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Blog – Posted on Wednesday, Apr 03

How to write a book review in 3 steps.

If the idea of reading for free — or even getting paid to read — sounds like a dream come true, remember that it isn’t a pipe dream. There are many places aspiring book reviewers can read books for free, such as Reedsy Discovery — a new platform for reviewing indie books. Of course, if you’re giving serious thought to becoming a book reviewer, your first step should be learning how to write a book review. To that end, this post covers all the basics of literary criticism. Let’s get started!

The three main steps of writing a book review are simple:

• Provide a summary: What is story about? Who are the main characters and what is the main conflict? 
• Present your evaluation: What did you think of the book? What elements worked well, and which ones didn’t? 
• Give your recommendation: Would you recommend this book to others? If so, what kinds of readers will enjoy it?

You can also download our free book review templates and use it as a guide! Otherwise, let’s take a closer look at each element.

Pro-tip : But wait! How are you sure if you should become a book reviewer in the first place? If you're on the fence, or curious about your match with a book reviewing career, take our quick quiz:

Should you become a book reviewer?

Find out the answer. Takes 30 seconds!

How to write a review of a book

Step 1. provide a summary.

Have you ever watched a movie only to realize that all the good bits were already in the trailer? Well, you don’t want the review to do that. What you do want the summary to do is reveal the genre, theme, main conflict, and main characters in the story — without giving away spoilers or revealing how the story ends.

A good rule of thumb is not to mention anything that happens beyond the midpoint. Set the stage and give readers a sense of the book without explaining how the central issue is resolved.

Emily W. Thompson's review of The Crossing :

In [Michael] Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl. Read more...

Here are a few more reviews with well-written summaries for you to check out. The summary tend to be the longest part of the book review, so we won’t turn this post into a novel itself by pasting them all here: Le Cirque Navire reviewed by Anna Brill, The Heart of Stone reviewed by Kevin R. Dickinson, Fitting Out: The Friendship Experiment reviewed by Lianna Albrizio.

Non-fiction summary tip: The primary goal of a non-fiction summary is to provide context: what problems or issues has the book spotted, and how does it go about addressing them? Be sure to mention the authors of the title and what experience or expertise they bring to the title. Check Stefan Kløvning’s review of Creativity Cycling for an example of a summary that establishes the framework of the book within the context of its field.

Step 2. Present your evaluation

While you should absolutely weave your own personal take of a book into the review, your evaluation shouldn’t only be based on your subjective opinion. Along with presenting how you reacted to the story and how it affected you, you should also try to objectively critique the stronger and weaker elements of the story, and provide examples from the text to back up your points.

To help you write your evaluation, you should record your reactions and thoughts as you work your way through a novel you’re planning on reviewing. Here are some aspects of the book to keep in mind as you do.

Your evaluation might focus heartily on the book’s prose:

Donald Barker's review of Mercenary : 

Such are the bones of the story. But, of course, it is the manner in which Mr Gaughran puts the bones back together and fills them with life that makes “Mercenary” such a great read. The author’s style seems plain; it seems straightforward and even simple. But an attempt at imitation or emulation quickly proves that simple it is not. He employs short, punchy sentences that generate excellent dialogue dripping with irony, deadpan humour and wit. This, mixed with good descriptive prose, draws the characters – and what characters they are – along with the tumultuous events in which they participated amidst the stinking, steaming heat of the South American jungle, out from the past to the present; alive, scheming, drinking, womanising and fighting, onto the written page.

You can give readers a sense of the book by drawing comparisons to other well-known titles or authors:

Laura Hartman's review of The Mystery of Ruby's Mistletoe :

Reading Ms. Donovan’s book is reminiscent to one of my favorite authors, Dame Agatha Christie. Setting up the suspects in a snowbound house, asking them to meet in the drawing room and the cleverly satisfying conclusion was extremely gratifying. I can picture Miss Marple and Hercule Poirot nodding at Ms. Donovan saying “Well done!”

Not everyone’s tastes are the same, and you can always acknowledge this by calling out specific story elements in your evaluation: 

Kevin R. Dickinson's review of The Heart of Stone :

Whether you enjoy Galley’s worldbuilding will depend heavily on preference. Galley delivers information piecemeal, letting the characters, not the author, navigate the reader through Hartlund. A notable example is the magic system, an enigmatic force that lacks the ridge structures of, say, a Brandon Sanderson novel. While the world’s magical workings are explained, you only learn what the characters know and many mysteries remain by the end. Similar choices throughout make the world feel expansive and authentic.

Non-fiction evaluation tip: A book’s topic is only as compelling as its supporting arguments. Your evaluation of a nonfiction book should address that: how clearly and effectively are the points communicated? Turn back to Stefan’s critique for an example of a non-fiction critique that covers key takeaways and readability, without giving away any “big reveals.”

Step 3. Give your recommendation 

At the end of the day, your critique needs to answer this question: is this a book you would (or wouldn’t) recommend to other readers? You might wrap up by comparing it to other books in the same genre, or authors with similar styles, such as: “Fans of so-and-so will enjoy this book.” 

Let’s take a look at a few more tips:

You don’t need to write, “I recommend this book” — you can make it clear by highlighting your favorable opinion:

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

Add more punch to your rating by mentioning what kind of audience will or won’t enjoy the book:

Charleigh Aleyna Reid's review of The King of FU :

I would recommend this book to anyone who grew up in the 90’s and would like to reminisce about the time, someone who is interested to see what it was like to be a 90’s kid, or perhaps anyone who is looking for a unique, funny story about someone’s life.

Unless you found the title absolutely abhorrent, a good way to balance out a less favorable book review it to share what you did like about the book — before ultimately stating why you wouldn’t recommend the novel:

Nicola O's review of Secrets of the Sea Lord :

Overall, there are plenty of enjoyable elements in this story and fans of Atlantis and mer mythology should give it a try. Despite this, it does not rise above a three-star rating, and while I had some difficulty pinning down why this is, I concluded that it comes from a surprisingly unsophisticated vocabulary. There are a couple of graphic sex scenes, which is absolutely fine in a paranormal romance, but if they were removed, I could easily imagine this as an appealing story for middle-schoolers.

Non-fiction recommendation tip: As with fiction book reviews, share why you did or didn’t enjoy the title. However, in one of the starkest divergences from fiction book reviews it’s more important than ever that you mention your expectations coming into the non-fiction book. For instance, if you’re a cow farmer who’s reading a book on the benefits of becoming a vegetarian, you’re coming in with a large and inherent bias that the book will struggle to alter. So your recommendation should cover your thoughts about the book, while clearly taking account your perspective before you started reading. Let’s look once more at Stefan’s review for an example of a rating that includes an explanation of the reviewer’s own bias.

Bonus tips for writing a book review

Let’s wrap up with a few final tips for writing a compelling review.

• Remember, this isn’t a book report. If someone wants the summary of a book, they can read the synopsis. People turn to book reviews for a fellow reader’s take on the book. And for that reason...
• Have an opinion. Even if your opinion is totally middle-of-the-line — you didn’t hate the book but you didn’t love it either — state that clearly, and explain why.
• Make your stance clear from the outset. Don’t save your opinion just for the evaluation/recommendation. Weave your thoughts about the book into your summary as well, so that readers have an idea of your opinion from the outset.
• Back up your points. Instead of just saying, “the prose was evocative” — show readers by providing an actual passage that displays this. Same goes for negative points — don’t simply tell readers you found a character unbelievable, reference a certain (non-spoiler) scene that backs this up.
• Provide the details. Don’t forget to weave the book’s information into the review: is this a debut author? Is this one installment of a series? What types of books has the author written before? What is their background? How many pages does the book have? Who published the book? What is the book’s price?
• Follow guidelines. Is the review you’re writing for Goodreads? For The New York Times ? The content and tone of your review will vary a good deal from publication to publication.
• Learn from others. One of the best ways to learn how to write a great review is to read other reviews! To help you out with that, we’ve published a post all about book review examples .

Writing book reviews can be a rewarding experience! As a book-lover yourself, it’s a great opportunity to help guide readers to their next favorite title. If you’re just getting started as a reviewer and could use a couple more tips and nudges in the right direction, check out our comprehensive blog post on how to become a book reviewer . And if you want to find out which review community is the right fit for you, we recommend taking this quick quiz:

Which review community should you join?

Find out which review community is best for your style. Takes 30 seconds!

Finally, if you feel you've nailed the basics of how to write a book review, we recommend you check out Reedsy Discovery , where you can review books for free and are guaranteed people will read them. To register as a book reviewer, simply go here !

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How to Write a Book Review: The Complete Guide

by Sue Weems | 23 comments

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If you've ever loved (or hated) a book, you may have been tempted to review it. Here's a complete guide to how to write a book review, so you can share your literary adventures with other readers more often! 

You finally reach the last page of a book that kept you up all night and close it with the afterglow of satisfaction and a tinge of regret that it’s over. If you enjoyed the book enough to stay up reading it way past your bedtime, consider writing a review. It is one of the best gifts you can give an author.

Regardless of how much you know about how to write a book review, the author will appreciate hearing how their words touched you.

But as you face the five shaded stars and empty box, a blank mind strikes. What do I say? I mean, is this a book really deserving of five stars? How did it compare to Dostoevsky or Angelou or Dickens?

Maybe there’s an easier way to write a book review.

Want to learn how to write a book from start to finish? Check out How to Write a Book: The Complete Guide .

