three of your main points.

Finally, explain any important key words, phrases or concepts that you’ve used in your hypothesis, you’ll need to do this in your elaboration sentences.

Example elaboration sentences:

By the height of the Middle Ages, feudal lords were investing significant sums of money by incorporating concentric walls and guard towers to maximise their defensive potential. These developments were so successful that many medieval armies avoided sieges in the late period.

Following Britain's official declaration of war on Germany, young Australian men voluntarily enlisted into the army, which was further encouraged by government propaganda about the moral justifications for the conflict. However, following the initial engagements on the Gallipoli peninsula, enthusiasm declined.

The political activity of key indigenous figures and the formation of activism organisations focused on indigenous resulted in a wider spread of messages to the general Australian public. The generation of powerful images and speeches has been frequently cited by modern historians as crucial to the referendum results.

While Marius is best known for his military reforms, it is the subsequent impacts of this reform on the way other Romans approached the attainment of magistracies and how public expectations of military leaders changed that had the longest impacts on the late republican period.

4. Signpost sentence

The final sentence of your introduction should prepare the reader for the topic of your first body paragraph. The main purpose of this sentence is to provide cohesion between your introductory paragraph and you first body paragraph .

Therefore, a signpost sentence indicates where you will begin proving the argument that you set out in your hypothesis and usually states the importance of the first point that you’re about to make. 

Example signpost sentences:

The early development of castles is best understood when examining their military purpose.

The naïve attitudes of those who volunteered in 1914 can be clearly seen in the personal letters and diaries that they themselves wrote.

The significance of these people is evident when examining the lack of political representation the indigenous people experience in the early half of the 20 th century.

The origin of Marius’ later achievements was his military reform in 107 BC, which occurred when he was first elected as consul.

Putting it all together

Once you have written all four parts of the BHES structure, you should have a completed introduction paragraph. In the examples above, we have shown each part separately. Below you will see the completed paragraphs so that you can appreciate what an introduction should look like.

Example introduction paragraphs: 

Castles were an important component of Medieval Britain from the time of the Norman conquest in 1066 until they were phased out in the 15th and 16th centuries. Initially introduced as wooden motte and bailey structures on geographical strongpoints, they were rapidly replaced by stone fortresses which incorporated sophisticated defensive designs to improve the defenders’ chances of surviving prolonged sieges. Medieval castles were designed with features that nullified the superior numbers of besieging armies, but were ultimately made obsolete by the development of gunpowder artillery. By the height of the Middle Ages, feudal lords were investing significant sums of money by incorporating concentric walls and guard towers to maximise their defensive potential. These developments were so successful that many medieval armies avoided sieges in the late period. The early development of castles is best understood when examining their military purpose.

The First World War began in 1914 following the assassination of Archduke Franz Ferdinand. The subsequent declarations of war from most of Europe drew other countries into the conflict, including Australia. The Australian Imperial Force joined the war as part of Britain’s armed forces and were dispatched to locations in the Middle East and Western Europe. Australian soldiers’ opinion of the First World War changed from naïve enthusiasm to pessimistic realism as a result of the harsh realities of modern industrial warfare. Following Britain's official declaration of war on Germany, young Australian men voluntarily enlisted into the army, which was further encouraged by government propaganda about the moral justifications for the conflict. However, following the initial engagements on the Gallipoli peninsula, enthusiasm declined. The naïve attitudes of those who volunteered in 1914 can be clearly seen in the personal letters and diaries that they themselves wrote.

The 1967 Referendum sought to amend the Australian Constitution in order to change the legal standing of the indigenous people in Australia. The fact that 90% of Australians voted in favour of the proposed amendments has been attributed to a series of significant events and people who were dedicated to the referendum’s success. The success of the 1967 Referendum was a direct result of the efforts of First Nations leaders such as Charles Perkins, Faith Bandler and the Federal Council for the Advancement of Aborigines and Torres Strait Islanders. The political activity of key indigenous figures and the formation of activism organisations focused on indigenous resulted in a wider spread of messages to the general Australian public. The generation of powerful images and speeches has been frequently cited by modern historians as crucial to the referendum results. The significance of these people is evident when examining the lack of political representation the indigenous people experience in the early half of the 20th century.

