the essay meaning

Montaigne's Autobiographical Essays "Although Michel de Montaigne, who fathered the modern essay in the 16th century, wrote autobiographically (like the essayists who claim to be his followers today), his autobiography was always in the service of larger existential discoveries. He was forever on the lookout for life lessons. If he recounted the sauces he had for dinner and the stones that weighted his kidney, it was to find an element of truth that we could put in our pockets and carry away, that he could put in his own pocket. After all, Philosophy — which is what he thought he practiced in his essays, as had his idols, Seneca and Cicero, before him — is about 'learning to live.' And here lies the problem with essayists today: not that they speak of themselves, but that they do so with no effort to make their experience relevant or useful to anyone else, with no effort to extract from it any generalizable insight into the human condition." (Cristina Nehring, "What’s Wrong With the American Essay." Truthdig, Nov. 29, 2007)

The Artful Formlessness of the Essay "[G]ood essays are works of literary art. Their supposed formlessness is more a strategy to disarm the reader with the appearance of unstudied spontaneity than a reality of composition. . . . "The essay form as a whole has long been associated with an experimental method. This idea goes back to Montaigne and his endlessly suggestive use of the term essai for his writing. To essay is to attempt, to test, to make a run at something without knowing whether you are going to succeed. The experimental association also derives from the other fountain-head of the essay, Francis Bacon , and his stress on the empirical inductive method, so useful in the development of the social sciences." (Phillip Lopate, "The Art of the Personal Essay". Anchor, 1994)

Articles vs. Essays "[W]hat finally distinguishes an essay from an article may just be the author's gumption, the extent to which personal voice, vision, and style are the prime movers and shapers, even though the authorial 'I' may be only a remote energy, nowhere visible but everywhere present." (Justin Kaplan, ed. "The Best American Essays: 1990". Ticknor & Fields, 1990) "I am predisposed to the essay with knowledge to impart — but, unlike journalism, which exists primarily to present facts, the essays transcend their data, or transmute it into personal meaning. The memorable essay, unlike the article, is not place or time-bound; it survives the occasion of its original composition. Indeed, in the most brilliant essays, language is not merely the medium of communication ; it is communication." (Joyce Carol Oates, quoted by Robert Atwan in "The Best American Essays, College Edition", 2nd ed. Houghton Mifflin, 1998) "I speak of a 'genuine' essay because fakes abound. Here the old-fashioned term poetaster may apply, if only obliquely. As the poetaster is to the poet — a lesser aspirant — so the average article is to the essay: a look-alike knockoff guaranteed not to wear well. An article is often gossip. An essay is reflection and insight. An article often has the temporary advantage of social heat — what's hot out there right now. An essay's heat is interior. An article can be timely, topical, engaged in the issues and personalities of the moment; it is likely to be stale within the month. In five years it may have acquired the quaint aura of a rotary phone. An article is usually Siamese-twinned to its date of birth. An essay defies its date of birth — and ours, too. (A necessary caveat: some genuine essays are popularly called 'articles' — but this is no more than an idle, though persistent, habit of speech. What's in a name? The ephemeral is the ephemeral. The enduring is the enduring.)" (Cynthia Ozick, "SHE: Portrait of the Essay as a Warm Body." The Atlantic Monthly, September 1998)

The Status of the Essay "Though the essay has been a popular form of writing in British and American periodicals since the 18th century, until recently its status in the literary canon has been, at best, uncertain. Relegated to the composition class, frequently dismissed as mere journalism, and generally ignored as an object for serious academic study, the essay has sat, in James Thurber's phrase, ' on the edge of the chair of Literature.' "In recent years, however, prompted by both a renewed interest in rhetoric and by poststructuralist redefinitions of literature itself, the essay — as well as such related forms of 'literary nonfiction' as biography , autobiography , and travel and nature writing — has begun to attract increasing critical attention and respect." (Richard Nordquist, "Essay," in "Encylopedia of American Literature", ed. S. R. Serafin. Continuum, 1999)

The Contemporary Essay "At present, the American magazine essay , both the long feature piece and the critical essay, is flourishing, in unlikely circumstances... "There are plenty of reasons for this. One is that magazines, big and small, are taking over some of the cultural and literary ground vacated by newspapers in their seemingly unstoppable evaporation. Another is that the contemporary essay has for some time now been gaining energy as an escape from, or rival to, the perceived conservatism of much mainstream fiction... "So the contemporary essay is often to be seen engaged in acts of apparent anti-novelization: in place of plot , there is drift or the fracture of numbered paragraphs; in place of a frozen verisimilitude, there may be a sly and knowing movement between reality and fictionality; in place of the impersonal author of standard-issue third-person realism, the authorial self pops in and out of the picture, with a liberty hard to pull off in fiction." (James Wood, "Reality Effects." The New Yorker, Dec. 19 & 26, 2011)

The Lighter Side of Essays: "The Breakfast Club" Essay Assignment "All right people, we're going to try something a little different today. We are going to write an essay of not less than a thousand words describing to me who you think you are. And when I say 'essay,' I mean 'essay,' not one word repeated a thousand times. Is that clear, Mr. Bender?" (Paul Gleason as Mr. Vernon) Saturday, March 24, 1984 Shermer High School Shermer, Illinois 60062 Dear Mr. Vernon, We accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. What we did was wrong. But we think you're crazy to make us write this essay telling you who we think we are. What do you care? You see us as you want to see us — in the simplest terms, in the most convenient definitions. You see us as a brain, an athlete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at seven o'clock this morning. We were brainwashed... But what we found out is that each one of us is a brain and an athlete and a basket case, a princess, and a criminal. Does that answer your question? Sincerely yours, The Breakfast Club (Anthony Michael Hall as Brian Johnson, "The Breakfast Club", 1985)

• The Essay: History and Definition
• What is a Familiar Essay in Composition?
• What Is a Personal Essay (Personal Statement)?
• Definition and Examples of Formal Essays
• exploratory essay
• The Difference Between an Article and an Essay
• What Is Colloquial Style or Language?
• Definition and Examples of Humorous Essays
• What Is Expository Writing?
• 'Whack at Your Reader at Once': Eight Great Opening Lines
• Classic British and American Essays and Speeches
• Definition and Examples of Analysis in Composition
• Expressive Discourse in Composition
• Periodical Essay Definition and Examples
• What Does "Persona" Mean?
• The Title in Composition

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What is Essay? Definition, Usage, and Literary Examples

Essay definition.

