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12.14: Sample Student Literary Analysis Essays

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Page ID 40514

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

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

While reading these examples, ask yourself the following questions:

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

Example 1: Poetry

Victoria Morillo

Instructor Heather Ringo

3 August 2022

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

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

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

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

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

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

Works Cited

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

Example 2: Fiction

Todd Goodwin

Professor Stan Matyshak

Advanced Expository Writing

Sept. 17, 20—

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

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

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

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

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

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

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

Example 3: Poetry

Amy Chisnell

Professor Laura Neary

Writing and Literature

April 17, 20—

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

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

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

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

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

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

’Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogroves,

An the mome raths outgrabe. (Carroll 164)

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

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

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

All flimsy and miserable were the shabby-looking birds

with mop feathers,

And the lost green pigs bellowed-sneezed-whistled.

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

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

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

’Twas mearly, and the churly pells

Did bimble and ringle in the tink;

All timpy were the brimbledimps,

And the bip plips outlink.

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

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

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

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

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

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

Attribution

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

beginner's guide to literary analysis

Understanding literature & how to write literary analysis.

Literary analysis is the foundation of every college and high school English class. Once you can comprehend written work and respond to it, the next step is to learn how to think critically and complexly about a work of literature in order to analyze its elements and establish ideas about its meaning.

If that sounds daunting, it shouldn’t. Literary analysis is really just a way of thinking creatively about what you read. The practice takes you beyond the storyline and into the motives behind it.

While an author might have had a specific intention when they wrote their book, there’s still no right or wrong way to analyze a literary text—just your way. You can use literary theories, which act as “lenses” through which you can view a text. Or you can use your own creativity and critical thinking to identify a literary device or pattern in a text and weave that insight into your own argument about the text’s underlying meaning.

Now, if that sounds fun, it should , because it is. Here, we’ll lay the groundwork for performing literary analysis, including when writing analytical essays, to help you read books like a critic.

What Is Literary Analysis?

As the name suggests, literary analysis is an analysis of a work, whether that’s a novel, play, short story, or poem. Any analysis requires breaking the content into its component parts and then examining how those parts operate independently and as a whole. In literary analysis, those parts can be different devices and elements—such as plot, setting, themes, symbols, etcetera—as well as elements of style, like point of view or tone.

When performing analysis, you consider some of these different elements of the text and then form an argument for why the author chose to use them. You can do so while reading and during class discussion, but it’s particularly important when writing essays.

Literary analysis is notably distinct from summary. When you write a summary , you efficiently describe the work’s main ideas or plot points in order to establish an overview of the work. While you might use elements of summary when writing analysis, you should do so minimally. You can reference a plot line to make a point, but it should be done so quickly so you can focus on why that plot line matters . In summary (see what we did there?), a summary focuses on the “ what ” of a text, while analysis turns attention to the “ how ” and “ why .”

While literary analysis can be broad, covering themes across an entire work, it can also be very specific, and sometimes the best analysis is just that. Literary critics have written thousands of words about the meaning of an author’s single word choice; while you might not want to be quite that particular, there’s a lot to be said for digging deep in literary analysis, rather than wide.

Although you’re forming your own argument about the work, it’s not your opinion . You should avoid passing judgment on the piece and instead objectively consider what the author intended, how they went about executing it, and whether or not they were successful in doing so. Literary criticism is similar to literary analysis, but it is different in that it does pass judgement on the work. Criticism can also consider literature more broadly, without focusing on a singular work.

Once you understand what constitutes (and doesn’t constitute) literary analysis, it’s easy to identify it. Here are some examples of literary analysis and its oft-confused counterparts:

Summary: In “The Fall of the House of Usher,” the narrator visits his friend Roderick Usher and witnesses his sister escape a horrible fate.

Opinion: In “The Fall of the House of Usher,” Poe uses his great Gothic writing to establish a sense of spookiness that is enjoyable to read.

Literary Analysis: “Throughout ‘The Fall of the House of Usher,’ Poe foreshadows the fate of Madeline by creating a sense of claustrophobia for the reader through symbols, such as in the narrator’s inability to leave and the labyrinthine nature of the house.

In summary, literary analysis is:

Breaking a work into its components
Identifying what those components are and how they work in the text
Developing an understanding of how they work together to achieve a goal
Not an opinion, but subjective
Not a summary, though summary can be used in passing
Best when it deeply, rather than broadly, analyzes a literary element

Literary Analysis and Other Works

As discussed above, literary analysis is often performed upon a single work—but it doesn’t have to be. It can also be performed across works to consider the interplay of two or more texts. Regardless of whether or not the works were written about the same thing, or even within the same time period, they can have an influence on one another or a connection that’s worth exploring. And reading two or more texts side by side can help you to develop insights through comparison and contrast.

For example, Paradise Lost is an epic poem written in the 17th century, based largely on biblical narratives written some 700 years before and which later influenced 19th century poet John Keats. The interplay of works can be obvious, as here, or entirely the inspiration of the analyst. As an example of the latter, you could compare and contrast the writing styles of Ralph Waldo Emerson and Edgar Allan Poe who, while contemporaries in terms of time, were vastly different in their content.

Additionally, literary analysis can be performed between a work and its context. Authors are often speaking to the larger context of their times, be that social, political, religious, economic, or artistic. A valid and interesting form is to compare the author’s context to the work, which is done by identifying and analyzing elements that are used to make an argument about the writer’s time or experience.

For example, you could write an essay about how Hemingway’s struggles with mental health and paranoia influenced his later work, or how his involvement in the Spanish Civil War influenced his early work. One approach focuses more on his personal experience, while the other turns to the context of his times—both are valid.

Why Does Literary Analysis Matter?

Sometimes an author wrote a work of literature strictly for entertainment’s sake, but more often than not, they meant something more. Whether that was a missive on world peace, commentary about femininity, or an allusion to their experience as an only child, the author probably wrote their work for a reason, and understanding that reason—or the many reasons—can actually make reading a lot more meaningful.

Performing literary analysis as a form of study unquestionably makes you a better reader. It’s also likely that it will improve other skills, too, like critical thinking, creativity, debate, and reasoning.

At its grandest and most idealistic, literary analysis even has the ability to make the world a better place. By reading and analyzing works of literature, you are able to more fully comprehend the perspectives of others. Cumulatively, you’ll broaden your own perspectives and contribute more effectively to the things that matter to you.

Literary Terms to Know for Literary Analysis

There are hundreds of literary devices you could consider during your literary analysis, but there are some key tools most writers utilize to achieve their purpose—and therefore you need to know in order to understand that purpose. These common devices include:

Characters: The people (or entities) who play roles in the work. The protagonist is the main character in the work.
Conflict: The conflict is the driving force behind the plot, the event that causes action in the narrative, usually on the part of the protagonist
Context : The broader circumstances surrounding the work political and social climate in which it was written or the experience of the author. It can also refer to internal context, and the details presented by the narrator
Diction : The word choice used by the narrator or characters
Genre: A category of literature characterized by agreed upon similarities in the works, such as subject matter and tone
Imagery : The descriptive or figurative language used to paint a picture in the reader’s mind so they can picture the story’s plot, characters, and setting
Metaphor: A figure of speech that uses comparison between two unlike objects for dramatic or poetic effect
Narrator: The person who tells the story. Sometimes they are a character within the story, but sometimes they are omniscient and removed from the plot.
Plot : The storyline of the work
Point of view: The perspective taken by the narrator, which skews the perspective of the reader
Setting : The time and place in which the story takes place. This can include elements like the time period, weather, time of year or day, and social or economic conditions
Symbol : An object, person, or place that represents an abstract idea that is greater than its literal meaning
Syntax : The structure of a sentence, either narration or dialogue, and the tone it implies
Theme : A recurring subject or message within the work, often commentary on larger societal or cultural ideas
Tone : The feeling, attitude, or mood the text presents

How to Perform Literary Analysis

Step 1: read the text thoroughly.

Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand.

It’s also important that you don’t skim or speed read. While those are helpful skills, they don’t apply to literary analysis—or at least not this stage.

Step 2: Take Notes as You Read

As you read the work, take notes about different literary elements and devices that stand out to you. Whether you highlight or underline in text, use sticky note tabs to mark pages and passages, or handwrite your thoughts in a notebook, you should capture your thoughts and the parts of the text to which they correspond. This—the act of noticing things about a literary work—is literary analysis.

Step 3: Notice Patterns

As you read the work, you’ll begin to notice patterns in the way the author deploys language, themes, and symbols to build their plot and characters. As you read and these patterns take shape, begin to consider what they could mean and how they might fit together.

As you identify these patterns, as well as other elements that catch your interest, be sure to record them in your notes or text. Some examples include:

Circle or underline words or terms that you notice the author uses frequently, whether those are nouns (like “eyes” or “road”) or adjectives (like “yellow” or “lush”).
Highlight phrases that give you the same kind of feeling. For example, if the narrator describes an “overcast sky,” a “dreary morning,” and a “dark, quiet room,” the words aren’t the same, but the feeling they impart and setting they develop are similar.
Underline quotes or prose that define a character’s personality or their role in the text.
Use sticky tabs to color code different elements of the text, such as specific settings or a shift in the point of view.

By noting these patterns, comprehensive symbols, metaphors, and ideas will begin to come into focus.

Step 4: Consider the Work as a Whole, and Ask Questions

This is a step that you can do either as you read, or after you finish the text. The point is to begin to identify the aspects of the work that most interest you, and you could therefore analyze in writing or discussion.

Questions you could ask yourself include:

What aspects of the text do I not understand?
What parts of the narrative or writing struck me most?
What patterns did I notice?
What did the author accomplish really well?
What did I find lacking?
Did I notice any contradictions or anything that felt out of place?
What was the purpose of the minor characters?
What tone did the author choose, and why?

The answers to these and more questions will lead you to your arguments about the text.

Step 5: Return to Your Notes and the Text for Evidence

As you identify the argument you want to make (especially if you’re preparing for an essay), return to your notes to see if you already have supporting evidence for your argument. That’s why it’s so important to take notes or mark passages as you read—you’ll thank yourself later!

If you’re preparing to write an essay, you’ll use these passages and ideas to bolster your argument—aka, your thesis. There will likely be multiple different passages you can use to strengthen multiple different aspects of your argument. Just be sure to cite the text correctly!

If you’re preparing for class, your notes will also be invaluable. When your teacher or professor leads the conversation in the direction of your ideas or arguments, you’ll be able to not only proffer that idea but back it up with textual evidence. That’s an A+ in class participation.

Step 6: Connect These Ideas Across the Narrative

Whether you’re in class or writing an essay, literary analysis isn’t complete until you’ve considered the way these ideas interact and contribute to the work as a whole. You can find and present evidence, but you still have to explain how those elements work together and make up your argument.

How to Write a Literary Analysis Essay

When conducting literary analysis while reading a text or discussing it in class, you can pivot easily from one argument to another (or even switch sides if a classmate or teacher makes a compelling enough argument).

But when writing literary analysis, your objective is to propose a specific, arguable thesis and convincingly defend it. In order to do so, you need to fortify your argument with evidence from the text (and perhaps secondary sources) and an authoritative tone.

A successful literary analysis essay depends equally on a thoughtful thesis, supportive analysis, and presenting these elements masterfully. We’ll review how to accomplish these objectives below.

Step 1: Read the Text. Maybe Read It Again.

Constructing an astute analytical essay requires a thorough knowledge of the text. As you read, be sure to note any passages, quotes, or ideas that stand out. These could serve as the future foundation of your thesis statement. Noting these sections now will help you when you need to gather evidence.

The more familiar you become with the text, the better (and easier!) your essay will be. Familiarity with the text allows you to speak (or in this case, write) to it confidently. If you only skim the book, your lack of rich understanding will be evident in your essay. Alternatively, if you read the text closely—especially if you read it more than once, or at least carefully revisit important passages—your own writing will be filled with insight that goes beyond a basic understanding of the storyline.

Step 2: Brainstorm Potential Topics

Because you took detailed notes while reading the text, you should have a list of potential topics at the ready. Take time to review your notes, highlighting any ideas or questions you had that feel interesting. You should also return to the text and look for any passages that stand out to you.

When considering potential topics, you should prioritize ideas that you find interesting. It won’t only make the whole process of writing an essay more fun, your enthusiasm for the topic will probably improve the quality of your argument, and maybe even your writing. Just like it’s obvious when a topic interests you in a conversation, it’s obvious when a topic interests the writer of an essay (and even more obvious when it doesn’t).

Your topic ideas should also be specific, unique, and arguable. A good way to think of topics is that they’re the answer to fairly specific questions. As you begin to brainstorm, first think of questions you have about the text. Questions might focus on the plot, such as: Why did the author choose to deviate from the projected storyline? Or why did a character’s role in the narrative shift? Questions might also consider the use of a literary device, such as: Why does the narrator frequently repeat a phrase or comment on a symbol? Or why did the author choose to switch points of view each chapter?

Once you have a thesis question , you can begin brainstorming answers—aka, potential thesis statements . At this point, your answers can be fairly broad. Once you land on a question-statement combination that feels right, you’ll then look for evidence in the text that supports your answer (and helps you define and narrow your thesis statement).

For example, after reading “ The Fall of the House of Usher ,” you might be wondering, Why are Roderick and Madeline twins?, Or even: Why does their relationship feel so creepy?” Maybe you noticed (and noted) that the narrator was surprised to find out they were twins, or perhaps you found that the narrator’s tone tended to shift and become more anxious when discussing the interactions of the twins.

Once you come up with your thesis question, you can identify a broad answer, which will become the basis for your thesis statement. In response to the questions above, your answer might be, “Poe emphasizes the close relationship of Roderick and Madeline to foreshadow that their deaths will be close, too.”

Step 3: Gather Evidence

Once you have your topic (or you’ve narrowed it down to two or three), return to the text (yes, again) to see what evidence you can find to support it. If you’re thinking of writing about the relationship between Roderick and Madeline in “The Fall of the House of Usher,” look for instances where they engaged in the text.