In the late second century BC, the Roman novus homo Gaius Marius became one of the most influential men in the Roman Republic. Marius gained this authority through his victory in the Jugurthine War, with his defeat of Jugurtha in 106 BC, and his triumph over the invading Germanic tribes in 101 BC, when he crushed the Teutones at the Battle of Aquae Sextiae (102 BC) and the Cimbri at the Battle of Vercellae (101 BC). Marius also gained great fame through his election to the consulship seven times. Gaius Marius was the most one of the most significant personalities in the 1st century BC due to his effect on the political, military and social structures of the Roman state. While Marius is best known for his military reforms, it is the subsequent impacts of this reform on the way other Romans approached the attainment of magistracies and how public expectations of military leaders changed that had the longest impacts on the late republican period. The origin of Marius’ later achievements was his military reform in 107 BC, which occurred when he was first elected as consul.

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The Forgotten History of Hitler’s Establishment Enablers

By Adam Gopnik

Hitler is so fully imagined a subject—so obsessively present on our televisions and in our bookstores—that to reimagine him seems pointless. As with the Hollywood fascination with Charles Manson , speculative curiosity gives retrospective glamour to evil. Hitler created a world in which women were transported with their children for days in closed train cars and then had to watch those children die alongside them, naked, gasping for breath in a gas chamber. To ask whether the man responsible for this was motivated by reading Oswald Spengler or merely by meeting him seems to attribute too much complexity of purpose to him, not to mention posthumous dignity. Yet allowing the specifics of his ascent to be clouded by disdain is not much better than allowing his memory to be ennobled by mystery.

So the historian Timothy W. Ryback’s choice to make his new book, “ Takeover: Hitler’s Final Rise to Power ” (Knopf), an aggressively specific chronicle of a single year, 1932, seems a wise, even an inspired one. Ryback details, week by week, day by day, and sometimes hour by hour, how a country with a functional, if flawed, democratic machinery handed absolute power over to someone who could never claim a majority in an actual election and whom the entire conservative political class regarded as a chaotic clown with a violent following. Ryback shows how major players thought they could find some ulterior advantage in managing him. Each was sure that, after the passing of a brief storm cloud, so obviously overloaded that it had to expend itself, they would emerge in possession of power. The corporate bosses thought that, if you looked past the strutting and the performative antisemitism, you had someone who would protect your money. Communist ideologues thought that, if you peered deeply enough into the strutting and the performative antisemitism, you could spy the pattern of a popular revolution. The decent right thought that he was too obviously deranged to remain in power long, and the decent left, tempered by earlier fights against different enemies, thought that, if they forcibly stuck to the rule of law, then the law would somehow by itself entrap a lawless leader. In a now familiar paradox, the rational forces stuck to magical thinking, while the irrational ones were more logical, parsing the brute equations of power. And so the storm never passed. In a way, it still has not.

Podcast: The New Yorker Radio Hour Adam Gopnik considers Hitler’s rise to power.

Ryback’s story begins soon after Hitler’s very incomplete victory in the Weimar Republic’s parliamentary elections of July, 1932. Hitler’s party, the National Socialist German Workers’ Party (its German initials were N.S.D.A.P.), emerged with thirty-seven per cent of the vote, and two hundred and thirty out of six hundred and eight seats in the Reichstag, the German parliament—substantially ahead of any of its rivals. In the normal course of events, this would have led the aging warrior Paul von Hindenburg, Germany’s President, to appoint Hitler Chancellor. The equivalent of Prime Minister in other parliamentary systems, the Chancellor was meant to answer to his party, to the Reichstag, and to the President, who appointed him and who could remove him. Yet both Hindenburg and the sitting Chancellor, Franz von Papen, had been firm never-Hitler men, and naïvely entreated Hitler to recognize his own unsuitability for the role.