An essay (ES-ey) is a nonfiction composition that explores a concept, argument, idea, or opinion from the personal perspective of the writer. Essays are usually a few pages, but they can also be book-length. Unlike other forms of nonfiction writing, like textbooks or biographies, an essay doesn’t inherently require research. Literary essayists are conveying ideas in a more informal way.

The word essay comes from the Late Latin exigere , meaning “ascertain or weigh,” which later became essayer in Old French. The late-15th-century version came to mean “test the quality of.” It’s this latter derivation that French philosopher Michel de Montaigne first used to describe a composition.

History of the Essay

Michel de Montaigne first coined the term essayer to describe Plutarch’s Oeuvres Morales , which is now widely considered to be a collection of essays. Under the new term, Montaigne wrote the first official collection of essays, Essais , in 1580. Montaigne’s goal was to pen his personal ideas in prose . In 1597, a collection of Francis Bacon’s work appeared as the first essay collection written in English. The term essayist was first used by English playwright Ben Jonson in 1609.

Types of Essays

There are many ways to categorize essays. Aldous Huxley, a leading essayist, determined that there are three major groups: personal and autobiographical, objective and factual, and abstract and universal. Within these groups, several other types can exist, including the following:

• Academic Essays : Educators frequently assign essays to encourage students to think deeply about a given subject and to assess the student’s knowledge. As such, an academic essay employs a formal language and tone, and it may include references and a bibliography. It’s objective and factual, and it typically uses a five-paragraph model of an introduction, two or more body paragraphs, and a conclusion. Several other essay types, like descriptive, argumentative, and expository, can fall under the umbrella of an academic essay.
• Analytical Essays : An analytical essay breaks down and interprets something, like an event, piece of literature, or artwork. This type of essay combines abstraction and personal viewpoints. Professional reviews of movies, TV shows, and albums are likely the most common form of analytical essays that people encounter in everyday life.
• Argumentative/Persuasive Essays : In an argumentative or persuasive essay, the essayist offers their opinion on a debatable topic and refutes opposing views. Their goal is to get the reader to agree with them. Argumentative/persuasive essays can be personal, factual, and even both at the same time. They can also be humorous or satirical; Jonathan Swift’s A Modest Proposal is a satirical essay arguing that the best way for Irish people to get out of poverty is to sell their children to rich people as a food source.
• Descriptive Essays : In a descriptive essay, the essayist describes something, someone, or an event in great detail. The essay’s subject can be something concrete, meaning it can be experienced with any or all of the five senses, or abstract, meaning it can’t be interacted with in a physical sense.
• Expository Essay : An expository essay is a factual piece of writing that explains a particular concept or issue. Investigative journalists often write expository essays in their beat, and things like manuals or how-to guides are also written in an expository style.
• Narrative/Personal : In a narrative or personal essay, the essayist tells a story, which is usually a recounting of a personal event. Narrative and personal essays may attempt to support a moral or lesson. People are often most familiar with this category as many writers and celebrities frequently publish essay collections.

Notable Essayists

• James Baldwin, “ Notes of a Native Son ”
• Joan Didion, “ Goodbye To All That ”
• George Orwell, “ Shooting an Elephant ”
• Ralph Waldo Emerson, “ Self-Reliance ”
• Virginia Woolf, " Three Guineas "

Examples of Literary Essays

1. Michel De Montaigne, “Of Presumption”

De Montaigne’s essay explores multiple topics, including his reasons for writing essays, his dissatisfaction with contemporary education, and his own victories and failings. As the father of the essay, Montaigne details characteristics of what he thinks an essay should be. His writing has a stream-of-consciousness organization that doesn’t follow a structure, and he expresses the importance of looking inward at oneself, pointing to the essay’s personal nature.

2. Virginia Woolf, “A Room of One’s Own”

Woolf’s feminist essay, written from the perspective of an unknown, fictional woman, argues that sexism keeps women from fully realizing their potential. Woolf posits that a woman needs only an income and a room of her own to express her creativity. The fictional persona Woolf uses is meant to teach the reader a greater truth: making both literal and metaphorical space for women in the world is integral to their success and wellbeing.

3. James Baldwin, “Everybody’s Protest Novel”

In this essay, Baldwin argues that Harriet Beecher Stowe’s novel Uncle Tom’s Cabin doesn’t serve the black community the way his contemporaries thought it did. He points out that it equates “goodness” with how well-assimilated the black characters are in white culture:

Uncle Tom’s Cabin is a very bad novel, having, in its self-righteous, virtuous sentimentality, much in common with Little Women. Sentimentality […] is the mark of dishonesty, the inability to feel; […] and it is always, therefore, the signal of secret and violent inhumanity, the mask of cruelty.

This essay is both analytical and argumentative. Baldwin analyzes the novel and argues against those who champion it.

Further Resources on Essays

Top Writing Tips offers an in-depth history of the essay.

The Harvard Writing Center offers tips on outlining an essay.

We at SuperSummary have an excellent essay writing resource guide .

Related Terms

• Academic Essay
• Argumentative Essay
• Expository Essay
• Narrative Essay
• Persuasive Essay

What is an Essay?

10 May, 2020

11 minutes read

Author:  Tomas White

Well, beyond a jumble of words usually around 2,000 words or so - what is an essay, exactly? Whether you’re taking English, sociology, history, biology, art, or a speech class, it’s likely you’ll have to write an essay or two. So how is an essay different than a research paper or a review? Let’s find out!

Defining the Term – What is an Essay?

The essay is a written piece that is designed to present an idea, propose an argument, express the emotion or initiate debate. It is a tool that is used to present writer’s ideas in a non-fictional way. Multiple applications of this type of writing go way beyond, providing political manifestos and art criticism as well as personal observations and reflections of the author.

An essay can be as short as 500 words, it can also be 5000 words or more.  However, most essays fall somewhere around 1000 to 3000 words ; this word range provides the writer enough space to thoroughly develop an argument and work to convince the reader of the author’s perspective regarding a particular issue.  The topics of essays are boundless: they can range from the best form of government to the benefits of eating peppermint leaves daily. As a professional provider of custom writing, our service has helped thousands of customers to turn in essays in various forms and disciplines.

Origins of the Essay

Over the course of more than six centuries essays were used to question assumptions, argue trivial opinions and to initiate global discussions. Let’s have a closer look into historical progress and various applications of this literary phenomenon to find out exactly what it is.