The Fallacy of Book Reviews

Once you’ve decided to give a review, you are faced with the task of deciding how many stars to give a book.

When I first started writing book reviews, I made the mistake of trying to compare a book to ALL BOOKS OF ALL TIME. (Sorry for the all caps, but that’s how it felt, like a James Earl Jones voice was asking me where to put this book in the queue of all books.)

Other readers find themselves comparing new titles to their favorite books. It's a natural comparison. But is it fair?

This is honestly why I didn’t give reviews of books for a long time. How can I compare a modern romance or historical fiction war novel with Dostoevsky? I can’t, and I shouldn’t.

I realized my mistake one day as I was watching (of all things) a dog show. In the final round, they trotted out dogs of all shapes, colors, and sizes. I thought, “How can a Yorkshire Terrier compete with a Basset Hound?” As if he'd read my mind, the announcer explained that each is judged by the standards for its breed.

This was my “Aha!” moment. I have to take a book on its own terms. The question is not, “How does this book compare to all books I’ve read?” but “How well did this book deliver what it promised for the intended audience?”

A review is going to reflect my personal experience with the book, but I can help potential readers by taking a minute to consider what the author intended. Let me explain what I mean. 

How to Write a Book Review: Consider a Book’s Promise

A book makes a promise with its cover, blurb, and first pages. It begins to set expectations the minute a reader views the thumbnail or cover. Those things indicate the genre, tone, and likely the major themes.

If a book cover includes a lip-locked couple in flowing linen on a beach, and I open to the first page to read about a pimpled vampire in a trench coat speaking like Mr. Knightly about his plan for revenge on the entire human race, there’s been a breach of contract before I even get to page two. These are the books we put down immediately (unless a mixed-message beachy cover combined with an Austen vampire story is your thing).

But what if the cover, blurb, and first pages are cohesive and perk our interest enough to keep reading? Then we have to think about what the book has promised us, which revolves around one key idea: What is the core story question and how well is it resolved?

Sometimes genre expectations help us answer this question: a romance will end with a couple who finds their way, a murder mystery ends with a solved case, a thriller’s protagonist beats the clock and saves the country or planet.

The stories we love most do those expected things in a fresh or surprising way with characters we root for from the first page. Even (and especially!) when a book doesn’t fit neatly in a genre category, we need to consider what the book promises on those first pages and decide how well it succeeds on the terms it sets for itself.

When I Don’t Know What to Write

About a month ago, I realized I was overthinking how to write a book review. Here at the Write Practice we have a longstanding tradition of giving critiques using the Oreo method : point out something that was a strength, then something we wondered about or that confused us, followed by another positive.

We can use this same structure to write a simple review when we finish books. Consider this book review format: 

[Book Title] by [book author] is about ___[plot summary in a sentence—no spoilers!]___. I chose this book based on ________. I really enjoyed ________. I wondered how ___________. Anyone who likes ____ will love this book.

Following this basic template can help you write an honest review about most any book, and it will give the author or publisher good information about what worked (and possibly what didn’t). You might write about the characters, the conflict, the setting, or anything else that captured you and kept you reading.

As an added bonus, you will be a stronger reader when you are able to express why you enjoyed parts of a book (just like when you critique!). After you complete a few, you’ll find it gets easier, and you won’t need the template anymore.

What if I Didn’t Like It?

Like professional book reviewers, you will have to make the call about when to leave a negative review. If I can’t give a book at least three stars, I usually don’t review it. Why? If I don’t like a book after a couple chapters, I put it down. I don’t review anything that I haven’t read the entire book.

Also, it may be that I’m not the target audience. The book might be well-written and well-reviewed with a great cover, and it just doesn’t capture me. Or maybe it's a book that just isn't hitting me right now for reasons that have nothing to do with the book and everything to do with my own reading life and needs. Every book is not meant for every reader.

If a book kept me reading all the way to the end and I didn’t like the ending? I would probably still review it, since there had to be enough good things going on to keep me reading to the end. I might mention in my review that the ending was less satisfying than I hoped, but I would still end with a positive.

How to Write a Book Review: Your Turn

As writers, we know how difficult it is to put down the words day after day. We are typically voracious readers. Let’s send some love back out to our fellow writers this week and review the most recent title we enjoyed.

What was the last book you read or reviewed? Do you ever find it hard to review a book? Share in the comments .

Now it's your turn. Think of the last book you read. Then, take fifteen minutes to write a review of it based on the template above. When you're done, share your review in the Pro Practice Workshop . For bonus points, post it on the book's page on Amazon and Goodreads, too!

Don't forget to leave feedback for your fellow writers! What new reads will you discover in the comments?

Sue Weems is a writer, teacher, and traveler with an advanced degree in (mostly fictional) revenge. When she’s not rationalizing her love for parentheses (and dramatic asides), she follows a sailor around the globe with their four children, two dogs, and an impossibly tall stack of books to read. You can read more of her writing tips on her website .

23 Comments

The Ice Dragon by George R.R. Martin is about a girl that shows no emotion befriending a ice dragon.

I chose this book based on the cover that had a little girl riding a ice dragon, and wondered what is about.

I really enjoyed the interaction the little girl had with the dragon.

I wondered how how the girl’s bond with the dragon.

Anyone who likes a coming of age story set in a fantasy will love this book.

Thanks for sharing your practice, Azure!

You’re welcome.

A interesting, at times perplexing, subject! And one on my mind lately,as I’ve agreed to do a few. I do enjoy giving reviews and am delighted when I can say, “This was a great book!” Or even, “I enjoyed this book.” It gets perplexing when I agree to review a book — and simply don’t like it. Then what to say? I hate to disappoint the writer but I’ve promised to give my honest opinion.

I’ve found some books mediocre and yet I see a dozen other reviewers saying “A great story!” Tastes do vary. But when there are obvious flaws I tend to skip all the best-friend-and-cousin reviewers and find the first person who says, “This writer has a problem with…” Usually there’ll be a number of reviewers who spot the same problems I do.

I like upbeat main characters, but not aggressive, belligerent, and/or self-centered ones. I like to meet in a story the kind of people I’d like to meet in real life— not people I’d avoid if possible. I recently read a book where the main character came across as insipid and the story only mildly interesting. Other reviewers said it was great and I know for this specific audience — readers who want a certain slant to a story — it was quite suitable. So I tried to cut the book some slack. Everyone has their limit as to how much blood and gore, smooching and snuggling, they are willing to read about.

Once I agreed to review a book and would have tossed it after the first chapter — for several reasons. A lot of “writer inserting facts for reader’s benefit”; teach/preach paragraphs; excess of description; attitudes of MCs. Once it’s live on seller’s sites like Amazon, what can you say? The one thing good it had going for it was the story line or theme. With a pro editor’s help it could have been a great story.

As for a review, one book I read lately was “A Clue for the Puzzle Lady” by Parnell Hall. It’s one of those “Stayed up half the night to finish it” books; I think anyone who likes a compelling cozy mystery would probably like it. Downside: I didn’t care for the “Puzzle Lady.” She’s a lush, hangs out at the bar getting sloshed. The upside: her sensible niece has a starring role —trying to keep her aunt on the straight-and-narrow and the mystery keeps you guessing until the end.

Christine, Thanks for sharing your insight! It sounds like you are approached often to review new books. It does make it tricky if it’s a request, especially outside your own preferences. Thanks for chiming in about your process, as I’m sure others will appreciate the perspective too. I’ll have to take a look at the Puzzle Lady– I do enjoy cozy mysteries. Sue

Here’s another cozy mystery book review in case you’re interested. I’m not approached by writers that often, but there are the Story Cartel, Book Bub and Goodreads, all sites where authors ask for review volunteers.

Reel Estate Ripoff by Renee Pawlish

The detective Reed Ferguson is a fan of Humphry Bogart, movie memorabilia of that era, and fancies himself a bit of a Sam Slade. Though not your super-sleuth, rather inept at times, he’s a likeable character. Told in first person, the story has a Philip Marlowe tone to it, but much tamer. Dialogue and story line are well done, the story well plotted and believable. I’d gladly read more stories about this particular gumshoe.

If you like cozy mystery books, I’ll send you a list later, Sue. Love them too and I’ve met many authors who write in this genre. Back on topic– you inspire me again to add some reviews to my Blog. I have been reading and writing many middle grade mysteries for a project! My latest favorite: “The World’s Greatest Detective” by Caroline Carson (who I hope to meet tomorrow in Arlington, VA!) My 12 year old grandson borrowed it and finished it before I could. “It’s the best mystery I ever read, Grandma! You’ ll never guess the ending with unpredictable twists!” What better review could we read. The target audience and I both highly recommend this 2017 mystery.

Adding it to my stack, Beth. Thanks!

Not wanting to sound life an idiot, but willing to risk it here among friends: What exactly is a cozy mystery?

Glad you asked! It’s a subgenre of mystery. The best examples of cozy mysteries are those by Agatha Christie. They usually avoid profanity, excessive gore/ violence, and sex. They focus more on the puzzle, sleuth, and their smaller world. Hope that helps!

Thanks, Sue.

Wonderful article. The first I have read by you. It especially gets those of us who don’t feel we have the formula down for review writing to be introduced to a form we can build upon with experience. You’ve kept it simple but you have given us the main ingredients needed for a good review. I printed this one off to look at the next few times I write reviews. Thank you.

Glad you found it helpful. Thanks for reading and commenting!

