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How London taught Ambedkar to ‘educate, agitate, organise’

A new book explores b.r. ambedkar’s little-known years in britain, revealing his far-reaching influence on anti-discrimination movements..

Published : Aug 26, 2024 20:12 IST - 7 MINS READ

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Dr B. R. Ambedkar (first from right in second row) with his professors and friends from the London School of Economics and Political Science, circa 1916-17. | Photo Credit: Wikimedia Commons

While Dr B.R. Ambedkar’s studies in, and connections with, Columbia University are well-known and much celebrated, not many know that he also studied for a masters in Economics at the London School of Economics (LSE), and was called to the Bar at Gray’s Inn in London. In fact, his doctoral work in economics and finance at LSE was instrumental in the setting up of the Central banking mechanism now known as the Reserve Bank of India.

Ambedkar in London

Rupa publications, price:rs.995.

Even less studied is Ambedkar’s work in London during the 1930s as part of the two Round Table Conferences held in 1930-early 1931 and late 1931-early 1923 respectively, and his subsequent work in the UK championing the cause of the “Depressed Classes”. The book Ambedkar in London is an attempt to bridge this gap, even as it reveals the extent of his involvement in, and influence upon, the struggles of the underdog all over the world.

Edited by William Gould, professor of Indian History at University of Leeds; Santosh Dass MBE, former civil servant and human rights activist; and Professor Christophe Jaffrelot, Research Director at CERI-Sciences Po and Professor of Indian Politics and Sociology at King’s College London, this excellent compilation of essays covers a wide range of geographies and schools of thought.

It is not incidental that the trigger for this volume was the mobilisation by several UK-based Dalits to set up the Ambedkar Museum at 10, King Henry Road, in Camden, a residential borough in the heart of London where Ambedkar spent several years as a tenant. The struggle to set up the Museum after decades of obscurity and years of lobbying and advocacy with civic authorities, the Maharashtra and UK governments, and not least, the residents of King Henry Road, is emblematic of society’s reception to the values that Ambedkar himself struggled for.

Evaluating Ambedkar’s contribution

Ambedkar in London is divided into two parts. Part one covers Ambedkar’s years in London as a student in the 1920s and a lobbyist and policymaker in the 1930s. The foreword by Suraj Milind Yengde, who has worked on the issues of caste and race in Africa, the US, and now the UK, emphasises the international scholarly and policy footprint of Ambedkar whose work continues to impact present-day India and inspires generations. The Introduction by Santosh Dass and William Gould connects Ambedkar’s sojourns in London with the progress of the struggle for the rights of Dalits in the UK, which is explored in greater detail in Chapter 8 in the second part of the book.

The first three chapters, by William Gould, Sue Donnelly and Daniel Payne, and Steven Gasztowicz KC respectively, cover Ambedkar’s stint as an activist research scholar, student of LSE, and student of Law in London, while the fourth by Jesus F. Chairez-Garza discusses Ambedkar’s networking and activism in the First Round Table Conference. “Dr Ambedkar in the 1920s: The Transitional Decade” by Christophe Jaffrelot is a comprehensive treatment of the years between Ambedkar’s life as a student in London and his leadership in the Round Table Conferences in the 1930s.

The second part of the book, while broadly discussing the contemporary movement for the rights of Dalits in the UK, also harks back to Ambedkar’s interaction with the Black intellectual W.E.B Dubois and the subsequent engagement of the Black movement in the US with the Indian freedom struggle and the Dalit movement in India. The African-American community was in sympathy with Indians struggling against white supremacy/colonialism, and also aware of the overlaps between caste and race. Santosh Dass has collaborated with Arun Kumar to trace the growing Ambedkarite movement in the UK in Chapter 6; with Jamie Sullivan to explain how the Ambedkar Museum in London was set up; and writes in detail about the campaign to outlaw caste discrimination in the UK in Chapter 8. The African-American scholar Professor Kevin Brown, renowned for his work on race and caste, writes on Ambedkar in London and the African-American community in Chapter 9.

Also Read | Ambedkar in the here and now

A fuller evaluation of Ambedkar’s contribution and intellectual and political leadership at the national and international sphere is yet to be achieved, but this compilation of essays does cover extensive ground, and connects the contribution of the younger scholar Ambedkar to the mature Constitutionalist, Law Minister, and politician in a substantial manner.

“This compilation of essays connects the contribution of the younger scholar Ambedkar to the mature Constitutionalist, Law Minister, and politician in a substantial manner.”

In his Conclusion, Gould writes: “[t]he early 1920s in London position Ambedkar’s intellectual contributions in the longer term…(his) powerful principles and strategies for Dalit representation and keen principles and strategies for Dalit representation and keen sociological approaches to Indian inequality that characterise his mature phase can only be fully explained in relation to his longer-term intellectual contributions. In his early writings this included the politics and governance of space, the nature of the colonial economy, the idea of the rule of law, and the wider context of political power in interwar India.”

Chairez-Garza and Jaffrelot argue that Ambedkar’s experiences and connections to London around the early mobilisation of the Depressed Classes through education and reform were significant to his later, and more radical, ideas about caste. Gould feels that Ambedkar’s study in London helped him better relate the significance of space and transnationalism to the issues of social segregation and exclusion of the untouchables.

The bungalow on King Henry’s Road in North London where Dr. B R Ambedkar lived as a student in the 1920s. | Photo Credit: PTI

Thus we find that Ambedkar embodied, as an exemplar, that education was the first strategy to ensure the social and economic progress of Dalits, and thereafter became an important means of fostering the wider Dalit movement. Even as his own sponsors saw in his education and progress a means to be more influential in the public life in India, Ambedkar himself saw it as a means to be taken more seriously as an internationally qualified person with the capability to take on both the colonial government as well as Indian politicians who enjoyed a higher social status.

These approaches have stood the Dalit movement in good stead. The principles of institution-building and social mobilisation as modelled by Ambedkar continue to be popular, including in the Buddha Vihara in London as well as at the smallest village or taluk level even now in India.

Spirited challenge to inequality

The other important model that he followed is the spatial contextualisation and representation of the Depressed Classes in the face of caste discrimination. This elicited results in the UK, as the Dalits strove to have caste discrimination officially acknowledged in anti-discrimination legislation: the struggle against social elitism continues as a significant challenge even now both in India and the UK, stemming from an inability—or unwillingness—of the social and political elite to understand the structural advantages conferred on them by historical privilege.

Ambedkar’s spirited and multi-pronged challenge to this inequality includes education, institutionalising legal obligations to the progress of the disadvantaged, political representation and even, towards the end of his life, a spiritual challenge to the entrenched privilege enjoyed by a few on the basis of birth and religious claims.

Also Read | The relevance of Ambedkar

Thus, it was Ambedkar’s critical analysis of the nature and influence of the caste system which set the tone for the pre-Independence struggle against caste discrimination in India and also inspired the leaders of struggle of the African-Americans against racial and colour discrimination. W.E.B. Dubois wrote appreciatively of Ambedkar’s speech in the First Round Table Conference.

Ambedkar’s signal contribution to the framing of the Indian Constitution was the drafting of the Preamble and the foundational values of liberty, equality, and fraternity, based not so much on the slogan of the French Revolution as on the teachings of the Buddha and their values in Indian society.

There is no doubt that Ambedkar would have been proud of the team that successfully campaigned to set up the museum in London dedicated to his memory and legacy. Interestingly, they used the very slogan—“Educate, Agitate, Organise”, which Ambedkar coined to achieve the goal of representation of the underdog—to occupy the space which had hitherto excluded them, and which shall now inspire succeeding generations.

Cynthia Stephen is an independent journalist and social policy researcher who tracks developments related to marginalised sections and women.

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College Essay Essentials: A Step-by-Step Guide to Writing a Successful College Admissions Essay Paperback – July 1, 2016

The #1 resource for writing an amazing college essay to help get into your dream school!

Unlock the key to college admission success with College Essay Essentials , a comprehensive and invaluable resource designed to empower students in their essay-writing journey. Packed with expert guidance and practical tips, this must-have book is tailored specifically for high school seniors, transfer students, and aspiring college applicants.

In College Essay Essentials , Ethan Sawyer, a renowned college essay advisor and expert, shares his proven strategies and insider knowledge to help you navigate the daunting task of crafting compelling essays that stand out from the competition. With an unwavering focus on authenticity, creativity, and effective storytelling, Sawyer empowers you to create impactful narratives that captivate admissions officers.

Writing a college admission essay doesn't have to be stressful. Sawyer (aka The College Essay Guy) will show you that there are only four (really, four!) types of college admission essays. And all you have to do to figure out which type is best for you is answer two simple questions:

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• Print length 256 pages
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• Publication date July 1, 2016
• Grade level 10 - 12
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• ISBN-10 149263512X
• ISBN-13 978-1492635123
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About the author.

Ethan Sawyer is a nationally recognized college essay expert and sought-after speaker. Each year he helps thousands of students and counselors through his online courses, workshops, articles, products, and books, and works privately with a small number of students.

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• Publisher ‏ : ‎ Sourcebooks; 1st edition (July 1, 2016)
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• Paperback ‏ : ‎ 256 pages
• ISBN-10 ‏ : ‎ 149263512X
• ISBN-13 ‏ : ‎ 978-1492635123
• Grade level ‏ : ‎ 10 - 12
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• #5 in College Guides (Books)
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About the author

Ethan sawyer.

Ethan Sawyer is a nationally recognized college essay expert and sought-after speaker. Each year he helps thousands of students and counselors through his online courses, workshops, articles, and books, and works privately with a small number of students.

Raised in Spain, Ecuador, and Colombia, Ethan has studied at seventeen different schools and has worked as a teacher, curriculum writer, voice actor, motivational speaker, community organizer, and truck driver. He is a certified Myers-Briggs® specialist, and his type (ENFJ) will tell you that he will show up on time, that he'll be excited to meet you, and that, more than anything, he is committed to—and an expert in—helping you realize your potential.

A graduate of Northwestern University, Ethan holds an MFA from UC Irvine and two counseling certificates. He lives in Los Angeles with his beautiful wife and their amazing daughter.

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In Memory of Dr. Nabil Elaraby

It is with great sadness and deep admiration that we mourn the passing of Dr. Nabil Elaraby, one of Egypt’s leading diplomats, legal practitioners, and a tireless global advocate for international law, human rights, and the cause of peace.

The late Nabil Elaraby at a meeting with U.N. Secretary-General Ban Ki-moon at the U.N. headquarters in New York, September 24, 2015. REUTERS/Darren Ornitz

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He passed away on August 26, 2024 at the age of 89.

Dr. Nabil Elaraby leaves behind a long and accomplished legacy having served as Egypt’s foreign minister, secretary general of the League of Arab States, and as a judge at the International Court of Justice, to name only a few of his many leadership roles. His unwavering belief in the value of international law was vindicated in his role as Egypt’s top representative at the Egyptian-Israeli arbitration tribunal concerning the Taba dispute. The tribunal decided in 1988 to dismiss Israel’s claims of sovereignty over Taba and, as a result, the Red Sea border city was returned to Egypt in 1989. With the restoration of Egypt’s sovereignty over the last remaining territory occupied by Israel, Dr. Elaraby earned the popular acclaim as the man “who got Taba back”.

Born in 1935, Dr. Elaraby’s long career was characterized by a principled moral and intellectual consistency that allowed him to become a leading legal scholar as well as a high-caliber diplomat, representing Egypt at the highest fora.

Dr. Elaraby completed his undergraduate studies in law at Cairo University in 1955 and earned an LLM and J.S.D. from New York University in 1969 and 1971, respectively. He was the Adlai Stevenson Fellow in International Law at United Nations Institute for Training and Research (UNITAR) in 1968 and a Special Fellow in international law in 1973.

The Egyptian Foreign Ministry described him as “a pillar of Egyptian diplomacy and one of its shining icons.”

Dr. Elaraby worked as the legal adviser and director of the legal and treaties department at the Egyptian foreign ministry from 1976 to 1978, including at the Camp David Accords, and from 1983 to 1987. He served as Egypt’s ambassador to India from 1981 to 1983 and as permanent representative to the UN from 1987 to 1999 in Geneva followed by New York.

Though he was deeply engaged in Egyptian diplomacy dealing with numerous sensitive issues, Dr. Elaraby never shied away from sharing his perspective. Along with several of the Egyptian delegation to the Camp David negotiations, he did not attend the signing ceremony of the Camp David accords, expressing his reservations that they fell short on two core issues: the restitution of all the territories occupied by Israel in the military conflict between Israel and the Arab states, and the realization of the right of the Palestinians to self-determination. He wrote for the Cairo Review in 2019 that “I conveyed these points of contention first to the foreign minister, who agreed with me, and then to President [Anwar] Sadat. After reflection, Sadat said, in English, ‘You are not a statesman,’ to which I replied, in English, ‘Mr. President, I am here as a technician.’”

Dr. Elaraby’s own words are a testament to his deep commitment to upholding the principle of international legitimacy, and as a defender of the Palestinian cause. In 1968, he wrote for Duke University’s journal of Law and Contemporary Problems that “the fate of the Palestinians was decided for them by the United Nations, to their detriment, without reference to the rule of law […] The law of the Charter was sacrificed for the convenience of political expediency.”

He decried the UN for having “forsook the lofty principles of the Charter and sought, instead, to foster the political objectives of Zionism,” adding that partition “was not the inevitable solution which the Assembly had no alternative but to recommend” and that “it is safe to state that the complete dereliction by the United Nations of its duty toward the legitimate interests of Palestinians is directly responsible for the bloodshed that has distressed the area for over twenty years.”

Nearly 40 years later, serving as a judge at the ICJ from 2001 to 2006, Elaraby reiterated his view regarding the UN’s approach to partition in his separate opinion on Legal Consequences of the Construction of a Wall in the Occupied Palestinian Territory. “The fact that occupation is met by armed resistance cannot be used as a pretext to disregard fundamental human rights in the occupied territory.” Occupation, he continued, “as an illegal and temporary situation, is at the heart of the whole problem. The only viable prescription to end the grave violations of international humanitarian law is to end occupation.”

He wrote that the UN’s special responsibility toward the Palestinian question “was discharged for five decades without proper regard for the rule of law […] no organ has ever requested the International Court of Justice to clarify the complex legal aspects of the matters under its purview. Decisions with far-reaching consequences were taken on the basis of political expediency, without due regard for the legal requirements.” Years later, Dr. Elaraby noted that “a new form of apartheid is practiced in the occupied territories.”

Dr. Elaraby’s principled stance in the political and legal realm was not restricted to pursuing justice for the Palestinians. He was not afraid to call out the regime and the state of politics in Egypt. In a 2012 interview with the Cairo Review, the diplomat, then Secretary-General of the Arab League, criticized the Supreme Council of Armed Forces’ handling of the transition process and made clear the need for a separation between the military and civilian leadership.

Before leading the Arab League, Elaraby was chosen by the Egyptian revolutionaries as part of a ‘council of the wise’ to liaise between the government and the young protestors of Tahrir Square. He insisted that President Mubarak must step down.

He was appointed as Egypt’s first foreign minister in the post-Mubarak era by caretaker prime minister Essam Sharaf. He called for “holding Israel accountable when it does not respect its obligations”. His tenure as foreign minister was short lived, spending only three months in office after which he was appointed as Secretary-General of the League of Arab States during one of the most turbulent times in the region’s volatile history.

In the same 2012 interview, Elaraby decried Syrian president Bashar al-Assad’s delusions, stating that “what’s holding up the solution very frankly is that the government in Syria is in a state of denial about what’s going on and will not change their minds unless there will be pressure from the five permanent members, particularly Russia and China.” However, he spoke against military intervention. During his tenure at the Arab League, Dr. Elaraby lobbied to establish an Arab joint military force, although it has never been activated.

Those who knew him spoke to his spirit of modesty and generosity. The Egyptian law students who received the Dr. Nabil Elaraby LLM Endowed Fellowship at the American University in Cairo (AUC) in his honor recognized this first hand.

Nobel Peace Prize winner Mohamed Elbaradei, former vice-president of Egypt and former head of the International Atomic Energy Agency, mourned “a dear friend who believed in justice and the rule of law.” Egyptian president Abdelfattah el-Sisi also offered his condolences , commending Dr. Elaraby’s “life dedicated to the service of his country and Arab nation.”

Professor of Practice at AUC’s School of Global Affairs and Public Policy Aly Erfan, who worked closely with Dr. Elaraby for many years as one of his assistants, considered him a godfather and a mentor.

“I learned from him not only what kind of diplomat I can be, but, more importantly, what kind of a person I should be. He taught me diplomacy with a human face,” Erfan told the Cairo Review.

It is difficult to do justice in such a short obituary to Dr. Elaraby’s rich and illustrious legacy, much of which—such as his membership in the International Law Commission from 1994 to 2004—is not mentioned here. For some, it is epitomized by his role returning Taba to Egypt. For others, it might be his presence during and after the Egyptian revolution, his role as judge at the ICJ and member of the ILC, his long history representing Egypt at the UN and various commissions, or something else entirely.

For all who knew him, however, Nabil Elaraby was, throughout his life as after his death, an inspiration to those who seek to make a real impact in the international system while holding true to their principles amid the treacherous winds of political interests.

The Cairo Review extends its heartfelt condolences to Dr. Elaraby’s family and friends.

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2024 Lincoln Lecture - A discussion with award-winning author Clint Smith

Thursday, September 12, 2024 7:30 PM

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About this Event

595 College Ave, DeKalb, IL 60115

This conversation, moderated by Christina Abreu, Director of the Center for Latino and Latin American Studies, draws on Smith’s 2021 book , How the Word Is Passed: A Reckoning with the History of Slavery Across America, which was a #1 New York Times bestseller, winner of the National Book Critics Circle Award for Nonfiction and selected by the New York Times as one of the 10 best books of 2021.

Smith’s bestselling books include  How the Word Is Passed , which  Publishers Weekly  called “an essential consideration of how America’s past informs its present.” It has won numerous awards, including the National Book Critics Circle Award for Nonfiction, and was named one of the best books of the year by  TIME ,  The New York Times ,  The Economist and  The Washington Post .