Today’s modern word “essay” can trace its roots back to the French “essayer” which translates closely to mean “to attempt” .  This is an apt name for this writing form because the essay’s ultimate purpose is to attempt to convince the audience of something.  An essay’s topic can range broadly and include everything from the best of Shakespeare’s plays to the joys of April.

The essay comes in many shapes and sizes; it can focus on a personal experience or a purely academic exploration of a topic.  Essays are classified as a subjective writing form because while they include expository elements, they can rely on personal narratives to support the writer’s viewpoint.  The essay genre includes a diverse array of academic writings ranging from literary criticism to meditations on the natural world.  Most typically, the essay exists as a shorter writing form; essays are rarely the length of a novel.  However, several historic examples, such as John Locke’s seminal work “An Essay Concerning Human Understanding” just shows that a well-organized essay can be as long as a novel.

The Essay in Literature

The essay enjoys a long and renowned history in literature.  They first began gaining in popularity in the early 16 th century, and their popularity has continued today both with original writers and ghost writers.  Many readers prefer this short form in which the writer seems to speak directly to the reader, presenting a particular claim and working to defend it through a variety of means.  Not sure if you’ve ever read a great essay? You wouldn’t believe how many pieces of literature are actually nothing less than essays, or evolved into more complex structures from the essay. Check out this list of literary favorites:

• The Book of My Lives by Aleksandar Hemon
• Notes of a Native Son by James Baldwin
• Against Interpretation by Susan Sontag
• High-Tide in Tucson: Essays from Now and Never by Barbara Kingsolver
• Slouching Toward Bethlehem by Joan Didion
• Naked by David Sedaris
• Walden; or, Life in the Woods by Henry David Thoreau

Pretty much as long as writers have had something to say, they’ve created essays to communicate their viewpoint on pretty much any topic you can think of!

The Essay in Academics

Not only are students required to read a variety of essays during their academic education, but they will likely be required to write several different kinds of essays throughout their scholastic career.  Don’t love to write?  Then consider working with a ghost essay writer !  While all essays require an introduction, body paragraphs in support of the argumentative thesis statement, and a conclusion, academic essays can take several different formats in the way they approach a topic.  Common essays required in high school, college, and post-graduate classes include:

Five paragraph essay

This is the most common type of a formal essay. The type of paper that students are usually exposed to when they first hear about the concept of the essay itself. It follows easy outline structure – an opening introduction paragraph; three body paragraphs to expand the thesis; and conclusion to sum it up.

Argumentative essay

These essays are commonly assigned to explore a controversial issue.  The goal is to identify the major positions on either side and work to support the side the writer agrees with while refuting the opposing side’s potential arguments.

Compare and Contrast essay

This essay compares two items, such as two poems, and works to identify similarities and differences, discussing the strength and weaknesses of each.  This essay can focus on more than just two items, however.  The point of this essay is to reveal new connections the reader may not have considered previously.

Definition essay

This essay has a sole purpose – defining a term or a concept in as much detail as possible. Sounds pretty simple, right? Well, not quite. The most important part of the process is picking up the word. Before zooming it up under the microscope, make sure to choose something roomy so you can define it under multiple angles. The definition essay outline will reflect those angles and scopes.

Descriptive essay

Perhaps the most fun to write, this essay focuses on describing its subject using all five of the senses.  The writer aims to fully describe the topic; for example, a descriptive essay could aim to describe the ocean to someone who’s never seen it or the job of a teacher.  Descriptive essays rely heavily on detail and the paragraphs can be organized by sense.

Illustration essay

The purpose of this essay is to describe an idea, occasion or a concept with the help of clear and vocal examples. “Illustration” itself is handled in the body paragraphs section. Each of the statements, presented in the essay needs to be supported with several examples. Illustration essay helps the author to connect with his audience by breaking the barriers with real-life examples – clear and indisputable.

Informative Essay

Being one the basic essay types, the informative essay is as easy as it sounds from a technical standpoint. High school is where students usually encounter with informative essay first time. The purpose of this paper is to describe an idea, concept or any other abstract subject with the help of proper research and a generous amount of storytelling.

Narrative essay

This type of essay focuses on describing a certain event or experience, most often chronologically.  It could be a historic event or an ordinary day or month in a regular person’s life. Narrative essay proclaims a free approach to writing it, therefore it does not always require conventional attributes, like the outline. The narrative itself typically unfolds through a personal lens, and is thus considered to be a subjective form of writing.

Persuasive essay

The purpose of the persuasive essay is to provide the audience with a 360-view on the concept idea or certain topic – to persuade the reader to adopt a certain viewpoint. The viewpoints can range widely from why visiting the dentist is important to why dogs make the best pets to why blue is the best color.  Strong, persuasive language is a defining characteristic of this essay type.

The Essay in Art

Several other artistic mediums have adopted the essay as a means of communicating with their audience.  In the visual arts, such as painting or sculpting, the rough sketches of the final product are sometimes deemed essays.  Likewise, directors may opt to create a film essay which is similar to a documentary in that it offers a personal reflection on a relevant issue.  Finally, photographers often create photographic essays in which they use a series of photographs to tell a story, similar to a narrative or a descriptive essay.

Drawing the line – question answered

“What is an Essay?” is quite a polarizing question. On one hand, it can easily be answered in a couple of words. On the other, it is surely the most profound and self-established type of content there ever was. Going back through the history of the last five-six centuries helps us understand where did it come from and how it is being applied ever since.

If you must write an essay, follow these five important steps to works towards earning the “A” you want:

• Understand and review the kind of essay you must write
• Brainstorm your argument
• Find research from reliable sources to support your perspective
• Cite all sources parenthetically within the paper and on the Works Cited page
• Follow all grammatical rules

Generally speaking, when you must write any type of essay, start sooner rather than later!  Don’t procrastinate – give yourself time to develop your perspective and work on crafting a unique and original approach to the topic.  Remember: it’s always a good idea to have another set of eyes (or three) look over your essay before handing in the final draft to your teacher or professor.  Don’t trust your fellow classmates?  Consider hiring an editor or a ghostwriter to help out!

If you are still unsure on whether you can cope with your task – you are in the right place to get help. HandMadeWriting is the perfect answer to the question “Who can write my essay?”