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The N.S.D.A.P. had been in existence since right after the Great War, as one of many völkisch , or populist, groups; its label, by including “national” and “socialist,” was intended to appeal to both right-wing nationalists and left-wing socialists, who were thought to share a common enemy: the élite class of Jewish bankers who, they said, manipulated Germany behind the scenes and had been responsible for the German surrender. The Nazis, as they were called—a put-down made into a popular label, like “Impressionists”—began as one of many fringe and populist antisemitic groups in Germany, including the Thule Society, which was filled with bizarre pre- QAnon conspiracy adepts. Hitler, an Austrian corporal with a toothbrush mustache (when Charlie Chaplin first saw him in newsreels, he assumed Hitler was aping his Little Tramp character), had seized control of the Party in 1921. Then a failed attempt at a putsch in Munich, in 1923, left him in prison, but with many comforts, much respect, and paper and time with which to write his memoir, “Mein Kampf.” He reëmerged as the leader of all the nationalists fighting for election, with an accompanying paramilitary organization, the Sturmabteilung (S.A.), under the direction of the more or less openly homosexual Ernst Röhm, and a press office, under the direction of Joseph Goebbels. (In the American style, the press office recognized the political significance of the era’s new technology and social media, exploiting sound recordings, newsreels, and radio, and even having Hitler campaign by airplane.) Hitler’s plans were deliberately ambiguous, but his purposes were not. Ever since his unsuccessful putsch in Munich, he had, Ryback writes, “been driven by a single ambition: to destroy the political system that he held responsible for the myriad ills plaguing the German people.”

Ryback skips past the underlying mechanics of the July, 1932, election on the way to his real subject—Hitler’s manipulation of the conservative politicians and tycoons who thought that they were manipulating him—but there’s a notable academic literature on what actually happened when Germans voted that summer. The political scientists and historians who study it tell us that the election was a “normal” one, in the sense that the behavior of groups and subgroups proceeded in the usual way, responding more to the perception of political interests than to some convulsions of apocalyptic feeling.

The popular picture of the decline of the Weimar Republic—in which hyperinflation produced mass unemployment, which produced an unstoppable wave of fascism—is far from the truth. The hyperinflation had ended in 1923, and the period right afterward, in the mid-twenties, was, in Germany as elsewhere, golden. The financial crash of 1929 certainly energized the parties of the far left and the far right. Still, the results of the July, 1932, election weren’t obviously catastrophic. The Nazis came out as the largest single party, but both Hitler and Goebbels were bitterly disappointed by their standing. The unemployed actually opposed Hitler and voted en masse for the parties of the left. Hitler won the support of self-employed people, who were in decent economic shape but felt that their lives and livelihoods were threatened; of rural Protestant voters; and of domestic workers (still a sizable group), perhaps because they felt unsafe outside a rigid hierarchy. What was once called the petite bourgeoisie, then, was key to his support—not people feeling the brunt of economic precarity but people feeling the possibility of it. Having nothing to fear but fear itself is having something significant to fear.

It was indeed a “normal” election in that respect, responding not least to the outburst of “normal” politics with which Hitler had littered his program: he had, in the months beforehand, damped down his usual ranting about Jews and bankers and moneyed élites and the rest. He had recorded a widely distributed phonograph album (the era’s equivalent of a podcast) designed to make him seem, well, Chancellor-ish. He emphasized agricultural support and a return to better times, aiming, as Ryback writes, “to bridge divides of class and conscience, socialism and nationalism.” By the strange alchemy of demagoguery, a brief visit to the surface of sanity annulled years and years of crazy.

The Germans were voting, in the absent-minded way of democratic voters everywhere, for easy reassurances, for stability, with classes siding against their historical enemies. They weren’t wild-eyed nationalists voting for a millennial authoritarian regime that would rule forever and restore Germany to glory, and, certainly, they weren’t voting for an apocalyptic nightmare that would leave tens of millions of people dead and the cities of Germany destroyed. They were voting for specific programs that they thought would benefit them, and for a year’s insurance against the people they feared.

Ryback spends most of his time with two pillars of respectable conservative Germany, General Kurt von Schleicher and the right-wing media magnate Alfred Hugenberg. Utterly contemptuous of Hitler as a lazy buffoon—he didn’t wake up until eleven most mornings and spent much of his time watching and talking about movies—the two men still hated the Communists and even the center-left Social Democrats more than they did anyone on the right, and they spent most of 1932 and 1933 scheming to use Hitler as a stalking horse for their own ambitions.