His latest book,  Above Ground , was named to  TIME  magazine’s 100 Must-Read Books and  NPR ‘s Books We Love. Smith’s first book,  Counting Descent , won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award. In his forthcoming book,  Just Beneath the Soil , he will explore the little-known stories behind World War II sites and discuss how they shape our collective memory of the war.

His essays, poems, and scholarly writing have been published in The New Yorker, The New York Times Magazine , The New Republic, Poetry Magazine, The Paris Review, the Harvard Educational Review and elsewhere. He is a staff writer at The Atlantic .

The W. Bruce Lincoln Endowed Lecture Series brings to campus distinguished scholars who address topics of interest to both the academic community and the general public. The lectures engage key issues and are often interdisciplinary, in the spirit of Professor Lincoln’s research, writing and teaching.

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Women, Let the Gospel Define Your Identity

Review: ‘gospel-shaped womanhood’ by sarah rice, more by erin shaw.

People in every generation struggle to find their identity.

According to a study by Horowitz Research and Vox Media, two in five Gen Zers want to be asked who they are. This is a shift away from wanting to be told who they are by society. This generation wants to own their identity. The study also revealed Gen Z prefers labels based on personality traits and preferences rather than on society’s emphasis on gender, race, and physical characteristics. The approach is more subjective, yet Gen Z’s preferences are just another version of the pursuit of identity based on superficial characteristics.

Sarah Rice’s Gospel-Shaped Womanhood: How Losing Yourself and Finding Your Identity in Christ Changes Everything offers a countercultural perspective on identity. Books, social media, and podcasts offer women endless tips on how to be better versions of themselves. The prevailing culture teaches women to pursue salvation through self-definition and self-sufficiency. In contrast, Rice points women toward dependence on the God who created them. She argues we should find our identity in Christ.

Gospel-Shaped Womanhood: How Losing Yourself and Finding Your Identity in Christ Changes Everything

We all desperately want answers to the same questions: Am I valuable? What is my purpose? Do I belong? But the identity we’re searching for always seems just out of reach. Contrary to what the world tells us, we don’t need to find ourselves. Instead, we need to be found in Christ. More than just a sound-bite, Gospel-shaped Womanhood delves into what having a Jesus-centered identity really means and how it shapes our relationships, our service, our work, and our self-image. Deep, practical, and honest, this book will help build a lasting transformation in the way we see ourselves and all of life.

Gospel-Shaped Worth

At a surface level, claiming our identity is in Christ “can seem like a trite theological simplification of our unique personhood” (25). However, Rice argues, “Our quest to find ourselves is driven by two bigger questions that plague us as women: Do I possess true worth? and What are the sources and measures of my worth? ” (25). These questions require deep thinking and complex answers.

Why are questions about worth so common? It’s because deep down we all feel unworthy. And, in reality, we are. In some circles, feeling unworthy is the sanitized substitute for sinfulness. That leads to the lie that Christianity should be about building our confidence. Yet when we struggle with our worth, it may be that we’re being convicted of our sinfulness before a holy God.

It matters where we find our worth. Christ makes us worthy through the gospel. Our worth comes from him, not from our labels, our achievements, or ourselves.

Christ makes us worthy through the gospel. Our worth comes from him, not from our labels, our achievements, or our selves.

We’re measured by God’s standard, but as Rice points out, “Incredibly, Christ’s righteousness is credited to us, so that when God looks at believers, he sees the perfection of his Son rather than image-bearers marred by sin. In Christ, our position is worthiness before God, and his heart is full of affection toward us” (33). In Christ, women have gospel-shaped worth.

Gospel-Shaped Empowerment

Feminism promises to provide more rights and opportunities for women. At one level, this is biblical. The Bible teaches that women are image-bearers of God and are equal to men in worth and personhood. We can celebrate the good things women’s empowerment has wrought.

However, the focus of women’s empowerment is often not simple equality. Rice explains,

Largely, feminism is a movement of women seeking to empower women for the sake of fulfilling and glorifying women . . . . Christianity, on the other hand, is a movement of God by which the Spirit empowers women to know their true identity and fulfill a mission that’s bigger and more glorious than themselves” (48).

Gospel-shaped women find freedom in living Spirit-empowered lives.

Female empowerment often promises more than it can deliver. Rice argues, “Women cannot ultimately right all that is wrong. Women cannot remedy the human condition or redeem the cosmos. We cannot heal all the wounds of abuse and set every captive free” (52). Instead, we’re invited to trust in an unlimited God who knows all the abuses women have suffered and will make all things right and new through the sacrifice of his Son (2 Cor. 5:21).

Christ is the example for women who seek to honor him. He denied himself. Similarly, Christian women should deny themselves. But this conflicts with many modern notions of womanhood, which equate “female empowerment with autonomy—a woman’s freedom to submit only to herself. Jesus, however, says real freedom comes only by knowing him and abiding in his Word through continual trust and obedience” (51). Gospel-shaped empowerment frees us from focusing on ourselves, because we see Christ’s example of self-denial. That empowerment leads to the transformation of every aspect of life.

Gospel-Shaped Self

In Strange New World , Carl Trueman writes, “The modern self assumes the authority of inner feelings and sees authenticity as defined by the ability to give social expression to the same.” As we’ve seen, this conflicts with what Scripture teaches about our identity.

Christ is the example for women who seek to honor him. He denied himself. Similarly, Christian women should deny themselves.

Our identity isn’t ours to own or create. Our Creator defines it. Authenticating our personhood via societal approval has no place in a Christian’s notion of identity formation. Rice says, “The goal of Christian women is not to be remembered but to faithfully serve a Savior who will never be forgotten” (177). A Christian woman doesn’t seek societal approval of her actions; she seeks the approval of her Savior who has already granted this through her new identity in the gospel. This foundational theme isn’t unique to Rice, but it’s necessary in a culture that consistently pulls in the opposite direction.

Gospel-Shaped Womanhood is helpful because it begins the identity discussion on the most basic level. It makes a good prerequisite for reading books like Melissa Kruger’s Growing Together , which covers a broader spectrum of discipleship topics. Rice takes a simpler theological approach than Jen Wilkin’s In His Image , which begins with God’s communicable attributes as our foundation for identity. Those looking for a ground-floor entry into questions of identity will benefit from Rice’s book.

This is a resource I’ll use for discipling women, especially new believers, on the nature of the gospel and how that affects every part of life, not just eternal salvation. And as Gen Z’s view of identity transitions away from the outer self to the inner, this book can help equip these young women to love the Lord their God with all their heart and mind.

Erin Shaw (EdD, The Southern Baptist Theological Seminary) is assistant professor of women’s ministry at Cedarville University in Ohio. She is a member of Centerville Christian Fellowship, where she coordinates the women’s ministry.

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‘Reagan’ Review: The Gipper Takes on Moscow

In this unabashed love letter to former president Ronald Reagan, Dennis Quaid fights the Cold War with conviction.

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By Glenn Kenny

In his long career, Dennis Quaid has sometimes played politicians. He’s been former President Bill Clinton (“The Special Relationship”) and was the president in the musical comedy “American Dreamz” with Hugh Grant and Willem Dafoe. Now, in “Reagan,” Quaid portrays former President Ronald Reagan with, if not brilliance, at least evident conviction. Time truly holds surprises for all of us.

The movie, directed by Sean McNamara from a screenplay by Howard Klausner, opens with Quaid as the 40th president leaving a speech site and walking right into an assassination attempt. The picture then moves to present-day Moscow. Jon Voight plays Viktor Petrovich, a retired K.G.B. agent with an accent straight out of “The Rocky and Bullwinkle Show” who narrates the story of Reagan to a younger functionary. And so we shift back to the 1980s, and then back to Reagan’s early years in radio and Hollywood. (Mena Suvari plays Reagan’s first wife, Jane Wyman, and Penelope Ann Miller is Nancy.)

In the first eight minutes, the movie makes as many temporal shifts as a 1960s Alain Resnais work, albeit quite less gracefully.

Why is Reagan’s story relayed by a K.G.B. guy? Because in this unabashed love letter to the former president, Reagan was the force behind the fall of the Soviet Union. The movie implies that this “evil empire” collapsed as a result not just of his presidency, but of his anti-Communist activism during his entertainment career in the 1930s, ’40s and ’50s. These eras are depicted in scenes strongly suggesting that before shooting, the cinematographer, Christian Sebaldt, happened upon a fire sale on diffusion filters at the camera store.

The cast is dotted with cameos from the actors Lesley-Anne Down and Kevin Dillon; the prominent Hollywood conservatives Kevin Sorbo and Robert Davi also appear as seals of approval, one infers. It all makes for a plodding film, more curious than compelling.

Reagan Not rated. Running time: 2 hours 15 minutes. In theaters.

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NeurIPS 2024 Datasets and Benchmarks Track

If you'd like to become a reviewer for the track, or recommend someone, please use this form .

The Datasets and Benchmarks track serves as a venue for high-quality publications, talks, and posters on highly valuable machine learning datasets and benchmarks, as well as a forum for discussions on how to improve dataset development. Datasets and benchmarks are crucial for the development of machine learning methods, but also require their own publishing and reviewing guidelines. For instance, datasets can often not be reviewed in a double-blind fashion, and hence full anonymization will not be required. On the other hand, they do require additional specific checks, such as a proper description of how the data was collected, whether they show intrinsic bias, and whether they will remain accessible. The Datasets and Benchmarks track is proud to support the open source movement by encouraging submissions of open-source libraries and tools that enable or accelerate ML research.

The previous editions of the Datasets and Benchmarks track were highly successful; you can view the accepted papers from 2021 , 2002 , and 2023 , and the winners of the best paper awards 2021 , 2022 and 2023

CRITERIA. W e are aiming for an equally stringent review as the main conference, yet better suited to datasets and benchmarks. Submissions to this track will be reviewed according to a set of criteria and best practices specifically designed for datasets and benchmarks , as described below. A key criterion is accessibility: datasets should be available and accessible , i.e. the data can be found and obtained without a personal request to the PI, and any required code should be open source. We encourage the authors to use Croissant format ( https://mlcommons.org/working-groups/data/croissant/ ) to document their datasets in machine readable way.   Next to a scientific paper, authors should also submit supplementary materials such as detail on how the data was collected and organised, what kind of information it contains, how it should be used ethically and responsibly, as well as how it will be made available and maintained.

RELATIONSHIP TO NeurIPS.  Submissions to the track will be part of the main NeurIPS conference , presented alongside the main conference papers. Accepted papers will be officially published in the NeurIPS proceedings .

SUBMISSIONS.  There will be one deadline this year. It is also still possible to submit datasets and benchmarks to the main conference (under the usual review process), but dual submission to both is not allowed (unless you retracted your paper from the main conference). We also cannot transfer papers from the main track to the D&B track. Authors can choose to submit either single-blind or double-blind . If it is possible to properly review the submission double-blind, i.e., reviewers do not need access to non-anonymous repositories to review the work, then authors can also choose to submit the work anonymously. Papers will not be publicly visible during the review process. Only accepted papers will become visible afterward. The reviews themselves are not visible during the review phase but will be published after decisions have been made. The datasets themselves should be accessible to reviewers but can be publicly released at a later date (see below). New authors cannot be added after the abstract deadline and they should have an OpenReview profile by the paper deadline. NeurIPS does not tolerate any collusion whereby authors secretly cooperate with reviewers, ACs or SACs to obtain favourable reviews.

SCOPE. This track welcomes all work on data-centric machine learning research (DMLR) and open-source libraries and tools that enable or accelerate ML research, covering ML datasets and benchmarks as well as algorithms, tools, methods, and analyses for working with ML data. This includes but is not limited to:

• New datasets, or carefully and thoughtfully designed (collections of) datasets based on previously available data.
• Data generators and reinforcement learning environments.
• Data-centric AI methods and tools, e.g. to measure and improve data quality or utility, or studies in data-centric AI that bring important new insight.
• Advanced practices in data collection and curation that are of general interest even if the data itself cannot be shared.
• Frameworks for responsible dataset development, audits of existing datasets, identifying significant problems with existing datasets and their use
• Benchmarks on new or existing datasets, as well as benchmarking tools.
• In-depth analyses of machine learning challenges and competitions (by organisers and/or participants) that yield important new insight.
• Systematic analyses of existing systems on novel datasets yielding important new insight.

Read our original blog post for more about why we started this track.

Important dates

• Abstract submission deadline: May 29, 2024
• Full paper submission and co-author registration deadline: Jun 5, 2024
• Supplementary materials submission deadline: Jun 12, 2024
• Review deadline - Jul 24, 2024
• Release of reviews and start of Author discussions on OpenReview: Aug 07, 2024
• Rebuttal deadline - Aug 16, 2024
• End of author/reviewer discussions on OpenReview: Aug 31, 2024
• Author notification: Sep 26, 2024
• Camera-ready deadline: Oct 30, 2024 AOE

Note: The site will start accepting submissions on April 1 5 , 2024.

FREQUENTLY ASKED QUESTIONS

Q: My work is in scope for this track but possibly also for the main conference. Where should I submit it?

A: This is ultimately your choice. Consider the main contribution of the submission and how it should be reviewed. If the main contribution is a new dataset, benchmark, or other work that falls into the scope of the track (see above), then it is ideally reviewed accordingly. As discussed in our blog post, the reviewing procedures of the main conference are focused on algorithmic advances, analysis, and applications, while the reviewing in this track is equally stringent but designed to properly assess datasets and benchmarks. Other, more practical considerations are that this track allows single-blind reviewing (since anonymization is often impossible for hosted datasets) and intended audience, i.e., make your work more visible for people looking for datasets and benchmarks.

Q: How will paper accepted to this track be cited?

A: Accepted papers will appear as part of the official NeurIPS proceedings.

Q: Do I need to submit an abstract beforehand?

A: Yes, please check the important dates section for more information.

Q: My dataset requires open credentialized access. Can I submit to this track?

A: This will be possible on the condition that a credentialization is necessary for the public good (e.g. because of ethically sensitive medical data), and that an established credentialization procedure is in place that is 1) open to a large section of the public, 2) provides rapid response and access to the data, and 3) is guaranteed to be maintained for many years. A good example here is PhysioNet Credentialing, where users must first understand how to handle data with human subjects, yet is open to anyone who has learned and agrees with the rules. This should be seen as an exceptional measure, and NOT as a way to limit access to data for other reasons (e.g. to shield data behind a Data Transfer Agreement). Misuse would be grounds for desk rejection. During submission, you can indicate that your dataset involves open credentialized access, in which case the necessity, openness, and efficiency of the credentialization process itself will also be checked.

SUBMISSION INSTRUCTIONS

A submission consists of:

• Please carefully follow the Latex template for this track when preparing proposals. We follow the NeurIPS format, but with the appropriate headings, and without hiding the names of the authors. Download the template as a bundle here .
• Papers should be submitted via OpenReview
• Reviewing is in principle single-blind, hence the paper should not be anonymized. In cases where the work can be reviewed equally well anonymously, anonymous submission is also allowed.
• During submission, you can add a public link to the dataset or benchmark data. If the dataset can only be released later, you must include instructions for reviewers on how to access the dataset. This can only be done after the first submission by sending an official note to the reviewers in OpenReview. We highly recommend making the dataset publicly available immediately or before the start of the NeurIPS conference. In select cases, requiring solid motivation, the release date can be stretched up to a year after the submission deadline.
• Dataset documentation and intended uses. Recommended documentation frameworks include datasheets for datasets , dataset nutrition labels , data statements for NLP , data cards , and accountability frameworks .
• URL to website/platform where the dataset/benchmark can be viewed and downloaded by the reviewers. 
• URL to Croissant metadata record documenting the dataset/benchmark available for viewing and downloading by the reviewers. You can create your Croissant metadata using e.g. the Python library available here: https://github.com/mlcommons/croissant
• Author statement that they bear all responsibility in case of violation of rights, etc., and confirmation of the data license.
• Hosting, licensing, and maintenance plan. The choice of hosting platform is yours, as long as you ensure access to the data (possibly through a curated interface) and will provide the necessary maintenance.
• Links to access the dataset and its metadata. This can be hidden upon submission if the dataset is not yet publicly available but must be added in the camera-ready version. In select cases, e.g when the data can only be released at a later date, this can be added afterward (up to a year after the submission deadline). Simulation environments should link to open source code repositories
• The dataset itself should ideally use an open and widely used data format. Provide a detailed explanation on how the dataset can be read. For simulation environments, use existing frameworks or explain how they can be used.
• Long-term preservation: It must be clear that the dataset will be available for a long time, either by uploading to a data repository or by explaining how the authors themselves will ensure this
• Explicit license: Authors must choose a license, ideally a CC license for datasets, or an open source license for code (e.g. RL environments). An overview of licenses can be found here: https://paperswithcode.com/datasets/license
• Add structured metadata to a dataset's meta-data page using Web standards (like schema.org and DCAT ): This allows it to be discovered and organized by anyone. A guide can be found here: https://developers.google.com/search/docs/data-types/dataset . If you use an existing data repository, this is often done automatically.
• Highly recommended: a persistent dereferenceable identifier (e.g. a DOI  minted by a data repository or a prefix on identifiers.org ) for datasets, or a code repository (e.g. GitHub, GitLab,...) for code. If this is not possible or useful, please explain why.
• For benchmarks, the supplementary materials must ensure that all results are easily reproducible. Where possible, use a reproducibility framework such as the ML reproducibility checklist , or otherwise guarantee that all results can be easily reproduced, i.e. all necessary datasets, code, and evaluation procedures must be accessible and documented.
• For papers introducing best practices in creating or curating datasets and benchmarks, the above supplementary materials are not required.
• For papers resubmitted after being retracted from another venue: a brief discussion on the main concerns raised by previous reviewers and how you addressed them. You do not need to share the original reviews.
• For the dual submission and archiving, the policy follows the NeurIPS main track paper guideline .