This is when your knowledge of literary devices comes in clutch. Carefully study the language around each event in the text that might be relevant to your topic. How does Poe’s diction or syntax change during the interactions of the siblings? How does the setting reflect or contribute to their relationship? What imagery or symbols appear when Roderick and Madeline are together?

By finding and studying evidence within the text, you’ll strengthen your topic argument—or, just as valuably, discount the topics that aren’t strong enough for analysis.

Step 4: Consider Secondary Sources

In addition to returning to the literary work you’re studying for evidence, you can also consider secondary sources that reference or speak to the work. These can be articles from journals you find on JSTOR, books that consider the work or its context, or articles your teacher shared in class.

While you can use these secondary sources to further support your idea, you should not overuse them. Make sure your topic remains entirely differentiated from that presented in the source.

Step 5: Write a Working Thesis Statement

Once you’ve gathered evidence and narrowed down your topic, you’re ready to refine that topic into a thesis statement. As you continue to outline and write your paper, this thesis statement will likely change slightly, but this initial draft will serve as the foundation of your essay. It’s like your north star: Everything you write in your essay is leading you back to your thesis.

Writing a great thesis statement requires some real finesse. A successful thesis statement is:

Debatable : You shouldn’t simply summarize or make an obvious statement about the work. Instead, your thesis statement should take a stand on an issue or make a claim that is open to argument. You’ll spend your essay debating—and proving—your argument.
Demonstrable : You need to be able to prove, through evidence, that your thesis statement is true. That means you have to have passages from the text and correlative analysis ready to convince the reader that you’re right.
Specific : In most cases, successfully addressing a theme that encompasses a work in its entirety would require a book-length essay. Instead, identify a thesis statement that addresses specific elements of the work, such as a relationship between characters, a repeating symbol, a key setting, or even something really specific like the speaking style of a character.

Example: By depicting the relationship between Roderick and Madeline to be stifling and almost otherworldly in its closeness, Poe foreshadows both Madeline’s fate and Roderick’s inability to choose a different fate for himself.

Step 6: Write an Outline

You have your thesis, you have your evidence—but how do you put them together? A great thesis statement (and therefore a great essay) will have multiple arguments supporting it, presenting different kinds of evidence that all contribute to the singular, main idea presented in your thesis.

Review your evidence and identify these different arguments, then organize the evidence into categories based on the argument they support. These ideas and evidence will become the body paragraphs of your essay.

For example, if you were writing about Roderick and Madeline as in the example above, you would pull evidence from the text, such as the narrator’s realization of their relationship as twins; examples where the narrator’s tone of voice shifts when discussing their relationship; imagery, like the sounds Roderick hears as Madeline tries to escape; and Poe’s tendency to use doubles and twins in his other writings to create the same spooky effect. All of these are separate strains of the same argument, and can be clearly organized into sections of an outline.

Step 7: Write Your Introduction

Your introduction serves a few very important purposes that essentially set the scene for the reader:

Establish context. Sure, your reader has probably read the work. But you still want to remind them of the scene, characters, or elements you’ll be discussing.
Present your thesis statement. Your thesis statement is the backbone of your analytical paper. You need to present it clearly at the outset so that the reader understands what every argument you make is aimed at.
Offer a mini-outline. While you don’t want to show all your cards just yet, you do want to preview some of the evidence you’ll be using to support your thesis so that the reader has a roadmap of where they’re going.

Step 8: Write Your Body Paragraphs

Thanks to steps one through seven, you’ve already set yourself up for success. You have clearly outlined arguments and evidence to support them. Now it’s time to translate those into authoritative and confident prose.

When presenting each idea, begin with a topic sentence that encapsulates the argument you’re about to make (sort of like a mini-thesis statement). Then present your evidence and explanations of that evidence that contribute to that argument. Present enough material to prove your point, but don’t feel like you necessarily have to point out every single instance in the text where this element takes place. For example, if you’re highlighting a symbol that repeats throughout the narrative, choose two or three passages where it is used most effectively, rather than trying to squeeze in all ten times it appears.

While you should have clearly defined arguments, the essay should still move logically and fluidly from one argument to the next. Try to avoid choppy paragraphs that feel disjointed; every idea and argument should feel connected to the last, and, as a group, connected to your thesis. A great way to connect the ideas from one paragraph to the next is with transition words and phrases, such as:

Furthermore
In addition
On the other hand
Conversely

Step 9: Write Your Conclusion

Your conclusion is more than a summary of your essay's parts, but it’s also not a place to present brand new ideas not already discussed in your essay. Instead, your conclusion should return to your thesis (without repeating it verbatim) and point to why this all matters. If writing about the siblings in “The Fall of the House of Usher,” for example, you could point out that the utilization of twins and doubles is a common literary element of Poe’s work that contributes to the definitive eeriness of Gothic literature.

While you might speak to larger ideas in your conclusion, be wary of getting too macro. Your conclusion should still be supported by all of the ideas that preceded it.

Step 10: Revise, Revise, Revise

Of course you should proofread your literary analysis essay before you turn it in. But you should also edit the content to make sure every piece of evidence and every explanation directly supports your thesis as effectively and efficiently as possible.

Sometimes, this might mean actually adapting your thesis a bit to the rest of your essay. At other times, it means removing redundant examples or paraphrasing quotations. Make sure every sentence is valuable, and remove those that aren’t.

Other Resources for Literary Analysis

With these skills and suggestions, you’re well on your way to practicing and writing literary analysis. But if you don’t have a firm grasp on the concepts discussed above—such as literary devices or even the content of the text you’re analyzing—it will still feel difficult to produce insightful analysis.

If you’d like to sharpen the tools in your literature toolbox, there are plenty of other resources to help you do so:

Check out our expansive library of Literary Devices . These could provide you with a deeper understanding of the basic devices discussed above or introduce you to new concepts sure to impress your professors ( anagnorisis , anyone?).
This Academic Citation Resource Guide ensures you properly cite any work you reference in your analytical essay.
Our English Homework Help Guide will point you to dozens of resources that can help you perform analysis, from critical reading strategies to poetry helpers.
This Grammar Education Resource Guide will direct you to plenty of resources to refine your grammar and writing (definitely important for getting an A+ on that paper).

Of course, you should know the text inside and out before you begin writing your analysis. In order to develop a true understanding of the work, read through its corresponding SuperSummary study guide . Doing so will help you truly comprehend the plot, as well as provide some inspirational ideas for your analysis.

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

Introduction

You’ve been assigned a literary analysis paper—what does that even mean? Is it like a book report that you used to write in high school? Well, not really.

A literary analysis essay asks you to make an original argument about a poem, play, or work of fiction and support that argument with research and evidence from your careful reading of the text.

It can take many forms, such as a close reading of a text, critiquing the text through a particular literary theory, comparing one text to another, or criticizing another critic’s interpretation of the text. While there are many ways to structure a literary essay, writing this kind of essay follows generally follows a similar process for everyone

Crafting a good literary analysis essay begins with good close reading of the text, in which you have kept notes and observations as you read. This will help you with the first step, which is selecting a topic to write about—what jumped out as you read, what are you genuinely interested in? The next step is to focus your topic, developing it into an argument—why is this subject or observation important? Why should your reader care about it as much as you do? The third step is to gather evidence to support your argument, for literary analysis, support comes in the form of evidence from the text and from your research on what other literary critics have said about your topic. Only after you have performed these steps, are you ready to begin actually writing your essay.

Writing a Literary Analysis Essay

How to create a topic and conduct research:.

Writing an Analysis of a Poem, Story, or Play

If you are taking a literature course, it is important that you know how to write an analysis—sometimes called an interpretation or a literary analysis or a critical reading or a critical analysis—of a story, a poem, and a play. Your instructor will probably assign such an analysis as part of the course assessment. On your mid-term or final exam, you might have to write an analysis of one or more of the poems and/or stories on your reading list. Or the dreaded “sight poem or story” might appear on an exam, a work that is not on the reading list, that you have not read before, but one your instructor includes on the exam to examine your ability to apply the active reading skills you have learned in class to produce, independently, an effective literary analysis.You might be asked to write instead or, or in addition to an analysis of a literary work, a more sophisticated essay in which you compare and contrast the protagonists of two stories, or the use of form and metaphor in two poems, or the tragic heroes in two plays.

You might learn some literary theory in your course and be asked to apply theory—feminist, Marxist, reader-response, psychoanalytic, new historicist, for example—to one or more of the works on your reading list. But the seminal assignment in a literature course is the analysis of the single poem, story, novel, or play, and, even if you do not have to complete this assignment specifically, it will form the basis of most of the other writing assignments you will be required to undertake in your literature class. There are several ways of structuring a literary analysis, and your instructor might issue specific instructions on how he or she wants this assignment done. The method presented here might not be identical to the one your instructor wants you to follow, but it will be easy enough to modify, if your instructor expects something a bit different, and it is a good default method, if your instructor does not issue more specific guidelines.You want to begin your analysis with a paragraph that provides the context of the work you are analyzing and a brief account of what you believe to be the poem or story or play’s main theme. At a minimum, your account of the work’s context will include the name of the author, the title of the work, its genre, and the date and place of publication. If there is an important biographical or historical context to the work, you should include that, as well.Try to express the work’s theme in one or two sentences. Theme, you will recall, is that insight into human experience the author offers to readers, usually revealed as the content, the drama, the plot of the poem, story, or play unfolds and the characters interact. Assessing theme can be a complex task. Authors usually show the theme; they don’t tell it. They rarely say, at the end of the story, words to this effect: “and the moral of my story is…” They tell their story, develop their characters, provide some kind of conflict—and from all of this theme emerges. Because identifying theme can be challenging and subjective, it is often a good idea to work through the rest of the analysis, then return to the beginning and assess theme in light of your analysis of the work’s other literary elements.Here is a good example of an introductory paragraph from Ben’s analysis of William Butler Yeats’ poem, “Among School Children.”

“Among School Children” was published in Yeats’ 1928 collection of poems The Tower. It was inspired by a visit Yeats made in 1926 to school in Waterford, an official visit in his capacity as a senator of the Irish Free State. In the course of the tour, Yeats reflects upon his own youth and the experiences that shaped the “sixty-year old, smiling public man” (line 8) he has become. Through his reflection, the theme of the poem emerges: a life has meaning when connections among apparently disparate experiences are forged into a unified whole.

In the body of your literature analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer’s use of figurative language—any of the elements of literature that are relevant to a sound analysis of this particular work. Your main goal is to explain how the elements of literature work to elucidate, augment, and develop the theme. The elements of literature are common across genres: a story, a narrative poem, and a play all have a plot and characters. But certain genres privilege certain literary elements. In a poem, for example, form, imagery and metaphor might be especially important; in a story, setting and point-of-view might be more important than they are in a poem; in a play, dialogue, stage directions, lighting serve functions rarely relevant in the analysis of a story or poem.

The length of the body of an analysis of a literary work will usually depend upon the length of work being analyzed—the longer the work, the longer the analysis—though your instructor will likely establish a word limit for this assignment. Make certain that you do not simply paraphrase the plot of the story or play or the content of the poem. This is a common weakness in student literary analyses, especially when the analysis is of a poem or a play.

Here is a good example of two body paragraphs from Amelia’s analysis of “Araby” by James Joyce.

Within the story’s first few paragraphs occur several religious references which will accumulate as the story progresses. The narrator is a student at the Christian Brothers’ School; the former tenant of his house was a priest; he left behind books called The Abbot and The Devout Communicant. Near the end of the story’s second paragraph the narrator describes a “central apple tree” in the garden, under which is “the late tenant’s rusty bicycle pump.” We may begin to suspect the tree symbolizes the apple tree in the Garden of Eden and the bicycle pump, the snake which corrupted Eve, a stretch, perhaps, until Joyce’s fall-of-innocence theme becomes more apparent.

The narrator must continue to help his aunt with her errands, but, even when he is so occupied, his mind is on Mangan’s sister, as he tries to sort out his feelings for her. Here Joyce provides vivid insight into the mind of an adolescent boy at once elated and bewildered by his first crush. He wants to tell her of his “confused adoration,” but he does not know if he will ever have the chance. Joyce’s description of the pleasant tension consuming the narrator is conveyed in a striking simile, which continues to develop the narrator’s character, while echoing the religious imagery, so important to the story’s theme: “But my body was like a harp, and her words and gestures were like fingers, running along the wires.”

The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And, second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are explicating. You may comment, though you should never be obliged to do so, on the personal relevance of the work. Here is the concluding paragraph from Dao-Ming’s analysis of Oscar Wilde’s The Importance of Being Earnest.

First performed in 1895, The Importance of Being Earnest has been made into a film, as recently as 2002 and is regularly revived by professional and amateur theatre companies. It endures not only because of the comic brilliance of its characters and their dialogue, but also because its satire still resonates with contemporary audiences. I am still amazed that I see in my own Asian mother a shadow of Lady Bracknell, with her obsession with finding for her daughter a husband who will maintain, if not, ideally, increase the family’s social status. We might like to think we are more liberated and socially sophisticated than our Victorian ancestors, but the starlets and eligible bachelors who star in current reality television programs illustrate the extent to which superficial concerns still influence decisions about love and even marriage. Even now, we can turn to Oscar Wilde to help us understand and laugh at those who are earnest in name only.

Dao-Ming’s conclusion is brief, but she does manage to praise the play, reaffirm its main theme, and explain its enduring appeal. And note how her last sentence cleverly establishes that sense of closure that is also a feature of an effective analysis.

You may, of course, modify the template that is presented here. Your instructor might favour a somewhat different approach to literary analysis. Its essence, though, will be your understanding and interpretation of the theme of the poem, story, or play and the skill with which the author shapes the elements of literature—plot, character, form, diction, setting, point of view—to support the theme.

BC Open Textbooks: English Literature Victorians and Moderns: https://opentextbc.ca/englishliterature/back-matter/appendix-5-writing-an-analysis-of-a-poem-story-and-play/

Literary Analysis

The challenges of writing about english literature.