I haven’t gone into all this. It’s a matter of time, Joe. I gad about all over the place, not knowing where I am or where I’m going. Within weeks, I’ll be 87. I’ve books of my own that I’d like to see reviewed. Even sorting them out, however, even finding where any of them are, would be a time burden. You see the fix?

Hi Dave, You aren’t alone in feeling the press of time for getting your stories out into the world. May I gently offer this: start with finding and sorting one. If you can’t find it, write it anew. You’ve probably grown in time and perspective since you wrote the first draft, which will make for a stronger story. Good luck. I’m cheering you on!

This is an article for me, because I am happy to receive a rating. I haven’t sold many books. But, at least some thinks that it was worth the time to read. That was refreshing. And, I think I wrote two reviews, so far. It was on Amazon.com. Thank you.

You’re welcome!

Hi, Sue. Thanks for the helpful advice. I did a review on Amazon for the first of a 7-part thriller titled ‘Mosh Pit (The Rose Garden Incident)’ by Michael Hiebert. [Here it is.]

“5.0 out of 5 stars Advance copy review. By A fellow author on September 18, 2016 Format: Kindle Edition I Recommend This Book Strongly

I enjoyed reading this first part of the thriller. The author’s opening chapter/prologue was fast paced, and set me in the middle of the inciting incident along with two of the main characters. After that thrilling opening, I felt the ensuing chapters moved at a more leisurely pace, and was about to grade them as less praiseworthy when I watched a lecture by Brandon Sanderson on YouTube about building three dimensional characters and realised Michael Hiebert had done exactly that by introducing the reader to the minutiae of other characters who had parts to play in the development of the story. So, instead of cardboard cutouts of bland stock characters, the author shows us real people with real concerns that the reader can relate to.and actually care about. I look forward to reading the rest of this intriguing thriller, and highly recommend it to all lovers of well-written, and well-crafted thrillers.”

I also reviewed Part 2 of the series, but that review is too long to post here.

Footnote: The author, Michael Hiebert, was so pleased with my reviews, he recently asked me to beta-read a short story collection he plans to publish in November.

Great review, John! I like how you shared a bit of your process as a reader too, in recognizing what the writer was doing with their characterization. Thanks!

Thank you, Sue.

Five out of five stars When I picked up a copy of “The Girl with All the Gifts,” by M R Carey, at the used book store, I somehow had it in my head that it was a YA dystopian novel along the lines of “Divergent” or “The Hunger Games.” While I would definitely say that I was not right about that, I wouldn’t say that I was completely wrong. I was, however, completely unprepared for a zombie novel–which is a good thing, cause I wouldn’t have read it, and I’m glad I did. Think “The Walking Dead” meets (why do I want to say ‘The Curious Incident of the Dog in the Night”?) “Peter Pan.” I really enjoyed seeing things from, the main character, Melanie’s point of view. Her limited knowledge of her own situation was intriguing, to say the least (and probably why I thought of “The Curious Incident”). I was a bit disappointed when the POV changed to another character’s, but, as the novel progressed, I found myself sympathizing with nearly all the characters–with one exception, and I’ll leave that for you to ponder when you read it. I wondered how much of the science was real, but not enough for me to research it myself. Although, based on other reviews, I guess most of the science about the fungus is real. I also wondered about the fate of the remaining ‘lost boys’ of the cities. If you liked…. well, I don’t know. I’m not typically a fan of things zombie, so I don’t have a comparison, but the book was somewhat similar to “Divergent” and “The Hunger Games” in that the main character goes through a hellluva time and comes out the other side with a plan for her future.

“Tuesdays with Morrie” by Mitch Albom is a true story about how one man found meaning in life when his doctors gave him a death sentence. Morrie was a college professor who passed on his new found wisdom in the last year of his life to a favorite student, the author, who chronicled his professor’s perspectives on death and dying.

I chose this book because of its philosophical topic, and because it is so well written that the words just jump off the page.

Knowing we are all mortal beings, I especially liked the insights, the tidbits of wisdom imparted by the dying man. Death is a subject that few, if any of us, ever talk about seriously with friends and family. The subject of death is verboten. We deny its existence. And, if we are religious, we pretend we will not really die, but we deceive ourselves and think we will live on in some afterlife existence for all eternity. But the professor, Morrie, learns some valuable life lessons from his impending death, and Mitch Albom was gracious enough to capture them in this short but eminently readable book.

I really liked the book because it is timeless. This true story will impart serious life lessons for all future generations, and will help us gain perspectives on our lives and the relationships with those we love the most.

R. Allan Worrell

Sue, I’ve been meaning to come back since this was first posted to tell you thanks for a great article. I seldom review books for alllllll the reasons you listed. This is a perfect tool and I’ll surely use it. Cathy

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How to Write a Book Review: The Ultimate Guide

WHAT IS A BOOK REVIEW?

Traditionally, book reviews are evaluations of a recently published book in any genre. Usually, around the 500 to 700-word mark, they briefly describe a text’s main elements while appraising the work’s strengths and weaknesses. Published book reviews can appear in newspapers, magazines, and academic journals. They provide the reader with an overview of the book itself and indicate whether or not the reviewer would recommend the book to the reader.

WHAT IS THE PURPOSE OF A BOOK REVIEW?

There was a time when book reviews were a regular appearance in every quality newspaper and many periodicals. They were essential elements in whether or not a book would sell well. A review from a heavyweight critic could often be the deciding factor in whether a book became a bestseller or a damp squib. In the last few decades, however, the book review’s influence has waned considerably, with many potential book buyers preferring to consult customer reviews on Amazon, or sites like Goodreads, before buying. As a result, book review’s appearance in newspapers, journals, and digital media has become less frequent.

WHY BOTHER TEACHING STUDENTS TO WRITE BOOK REVIEWS AT ALL?

Even in the heyday of the book review’s influence, few students who learned the craft of writing a book review became literary critics! The real value of crafting a well-written book review for a student does not lie in their ability to impact book sales. Understanding how to produce a well-written book review helps students to:

●     Engage critically with a text

●     Critically evaluate a text

●     Respond personally to a range of different writing genres

●     Improve their own reading, writing, and thinking skills.

Not to Be Confused with a Book Report!

WHAT’S THE DIFFERENCE BETWEEN A BOOK REVIEW AND A BOOK REPORT?

While the terms are often used interchangeably, there are clear differences in both the purpose and the format of the two genres. Generally speaking, book reports aim to give a more detailed outline of what occurs in a book. A book report on a work of fiction will tend to give a comprehensive account of the characters, major plot lines, and themes in the book. Book reports are usually written around the K-12 age range, while book reviews tend not to be undertaken by those at the younger end of this age range due to the need for the higher-level critical skills required in writing them. At their highest expression, book reviews are written at the college level and by professional critics.

Learn how to write a book review step by step with our complete guide for students and teachers by familiarizing yourself with the structure and features.

BOOK REVIEW STRUCTURE

ANALYZE Evaluate the book with a critical mind.

THOROUGHNESS The whole is greater than the sum of all its parts. Review the book as a WHOLE.

COMPARE Where appropriate compare to similar texts and genres.

THUMBS UP OR DOWN? You are going to have to inevitably recommend or reject this book to potential readers.

BE CONSISTENT Take a stance and stick with it throughout your review.

FEATURES OF A BOOK REVIEW

PAST TENSE You are writing about a book you have already read.

EMOTIVE LANGUAGE Whatever your stance or opinion be passionate about it. Your audience will thank you for it.

VOICE Both active and passive voice are used in recounts.

A COMPLETE UNIT ON REVIEW AND ANALYSIS OF TEXTS

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ELEMENTS OF A BOOK REVIEW

As with any of the writing genres we teach our students, a book review can be helpfully explained in terms of criteria. While there is much to the ‘art’ of writing, there is also, thankfully, a lot of the nuts and bolts that can be listed too. Have students consider the following elements before writing:

●     Title: Often, the title of the book review will correspond to the title of the text itself, but there may also be some examination of the title’s relevance. How does it fit into the purpose of the work as a whole? Does it convey a message or reveal larger themes explored within the work?

●     Author: Within the book review, there may be some discussion of who the author is and what they have written before, especially if it relates to the current work being reviewed. There may be some mention of the author’s style and what they are best known for. If the author has received any awards or prizes, this may also be mentioned within the body of the review.

●     Genre: A book review will identify the genre that the book belongs to, whether fiction or nonfiction, poetry, romance, science-fiction, history etc. The genre will likely tie in, too with who the intended audience for the book is and what the overall purpose of the work is.

●     Book Jacket / Cover: Often, a book’s cover will contain artwork that is worthy of comment. It may contain interesting details related to the text that contribute to, or detract from, the work as a whole.

●     Structure: The book’s structure will often be heavily informed by its genre. Have students examine how the book is organized before writing their review. Does it contain a preface from a guest editor, for example? Is it written in sections or chapters? Does it have a table of contents, index, glossary etc.? While all these details may not make it into the review itself, looking at how the book is structured may reveal some interesting aspects.

●     Publisher and Price: A book review will usually contain details of who publishes the book and its cost. A review will often provide details of where the book is available too.

BOOK REVIEW KEY ELEMENTS

As students read and engage with the work they will review, they will develop a sense of the shape their review will take. This will begin with the summary. Encourage students to take notes during the reading of the work that will help them in writing the summary that will form an essential part of their review. Aspects of the book they may wish to take notes on in a work of fiction may include:

●     Characters: Who are the main characters? What are their motivations? Are they convincingly drawn? Or are they empathetic characters?