Use of Large Language Models (LLMs): We welcome authors to use any tool that is suitable for preparing high-quality papers and research. However, we ask authors to keep in mind two important criteria. First, we expect papers to fully describe their methodology, and any tool that is important to that methodology, including the use of LLMs, should be described also. For example, authors should mention tools (including LLMs) that were used for data processing or filtering, visualization, facilitating or running experiments, and proving theorems. It may also be advisable to describe the use of LLMs in implementing the method (if this corresponds to an important, original, or non-standard component of the approach). Second, authors are responsible for the entire content of the paper, including all text and figures, so while authors are welcome to use any tool they wish for writing the paper, they must ensure that all text is correct and original.

REVIEWING AND SELECTION PROCESS

Reviewing will be single-blind, although authors can also submit anonymously if the submission allows that. A datasets and benchmarks program committee will be formed, consisting of experts on machine learning, dataset curation, and ethics. We will ensure diversity in the program committee, both in terms of background as well as technical expertise (e.g., data, ML, data ethics, social science expertise). Each paper will be reviewed by the members of the committee. In select cases where ethical concerns are flagged by reviewers, an ethics review may be performed as well.

Papers will not be publicly visible during the review process. Only accepted papers will become visible afterward. The reviews themselves are also not visible during the review phase but will be published after decisions have been made. Authors can choose to keep the datasets themselves hidden until a later release date, as long as reviewers have access.

The factors that will be considered when evaluating papers include:

• Utility and quality of the submission: Impact, originality, novelty, relevance to the NeurIPS community will all be considered. 
• Reproducibility: All submissions should be accompanied by sufficient information to reproduce the results described i.e. all necessary datasets, code, and evaluation procedures must be accessible and documented. We encourage the use of a reproducibility framework such as the ML reproducibility checklist to guarantee that all results can be easily reproduced. Benchmark submissions in particular should take care to ensure sufficient details are provided to ensure reproducibility. If submissions include code, please refer to the NeurIPS code submission guidelines .  
• Was code provided (e.g. in the supplementary material)? If provided, did you look at the code? Did you consider it useful in guiding your review? If not provided, did you wish code had been available?
• Ethics: Any ethical implications of the work should be addressed. Authors should rely on NeurIPS ethics guidelines as guidance for understanding ethical concerns.  
• Completeness of the relevant documentation: Per NeurIPS ethics guidelines , datasets must be accompanied by documentation communicating the details of the dataset as part of their submissions via structured templates (e.g. TODO). Sufficient detail must be provided on how the data was collected and organized, what kind of information it contains,  ethically and responsibly, and how it will be made available and maintained. 
• Licensing and access: Per NeurIPS ethics guidelines , authors should provide licenses for any datasets released. These should consider the intended use and limitations of the dataset, and develop licenses and terms of use to prevent misuse or inappropriate use.  
• Consent and privacy: Per  NeurIPS ethics guidelines , datasets should minimize the exposure of any personally identifiable information, unless informed consent from those individuals is provided to do so. Any paper that chooses to create a dataset with real data of real people should ask for the explicit consent of participants, or explain why they were unable to do so.
• Ethics and responsible use: Any ethical implications of new datasets should be addressed and guidelines for responsible use should be provided where appropriate. Note that, if your submission includes publicly available datasets (e.g. as part of a larger benchmark), you should also check these datasets for ethical issues. You remain responsible for the ethical implications of including existing datasets or other data sources in your work.
• Legal compliance: For datasets, authors should ensure awareness and compliance with regional legal requirements.

ADVISORY COMMITTEE

The following committee will provide advice on the organization of the track over the coming years: Sergio Escalera, Isabelle Guyon, Neil Lawrence, Dina Machuve, Olga Russakovsky, Joaquin Vanschoren, Serena Yeung.

DATASETS AND BENCHMARKS CHAIRS

Lora Aroyo, Google Francesco Locatello, Institute of Science and Technology Austria Lingjuan Lyu, Sony AI

Contact: [email protected]

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As a Teenager in Europe, I Went to Nudist Beaches All the Time. 30 Years Later, Would the Experience Be the Same?

In July 2017, I wrote an article about toplessness for Vogue Italia. The director, actor, and political activist Lina Esco had emerged from the world of show business to question public nudity laws in the United States with 2014’s Free the Nipple . Her film took on a life of its own and, thanks to the endorsement from the likes of Miley Cyrus, Cara Delevingne, and Willow Smith, eventually developed into a whole political movement, particularly on social media where the hashtag #FreeTheNipple spread at lightning speed. The same year as that piece, actor Alyssa Milano tweeted “me too” and encouraged others who had been sexually assaulted to do the same, building on the movement activist Tarana Burke had created more than a decade earlier. The rest is history.

In that Vogue article, I chatted with designer Alessandro Michele about a shared memory of our favorite topless beaches of our youth. Anywhere in Italy where water appeared—be it the hard-partying Riviera Romagnola, the traditionally chic Amalfi coast and Sorrento peninsula, the vertiginous cliffs and inlets of Italy’s continuation of the French Côte d’Azur or the towering volcanic rocks of Sicily’s mythological Riviera dei Ciclopi—one was bound to find bodies of all shapes and forms, naturally topless.

In the ’90s, growing up in Italy, naked breasts were everywhere and nobody thought anything about it. “When we look at our childhood photos we recognize those imperfect breasts and those bodies, each with their own story. I think of the ‘un-beauty’ of that time and feel it is actually the ultimate beauty,” Michele told me.

Indeed, I felt the same way. My relationship with toplessness was part of a very democratic cultural status quo. If every woman on the beaches of the Mediterranean—from the sexy girls tanning on the shoreline to the grandmothers eating spaghetti al pomodoro out of Tupperware containers under sun umbrellas—bore equally naked body parts, then somehow we were all on the same team. No hierarchies were established. In general, there was very little naked breast censorship. Free nipples appeared on magazine covers at newsstands, whether tabloids or art and fashion magazines. Breasts were so naturally part of the national conversation and aesthetic that Ilona Staller (also known as Cicciolina) and Moana Pozzi, two porn stars, cofounded a political party called the Love Party. I have a clear memory of my neighbor hanging their party’s banner out his window, featuring a topless Cicciolina winking.

A lot has changed since those days, but also since that initial 2017 piece. There’s been a feminist revolution, a transformation of women’s fashion and gender politics, the absurd overturning of Harvey Weinstein’s 2020 rape conviction in New York, the intensely disturbing overturning of Roe v Wade and the current political battle over reproductive rights radiating from America and far beyond. One way or another, the female body is very much the site of political battles as much as it is of style and fashion tastes. And maybe for this reason naked breasts seem to populate runways and street style a lot more than they do beaches—it’s likely that being naked at a dinner party leaves more of a permanent mark than being naked on a glamorous shore. Naked “dressing” seems to be much more popular than naked “being.” It’s no coincidence that this year Saint Laurent, Chloé, Ferragamo, Tom Ford, Gucci, Ludovic de Saint Sernin, and Valentino all paid homage to sheer dressing in their collections, with lacy dresses, see-through tops, sheer silk hosiery fabric, and close-fitting silk dresses. The majority of Anthony Vaccarello’s fall 2024 collection was mostly transparent. And even off the runway, guests at the Saint Laurent show matched the mood. Olivia Wilde appeared in a stunning see-through dark bodysuit, Georgia May Jagger wore a sheer black halter top, Ebony Riley wore a breathtaking V-neck, and Elsa Hosk went for translucent polka dots.

In some strange way, it feels as if the trends of the ’90s have swapped seats with those of today. When, in 1993, a 19-year-old Kate Moss wore her (now iconic) transparent, bronze-hued Liza Bruce lamé slip dress to Elite Model Agency’s Look of the Year Awards in London, I remember seeing her picture everywhere and feeling in awe of her daring and grace. I loved her simple sexy style, with her otherworldly smile, the hair tied back in a bun. That very slip has remained in the collective unconscious for decades, populating thousands of internet pages, but in remembering that night Moss admitted that the nude look was totally unintentional: “I had no idea why everyone was so excited—in the darkness of Corinne [Day’s] Soho flat, the dress was not see-through!” That’s to say that nude dressing was usually mostly casual and not intellectualized in the context of a larger movement.

But today nudity feels loaded in different ways. In April, actor and author Julia Fox appeared in Los Angeles in a flesh-colored bra that featured hairy hyper-realist prints of breasts and nipples, and matching panties with a print of a sewn-up vagina and the words “closed” on it, as a form of feminist performance art. Breasts , an exhibition curated by Carolina Pasti, recently opened as part of the 60th Venice Biennale at Palazzo Franchetti and showcases works that span from painting and sculpture to photography and film, reflecting on themes of motherhood, empowerment, sexuality, body image, and illness. The show features work by Cindy Sherman, Robert Mapplethorpe, Louise Bourgeois, and an incredible painting by Bernardino Del Signoraccio of Madonna dell’Umiltà, circa 1460-1540. “It was fundamental for me to include a Madonna Lactans from a historical perspective. In this intimate representation, the Virgin reveals one breast while nurturing the child, the organic gesture emphasizing the profound bond between mother and child,” Pasti said when we spoke.

Through her portrayal of breasts, she delves into the delicate balance of strength and vulnerability within the female form. I spoke to Pasti about my recent musings on naked breasts, which she shared in a deep way. I asked her whether she too noticed a disparity between nudity on beaches as opposed to the one on streets and runways, and she agreed. Her main concern today is around censorship. To Pasti, social media is still far too rigid around breast exposure and she plans to discuss this issue through a podcast that she will be launching in September, together with other topics such as motherhood, breastfeeding, sexuality, and breast cancer awareness.

With summer at the door, it was my turn to see just how much of the new reread on transparency would apply to beach life. In the last few years, I noticed those beaches Michele and I reminisced about have grown more conservative and, despite being the daughter of unrepentant nudists and having a long track record of militant topless bathing, I myself have felt a bit more shy lately. Perhaps a woman in her 40s with two children is simply less prone to taking her top off, but my memories of youth are populated by visions of bare-chested mothers surveilling the coasts and shouting after their kids in the water. So when did we stop? And why? When did Michele’s era of “un-beauty” end?

In order to get back in touch with my own naked breasts I decided to revisit the nudist beaches of my youth to see what had changed. On a warm day in May, I researched some local topless beaches around Rome and asked a friend to come with me. Two moms, plus our four children, two girls and two boys of the same ages. “Let’s make an experiment of this and see what happens,” I proposed.

The kids all yawned, but my friend was up for it. These days to go topless, especially on urban beaches, you must visit properties that have an unspoken nudist tradition. One of these in Rome is the natural reserve beach at Capocotta, south of Ostia, but I felt a bit unsure revisiting those sands. In my memory, the Roman nudist beaches often equated to encounters with promiscuous strangers behind the dunes. I didn’t want to expose the kids, so, being that I am now a wise adult, I went ahead and picked a compromise. I found a nude-friendly beach on the banks of the Farfa River, in the rolling Sabina hills.

We piled into my friend’s car and drove out. The kids were all whining about the experiment. “We don’t want to see naked mums!” they complained. “Can’t you just lie and say you went to a nudist beach?”

We parked the car and walked across the medieval fairy-tale woods until we reached the path that ran along the river. All around us were huge trees and gigantic leaves. It had rained a lot recently and the vegetation had grown incredibly. We walked past the remains of a Roman road. The colors all around were bright green, the sky almost fluorescent blue. The kids got sidetracked by the presence of frogs. According to the indications, the beach was about a mile up the river. Halfway down the path, we bumped into a couple of young guys in fanny packs. I scanned them for signs of quintessential nudist attitude, but realized I actually had no idea what that was. I asked if we were headed in the right direction to go to “the beach”. They nodded and gave us a sly smile, which I immediately interpreted as a judgment about us as mothers, and more generally about our age, but I was ready to vindicate bare breasts against ageism.

We reached a small pebbled beach, secluded and bordered by a huge trunk that separated it from the path. A group of girls was there, sharing headphones and listening to music. To my dismay they were all wearing the tops and bottoms of their bikinis. One of them was in a full-piece bathing suit and shorts. “See, they are all wearing bathing suits. Please don’t be the weird mums who don’t.”

At this point, it was a matter of principle. My friend and I decided to take our bathing suits off completely, if only for a moment, and jumped into the river. The boys stayed on the beach with full clothes and shoes on, horrified. The girls went in behind us with their bathing suits. “Are you happy now? my son asked. “Did you prove your point?”

I didn’t really know what my point actually was. I think a part of me wanted to feel entitled to those long-gone decades of naturalism. Whether this was an instinct, or as Pasti said, “an act that was simply tied to the individual freedom of each woman”, it was hard to tell. At this point in history, the two things didn’t seem to cancel each other out—in fact, the opposite. Taking off a bathing suit, at least for my generation who never had to fight for it, had unexpectedly turned into a radical move and maybe I wanted to be part of the new discourse. Also, the chances of me going out in a fully sheer top were slim these days, but on the beach it was different. I would always fight for an authentic topless experience.

After our picnic on the river, we left determined to make our way—and without children—to the beaches of Capocotta. In truth, no part of me actually felt very subversive doing something I had been doing my whole life, but it still felt good. Once a free breast, always a free breast.

This article was originally published on British Vogue .

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My Demoralizing but Not Surprising Cancellation

About an hour before my first book event, I heard from my publicist that the bookstore had “concerns” about my conversation partner, Rabbi Andy Bachman, because he was a “Zionist.”

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Last Tuesday, I was supposed to have launched my first book, Tablets Shattered: The End of an American Jewish Century and the Future of Jewish Life , with an event at a bookstore in the Brooklyn neighborhood of Dumbo—a conversation between me and the well-known Reform rabbi Andy Bachman.

The event didn’t happen. About an hour before the intended start, I heard from my publicist that the bookstore had “concerns” about Rabbi Bachman because he was a “Zionist.” I received another call while in a car on the way to the store: The manager was now refusing to host the conversation with the rabbi. When I arrived, I asked her why she would not permit the event to go forward as planned. Her response: “We don’t want a Zionist onstage.”

I was taken aback. Rabbi Bachman is an outspoken social-justice advocate and a supporter of the establishment of a Palestinian state (and my former teacher). My book is a history of American Jewish life in the second half of the 20th century, and deals critically with Israel’s treatment of Palestinians. Because of my analysis of the Israeli-Palestinian conflict, as well as my reporting about and public opposition to Israel’s military occupation of the West Bank and siege of Gaza, I had feared that synagogues would be reluctant (and surely some still are) to host events. I did not anticipate that the trouble would come from a bookstore in Brooklyn.

Adam Kirsch: The false narrative of settler colonialism

Then again, perhaps I should not have been surprised at all. Since October 7, the public discourse on Israel and Palestine has curdled. Some right-wing supporters of Israel have become cheerleaders for violence. In certain spaces that call themselves progressive, intolerance has become endemic and conspiratorial thinking is on the rise. The result across the board: Nuance has evaporated, and humanity is in short supply.

My would-be book launch also exemplified the bind that many progressive American Jews face. We are caught between parts of an activist left demanding that we disavow our communities, even our families, as an entrance ticket, and a mainstream Jewish institutional world that has long marginalized critics of Israeli policy. Indeed, Jews who are committed to the flourishing of Jewish life in Israel and the Diaspora, and who are also outraged by Israel’s brutal war in Gaza, feel like we have little room to maneuver.

On the one hand, we can no more renounce our families, friends, and communities than we can ourselves, and the demand that we do so is wrong. It is straightforwardly anti-Semitic to ask, as the bookstore manager did with her blanket ban on Zionists, that Jews support Israel’s dismantling as a criterion for participation in intellectual life. This is a condition that most Jews, who when surveyed describe strong attachment to Israel, could not meet. And it is a kind of litmus test that should not be asked (and generally is not) of any other group of people.

On the other hand, we cannot ignore Israel’s devastation of the Gaza Strip, and should be fearful of shifting attention away from the human catastrophe unfolding in the territory. Friends on the left have warned me that making too much of last week’s deplatforming has already had this effect. I worry about bolstering tribalist thinking, which is precisely the mentality that for decades has blinded so many in mainstream Jewish institutions to the grinding, daily injustices of the occupation of the West Bank and siege of Gaza—and, more recently, inured them to the horrific fact that this war has killed tens of thousands of Palestinians, most of them civilians .

But silence about the pitfalls of the left carries its own risks—including risks to the left itself. My experience last week was so demoralizing in part because such episodes make moving the mainstream Jewish community much harder. Every time a left-wing activist insists that the only way to truly participate in the fight for peace and justice is to support the dissolution of Israel, it reinforces the zero-sum (and morally repulsive) idea that opposing the status quo requires Israel’s destruction. Rhetorical extremism and dogmatism make it easier for right-wing Israel supporters to dismiss what should be legitimate demands—for instance, conditions on U.S. military aid—as beyond the pale.

The new left-wing norm that insists on one-state maximalism is not only a moral mistake. It is also a strategic one. If there is one thing that the past year of cease-fire activism has illustrated, it is that changing U.S. policy on Israel requires a broad coalition. That big tent must have room for those who believe in Jewish self-determination and are committed to Israel’s existence, even as they work to end its domination over Palestinians.

Many on the right, not just the far left, scoff at the possibility of such a coalition. For the past several days, my inbox has been filled with hateful crowing that the cancellation of my book launch is the bitter fruit that I and other left-wing Jews deserve. What did I expect? Hadn’t I written more than 100 articles documenting Israeli human-rights abuses and the occupation’s quotidian cruelty? Didn’t I advocate for policies, including boycotts, that would pressure Israel to change its policies? So how could I now complain that similar tactics were being used against me? The ejection of Zionists and Israelis from polite society was on my hands.

To these critics I must insist on a difference between boycotts of entire groups of people based on their identity or the ideas they are assumed to hold, and boycotts of goods produced in unlawfully occupied territories. The former are antithetical to democratic public life—as the owner of the bookstore argued in his statement apologizing for the cancellation. The latter, by contrast, are a staple of nonviolent resistance, crucial tools for achieving genuine democracy.

Arash Azizi: Is a new Palestinian movement being born?

No doubt, I regret certain sentences and even articles I’ve written about Israel in the past, which today I would phrase differently. The October 7 attacks painfully resensitized me to the reality of Israeli Jewish vulnerability, which exists despite the massive power imbalance between Israel and the Palestinians. I was too often willing to overlook this fact. Opening one’s eyes to the dehumanization of Palestinians does not require closing one’s eyes to the dehumanization of Israelis, and vice versa. If Rabbi Bachman and I had been able to have our conversation last week, we could have discussed what might be the one immutable truth about Israel and Palestine these days: Neither Israelis nor Palestinians are going anywhere, and both peoples have the right to equality, dignity, and self-determination. No movement that ignores this reality has any hope of success.