Writing begins with the act of reading . While this statement is true for most college papers, strong English papers tend to be the product of highly attentive reading (and rereading). When your instructors ask you to do a “close reading,” they are asking you to read not only for content, but also for structures and patterns. When you perform a close reading, then, you observe how form and content interact. In some cases, form reinforces content: for example, in John Donne’s Holy Sonnet 14, where the speaker invites God’s “force” “to break, blow, burn and make [him] new.” Here, the stressed monosyllables of the verbs “break,” “blow” and “burn” evoke aurally the force that the speaker invites from God. In other cases, form raises questions about content: for example, a repeated denial of guilt will likely raise questions about the speaker’s professed innocence. When you close read, take an inductive approach. Start by observing particular details in the text, such as a repeated image or word, an unexpected development, or even a contradiction. Often, a detail–such as a repeated image–can help you to identify a question about the text that warrants further examination. So annotate details that strike you as you read. Some of those details will eventually help you to work towards a thesis. And don’t worry if a detail seems trivial. If you can make a case about how an apparently trivial detail reveals something significant about the text, then your paper will have a thought-provoking thesis to argue.

Common Types of English Papers Many assignments will ask you to analyze a single text. Others, however, will ask you to read two or more texts in relation to each other, or to consider a text in light of claims made by other scholars and critics. For most assignments, close reading will be central to your paper. While some assignment guidelines will suggest topics and spell out expectations in detail, others will offer little more than a page limit. Approaching the writing process in the absence of assigned topics can be daunting, but remember that you have resources: in section, you will probably have encountered some examples of close reading; in lecture, you will have encountered some of the course’s central questions and claims. The paper is a chance for you to extend a claim offered in lecture, or to analyze a passage neglected in lecture. In either case, your analysis should do more than recapitulate claims aired in lecture and section. Because different instructors have different goals for an assignment, you should always ask your professor or TF if you have questions. These general guidelines should apply in most cases:

A close reading of a single text: Depending on the length of the text, you will need to be more or less selective about what you choose to consider. In the case of a sonnet, you will probably have enough room to analyze the text more thoroughly than you would in the case of a novel, for example, though even here you will probably not analyze every single detail. By contrast, in the case of a novel, you might analyze a repeated scene, image, or object (for example, scenes of train travel, images of decay, or objects such as or typewriters). Alternately, you might analyze a perplexing scene (such as a novel’s ending, albeit probably in relation to an earlier moment in the novel). But even when analyzing shorter works, you will need to be selective. Although you might notice numerous interesting details as you read, not all of those details will help you to organize a focused argument about the text. For example, if you are focusing on depictions of sensory experience in Keats’ “Ode to a Nightingale,” you probably do not need to analyze the image of a homeless Ruth in stanza 7, unless this image helps you to develop your case about sensory experience in the poem.
A theoretically-informed close reading. In some courses, you will be asked to analyze a poem, a play, or a novel by using a critical theory (psychoanalytic, postcolonial, gender, etc). For example, you might use Kristeva’s theory of abjection to analyze mother-daughter relations in Toni Morrison’s novel Beloved. Critical theories provide focus for your analysis; if “abjection” is the guiding concept for your paper, you should focus on the scenes in the novel that are most relevant to the concept.
A historically-informed close reading. In courses with a historicist orientation, you might use less self-consciously literary documents, such as newspapers or devotional manuals, to develop your analysis of a literary work. For example, to analyze how Robinson Crusoe makes sense of his island experiences, you might use Puritan tracts that narrate events in terms of how God organizes them. The tracts could help you to show not only how Robinson Crusoe draws on Puritan narrative conventions, but also—more significantly—how the novel revises those conventions.
A comparison of two texts When analyzing two texts, you might look for unexpected contrasts between apparently similar texts, or unexpected similarities between apparently dissimilar texts, or for how one text revises or transforms the other. Keep in mind that not all of the similarities, differences, and transformations you identify will be relevant to an argument about the relationship between the two texts. As you work towards a thesis, you will need to decide which of those similarities, differences, or transformations to focus on. Moreover, unless instructed otherwise, you do not need to allot equal space to each text (unless this 50/50 allocation serves your thesis well, of course). Often you will find that one text helps to develop your analysis of another text. For example, you might analyze the transformation of Ariel’s song from The Tempest in T. S. Eliot’s poem, The Waste Land. Insofar as this analysis is interested in the afterlife of Ariel’s song in a later poem, you would likely allot more space to analyzing allusions to Ariel’s song in The Waste Land (after initially establishing the song’s significance in Shakespeare’s play, of course).
A response paper A response paper is a great opportunity to practice your close reading skills without having to develop an entire argument. In most cases, a solid approach is to select a rich passage that rewards analysis (for example, one that depicts an important scene or a recurring image) and close read it. While response papers are a flexible genre, they are not invitations for impressionistic accounts of whether you liked the work or a particular character. Instead, you might use your close reading to raise a question about the text—to open up further investigation, rather than to supply a solution.
A research paper. In most cases, you will receive guidance from the professor on the scope of the research paper. It is likely that you will be expected to consult sources other than the assigned readings. Hollis is your best bet for book titles, and the MLA bibliography (available through e-resources) for articles. When reading articles, make sure that they have been peer reviewed; you might also ask your TF to recommend reputable journals in the field.

Harvard College Writing Program: https://writingproject.fas.harvard.edu/files/hwp/files/bg_writing_english.pdf

In the same way that we talk with our friends about the latest episode of Game of Thrones or newest Marvel movie, scholars communicate their ideas and interpretations of literature through written literary analysis essays. Literary analysis essays make us better readers of literature.

Only through careful reading and well-argued analysis can we reach new understandings and interpretations of texts that are sometimes hundreds of years old. Literary analysis brings new meaning and can shed new light on texts. Building from careful reading and selecting a topic that you are genuinely interested in, your argument supports how you read and understand a text. Using examples from the text you are discussing in the form of textual evidence further supports your reading. Well-researched literary analysis also includes information about what other scholars have written about a specific text or topic.

Literary analysis helps us to refine our ideas, question what we think we know, and often generates new knowledge about literature. Literary analysis essays allow you to discuss your own interpretation of a given text through careful examination of the choices the original author made in the text.

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Literary Analysis Essay

Literary Analysis Essay Writing

Last updated on: May 21, 2023

Literary Analysis Essay - Ultimate Guide By Professionals

By: Cordon J.

Reviewed By: Rylee W.

Published on: Dec 3, 2019

A literary analysis essay specifically examines and evaluates a piece of literature or a literary work. It also understands and explains the links between the small parts to their whole information.

It is important for students to understand the meaning and the true essence of literature to write a literary essay.

One of the most difficult assignments for students is writing a literary analysis essay. It can be hard to come up with an original idea or find enough material to write about. You might think you need years of experience in order to create a good paper, but that's not true.

This blog post will show you how easy it can be when you follow the steps given here.Writing such an essay involves the breakdown of a book into small parts and understanding each part separately. It seems easy, right?

Trust us, it is not as hard as good book reports but it may also not be extremely easy. You will have to take into account different approaches and explain them in relation with the chosen literary work.

It is a common high school and college assignment and you can learn everything in this blog.

Continue reading for some useful tips with an example to write a literary analysis essay that will be on point. You can also explore our detailed article on writing an analytical essay .

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What is a Literary Analysis Essay?

A literary analysis essay is an important kind of essay that focuses on the detailed analysis of the work of literature.

The purpose of a literary analysis essay is to explain why the author has used a specific theme for his work. Or examine the characters, themes, literary devices , figurative language, and settings in the story.

This type of essay encourages students to think about how the book or the short story has been written. And why the author has created this work.

The method used in the literary analysis essay differs from other types of essays. It primarily focuses on the type of work and literature that is being analyzed.

Mostly, you will be going to break down the work into various parts. In order to develop a better understanding of the idea being discussed, each part will be discussed separately.

The essay should explain the choices of the author and point of view along with your answers and personal analysis.

How To Write A Literary Analysis Essay

So how to start a literary analysis essay? The answer to this question is quite simple.

The following sections are required to write an effective literary analysis essay. By following the guidelines given in the following sections, you will be able to craft a winning literary analysis essay.

Introduction

The aim of the introduction is to establish a context for readers. You have to give a brief on the background of the selected topic.

It should contain the name of the author of the literary work along with its title. The introduction should be effective enough to grab the reader’s attention.

In the body section, you have to retell the story that the writer has narrated. It is a good idea to create a summary as it is one of the important tips of literary analysis.

Other than that, you are required to develop ideas and disclose the observed information related to the issue. The ideal length of the body section is around 1000 words.

To write the body section, your observation should be based on evidence and your own style of writing.

It would be great if the body of your essay is divided into three paragraphs. Make a strong argument with facts related to the thesis statement in all of the paragraphs in the body section.

Start writing each paragraph with a topic sentence and use transition words when moving to the next paragraph.

Summarize the important points of your literary analysis essay in this section. It is important to compose a short and strong conclusion to help you make a final impression of your essay.

Pay attention that this section does not contain any new information. It should provide a sense of completion by restating the main idea with a short description of your arguments. End the conclusion with your supporting details.

You have to explain why the book is important. Also, elaborate on the means that the authors used to convey her/his opinion regarding the issue.

For further understanding, here is a downloadable literary analysis essay outline. This outline will help you structure and format your essay properly and earn an A easily.

DOWNLOADABLE LITERARY ANALYSIS ESSAY OUTLINE (PDF)

Types of Literary Analysis Essay

Close reading - This method involves attentive reading and detailed analysis. No need for a lot of knowledge and inspiration to write an essay that shows your creative skills.
Theoretical - In this type, you will rely on theories related to the selected topic.
Historical - This type of essay concerns the discipline of history. Sometimes historical analysis is required to explain events in detail.
Applied - This type involves analysis of a specific issue from a practical perspective.
Comparative - This type of writing is based on when two or more alternatives are compared

Examples of Literary Analysis Essay

Examples are great to understand any concept, especially if it is related to writing. Below are some great literary analysis essay examples that showcase how this type of essay is written.

A ROSE FOR EMILY LITERARY ANALYSIS ESSAY

TO KILL A MOCKINGBIRD LITERARY ANALYSIS ESSAY

THE GREAT GATSBY LITERARY ANALYSIS ESSAY

THE YELLOW WALLPAPER LITERARY ANALYSIS ESSAY

If you do not have experience in writing essays, this will be a very chaotic process for you. In that case, it is very important for you to conduct good research on the topic before writing.

There are two important points that you should keep in mind when writing a literary analysis essay.

First, remember that it is very important to select a topic in which you are interested. Choose something that really inspires you. This will help you to catch the attention of a reader.

The selected topic should reflect the main idea of writing. In addition to that, it should also express your point of view as well.

Another important thing is to draft a good outline for your literary analysis essay. It will help you to define a central point and division of this into parts for further discussion.

Literary Analysis Essay Topics

Literary analysis essays are mostly based on artistic works like books, movies, paintings, and other forms of art. However, generally, students choose novels and books to write their literary essays.

Some cool, fresh, and good topics and ideas are listed below:

Role of the Three Witches in flaming Macbeth’s ambition.
Analyze the themes of the Play Antigone,
Discuss Ajax as a tragic hero.
The Judgement of Paris: Analyze the Reasons and their Consequences.
Oedipus Rex: A Doomed Son or a Conqueror?
Describe the Oedipus complex and Electra complex in relation to their respective myths.
Betrayal is a common theme of Shakespearean tragedies. Discuss
Identify and analyze the traits of history in T.S Eliot’s ‘Gerontion’.
Analyze the theme of identity crisis in The Great Gatsby.
Analyze the writing style of Emily Dickinson.

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Frequently Asked Questions

What should a literary analysis essay include.

A good literary analysis essay must include a proper and in-depth explanation of your ideas. They must be backed with examples and evidence from the text. Textual evidence includes summaries, paraphrased text, original work details, and direct quotes.

What are the 4 components of literary analysis?

Here are the 4 essential parts of a literary analysis essay;

No literary work is explained properly without discussing and explaining these 4 things.

How do you start a literary analysis essay?

Start your literary analysis essay with the name of the work and the title. Hook your readers by introducing the main ideas that you will discuss in your essay and engage them from the start.

How do you do a literary analysis?

In a literary analysis essay, you study the text closely, understand and interpret its meanings. And try to find out the reasons behind why the author has used certain symbols, themes, and objects in the work.

Why is literary analysis important?

It encourages the students to think beyond their existing knowledge, experiences, and belief and build empathy. This helps in improving the writing skills also.

What is the fundamental characteristic of a literary analysis essay?

Interpretation is the fundamental and important feature of a literary analysis essay. The essay is based on how well the writer explains and interprets the work.

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Different Types of Analysis Essays

Text analysis and writing analysis texts are important skills to develop as they allow individuals to critically engage with written material, understand underlying themes and arguments, and communicate their own ideas in a clear and effective manner. These skills are essential in academic and professional settings, as well as in everyday life, as they enable individuals to evaluate information and make informed decisions.

What is Text Analysis?

Text analysis is the process of examining and interpreting a written or spoken text to understand its meaning, structure, and context. It involves breaking down the text into its constituent parts, such as words, phrases, and sentences, and analyzing how they work together to convey a particular message or idea.

Text analysis can be used to explore a wide range of textual material, including literature, poetry, speeches, and news articles, and it is often employed in academic research, literary criticism, and media analysis. By analyzing texts, we can gain deeper insights into their meanings, uncover hidden messages and themes, and better understand the social and cultural contexts in which they were produced.

What is an Analysis Essay?

An analysis essay is a type of essay that requires the writer to analyze and interpret a particular text or topic. The goal of an analysis essay is to break down the text or topic into smaller parts and examine each part carefully. This allows the writer to make connections between different parts of the text or topic and develop a more comprehensive understanding of it.