●     Themes: What are the main themes of the work? Are there recurring motifs in the work? Is the exploration of the themes deep or surface only?

●     Style: What are the key aspects of the writer’s style? How does it fit into the wider literary world?

●     Plot: What is the story’s main catalyst? What happens in the rising action? What are the story’s subplots? 

A book review will generally begin with a short summary of the work itself. However, it is important not to give too much away, remind students – no spoilers, please! For nonfiction works, this may be a summary of the main arguments of the work, again, without giving too much detail away. In a work of fiction, a book review will often summarise up to the rising action of the piece without going beyond to reveal too much!

The summary should also provide some orientation for the reader. Given the nature of the purpose of a review, it is important that students’ consider their intended audience in the writing of their review. Readers will most likely not have read the book in question and will require some orientation. This is often achieved through introductions to the main characters, themes, primary arguments etc. This will help the reader to gauge whether or not the book is of interest to them.

Once your student has summarized the work, it is time to ‘review’ in earnest. At this point, the student should begin to detail their own opinion of the book. To do this well they should:

i. Make It Personal

Often when teaching essay writing we will talk to our students about the importance of climbing up and down the ladder of abstraction. Just as it is helpful to explore large, more abstract concepts in an essay by bringing it down to Earth, in a book review, it is important that students can relate the characters, themes, ideas etc to their own lives.

Book reviews are meant to be subjective. They are opinion pieces, and opinions grow out of our experiences of life. Encourage students to link the work they are writing about to their own personal life within the body of the review. By making this personal connection to the work, students contextualize their opinions for the readers and help them to understand whether the book will be of interest to them or not in the process.

ii. Make It Universal

Just as it is important to climb down the ladder of abstraction to show how the work relates to individual life, it is important to climb upwards on the ladder too. Students should endeavor to show how the ideas explored in the book relate to the wider world. The may be in the form of the universality of the underlying themes in a work of fiction or, for example, the international implications for arguments expressed in a work of nonfiction.

iii. Support Opinions with Evidence

A book review is a subjective piece of writing by its very nature. However, just because it is subjective does not mean that opinions do not need to be justified. Make sure students understand how to back up their opinions with various forms of evidence, for example, quotations, statistics, and the use of primary and secondary sources.

EDIT AND REVISE YOUR BOOK REVIEW

As with any writing genre, encourage students to polish things up with review and revision at the end. Encourage them to proofread and check for accurate spelling throughout, with particular attention to the author’s name, character names, publisher etc. 

It is good practice too for students to double-check their use of evidence. Are statements supported? Are the statistics used correctly? Are the quotations from the text accurate? Mistakes such as these uncorrected can do great damage to the value of a book review as they can undermine the reader’s confidence in the writer’s judgement.

The discipline of writing book reviews offers students opportunities to develop their writing skills and exercise their critical faculties. Book reviews can be valuable standalone activities or serve as a part of a series of activities engaging with a central text. They can also serve as an effective springboard into later discussion work based on the ideas and issues explored in a particular book. Though the book review does not hold the sway it once did in the mind’s of the reading public, it still serves as an effective teaching tool in our classrooms today.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

BOOK REVIEW GRAPHIC ORGANIZER (TEMPLATE)

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Book and Movie review writing examples (Student Writing Samples)

Below are a collection of student writing samples of book reviews.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to both read the movie or book review in detail but also the teacher and student guides which highlight some of the key elements of writing a text review

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of book review writing.

We would recommend reading the example either a year above and below, as well as the grade you are currently working with to gain a broader appreciation of this text type .

BOOK REVIEW VIDEO TUTORIALS

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Narrative Reviews: Flexible, Rigorous, and Practical

Javeed sukhera.

Javeed Sukhera, MD, PhD, FRCPC , is Chair/Chief, Department of Psychiatry, Institute of Living and Hartford Hospital

Introduction

Narrative reviews are a type of knowledge synthesis grounded in a distinct research tradition. They are often framed as non-systematic, which implies that there is a hierarchy of evidence placing narrative reviews below other review forms. 1 However, narrative reviews are highly useful to medical educators and researchers. While a systematic review often focuses on a narrow question in a specific context, with a prespecified method to synthesize findings from similar studies, a narrative review can include a wide variety of studies and provide an overall summary, with interpretation and critique. 1 Examples of narrative review types include state-of-the-art, critical, and integrative reviews, among many others.

Foundations

Narrative reviews are situated within diverse disciplines in the social sciences and humanities. Most forms of narrative reviews align with subjectivist and interpretivist paradigms. These worldviews emphasize that reality is subjective and dynamic. They contrast with the positivist and post-positivist worldviews that are the foundations of systematic reviews: a single reality can be known through experimental research. Unlike systematic reviews, narrative reviews offer researchers the ability to synthesize multiple points of view and harness unique review team perspectives, which will shape the analysis. Therefore, insights gained from a narrative review will vary depending on the individual, organizational, or historical contexts in which the review was conducted. 1 - 5

Why Choose a Narrative Review?

Narrative reviews allow researchers to describe what is known on a topic while conducting a subjective examination and critique of an entire body of literature. Authors can describe the topic's current status while providing insights on advancing the field, new theories, or current evidence viewed from different or unusual perspectives. 3 Therefore, such reviews can be useful by exploring topics that are under-researched as well as for new insights or ways of thinking regarding well-developed, robustly researched fields.

Narrative reviews are often useful for topics that require a meaningful synthesis of research evidence that may be complex or broad and that require detailed, nuanced description and interpretation. 1 See Boxes 1 and 2 for resources on writing a narrative review as well as a case example of a program director's use of a narrative review for an interprofessional education experience. This Journal of Graduate Medical Education (JGME) special review series will continue to use the Case of Dr. Smith to consider the same question using different review methodologies.

Box 1 The Case of Dr. Smith

Dr. Smith, a program director, has been tasked to develop an interprofessional education (IPE) experience for the residency program. Dr. Smith decides that conducting a literature review would be a savvy way to examine the existing evidence and generate a publication useful to others. Using PubMed and a general subject search with “interprofessional education,” Dr. Smith identifies 24 000 matches. Dr. Smith begins to randomly sample the papers and notes the huge diversity of types and approaches: randomized trials, qualitative investigations, critical perspectives, and more.

Dr. Smith decides to do a meta-narrative review, because she notes that there are tensions and contradictions in the ways in which IPE is discussed by different health professions education communities, such as in nursing literature vs in medical journals.

Box 2 Resources

Ferrari R. Writing narrative style literature reviews. Med Writing . 2015;24(4):230-235. doi: 10.1179/2047480615Z.000000000329

Green BN, Johnson CD, Adams A. Writing narrative literature reviews for peer-reviewed journals: secrets of the trade. J Chiropr Med . 2006;5(3):101-117. doi: 10.1016/S0899-3467(07)60142-6

Gregory AT, Denniss AR. An introduction to writing narrative and systematic reviews—tasks, tips and traps for aspiring authors. Heart Lung Circ . 2018;27(7):893-898. doi: 10.1016/j.hlc.2018.03.027

Murphy CM. Writing an effective review article. J Med Toxicol . 2012;8(2):89-90. doi: 10.1007/s13181-012-0234-2

Process and Rigor

While each type of narrative review has its own associated markers of rigor, the following guidelines are broadly applicable to narrative reviews and can help readers critically appraise their quality. These principles may also guide researchers who wish to conduct narrative reviews. When engaging with a narrative review as a reader or a researcher, scholars are advised to be conversant with the following 5 foundational elements of narrative reviews.

Rationale for a Narrative Review

First, scholars should consider the framing of the research question. Does the topic being studied align with the type of knowledge synthesis performed through a narrative review? Authors should have a clear research question and a specific audience target. Authors should also provide a rationale for why a narrative review method was chosen. 6 The manuscript should include the initial research question as well as details about any iterative refinements to the question.

Clarity of Boundaries, Scope, and Definitions

Second, although narrative reviews do not typically involve strict predetermined inclusion or exclusion criteria, scholars should explicitly demarcate the boundaries and scope of their topic. They should also clearly define key terms related to the topic and research question and any definitions used. Authors should elaborate why they chose a particular definition if others were available. As narrative reviews are flexible, the initial scope may change through the review process. In such circumstances, authors should provide reasonable justification for the evolution of inclusion and exclusion criteria and a description of how this affected the literature search.

Justification for Inclusion and Exclusion Criteria

Third, authors of narrative reviews should explain which search terms and databases were included in the synthesis and why. For example, did authors include research studies from a particular database, time frame, or study design? Did they include commentaries or empirical articles? Did they include grey literature such as trade publications, reports, or digital media? Each of the authors' choices should be outlined with appropriate reasoning. 7 Narrative reviews tend to be iterative and involve multiple cycles of searching, analysis, and interpretation. High-quality narrative reviews usually include pivotal or seminal papers that address the phenomenon of interest and other manuscripts that are relevant to the research question.

Reflexivity and a Saturation/Sufficiency Statement

Fourth, narrative reviews should clearly specify any factors that may have shaped the authors' interpretations and analysis. One fundamental distinction between narrative and non-narrative reviews is that narrative reviews explicitly recognize that they may not include all relevant literature on a topic. Since narrative reviews do not aim to be inclusive of all literature addressing the phenomenon of interest, a justification for the selection of manuscripts must be included. Authors should carefully outline how researchers conducted analyses and how they determined that sufficient analysis and interpretation was achieved. This latter concept is similar to considerations of saturation or thematic sufficiency in primary qualitative research. 8

Details on Analysis and Interpretation

Lastly, since several different categories of reviews fall under the narrative review umbrella, the analysis conducted in a narrative review varies by type. Regardless of the type of narrative review carried out, authors should clearly describe how analyses were conducted and provide justification for their approach. Narrative reviews are enhanced when researchers are explicit about how their perspectives and experiences informed problem identification, interpretation, and analysis. Given that authors' unique perspectives shape the selection of literature and its interpretation, narrative reviews may be reproduced, but different authors will likely yield different insights and interpretations.