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I THINK YOULL FIND ITS BIT PB Paperback – 8 Oct. 2015

The very best journalism from one of Britain’s most admired and outspoken science writers, author of the bestselling Bad Science and Bad Pharma .

In Bad Science , Ben Goldacre hilariously exposed the tricks that quacks and journalists use to distort science. In Bad Pharma , he put the $600 billion global pharmaceutical industry under the microscope. Now the pick of the journalism by one of our wittiiest, most indignant and most fearless commentators on the worlds of medicine and science is collected in one volume.

• Print length 496 pages
• Language English
• Publisher Fourth Estate
• Publication date 8 Oct. 2015
• Dimensions 12.9 x 3.1 x 19.8 cm
• ISBN-10 9780007505142
• ISBN-13 978-0007505142
• See all details

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‘In a busy world where most of us believe what we’re told, the science writer Goldacre looks behind the quackery. “Science is squabble,” he says: he uses close critical appraisal to show that many medical claims are akin to magic and that television presents “real” science as cheap stage effects. And don’t even get him started on bad academia, biased government and credulous media. In short, everything you take at face value is wrong. Maybe even this review: now read Ben.’ The Times

‘Witty and snarky and made me laugh out loud’ Independent on Sunday

‘An accessible and amusing rant on science and society’ Monocle

From the reviews of ‘Bad Science’:

‘For sheer savagery, the illusion-destroying, joyous attack on the self-regarding, know-nothing orthodoxies of the modern middle classes, “Bad Science” can not be beaten. You’ll laugh your head off, then throw all those expensive health foods in the bin.’ Trevor Philips, Observer (Book of the Year)

‘Unmissable…laying about himself in a froth of entirely justified indignation, Goldacre slams the mountebanks and bullshitters who misuse science. Few escape: drug companies, self-styled nutritionists, deluded researchers and journalists all get thoroughly duffed up. It is enormously enjoyable.’ The Times (Book of the Year)

From the reviews of ‘Bad Pharma’:

‘This is a book to make you enraged – properly, bone-shakingly furious…A work of brilliance.’ Daily Telegraph

‘An important book. Ben Goldacre is angry, and by the time you put ‘Bad Pharma’ down, you should be too.’ New Statesman

‘A book that deserves to be widely read, because anyone who does read it cannot help feeling both uncomfortable and angry.’ Economist

About the Author

Ben Goldacre is a doctor and science writer who wrote the 'Bad Science' column in the Guardian from 2003 to 2011. He has made a number of documentaries for BBC Radio 4, and his first book Bad Science reached Number One in the nonfiction charts, has sold over 500,000 copies. . His second bestselling book, Bad Pharma , was published in 2013.

Product details

• ASIN ‏ : ‎ 0007505140
• Publisher ‏ : ‎ Fourth Estate (8 Oct. 2015)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 496 pages
• ISBN-10 ‏ : ‎ 9780007505142
• ISBN-13 ‏ : ‎ 978-0007505142
• Dimensions ‏ : ‎ 12.9 x 3.1 x 19.8 cm
• 515 in Public Health & Preventive Medicine
• 2,137 in General Medical Issues Guides
• 3,636 in Popular Mathematics

About the author

Ben goldacre.

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Customers find the book entertaining and engaging. They appreciate the writing quality, saying it's passionate and funny. Readers also say the content makes good commonsense, dotted with wonderful facts and insights. They also describe the book collection as wonderful.

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Customers find the book a great, enthralling read with interesting articles. They also say the author is a good writer and his essays are enjoyable. Readers also say it's an easy, concise read with good presentation. They mention the book is passionate and seriously engaged in dismantling pseudoscience.

"...probably not much here for you, but for someone like me it was a nice easy read and a good overview of a wide range of subjects...." Read more

"...fair, the blurb makes this clear, there's no deception, and the presentation is good (Kindle edition has links and such), so it's fine for the price..." Read more

"...Still it is worth a read for stories which are scary and impact on the health of the nation in terms of what we choose to do...." Read more

"...The newspaper column format makes for a concise discussion , much easier for me...." Read more

Customers find the content coherent, clever, amusing, and interesting. They also say the book is a decent collection of his journalism, fully referenced, and footnoted. Readers also mention that the controlled scientific investigation is pretty straight forward. They describe the author as very brave and witty.

"...The pieces are very short but one of the biggest advantages of this book is that they are organized into categories and occasionally into short runs..." Read more

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Blog – Posted on Friday, Mar 29

17 book review examples to help you write the perfect review.

It’s an exciting time to be a book reviewer. Once confined to print newspapers and journals, reviews now dot many corridors of the Internet — forever helping others discover their next great read. That said, every book reviewer will face a familiar panic: how can you do justice to a great book in just a thousand words?

As you know, the best way to learn how to do something is by immersing yourself in it. Luckily, the Internet (i.e. Goodreads and other review sites , in particular) has made book reviews more accessible than ever — which means that there are a lot of book reviews examples out there for you to view!

In this post, we compiled 17 prototypical book review examples in multiple genres to help you figure out how to write the perfect review . If you want to jump straight to the examples, you can skip the next section. Otherwise, let’s first check out what makes up a good review.

Are you interested in becoming a book reviewer? We recommend you check out Reedsy Discovery , where you can earn money for writing reviews — and are guaranteed people will read your reviews! To register as a book reviewer, sign up here.

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!

What must a book review contain?

Like all works of art, no two book reviews will be identical. But fear not: there are a few guidelines for any aspiring book reviewer to follow. Most book reviews, for instance, are less than 1,500 words long, with the sweet spot hitting somewhere around the 1,000-word mark. (However, this may vary depending on the platform on which you’re writing, as we’ll see later.)

In addition, all reviews share some universal elements, as shown in our book review templates . These include:

• A review will offer a concise plot summary of the book. 
• A book review will offer an evaluation of the work. 
• A book review will offer a recommendation for the audience. 

If these are the basic ingredients that make up a book review, it’s the tone and style with which the book reviewer writes that brings the extra panache. This will differ from platform to platform, of course. A book review on Goodreads, for instance, will be much more informal and personal than a book review on Kirkus Reviews, as it is catering to a different audience. However, at the end of the day, the goal of all book reviews is to give the audience the tools to determine whether or not they’d like to read the book themselves.

Keeping that in mind, let’s proceed to some book review examples to put all of this in action.

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Book review examples for fiction books

Since story is king in the world of fiction, it probably won’t come as any surprise to learn that a book review for a novel will concentrate on how well the story was told .

That said, book reviews in all genres follow the same basic formula that we discussed earlier. In these examples, you’ll be able to see how book reviewers on different platforms expertly intertwine the plot summary and their personal opinions of the book to produce a clear, informative, and concise review.

Note: Some of the book review examples run very long. If a book review is truncated in this post, we’ve indicated by including a […] at the end, but you can always read the entire review if you click on the link provided.

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an "invisible man". People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing. The boy's dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison's first novel, but he has complete control of his story and his style. Watch it.

Lyndsey reviews George Orwell’s 1984 on Goodreads:

YOU. ARE. THE. DEAD. Oh my God. I got the chills so many times toward the end of this book. It completely blew my mind. It managed to surpass my high expectations AND be nothing at all like I expected. Or in Newspeak "Double Plus Good." Let me preface this with an apology. If I sound stunningly inarticulate at times in this review, I can't help it. My mind is completely fried.

This book is like the dystopian Lord of the Rings, with its richly developed culture and economics, not to mention a fully developed language called Newspeak, or rather more of the anti-language, whose purpose is to limit speech and understanding instead of to enhance and expand it. The world-building is so fully fleshed out and spine-tinglingly terrifying that it's almost as if George travelled to such a place, escaped from it, and then just wrote it all down.

I read Fahrenheit 451 over ten years ago in my early teens. At the time, I remember really wanting to read 1984, although I never managed to get my hands on it. I'm almost glad I didn't. Though I would not have admitted it at the time, it would have gone over my head. Or at the very least, I wouldn't have been able to appreciate it fully. […]

The New York Times reviews Lisa Halliday’s Asymmetry :

Three-quarters of the way through Lisa Halliday’s debut novel, “Asymmetry,” a British foreign correspondent named Alistair is spending Christmas on a compound outside of Baghdad. His fellow revelers include cameramen, defense contractors, United Nations employees and aid workers. Someone’s mother has FedExed a HoneyBaked ham from Maine; people are smoking by the swimming pool. It is 2003, just days after Saddam Hussein’s capture, and though the mood is optimistic, Alistair is worrying aloud about the ethics of his chosen profession, wondering if reporting on violence doesn’t indirectly abet violence and questioning why he’d rather be in a combat zone than reading a picture book to his son. But every time he returns to London, he begins to “spin out.” He can’t go home. “You observe what people do with their freedom — what they don’t do — and it’s impossible not to judge them for it,” he says.

The line, embedded unceremoniously in the middle of a page-long paragraph, doubles, like so many others in “Asymmetry,” as literary criticism. Halliday’s novel is so strange and startlingly smart that its mere existence seems like commentary on the state of fiction. One finishes “Asymmetry” for the first or second (or like this reader, third) time and is left wondering what other writers are not doing with their freedom — and, like Alistair, judging them for it.

Despite its title, “Asymmetry” comprises two seemingly unrelated sections of equal length, appended by a slim and quietly shocking coda. Halliday’s prose is clean and lean, almost reportorial in the style of W. G. Sebald, and like the murmurings of a shy person at a cocktail party, often comic only in single clauses. It’s a first novel that reads like the work of an author who has published many books over many years. […]

Emily W. Thompson reviews Michael Doane's The Crossing on Reedsy Discovery :

In 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.

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.

The Narrator initially sticks to the highways, trying to make it to the West Coast as quickly as possible. But a hitchhiker named Duke convinces him to get off the beaten path and enjoy the ride. “There’s not a place that’s like any other,” [39] Dukes contends, and The Narrator realizes he’s right. Suddenly, the trip is about the journey, not just the destination. The Narrator ditches his truck and traverses the deserts and mountains on his bike. He destroys his phone, cutting off ties with his past and living only in the moment.

As he crosses the country, The Narrator connects with several unique personalities whose experiences and views deeply impact his own. Duke, the complicated cowboy and drifter, who opens The Narrator’s eyes to a larger world. Zooey, the waitress in Colorado who opens his heart and reminds him that love can be found in this big world. And Rosie, The Narrator’s sweet landlady in Portland, who helps piece him back together both physically and emotionally.

This supporting cast of characters is excellent. Duke, in particular, is wonderfully nuanced and complicated. He’s a throwback to another time, a man without a cell phone who reads Sartre and sleeps under the stars. Yet he’s also a grifter with a “love ‘em and leave ‘em” attitude that harms those around him. It’s fascinating to watch The Narrator wrestle with Duke’s behavior, trying to determine which to model and which to discard.

Doane creates a relatable protagonist in The Narrator, whose personal growth doesn’t erase his faults. His willingness to hit the road with few resources is admirable, and he’s prescient enough to recognize the jealousy of those who cannot or will not take the leap. His encounters with new foods, places, and people broaden his horizons. Yet his immaturity and selfishness persist. He tells Rosie she’s been a good mother to him but chooses to ignore the continuing concern from his own parents as he effectively disappears from his old life.

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.

The Book Smugglers review Anissa Gray’s The Care and Feeding of Ravenously Hungry Girls :

I am still dipping my toes into the literally fiction pool, finding what works for me and what doesn’t. Books like The Care and Feeding of Ravenously Hungry Girls by Anissa Gray are definitely my cup of tea.

Althea and Proctor Cochran had been pillars of their economically disadvantaged community for years – with their local restaurant/small market and their charity drives. Until they are found guilty of fraud for stealing and keeping most of the money they raised and sent to jail. Now disgraced, their entire family is suffering the consequences, specially their twin teenage daughters Baby Vi and Kim.  To complicate matters even more: Kim was actually the one to call the police on her parents after yet another fight with her mother. […]

Examples of children’s and YA fiction book reviews

The Book Hookup reviews Angie Thomas’ The Hate U Give :

♥ Quick Thoughts and Rating: 5 stars! I can’t imagine how challenging it would be to tackle the voice of a movement like Black Lives Matter, but I do know that Thomas did it with a finesse only a talented author like herself possibly could. With an unapologetically realistic delivery packed with emotion, The Hate U Give is a crucially important portrayal of the difficulties minorities face in our country every single day. I have no doubt that this book will be met with resistance by some (possibly many) and slapped with a “controversial” label, but if you’ve ever wondered what it was like to walk in a POC’s shoes, then I feel like this is an unflinchingly honest place to start.

In Angie Thomas’s debut novel, Starr Carter bursts on to the YA scene with both heart-wrecking and heartwarming sincerity. This author is definitely one to watch.

♥ Review: The hype around this book has been unquestionable and, admittedly, that made me both eager to get my hands on it and terrified to read it. I mean, what if I was to be the one person that didn’t love it as much as others? (That seems silly now because of how truly mesmerizing THUG was in the most heartbreakingly realistic way.) However, with the relevancy of its summary in regards to the unjust predicaments POC currently face in the US, I knew this one was a must-read, so I was ready to set my fears aside and dive in. That said, I had an altogether more personal, ulterior motive for wanting to read this book. […]

The New York Times reviews Melissa Albert’s The Hazel Wood :

Alice Crewe (a last name she’s chosen for herself) is a fairy tale legacy: the granddaughter of Althea Proserpine, author of a collection of dark-as-night fairy tales called “Tales From the Hinterland.” The book has a cult following, and though Alice has never met her grandmother, she’s learned a little about her through internet research. She hasn’t read the stories, because her mother, Ella Proserpine, forbids it.

Alice and Ella have moved from place to place in an attempt to avoid the “bad luck” that seems to follow them. Weird things have happened. As a child, Alice was kidnapped by a man who took her on a road trip to find her grandmother; he was stopped by the police before they did so. When at 17 she sees that man again, unchanged despite the years, Alice panics. Then Ella goes missing, and Alice turns to Ellery Finch, a schoolmate who’s an Althea Proserpine superfan, for help in tracking down her mother. Not only has Finch read every fairy tale in the collection, but handily, he remembers them, sharing them with Alice as they journey to the mysterious Hazel Wood, the estate of her now-dead grandmother, where they hope to find Ella.

“The Hazel Wood” starts out strange and gets stranger, in the best way possible. (The fairy stories Finch relays, which Albert includes as their own chapters, are as creepy and evocative as you’d hope.) Albert seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth and the world as it appears is false, where just about anything can happen, particularly in the pages of a very good book. It’s a captivating debut. […]

James reviews Margaret Wise Brown’s Goodnight, Moon on Goodreads:

Goodnight Moon by Margaret Wise Brown is one of the books that followers of my blog voted as a must-read for our Children's Book August 2018 Readathon. Come check it out and join the next few weeks!

This picture book was such a delight. I hadn't remembered reading it when I was a child, but it might have been read to me... either way, it was like a whole new experience! It's always so difficult to convince a child to fall asleep at night. I don't have kids, but I do have a 5-month-old puppy who whines for 5 minutes every night when he goes in his cage/crate (hopefully he'll be fully housebroken soon so he can roam around when he wants). I can only imagine! I babysat a lot as a teenager and I have tons of younger cousins, nieces, and nephews, so I've been through it before, too. This was a believable experience, and it really helps show kids how to relax and just let go when it's time to sleep.

The bunny's are adorable. The rhymes are exquisite. I found it pretty fun, but possibly a little dated given many of those things aren't normal routines anymore. But the lessons to take from it are still powerful. Loved it! I want to sample some more books by this fine author and her illustrators.

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

This funny, thoroughly accomplished debut opens with two words: “I’m moving.” They’re spoken by the title character while she swoons across her family’s ottoman, and because Geraldine is a giraffe, her full-on melancholy mode is quite a spectacle. But while Geraldine may be a drama queen (even her mother says so), it won’t take readers long to warm up to her. The move takes Geraldine from Giraffe City, where everyone is like her, to a new school, where everyone else is human. Suddenly, the former extrovert becomes “That Giraffe Girl,” and all she wants to do is hide, which is pretty much impossible. “Even my voice tries to hide,” she says, in the book’s most poignant moment. “It’s gotten quiet and whispery.” Then she meets Cassie, who, though human, is also an outlier (“I’m that girl who wears glasses and likes MATH and always organizes her food”), and things begin to look up.

Lilly’s watercolor-and-ink drawings are as vividly comic and emotionally astute as her writing; just when readers think there are no more ways for Geraldine to contort her long neck, this highly promising talent comes up with something new.

Examples of genre fiction book reviews

Karlyn P reviews Nora Roberts’ Dark Witch , a paranormal romance novel , on Goodreads:

4 stars. Great world-building, weak romance, but still worth the read.

I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle. Sure, there IS a romance in this novel. Sprinkled throughout the book are a few scenes where Iona and Boyle meet, chat, wink at each, flirt some more, sleep together, have a misunderstanding, make up, and then profess their undying love. Very formulaic stuff, and all woven around the more important parts of this book.

The meat of this book is far more focused on the story of the Dark witch and her magically-gifted descendants living in Ireland. Despite being weak on the romance, I really enjoyed it. I think the book is probably better for it, because the romance itself was pretty lackluster stuff.

I absolutely plan to stick with this series as I enjoyed the world building, loved the Ireland setting, and was intrigued by all of the secondary characters. However, If you read Nora Roberts strictly for the romance scenes, this one might disappoint. But if you enjoy a solid background story with some dark magic and prophesies, you might enjoy it as much as I did.

I listened to this one on audio, and felt the narration was excellent.

Emily May reviews R.F. Kuang’s The Poppy Wars , an epic fantasy novel , on Goodreads:

“But I warn you, little warrior. The price of power is pain.”

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

That's a basic list, but this book is all of that and SO MUCH MORE. I know 100% that The Poppy War will be one of my best reads of 2018.