In “The Yellow Wallpaper,” Charlotte Perkins Gilman uses the first-person point of view and vivid descriptions of the protagonist’s surroundings to convey the protagonist’s psychological deterioration. By limiting the reader’s understanding of the story’s events to the protagonist’s perspective, Gilman creates a sense of claustrophobia and paranoia, mirroring the protagonist’s own feelings. Additionally, the use of sensory language, such as the “smooch of rain,” and descriptions of the “yellow wallpaper” and its “sprawling flamboyant patterns,” further emphasize the protagonist’s sensory and emotional experience. Through these techniques, Gilman effectively communicates the protagonist’s descent into madness and the effects of societal oppression on women’s mental health.

There are several different types of analysis essays, including:

Literary Analysis Essays: These essays examine a work of literature and analyze various literary devices such as character development, plot, theme, and symbolism.

Rhetorical Analysis Essays: These essays examine how authors use language and rhetoric to persuade their audience, focusing on the author's tone, word choice, and use of rhetorical devices.

Film Analysis Essays: These essays analyze a film's themes, characters, and visual elements, such as cinematography and sound.

Visual Analysis Essays: These essays analyze visual art, such as paintings or sculptures, and explore how the artwork's elements work together to create meaning.

Historical Analysis Essays: These essays analyze historical events or documents and examine their causes, effects, and implications.

Comparative Analysis Essays: These essays compare and contrast two or more works, focusing on similarities and differences between them.

Process Analysis Essays: These essays explain how to do something or how something works, providing a step-by-step analysis of a process.

Analyzing Texts

General Tips
How to Analyze
What to Analyze

When writing an essay, it's essential to analyze your topic thoroughly. Here are some suggestions for analyzing your topic:

Read carefully: Start by reading your text or prompt carefully. Make sure you understand the key points and what the text or prompt is asking you to do.

Analyze the text or topic thoroughly: Analyze the text or topic thoroughly by breaking it down into smaller parts and examining each part carefully. This will help you make connections between different parts of the text or topic and develop a more comprehensive understanding of it.

Identify key concepts: Identify the key concepts, themes, and ideas in the text or prompt. This will help you focus your analysis.

Take notes: Take notes on important details and concepts as you read. This will help you remember what you've read and organize your thoughts.

Consider different perspectives: Consider different perspectives and interpretations of the text or prompt. This can help you create a more well-rounded analysis.

Use evidence: Use evidence from the text or outside sources to support your analysis. This can help you make your argument stronger and more convincing.

Formulate your thesis statement: Based on your analysis of the essay, formulate your thesis statement. This should be a clear and concise statement that summarizes your main argument.

Use clear and concise language: Use clear and concise language to communicate your ideas effectively. Avoid using overly complicated language that may confuse your reader.

Revise and edit: Revise and edit your essay carefully to ensure that it is clear, concise, and free of errors.

Understanding the assignment: Make sure you fully understand the assignment and the purpose of the analysis. This will help you focus your analysis and ensure that you are meeting the requirements of the assignment.

Read the essay multiple times: Reading the essay multiple times will help you to identify the author's main argument, key points, and supporting evidence.

Take notes: As you read the essay, take notes on key points, quotes, and examples. This will help you to organize your thoughts and identify patterns in the author's argument.

Take breaks: It's important to take breaks while reading academic essays to avoid burnout. Take a break every 20-30 minutes and do something completely different, like going for a walk or listening to music. This can help you to stay refreshed and engaged.

Highlight or underline key points: As you read, highlight or underline key points, arguments, and evidence that stand out to you. This will help you to remember and analyze important information later.

Ask questions: Ask yourself questions as you read to help you engage critically with the text. What is the author's argument? What evidence do they use to support their claims? What are the strengths and weaknesses of their argument?

Engage in active reading: Instead of passively reading, engage in active reading by asking questions, making connections to other readings or personal experiences, and reflecting on what you've read.

Find a discussion partner: Find someone to discuss the essay with, whether it's a classmate, a friend, or a teacher. Discussing the essay can help you to process and analyze the information more deeply, and can also help you to stay engaged.

Identify the author's purpose and audience: Consider why the author wrote the essay and who their intended audience is. This will help you to better understand the author's perspective and the purpose of their argument.

Analyze the structure of the essay: Consider how the essay is structured and how this supports the author's argument. Look for patterns in the organization of ideas and the use of transitions.

Evaluate the author's use of evidence: Evaluate the author's use of evidence and how it supports their argument. Consider whether the evidence is credible, relevant, and sufficient to support the author's claims.

Consider the author's tone and style: Consider the author's tone and style and how it contributes to their argument. Look for patterns in the use of language, imagery, and rhetorical devices.

Consider the context : Consider the context in which the essay was written, such as the author's background, the time period, and any societal or cultural factors that may have influenced their perspective.

Evaluate the evidence: Evaluate the evidence presented in the essay and consider whether it is sufficient to support the author's argument. Look for any biases or assumptions that may be present in the evidence.

Consider alternative viewpoints: Consider alternative viewpoints and arguments that may challenge the author's perspective. This can help you to engage critically with the text and develop a more well-rounded understanding of the topic.

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Literary analysis: sample essay.

We turn once more to Joanna Wolfe’s and Laura Wilder’s Digging into Literature: Strategies for Reading, Writing, and Analysis (Boston: Bedford/St. Martin’s, 2016) in order to show you their example of a strong student essay that has a strong central claim elucidated by multiple surface/depth arguments supported by patterns of evidence.

Paragraph 1

Sylvia Plath’s short poem “Morning Song” explores the conflicted emotions of a new mother. On the one hand, the mother recognizes that she is expected to treasure and celebrate her infant, but on the other hand, she feels strangely removed from the child. The poem uses a combination of scientific and natural imagery to illustrate the mother’s feelings of alienation. By the end of the poem, however, we see a shift in this imagery as the mother begins to see the infant in more human terms.

Paragraph 2

There are several references to scientific imagery in “Morning Song” that suggest that mother is viewing the baby in clinical, scientific terms rather than as a new life. The poem refers to magnification (4) and reflection (8), both of which are scientific methods. The word “distills” (8) refers to a scientific, chemical process for removing impurities from a substance. The baby’s cry is described as taking “its place among the elements” (3), which seems to refer to the periodic table of elements, the primordial matter of the universe. The watch in the first line is similarly a scientific tool and the gold the watch is made of is, of course, an element, like the baby’s cry. Even the balloons in the last line have a scientific connotation since balloons are often used for measurements and experiments in science. These images all serve to show how the speaker feels distanced from the baby, who is like a scientific experiment she is conducting rather than a human being.

Paragraph 3

Natural imagery also seems to further dehumanize the baby, reducing it to nothing more than its mouth. The baby’s breathing is compared to a moth in line 10, suggesting that the speaker feels the infant is fragile and is as likely to die as a moth dancing around candlelight. A few lines later, the baby’s mouth is compared to another animal—a cat—who greedily opens its mouth for milk. Not only does the speaker seem to feel that the baby is like an animal, but she herself is turned into an animal, as she arises “cow-heavy” (13) to feed the infant. These images show how the speaker sees both the baby and herself as dumb animals who exist only to feed and be fed. Even the morning itself seems to be reduced to another mouth to feed as she describes how the dawn “swallows its dull stars” (16). These lines suggest that just as the sun swallows up the stars, so the baby will swallow up this mother.

Paragraph 4

However, in the last few lines the poem takes a hopeful turn as the speaker begins to view the baby as a human being. The baby’s mouth, which has previously been greedy and animal-like, now becomes a source of music, producing a “handful of notes” (17) and “clear vowels” (18). Music is a distinctly human sound. No animals and certainly not the cats, cows, or moths mentioned earlier in the poem, make music. This change in how the speaker perceives the baby’s sounds—from animalistic cry to human song—suggest that she is beginning to relate the baby as an individual. Even the word “handful” in the phrase “handful of notes” (17) seems hopeful in this context since this is the first time the mother has referred to the baby as having a distinctly human body part. When the baby’s notes finally “rise like balloons” (18), the speaker seems to have arrived at a place where she can celebrate the infant. For the first time, the infant is giving something to the speaker rather than threatening to take something away. The mother seems to have finally accepted the child as an independent human being whose company she can celebrate.

Works Cited

How to Write a Literary Analysis Essay: Definition, Types, Structure, Format, and Examples

A literary analysis essay acts as a compass, helping readers navigate the intricate landscapes of stories, poems, and plays. Think of it as a decoder for the language of books, unraveling the symbols, characters, and structures that make a story tick. These essays aren't just academic exercises – they're like a roadmap, guiding us to uncover the deeper truths and insights tucked away in the narratives we love. When you buy literary analysis essay assistance, get ready to peel back the layers as we unravel the intricacies of literary essays.

What Is a Literary Analysis Essay?

A literary analysis essay definition is a written examination of a literary work, such as a novel, poem, or play, aimed at dissecting its elements to uncover deeper meanings and themes. Unlike a summary or a review, which simply recount the plot or express personal opinions, a literary essay delves into the nuances of the text, scrutinizing its characters, symbols, motifs, and narrative techniques. Through close reading and critical thinking, the essay seeks to elucidate the author's intentions, explore the cultural and historical contexts, and offer interpretations that shed light on the work's significance.

At its core, a literary analysis essay is an exercise in interpretation and argumentation, where the writer presents a thesis or main argument supported by evidence from the text itself. This evidence may include direct quotations, paraphrases, or references to specific scenes or passages that illustrate the writer's analysis. Furthermore, the essay often uses secondary sources, such as literary criticism or scholarly articles, to enrich the discussion and provide additional perspectives. To enrich your knowledge of analysis essay writing, you can also check out our poem analysis essay guide.

Types of Literary Analysis Essay

Literary analysis essays can take various forms, each with unique approaches and objectives. Three common types are argumentative, explanatory, and analytical essays.

Argumentative Literary Analysis Essay

In an argumentative literary analysis essay, the writer formulates a clear and debatable thesis statement regarding the literary work under scrutiny. The essay then seeks to persuade the reader of the validity of this argument by presenting evidence from the text, often in the form of direct quotations or paraphrased passages. The focus is on building a coherent and compelling case to support the interpretation or perspective advanced in the thesis. This type of essay invites discussion and disagreement, encouraging readers to critically assess the writer's stance in light of the evidence presented.

Explanatory

An explanatory literary analysis paper aims to elucidate and clarify specific aspects of a literary work without necessarily advocating a particular argument. The focus here is on providing a comprehensive understanding of the chosen elements, be it characters, themes, or literary devices. Writers of explanatory essays use evidence from the text to illuminate nuances, offering insights and explanations that enhance the reader's appreciation of the work. While not devoid of analysis, the essay’s primary goal is to inform and make the text more accessible rather than to persuade or argue a specific interpretation.

The analytical literary analysis essay combines elements of both argumentative and explanatory approaches. It involves a meticulous examination of the text's components, such as characters, symbols, or themes, while also presenting a cohesive essay that contributes to a broader understanding of the work. Analytical essays delve into the "how" and "why" of a literary piece, exploring the author's choices and their impact on the narrative. The focus is on uncovering patterns, exploring motivations, and discerning the significance of various literary elements. While it may not be as explicitly argument-driven as the argumentative essay, an analytical essay still offers a perspective that emerges organically from carefully examining the text. Are you interested to learn more? Explore our guide about a causal analysis essay for more information about academic writing assignments.

Literary Elements Analysis Essay Writings Should Have

A comprehensive literary analysis essay should encompass various elements to provide a thorough examination of the chosen literary work. By expanding your analysis in these directions, your literary analysis will offer a more nuanced understanding of the complexities inherent in the chosen literary work. This depth allows readers to appreciate the intricate interplay of thematic, structural, and narrative elements within the text. Here are key components to include in your essay:

Theme Literary Analysis Essay

Investigate the evolution of themes throughout the narrative, identifying their subtle variations and exploring how they intersect with one another. Examine the cultural, historical, or philosophical contexts that may influence the author's treatment of these themes in your literary analysis thesis. Consider the potential for ambiguity or multiple interpretations within the thematic elements, adding layers of complexity to the literary work.

Structural Elements

Extend your subject matter to consider the psychological impact of the chosen literary analysis essay structure on readers. Explore how shifts in time or perspective contribute to the narrative's emotional resonance or intellectual engagement. Discuss whether the structural choices serve a thematic purpose, emphasizing certain elements or challenging conventional storytelling norms.

Scrutinize the narrative's causality, scrutinizing the cause-and-effect relationships between events in the story. Discuss the significance of pivotal moments and turning points, exploring how they shape the characters and contribute to the overall narrative momentum. Evaluate whether the author uses narrative devices to manipulate the reader's expectations.

Unpack the complexities of conflicts by considering their broader implications for the characters and the narrative world. Examine how conflicts may serve as allegories or metaphors, representing larger societal issues. Discuss the consequences and resolutions of conflicts, evaluating their impact on character development and the overall thematic resonance.

Protagonists

As stated in our character analysis essay guide, it extends beyond surface traits by considering the characters' roles as symbols or archetypes. Explore the dynamic relationships between characters, investigating how they mirror or subvert societal norms. Discuss any moral or ethical dilemmas characters face and their implications for the overarching themes of the work. Consult our literary character analysis essay example below for more information.

Literary Tropes

Elaborate on the symbolic significance of literary devices, investigating how they contribute to the overall texture of the narrative. Examine the use of allegory or allusion and discuss how these devices enrich the reader's experience, as shown in the literary device analysis essay example below. Explore how the author's choices in employing literary devices align with or challenge literary conventions of the time.

Language Use

Extend the analysis of language choices to consider cultural or historical contexts that may influence the author's linguistic decisions. Discuss the impact of tone shifts and the author's use of regional or specialized language. Evaluate how is the language of the literary analysis essay different from how you speak everyday? Examine how linguistic choices contribute to the creation of atmosphere and the portrayal of characters' perspectives.

Narration Style

Explore the subtleties of narrative voice by considering its reliability or unreliability. Discuss the author's use of point of view as a tool for engaging the reader emotionally or intellectually. Evaluate the narrative voice's role in creating empathy for characters, establishing narrative distance, or fostering a sense of immediacy within the storytelling.