Distinctive Methods and Subtypes

The narrative review has been commonly framed as an umbrella term that includes several different subtypes of reviews. These narrative medicine subtypes share the goals of deepening an understanding of a topic, while describing why researchers chose to explore and analyze the topic in a specific way.

There are several subtypes of narrative reviews with distinctive methodologies; each offers a unique way of approaching the research question and analyzing and interpreting the literature. This article will describe some common narrative review types that will also be discussed in upcoming JGME special articles on reviews: state-of-the-art , meta-ethnographic , critical , and theory integration reviews.

A state-of-the-art review attempts to summarize the research concerning a specific topic along a timeline of significant changes in understanding or research orientations. By focusing on such turning points in the history of evolving understandings of a phenomenon, state-of-the-art reviews offer a summary of the current state of understanding, how such an understanding was developed, and an idea of future directions. A state-of-the art review seeks to offer a 3-part description: where are we now in our understanding, how did we get here, and where should we go next?

A meta-ethnographic review involves choosing and interpreting qualitative research evidence about a specific topic. Working exclusively with qualitative data, this type of knowledge synthesis aims to generate new insights or new conclusions about a topic. It draws together insights and analyses from existing publications of qualitative research to construct new knowledge that spans across these individual, and often small scale, studies.

A meta-narrative review seeks to explore and make sense of contradictions and tensions within the literature. A meta-narrative review maps how a certain topic is understood in distinct ways, conducts a focused search to describe and compare narratives, and then seeks to make sense of how such narratives are interpreted across different disciplines or historical contexts, as part of the analysis. 9

A critical review is a narrative synthesis of literature that brings an interpretative lens: the review is shaped by a theory, a critical point of view, or perspectives from other domains to inform the literature analysis. Critical reviews involve an interpretative process that combines the reviewer's theoretical premise with existing theories and models to allow for synthesis and interpretation of diverse studies. First, reviewers develop and outline their interpretive theoretical position, which is informed by individual knowledge and experience. Next, a noncomprehensive search is completed to capture and identify dominant themes focused on a research question. 8 , 10

An integrative review typically has 1 of 2 different orientations. Empirical integrative reviews analyze and synthesize publications of evidence-based studies with diverse methodologies. In contrast, theoretical integrative reviews conduct an analysis of the available theories addressing a phenomenon, critically appraise those theories, and propose an advancement in the development of those theories. Both types of integrative reviews follow a multistage approach including problem identification, searching, evaluation, analysis, and presentation. 11

Strengths and Weaknesses

Narrative reviews have many strengths. They are flexible and practical, and ideally provide a readable, relevant synthesis of a diverse literature. Narrative reviews are often helpful for teaching or learning about a topic because they deliver a general overview. They are also useful for setting the stage for future research, as they offer an interpretation of the literature, note gaps, and critique research to date.

Such reviews may be useful for providing general background; however, a more comprehensive form of review may be necessary. Narrative reviews do not offer an evidence-based synthesis for focused questions, nor do they offer definitive guideline statements. All types of narrative reviews offer interpretations that are open to critique and will vary depending on the author team or context of the review.

Conclusions

Well-done narrative reviews provide a readable, thoughtful, and practical synthesis on a topic. They allow review authors to advance new ideas while describing and interpreting literature in the field. Narrative reviews do not aim to be systematic syntheses that answer a specific, highly focused question; instead, they offer carefully thought out and rigorous interpretations of a body of knowledge. Such reviews will not provide an exhaustive, comprehensive review of the literature; however, they are useful for a rich and meaningful summary of a topic.

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NARRATIVE REVIEWS

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Narrative reviews are an umbrella term for a collection of reviews that offer the opportunity to undertake an extensive description and interpretation of previously published literature. Narrative reviews are flexible yet rigorous and have five elements that are consistent across most sub-types. Reflexivity is an important component of narrative reviews, which provides readers with clear insight into how the researcher's perspectives and experiences informed interpretation.

Not sure this is the right review type to answer your research question(s)?

Click Types of Reviews to help you decide.

STRENGTHS + WEAKNESSES

Narrative Reviews

Flexible yet rigorous approach for knowledge synthesis, which is useful to many educators and researchers

Helpful for teaching or learning about a topic because they deliver a general overview

Useful for setting the stage for future research, as they offer an interpretation of the literature, note gaps, and critique research to date

Are not often reproducible related to the influence of the authors and setting on screening, sampling, and analysis

Do not include an exhaustive search of all possible evidence on a given topic

They are selective, which may make them harder to critically appraise against strict criteria. Researchers can address this potential shortcoming by being thoughtful, purposive, and transparent about the choices they make throughout the review process, as well as being explicit in their justifications for these choices

NARRATIVE REVIEWS:

Supporting Documents to Download

NARRATIVE REVIEWS: 5-Steps Downloadable How-To Guide

Narrative reviews: theoretical foundations (journal of graduate medical education publication), narrative reviews: how-to guide (journal of graduate medical education publication), author spotlight.

JAVEED SUKHERA, MD PhD

Javeed Sukhera, MD PhD, is the Chair of Psychiatry at the Institute of Living and Chief of Psychiatry at Hartford Hospital in Hartford Connecticut where he has (pending) academic affiliations with Yale University and the University of Connecticut. He is an MD/PhD Scientist in Health Professions Education and researches novel approaches to addressing stigma and bias in healthcare.

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Trump VP contender Kristi Noem writes of killing dog – and goat – in new book

South Dakota governor includes bloody tale in campaign volume – and admits ‘a better politician … wouldn’t tell the story here’

• Who will be Trump’s VP? A shortlist

In 1952, as a Republican candidate for vice-president, Richard Nixon stirred criticism by admitting receiving a dog, Checkers , as a political gift.

In 2012, as the Republican presidential nominee, Mitt Romney was pilloried for tying a dog , Seamus, to the roof of the family car for a cross-country trip.

But in 2024 Kristi Noem , a strong contender to be named running mate to Donald Trump , the presumptive Republican nominee, has managed to go one further – by admitting killing a dog of her own.

“Cricket was a wirehair pointer, about 14 months old,” the South Dakota governor writes in a new book, adding that the dog, a female, had an “aggressive personality” and needed to be trained to be used for hunting pheasant.

What unfolds over the next few pages shows how that effort went very wrong indeed – and, remarkably, how Cricket was not the only domestic animal Noem chose to kill one day in hunting season.

Noem’s book – No Going Back: The Truth on What’s Wrong with Politics and How We Move America Forward – will be published in the US next month. The Guardian obtained a copy.

Like other aspirants to be Trump’s second vice-president who have ventured into print , Noem offers readers a mixture of autobiography, policy prescriptions and political invective aimed at Democrats and other enemies, all of it raw material for speeches on the campaign stump.

She includes her story about the ill-fated Cricket, she says, to illustrate her willingness, in politics as well as in South Dakota life, to do anything “difficult, messy and ugly” if it simply needs to be done.

By taking Cricket on a pheasant hunt with older dogs, Noem says, she hoped to calm the young dog down and begin to teach her how to behave. Unfortunately, Cricket ruined the hunt, going “out of her mind with excitement, chasing all those birds and having the time of her life”.

Noem describes calling Cricket, then using an electronic collar to attempt to bring her under control. Nothing worked. Then, on the way home after the hunt, as Noem stopped to talk to a local family, Cricket escaped Noem’s truck and attacked the family’s chickens, “grabb[ing] one chicken at a time, crunching it to death with one bite, then dropping it to attack another”.

Cricket the untrainable dog, Noem writes, behaved like “a trained assassin”.

When Noem finally grabbed Cricket, she says, the dog “whipped around to bite me”. Then, as the chickens’ owner wept, Noem repeatedly apologised, wrote the shocked family a check “for the price they asked, and helped them dispose of the carcasses littering the scene of the crime”.

Through it all, Noem says, Cricket was “the picture of pure joy”.

“I hated that dog,” Noem writes, adding that Cricket had proved herself “untrainable”, “dangerous to anyone she came in contact with” and “less than worthless … as a hunting dog”.

“At that moment,” Noem says, “I realised I had to put her down.”

Noem, who also represented her state in Congress for eight years, got her gun, then led Cricket to a gravel pit.

“It was not a pleasant job,” she writes, “but it had to be done. And after it was over, I realised another unpleasant job needed to be done.”

Incredibly, Noem’s tale of slaughter is not finished.

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Her family, she writes, also owned a male goat that was “nasty and mean”, because it had not been castrated. Furthermore, the goat smelled “disgusting, musky, rancid” and “loved to chase” Noem’s children, knocking them down and ruining their clothes.

Noem decided to kill the unnamed goat the same way she had just killed Cricket the dog. But though she “dragged him to a gravel pit”, the goat jumped as she shot and therefore survived the wound. Noem says she went back to her truck, retrieved another shell, then “hurried back to the gravel pit and put him down”.

At that point, Noem writes, she realised a construction crew had watched her kill both animals. The startled workers swiftly got back to work, she writes, only for a school bus to arrive and drop off Noem’s children.