Isn't it just so great when you find one of those books that completely drags you in, makes you fall in love with the characters, and demands that you sit on the edge of your seat for every horrific, nail-biting moment of it? This is one of those books for me. And I must issue a serious content warning: this book explores some very dark themes. Proceed with caution (or not at all) if you are particularly sensitive to scenes of war, drug use and addiction, genocide, racism, sexism, ableism, self-harm, torture, and rape (off-page but extremely horrific).

Because, despite the fairly innocuous first 200 pages, the title speaks the truth: this is a book about war. All of its horrors and atrocities. It is not sugar-coated, and it is often graphic. The "poppy" aspect refers to opium, which is a big part of this book. It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking.

Crime Fiction Lover reviews Jessica Barry’s Freefall , a crime novel:

In some crime novels, the wrongdoing hits you between the eyes from page one. With others it’s a more subtle process, and that’s OK too. So where does Freefall fit into the sliding scale?

In truth, it’s not clear. This is a novel with a thrilling concept at its core. A woman survives plane crash, then runs for her life. However, it is the subtleties at play that will draw you in like a spider beckoning to an unwitting fly.

Like the heroine in Sharon Bolton’s Dead Woman Walking, Allison is lucky to be alive. She was the only passenger in a private plane, belonging to her fiancé, Ben, who was piloting the expensive aircraft, when it came down in woodlands in the Colorado Rockies. Ally is also the only survivor, but rather than sitting back and waiting for rescue, she is soon pulling together items that may help her survive a little longer – first aid kit, energy bars, warm clothes, trainers – before fleeing the scene. If you’re hearing the faint sound of alarm bells ringing, get used to it. There’s much, much more to learn about Ally before this tale is over.

Kirkus Reviews reviews Ernest Cline’s Ready Player One , a science-fiction novel :

Video-game players embrace the quest of a lifetime in a virtual world; screenwriter Cline’s first novel is old wine in new bottles.

The real world, in 2045, is the usual dystopian horror story. So who can blame Wade, our narrator, if he spends most of his time in a virtual world? The 18-year-old, orphaned at 11, has no friends in his vertical trailer park in Oklahoma City, while the OASIS has captivating bells and whistles, and it’s free. Its creator, the legendary billionaire James Halliday, left a curious will. He had devised an elaborate online game, a hunt for a hidden Easter egg. The finder would inherit his estate. Old-fashioned riddles lead to three keys and three gates. Wade, or rather his avatar Parzival, is the first gunter (egg-hunter) to win the Copper Key, first of three.

Halliday was obsessed with the pop culture of the 1980s, primarily the arcade games, so the novel is as much retro as futurist. Parzival’s great strength is that he has absorbed all Halliday’s obsessions; he knows by heart three essential movies, crossing the line from geek to freak. His most formidable competitors are the Sixers, contract gunters working for the evil conglomerate IOI, whose goal is to acquire the OASIS. Cline’s narrative is straightforward but loaded with exposition. It takes a while to reach a scene that crackles with excitement: the meeting between Parzival (now world famous as the lead contender) and Sorrento, the head of IOI. The latter tries to recruit Parzival; when he fails, he issues and executes a death threat. Wade’s trailer is demolished, his relatives killed; luckily Wade was not at home. Too bad this is the dramatic high point. Parzival threads his way between more ’80s games and movies to gain the other keys; it’s clever but not exciting. Even a romance with another avatar and the ultimate “epic throwdown” fail to stir the blood.

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

Nonfiction books are generally written to inform readers about a certain topic. As such, the focus of a nonfiction book review will be on the clarity and effectiveness of this communication . In carrying this out, a book review may analyze the author’s source materials and assess the thesis in order to determine whether or not the book meets expectations.

Again, we’ve included abbreviated versions of long reviews here, so feel free to click on the link to read the entire piece!

The Washington Post reviews David Grann’s Killers of the Flower Moon :

The arc of David Grann’s career reminds one of a software whiz-kid or a latest-thing talk-show host — certainly not an investigative reporter, even if he is one of the best in the business. The newly released movie of his first book, “The Lost City of Z,” is generating all kinds of Oscar talk, and now comes the release of his second book, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film rights to which have already been sold for $5 million in what one industry journal called the “biggest and wildest book rights auction in memory.”

Grann deserves the attention. He’s canny about the stories he chases, he’s willing to go anywhere to chase them, and he’s a maestro in his ability to parcel out information at just the right clip: a hint here, a shading of meaning there, a smartly paced buildup of multiple possibilities followed by an inevitable reversal of readerly expectations or, in some cases, by a thrilling and dislocating pull of the entire narrative rug.

All of these strengths are on display in “Killers of the Flower Moon.” Around the turn of the 20th century, oil was discovered underneath Osage lands in the Oklahoma Territory, lands that were soon to become part of the state of Oklahoma. Through foresight and legal maneuvering, the Osage found a way to permanently attach that oil to themselves and shield it from the prying hands of white interlopers; this mechanism was known as “headrights,” which forbade the outright sale of oil rights and granted each full member of the tribe — and, supposedly, no one else — a share in the proceeds from any lease arrangement. For a while, the fail-safes did their job, and the Osage got rich — diamond-ring and chauffeured-car and imported-French-fashion rich — following which quite a large group of white men started to work like devils to separate the Osage from their money. And soon enough, and predictably enough, this work involved murder. Here in Jazz Age America’s most isolated of locales, dozens or even hundreds of Osage in possession of great fortunes — and of the potential for even greater fortunes in the future — were dispatched by poison, by gunshot and by dynamite. […]

Stacked Books reviews Malcolm Gladwell’s Outliers :

I’ve heard a lot of great things about Malcolm Gladwell’s writing. Friends and co-workers tell me that his subjects are interesting and his writing style is easy to follow without talking down to the reader. I wasn’t disappointed with Outliers. In it, Gladwell tackles the subject of success – how people obtain it and what contributes to extraordinary success as opposed to everyday success.

The thesis – that our success depends much more on circumstances out of our control than any effort we put forth – isn’t exactly revolutionary. Most of us know it to be true. However, I don’t think I’m lying when I say that most of us also believe that we if we just try that much harder and develop our talent that much further, it will be enough to become wildly successful, despite bad or just mediocre beginnings. Not so, says Gladwell.

Most of the evidence Gladwell gives us is anecdotal, which is my favorite kind to read. I can’t really speak to how scientifically valid it is, but it sure makes for engrossing listening. For example, did you know that successful hockey players are almost all born in January, February, or March? Kids born during these months are older than the others kids when they start playing in the youth leagues, which means they’re already better at the game (because they’re bigger). Thus, they get more play time, which means their skill increases at a faster rate, and it compounds as time goes by. Within a few years, they’re much, much better than the kids born just a few months later in the year. Basically, these kids’ birthdates are a huge factor in their success as adults – and it’s nothing they can do anything about. If anyone could make hockey interesting to a Texan who only grudgingly admits the sport even exists, it’s Gladwell. […]

Quill and Quire reviews Rick Prashaw’s Soar, Adam, Soar :

Ten years ago, I read a book called Almost Perfect. The young-adult novel by Brian Katcher won some awards and was held up as a powerful, nuanced portrayal of a young trans person. But the reality did not live up to the book’s billing. Instead, it turned out to be a one-dimensional and highly fetishized portrait of a trans person’s life, one that was nevertheless repeatedly dubbed “realistic” and “affecting” by non-transgender readers possessing only a vague, mass-market understanding of trans experiences.

In the intervening decade, trans narratives have emerged further into the literary spotlight, but those authored by trans people ourselves – and by trans men in particular – have seemed to fall under the shadow of cisgender sensationalized imaginings. Two current Canadian releases – Soar, Adam, Soar and This One Looks Like a Boy – provide a pointed object lesson into why trans-authored work about transgender experiences remains critical.

To be fair, Soar, Adam, Soar isn’t just a story about a trans man. It’s also a story about epilepsy, the medical establishment, and coming of age as seen through a grieving father’s eyes. Adam, Prashaw’s trans son, died unexpectedly at age 22. Woven through the elder Prashaw’s narrative are excerpts from Adam’s social media posts, giving us glimpses into the young man’s interior life as he traverses his late teens and early 20s. […]

Book Geeks reviews Elizabeth Gilbert’s Eat, Pray, Love :

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

“Eat Pray Love” is so popular that it is almost impossible to not read it. Having felt ashamed many times on my not having read this book, I quietly ordered the book (before I saw the movie) from amazon.in and sat down to read it. I don’t remember what I expected it to be – maybe more like a chick lit thing but it turned out quite different. The book is a real story and is a short journal from the time when its writer went travelling to three different countries in pursuit of three different things – Italy (Pleasure), India (Spirituality), Bali (Balance) and this is what corresponds to the book’s name – EAT (in Italy), PRAY (in India) and LOVE (in Bali, Indonesia). These are also the three Is – ITALY, INDIA, INDONESIA.

Though she had everything a middle-aged American woman can aspire for – MONEY, CAREER, FRIENDS, HUSBAND; Elizabeth was not happy in her life, she wasn’t happy in her marriage. Having suffered a terrible divorce and terrible breakup soon after, Elizabeth was shattered. She didn’t know where to go and what to do – all she knew was that she wanted to run away. So she set out on a weird adventure – she will go to three countries in a year and see if she can find out what she was looking for in life. This book is about that life changing journey that she takes for one whole year. […]

Emily May reviews Michelle Obama’s Becoming on Goodreads:

Look, I'm not a happy crier. I might cry at songs about leaving and missing someone; I might cry at books where things don't work out; I might cry at movies where someone dies. I've just never really understood why people get all choked up over happy, inspirational things. But Michelle Obama's kindness and empathy changed that. This book had me in tears for all the right reasons.

This is not really a book about politics, though political experiences obviously do come into it. It's a shame that some will dismiss this book because of a difference in political opinion, when it is really about a woman's life. About growing up poor and black on the South Side of Chicago; about getting married and struggling to maintain that marriage; about motherhood; about being thrown into an amazing and terrifying position.

I hate words like "inspirational" because they've become so overdone and cheesy, but I just have to say it-- Michelle Obama is an inspiration. I had the privilege of seeing her speak at The Forum in Inglewood, and she is one of the warmest, funniest, smartest, down-to-earth people I have ever seen in this world.

And yes, I know we present what we want the world to see, but I truly do think it's genuine. I think she is someone who really cares about people - especially kids - and wants to give them better lives and opportunities.

She's obviously intelligent, but she also doesn't gussy up her words. She talks straight, with an openness and honesty rarely seen. She's been one of the most powerful women in the world, she's been a graduate of Princeton and Harvard Law School, she's had her own successful career, and yet she has remained throughout that same girl - Michelle Robinson - from a working class family in Chicago.

I don't think there's anyone who wouldn't benefit from reading this book.

Hopefully, this post has given you a better idea of how to write a book review. You might be wondering how to put all of this knowledge into action now! Many book reviewers start out by setting up a book blog. If you don’t have time to research the intricacies of HTML, check out Reedsy Discovery — where you can read indie books for free and review them without going through the hassle of creating a blog. To register as a book reviewer , go here .

And if you’d like to see even more book review examples, simply go to this directory of book review blogs and click on any one of them to see a wealth of good book reviews. Beyond that, it's up to you to pick up a book and pen — and start reviewing!

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How to Write a Book Review Tips

Book reviews are like guiding lights in the world of literature, helping readers navigate through countless stories. But writing a good review isn't just about summarizing a book – it's about making your thoughts resonate with the audience. 

Whether you're a writer, a critic, or someone who loves books, knowing how to prepare a book review can enrich your reading experience and contribute to the literary community. 

In this article, experts of our book review writing service break down the key elements and tips for compelling book reviews that spark conversation and excitement.

What Is a Book Review

A book review is a critical evaluation of a book, where the reviewer discusses its content, themes, and overall impact. It typically includes a summary of the book's main points, the reviewer's analysis and opinions, and a recommendation for potential readers. The goal is to inform others about the book's strengths and weaknesses, helping them decide if it’s worth reading.

Later in the article, you’ll find a quality book review example for your inspiration and motivation. If you’re in a hurry, try our cheap essay writing service that covers all types of academic papers.

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How to Write a Book Review: Step-By-Step

Writing a book review might seem complex, but in reality, the process can be divided into only three steps:

Summarize the Book's Content

Book reviews summarize the source's content by providing a brief and clear overview of the main plot, key characters, and central themes without giving away any spoilers. This helps readers understand the essence of the book and sets the stage for your analysis and evaluation.

Actionable Tips:

• Read the Book Thoroughly: Ensure you grasp the full story, including subplots and character development.
• Highlight Key Points: Note down significant events, character arcs, and main themes as you read.
• Be Concise: Keep your summary short and to the point, focusing on the most important aspects.
• Avoid Spoilers: Do not reveal major plot twists or the book’s ending.
• Use Your Own Words: Write the summary in your own language to maintain originality and avoid plagiarism.
• Provide Context: Include the book’s genre, setting, and relevant background information to help readers understand the summary.
• Focus on Clarity: Ensure your summary is easy to read and understand, avoiding complex language or unnecessary details.

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Analyze and Evaluate

You’re always halfway through writing a book review! Next, you have to critically examine its elements, such as the writing style, character development, plot structure, and thematic depth. This step is where you share your personal insights and opinions, providing evidence from the text to support your views.

Conclude with a Recommendation

We’re almost reached the finishing line of the how to write a book review race. Conclude your review of a book with either a summary, recommendation, or addressing readers directly. This step provides a clear and concise verdict based on your analysis, helping potential readers decide if the book is right for them.

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Book Review Structure

A book review outline usually follows a structured format with an introduction, main body, and conclusion.

Introduction

This section introduces the book, mentioning its title, author, genre, and publication details. It gives a brief overview of the book's premise and main themes to provide context for the reader.

The main body offers a detailed analysis and critique of the book. It's divided into paragraphs focusing on specific aspects such as plot, characters, and writing style. Each paragraph provides evidence from the book to support the reviewer's analysis.

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The conclusion summarizes the reviewer's overall thoughts and impressions of the book, restating key points and the main argument. It often includes a recommendation for potential readers and may provide final reflections or insights about the book's significance.

Book Review Template

Here's a basic structure you can follow every time you’re tasked with such an assignment:

Extra Tips for Writing Better Book Reviews

Here are 11 extra tips for writing better book reviews:

• Look for essay topics that are interesting personally for you.
• Consider your audience and what they might want to know about the book.
• Be mindful not to give away major plot twists or endings that could ruin the reading experience for others.
• Use quotes or examples from the book to support your analysis and critique.
• Express your opinions openly, but respect the author and their work.
• Think about the book's historical, cultural, or social context when evaluating its themes and messages.
• Paint a vivid picture of the book's qualities using descriptive language to engage your readers.
• Acknowledge the book's strengths and weaknesses to provide a balanced review.
• Aim to be concise and to the point, focusing on the most important aspects of the book.
• Let your enthusiasm for the book shine through in your review to captivate your readers.
• Gain insights from reading other reviews to see different perspectives and approaches to reviewing books.

Book Review Example

As promised at the beginning of the article, we’d like to share a good example of a book review as it should be done by students either in school or college:

Final Thoughts

Book reviews empower students to become active participants in the literary conversation. They learn to contribute their unique perspectives and interpretations to the broader discourse. With a custom term paper writing service , learners can become true educational powerhouses who never miss deadlines.

Through critical engagement with literary sources, students develop a deeper understanding of complex themes and issues, honing their ability to think analytically and empathetically. At the end of the day, aren’t these two skills that every educated individual should possess? 

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How To Write A Book Review?

What to include in a book review, what is a book review.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

• Added new infographics.
• Updated writing tips.
• Added new example.
• How to write a book review | BookTrust. (n.d.-b). https://www.booktrust.org.uk/books-and-reading/tips-and-advice/writing-tips/writing-tips-for-teens/how-to-write-a-book-review/
• Book Reviews – The Writing Center • University of North Carolina at Chapel Hill. (2024, May 14). The Writing Center • University of North Carolina at Chapel Hill. https://writingcenter.unc.edu/tips-and-tools/book-reviews/
• Research Guides: Organizing Your Social Sciences Research Assignments: Writing a Book Review. (n.d.). https://libguides.usc.edu/writingguide/assignments/bookreview  

Book Reviews

A book review addresses the subject matter of a literary work, and assesses effectiveness and value. Book reviews keep publishers and the public aware of what is being thought and written in a wide range of subjects. When a new book is issued, copies are sent to reviewers; subsequent reviews appear in literary magazines, academic journals, newspapers, and other periodicals. People everywhere depend on book reviews to direct them in their reading; many readers buy what commentators give particular attention. Competent reviewers are the best counselors for readers attempting to keep up with intellectual and aesthetic developments in the literary arts.

Scope: What a Book Review Is and Is Not

Book reviews vary widely. A review does not simply summarize book material, and should not be substituted for the original book. The purpose of a book review is to make known what a literary work purports to do and be, as a publication for both general and specialized readers. Essential components to be taken into account include concerns of subject matter and style. A review is a critical essay, a report and an analysis. Whether favorable or unfavorable in its assessment, it should seem authoritative. The reviewer's competence must be convincing and satisfying. As with any form of writing, the writer of a book review is convincing through thorough study and understanding of the material, and opinions supported by sound reasoning; the reviewer achieves reader satisfaction upon by giving justice to the subject, the book being reviewed, and connecting it with vital human concerns. A review may be limited in its scope due to length requirements, whether those are set by an instructor or an editor. How thoroughly and with respect to what aspects a book is reviewed also depends on instructor or editor preferences, or simply the attitudes and qualifications of the reviewer.

Essential Objectives

A book review should address three issues:

• Contents, or what is said in the book.
• Style, or how it is said.
• Assessment, or analysis of how true and significant the book is.