Schleicher is perhaps first among Ryback’s too-clever-for-their-own-good villains, and the book presents a piercingly novelistic picture of him. Though in some ways a classic Prussian militarist, Schleicher, like so many of the German upper classes, was also a cultivated and cosmopolitan bon vivant, whom the well-connected journalist and diarist Bella Fromm called “a man of almost irresistible charm.” He was a character out of a Jean Renoir film, the regretful Junker caught in modern times. He had no illusions about Hitler (“What am I to do with that psychopath?” he said after hearing about his behavior), but, infinitely ambitious, he thought that Hitler’s call for strongman rule might awaken the German people to the need for a real strongman, i.e., Schleicher. Ryback tells us that Schleicher had a strategy he dubbed the Zähmungsprozess , or “taming process,” which was meant to sideline the radicals of the Nazi Party and bring the movement into mainstream politics. He publicly commended Hitler as a “modest, orderly man who only wants what is best” and who would follow the rule of law. He praised Hitler’s paramilitary troops, too, defending them against press reports of street violence. In fact, as Ryback explains, the game plan was to have the Brown Shirts crush the forces of the left—and then to have the regular German Army crush the Brown Shirts.

Schleicher imagined himself a master manipulator of men and causes. He liked to play with a menagerie of glass animal figurines on his desk, leaving the impression that lesser beings were mere toys to be handled. In June of 1932, he prevailed on Hindenburg to give the Chancellorship to Papen, a weak politician widely viewed as Schleicher’s puppet; Papen, in turn, installed Schleicher as minister of defense. Then they dissolved the Reichstag and held those July elections which, predictably, gave the Nazis a big boost.

Ryback spends many mordant pages tracking Schleicher’s whirling-dervish intrigues, as he tried to realize his fantasy of the Zähmungsprozess . Many of these involved schemes shared with the patriotic and staunchly anti-Nazi General Kurt von Hammerstein-Equord (familiar to viewers of “Babylon Berlin” as Major General Seegers). Hammerstein was one of the few German officers to fully grasp Hitler’s real nature. At a meeting with Hitler in the spring of 1932, Hammerstein told him bluntly, “Herr Hitler, if you achieve power legally, that would be fine with me. If the circumstances are different, I will use arms.” He later felt reassured when Hindenburg intimated that, if the Nazi paramilitary troops acted, he could order the Army to fire on them.

Yet Hammerstein remained impotent. At various moments, Schleicher, as the minister of defense, entertained what was in effect a plan for imposing martial law with himself in charge and Hammerstein at his side. In retrospect, it was the last hope of protecting the republic from Hitler—but after President Hindenburg rejected it, not out of democratic misgivings but out of suspicion of Schleicher’s purposes, Hammerstein, an essentially tragic figure, was unable to act alone. He suffered from a malady found among decent military men suddenly thrust into positions of political power: his scruples were at odds with his habits of deference to hierarchy. Generals became generals by learning to take orders before they learned how to give them. Hammerstein hated Hitler, but he waited for someone else of impeccable authority to give a clear direction before he would act. (He went on waiting right through the war, as part of the equally impotent military nexus that wanted Hitler dead but, until it was too late, lacked the will to kill him.)

The extra-parliamentary actions that were fleetingly contemplated in the months after the election—a war in the streets, or, more likely, a civil confrontation leading to a military coup—seemed horrific. The trouble, unknowable to the people of the time, is that, since what did happen is the worst thing that has ever happened, any alternative would have been less horrific. One wants to shout to Hammerstein and his cohorts, Go ahead, take over the government! Arrest Hitler and his henchmen, rule for a few years, and then try again. It won’t be as bad as what happens next. But, of course, they cannot hear us. They couldn’t have heard us then.