“Kennedy looked around confused,” Noem writes of her daughter, who asked: “Hey, where’s Cricket?”

On Friday, reaction to news of Noem’s description of killing her dog and her goat included satire, the Barack Obama adviser turned podcaster Tommy Vietor calling the governor “Jeffrey Dahmer with veneers”, a reference to a famous serial killer and a recent scandal over Noem’s cosmetic dentistry treatment .

But most responses, particularly from dog lovers and people who hunt with dogs, simply expressed disgust.

Rick Wilson, of the anti-Trump Lincoln Project, called Noem “deliberately cruel” and “trash”. Ryan Busse, the Democratic candidate for governor of Montana, said : “Anyone who has ever owned a birddog knows how disgusting, lazy and evil this is. Damn.”

Noem herself posted a screengrab of the Guardian report – and an admission that she recently “put down three horses”.

“We love animals,” she said, “but tough decisions like this happen all the time on a farm. Sadly, we just had to put down three horses a few weeks ago that had been in our family for 25 years.”

The governor also said her book contained “more real, honest and politically incorrect stories that’ll have the media gasping”.

In the book, however, she sums up her story about Cricket the dog and the unnamed, un-castrated goat with what may prove a contender for the greatest understatement of election year: “I guess if I were a better politician I wouldn’t tell the story here.”

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Barbara Walters Did the Work

In “The Rulebreaker,” Susan Page pays tribute to a pioneering journalist who survived being both a punchline and an icon.

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Lisa Schwarzbaum is a former critic for Entertainment Weekly.

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THE RULEBREAKER: The Life and Times of Barbara Walters, by Susan Page

Much of the material in “The Rulebreaker: The Life and Times of Barbara Walters” has been told before, with persuasive narrative control, by the late television journalist herself in her dishy 2008 memoir, “Audition.” Don’t let that stop the reader of this thorough, compassionate biography by Susan Page: It’s a valuable document, sobering where “Audition” aimed for sassy.

If anything, the 16 long years between autobiography and biography endow the two books, taken together, with a memento mori gravitas for any student of Walters, or of television journalism, or of the past, present and future of women in the TV workplace — or, for that matter, of Monica Lewinsky. More on her in a moment.

Walters called her autobiography “Audition” to emphasize the need she always felt to prove herself, pushing her way to professional success in a world that never made it easy for her. Nearly 80 then and still in the game, she acknowledged that personal contentment — love, marriage, meaningful family connections — lagged far behind. She wrote of being the daughter of an erratic father, who bounced — sometimes suicidally — between flush times and financial failure as a nightclub owner and impresario.

She told of her fearful mother, and of the mentally disabled older sister to whose welfare she felt yoked. She wrote of the three unsatisfying marriages, and of her strained relationship with the daughter she adopted as an infant.

She breezily acknowledged the ease she felt throughout her life with complicated men of elastic ethics like Roy Cohn and Donald Trump. She leaned into her reputation as a “pushy cookie.”

Page, the Washington bureau chief of USA Today, who has also written books about Barbara Bush and Nancy Pelosi, tells many of the same stories. (“Audition” is an outsize presence in the endnotes.) But in placing the emphasis on all the rule-breaking Barbara Jill Walters had to do over her long life — she died in 2022 at 93 — the biographer pays respect to a toughness easy to undervalue today, when the collective memory may see only the well-connected woman with the instantly recognizable (thanks to Gilda Radner’s “SNL” impression) speech impediment.

There was no one like her — not Diane, not Katie, not Judy, not Connie, not Gwen, not Christiane. Not Ellen. Not Oprah. Having created her niche, Walters fought all her life to protect it. Because no one else would. Would that be the case today? Discuss.

“At age 35,” Page writes, “she had finally found her place, a space that bridged journalism and entertainment and promotion. Traditionalists viewed the combination with consternation. She ignored their doubts as she redefined their industry. She saw herself as a journalist, albeit of a new and evolving sort. In some ways, she would make herself a leader in the news business by changing what, exactly, that could include.”

Walters broke rules to save her father from debt and jail. She broke rules to secure on-air status — and pay — equal to that of the often hostile men around her. Walters broke rules to land scoops, gain access and bag interviews.

The account of the driven competition she felt with her fellow TV journalist Diane Sawyer is both fun and silly/sad in its evocation of a catty rumble: Isn’t such competition the everyday reality of the bookers working for the famous men who currently host late-night talk shows? Aren’t those late-night hybrids now the closest thing we have to influential news interviews — except, perhaps, on the women-talking daytime show “The View,” invented in large part by Barbara Walters?

Walters didn’t break rules to get the first on-air interview with Monica Lewinsky — she just worked her tuchis off, from the day the news of an affair broke to the night of March 3, 1999 — watched by 74 million Americans.

Walters was nearly 70 and famous; Lewinsky was a private 25-year-old woman whose affair with her married boss had thrown a country into hypocritical hysterics. The process of establishing trust could not be rushed.

The older woman asked the younger woman a chain of tough questions about sex and intimacy and character and judgment that no human should have to endure on national television. The younger woman answered with a dignity currently out of fashion both in celebrity self-presentation and on the floor of the U.S. Congress.

In the quarter-century since that extraordinary event — the essence of a Barbara Walters Interview — Lewinsky has demonstrated an inspiring power to live on her own terms and not on the assumptions of others. The achievement required rules to be broken, and has come with a price.

Barbara Walters knew what that was like.

THE RULEBREAKER : The Life and Times of Barbara Walters | By Susan Page | Simon & Schuster | 444 pp. | $30.99

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Iran women's protests are the focus of 'Persepolis' author Marjane Satrapi's new book

Eleanor Beardsley

Marjane Satrapi, a graphic novelist, holds her latest book Woman, Life, Freedom , in her home in Paris, France. Eleanor Beardsley/ NPR hide caption

Marjane Satrapi, a graphic novelist, holds her latest book Woman, Life, Freedom , in her home in Paris, France.

PARIS — In her bright Paris apartment, Marjane Satrapi makes coffee, her cat rolling at a visitor's feet. The author of the internationally acclaimed graphic novel Persepolis , about a young girl coming of age during Iran's Islamic Revolution, Satrapi thought she had left comics behind. She's mostly been working in film in recent years.

Middle East

In iran, women's resistance defies state clampdown a year after mahsa amini's death.

But she was pulled back to the medium after a young Iranian woman died at the hands of Iran's morality police for not properly wearing her hijab. The death of Mahsa Amini in 2022 sparked months of protests across Iran. Satrapi gets goosebumps thinking about it. She says it was history in the making.

"These adolescents are like, 'Stop, we want another world,'" she says, speaking of the massive protests begun by young Iranian women and joined by young men. "If it was only young girls, I would be extremely scared. But the girls were carried by the young guys. This is the difference. A real feminist revolution cannot succeed until men understand that equality between them and women is also good for them!"

Veiled Iranian women hold Iran flags and placards while attending a pro-government rally in Tehran, in December 2022. The rally was held in opposition to unrest following the death of 22-year-old Mahsa Amini in police custody in September 2022. Morteza Nikoubazl/NurPhoto via Getty Images hide caption

Veiled Iranian women hold Iran flags and placards while attending a pro-government rally in Tehran, in December 2022. The rally was held in opposition to unrest following the death of 22-year-old Mahsa Amini in police custody in September 2022.

Satrapi says the protests were the first real pushback against the patriarchal culture underpinning Iran's clerical regime, which came to power in 1979.

Iran's protesters find inspiration in a Kurdish revolutionary slogan

The title of her newest book adopts the demonstrators' slogan: Woman, Life, Freedom. The anthology — a collaboration among more than 20 artists, activists, journalists and academics — depicts in words and art the historic uprising and its context.

One of the contributors is Abbas Milani, who fled Iran in 1987 and is now the director of the Iranian studies program at Stanford University. Like Satrapi, Milani believes the recent protests were very different from the 1979 revolution that replaced the U.S.-supported, secular regime of Shah Mohammad Reza Pahlavi with a Shiite theocracy.

"The Iranian women's movement, in its civil disobedience, defiance and persistence, is absolutely one of the most important civil disobedience movements of the 20th century," Milani says. "It is completely comparable to the civil disobedience movement in the U.S. led by Martin Luther King."

Milani says only Satrapi, with her connections and international stature, could bring together such a diverse and talented group and turn out this book in just five months. Woman, Life, Freedom was published in Persian and French for the first anniversary of Amini's death last September. The English-language version, translated by Una Dimitrijević and published by Seven Stories Press, came out in March.

Spanish artist Patricia Bolaños says she thought it was a prank when she got an email about working on the project with the famed author of Persepolis . It was only when Satrapi got in touch herself that she believed it. Bolaños, who lives in New York, says Persepolis is one of her favorite graphic novels but she knew little about Iran.

Book Reviews

A look at the tumultuous life of 'persepolis' as it turns 20.

So she worked with one of the project's Iran scholars to illustrate the book's chapter on the "Aghazadeh," or noble-born, a term connoting nepotism and corruption that's used to describe the children of Iran's elite, its ruling mullahs and Revolutionary Guards.

An illustration by Patricia Bolaños featured in Satrapi's book Woman, Life, Freedom. Marjane Satrapi hide caption

An illustration by Patricia Bolaños featured in Satrapi's book Woman, Life, Freedom.

Bolaños says she was inspired by one of their Instagram accounts, "Rich Kids of Tehran," which showed the Aghazadeh wearing bikinis on French Riviera beaches, drinking alcohol and partying.