The most essential preparation for review writing is of course a complete, thoughtful reading of the book. After reading, the reviewer should have a sound, integrated idea of the book contents, and begin to develop attitudes toward style, purpose, and value. As the reviewer forms ideas for the review, certain influences and motives should be considered:

• The interests, general or special, of the readers: Are they looking to the review for an elementary, informational report? A more advanced, technical, scholarly address?
• The reviewer's own particular interests and purposes: Does the reviewer want to remain primarily a fact-finding reporter? Or are there more specialized ideas and principles of art and ideology the reviewer wants to advance?
• Contemporary social, economic, political, and aesthetic issues: Do one or more of these affect the aim or emphasis of the book review? How does the incorporation and interpretation of these issues in the book review further discussion of the book's contents and style?
• Required treatment and length requirements: What requirements for the review, emphasis and length, have been set by the instructor or editor?

Material for the Review

As the reviewer decides the scope and content of the review, there are various critical considerations to keep in mind. In addition to content and style, information about the publication and category of the book, and the author and author purpose, may be helpful with analysis. Not all material needs to be included in the final review, but the reviewer should be aware of any relevant issues.

Bibliographical Data

Bibliographical data includes the publisher, place and date of publication, and book price. This information is important for readers who want to buy the book. It may also raise questions: Is the book newly issued? Or is it being reissued? If reissued, is it only a new printing or has it been revised? If revised, what is the nature of the revision? Answers to these questions often can be found in a preface to the book by the author. Consult the front matter of the book, the title and copyright pages, for basic publication information. Often, price, publisher, and page count are listed separately at the beginning or end of a book review; this is the case with the example reviews accompanying this guide.

Classification

There are various categories, or genres, to which a book is assigned: fiction, poetry, travel and adventure, mystery, children's literature, biography, history, and contemporary thought, among others. A reviewer analyzes a book's conformity to a genre with attention to the author's approaches, methods, materials and coverage, and the outcomes of the book as to information, judgments, or interest value. For example, in her review of John D'Agata's Halls of Fame , Wendy Rawlings discusses how D'Agata experiments with the form of the essay: "If you're accustomed to reading essays organized around a clearly articulated theme and guided by a single narrative voice that signposts its intentions along the way, D'Agata's methods may frustrate. His essays are disjunctive agglomerations of excerpts from texts of all sorts (literary and otherwise), lists, transcripts from tape-recorded conversations, and, often, long passages of direct quotes from people he meets . . . Reading D'Agata's essays, I felt the strain of someone experimenting with the democratization of a form that, in America, has perhaps been colonized, or at least overpopulated by the ironic and the smug." Rawlings further compares and contrasts D'Agata's methods to those of David Foster Wallace, another contemporary writer of essays. When analyzing a writer's approach to form, some questions to consider are: How does the book differ from previous works in the same field? Has the author written previous books, in this genre or others? How has the author changed or developed? To what extent does the book being reviewed offer anything new its genre? How might it influence later works in the same genre?

Author and Author Purpose

Depending on the genre of the book, the background and purpose of the author may be relevant to the analysis of the book. Refer to the book jacket and biographical notes on the author. Further research may be helpful; read interviews, essays, and, if available, previously written biographies. In John Calderazzo's review of Ken Lamberton's Wilderness and Razor Wire , biographical data about Lamberton proves relevant: "Lamberton had an uncommon resume for someone doing serious jail time: no grinding poverty, no drugs or violence. He grew up in Arizona as an avid collector of wild things, a self-taught naturalist . . . He earned a bachelor's degree in biology, married Karen, a fellow lover of the wild, had kids, and decided to share his passions for science and nature in the public schools . . . He became infatuated with a student and, incredibly, ran off with her to Colorado. Soon someone from Mesa recognized them in Aspen and called the police." This background information provides the reason for Lamberton's incarceration as well as the basis for Calderazzo's discussion of the writer's "microscopically detailed prose" and "the single-mindedness of his gaze." The following is a list of possible biographical data about an author to reference in a review:

• Race, nationality, and origins-social, cultural, religious, economic, political, environmental.
• Training and affiliations-literary, scholastic, religious, political, etc.
• Schooling, travel, or other formative influences.
• Personal experiences-general or specific.
• Career and/or professional position.
• Other literary or scholastic works.
• Stimulus or occasion for writing.
• Special writing aids-illustrations, photographs, diagrams, etc.
• General attitude-objective/subjective, formal/informal, authoritative/speculative, etc.
• Purpose-as described in a preface or other formal statement, or in some key phrase.
• Audience-who the writer hopes will read the book.

Subject Matter

The subject of a book is what the book is about, an idea or ideas explored in the book's contents. In a nonfiction book, the subject should be fairly explicit, in the author's own words. With fiction, however, a reviewer must interpret the subject through analysis of character, setting, plot, and symbolism. A discussion of the subject of a book might begin with its title: From where did the author derive the title? What is the title's meaning or suggestiveness? Is the title an adequate heading for the contents of the book? Or is it ambiguous or false in some way? Other questions regarding the exploration of a book's subject by its author include: What areas of the subject are covered? (In fiction, areas of subject may be considered character concerns, setting, and plot.) What areas of the subject are left uncovered? Is this intentional, or the result of oversight or failure, on the author's part? To what degree is the author thorough or negligent in addressing the subject? In his review of Wilderness and Razor Wire , John Calderazzo comments that writer Ken Lamberton avoids discussion of personal motivation: "Perhaps to spare his wife further humiliation and pain, Lamberton has decided not to belabor his motive for his one act of insanity. He talks vaguely of immaturity, but that's about it . . . [T]he single-mindedness of his gaze [has] implications he either doesn't recognize or won't fully discuss . . . Fixating on the near at hand may be a necessary metaphor and an undeniable fact of prison life, a way to cope with an existence that certainly scares the hell out of me. Maybe, though, Lamberton's fierce gaze derives from something he'll always carry within him: this edgy and impulsive but obviously grateful husband who knows he's not free to teach again for a living . . ."

The contents of a book revolve around the subject, and develop one or more central ideas. For nonfiction, a reviewer analyzes how well the contents of a book address the central idea, the strength or weakness of supporting ideas, and the relevancy of collateral ideas or implications. In fiction, themes develop through character, setting, and plot; a reviewer evaluates the relative success or lack thereof of these fictional elements. Think about these questions: What is the setting, or place and time, of the story? Does the setting reflect or contrast with characters and plot? Are characters fully or minimally developed? Does character development increase or deteriorate as the action proceeds? Is the plot sequenced chronologically, or otherwise? Does tension build or deflate as the story progresses? Note how David Milofsky discusses the effectiveness of the contents of Reynolds Price's Noble Norfleet : "Although there are spots of lyricism-and for the first third of the book, Price's narrative has the drive and tension of some of his better work-overall, Noble Norfleet sags beneath its unlikely premise and even more unlikely hero . . . It seems likely that Price was trying to say something here about the relationship between sexuality and madness, about the necessity not only of nursing others but of caring for oneself, of showing Noble as some kind of paradigm, hence his name. But, sadly, the novel succeeds in none of these aims." Remember that details about the plot and characters in a book are revealed by the reviewer only to support the purpose of the review. Certainly, a review should not give away a book's ending, nor should it be a simple summary of events and characters. The reviewer's job is not only to report highlights but also to respond to the ideas and techniques evident in the book.

Style refers to how an author relates content through writing. This is an important aspect of a book to review. While initially reading the book, and in any subsequent reads, a reviewer should mark passages of particular resonance and reflection of the author's style. These passages help the reviewer form ideas as to whether or not the style is effective in conveying content, and pleasing to the reader. One or more of these passages may be cited within the review itself in order to both exemplify the author's style and provide basis for the reviewer's response. The following is excerpted from Wendy Rawlings' discussion of John D'Agata's poetic, associative essay-writing style in Halls of Fame: "Juxtaposing so many voices and kinds of language . . . can allow the reader to create exciting associative links between texts and ideas, but it can also, when overused, begin to feel somewhat arbitrary. In the book's title essay, for instance, single sentences and sentence fragments form choppy narratives composed of statements that seem, at times, cruelly separated from each other by the portentous silence of white space. This narrative strategy prevails throughout most of the twenty-four sections of the essay, and as a result, the sentences take on a stilted self-importance, like a poem written by someone as yet unschooled in enjambment." A passage from the essay follows this description. When responding to a literary work, consider these aspects of style:

• Logical and reasoned (objective), or imagined and emotional (subjective).
• Dramatic and gripping, or pedestrian and level.
• Epic and far-reaching, or lyrical and infused with personal poetic emotion.
• Solemn and serious, or comic and entertaining.
• Spiritual or vulgar or both.
• Formal, or familiar, informal.
• Simple, or complex.
• Broad, or specific.
• Abstract, or concrete.
• Direct, or implicational.
• Figurative, or literal.
• Use of detail, sense appeal-the look, sound, smell, taste, feel.
• Balance, parallelism, and contrast of exposition, scene, and dialogue.
• Allusions, quotations, aphorisms, etc.
• To the subject.
• To the purpose of the author.
• To the reader.

Form and Technique

An author carefully chooses the form and various writing techniques to use to develop ideas. A book reviewer decides whether or not these choices are appropriate and effective. Do certain techniques aid or impede the author's purpose? What passages from the book best exemplify these techniques?

Form and Technique in Nonfiction

• Use of source material and authority.
• Use of definition; illustrations and examples; comparison and contrast; cause and effect.
• Use of generalization and subsequent conclusions.
• Tone; authority; approach to subject and audience.
• Degree of convincingness.
• Worth of proposal; practicality; need.
• Comparison with other possible policies.
• Costs or difficulties involved.
• Ultimate promise, solution, or plan
• Methods of deduction or induction.
• Synthesis; formation of separate elements into a coherent whole.
• Syllogism; major premise, minor premise, and conclusion.
• Dialectics; arrival at truth through conversation involving question and answer.
• Casuistry; determination of right and wrong by applying generalized ethics principles.
• Fallacy; begging the question, ignoring the question, etc.

Form and Technique in Fiction

• Dominant impression; vividness of final impression.
• Selection of details to support a single effect.
• Appeal to sight, sound, smell, taste, and feel; imagery.
• Directness; implication and suggestion.
• Point of view; first, second, third; limited or omniscient.
• Establishment of setting.
• Smoothness of transitions in time sequence.
• Use of flashback.
• How presented or introduced.
• Motivations; sources for feeling and/or drives to action.
• How described; direct or implied; revealed through description or dialogue.
• Purposes; heroic or villainous; tragic inner flaws; revealing traits.
• How credible and consistent.
• Opening situation and/or conflict.
• Obstacles and complications.
• Tension and suspense.
• Turning point, or climax.
• Resolution.
• Degree of inventiveness and/or plausibility.
• Final philosophy or view of life derived from characters and action.

Depending on the author's purpose, a book's realism, or truth to life, may need assessment. If a book of fiction is meant to be realistic fiction-is it? Is it logical, natural, plausible? To what extent does the author rely on coincidence or accident to propel the plot? Is there adequate evidence of character motivation? Or a lack of sufficient urges and drives? Is the story infused with a quality of normalcy, or abnormality? Remember, if a book of fiction is to be successful according to a reviewer, it is not necessarily realistic fiction; a book's realism, or lack thereof, need be addressed by a reviewer only as it compares to the author's intention for the story. See here how David Milofsky addresses the realism of William Trevor's novel The Story of Lucy Gault : "It seems unlikely, to say the least, that longtime residents of a place (going back several generations, we're told) would cut off contact so completely as the Gaults do, but, of course, if this isn't the case there would be no novel. Similarly, it's hard to believe that the lawyer wouldn't be able to contrive a way to contact the absent parents . . . It's a tribute to Trevor's genius that these objections are largely overridden and storytelling takes over."

Form and Technique in Poetry

• Received (given) forms; sonnet, quatrain, villanelle, sestina, haiku, etc.
• Free verse forms.
• Lyric; narrative; dramatic; prose; ballad (folk, literary, popular).
• Point of view; persona or apparently personal.
• Dramatic monologue.
• Tone; irony, satire, etc.
• Intensity, atmosphere, mood.
• Concrete or abstract.
• Denotation, connotation, implication.
• Vulgar, colloquial/informal, formal.
• Syntax, or sentence structure.
• Amount and type of sensory detail.
• Metaphor; simile; personification; allusion.
• Synesthesia; describing a sense impression using words that normally describe another.
• Hyperbole or understatement.
• Metonymy; substituting one word/phrase for another, closely associated word/phrase.
• Synecdoche; using a part to refer to the whole, or the whole to refer to a part.
• Alliteration; repetition of an initial sound in two or more words of a phrase.
• Assonance (repetition of vowels) and/or consonance (repetition of consonants).
• Onomatopoeia; using a word that is defined through both its sound and meaning.
• Euphony (smooth, pleasant sound) vs. cacophony (rough, harsh sound).
• Rhythm (pattern of beats in a stream of sound)-appeals t
• The line; end-stopped (self-enclosed) or enjambed.
• Feet; iambs, trochees, anapests, dactylics, etc.
• Meter; mono-, di-, tri-, tetra-, penta-, hexa-, etc.
• Repetition.
• Rhyme (corresponding terminal sounds)-appeals t
• True; words sound nearly identical and rhyme on one stressed syllable.
• Slant (near/off); words do not exactly rhyme, but almost rhyme.
• End rhyme (at end of line) and/or internal rhyme (similar sounds within one line).
• Masculine (lines end w/ stressed syllable); feminine (lines end w/ unstressed syllable).

View of Life

It is common for an author to express a view of life through ideas and themes developed in a book. A reviewer identifies and comments on the author's stance. Does the book hold to and/or further develop views apparent in past works? Or make a new statement? Below is a list of popular attitudes, or schools of thought:

• Idealism-emphasis on enduring spirituality as opposed to transient values of materialism.
• Romanticism-focus on emotion and imagination as freedom from the strictly logical.
• Classicism-intellectuality; dominance of the whole over its parts, and form over impulse.
• Realism-adherence to actualities, the logistics of everyday life; objectivity.
• Impressionism-intuition; sense responses to aesthetic objects.
• Naturalism-humans as part of nature; adaption to external environment.

In response to Wilderness and Razor Wire , John Calderazzo discusses the importance of nature in Ken Lamberton's life and writing: "[I]n the prison of his days (to paraphrase W. H. Auden), Lamberton is helped . . . by nature, by the winds and dust and sweet-smelling raindrops that blow down from the nearby mountains, which he sees framed in barbed wire. This is nature unbound, not just out there beyond the walls but slipping in through the bars, swirling around his cell, penetrating even his skin . . . [Swallows] migrate, then return to raise new young in their mud-packed homes, lending solace-and spice-to the impossibly slow turning of the seasons . . . The swallows and many other break-ins from the natural world are also resources of rehabilitation, which Lamberton says is absent from all other aspects of prison life." If comparisons are to be made between a book being reviewed and its predecessors, a reviewer should be familiar with the basic forms and techniques prevalent in works expressing similar viewpoints. Further research and reading are necessary for the reviewer to form intelligent analysis of views of life expressed through writing.

Value and Significance

Often a book review comments on the significance of a new work. This value may be measured in relation to other books in the same genre, works addressing the same subject matter, past and contemporary authors with a similar style, and/or previous works by the same author. In his review of William Trevor's The Story of Lucy Gault , David Milofsky compares the novel to Trevor's past works, and comments on its place in literature in general: "[Trevor]'s been called the Irish Chekhov, but that's not really adequate, since Chekhov never really wrote novels. The truth is that Trevor is sui generis, in a class by himself. While his stories (collected a few years ago in an omnibus volume) are brilliant, novels like The Old Boys and Felicia's Journey are lasting contributions to our literature. He's a literary treasure and never less than interesting reading . . . The Story of Lucy Gault may not be the most accomplished novel of Trevor's distinguished career, but that still places it far beyond most of the fiction that will be written in English this year. It's highly recommended reading." Value is also determined by the universality of application-how and to whom the work applies. Are the book's contents of universal interest? Or does the subject matter limit the book's appeal to a narrow field of individuals? Determining the value and significance of a book depends largely on the knowledge and subjectivity of the reviewer; familiarity with comparable books and authors is required to draw conclusions of this nature.

A book's format, or physical make-up, reflects the ideas of both its author and its publisher. A book reviewer might mention characteristics of format, in relation to suitability and aesthetics. Is the book's size convenient? Is the binding durable? Is the print type legible? Do illustrations, diagrams, and maps, if any, aid the reader's understanding of the material? Is the index correct and complete? Are bibliographies and reference lists present? In response to artwork present in Ken Lamberton's Wilderness and Razor Wire , John Calderazzo comments on both the exactness of the drawings and the possible meaning of this detail-orientedness to Lamberton's life: "[J]ournal entries and small essays [are] complemented by drawings of tarantulas, conenose beetles, horned lizards, and other desert creatures in almost photo-realistic close-up. This is why I suggested that Lamberton may not find himself any closer to 'nature' when he's finally free. How can he get more intimate? . . . All of his drawings, in fact, are rendered in extreme close-up, like visual infatuations writ large. Nothing seems to exist in the distance, which makes me wonder if anything ever does for Lamberton, or ever will."

Planning and Writing

A book review should meet the requirements of any good composition. Clarity, correctness, readability, and interest are very important. A review should give its readers not only an understanding of the reviewer's intellectual response to a book but also an awareness of the basis for this response, through example and analysis. Specific passages from the book are used to exemplify the reviewer's points regarding elements of style, form, and technique. There is no strict pattern for writing book reviews. Guiding the book reviewer's writing process, however, are the three essential objectives of relating what is said in the book, how it is said, and how true and significant it is. As with the planning of a composition, make a list of possible material to use in the review-ideas, responses, information, examples. Study this material to decide what to include in the book review and what proves extraneous. Put the items to include in a suitable order-for instance, from greater to lesser importance. Once the material is organized, a controlling idea for the review emerges; this controlling idea may form the topic sentence of the review, and provides guidance for achieving coherence and focus throughout. Use the topic sentence, in varied forms, in the beginning and end of the review. Once the book reviewer has chosen the proper and adequate material, organized this material effectively, and decided on the main idea and focus to be developed, it is time to write the review.