Ryback’s gift for detail joins with a nice feeling for the black comedy of the period. He makes much sport of the attempts by foreign journalists resident in Germany, particularly the New York Times’ Frederick T. Birchall, to normalize the Nazi ascent—with Birchall continually assuring his readers that Hitler, an out-of-his-depth simpleton, was not the threat he seemed to be, and that the other conservatives were far more potent in their political maneuvering. When Papen made a speech denying that Hitler’s paramilitary forces represented “the German nation,” Birchall wrote that the speech “contained dynamite enough to change completely the political situation in the Reich.” On another occasion, Birchall wrote that “the Hitlerites” were deluded to think they “hold the best cards”; there was every reason to think that “the big cards, the ones that will really decide the game,” were in the hands of people such as Papen, Hindenburg, and, “above all,” Schleicher.

Ryback, focussing on the self-entrapped German conservatives, generally avoids the question that seems most obvious to a contemporary reader: Why was a coalition between the moderate-left Social Democrats and the conservative but far from Nazified Catholic Centrists never even seriously attempted? Given that Hitler had repeatedly vowed to use the democratic process in order to destroy democracy, why did the people committed to democracy let him do it?

Many historians have jousted with this question, but perhaps the most piercing account remains an early one, written less than a decade after the war by the émigré German scholar Lewis Edinger, who had known the leaders of the Social Democrats well and consulted them directly—the ones who had survived, that is—for his study. His conclusion was that they simply “trusted that constitutional processes and the return of reason and fair play would assure the survival of the Weimar Republic and its chief supporters.” The Social Democratic leadership had become a gerontocracy, out of touch with the generational changes beneath them. The top Social Democratic leaders were, on average, two decades older than their Nazi counterparts.

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Worse, the Social Democrats remained in the grip of a long struggle with Bismarckian nationalism, which, however oppressive it might have been, still operated with a broad idea of legitimacy and the rule of law. The institutional procedures of parliamentarianism had always seen the Social Democrats through—why would those procedures not continue to protect them? In a battle between demagoguery and democracy, surely democracy had the advantage. Edinger writes that Karl Kautsky, among the most eminent of the Party’s theorists, believed that after the election Hitler’s supporters would realize he was incapable of fulfilling his promises and drift away.

The Social Democrats may have been hobbled, too, by their commitment to team leadership—which meant that no single charismatic individual represented them. Proceduralists and institutionalists by temperament and training, they were, as Edinger demonstrates, unable to imagine the nature of their adversary. They acceded to Hitler’s ascent with the belief that by respecting the rules themselves they would encourage the other side to play by them as well. Even after Hitler consolidated his power, he was seen to have secured the Chancellorship by constitutional means. Edinger quotes Arnold Brecht, a fellow exiled statesman: “To rise against him on the first night would make the rebels the technical violators of the Constitution that they wanted to defend.”

Meanwhile, the centrist Catholics—whom Hitler shrewdly recognized as his most formidable potential adversaries—were handicapped in any desire to join with the Democratic Socialists by their fear of the Communists. Though the Communists had previously made various alliances of convenience with the Social Democrats, by 1932 they were tightly controlled by Stalin, who had ordered them to depict the Social Democrats as being as great a threat to the working class as Hitler.

And, when a rumor spread that Hitler had once spat out a Communion Host, it only made him more popular among Catholics, since it called attention to his Catholic upbringing. Indeed, most attempts to highlight Hitler’s personal depravities (including his possibly sexual relationship with his niece Geli, which was no secret in the press of the time; her apparent suicide, less than a year before the election, had been a tabloid scandal) made him more popular. In any case, Hitler was skilled at reassuring the Catholic center, promising to be “the strong protector of Christianity as the basis of our common moral order.”

Hitler’s hatred of parliamentary democracy, even more than his hatred of Jews, was central to his identity, Ryback emphasizes. Antisemitism was a regular feature of populist politics in the region: Hitler had learned much of it in his youth from the Vienna mayor Karl Lueger. But Lueger was a genuine populist democrat, who brought universal male suffrage to the city. Hitler’s originality lay elsewhere. “Unlike Hitler’s anti-Semitism, a toxic brew of pseudoscientific readings and malignant mentoring, Hitler’s hatred of the Weimar Republic was the result of personal observation of political processes,” Ryback writes. “He hated the haggling and compromise of coalition politics inherent in multiparty political systems.”