"It was really scary because these are the kids of those setting the rules, but they don't follow the rules," she says. "For me, it was like, how is this possible? Especially for the women. These kids are perpetuating this corrupt system. And at certain moments they have to collide with this other world of other women fighting and dying for freedom."

Bolaños wanted to know what those moments are like. The last cartoon in her chapter shows a stylish Aghazadeh checking her Instagram account. "She watches videos of women burning veils and yelling 'freedom,'" says Bolaños, "and the reader sees it reflected in her sunglasses. And someone asks her, what are you watching? And she says... nothing."

Satrapi says it was important to involve people from outside Iran in the project to show Iranians the world is watching, and embracing the protesters' cause. The author believes nobody would read a 280-page book on the history and society of Iran. But a graphic narrative, she says, draws readers in.

"A comic has this advantage, because the first language of the human being is drawing," says Satrapi. "So it's an immediate relationship that we have with image. Instead of using 1,000 words, you draw an image and the human being understands what this image is about."

Jailed Iranian women's rights activist wins 2023 Nobel Peace Prize

She flips through the book. "Each artist has his own style," she says, pausing on the chapter titled "In the Hellhole of Evin Prison."

"Mana Neyestani was actually in Evin prison," she says, "so he was the best one to draw this part."

The Iranian cartoonist , who now lives in France, is a recipient of the Cartoonists Rights Network International Award for courage in editorial cartooning. He was jailed for three months in 2006 because of a cartoon he drew in an Iranian publication that was considered offensive.

Satrapi drew the chapter on the Islamic Revolutionary Guard, the notoriously vicious guardians of the 1979 revolution. "Without the Revolutionary Guards, the Islamic Republic wouldn't last a month," she writes. "They control the weapons and the finances. For now, at least..."

Satrapi says her hand ached as she worked on that chapter. "I didn't want to draw their dirty faces," she says.

Illustration by Marjane Satrapi about the Iranian revolutionary guards. Marjane Satrapi hide caption

Illustration by Marjane Satrapi about the Iranian revolutionary guards.

The 55-year-old artist, who has lived in Paris for more than 25 years, says her generation was exhausted after living through the Islamic Revolution, followed by a massive wave of political executions and the eight-year Iran-Iraq war.

But Satrapi believes the current generation, with educated women and the mobilizing power of internet, will bring change.

"It's such courage," she says. "And this is why I believe that this revolution, sooner or later, is going to give its results."

Milani agrees. "I think it's the beginning of the end of the regime," he says. "This doesn't mean the regime will fall tomorrow because it still has money, a small base of support, and it still has the brutality to kill hundreds and imprison thousands. But it's delusional to think that this corrupt, incompetent regime of septuagenarian and nonagenarian clerics, whose ideas come from 1,400 years ago, can rule the Iranian society of today, where more than 60% of college graduates are brilliant women, who in every domain inside and outside of Iran, have created marvels with their work."

'It's not over yet': Artists work to keep Iran's protests in view

Satrapi says the millions-strong Iranian diaspora can be a loudspeaker for what's going on in Iran, but change must come from within.

"It's not up to us," she says. "What am I going to decide for a young Iranian person who is in Iran? I have not put my feet back in my country in 25 years. So what am I going to tell them?"

Still, Satrapi has no doubt change will come. She says it's just a matter of time.

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The Best Reviewed Nonfiction of 2022

Featuring bob dylan, elena ferrante, kate beaton, jhumpa lahiri, kate beaton, and more.

We’ve come to the end of another bountiful literary year, and for all of us review rabbits here at Book Marks, that can mean only one thing: basic math, and lots of it.

Yes, using reviews drawn from more than 150 publications, over the next two weeks we’ll be calculating and revealing the most critically-acclaimed books of 2022, in the categories of (deep breath): Fiction; Nonfiction; Memoir and Biography; Sci-Fi, Fantasy, and Horror; Short Story Collections; Essay Collections; Poetry; Mystery and Crime; Graphic Literature; and Literature in Translation.

Today’s installment: Nonfiction .

Brought to you by Book Marks , Lit Hub’s “Rotten Tomatoes for books.”

1. In the Margins: On the Pleasures of Reading and Writing  by Elena Ferrante, trans. by Ann Goldstein (Europa)

12 Rave • 12 Positive • 4 Mixed

“The lucid, well-formed essays that make up In the Margins  are written in an equally captivating voice … Although a slim collection, there is more than enough meat here to nourish both the common reader and the Ferrante aficionado … Every essay here is a blend of deep thought, rigorous analysis and graceful prose. We occasionally get the odd glimpse of the author…but mainly the focus is on the nuts and bolts of writing and Ferrante’s practice of her craft. The essays are at their most rewarding when Ferrante discusses the origins of her books, in particular the celebrated Neapolitan Novels, and the multifaceted heroines that power them … These essays might not bring us any closer to finding out who Ferrante really is. Instead, though, they provide valuable insight into how she developed as a writer and how she works her magic.”

–Malcolm Forbes ( The Star Tribune )

2. Index, A History of the: A Bookish Adventure from Medieval Manuscripts to the Digital Age by Dennis Duncan (W. W. Norton)

14 Rave • 8 Positive • 1 Mixed Read an excerpt from Index here

“The cleverly punctuated title of Dennis Duncan’s book, Index, A History of the, should signal that this isn’t a dry account of a small cogwheel in the publishing machine. Instead, it is an engaging tale of the long search for the quickest way to find what you need in those big, information-rich things called books. It is indeed an adventure, and ‘bookish’ in the most appealing sense … Duncan goes into fascinating detail about all this—page numbers get an entire chapter of their own—with digressions into curious byways of booklore and literature … From ancient Egypt to Silicon Valley, Duncan is an ideal tour guide: witty, engaging, knowledgeable and a fount of diverting anecdotes. The book skews toward the literary, but anyone interested in the 2,200-year journey to quickly find what one needs in a book will be enlightened, and will never again take an index for granted. The well-designed book also includes nearly 40 illustrations. As might be expected, the index—created not by the author but by Paula Clarke Bain—is magnificent.”

–Steven Moore ( The Washington Post )

3. We Don’t Know Ourselves by Fintan O’Toole (Liveright) 17 Rave • 4 Positive • 1 Mixed • 1 Pan

“One of the many triumphs of Fintan O’Toole’s We Don’t Know Ourselves is that he manages to find a form that accommodates the spectacular changes that have occurred in Ireland over the past six decades, which happens to be his life span … it is not a memoir, nor is it an absolute history, nor is it entirely a personal reflection or a crepuscular credo. It is, in fact, all of these things helixed together: his life, his country, his thoughts, his misgivings, his anger, his pride, his doubt, all of them belonging, eventually, to us … O’Toole, an agile cultural commentator, considers himself to be a representative of the blank slate on which the experiment of change was undertaken, but it’s a tribute to him that he maintains his humility, his sharpness and his enlightened distrust …

O’Toole writes brilliantly and compellingly of the dark times, but he is graceful enough to know that there is humor and light in the cracks. There is a touch of Eduardo Galeano in the way he can settle on a telling phrase … But the real accomplishment of this book is that it achieves a conscious form of history-telling, a personal hybrid that feels distinctly honest and humble at the same time. O’Toole has not invented the form, but he comes close to perfecting it. He embraces the contradictions and the confusion. In the process, he weaves the flag rather than waving it.”

–Colum McCann ( The New York Times Book Review )

4. Super-Infinite: The Transformations of John Donne by Katherine Rundell (Farrar, Straus and Giroux)

14 Rave • 4 Positive • 1 Mixed Read an excerpt from Super-Infinite here

“Rundell is right that Donne…must never be forgotten, and she is the ideal person to evangelise him for our age. She shares his linguistic dexterity, his pleasure in what TS Eliot called ‘felt thought’, his ability to bestow physicality on the abstract … It’s a biography filled with gaps and Rundell brings a zest for imaginative speculation to these. We know so little about Donne’s wife, but Rundell brings her alive as never before … Rundell confronts the difficult issue of Donne’s misogyny head-on … This is a determinedly deft book, and I would have liked it to billow a little more, making room for more extensive readings of the poems and larger arguments about the Renaissance. But if there is an overarching argument, then it’s about Donne as an ‘infinity merchant’ … To read Donne is to grapple with a vision of the eternal that is startlingly reinvented in the here and now, and Rundell captures this vision alive in all its power, eloquence and strangeness”

–Laura Feigel ( The Guardian )

5. Thin Places by Kerri ní Dochartaigh (Milkweed) 12 Rave • 7 Positive • 2 Mixed

“Can the Irish border be described as a ‘thin place’? Never have I read such an eloquent description for the omnipresent border in our psyche … Readers will draw their own meaning from Ní Dochartaigh’s words, and she allows space for them to ponder … This debut is not a memoir in the traditional sense; nor is it simply a polemic about the sectarian violence that tore through the author’s childhood in Derry; instead, it combines both of these elements under the insistent gaze of the poet-writer who is always keen to draw our attention to nature … Readers may be surprised at the depths that  Thin Places explores. Do not mistake its appreciation of the natural world for anything twee or solely comforting … This is not for the faint-hearted …

Ní Dochartaigh’s writing is generous and she leaves little for the reader to surmise in those dark days she describes in startling detail … The darkness in her subject matter lends itself to the light, however. The natural world at large is a balm for her … It might sound incongruous to write about the beauty of the whooper swan and the enduring effect of Troubles in the same paragraph, but Ní Dochartaigh’s manages it … This is a book full of hope found in dark places and it confronts some of the realities of the Irish border and the enduring effect it has on our lives.”