Like writing the introduction of a composition, there several possible strategies to use for beginning a book review. One type of strategic beginning is prompt definition-assigning meaning to terms in the title of the book, for example, or giving the scope of the review as it relates to the subject and the reviewer's response to the book. Another effective approach is to highlight the origins and past history of the subject treated in the book; this technique may also be used to introduce ideas about genre, style, or view of life, depending on what the reviewer has chosen as the focus of the review. A statement of exclusion shows what will not be addressed in a review and focuses attention on what really will be discussed. At the beginning of his review of Reynold Price's Noble Norfleet , David Milofsky uses a comparison between Price's newest novel and his previous works: "It would be nice to report that Reynolds Price, the distinguished author of more than thirty books, including A Long and Happy Life and Surface of Earth , has added significantly to his oeuvre with his new novel, but such is not the case. Not by a long shot." A reviewer might also quickly catch reader attention by appealing to human interest-perhaps a personal reference or brief anecdote. The anecdote should connect to or exemplify the main focus of the book review. Note the anecdotal technique Wendy Rawlings uses in the introduction of her review of John D'Agata's Halls of Fame : "While on a recent trip to England, I witnessed a cultural exchange that struck me as emblematic of John D'Agata's book of essays, Halls of Fame . An American friend who has spent the past year tolerating a chilly flat in a London suburb for the sake of his British fiancée wanted me to guess the height of the World's Largest Pencil. 'I don't know-eight, nine feet tall?' I said. 'See? See? I knew it!' my friend shouted. He explained that when asked the same question, an English friend had guessed the height of the world's largest pencil to be 'perhaps a foot high, or two.' His modest expectations compared to my great ones (I could not but visualize the World's Largest Pencil as at least a foot taller than an NBA All-Star) represented to my friend something essential about the differences between British and American sensibilities."

Development

The primary focus of a book review is supplied in the beginning paragraph. After this main idea is established, it needs to be developed and justified. Using an organized list of material, the reviewer details the reasons behind the response to the book. References to past history, causes and effects, comparisons and contrasts, and specific passages from the book help illustrate and exemplify this main idea. Personal philosophy and moralization should be kept to a minimum, if included at all; the reader of a book review is interested in unbiased, thoughtful, reasonable, and well-developed ideas pertaining to the book in question. The bulk of a review consists of the development of the reviewer's main idea, the response to the book and the reasons for it. In each of the example reviews that accompany this guide, the reviewers develop their ideas through references to comparable past and contemporary works, analysis of aspects of form and technique, and inclusion of notable passages from the books being reviewed.

Conclusions

The conclusion reflects the focus of the rest of the review, and leaves the reader with a clearly articulated, well-justified final assessment. A restatement of the topic sentence is better than a cursory inspection of less important matters like book format and mechanical make-up. Main emphasis should remain primarily on the qualities and materials of the book being reviewed. At the end of Wendy Rawlings' review of John D'Agata's Halls of Fame , Rawlings summarizes previously stated ideas: "When D'Agata doesn't find the balance, the lyricism borrowed from poetry seems not quite, yet, to fit. I don't wish for D'Agata to join the legions of the smug and ironic, but at certain moments, I begin to wish for authorial presence that will assert itself less forcefully in terms of the arrangement of words on the page, which are often blasted into squadrons separated by asterisks, white space, or unhelpful section headings, and more forcefully on the level of the sentence, as D'Agata does in 'Notes toward the making of a whole human being . . . ,' a five-page essay composed of a single, breathtakingly constructed sentence." The conclusion statement cements the reviewer's recommendation, or lack thereof, of the book. Clearly, this is David Milofsky's aim in the conclusion of his review of Reynold Price's Noble Norfleet : "Even with a failure, it is interesting to read as accomplished a writer as Price, but his new novel cannot be recommended on any other grounds." The final sentence of a review should be both memorable and thought-provoking to the reader. As at the end of John Calderazzo's review of Ken Lamberton's Wilderness and Razor Wire , this final thought might be put in the form of a question: "[R]eading about Lamberton's flawed but exhilarating life makes me wonder about temptation and impetuousness. In light of losing everything, how many of us are still tempted to pursue, just once, some nearby object of desire? And will this constant risk be the prison of all of our days, our lives a landscape of wilderness and razor wire?"

Reviewing Specific Types of Books

The type of book being reviewed raises special considerations as to how to approach the review. Information specific to the categories of nonfiction, fiction, and poetry can be found under the "Form and Technique" heading of this guide. Below are further questions to consider, based on a book's category:

• Does the book give a full-length picture of the subject? Focus on only a portion of life?
• What phases of the subject's life receive greatest space? Is there justification for this?
• What is the point of view of the author?
• Are idiosyncrasies and weaknesses omitted? Treated adequately? Overplayed?
• Does the author endeavor to get at hidden motives?
• What important new facts about the subject's life are revealed in the book?
• Is the subject of the biography still living?
• What source materials were used in the preparation of the book?
• What training has the author had for this kind of work?
• What particular historical period does the book address?
• Is the accound given in broad outline, or in detail?
• Is the style that of reportorial writing, or is there an effort at interpretation?
• Is emphasis on traditional matter, like wars, kings, etc.? Or is it a social history?
• Are dates used extensively and/or intelligently?
• Is the book likely to be out of date soon? Or is it intended to stand the test of time?
• Are maps, illustrations, charts, etc., helpful to the reader?
• o Who is the author, and what right does he/she have to be writing on the subject? o What contributions to knowledge and understanding are made by the book?
• Is the author credible? What is the author's purpose for writing the book?
• Does the book contribute to knowledge of geography, government, folklore, etc.?
• Does the book have news value?
• How effective are plot, pace, style, and characterization? Strengths? Weaknesses?
• Is the ending worthwhile? Predictable?
• o Children's Literature
• o What is the age/interest group for which the book is intended?
• o What is the overall experience/feeling of reading the book?
• o Is the book illustrated? How? By whom?

Publication

There is a good market for the newcomer in book reviewing. Many editors, including those of big-name magazines, do not like to use the same reviewer too often, and this means unknown, unpublished reviewers have good opportunities to break into the field. Send query letters to editors to find out what their publication needs are. Try smaller, special-interest publications first (ethnic, feminist, religious, etc.); if the reviewer has knowledge or affiliation relevant to the publication, it may increase the chances of a positive response from the editor. Stay current with new books, and read other book reviews. Once an assignment for a review is given, produce timely, quality work, specific to requirements set by the editor. Build publication credits with a variety of periodicals; pursue possibilities of starting a regular column for a single newspaper or magazine. Book reviewing is not generally a highly profitable venture, but money can be made, depending on a reviewer's qualifications, reputation, and dedication to the field.

Cress, Janell. (2003). Book Reviews. Writing@CSU . Colorado State University. https://writing.colostate.edu/guides/guide.cfm?guideid=49

How to Write a Book Review Explained by Experts From A to Z

Samuel Gorbold

Book review writing involves more than summarizing the plot – it combines thoughtful analysis, subjective reflection, and effective communication. Whether you're a student tasked with a literary assignment or a passionate reader eager to share your insights, understanding how to write an analysis can be a transformative journey into the heart of literature.

What Is a Book Review: Definition and General Description

A book review essay is a nuanced and subjective examination of a literary work that goes beyond a mere summary or plot recounting. It is a form of critical analysis where the student delves into the various elements that constitute the book, providing insights into its themes, characters, writing style, and overall impact. Unlike a book report, which primarily focuses on a concise summary, a critique aims to offer a more profound understanding and evaluation of the work's merits and shortcomings.

At its core, a book analysis serves as a literary critique, presenting your interpretation and assessment of the author's narrative choices and storytelling techniques. It is not solely an expression of personal preference; rather, it seeks to engage in a broader conversation about the book's significance in the context of literature. A well-crafted assessment gives readers a sense of the reviewer's experience and perspective, guiding them in deciding whether the book aligns with their own literary preferences and interests. Use our book review writing service to streamline the process if you lack time or motivation. 

Additionally, a literature commentary plays a crucial role in the literary ecosystem. It serves as a bridge between the author and potential readers, helping the latter make informed decisions about their reading choices. A thoughtful report can contribute to a vibrant literary discourse, fostering a community where readers share their interpretations, reflections, and critiques. All in all, it is an exploration, an analysis, and a conversation that enriches the collective experience of literature. By the way, you can also try our literature review service to cover this aspect of academic writing, too.  

How to Write a Good Book Review: A Step-by-Step Guide

In this step-by-step guide to writing a book review, we'll guide you through writing a compelling assessment, offering a roadmap to express your thoughts eloquently and constructively. Whether you find yourself dissecting a novel as a student for academic purposes or you're a fervent reader keen on sharing your insights with a wider audience, this guide is designed to unravel the intricacies of the writing process.

We’re going to share practical tips and a systematic approach to empower you in crafting critiques that not only reflect your unique perspective but also add depth to the ongoing discourse about literature. Our goal is to ensure that you can articulate your thoughts effectively and make meaningful contributions to the broader literary conversation. So, let's dive into the steps that will empower you to prepare a report that not only captures the essence of the work but also reflects your unique perspective as a reader and critic. Should you ever need an article review service , our website has it as well. Check it out!

Step 1: Pre-writing Planning

Writers typically navigate through four key stages:

A. Present the book

• Outline the general topic.
• Indicate the target audience.
• Contextualize the book within its field.

B. Create a book review outline

• Provide a general overview of its organization.
• Specify the topic of each chapter or section.

C. Determine the book parts

• Choose specific chapters or themes for evaluation.
• Critique the book's overall argument.

D. Evaluate the book

• Comment on content aspects.
• Indicate how it fulfills readers' needs.
• Remark on its format, price, and value for money.
• Make purchase recommendations or suggest otherwise.

When examining literature, these components are typically present, even if not always presented in the listed order. Some learners may prefer to begin with Stage 4 – evaluation – then proceed to Stages 1–3, concluding by justifying their initial evaluation. If you wish to expand your knowledge further, have a look at our guide on how to write an article review .

Step 2: Write an Introduction

Assuming you've selected your book, commence by mentioning the title and author. Discuss the book's cover and craft a thesis statement encapsulating your point of view and the essence of the fictional or non-fictional narrative. This thesis should succinctly capture the quoted material in the document.

Step 3: Arrange the Main Body

Select a specific chapter or scenario to summarize the main idea. Incorporate approximately three quotes in the body, accompanied by your own summaries and interpretations. It's crucial to provide your perspective on each quote, dedicating a paragraph to each.

Step 4: Formulate a Conclusion

Summarize the quotations and explanations from the body paragraphs. Conclude the book analysis with a final sentence that encapsulates the broader picture of the book. Pose the question, "Is it worth reading?" and respond subtly without resorting to a simple "like/dislike" statement.

Step 5: Give Ratings to a Book (Optional)

Consider including a rating after completing your writings. A star rating offers additional insights into the book's quality for your readers. While entirely optional, papers with star ratings can often be more impactful than those without. Consult our book report writing service if you want to cover this step in your assignment. 

Tips on Writing a Book Review

Composing a compelling book review essay requires a thoughtful approach that goes beyond summarizing the plot. Here are some useful tips to enhance your critique:

Start with a Hook

• Begin your analysis with a captivating introduction. Engage your readers with an interesting fact, a thought-provoking question, or a compelling quote related to the book.

Provide Context

• Offer background information about the author, the genre, or any relevant historical context. This helps readers understand the broader landscape in which the book exists.

Avoid Spoilers

• Be cautious not to give away major plot twists or endings. Your goal is to entice readers to explore the book themselves without revealing too much.

Balance Summary and Analysis

• Strike a balance between summarizing the key points of the book and offering your analysis. Provide enough information to give readers a sense of the plot while incorporating your insights and opinions.

Include Quotes

• Incorporate a few well-chosen quotes to illustrate the author's writing style or highlight significant themes. This adds depth to your critique and allows readers to grab the book and continue reading.

Express Your Opinions

• Share your personal opinions and reactions to the book. Be honest about what you liked or disliked, but support your opinions with specific examples from the text.

Consider the Target Audience

• Reflect on the intended audience for the book. Assess whether the author effectively caters to that audience and if the themes are relatable and relevant.

Critique Constructively

• If there are areas where the book falls short, provide constructive criticism. Explain your concerns in a way that lends a hand to both the author and potential readers to understand your perspective.

Conclude Thoughtfully

• Wrap up your assessment with a thoughtful conclusion. Summarize your main points in the piece, restate your overall impression, and recommend to potential readers.

Proofread and Edit

• Before publishing your appraisal, thoroughly proofread it for grammar and spelling errors. A polished critique enhances your credibility and ensures clarity. By incorporating these tips, you can create an evaluation that not only informs but also engages and guides potential readers in their literary choices. 

To increase your skills even further, check out our guide on how to write a literature review .

Book Review Example (FREE Download)

Consulting book review examples can be immensely beneficial for students eager to grasp the intricacies of crafting effective critiques. This example serves as a valuable reference, providing insights into structuring your analysis and expressing thoughtful critique. Feel free to download the PDF template and use it for inspiration and guidance.

What is the basic book review format?

What should you avoid when writing a book review, how long should a book review be, how do you write a book review, what is a book review.

Samuel Gorbold , a seasoned professor with over 30 years of experience, guides students across disciplines such as English, psychology, political science, and many more. Together with EssayHub, he is dedicated to enhancing student understanding and success through comprehensive academic support.

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How to Write a Book Review: Everything You Need to Know

When we read a good and interesting book, we want to share our thoughts about it with someone else. The best way to do that is to write a book review. For students, it’s hard to evaluate great literary masterpieces without any guidelines. Analyzing the text, composing an outline, and structuring your thoughts is a challenging task, especially if your writing skills are not professional.

But, there is nothing impossible with well-written and simple instructions. Below, you’ll find a comprehensive guide on how to write a book review. We’ll describe every stage of the writing process and give you a wide range of useful tips. On our blog, we also have numerous book review examples that you may find using the list of links at the end of our article. Don’t hesitate to start reading and learning!

What is a book review?

A book review is a critical evaluation and analysis of a book presented in written form. Book reviews can be classified both as academic and creative papers, as it depends on the purpose of writing. At university or school, professors often assign students with writing a book review in order to evaluate their writing skills and critical thinking on a particular subject. However, book reviews are frequently written by expert literary critics, as it is a part of their professional activities. Finally, anybody who wants to present his or her opinion about the book in written form may write a book review.

As a rule, the book review format depends on the requirements specified by your instructor or your own preferences. The structure type varies, but we highly recommend you to choose a standard essay format that includes an introduction, main body, and conclusion.

How long is a book review?

The length of the book review depends on professors’ requirements. According to our statistics, on average, student’s are required to write from 600 to 1,000 words. It typically takes up to two weeks to complete the paper, including reading the original, planning section, additional research, and the writing itself.

5 common book review formats: make your choice

If your instructor always specifies all the details of the assignment, you have nothing to worry about. However, sometimes, you have to make a choice by yourself. Below, we’ll describe five popular book review formats to try. As a rule, you may pick any of them no matter what book you analyze. But choose wisely!

General impression

This type of book review may seem the easiest, but the first impression can be deceptive. If you miss a crucial aspect, your review will be superficial and insufficient. We recommend you to choose this format of writing a book review for short stories, as there is not so much material to analyze. A general impression includes a brief plot summary, analysis of the main aspects, and your overall evaluation.

Issue development

Every book focuses on one or two main issues, but there can also be a few additional themes. Such book reviews can be useful both for studying a particular book and for analyzing a concrete social, psychological, or moral problem. Thus, this format of a book review can be assigned to students who study not only English literature but also a wide range of other disciplines.

Character portrayal

This type of book review can be extremely interesting for those who study psychology. Literary characters are similar to human creatures. In high-quality books, authors create lifelike heroes who behave and evolve, just like real people do. This book review format might seem similar to a character analysis essay. However, in a good review, you don’t simply analyze a chosen character. You also have to evaluate how the writer managed to make the character realistic and vivid.

Aspect analysis

This type of book review will be perfect for novels where the author develops many various topics, describes lots of characters, and addresses different problems. You can pick any aspect and provide a deep and detailed analysis. Before writing a review, make sure that the chosen element is presented in the book at a sufficient level, and not in one short dialogue.

Comparative review

If you enjoy writing compare and contrast essays, you should certainly choose this book review format. You may compare various aspects in the books of the same or different authors: writing style, issue development, an opinion on a particular topic presented in the novel, etc. As in essays, you may analyze both similarities and differences in your book review.

Finally, you know what options you have when you need to compose a review. We also want to mention that you may combine different formats if you want and create totally unique types of papers. Your creativity should have no limits, especially when it comes to creative book reviews!

Let’s take a closer look at the writing process itself!

10 simple steps to writing a book review

Planning makes any task much easier. You feel confident when you know what exactly you have to do at every stage.

Learn how to write a book review step by step and start working immediately!

1. Read a book

This step is so obvious that it isn’t worth explanation, is it? Did you think you could get a good grade without reading the primary source? Actually, you may try. But we don’t recommend you to take this risk. Moreover, if your book is short, you can read it twice to get a better impression.

2. Make notes

Sometimes, your instructor may ask you to attach your notes and drafts to the final version of your book review in order to evaluate your writing process. Even when it is not necessary, the notes will be utterly helpful for you to memorize small details. You can also write down a few quotations that will help you to prove your point of view in the review.

3. Read critical articles

You don’t have to use additional materials in your writing if it isn’t specified by the instructions. Anyway, you may read a few articles in order to get inspiration or some ideas for your review. Please, avoid plagiarism! If you like the critic’s idea, don’t copy it thoughtlessly! Use paraphrasing or direct citation to use someone else’s opinion in your writing. Don’t forget that you should use only reliable sources like reputable newspapers, scientific journals, online encyclopedias, etc.

4. Choose a book review format

Pick an appropriate option from the list above. Take into account your instructions, personal preferences, word limit, and book genre.

5. Specify your topic and thesis statement

Without a clear understanding of your purpose, you won’t be able to compose a high-quality book review sample. Choose a particular problem and define your viewpoint on it, you can use our writing prompt generator to do this. Do you agree or disagree with the author’s position? Did the author manage to develop a theme or not? Remember that you can change your thesis statement later if it is not relevant to your review. However, you need a starting point to begin with.

6. Brainstorm

Time for creativity! Look at your topic from different perspectives to get a full picture. Use various brainstorming techniques to achieve the best result: associations, questions, rolestorming, mind mapping, etc. Unfortunately, you may not use group brainstorming for individual assignments, but we are sure that your excellent mind will be more than enough for a book review.