A life lesson in Romeo and Juliet taught by death

Due to human nature, we draw conclusions only when life gives us a lesson since the experience of others is not so effective and powerful. Therefore, when analyzing and sorting out common problems we face, we may trace a parallel with well-known book characters or real historical figures. Moreover, we often compare our situations with […]

Ethical Research Paper Topics

Writing a research paper on ethics is not an easy task, especially if you do not possess excellent writing skills and do not like to contemplate controversial questions. But an ethics course is obligatory in all higher education institutions, and students have to look for a way out and be creative. When you find an […]

Art Research Paper Topics

Students obtaining degrees in fine art and art & design programs most commonly need to write a paper on art topics. However, this subject is becoming more popular in educational institutions for expanding students’ horizons. Thus, both groups of receivers of education: those who are into arts and those who only get acquainted with art […]

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What does the noun essay mean?

There are 12 meanings listed in OED's entry for the noun essay , nine of which are labelled obsolete. See ‘Meaning & use’ for definitions, usage, and quotation evidence.

essay has developed meanings and uses in subjects including

Entry status

OED is undergoing a continuous programme of revision to modernize and improve definitions. This entry has not yet been fully revised.

How common is the noun essay ?

How is the noun essay pronounced, british english, u.s. english, where does the noun essay come from.

Earliest known use

The earliest known use of the noun essay is in the late 1500s.

OED's earliest evidence for essay is from 1597, in the writing of Francis Bacon, lord chancellor, politician, and philosopher.

It is also recorded as a verb from the Middle English period (1150—1500).

essay is a borrowing from French.

Etymons: French essai .

Nearby entries

• esrache, v. 1477
• esraj, n. 1921–
• ESRO, n. 1961–
• ess, n. 1540–
• -ess, suffix¹
• -ess, suffix²
• essamplerie, n. 1393
• essart, n. 1656–
• essart, v. 1675–
• essarting, n. a1821–
• essay, n. 1597–
• essay, v. 1483–
• essayal, n. 1837–
• essayer, n. 1611–
• essayette, n. 1877–
• essayfy, v. 1815–
• essay-hatch, n. 1721–
• essayical, adj. 1860–
• essaying, n. 1861–
• essaying, adj. 1641–
• essayish, adj. 1863–

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Meaning & use

Pronunciation, compounds & derived words, entry history for essay, n..

essay, n. was first published in 1891; not yet revised.

essay, n. was last modified in March 2024.

Revision of the OED is a long-term project. Entries in oed.com which have not been revised may include:

• corrections and revisions to definitions, pronunciation, etymology, headwords, variant spellings, quotations, and dates;
• new senses, phrases, and quotations which have been added in subsequent print and online updates.

Revisions and additions of this kind were last incorporated into essay, n. in March 2024.

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I Guess I Can Do It With a Literal Broken Heart

As the Eras Tour resumes today, one ELLE editor shares how a song from Taylor Swift’s The Tortured Poets Department had an unexpected connection to his health.

The other week, I felt like Taylor Swift.

No, I haven’t been in the recording studio writing an album, touring the globe, or raking in dough. I wasn’t shimmering in a body suit or performing to millions of fans. I didn’t break Spotify records with The Tortured Poets Department. Instead, I filled the holes in my busy week by listening and dancing to “I Can Do It With a Broken Heart” over and over again, claiming the track as my own.

Whenever I’m in a rotten head space, I lose myself to the music. Whether there are people around or not, I dream of flouncing around a dance floor on my wedding day or performing in front of a stadium to thousands of fans. It’s therapy, the light at the end of my day, and often, what I look forward to the most: a 10 P.M. dance break.

This past December, when I was in Los Angeles for our annual Women in Hollywood event, I ended one particularly stressful day with a tango. I strutted through my hotel room in my black, tiny underwear and took a few minutes to perform my greatest living room hits, culminating with “Breathless,” by the Corrs.

I started dancing, hitting each body roll and ass shake, giving the performance of a lifetime. Then, at the end of the song, I pumped my hand into the sky like I was holding a microphone. A sharp pain shot across my chest and body. Within a matter of seconds, my tour came to an end. I was on my bed, almost immobile and worried about what I had just done. The pain slowly subsided. I drifted off to sleep and hoped the next day would bring healing.

The following morning, I thought all was fixed. I went to a boxing class, hit a punch, and the pain came right back. I convinced myself I was having a heart attack. I looked up the symptoms on WebMD, talked with some coworkers, and then thought it was all over. I tracked down the nearest hospital, called my family, and tried to talk it through with a provider on the phone. After my anxiety came down, and I got some professional advice, I realized it was most likely a pull. I decided to power through. I could still move.

I went through the rest of that week in Los Angeles assisting with our event with a dull pain in my chest. When I got back to New York, my primary care provider confirmed my suspicions: I had pulled a muscle. It would take some time to heal. He still wanted to run an electrocardiogram (EKG) to be safe.

After being hooked up to the machine as if I were a science experiment, my doctor came back. He recommended I see a cardiologist as soon as possible. I had pulled my chest, but something else was, in fact, wrong.

Six doctor’s appointments, two weeks on a heart monitor, and an ultrasound later, I was diagnosed with a congenital heart defect called Wolff-Parkinson-White syndrome (WPW). Essentially, I have an extra pathway in my heart where signals sometimes travel. My resting heart rate can skyrocket to 200 beats per minute. When not treated properly, WPW can lead to sudden cardiac arrest and death in children and young adults.

.css-1aear8u:before{margin:0 auto 0.9375rem;width:34px;height:25px;content:'';display:block;background-repeat:no-repeat;}.loaded .css-1aear8u:before{background-image:url(/_assets/design-tokens/elle/static/images/quote.fddce92.svg);} .css-1bvxk2j{font-family:SaolDisplay,SaolDisplay-fallback,SaolDisplay-roboto,SaolDisplay-local,Georgia,Times,serif;font-size:1.625rem;font-weight:normal;line-height:1.2;margin:0rem;margin-bottom:0.3125rem;}@media(max-width: 48rem){.css-1bvxk2j{font-size:2.125rem;line-height:1.1;}}@media(min-width: 40.625rem){.css-1bvxk2j{font-size:2.125rem;line-height:1.2;}}@media(min-width: 64rem){.css-1bvxk2j{font-size:2.25rem;line-height:1.1;}}@media(min-width: 73.75rem){.css-1bvxk2j{font-size:2.375rem;line-height:1.2;}}.css-1bvxk2j b,.css-1bvxk2j strong{font-family:inherit;font-weight:bold;}.css-1bvxk2j em,.css-1bvxk2j i{font-style:italic;font-family:inherit;}.css-1bvxk2j i,.css-1bvxk2j em{font-style:italic;} I’d feel a heftier heart rate when I had anxiety or was listening to fast-paced music. ... I had convinced myself that was something everyone experienced. They told me it was not.”