Literary Analysis Essay Outline

The literary analysis essay format typically adheres to the conventional structure of academic essays. It begins with an introduction that provides essential background information, introduces the literary work and author, and presents a clear thesis statement that encapsulates the main argument or interpretation. Following the introduction, the body paragraphs serve as the essay's core, each dedicated to a specific aspect or element of the analysis essay. These paragraphs should begin with topic sentences that convey the main point, followed by supporting evidence from the text and analysis that connects the evidence to the thesis. Transitions between paragraphs ensure a smooth flow of ideas. The conclusion, situated at the essay's end, summarizes the key points, reiterates the thesis, and offers a broader reflection on the literary work's significance. A thoughtful literary analysis essay structure not only showcases analytical prowess but also adheres to the conventions of academic writing.

Literary Analysis Essay Introduction

As you brainstorm a literary analysis essay title, the introduction will serve as a crucial foundation, setting the stage for the entire document. It typically begins with a hook—a compelling statement, question, or quote—to capture the reader's attention and establish the essay's relevance. Following the hook, the introduction provides essential contextual information about the literary work, including details about the author, publication date, and any historical or cultural background that may be pertinent. How do you start a literary analysis essay has to culminate in a thesis statement, which succinctly outlines the main argument or interpretation the essay will explore. This thesis acts as a roadmap, guiding the reader on the analytical journey ahead. A well-crafted introduction not only entices the reader but also provides a clear direction for the subsequent essay analysis.

Let’s learn how to write a body paragraph for a literary analysis essay next. It comprises multiple paragraphs, each dedicated to a specific facet of the analysis. These paragraphs should follow a cohesive and logical structure. Typically, each paragraph begins with a topic sentence that introduces the main point of the paragraph, followed by evidence from the literary work—direct quotations, paraphrased passages, or examples. After presenting the evidence, the writer engages in thorough analysis, connecting the essay’s evidence back to the thesis statement. This process is repeated for each distinct element or aspect being analyzed, with the body paragraphs contributing to the overall argument. Effective transitions between paragraphs ensure a smooth flow of ideas, guiding the reader through the nuanced exploration of the literary work.

Concluding Paragraph

The conclusion of a literary analysis serves to synthesize the key points and provide a sense of closure. It begins by summarizing the main arguments and findings presented in the body paragraphs, reminding the reader of the critical aspects explored. However, a conclusion goes beyond mere repetition; it offers a broader reflection on the significance of the essay’s analysis. This could involve connecting the literary work to broader themes, drawing implications for the reader, or suggesting avenues for further exploration. The conclusion should reinforce the thesis statement, leaving a lasting impression on the reader and emphasizing the enduring impact and relevance of the analyzed literary work. A well-crafted conclusion ensures that the reader departs with a comprehensive understanding and appreciation of the nuanced interpretations provided in the essay. Below, you will find a literary analysis essay conclusion example offering a practical understanding of this subject.

What Are the Best First Steps When Writing a Literary Analysis Essay?

When initiating a literary analysis essay, it's essential to establish a strong foundation. By expanding your approach to include these additional considerations, your literary analysis piece will not only delve into the surface-level aspects of the text. Still, it will also provide a more comprehensive exploration of the work's nuances, context, and potential impact on readers. Here are five key first steps regarding how to write a literary analysis essay:

Contextualize the Source Material

Explore the historical, cultural, and societal context in which the literary work was written. Consider the author's background, the time period, and any relevant events that might have influenced the creation of the text. Understanding the broader context of a text analysis essay provides valuable insights into the motivations behind the author's choices and enhances the depth of your analysis. To find out more, please consult our critical analysis essay writing guide.

Examine Critical Perspectives

Before finalizing your analysis essay, survey existing literary criticism and interpretations of the work. Familiarize yourself with different perspectives and scholarly discussions related to the text. This step not only enriches your understanding but also allows you to position your analysis essay within the broader academic discourse, showcasing a nuanced engagement with the text. To understand this topic better, explore our example of literary analysis essay below.

Analyze Character Development and Relationships

Delve into the intricacies of character development and relationships that have to be listed in your literary analysis essay outline. Consider how characters evolve, the motivations driving their actions, and the dynamics between them. Analyzing characters beyond surface traits contributes to a more profound exploration of the author's intentions and the thematic elements embedded in the narrative.

Evaluate Symbolism and Literary Devices

When writing a literary analysis paper, pay special attention to the symbolism and literary devices the author employs. Uncover the deeper meanings behind symbols, metaphors, allegories, or any stylistic choices. Discuss how these elements contribute to the overall texture of the narrative, reinforcing themes or adding layers of meaning that may not be immediately apparent.

Consider Reader Response

Reflect on how your essay might resonate with potential readers. Anticipate possible reactions and interpretations to your book analysis essay, acknowledging that literary works often invite diverse perspectives. Consider how your insights contribute to the ongoing conversation about the text and how readers might engage with or challenge your interpretations, which can be studied in our rhetorical analysis essay guide.

Literary Analysis Examples

Consulting an example of a literary analysis essay provides students with a tangible model, offering a practical illustration of how to structure and approach their own writing. It serves as a valuable learning tool by showcasing effective techniques for analyzing literature, constructing arguments, and incorporating evidence from the text. Additionally, exposure to well-executed examples helps students grasp the nuances of a critical essay, enhancing their ability to convey insights and interpretations in their own essays.

Literary Analysis Essay Example #1

The Transformation of Ebenezer Scrooge in Charles Dickens's "A Christmas Carol"

Ebenezer Scrooge, the central character in Charles Dickens's novella "A Christmas Carol," undergoes a profound transformation that serves as the heart of the narrative. At the outset, Scrooge is introduced as a miserly and callous old man, characterized by his relentless pursuit of wealth and disdain for the holiday spirit. However, through a series of supernatural encounters with the Ghosts of Christmas Past, Present, and Yet to Come, Scrooge experiences a powerful metamorphosis, evolving from a symbol of greed to a beacon of generosity and compassion.

In the opening scenes, Dickens paints Scrooge as a solitary figure, isolated by his obsession with money and indifferent to the suffering of others. The author employs vivid descriptions of Scrooge's frugal habits and curt interactions to establish his cold and unyielding demeanor. This sets the stage for the transformative journey that unfolds as the narrative progresses.

The Ghost of Christmas Past catalyzes Scrooge's evolution, taking him on a nostalgic expedition through his own life. As the audience witnesses Scrooge's younger self and glimpses into the moments that shaped his worldview, a deeper understanding of his guarded nature emerges. The portrayal of Scrooge's lost love, Belle, and the dissolution of their engagement unveils the emotional wounds that contribute to his present state of bitterness.

The Ghost of Christmas Present further exposes Scrooge to the lives of those around him, revealing the joy and camaraderie he has denied himself. The contrasting scenes of warmth and festivity in the Cratchit household highlight Scrooge's own emotional impoverishment. The character's transformation begins as he becomes increasingly empathetic to the struggles of the Cratchit family, particularly Tiny Tim's vulnerability, which serves as a poignant reminder of the consequences of his own choices.

The culmination of Scrooge's redemption occurs during the harrowing visit from the Ghost of Christmas Yet to Come. Confronted with his own mortality and the bleak future that awaits if he does not change, Scrooge is propelled into a moment of profound self-reflection. The symbolism of his own gravestone becomes a powerful metaphor for the legacy he is currently constructing.

In the final scenes, Dickens masterfully portrays Scrooge's newfound benevolence. The character's spontaneous generosity towards the Cratchits and his embrace of the holiday spirit radically departs from his earlier persona. Scrooge's transformation symbolizes the capacity for human redemption, illustrating Dickens's timeless message about the transformative power of empathy and generosity.

In conclusion, Charles Dickens uses Ebenezer Scrooge as a vehicle for exploring the potential for change and redemption within the human spirit. Through the character's encounters with the supernatural, Dickens crafts a narrative that emphasizes the importance of compassion, self-reflection, and the pursuit of a more meaningful existence. Scrooge's journey from a miserly recluse to a symbol of benevolence serves as a timeless reminder of the enduring power of personal transformation.

Literary Analysis Essay Example #2

Symbolism in William Golding's "Lord of the Flies"

William Golding's novel "Lord of the Flies" is a rich tapestry of literary devices, with symbolism standing out as a powerful element that shapes the narrative. Throughout the story, various symbols serve as potent metaphors, shedding light on the innate human capacity for savagery and the fragility of societal order. Golding masterfully employs symbols such as the conch shell, the beast, and the signal fire to convey profound insights into the darker aspects of human nature.

One of the most prominent symbols in the novel is the conch shell, which initially serves as a tool for order and democracy. When the boys first discover the conch, it becomes a unifying force, representing establishing rules and the desire for civilization. However, as the story unfolds, the conch's significance deteriorates, paralleling the disintegration of societal order on the island. The eventual shattering of the conch during a chaotic assembly symbolizes the complete collapse of the boys' attempts to maintain a civilized society, highlighting the fragility of human-created structures in the face of primal instincts.

The recurring image of the "beast" serves as another compelling symbol, embodying the primal, instinctual nature within each individual. Initially perceived as an external threat, the realization that the true beast resides within the boys becomes a central theme. Golding uses the beast as a metaphor for the darkness within the human psyche, exploring how fear and desperation can unleash destructive tendencies. The shifting nature of the beast—from a perceived external force to an internal, inherent aspect of humanity—serves as a chilling commentary on the potential for moral decay when societal constraints are removed.

The signal fire, initially lit as a means of rescue, undergoes a transformation that mirrors the descent into savagery. At first, the fire symbolizes hope and the boys' connection to the outside world. However, as the boys succumb to their primal instincts, the fire becomes a tool for destruction, leading to unintended consequences. The burning of the island's entire landscape underscores the destructive power that lies within the boys and the consequences of losing touch with the values of civilization.

In conclusion, William Golding's skillful use of symbolism in "Lord of the Flies" adds depth and layers of meaning to the narrative. Golding crafts a nuanced exploration of human nature and societal dynamics through the conch shell, the beast, and the signal fire. The symbols serve as vehicles for profound commentary on the fragility of civilization, the inherent darkness within individuals, and the consequences of abandoning societal norms. Golding's use of symbolism elevates "Lord of the Flies" beyond a mere adventure story, transforming it into a thought-provoking exploration of the complexities of human behavior.

Summing Up

Knowing how to write a literary essay is crucial for students as it cultivates essential skills that extend beyond the realm of literature. Firstly, literary essays foster critical thinking by requiring students to analyze and interpret complex texts. This skill is transferable to various academic disciplines and real-world situations, enabling individuals to approach challenges with a nuanced and analytical mindset. Additionally, literary essays enhance communication skills, honing students' ability to articulate ideas coherently and persuasively. This proficiency is invaluable in academic and professional settings where effective communication is paramount.

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How to write a literary analysis on the same day, what is an example of literary analysis essay.

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How to Write a Literary Analysis Essay Step by Step

Some students find writing literary analysis papers rather daunting. Yet, an English class cannot go without this kind of work. By the way, writing literary analysis essays is not that complicated as it seems at a glance. On the contrary, this work may be fascinating, and you have a chance to study your favorite works of literature more in-depth.

Our specialists will write a custom essay specially for you!

Making a Literary Anaysis Includes Three Main Steps: Critical Reading, Making a Thesis, and Writing the Essay.

Literary analysis implies that you read a certain piece of literature in a particular way. You need to break it into parts and see how each of these parts work . How to do this exactly? How to start a literary analysis essay? Continue reading this article by Custom-writing experts, and soon you’ll become an expert too!

❔ What Is a Literary Analysis Essay?

📑 literary analysis outline.

👣 Step-by-Step Writing Guide

🔗 References

It is one of the types of an argumentative essay in which you carry out an in-depth investigation of a novel, story, poem, play, or any other literary creation. The purpose is to explore the reasons for certain technical and artistic choices of the author and interpret their meaning.

What Is the Purpose of a Literary Analysis Essay?

This academic assignment aims to examine and evaluate a literary work or its aspect. The definition of a literary analysis essay presupposes the study of literary devices, choice of language, perspective, imagery, and structure of the text. These techniques are examined to understand the ideas the author intended to convey.

Feel free to use the following literary analysis outline . It will make your work much easier!

Writing an Introduction to a Literary Analysis Essay

Writing body paragraphs for a literary analysis essay, writing a conclusion for a literary analysis essay.

Find more details and a step-by-step guide on writing your literary analysis in the next section.

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👣 How to Write a Literary Analysis Step by Step

Step 1. read critically.

If you wonder how to start the literary analysis, the answer is careful reading. At this stage, you need to find out the main themes of the novel. Make a list of them and note the pages where you can find evidence of the main ideas later. This method can be applied for all the references, as an academic paper requires you to indicate pages in the text for any quotations and paraphrases.

At this stage, the text’s events are important since they convey the main theme or the principal idea. You should rather focus on literary devices, choice of language, structure, and narrative voice. These are the elements of the text that create visual and emotional effects and convey the meaning.

Literary techniques (allusion, allegory, exposition, anthropomorphism, foil, foreshadowing, repetition, and parallelism)
Figurative language (metaphor, onomatopoeia, understatement, symbolism, personification, simile, pun, cliche, analogy, proverb, hyperbole, alliteration, idiom, assonance, irony, and oxymoron)
Literary elements (plot, theme, setting, imagery, mood, tone, point of view, protagonists, antagonists, conflict, climax, characterization, diction, motifs, and narrator)
Language . Here you should analyze the length of sentences, the complexity of grammatical structures, use of poetic or high-flown language, recurring to vulgar words, etc.
Structure . Does the structure impact the flow of the story, novel, or poem? What are the structural elements used by the author (chapters, stanzas, lines, acts)? This aspect is essential in the analysis of poetry. Rhyme pattern, punctuation, pauses, and meter shape the reader’s perception of verses and convey the author’s thoughts and feelings, just as the words do. Some of the items mentioned in the literary devices can be discussed as well in terms of structure. Foreshadowing and repetition can create suspense or generate dramatic irony. Climax can be located in the middle or at the end of the narration. The plot timeline influences action development, accelerating, and slowing down the in-text time. You don’t need to discuss all these factors, but if something strikes your eye while reading, note it.
Person vs. person
Person vs. nature
Person vs. self
Person vs. supernatural forces, fate, or God
Person vs. society
Person vs. technology
Narrative voice . In the course of reading, the narrator becomes the reader’s friend. What kind of person are they? Are they omnipresent and omniscient as a supernatural force, or are they in the same situation as the other protagonists? The narration can be first-person (fully involved in the plot and subjective) or third-person (distanced and objective). The tone of the narrator’s voice defines your perception of the text. Is it comic, realistic, or tragic? Is the narrator’s figure reliable, and do their words sound plausible?