Second only to Schleicher in Ryback’s accounting of Hitler’s establishment enablers is the media magnate Alfred Hugenberg. The owner of the country’s leading film studio and of the national news service, which supplied some sixteen hundred newspapers, he was far from an admirer. He regarded Hitler as manic and unreliable but found him essential for the furtherance of their common program, and was in and out of political alliance with him during the crucial year.

Hugenberg had begun constructing his media empire in the late nineteen-teens, in response to what he saw as the bias against conservatives in much of the German press, and he shared Hitler’s hatred of democracy and of the Jews. But he thought of himself as a much more sophisticated player, and intended to use his control of modern media in pursuit of what he called a Katastrophenpolitik —a “catastrophe politics” of cultural warfare, in which the strategy, Ryback says, was to “flood the public space with inflammatory news stories, half-truths, rumors, and outright lies.” The aim was to polarize the public, and to crater anything like consensus. Hugenberg gave Hitler money as well as publicity, but Hugenberg had his own political ambitions (somewhat undermined by a personal aura described by his nickname, der Hamster) and his own party, and Hitler was furiously jealous of the spotlight. While giving Hitler support in his media—a support sometimes interrupted by impatience—Hugenberg urged him to act rationally and settle for Nazi positions in the cabinet if he could not have the Chancellorship.

What strengthened the Nazis throughout the conspiratorial maneuverings of the period was certainly not any great display of discipline. The Nazi movement was a chaotic mess of struggling in-groups who feared and despised one another. Hitler rightly mistrusted the loyalty even of his chief lieutenant, Gregor Strasser, who fell on the “socialist” side of the National Socialists label. The members of the S.A., the Storm Troopers, meanwhile, were loyal mainly to their own leader, Ernst Röhm, and embarrassed Hitler with their run of sexual scandals. The N.S.D.A.P. was a hive of internal antipathies that could resolve only in violence—a condition that would endure to the last weeks of the war, when, standing amid the ruins of Germany, Hitler was enraged to discover that Heinrich Himmler was trying to negotiate a separate peace with the Western Allies.

The strength of the Nazis lay, rather, in the curiously enclosed and benumbed character of their leader. Hitler was impossible to discourage, not because he ran an efficient machine but because he was immune to the normal human impediments to absolute power: shame, calculation, or even a desire to see a particular political program put in place. Hindenburg, knowing of Hitler’s genuinely courageous military service in the Great War, appealed in their meetings to his patriotism, his love of the Fatherland. But Hitler, an Austrian who did not receive German citizenship until shortly before the 1932 election, did not love the Fatherland. He ran on the hydrogen fuel of pure hatred. He did not want power in order to implement a program; he wanted power in order to realize his pain. A fascinating and once classified document, prepared for the precursor of the C.I.A. , the O.S.S., by the psychoanalyst Walter Langer, used first-person accounts to gauge the scale of Hitler’s narcissism: “It may be of interest to note at this time that of all the titles that Hitler might have chosen for himself he is content with the simple one of ‘Fuehrer.’ To him this title is the greatest of them all. He has spent his life searching for a person worthy of the role but was unable to find one until he discovered himself.” Or, as the acute Hungarian American historian John Lukacs, who spent a lifetime studying Hitler’s psychology, observed, “His hatred for his opponents was both stronger and less abstract than was his love for his people. That was (and remains) a distinguishing mark of the mind of every extreme nationalist.”

In November of 1932, one more Reichstag election was held. Once again, it was a bitter disappointment to Hitler and Goebbels—“a disaster,” as Goebbels declared on Election Night. (An earlier Presidential election had also reaffirmed Hindenburg over the Hitler movement.) The Nazi wave that everyone had expected failed to materialize. The Nazis lost seats, and, once again, they could not crack fifty per cent. The Times explained that the Hitler movement had passed its high-water mark, and that “the country is getting tired of the Nazis.” Everywhere, Ryback says, the cartoonists and editorialists delighted in Hitler’s discomfiture. One cartoonist showed him presiding over a graveyard of swastikas. In December of 1932, having lost three elections in a row, Hitler seemed to be finished.