Every doctor I saw asked if I felt this high heart rate. I commented that I did, but I thought it was normal. I’d feel a heftier heart rate when I had anxiety or was listening to fast-paced music. I’d quickly lose my breath while running or feel pressure in my chest at my weekly Barry’s classes. I had convinced myself that was something everyone experienced. They told me it was not. Some patients don’t catch this condition until they’re elderly; apparently I was lucky I caught it now. We could fix it with a simple surgery, an ablation, which had a 96 percent success rate. I said yes to the procedure, and we got a date on the calendar.

The night before the surgery, I couldn’t help but play a mental supercut of the moments in my life that had made me pause, moments that made me, in reference to the song that caused me to catch the problem, breathless. I thought about the gorgeous weddings I’d attended. I thought about hearing the overture of Merrily We Roll Along played by a full orchestra for the first time. I thought about kissing a beautiful boy with cherry lips under a disco ball. I thought about the devastating end of The Great Believers by Rebecca Makkai and when Parvati, Cirie, Amanda, and Natalie convinced Erik to give up individual immunity on Survivor . I thought about a recent meet cute and my first bite of the crab rangoon pizza at Fong’s in Des Moines, Iowa. I thought about my night at MetLife Stadium at Taylor Swift’s Eras Tour. I thought about seeing my dad cry when the Chiefs won the Super Bowl. I thought about my mom caucusing in 2016 to support her politically active son and the year I won my family’s annual Christmas board game competition. I thought about the first time seeing my name on the masthead or in a byline in ELLE Magazine. I thought about my roommate Alex, who helped me through every doctor’s appointment and was slated to go with me to the surgery the following day. I thought about my other friends who offered to take care of me, too. I thought about every single person I loved.

And then, I had the surgery. It seemed to go well. I scheduled a follow-up.

Just a few days before The Tortured Poets Department dropped, I went into my doctor for the final A-OK. I had felt better, and I was convinced the surgery worked. He told me it did not. It would take a second surgery to fix. I was in the 4 percent.

I may not be performing in front of millions of fans, but Taylor’s ability to create music that’s relatable while speaking about her extraordinary situations is unmatched. To learn that even the world’s biggest pop star has powered through her own private battles made me feel more connected to her. Many of my colleagues and friends, each carrying on with their own silent struggles, have commented how this song has been their recent anthem, and it’s become a standout topic on social media.

To learn that even the world’s biggest pop star has powered through her own private battles made me feel more connected to her.”

We shuffle along to the beats of many drums. We are sometimes asked for more and we do it, all while haunted by paralyzing thoughts, yearning for a break and sleep. Internally we are miserable, but we peddle forward. It’s a side effect of the human condition. Of course, we need to take time for ourselves too, but I have gotten through my most challenging moments, terrifying times, and biggest heartbreaks by picking myself up and forcing myself to get back out there. And I’m sure I’m not alone.

I have to remind myself often that little Sam would be in awe of me right now. He would be astounded by all I’m accomplishing and the shows I’ve attended. Little Sam would love my unabashed queerness and my recent body confidence. But he wouldn’t be able to handle my very full plate: health complications, boy problems, and a sometimes challenging (but also rewarding) career. I’m sure little Taylor would feel the same way about big Taylor right now too.

So yes, I guess I can really do it with a literal broken heart. Taylor and I have that in common. I have my second surgery in late May. Hopefully, in June, Taylor’s song will remind me of a time when I was stronger than I had ever been before.

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Geoffrey Mak Still Hasn’t Lost Hope in the Personal Essay

By jake nevins, photographed by acudus aranyian, may 7, 2024.

Geoffrey Mak, photographed by Acudus.

Last month, when I spoke to the writer and critic Geoffrey Mak about his debut collection of essays, Mean Boys , a white flower petal floated into his coffee just as he explained how he came to reconcile with his father, a firebrand conservative minister who features prominently in one of the book’s standout pieces, a tough but largely merciful account of their strained relationship and the indignities of the Evangelical church. It was a storybook moment that struck me as almost inappropriately mawkish, since Mak is not one for heavy sentiment. In Mean Boys , he applies a fierce intellect and a certain defiant posture to subjects as varied as edgelords, art fairs, raves, agitprop, organized religion, and mass murderers, but the conclusions reached are rarely tidy or comforting. Paranoia, distrust, and violence, Mak argues, are the defining sensibilities of these strange times. But we nevertheless retain our capacity for joy and intimacy, to be found, perhaps, in the random kindness of a stranger on the dance floor, or in the act of writing itself. “When I write, I care less about admiration and more about connection,” Mak explained. “And this very rich expansion of the soul can only happen with the personal essay.” Just before his book’s release, he and I got together downtown to talk about pain, pleasure, Trump, trad caths, and the Kardashians.

NEVINS: I finished the title essay last night. I feel like I should tell you up front that a very dear friend of mine grew up with Elliot Rodger and is mentioned by name in his manifesto. She’s actually working on this short in which she imagines his mother getting the call about the murders. So that was heavy on my mind as I was reading.

MAK: Oh, wow. Yeah, the mom. I tried not to do the whole “what went wrong” thing. I don’t think anyone wanted my speculation. But I felt really bad for her because like, she wasn’t that Asian parent who wouldn’t give positive affirmation. She really did, and she really had a kind of infinite patience. I don’t think Elliot was going out of his way to portray her well and she still came out pretty loving. So I feel really bad for her. Yeah, I would definitely watch this short.

NEVINS: I’ll keep you posted. Anyway, I was reading the title essay through the lens of your author’s note, in which you kind of riff on the uses and abuses of the personal essay. I’m curious to know what the utility of the form is for you, particularly in regard to these pieces.

MAK: Oh my gosh, I’m so opinionated on this. Where do I start? The personal essay now is really evolving. There are usually two directions it takes. I mean, everybody hates it. So the question is, “How do we make this less hateable?” And you either have one of two choices, which is to make it more like fiction or to make it more like journalism. And I think the pressure to push it in the direction of journalism is to back it up with research or reporting. So it’s like, this was my childhood in the church. Now I’m going to give you the history of the Presbyterian Church in America over the last couple centuries, and then I’m going to go back to myself.