Step 2. Formulate the Thesis

World classics and modern professional literature are valuable because of their multifaceted conflicts, well-thought structure, and abundant literary devices. Even the long research thesis cannot comprise all of them. Choose an aspect that stroke you the most in the course of critical reading. Formulate the intention of your analysis in one sentence. Make it succinct and to the point. The thesis tells your readers what you will tell them, but it also implies what you are not going to discuss.

A thesis statement should clearly describe the topic scope and the writer’s approach to it. It is a claim about the text that will be proved in the essay. A thesis can be argumentative, analytical, or explanatory. The samples given below will make the difference clear.

Your thesis statement requires sufficient textual evidence. In the previous step, you gathered much information, so now, it will be easier to find passages and quotations that refer to the subject. You may not use everything you have discovered in your writing, but having enough material at hand will help to structure the arguments.

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Step 3. Write Your Essay

Write the title. It should be an abridged version of the thesis. This is the best place to be creative, witty, and brief. If you don’t know how to start the title, begin with a short quote followed by a colon, and then explain how it relates to your thesis. For example, “He’s more myself than I am”: the Destructive Nature of an Ego Blurred by Love in Wuthering Heights by Emily Bronte. This is the easiest and the most compelling way to entitle an essay.
Write the literary analysis introduction . In brief, it consists of background information about the author and the book, leading to the thesis. You can refer to popular opinion on the subject and state your thesis as a contradiction to it. Alternatively, you can limit out the literary devices or a theme you are going to analyze. The introduction paragraph can be concluded with an indication of what is going to be discussed in the essay. However, in a five-paragraph essay, this summary should be condensed into a single sentence.
Start with a topic sentence stating what the paragraph is about. Avoid long phrases with complex grammar in the first sentence. It gives the reader a glance at the section and helps to orient in your text. Transition words can smooth the transition from one idea to another.
Continue with evidence and substantiation . Using quotes is reasonable when the quote is one sentence long, not more than 30 words. Otherwise, paraphrase or summarize the quote, leaving only the essential information. Never use quotes or paraphrases without providing a proper explanation.
Finish each paragraph with a one-sentence conclusion of the discussed idea.

Step 5. Prepare the Conclusion

Wrap up the essay without introducing any new ideas and avoiding direct quotations. Summarize everything you have mentioned above in different words. Then stress the thesis once again, highlighting the new perspective the essay has opened.

Literary Analysis Essay Topics

Thematic analysis of The Black Cat by Edgar Alan Poe.
Analyze the literature techniques used by W. Shakespeare in his tragedy Hamlet, Prince of Denmark .
Discuss the central theme of the play Beautiful Thing by Jonathan Harvey .
Describe the conflict of Tennessee Williams’ play A Streetcar Named Desire .
The topic of illegal immigration in Just Like Us by Helen Thorpe .
Explore how Steven E Ambrose describes the building of transcontinental railroad in Nothing Like It in the World .
Analyze the literary devices in The Red Convertible by Louise Erdrich .
Analyze the plot of Arthur Miller’s Death of a Salesman .
Examine the symbols used by William Wymark Jacobs in his horror story The Monkey’s Paw .
The importance of integral human sentiments in The Road by Cormac McCarthy .
Discuss how McDonald described the conditions that lead to degradation and loss of humanity in his autobiography All Souls .
Analyze Kafka’s short story A Hunger Artist .
Interpret the use of stylistic devices in The Minister’s Black Veil by Nathaniel Hawthorne .
Explore Hemingway’s ideas about life in his story A Clean, Well-Lighted Place .
The symbolism in Joseph Conrad’s Heart of Darkness .
Study the core motif of the Sophocles’ Oedipus the King .
Analyse the topics of The Lottery by Shirley Jackson.
Examine the literary elements used by Lisa Ko in The Leavers .
Allegory in Where Are You Going, Where Have You Been by Joyce Carol Oates.
Interpret the idea behind Herman Melville’s Bartleby, the Scrivener .
Discuss how Alice Munro describes issues in marriage and relationships in How I Met My Husband .
Analyze the main themes of Jack London’s To Build a Fire .
The central topic of Rich Dad Poor Dad by Robert Kiyosaki.
The connection between past and future in Virginia Woolf’s Mrs. Dalloway .
Describe the rhetoric means used by August Wilson in the play Fences .
Discuss the idea behind Jon Krakauer’s novel Into the Wild .
Interpretation of Why I Live at the P.O. Eudora Welty .
Compare the topic of women’s rebellion in Ibsen’s A Dollhouse and Glaspell’s Trifles .
Analyze the rhetoric used by Chinua Achebe in Things Fall Apart .
Gender biases and marginalization in Girl by Jamaica Kincaid.
Analyze the main character in A Rose for Emily by William Faulkner .
Examine the theme of tragic fate in Homer’s Iliad .
Discuss the message to society in Margaret Atwood’s The Handmaid’s Tale .
Analyze the stylistic devices used by Tennessee Williams in The Glass Menagerie .
Interpret the theme of George Orwell’s The Hanging .
Jealousy and lasting love in Annabel Lee by Edgar Allan Poe .
Analyzing the novel Frankenstein by Mary Shelly.
Describe the rhetoric techniques used by Jesmyn Ward in Sing, Unburied, Sing .
Examine the symbolism of John Updike’s A&P .
Literary elements used by James Joyce in Ulysses .
Discuss the themes of appearance and reality in Much Ado About Nothing by Shakespeare .
Examine the characters of Jane Austen’s Pride and Prejudice .
Literary analysis of the poem The Man He Killed by T. Hardy .
Analyze the central theme of Matsuo Basho’s The Narrow Road to the Interior .
The role of an individual in the protection of the environment in The Man Who Planted Trees by Jean Giono.
Describe Hemingway’s rhetoric in Hills Like White Elephants .
Discuss the role of allegory in Beloved by Toni Morrison .
Analyze the elements of Charles Brockden Brown’s gothic novel Wieland .
The significant features of Summer by David Updike .
Examine the depiction of the contemporary society’s issues in Franz Kafka’s The Metamorphosis .

Good luck with your assignment! Note that the information that you will find in articles about a literary criticism essay and Lady Macbeth essay can also also be useful.

✏️ Literary Analysis FAQ

Here is a possible definition: a description of some peculiarities of a literary text in a structured and cohesive way. It should include some elements of a research report. There are countless examples of such essays available online and in books.

It is always a good idea to create an essay outline first. Write a minimum of 3-4 key ideas for the body part. Then, exemplify those points (you may cite the text). Then, add an appropriate introduction and a corresponding conclusion.

If you need to write a literary analysis, begin with an outline. It will help you proceed step by step without losing the structure. Think about the peculiar features of the literary text you analyze. Brush up the principles of analytical writing, too.

A book analysis essay summarizes literary research and includes examples, review elements, etc. The purpose of such a paper is to help readers understand the book better. Just like any other essay, it should be appropriately structured: an appropriate introduction, several body paragraphs, a logical conclusion.

A Short Guide to Close Reading for Literary Analysis – UW Madison Writing Center
Writing a Literary Analysis Presentation // Purdue Writing Lab
Types of Literary Analysis – UVM Writing Center
Literary Analysis | Writing Center – Leeward Community College
Suggested Structure of Your Literary Analysis Essay (Hawaii.edu)
Writing Critical Analysis Papers – Washington University
Literature – The Writing Center • University of North Carolina
Stanford Literary Lab
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I have to type out an essay over this story “everyday use” but how would I start off the paragraph so that it can flow good??? Please help

This was really useful. Thank you so much!

Love your blog and all posts. They helped me write many of my academic assignments. This post on writing literary analysis essays is what I need right now! Thanks!

Thanks for the steps to write an excellent literary analysis essay! I’m thrilled to find your blog! There is always something really useful for students writing various papers.

The Writing Center • University of North Carolina at Chapel Hill

Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

The name of the author and the book title and the main theme.
Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Drewry, John. 1974. Writing Book Reviews. Boston: Greenwood Press.

Hoge, James. 1987. Literary Reviewing. Charlottesville: University Virginia of Press.

Sova, Dawn, and Harry Teitelbaum. 2002. How to Write Book Reports , 4th ed. Lawrenceville, NY: Thomson/Arco.

Walford, A.J. 1986. Reviews and Reviewing: A Guide. Phoenix: Oryx Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Dr. Sandi Van Lieu

**For a video overview of this essay, see further down on this page.

Video Overview:

Attributions

Images and video created by Dr. Sandi Van Lieu and licensed under CC BY NC SA.
Student essay example by Janelle Devin and used with permission.

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Themes and Analysis

By neil gaiman.

'Coraline' by Neil Gaiman is a brilliant work of children's literature that captures a number of fascinating themes and intriguing symbols that enrich the story in multiple ways.

Article written by Neesha Thunga K

B.A. in English Literature, and M.A. in English Language and Literature.

Coraline is a marvelous piece of dark fantasy children’s literature that flits in and out of various themes. Some of the most popular themes that can be discerned from the novella include courage, a quest for identity, the power of imagination, self-sufficiency, good versus evil, and so on. Several important symbols can be gleaned out from Coraline as well, including the button eyes of the evil Other Mother, mirrors in the novella, and the key to the door in the drawing-room.

Coraline Themes

Courage .

Coraline by Neil Gaiman is fundamentally a story about facing your fears. There are several times when Coraline is faced with frightening circumstances, but she steels herself to fight through it all. Coraline receives inspiration from her father about bravery, where he sacrifices himself to a bunch of wasps in order to help Coraline escape. Her father tells her that one can only be brave when one is scared.

“And he said that wasn’t brave of him, doing that, just standing there and being stung”, said Coraline to the cat. “It wasn’t brave because he wasn’t scared: it was the only thing he could do. But going back again to get his glasses, when he knew the wasps were there, when he was really scared. That was brave.”

The Power of Imagination

Coraline is constantly bored and looking for ways to spice up her everyday life. She often turns towards her imagination to make her life better. Once, when she was asked where she had gone, Coraline makes up a story about alien abduction that is much more exciting than the mundane reality. The fact that Coraline has a vivid imagination calls the truth of her adventure into question. Did she really meet with the Other Mother in the parallel universe or was it all just her imagination?

Self-sufficiency

Despite being a 9-year-old girl, Coraline is fairly self-sufficient. Since her parents are always busy and have no time to play with her, Coraline learns to amuse herself and keep herself busy. In the absence of her parents, she is even able to sustain for 3 whole days by herself. Coraline is also capable of defeating the Other Mother through her own courageous spirit and witty personality – although she is not opposed to receiving help when required.

Good vs. Evil

One of the major themes in Coraline includes the tussle between ‘good’ and ‘evil’. Coraline is constantly forced to dig deep into her morals and virtues as she comes face to face with the evil beldam. Ultimately, good trumps evil as Coraline grows drastically as an individual and discovers her true self through her adventures.

The Deceptive Nature of Appearances

The story of Coraline points towards how mirrors (both literal and metaphorical mirrors) can lie to us regarding appearances. The parallel universe that Coraline visits seems exactly like her old house but new and improved in various. The alternate house has everything Coraline wished she had in her own apartment, including exciting toys and adventurous clothes. However, Coraline soon realizes that these aspects of the parallel universe are only skin-deep. They do not hold any real value, and she begins to realize that it’s all a mere illusion.

Family and Contentment

In the beginning, Coraline is dissatisfied with her family’s lack of interest in her activities. She is constantly bored and looking for something new and exciting. After her adventure in the alternate universe, however, she comes to realize that not every family can be perfect. She begins to feel more affectionate towards her parents and accepts them for who they are.

Coraline also learns to find contentment in her everyday reality. She understands that there is magic in the mundane and the boring, and learns to appreciate what she has.

Analysis of Key Moments in Coraline

Coraline moves into a new apartment with her parents.
She asks her mother to open a big door in the drawing-room and discovers that it opens onto a solid brick wall.
The next day, Coraline visits her neighbors who warn her of impending danger and arm her with a protective stone.
Coraline opens the door in the drawing-room on her own and finds a corridor behind it.
At the end of the corridor is a parallel universe that looks just like Coraline’s own. She meets her Other Mother (the beldam) and Other Father.
Coraline returns home and finds her parents missing for 3 days.
She discovers that the Other Mother has kidnapped her parents and decides to rescue them.
Coraline heads back to the parallel universe and proceeds to look for the parents.
She meets three ghost children whose souls she vows to set free from the clutches of the wicked beldam.
Coraline uses her protective stone and finds the souls of the three children.
She locates her parents trapped in a snow globe and narrowly escapes from the Other Mother.
The souls of the ghost children are set free and Coraline’s parents have no recollection of any of the incidents that occurred in the parallel universe.
Coraline discovers that the dangers have not passed. The Other Mother has sent her hand to obtain the key that unlocks the door to the corridor.
Coraline traps the hand along with the key underneath a well and boards the well up.
She wakes up the next day ready for the first day of her new school year.

Style and Tone

The writing style of Coraline is simple, matter of fact, and child-like. The story is narrated from a third-person limited perspective from the point of view of the protagonist, a young 9-year-old girl named Coraline Jones. The narrative, therefore, focuses on descriptions of actions and surroundings, and simply “tells it like it is.” For instance, read this quote from Coraline ,

Coraline also explored for animals. She found a hedgehog, and a snakeskin (but no snake), and a rock that looked just like a frog, and a toad that looked just like a rock.