–Mia Colleran ( The Irish Independent )

6. Translating Myself and Others by Jhumpa Lahiri (Princeton University Press)

8 Rave • 14 Positive • 1 Mixed

“Lahiri mixes detailed explorations of craft with broader reflections on her own artistic life, as well as the ‘essential aesthetic and political mission’ of translation. She is excellent in all three modes—so excellent, in fact, that I, a translator myself, could barely read this book. I kept putting it aside, compelled by Lahiri’s writing to go sit at my desk and translate … One of Lahiri’s great gifts as an essayist is her ability to braid multiple ways of thinking together, often in startling ways … a reminder, no matter your relationship to translation, of how alive language itself can be. In her essays as in her fiction, Lahiri is a writer of great, quiet elegance; her sentences seem simple even when they’re complex. Their beauty and clarity alone would be enough to wake readers up. ‘Look,’ her essays seem to say: Look how much there is for us to wake up to.”

–Lily Meyer ( NPR )

7. Ducks: Two Years in the Oil Sands by Kate Beaton (Drawn & Quarterly)

14 Rave • 4 Positive Watch an interview with Kate Beaton here

“It could hardly be more different in tone from [Beaton’s] popular larky strip Hark! A Vagrant … Yes, it’s funny at moments; Beaton’s low-key wryness is present and correct, and her drawings of people are as charming and as expressive as ever. But its mood overall is deeply melancholic. Her story, which runs to more than 400 pages, encompasses not only such thorny matters as social class and environmental destruction; it may be the best book I have ever read about sexual harassment … There are some gorgeous drawings in Ducks of the snow and the starry sky at night. But the human terrain, in her hands, is never only black and white … And it’s this that gives her story not only its richness and depth, but also its astonishing grace. Life is complex, she tell us, quietly, and we are all in it together; each one of us is only trying to survive. What a difficult, gorgeous and abidingly humane book. It really does deserve to win all the prizes.”

–Rachel Cooke ( The Guardian )

8. The Philosophy of Modern Song by Bob Dylan (Simon & Schuster)

10 Rave • 15 Positive • 7 Mixed • 4 Pan

“It is filled with songs and hyperbole and views on love and lust even darker than Blood on the Tracks … There are 66 songs discussed here … Only four are by women, which is ridiculous, but he never asked us … Nothing is proved, but everything is experienced—one really weird and brilliant person’s experience, someone who changed the world many times … Part of the pleasure of the book, even exceeding the delectable Chronicles: Volume One , is that you feel liberated from Being Bob Dylan. He’s not telling you what you got wrong about him. The prose is so vivid and fecund, it was useless to underline, because I just would have underlined the whole book. Dylan’s pulpy, noir imagination is not always for the squeamish. If your idea of art is affirmation of acceptable values, Bob Dylan doesn’t need you … The writing here is at turns vivid, hilarious, and will awaken you to songs you thought you knew … The prose brims everywhere you turn. It is almost disturbing. Bob Dylan got his Nobel and all the other accolades, and now he’s doing my job, and he’s so damn good at it.”

–David Yaffe ( AirMail )

9. Stay True by Hua Hsu (Doubleday)

14 Rave • 3 Positive Listen to Hua Hsu read an excerpt from Stay True here

“… quietly wrenching … To say that this book is about grief or coming-of-age doesn’t quite do it justice; nor is it mainly about being Asian American, even though there are glimmers of that too. Hsu captures the past by conveying both its mood and specificity … This is a memoir that gathers power through accretion—all those moments and gestures that constitute experience, the bits and pieces that coalesce into a life … Hsu is a subtle writer, not a showy one; the joy of Stay True sneaks up on you, and the wry jokes are threaded seamlessly throughout.”

–Jennifer Szalai ( The New York Times )

10. Body Work: The Radical Power of Personal Narrative by Melissa Febos (Catapult)

13 Rave • 2 Positive • 2 Mixed Read an excerpt from Body Work here

“In her new book, Body Work: The Radical Power of Personal Narrative , memoirist Melissa Febos handily recuperates the art of writing the self from some of the most common biases against it: that the memoir is a lesser form than the novel. That trauma narratives should somehow be over—we’ve had our fill … Febos rejects these belittlements with eloquence … In its hybridity, this book formalizes one of Febos’s central tenets within it: that there is no disentangling craft from the personal, just as there is no disentangling the personal from the political. It’s a memoir of a life indelibly changed by literary practice and the rigorous integrity demanded of it … Febos is an essayist of grace and terrific precision, her sentences meticulously sculpted, her paragraphs shapely and compressed … what’s fresh, of course, is Febos herself, remapping this terrain through her context, her life and writing, her unusual combinations of sources (William H. Gass meets Elissa Washuta, for example), her painstaking exactitude and unflappable sureness—and the new readers she will reach with all of this.”

–Megan Milks ( 4Columns )

Our System:

RAVE = 5 points • POSITIVE = 3 points • MIXED = 1 point • PAN = -5 points

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Your English teacher would hate this ‘Great Gatsby’

A new broadway musical is all about jay gatsby’s decadence.

NEW YORK — The orgiastic delights of Jay Gatsby’s parties mostly lurk between the lines of F. Scott Fitzgerald’s clipped prose. But there is nothing coy about the extravagant stage musical that opened Thursday at the Broadway Theatre, where a cascade of visual splendors showers the eye like a fire hose. When actual sparks rain down on the first soiree, toss any hankering for subtlety out the window.

Directed by Marc Bruni with the broadness of a 10-lane highway, “The Great Gatsby” is a grand, crowd-pleasing spectacle: Tourists, Jazz Age enthusiasts and fans of its vocal-powerhouse stars Eva Noblezada and Jeremy Jordan are already lining up outside the stage door. And there is something to be said for a splashy night out, even if it casts off the author’s intended message.

The Style section

To the likely dismay of your high school English teacher, any critique of material excess, social disparities or the American Dream that has made the book a classroom staple gets stripped here in deference to a swoony and ill-fated love story. This isn’t a high-society tragedy set against the dawn of modernity but a rom-com that nose-dives into overwrought melodrama.

Midwestern fish-out-of-water Nick Carraway is a clear-eyed audience surrogate: Amid an assembly of mild caricatures, Noah J. Ricketts gives an admirable and firm-footed performance. The subjects of his narration, prose mostly lifted from Fitzgerald, all seem to know they are part of a Great Big Story, even as they appear to be plucked from a hodgepodge of genres.

His cousin Daisy (Noblezada) is fluttering and giggly but vaguely unhappy when we meet her in a lofty drawing room with windows overlooking Long Island Sound (the elaborate, projection-enhanced Art Deco set is by Paul Tate dePoo III). “God, I’ve made it,” Daisy sings, draped in a cropped and diaphanous cotton-candy dress, “I’m so sophisticated.” (The lavish costumes are by Linda Cho.) The lyrics by Nathan Tysen generally relay backstory and circumstance, whether or not they’re tinged with emotion.

Daisy’s husband Tom (John Zdrojeski), her ticket to this fabulous life, is the philandering brute she knows him to be. But the couple’s durable if brittle bond, forged in old-money breeding — so integral to the narrative’s structure — is imperceptible from the start. The audience is clearly meant to ask, “Why is she with this guy?” as a precursor to, “Now look at this dreamboat!”

That would be the debonair Gatsby (Jordan), sapped of mystery and crooning in wistful high registers about the one who slipped through his fingers but is now within reach. Jason Howland’s music, serviceable Broadway pop without much distinct flavor (not even jazz, that low-hanging fruit), excels at soaring ballads, allowing both Jordan and Noblezada to demonstrate considerable vocal gymnastics.

Book writer Kait Kerrigan exalts the central romance into a reunion of true loves torn apart by wartime, like something out of “ The Notebook .” Characters and their motivations are fleshed out for the purpose of moralizing infidelities and making their tragic ends feel less random. Gatsby is so smitten he can hardly stand upright; Daisy has a song about longing to remain faithful until she’s drawn over the edge.

Tom’s mistress Myrtle (Sara Chase) and her aggrieved husband George (Paul Whitty) are figured as cartoonish avatars of the working class with thick New Yawk accents whose fates are intertwined with the wealthy set by both love and money. There is even a juiced-up romantic plot between Nick and the steely Jordan Baker, played by Samantha Pauly (like Ricketts, another grounding presence). The two skeptics, vaguely queer-coded as in the novel, also can’t help but fall for each other.

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This revisionary attempt to turn “The Great Gatsby” into a clown car of passionate entanglements skids off the road when calamity is meant to strike. The second-act twists play out with the frenzy of a nighttime soap by Aaron Spelling, without any of the campy self-awareness. There is no ghastly reckoning with the follies of hedonism, just a rapid succession of abrupt ends.

Fitzgerald’s chic but sobering cautionary tale has been bubbling up frequently onstage since entering the public domain in 2021: There was an immersive take in a Manhattan hotel last year, and a pre-Broadway tryout of “ Gatsby ,” with music by Florence Welch, begins performances in Boston next month. There’s never been a bad time for the author’s sidelong glance at capitalism and the single-minded pursuit of pleasure — provided one isn’t already blinded by them.

The Great Gatsby , ongoing at the Broadway Theatre in New York. 2 hours, 30 minutes. broadwaygatsby.com .

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