NEVINS: And then in section four, we’ll do some scene work and actually go back to the church you had disavowed…

MAK: Yes, we’ve all read it. And I do really enjoy these essays. But specifically with Elliot Roger, I wanted to ask the question of what role pain has to do in our self-reported personal essays? Because I think our culture gives enormous authority to pain, but that also depends on who you are. If your pain is femme, queer, or non-white, it’s going to be respected as a source of authority. But we don’t seem to give a lot of aesthetic value or respect to stories of class deprivation. And then, in terms of status deprivation, there’s almost no discussion whatsoever because I don’t think our culture understands that status is real. But instead of using pain as a badge, there are other ways to represent it in literature, such as using it to disarm yourself and to become more open to relationships. I mean, something that really excites me about writing a memoir is the intense intimacy I will have with strangers I might never meet. I wanted to open the door to strange and intense intimacies. When I write, I care less about admiration and more about connection. And this very rich expansion of the soul can only happen with the personal essay. It’s special to me.

NEVINS: Yeah, I agree with that. I’m curious if it is any more or less strange than the intimacies that you write about experiencing more fleetingly while, say, K-holed on a dance floor. Those people will presumably know far less about you than your readers.

MAK: That’s true. But I am pretty much an open book. My boyfriend was like, “I’ve never met someone so unembarrassable before.” I write pretty openly about these years-long dry spells where I just wasn’t having any sex. And I think what happened during those years is that my brain and body and soul became really sensitive to opportunities for other kinds of intimacy other than sex. I think that wouldn’t have been the case if I were having a regular sex life. There are so many kinds of intimacy. I was listening to a lecture by the poet, Jorie Graham, and she was talking about how there’s a layer of intelligence in the human mind that is universal, and that’s the sensory one. Another thing about intimacy is that it doesn’t actually require knowledge. So when you’re on the dance floor, you’re radically intimate with all of these people moving together in the same direction, like a flock of birds. It’s really intimate to feel intense, purposeless joy.

NEVINS: I loved the section about how you assume a sort of maternal posture on the dance floor as the person whose job it was to sort of track everyone else’s highs. You and McKenzie Wark are writing more perceptively about nightlife than most people.

MAK: That book’s [ Raving ] amazing.

NEVINS: Yeah, that book’s great. But it does feel like the exception, since a lot of nightlife writing is just like, name-droppy. 

MAK: That’s true. Speaking of, I feel a little bad. I wrote a lot about my dad and I didn’t write a lot about my mom, and I’m actually much closer to my mother.

NEVINS: Well, that doesn’t surprise me after reading about your dad.

MAK: I know…

NEVINS: Has he read it?

MAK: He got the book on Sunday.

NEVINS: You couldn’t get him a galley?

MAK: I didn’t want to because I wanted to give him a finished copy. I was like, “Is it okay if you don’t read certain essays?” And he was like, “Geoff, it’s fine. It’s not going to be a big deal.” I can’t imagine him opening the table of contents and reading the title, My Father, the Minister and not reading it immediately.

NEVINS: It’s so hard, but we’re powerless. When I was 18 and had just moved to New York, I wrote this cringe essay in New York Magazine about getting paid for sex by a very famous artist who was 50 years older than me. It was my very first byline and I didn’t name him. I was like, “Mom, I was published in New York Magazine. But you can’t read it.” I assume she went online and read it anyway.

MAK: If I was more assertive about it, I think my dad would’ve respected it. But I mean, it’s a little bit selfish for me because it actually doesn’t make a huge difference. I wanted to protect him from certain things, but if he’s like, “It’s not a big deal,” then I’d be like, “Yeah, you know yourself. I’ll trust you.” It’s tricky because there’s the essay in the book about my father and then there’s the New Yorker one, which is basically the same exact material, but kind of truncated. But in the New Yorker one, I wanted to celebrate my dad. I wanted to tell the world that it was possible for a firebrand conservative to actually change his mind. But when I wrote the one in the book, I was in utter rage. The one in the book makes me look good. I’m the wronged one. I’m the one with the emotional strength to be like, “I forgive you.” But in the New Yorker one, I look really bad. I’m the burnout, the drug addict. I’m the one who goes home penniless and my dad says, “Yeah, I’ll take you in.” I think it’s a fuller story. 

NEVINS: Well, having read them both, I think this raises interesting questions about form. Narratively, in the container of the personal essay, did you not feel that both of these truths could coexist? By which I mean, do you feel that particular story, as it exists on the page, requires the tension of a character who’s plainly virtuous and one who’s not?

MAK: Well, the two of them together is a story of mutual forgiveness and at the end of the book version, I had this epiphany that we forgive people not because we think they can earn it one day. That’s not how forgiveness works. If you can earn forgiveness, that’s just called penance. What forgiveness really means is that we forgive someone because they can never earn it. There’s this moment where I call my father a coward. It’s pretty harsh, but I had asked him if he’d tell his church about me and he said no. So this kind of really intense failure is actually why I forgive him.

NEVINS: There’s no way a flower petal just fell into your coffee.

MAK: Right as we got to the moment of forgiveness. And to see him change made me radically optimistic about what the human heart is capable of. This isn’t in the book, but I did return to Christianity. Watching my dad model what a Christian was capable of made it quite appealing to me. I left Christianity and embraced queerness. And then when I came back to Christianity, I didn’t leave queerness. I brought it with me. I began reading some hard theology, and by “hard theology” I mean theology that’s meant for theologians. Liberals and leftists really hate Christians. And I’m not surprised. They have reason to. I hate them too. But all of the criticisms that the left has of Christianity, theology has answered them. People just don’t care enough to read it. It’s easier to have a target that’s demonized, and what’s more easy to demonize than the Evangelical church. I mean, they’re awful. But my whole life has been about finding tiny minorities that I could find a home in. I was never going to find a big movement that I felt was speaking to me. So there were the raves, there was theology, there was X, Y, and Z. But the stuff is out there, and it’s really thrilling.

NEVINS: This makes me curious to hear your thoughts on what you might call the kind of shallow iteration of religiosity coursing through downtown New York these days, which seems to me more reactionary than genuinely inquisitive.

MAK: Oh my god, yeah. Well, it is a little reactionary. Obviously, edgelords are a really big theme in the book. It’s hard to say what’s really going on there. Okay, tinfoil hat coming on. I had this epiphany when I was watching The Kardashians . You have this family that’s probably voting liberal. I mean, Caitlin isn’t, but I think most of the family is. But the show itself is a resounding endorsement of conservative ways of being, so to have this culture so loud and syndicated everywhere is to really promote a conservative way of life. And then I began to think of Trad Caths and like, you have all of these people in Dimes Square who are certainly voting liberal.