While the writing style is descriptive and child-like in nature, the tone of the novel is calm and curious. It does not betray any emotions and carries on in a level-headed manner even if there are frightening circumstances occurring in the story. Such a tone makes it easy for children to read, as it does not require the use of complicated sentences or words.

Now she felt nothing but cold loss. She had failed the ghost children. She had failed her parents. She had failed herself, failed everything. She closed her eyes and wished that the earth would swallow her up. There was a cough. She opened her eyes and saw the rat. It was lying on the brick path at the bottom of the stairs with a surprised look on its face—which was now several inches away from the rest of it.

Analysis of Symbols

The button eyes.

The button eyes of the Other Mother and the Other Father are the main distinguishing features between the parallel universe and the original universe. The buttons represent the inhumanness of the Other Mother and her evil nature. They prevent Coraline from understanding the Other Mother beyond a certain extent and thereby provide a more menacing air to the beldam. The buttons are also representative of the loss of virtue and morality, as Coraline is expected to sew on the button eyes onto her own face by the Other Mother.

The story of Coraline is a story of mirrors. When Coraline returns from the parallel universe and finds her parents missing, she discovers them trapped in the mirror. The mirror represents the parallel universe which literally mirrors Coraline’s own world. Just like appearances in a mirror are slightly different from the original, the parallel universe is also skewed in several ways.

The key to the door at the end of the corridor represents safety and freedom. Coraline and the Other Mother undergo a fierce fight for the key, with Coraline emerging victorious in the end. Coraline also cleverly ensures her safety by trapping the key itself, thereby preventing the Other Mother from getting a hold of it for the rest of her life.

What is the storyline behind Coraline ?

Coraline by Neil Gaiman follows the story of a young 9-year-old girl named Coraline Jones, who comes across a parallel universe at the end of a mysterious corridor in her home. She meets an evil creature, the beldam, or the Other Mother, who traps her parents in the other world. Coraline uses her courage and wits to defeat the Other Mother and rescue her parents successfully.

What is the moral of Coraline ?

The moral of Coraline is “Be careful what you wish for.” At the beginning of the story, Coraline is deeply dissatisfied with her life and is constantly bored by the mundane realities of her surroundings. However, she learns to appreciate the magic of everyday life by the end of the novel.

What is Neil Gaiman’s most popular book?

Neil Gaiman’s most popular book is arguably American Gods , which was published in the year 2001 to great critical acclaim. The novel won the Nebula and Hugo awards in 2002. However, there are several other books written by Neil Gaiman that compete for the top spot, including Coraline, Stardust, the Sandman series, and The Graveyard Book .

What does Coraline symbolize?

Coraline symbolizes several things, most notably the fight between good versus evil. The protagonist of the story, Coraline is pitted against the evil beldam or the Other Mother. The two of them fight it out amongst each other with Coraline emerging victorious in the end.

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Neesha, born to a family of avid readers, has devoted several years to teaching English and writing for various organizations, making an impact on the literary community.

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A strong analytical question

speaks to a genuine dilemma presented by your sources . In other words, the question focuses on a real confusion, problem, ambiguity, or gray area, about which readers will conceivably have different reactions, opinions, or ideas.
yields an answer that is not obvious . If you ask, "What did this author say about this topic?” there’s nothing to explore because any reader of that text would answer that question in the same way. But if you ask, “how can we reconcile point A and point B in this text,” readers will want to see how you solve that inconsistency in your essay.
suggests an answer complex enough to require a whole essay's worth of discussion. If the question is too vague, it won't suggest a line of argument. The question should elicit reflection and argument rather than summary or description.
can be explored using the sources you have available for the assignment , rather than by generalizations or by research beyond the scope of your assignment.

How to come up with an analytical question

One useful starting point when you’re trying to identify an analytical question is to look for points of tension in your sources, either within one source or among sources. It can be helpful to think of those points of tension as the moments where you need to stop and think before you can move forward. Here are some examples of where you may find points of tension:

You may read a published view that doesn’t seem convincing to you, and you may want to ask a question about what’s missing or about how the evidence might be reconsidered.
You may notice an inconsistency, gap, or ambiguity in the evidence, and you may want to explore how that changes your understanding of something.
You may identify an unexpected wrinkle that you think deserves more attention, and you may want to ask a question about it.
You may notice an unexpected conclusion that you think doesn’t quite add up, and you may want to ask how the authors of a source reached that conclusion.
You may identify a controversy that you think needs to be addressed, and you may want to ask a question about how it might be resolved.
You may notice a problem that you think has been ignored, and you may want to try to solve it or consider why it has been ignored.
You may encounter a piece of evidence that you think warrants a closer look, and you may raise questions about it.

Once you’ve identified a point of tension and raised a question about it, you will try to answer that question in your essay. Your main idea or claim in answer to that question will be your thesis.

point of tension --> analytical question --> thesis

"How" and "why" questions generally require more analysis than "who/ what/when/where” questions.
Good analytical questions can highlight patterns/connections, or contradictions/dilemmas/problems.
Good analytical questions establish the scope of an argument, allowing you to focus on a manageable part of a broad topic or a collection of sources.
Good analytical questions can also address implications or consequences of your analysis.
picture_as_pdf Asking Analytical Questions

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Illustration of a missile made from words.

In the campus protests over the war in Gaza, language and rhetoric are—as they have always been when it comes to Israel and Palestine—weapons of mass destruction.

By Zadie Smith

A philosophy without a politics is common enough. Aesthetes, ethicists, novelists—all may be easily critiqued and found wanting on this basis. But there is also the danger of a politics without a philosophy. A politics unmoored, unprincipled, which holds as its most fundamental commitment its own perpetuation. A Realpolitik that believes itself too subtle—or too pragmatic—to deal with such ethical platitudes as thou shalt not kill. Or: rape is a crime, everywhere and always. But sometimes ethical philosophy reënters the arena, as is happening right now on college campuses all over America. I understand the ethics underpinning the protests to be based on two widely recognized principles:

There is an ethical duty to express solidarity with the weak in any situation that involves oppressive power.

If the machinery of oppressive power is to be trained on the weak, then there is a duty to stop the gears by any means necessary.

The first principle sometimes takes the “weak” to mean “whoever has the least power,” and sometimes “whoever suffers most,” but most often a combination of both. The second principle, meanwhile, may be used to defend revolutionary violence, although this interpretation has just as often been repudiated by pacifistic radicals, among whom two of the most famous are, of course, Mahatma Gandhi and Martin Luther King, Jr . In the pacifist’s interpretation, the body that we must place between the gears is not that of our enemy but our own. In doing this, we may pay the ultimate price with our actual bodies, in the non-metaphorical sense. More usually, the risk is to our livelihoods, our reputations, our futures. Before these most recent campus protests began, we had an example of this kind of action in the climate movement. For several years now, many people have been protesting the economic and political machinery that perpetuates climate change, by blocking roads, throwing paint, interrupting plays, and committing many other arrestable offenses that can appear ridiculous to skeptics (or, at the very least, performative), but which in truth represent a level of personal sacrifice unimaginable to many of us.

I experienced this not long ago while participating in an XR climate rally in London. When it came to the point in the proceedings where I was asked by my fellow-protesters whether I’d be willing to commit an arrestable offense—one that would likely lead to a conviction and thus make travelling to the United States difficult or even impossible—I’m ashamed to say that I declined that offer. Turns out, I could not give up my relationship with New York City for the future of the planet. I’d just about managed to stop buying plastic bottles (except when very thirsty) and was trying to fly less. But never to see New York again? What pitiful ethical creatures we are (I am)! Falling at the first hurdle! Anyone who finds themselves rolling their eyes at any young person willing to put their own future into jeopardy for an ethical principle should ask themselves where the limits of their own commitments lie—also whether they’ve bought a plastic bottle or booked a flight recently. A humbling inquiry.

It is difficult to look at the recent Columbia University protests in particular without being reminded of the campus protests of the nineteen-sixties and seventies, some of which happened on the very same lawns. At that time, a cynical political class was forced to observe the spectacle of its own privileged youth standing in solidarity with the weakest historical actors of the moment, a group that included, but was not restricted to, African Americans and the Vietnamese. By placing such people within their ethical zone of interest, young Americans risked both their own academic and personal futures and—in the infamous case of Kent State—their lives. I imagine that the students at Columbia—and protesters on other campuses—fully intend this echo, and, in their unequivocal demand for both a ceasefire and financial divestment from this terrible war, to a certain extent they have achieved it.

But, when I open newspapers and see students dismissing the idea that some of their fellow-students feel, at this particular moment, unsafe on campus, or arguing that such a feeling is simply not worth attending to, given the magnitude of what is occurring in Gaza, I find such sentiments cynical and unworthy of this movement. For it may well be—within the ethical zone of interest that is a campus, which was not so long ago defined as a safe space, delineated by the boundary of a generation’s ethical ideas— it may well be that a Jewish student walking past the tents, who finds herself referred to as a Zionist, and then is warned to keep her distance, is, in that moment, the weakest participant in the zone. If the concept of safety is foundational to these students’ ethical philosophy (as I take it to be), and, if the protests are committed to reinserting ethical principles into a cynical and corrupt politics, it is not right to divest from these same ethics at the very moment they come into conflict with other imperatives. The point of a foundational ethics is that it is not contingent but foundational. That is precisely its challenge to a corrupt politics.

Practicing our ethics in the real world involves a constant testing of them, a recognition that our zones of ethical interest have no fixed boundaries and may need to widen and shrink moment by moment as the situation demands. (Those brave students who—in supporting the ethical necessity of a ceasefire—find themselves at painful odds with family, friends, faith, or community have already made this calculation.) This flexibility can also have the positive long-term political effect of allowing us to comprehend that, although our duty to the weakest is permanent, the role of “the weakest” is not an existential matter independent of time and space but, rather, a contingent situation, continually subject to change. By contrast, there is a dangerous rigidity to be found in the idea that concern for the dreadful situation of the hostages is somehow in opposition to, or incompatible with, the demand for a ceasefire. Surely a ceasefire—as well as being an ethical necessity—is also in the immediate absolute interest of the hostages, a fact that cannot be erased by tearing their posters off walls.

Part of the significance of a student protest is the ways in which it gives young people the opportunity to insist upon an ethical principle while still being, comparatively speaking, a more rational force than the supposed adults in the room, against whose crazed magical thinking they have been forced to define themselves. The equality of all human life was never a self-evident truth in racially segregated America. There was no way to “win” in Vietnam. Hamas will not be “eliminated.” The more than seven million Jewish human beings who live in the gap between the river and the sea will not simply vanish because you think that they should. All of that is just rhetoric. Words. Cathartic to chant, perhaps, but essentially meaningless. A ceasefire, meanwhile, is both a potential reality and an ethical necessity. The monstrous and brutal mass murder of more than eleven hundred people, the majority of them civilians, dozens of them children, on October 7th, has been followed by the monstrous and brutal mass murder (at the time of writing) of a reported fourteen thousand five hundred children. And many more human beings besides, but it’s impossible not to notice that the sort of people who take at face value phrases like “surgical strikes” and “controlled military operation” sometimes need to look at and/or think about dead children specifically in order to refocus their minds on reality.

To send the police in to arrest young people peacefully insisting upon a ceasefire represents a moral injury to us all. To do it with violence is a scandal. How could they do less than protest, in this moment? They are putting their own bodies into the machine. They deserve our support and praise. As to which postwar political arrangement any of these students may favor, and on what basis they favor it—that is all an argument for the day after a ceasefire. One state, two states, river to the sea—in my view, their views have no real weight in this particular moment, or very little weight next to the significance of their collective action, which (if I understand it correctly) is focussed on stopping the flow of money that is funding bloody murder, and calling for a ceasefire, the political euphemism that we use to mark the end of bloody murder. After a ceasefire, the criminal events of the past seven months should be tried and judged, and the infinitely difficult business of creating just, humane, and habitable political structures in the region must begin anew. Right now: ceasefire. And, as we make this demand, we might remind ourselves that a ceasefire is not, primarily, a political demand. Primarily, it is an ethical one.

But it is in the nature of the political that we cannot even attend to such ethical imperatives unless we first know the political position of whoever is speaking. (“Where do you stand on Israel/Palestine?”) In these constructed narratives, there are always a series of shibboleths, that is, phrases that can’t be said, or, conversely, phrases that must be said. Once these words or phrases have been spoken ( river to the sea, existential threat, right to defend, one state, two states, Zionist, colonialist, imperialist, terrorist ) and one’s positionality established, then and only then will the ethics of the question be attended to (or absolutely ignored). The objection may be raised at this point that I am behaving like a novelist, expressing a philosophy without a politics, or making some rarefied point about language and rhetoric while people commit bloody murder. This would normally be my own view, but, in the case of Israel/Palestine, language and rhetoric are and always have been weapons of mass destruction.

It is in fact perhaps the most acute example in the world of the use of words to justify bloody murder, to flatten and erase unbelievably labyrinthine histories, and to deliver the atavistic pleasure of violent simplicity to the many people who seem to believe that merely by saying something they make it so. It is no doubt a great relief to say the word “Hamas” as if it purely and solely described a terrorist entity. A great relief to say “There is no such thing as the Palestinian people” as they stand in front of you. A great relief to say “Zionist colonialist state” and accept those three words as a full and unimpeachable definition of the state of Israel, not only under the disastrous leadership of Benjamin Netanyahu but at every stage of its long and complex history, and also to hear them as a perfectly sufficient description of every man, woman, and child who has ever lived in Israel or happened to find themselves born within it. It is perhaps because we know these simplifications to be impossible that we insist upon them so passionately. They are shibboleths; they describe a people, by defining them against other people—but the people being described are ourselves. The person who says “We must eliminate Hamas” says this not necessarily because she thinks this is a possible outcome on this earth but because this sentence is the shibboleth that marks her membership in the community that says that. The person who uses the word “Zionist” as if that word were an unchanged and unchangeable monolith, meaning exactly the same thing in 2024 and 1948 as it meant in 1890 or 1901 or 1920—that person does not so much bring definitive clarity to the entangled history of Jews and Palestinians as they successfully and soothingly draw a line to mark their own zone of interest and where it ends. And while we all talk, carefully curating our shibboleths, presenting them to others and waiting for them to reveal themselves as with us or against us—while we do all that, bloody murder.