The subsequent maneuverings are as dispiriting to read about as they are exhausting to follow. Basically, Schleicher conspired to have Papen fired as Chancellor by Hindenburg and replaced by himself. He calculated that he could cleave Gregor Strasser and the more respectable elements of the Nazis from Hitler, form a coalition with them, and leave Hitler on the outside looking in. But Papen, a small man in everything except his taste for revenge, turned on Schleicher in a rage and went directly to Hitler, proposing, despite his earlier never-Hitler views, that they form their own coalition. Schleicher’s plan to spirit Strasser away from Hitler and break the Nazi Party in two then stumbled on the reality that the real base of the Party was fanatically loyal only to its leader—and Strasser, knowing this, refused to leave the Party, even as he conspired with Schleicher to undermine it.

Then, in mid-January, a small regional election in Lipperland took place. Though the results were again disappointing for Hitler and Goebbels—the National Socialist German Workers’ Party still hadn’t surmounted the fifty-per-cent mark—they managed to sell the election as a kind of triumph. At Party meetings, Hitler denounced Strasser. The idea, much beloved by Schleicher and his allies, of breaking a Strasser wing of the Party off from Hitler became obviously impossible.

Hindenburg, in his mid-eighties and growing weak, became fed up with Schleicher’s Machiavellian stratagems and dispensed with him as Chancellor. Papen, dismissed not long before, was received by the President. He promised that he could form a working majority in the Reichstag by simple means: Hindenburg should go ahead and appoint Hitler Chancellor. Hitler, he explained, had made significant “concessions,” and could be controlled. He would want only the Chancellorship, and not more seats in the cabinet. What could go wrong? “You mean to tell me I have the unpleasant task of appointing this Hitler as the next Chancellor?” Hindenburg reportedly asked. He did. The conservative strategists celebrated their victory. “So, we box Hitler in,” Hugenberg said confidently. Papen crowed, “Within two months, we will have pressed Hitler into a corner so tight that he’ll squeak!”

“The big joke on democracy is that it gives its mortal enemies the tools to its own destruction,” Goebbels said as the Nazis rose to power—one of those quotes that sound apocryphal but are not. The ultimate fates of Ryback’s players are varied, and instructive. Schleicher, the conservative who saw right through Hitler’s weakness—who had found a way to entrap him, and then use him against the left—was killed by the S.A. during the Night of the Long Knives, in 1934, when Hitler consolidated his hold over his own movement by murdering his less loyal lieutenants. Strasser and Röhm were murdered then, too. Hitler and Goebbels, of course, died by their own hands in defeat, having left tens of millions of Europeans dead and their country in ruins. But Hugenberg, sidelined during the Third Reich, was exonerated by a denazification court in the years after the war. And Papen, who had ushered Hitler directly into power, was acquitted at Nuremberg ; in the nineteen-fifties, he was awarded the highest honorary order of the Catholic Church.

Does history have patterns or merely circumstances and unique contingencies? Certainly, the Germany of 1932 was a place unto itself. The truth, that some cycles may recur but inexactly, is best captured in that fine aphorism “History does not repeat itself, but it sometimes rhymes.” Appropriately, no historian is exactly sure who said this: widely credited to Mark Twain , it was more likely first said long after his death.

We see through a glass darkly, as patterns of authoritarian ambition seem to flash before our eyes: the demagogue made strong not by conviction but by being numb to normal human encouragements and admonitions; the aging center left; the media lords who want something like what the demagogue wants but in the end are controlled by him; the political maneuverers who think they can outwit the demagogue; the resistance and sudden surrender. Democracy doesn’t die in darkness. It dies in bright midafternoon light, where politicians fall back on familiarities and make faint offers to authoritarians and say a firm and final no—and then wake up a few days later and say, Well, maybe this time, it might all work out, and look at the other side! Precise circumstances never repeat, yet shapes and patterns so often recur. In history, it’s true, the same thing never happens twice. But the same things do. ♦

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