NEVINS: Well, if they’re voting at all.

MAK: Right, or they’re not voting. But them doing the hard work of stylizing Christianity and Catholicism and making it look cool is actually endorsing a kind of conservative constituency. I can’t not have a little bit of affection for the Trad Cath movement. I kind of love it on some level. I think it’s hilarious. Some people say to me, “Oh, but they’re not real.” They’re not real practitioners, they don’t actually believe. And I’m just like, “I’m not here to police that. I’m not ever here to police who’s the real Catholic, who’s the real trans, who’s the real leftist.” We can have rings of participation and intensities and seriousness.

NEVINS: Well, it’s interesting you say that. It’s such a rhetorical cudgel, but in the last several months I’ve experienced being told I’m not a “real Jew” for being pro-Palestine, which is really frustrating because I’m not only proud to be Jewish, but I also very much partake in all its cultural traditions, which I understand to be a spirit of community and fellowship and intellectual inquiry.

MAK: Who’s saying that to you?

NEVINS: Well, it mostly comes from Zionists. And I hate to create some sort of hierarchy, but the people saying that are certainly not any more observant than I am. They just seem to think that Zionism endows them with some totally arbitrary authority to decide who really is and isn’t Jewish. So I very much appreciate that despite having returned to Christianity yourself, you don’t take it upon yourself to police its other variants.

MAK: I kind of love the Praying shirts without the praying. I don’t have one. The moment’s a little bit over. But I have a little bit of affection.

NEVINS: I want to talk about Edgelords real quick because I think it’s a really impressive and expansive essay. Forgive me if I’m misstating the thesis, but—

MAK: I mean, it’s kind of messy. There are multiple theses.

NEVINS: Chief among them is that you’re identifying paranoia as the spirit of our age. Sometimes it can feel like we’re too close to an era or a scene to really assess it accurately. You write about the ways you were driven to what you call “madness.” I’m curious how you came to this organizing theory of the times.

MAK: Oh my gosh, there’s so much to say. There was a fundamental shift in how politics mobilized culture for its own advantages. There’s this excellent book, Kill All Normies by Angela Nagle. And if anybody reads it now, they’ll be like, “Duh, this is obvious.” But it really wasn’t when it came out. And basically the observation is that before, we thought politics would get to the center of culture and move out from there, just sending out the signals from the center and it’ll reach everyone eventually. And what Nagle tracked was that culture didn’t work top-down anymore. It actually worked bottom-up. You had very obscure communities that were disparate, fragmented, but they were meeting each other online, such as gamers, and they were interacting regularly, and they were organically growing really intense political beliefs and affinities. So if you look at Hillary versus Trump, they didn’t work from the center. Well, Trump was better at doing this than Hillary, but Trump was like, “I’m going to endorse the gamers and then I’ll get them on my side. I’m not going to create the gamers. I’m not going to tell them what to do. I’m just going to look for these obscure things.” So sometimes he would tweet things that only 200 people were meant to see.

NEVINS: Just so I’m understanding correctly, you’re suggesting that, as opposed to dictating to what might be a potential voting bloc or constituency, his politics were instead kind of subordinated to theirs?

MAK: He would pick people who already agreed with him.It was more about signals. Suddenly, signals became really important in a way that I don’t think they were before. I mean, the trans bathroom thing. That was really a Tumblr thing. Just a lot of young people on Tumblr were getting really up in arms about it. And then I think the Democratic Party was like, “Oh, it’s burgeoning in the underground, we need to get ahead of this now.” And then they did. So suddenly this very obscure Tumblr thing became a national discussion. That is kind of how culture works now, but it’s also due to the collapse of the mainstream-underground binary. Now, everyone kind of has their own micro-tribe, which is utterly illegible to other micro-tribes even though they might live a couple blocks away from each other. I mean, we feel that in New York, even just looking at Tribeca versus the Lower East Side. The art worlds that exist in the two are so different, yet they’re so close. And then, to go back to the point about paranoia, the Cambridge Analytica revelations were almost as big as the NSA revelations to me. I don’t think my friends cared as much as I did. But for some reason, I was just really locked onto it. To see how the campaign was explicitly stoking paranoia in their favor was absolutely alarming to me. And then I began to look at the culture and see all of these patterns of paranoia, and this was also happening concurrently with my own psychological degradation. It’s so funny, because the paranoid would see patterns, but as a paranoid, I began to see patterns of paranoia, which actually is what Eve Sedgwick writes about—how paranoia simply looks for itself. I actually see Mean Boys as a more morally and psychologically advanced text than Edgelords . In a way, M ean B oys rejects paranoia and decides to welcome in something that is toxic and harmful, which one might call a reparative gesture. The paranoid always pushes things out, and instead, I wanted to let something in, but without compromising judgment.

NEVINS: There was something really sobering about Mean Boys . You render Elliot Rodger almost grossly human, but I didn’t feel as though you were subject to his manipulations, which I guess is what people worry about when they clutch their pearls about writers “humanizing” bad guys.

MAK: I think it goes back to forgiveness. I’ll never say I forgive Elliot Rodger. I was not the one who was harmed. But  I think there’s an affect that doesn’t have a name, where you hold love and judgment together without one diminishing the other.

NEVINS: Well, you could call that love.

MAK: You’re right. I love that. That’s just love.

NEVINS: Anyway, what are you reading these days?

MAK: I’m literally four pages in, but I am reading Then the War by Carl Phillips. I’m reading a lot of poetry these days. Oh my god, so good. He’s kind of a poet for sentence writers. I think prose writers really like him. And being a prose writer myself, I really like it.

NEVINS: I feel that way about Vijay Seshadri.

MAK: Oh, I should read them. I’ve been reading a lot of Louise Glück.

NEVINS: That makes sense.

MAK: Does it? That’s so funny. I’ve been reading the collections back to back. It’s funny because when you get a 70-page poetry book in the mail, you really can read in one sitting. So I’m just inhaling it. What are you reading?

NEVINS: I just finished Adelle Waldman’s new novel. It’s been like, 10 years since her last one.

MAK: Since [ The Love Affairs of ] Nathaniel P.

NEVINS: I fucking love that book.