And now here we are, almost at the end of this little stream of words. We’ve arrived at the point at which I must state clearly “where I stand on the issue,” that is, which particular political settlement should, in my own, personal view, occur on the other side of a ceasefire. This is the point wherein—by my stating of a position—you are at once liberated into the simple pleasure of placing me firmly on one side or the other, putting me over there with those who lisp or those who don’t, with the Ephraimites, or with the people of Gilead. Yes, this is the point at which I stake my rhetorical flag in that fantastical, linguistical, conceptual, unreal place—built with words—where rapes are minimized as needs be, and the definition of genocide quibbled over, where the killing of babies is denied, and the precision of drones glorified, where histories are reconsidered or rewritten or analogized or simply ignored, and “Jew” and “colonialist” are synonymous, and “Palestinian” and “terrorist” are synonymous, and language is your accomplice and alibi in all of it. Language euphemized, instrumentalized, and abused, put to work for your cause and only for your cause, so that it does exactly and only what you want it to do. Let me make it easy for you. Put me wherever you want: misguided socialist, toothless humanist, naïve novelist, useful idiot, apologist, denier, ally, contrarian, collaborator, traitor, inexcusable coward. It is my view that my personal views have no more weight than an ear of corn in this particular essay. The only thing that has any weight in this particular essay is the dead. ♦

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The Proliferation of Starbucks Across the United States: a Detailed Analysis

This essay about Starbucks explores its evolution from a small coffee shop in Seattle to a major cultural and economic force in America. It highlights how Starbucks has influenced coffee culture, consumer behavior, and social practices, while also addressing the criticisms related to environmental issues and business practices. The essay reflects on Starbucks’ broad appeal and its role as a symbol of lifestyle and community in the U.S.

How it works

In the rich mosaic of American coffee culture, Starbucks emerges as a vibrant highlight. From the energetic avenues of New York City to the tranquil neighborhoods of Oregon, Starbucks’ familiar green emblem serves as a magnet for coffee lovers throughout the nation. Yet, the rise of Starbucks from its modest beginnings to a global powerhouse is more than a story of growth—it represents a profound shift in cultural values, economic impact, and social evolution.

Picture yourself in 1971, at a quaint coffee bean shop in Seattle’s Pike Place Market.

This small enterprise would soon evolve into a vast coffee empire, spreading over 15,000 outlets nationwide. Starbucks has become more than a place to buy coffee—it has grown into a cultural phenomenon, offering a space for productivity, social interaction, and the inviting aroma of freshly brewed coffee.

Starbucks’ distinction lies in more than just its coffee; it’s about the experience it offers. Entering a Starbucks, one is immediately wrapped in the comforting scent of coffee beans, the soft murmur of conversations, and the cozy ambiance created by stylish lighting. It provides a haven not just for travelers or students, but for anyone seeking a moment of peace.

Starbucks’ menu has grown to appeal to a broad audience, featuring everything from rich Frappuccinos to savory pastries. Seasonal offerings like the Pumpkin Spice Latte and the Peppermint Mocha have become cultural icons in their own right, signaling the arrival of holiday seasons and new traditions.

However, it’s not just the products that make Starbucks a powerhouse; it’s its branding. The iconic green mermaid logo symbolizes more than just coffee—it represents a standard of quality, a sense of belonging, and a distinct lifestyle. Starbucks transcends being a mere coffee shop; it’s a part of daily life and a marker of social identity.

Yet, success brings its own set of critiques. Some criticize Starbucks for its aggressive expansion and its impact on local cafes. Environmental concerns about waste and sustainability are also at the forefront of discussions, alongside debates about ethical labor practices in its supply chain.

Despite these issues, Starbucks has engaged in significant initiatives that reflect its commitment to community and environmental responsibility. Programs like the Starbucks College Achievement Plan highlight its focus on employee benefits, while its efforts in sustainable sourcing and energy conservation demonstrate its environmental commitment.

Ultimately, the narrative of Starbucks in America is a complex one, interwoven with successes and setbacks. It reflects the essence of innovation, the impact of strategic branding, and the changing preferences of consumers. Loved by many and criticized by some, Starbucks remains a pivotal element of American coffee culture, continually shaping and reflecting our society’s evolving tastes and values.

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Can You Recognize This Novel From a One-Line Description?

By J. D. Biersdorfer May 6, 2024

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A blue and white illustration of an open book with the bottom corner depicted as a jigsaw-puzzle piece snapping into place.

Welcome to Lit Trivia, the Book Review’s multiple-choice quiz designed to test your knowledge of books and literary culture. This week’s challenge asks you to identify five famous 20th-century novels based on a very simple one-sentence plot description.

Just tap or click on the title you think is correct to see the answer and a snippet of the original coverage in The Times. After the last question, you’ll find links to the titles in case you’re looking for a something to read.

A man runs around Dublin all day in June 1904.

“Birchwood,” by John Banville

“Borstal Boy,” by Brendan Behan

“Ulysses,” by James Joyce

“Strumpet City,” by James Plunkett

A young girl grows up in an impoverished urban area and, inspired by nature’s tenacity, strives to get an education as a key to success in life.

“Angels on Toast,” by Dawn Powell

“Brown Girl, Brownstones,” by Paule Marshall

“My Sister Eileen,” by Ruth McKenney

“A Tree Grows in Brooklyn,” by Betty Smith

A man recalls his childhood and young adulthood in high society for thousands of pages and has a memorable encounter with a snack food.

“The Remains of the Day,” by Kazuo Ishiguro

“In Search of Lost Time,” by Marcel Proust

“A Portrait of the Artist as a Young Man,” by James Joyce

“The Grapes of Wrath,” by John Steinbeck

An American in Paris, dealing with social alienation and other issues, has a relationship with an Italian bartender.

“Paris France,” by Gertrude Stein

“Giovanni’s Room,” by James Baldwin

“Gigi and the Cat,” by Colette

“The Ambassadors,” by Henry James

A clairvoyant woman keeps a journal for decades and records the dramatic lives of several generations of her family through love and political upheaval.

“In the Time of the Butterflies,” by Julia Alvarez

“The Kitchen God’s Wife,” by Amy Tan

“Paradise,” by Toni Morrison

“The House of the Spirits,” by Isabel Allende

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What lies beneath Gaza’s rubble and ruin

The hysteria over campus protests in the United States has shifted American attention away from the depth of the ongoing calamity in Gaza.

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In a fit of ideological pique last week, far-right Rep. Lauren Boebert (R-Colo.) scoffed at protesters agitating against pro-Israel policies on campuses across the United States . “I get a strange inkling that all these Columbia and UCLA students running around yelling ‘Free Palestine’ would not be jumping at the opportunity to do a semester abroad in Gaza,” she wrote on social media , before later journeying to a protest encampment at George Washington University and almost sparring with students when trying to pull down a Palestinian flag.

Boebert’s scorn is shared even by some of her opponents in the Washington establishment, many of whom have cast the student demonstrations as, at best, unproductive far-left agitprop or, more darkly, dangerous antisemitic behavior that must be expunged from the academy. Hundreds of campus protesters have been arrested in recent days in police crackdowns from California to New York.

Boebert’s comment, though, drew derision on two counts: First, that protesters angry about alleged Israeli war crimes in Gaza would need to go to the besieged territory itself to justify their anger. And, second, that students could even do “a semester abroad” in Gaza, where Israel has spent the past half year systematically destroying most of its educational institutions, including all of its universities .

For months, Palestinian civil society activists have drawn attention to the steady eradication of Gaza’s cultural patrimony. Israel’s punishing campaign against militant group Hamas has seen much of the territory reduced to ruin. In the process, many libraries, museums and colleges have been ransacked and razed — in some instances, by deliberate Israeli demolition. Thousands of artifacts in various collections, including Roman coins and other materials from Gaza’s pre-Islamic past, have been potentially lost during the war .

The hysteria over campus protests in the United States has shifted American attention away from the depth of the ongoing calamity in Gaza. U.N. officials and aid agencies are still grappling with the scale of the destruction in the territory, where dozens are still dying every day. Since Hamas launched its Oct. 7 terrorist strike on southern Israel, more than 34,500 Palestinians in the territory — many of them women and children — have been killed. Some 5 percent of Gaza’s overall population has been killed or injured, according to a U.N. report that cites local data.

That figure doesn’t include the more than at least 10,000 people that the U.N. estimates are still missing beneath the rubble, citing the Palestinian Civil Defense (PCD). The challenge of finding the missing is growing more dire, given the widespread destruction of heavy machinery and equipment needed to dig through the debris.

“Rising temperatures can accelerate the decomposition of bodies and the spread of disease,” the U.N. humanitarian affairs office said in a statement , adding that the PCD was appealing to “all relevant stakeholders to urgently intervene to allow the entry of needed equipment, including bulldozers and excavators, to avert a public health catastrophe, facilitate dignified burials, and save the lives of injured people.”

Sifting through Gaza’s wreckage will be no simple task. Israel has dumped a huge amount of ordnance on the territory. Mungo Birch, head of the U.N. Mine Action Program in Palestinian territory, said last week that the amount of unexploded missiles and bombs lying in the rubble is “unprecedented” since World War II. He said tiny Gaza is a site of some 37 million tons of rubble — more than what’s been generated across all of Ukraine during Russia’s war — and 800,000 tons of asbestos and other contaminants. He said his agency has only a fraction of the funding it needs to begin clearing operations whenever the war ends.

Over the weekend, U.S. and Egyptian officials attempted to facilitate a last-ditch effort to broker a truce between Israel and Hamas . A delegation from the Palestinian militant group was in Cairo and expressed optimism that a breakthrough could be found. Israeli Prime Minister Benjamin Netanyahu, who faced mass protests at home against his continued tenure in office, seemed more wary of the arrangement and remains bent on carrying out a full offensive against the southern Gazan city of Rafah, where more than a million Palestinians already displaced in the territory have taken shelter.

Top U.N. officials say famine has already gripped parts of Gaza. Beyond the desperately insufficient trickle of humanitarian aid into the territory, the war has also “severely hampered” Gaza’s “ability to produce food and clean water,” according to my colleagues . “Israeli airstrikes and bulldozers have razed farms and orchards. Crops abandoned by farmers seeking safety in southern Gaza have withered, and cattle have been left to die.”

The fear surrounding Rafah and the uncertainty over a potential cease-fire sit against the looming reality of how difficult it will be for Gaza to recover. More than 70 percent of all housing in the territory has been destroyed. A report by the U.N. Development Program (UNDP) found that the war has reversed 40 years of development and improvement in social indicators such as life expectancy, health and educational attainment in Gaza.

The agency estimated that reconstruction, at this point, would cost some $40 billion to $50 billion. And if it follows the pace observed after previous conflicts, UNDP estimates that it will take “approximately 80 years to restore all the fully destroyed housing units” in Gaza.

“My very big concern — in addition to the numbers — is the breaking down of communities and families in Gaza,” UNDP regional director Abdallah al-Dardari told The Washington Post . “If you know 60 people in your family have been killed — like our colleague Issam al-Mughrabi who was killed with 60 people in his family during one raid — you will go numb,” Dardari said. “The consequences of this war will stay with us far beyond the end of the war.”

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How to Write a Literary Analysis Essay
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12.14: Sample Student Literary Analysis Essays

Example 1: Poetry

Example 2: Fiction

Example 3: Poetry

Attribution

beginner's guide to literary analysis

What Is Literary Analysis?

Literary Analysis and Other Works

Why Does Literary Analysis Matter?

Literary Terms to Know for Literary Analysis

How to Perform Literary Analysis

Step 2: Take Notes as You Read

Step 3: Notice Patterns

Step 4: Consider the Work as a Whole, and Ask Questions

Step 5: Return to Your Notes and the Text for Evidence

Step 6: Connect These Ideas Across the Narrative

How to Write a Literary Analysis Essay

Step 1: Read the Text. Maybe Read It Again.

Step 2: Brainstorm Potential Topics

Step 3: Gather Evidence

Step 4: Consider Secondary Sources

Step 5: Write a Working Thesis Statement

Step 6: Write an Outline

Step 7: Write Your Introduction

Step 8: Write Your Body Paragraphs

Step 9: Write Your Conclusion

Step 10: Revise, Revise, Revise

Other Resources for Literary Analysis

Introduction

Writing a Literary Analysis Essay

Writing an Analysis of a Poem, Story, or Play

Literary Analysis

Share This Book

Literary Analysis Essay - Ultimate Guide By Professionals

What is a Literary Analysis Essay?

How To Write A Literary Analysis Essay

Introduction

Types of Literary Analysis Essay

Examples of Literary Analysis Essay

Literary Analysis Essay Topics

Frequently Asked Questions

What are the 4 components of literary analysis?

How do you start a literary analysis essay?

How do you do a literary analysis?

Why is literary analysis important?

What is the fundamental characteristic of a literary analysis essay?

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The Power of Analysis: Tips and Tricks for Writing Analysis Essays: Home

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How to Write a Literary Analysis Essay: Definition, Types, Structure, Format, and Examples

What Is a Literary Analysis Essay?

Types of Literary Analysis Essay

Argumentative Literary Analysis Essay

Explanatory

Literary Elements Analysis Essay Writings Should Have

Theme Literary Analysis Essay

Structural Elements

Protagonists

Literary Tropes

Language Use

Narration Style

Literary Analysis Essay Outline

Literary Analysis Essay Introduction

Concluding Paragraph

What Are the Best First Steps When Writing a Literary Analysis Essay?

Contextualize the Source Material

Examine Critical Perspectives

Analyze Character Development and Relationships

Evaluate Symbolism and Literary Devices

Consider Reader Response

Literary Analysis Examples

Literary Analysis Essay Example #1

Literary Analysis Essay Example #2

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