7. Create an outline

Now, you have a collection of great ideas. The next step is structuring. Imagine how your book review will look and what parts it will have. Then, choose one main idea or a keyword for each section and write it down. For each point, select suitable expressions and quotations. In such a manner, you’ll get a solid foundation for your writing.

8. Write the first draft

You have everything you need to do this, believe us. Overcome your fear of writing the first sentence! You don’t have to make it perfect on the first try. But you need something to start from, okay? The first draft is always filled with inspiration and your personal voice. You can correct grammatical mistakes later, so don’t worry!

9. Proofread

And this is the less inspirational part of the writing process. Unfortunately, you can’t write a book review without proofreading. We’re sure that your paper will be great, but even the smallest mistakes can spoil the general impression. Before you start the editing process, have some rest. Your brain needs a restart to be on the appropriate level of concentration.

10. Add finishing touches

Bring it to perfection! If possible, get feedback from your friends or family members. A fresh perspective never hurts. Check your logic, argumentation, and wording. If you really like your book review sample, other people will like it too.

At this moment, you have a proper plan on how to write a review of a book. You’re ready to find out what the most common mistakes in reviews are. We’ll also explain to you how to avoid them efficiently!

6 mistakes to avoid while writing a book review template

Maybe you’ve already heard about these mistakes, but it is our duty to remind you of them one more time. We want to be sure that we’ve done everything possible to improve your writing.

• Don’t write a summary

Book reviews are not summaries. A short summary can be included in the text of your review in order to inform your readers about the main plot events and characters. Don’t focus on details if they aren’t important for your topic. Unnecessary information will make your book review boring and wordy.

• Express your evaluation

Along with a short summary, an assessment is an indispensable part of a good review. Don’t be afraid of expressing your personal opinion directly! Avoid words like “rather,” “enough,” and “almost,” as they will make your statements vague and uncertain. On the other hand, a bold statement without any arguments won’t be taken seriously. Always provide your readers with examples and other strong pieces of evidence.

• Avoid a superficial manner

This mistake is the most common for novel reviews. The author can’t focus on one particular aspect or character and must write a few sentences about everything. Such a review won’t be useful or interesting for the general public. If you’ve decided to provide a general overview of the whole book, you have to make sure that your review is long enough to cover all the essential topics of the novel. Otherwise, you won’t be able to present the book in a proper way.

• Stick to the writing style

Have you ever read formal letters that end with “XOXO” or “With love”? We doubt it. Before writing a book review example, define your purpose. If you compose a review as your academic assignment, stick to the formal writing style. If you create a review for your personal blog or just to share your thoughts with the general public, you don’t have to follow strict rules or formatting style. Sure, we still recommend you to avoid jargon, but you can freely use first-person pronouns and expressions like “In my opinion,” “I believe,” “My first impression,” etc.

• Provide strong arguments

As in any other type of paper, argumentation is essential for a well-written book review. Each of your statements and ideas should be proven by one or several arguments. For book reviews, we recommend using examples, quotation, and comparisons as the best pieces of evidence. Remember that you can’t just say “I like/don’t like this book.” You have to be consistent and follow certain argumentation logic in your writing.

• Don’t be a plagiarist

We will never tire of repeating this rule. We refuse to believe that you have no personal opinion or original thoughts! No doubt, you may look for inspiration in the articles written by professional critics, but you should never underestimate your writing skills. We believe that you’re able to create a fantastic text and avoid plagiarism.

Okay, that’s enough about mistakes for now! We’re sure that you’ll avoid them in the most elegant manner. If you need more tips for writing a book review, you can always check our amazing books for academic writing!

Our guide on how to write a book review is almost completed! The last thing you should learn about this type of paper is its structure. We’ll describe the essay-type structure for a review that will be appropriate for academic writing. If you choose a creative book review, you can break all the rules and compose the most extraordinary book review sample.

How to write a book review: simple structure

We have told you everything you need to know about writing a book review. However, we have one more thing to surprise you with! Awesome book review samples from our talented writers are waiting for you below! Follow the links and find your inspiration in our texts!

Book review examples and how to use them

As we promised, we will share all these book review samples with you! Please, don’t copy them thoughtlessly to present as your own work. This will be considered as plagiarism, or in other words, theft of intellectual property. However, you have many legal opportunities to use our samples. They will teach you how to make a book review better than any theoretical guides. So, there are four ways to use our texts and make the writing process easier:

• Source of information

Our writers use only reliable sources of data when they look for information about the topic. They avoid Wikipedia articles, personal blogs, and magazines to provide you only with valid facts and expert opinions. Thus, you can use our samples as a source of information without any fear of being misinformed.

This is an important technique to avoid plagiarism. Create a proper citation according to the required formatting style, and you’ll get a good piece of evidence for your argumentation! Don’t forget to list all your sources in your reference list!

• Paraphrasing

This method is a bit more difficult in comparison to citing, as every college has its own rules of proper paraphrasing. Before writing a book review, ask your instructor to specify his or her requirements with regard to paraphrasing. Formatting mistakes will negatively influence your grade!

• Inspiration

Finally, well-written samples may help you to overcome writer’s block and the fear of the first sentence. Inspiration and motivation are an indispensable part of the writing process. So, let the Muse be with you!

The Hound of the Baskervilles Book Review Sample

This example of a book review demonstrates how the writer can look from a fresh perspective even with the pieces of classical literature. The review is focused on the issue of guilt and its nature developed by Arthur Conan Doyle in his crime novel “The Hound of the Baskervilles.” A well-written sample will surprise you with an in-depth psychological approach.

Book Review Sample on Canadian History

If you have to write a book review about a history book, this sample will be a great help for you. The writer provided a detailed and well-structured analysis of the book “Alliance and Illusion: Canada and the World, 1945-1984” by Robert Bothwell. The review is a balanced combination of a summary, analysis, and critical evaluation.

The Book Thief Review Sample: Liesel Character

Here, we’ve placed an example of a different format of a book review. The writer is focused mostly on the main character of the novel, Liesel Meminger. The review analyzes her character and attitude. The writer examines how the character changes through the book and what causes these changes.

Little Women Book Review

This text is a short book review example about the novel “Little Women” by Louisa May Alcott. Although this book was written in the 19th century, it still develops feminist views and other social issues. This sample will be a good template for your own writing.

Uncle Tom’s Cabin Book Review

The author of the review sample examines how the novel written by Harriet Beecher Stowe pictures the social issue of slavery. The release of this book had both positive and negative consequences for the image of African Americans in the 19th century. If you’re going to create a book review about “Uncle Tom’s Cabin,” our sample will be a great starting point for you.

Flowers for Algernon Book Review Sample

“Flowers for Algernon” is an amazing novel written by Daniel Keyes. It deserves thousands of reviews, and you won’t be disappointed if you decide to write another one. In our sample, the writer focuses on the theme of intelligence developed in the book. You can pick another aspect or follow the steps of our expert. It depends on you.

Now, we’re finally done. It has been a long path, but you can call yourself a real “book review guru”! Writing a book review is not as hard as you imagine. You just need to find a book that you’ll like and a good guide like the one above! Of course, you’ll also need inspiration, time, and energy. If you’re limited in one of these resources, there is always a way out!

Book review writing assistance from our writers

Apply to our EssayShark team to get immediate expert assistance! Our talented authors will solve any writing problem flawlessly. We work 24/7, so you may contact us anytime whenever you need a helping hand. Affordable prices and a user-friendly system are also waiting for you on our website. Forget about your deadlines with our EssayShark writing service, or even engineering coursework writing service !

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👀 Book Review Example

🔗 references, ❓ what is a book review.

A book review is a form of literary criticism. There are several important elements to consider when writing one, such as the author’s style and themes of interest. The two most popular types are short summary reviews and critical reviews, which are longer.

Summary Book Review

The format of a book review depends on the purpose of your writing. A short summary review will not include any in-depth analysis. It’s merely a descriptive piece of writing that overviews key information about the book and its author. An effective summary review consists of:

• Reference to a chosen book in the form of a citation.
• A few words on the book’s purpose.
• Description of the main themes, ideas, and issues highlighted by the author.
• Brief information about other works on this topic, if applicable.
• A note about the author and visual materials of the book, along with its structure.

Critical Book Review

A critical book review is much longer than its summary counterpart and looks more like an analytical essay. You may be asked to write one as a college student. It includes:

• Book citation and a hook in the introduction.
• A few words about the author’s intentions.
• An academic description of the main ideas and themes.
• Mention of errors in the text, if you found any.
• Discussion of the chosen book’s significance and how it has influenced the field.
• Some information about the author and the physical content of the book.
• Description of the audience and whether the writer’s style and ideas are engaging.

🧩 Book Review Outline

Check out the book review outline template below to learn more about structuring your paper.

Introduction

The introduction of a book review should include some background information and your thesis statement.

• What is this book about?
• Who is the author?
• What were the reasons for writing this book?
• Who is this book for?
• What is the general problem the book addresses?

Brief book summary

A brief summary should provide an outline of the book’s main ideas or events.

• What are the main themes/ideas of the book?
• What is the plot?
• Who are the characters?
• What is the major emphasis of the work?

Critical review 

A critical review should focus on your evaluation of the author’s approach to writing about a particular issue.

• What did you like/dislike in the book?
• What are the book’s strengths and weaknesses?
• What do you agree/disagree with? Why?
• How does this book compare to other books on this topic?
• What matters does the book leave out?

The conclusion of a book review should finish with your personal assessment of the work.

• Has the author achieved the purpose of writing the book?
• Is this book worth reading?
• To whom would you recommend this book?
• What is your final opinion about it?
• What steel needs to be written on this subject?

Book Review Outline Example

We have prepared for you a book review outline example on Looking for Alaska by John Green. Check it out:

• Hook: Have you ever searched for meaning amidst the chaos of teenage life? John Green’s Looking for Alaska embarks on that very journey, unveiling the messy realities of adolescence.
• Overview of the book.
• Information about the author.
• Thesis statement: In Looking for Alaska , John Green skillfully crafts a narrative that delves into the turbulent journey of adolescence, exploring themes of friendship, identity, and the quest for meaning.
• Introduction of the protagonist, Miles Halter.
• Introduction of other characters and their roles in Halter’s life.
• Key events of the book.
• Green’s writing style and its effectiveness in portraying the turbulent emotions and confusion of adolescence.
• The character development of Miles and his journey of self-discovery, grief, and understanding.
• Exploration of how themes of friendship, identity, and the quest for meaning are depicted throughout the narrative.
• Restated thesis.
• Brief summary of main points.
• Recommendation: I would recommend this thought-provoking book to fans of realistic fiction that doesn’t shy away from difficult topics.

📋 Book Review Format

Here are several practical tips that can aid you in formatting your book review:

• Start with the book citation. Provide the necessary publication information about the book, including the author’s name, the full title of the book, and other elements required by your chosen citation style (e.g., APA, MLA, Chicago, etc.).
• Italicize the book title in the text. Whenever you mention the book title in your review, remember to type it in italics without using quotation marks. However, if you include the title of a book chapter, enclose it in quotation marks and don’t italicize it.
• Use a readable font. Type your book reviews using a 12-pt Arial or Times New Roman font.
• Apply standard document settings. These include 1-inch margins on all sides, double spacing, and flush left paragraph alignment.
• Use in-text citations. Always cite the information borrowed from other authors. This way, your readers will understand the origin of your ideas and distinguish your thoughts from those of others.
• Keep your review to 500-1500 words. When the professor does not indicate how many words to include in your book review, keep it to 2-5 double-spaced pages.

✍️ How to Write a Book Review?

The structure of a book review is like any other essay. That said, the process of writing one has its own idiosyncrasies. So, before moving to the three parts of the review (introduction, main body, and conclusion), you should study the chosen piece and make enough notes to work with.

Step #1: Choose a Book and Read It

Being interested in a book you’re about to analyze is one thing. Reading it deeply is quite another.

Before you even dive into the text proper, think about what you already know about the book. Then, study the table of contents and make some predictions. What’s your first impression?

Now, it’s time to read it! Don’t take this step lightly. Keep a note log throughout the reading process and stop after each chapter to jot down a quick summary. If you find any particular point of interest along the way and feel you might want to discuss it in the review, highlight it to make it easier to find when you go back through the text. If you happen to have a digital copy, you can even use a shorten essay generator and save yourself some time.

Answering the following questions can also help you with this process.

Step #2: Create Your Book Review Outline

A solid outline should be the foundation of any worthy book review. It includes the key points you want to address and gives you a place to start from (and refer back to) throughout the writing process.

You are expected to produce at least five paragraphs if you want your review to look professional, including an introduction, three body paragraphs, and a conclusion .

While analyzing your notes , consider the questions below.

Step #3: Write Your Book Review Introduction

With a layout firmly in place, it’s time to start writing your introduction. This process should be straightforward: mention the name of the book and its author and specify your first impression. The last sentence should always be your thesis statement, which summarizes your review’s thrust and critical findings.

Step #4: Write Your Book Review Body

Include at least three main ideas you wish to highlight. These can be about the writing style, themes, character, or plot. Be sure to support your arguments with evidence in the form of direct quotes (at least one per paragraph). Don’t be afraid to paraphrase the sentences that feel off. It’s better to aknowledge the mistakes yourself than have someone else point them out.

Step #5: Write Your Book Review Conclusion

Compose a brief summary of everything you wrote about in the main body. You should also paraphrase your thesis statement . For your closing sentence, comment on the value of the book. Perhaps it served as a source of useful insight, or you just appreciate the author’s intention to shed light on a particular issue.

Now you know how to write a book review. But if you need some more inspiration, check out the following sample review, which follows the basic outline described above.

Mary Shelley’s Frankenstein: Book Review Example

If you want more examples, check out the list below!

• “The 21 Irrefutable Laws of Leadership”: Book Review
• The Great Gatsby: A Book Review and Summary  
• Book Review: “They Say I Say”  
• Book Review “Religious, Feminist, Activist ” by Laurel Zwissler
• “Tell My Horse” by Zora Neale Hurston Book Review
• “Emotional Intelligence” by Daniel Goleman Book Review  

Book Review Essay Topics

• Pride and Prejudice by Jane Austen: book review.
• The symbolic nature of the Canadian consumption culture in The Donut: A Canadian History by S. Penfold.
• The key lessons of the book Rich Dad Poor Dad by Robert Kiyosaki.
• Big Talk, Small Talk by Shola Kaye : a guide to effective communication.
• Review of the book The Handmaid’s Tale by Margaret Atwood.
• The main ideas promoted in Thinking About Crime: Sense and Sensibility in American Penal Culture by M. Tonry.
• Exposition of young boys’ problems in Nikkah’s Our Boys Speak .
• Mrs. Dalloway by Virginia Woolf: book review.
• Discuss the message to future entrepreneurs in Phil Knight’s Shoe Dog .
• The main ideas of The 7 Habits of Highly Effective People by Stephen R. Covey.
• Magical realism in The Brief Wondrous Life of Oscar Wao by Juno Diaz.
• Book review: Into the Wild by Jon Krakauer.
• Psychological struggles of identity and isolation in Frankenstein by Mary Shelley.
• The principle of negotiation in the book Getting to Yes .
• Analyze the symbolism in Ray Bradbury’s Fahrenheit 451 .
• The role of family in Montana 1948 .
• Weaving the Web by Tim Berners-Lee: book review.
• Discuss the main topic of the book Death of a Salesman .
• Tragedy of the family in A Good Man Is Hard to Find by Flannery O’Connor.
• Realistic features of Afghanistan in The Kite Runner by Khaled Hosseini.
• Review of the book Montley Fool Money Guide .
• Description of the gap between two cultures in The Spirit Catches You and You Fall Down by Anne Fadiman.
• The effect of Puritan beliefs in Nathaniel Hawthorne’s Young Goodman Brown .
• Heart of Darkness by Joseph Conrad as a prominent example of symbolism.
• The philosophical value of Oedipus the King by Sophocles.
• Discuss the description of gradual personality changes in Edgar Allan Poe’s The Black Cat .
• Review of the play Much Ado About Nothing by W. Shakespeare.
• Analyze the core theme of Sherman Alexie’s book The Absolutely True Diary of a Part-Time Indian .
• Family values and culture preservation issues in J.D. Vance Book Hillbilly Elegy .
• Problems of teenagers’ behavior in Nothing but the Truth by Avi.
• The role of women in society in Sylvia Plath’s The Bell Jar .
• Satire on the Victorian society customs in The Importance of Being Earnest by Oscar Wilde .
• Danger of obsession with new technologies in Nathaniel Hawthorne’s The Birthmark .
• Describe the controversial messages of Why Don’t You Dance by Raymond Carver .
• Examine the central problem of the novel Motorcycle Ride on the Sea of Tranquility by Patricia Santana.
• Review of the book Billy Budd by Herman Melville.
• The fundamental philosophical problems of perception and consciousness in The Invention of Morel by Adolfo Bioy Casares.
• Discuss the role of the illusory world Tennessee Williams’ The Glass Menagerie .
• Gender roles in A Doll’s House by Henrik Ibsen.
• Analyze the main topic of Death by Landscape by Margaret Atwood.
• Book Review – The New York Times
• Book Reviews – UNC Writing Center
• Writing a Book Review – USC Writing Center
• Books | The Guardian
• Book Reviews : NPR – NPR
• Book Reviews // Purdue Writing Lab
• Book Reviews | Nature
• The New York Review of Books: Home
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I need a seven page Book report on Booker T. Washington. Instructions below from instructor title, your name, and then seven paragraphs and seven pages – no more no less.

get rid of the outline format.

They combine your ideas into seven paragraphs.

Each paragraph that has quotes should have a topic sentence followed by the five sentences with quotes and endnotes, followed by the concluding sentence.

You do not need any quotes in the introduction or in the summary.

So seven paragraphs total.

Each paragraph needs to be 13 – 17 lines, lines on a page and not sentences.

So, delete the outline format.

Combine your ideas into seven paragraphs.

Make sure that each paragraph has between 13–17 lines.

And make sure your overall length is in seven pages, no more no less.