MAK: Oh my god, the best. One of the people I dedicate my book to is allegedly the man that Nathaniel P. Is based off of.

NEVINS: Wait, oh my god.

MAK: Yeah, it’s him.

NEVINS: Well, we won’t name him on the record. But if anyone’s curious, go buy Geoff’s book.

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Does ChatGPT Plagiarize? Examining the Chatbot's Sources

ChatGPT is notorious for its training methods, but does that mean it actually copies work?

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What exactly is plagiarism, and how do llms work, does chatgpt plagiarize essays, does chatgpt plagiarize code, does chatgpt plagiarize mathematical solutions, does chatgpt use content from blogs, should you use chatgpt for work or school, key takeaways.

• The plagiarism detected in an essay and a programming code generated by ChatGPT was relatively low, indicating that it doesn't typically copy such content from online sources.
• The plagiarism rate was a bit higher when calculating a mathematical solution. This might be because mathematical reasoning is usually similar across sources, so the responses can match other materials.
• ChatGPT's responses to questions about information publicly available on blogs showed higher plagiarism percentages.

While ChatGPT can answer any question you may have, some users wonder whether its responses contain plagiarism. To investigate this, we generated four different types of texts using ChatGPT and then evaluated their originality using various plagiarism detection tools.

To determine if ChatGPT is guilty of plagiarism, you should first understand what constitutes plagiarism. Plagiarism involves using another person's words, ideas, or work without proper attribution. This includes directly copying text from a source without citation or closely paraphrasing someone else's ideas without acknowledgment.

ChatGPT, like other Large Language Models (LLMs) , is trained on large datasets, mostly from publicly available content. However, collecting such vast amounts of data raises ethical questions, as the original creators haven't consented to their work being used in training the LLMs. This leads to debates about the ethics and legality of such practices.

Although ChatGPT generates responses based on the prompts it receives, the issue lies in the broader context of how OpenAI (ChatGPT's developer) obtained the data used to train it, which involves using content without proper consent. Many see this as plagiarism and, for many websites, content theft. However, pinpointing the exact sources of plagiarism is difficult.

For the remainder of this article, we'll concentrate on whether ChatGPT plagiarizes its output from other sources without delving into the specifics of where its responses come from. Let's check the originality of ChatGPT's responses using various plagiarism detection tools to see whether the chatbot uses text from online sources directly.

In this first example, we tasked ChatGPT with composing a 300-word essay on mental health issues.

Following that, we used various plagiarism detection tools to assess the originality of the essay generated by the chatbot. These tools included the Quetext plagiarism checker, Microsoft Word's built-in plagiarism checker, Grammarly's plagiarism checker, and the Duplichecker plagiarism scanner.

Microsoft's built-in similarity checker reported zero percent similarity with online sources. The levels of plagiarism detected by other tools were also minimal: Grammarly's plagiarism detector found four percent, QueText's plagiarism detector found five percent, and Duplichecker's plagiarism scanner showed zero percent.

Considering the small percentage of detected plagiarism, it appears that ChatGPT does not directly copy essays from existing sources.

To assess whether ChatGPT plagiarizes code, we tasked the chatbot with writing code for a calculator in Python.

Following this, we conducted a plagiarism check on the code using a specialized programming plagiarism checker called Dolos , which detected zero percent similarity. Also, when we checked the code using general text plagiarism detection tools mentioned above, the results were consistent, with almost none of the programs detecting more than four percent plagiarism.

When we prompted ChatGPT to generate a code for a calculator from different accounts, the responses appeared different. This observation and the results from the plagiarism checks indicate that ChatGPT doesn't simply replicate codes from online sources. Instead, it draws upon the dataset it was trained on to generate code independently.

During the third test, we tasked the chatbot to solve a mathematical problem and provide detailed reasoning for each step.

To check the originality of the response, we tested its output using several academic-specific plagiarism detection tools , including PapersOwl plagiarism checker, AI-powered Trinka plagiarism scanner, as well as general plagiarism checker tools such as Grammarly, Duplichecker, and QueText.

PapersOwl's plagiarism detector indicated a nearly 46 percent similarity between the chatbot's generated reasoning and online sources. Similarly, the Trinka plagiarism detector reported more than 10 percent similarity. Additionally, Grammarly's plagiarism detector detected 14 percent similarity, QueText found 17 percent, and Duplichecker showed seven percent.

The detection of high plagiarism in the generated response doesn't suggest that the chatbot directly copies reasoning for mathematical questions from online sources. This is mainly because solutions and reasoning for math problems are often standard and widely available online.

So, even though ChatGPT comes up with its own responses, finding the same answers and reasoning online is possible, which might have added to the high plagiarism percentages.

To check whether ChatGPT uses content from online blogs, we asked the chatbot to provide tips for maintaining laptop battery health.

Microsoft Word detected 10 percent plagiarism in the generated text. Duplichecker showed four percent, Grammarly's plagiarism checker indicated 14 percent, but Quetext found 58 percent plagiarism in the text. Upon digging further, some of the text in the chatbot's response matched the content on some blogs.

To double-check if the high plagiarism detection wasn't just coincidental, I asked the chatbot a few more questions about information that is easily available online. The plagiarism percentage in the generated responses was much higher. Based on our testing, it appears that the chatbot sometimes uses phrases and text from online sources, which is quite surprising.

Although many free online plagiarism checkers haven't detected major plagiarism in ChatGPT's responses, you shouldn't use it for academic or professional purposes.

Don't use ChatGPT for your school assignments if you're a student . Instructors can use tools such as GPTZero and Turnitin's AI writing detector to spot AI-generated content. If your work gets flagged as AI-generated by such tools, you could fail the assignment or even be expelled from school. Even though many GPT-detection tools specifically state that they shouldn't be used for this purpose, they are, and it could land you in trouble. Not to mention, you're really only cheating yourself by not studying the topic properly.

Can you use the chatbot to improve your work performance ? It depends. If you want to improve your writing flow in emails or other text forms, using AI can save you time and effort. However, you should only use it as a tool to assist you in your tasks rather than relying on it to do the entire job for you.

In contrast, if your job, like professional writing, prohibits using such tools, you should avoid using ChatGPT or any other tool altogether.

Hopefully, our testing has given you insight into the extent to which ChatGPT may draw from resources available on the web. However, it's important to note that we've used free plagiarism tools and tested only a limited dataset. So, while our findings might be helpful, they shouldn't be taken as absolute facts.

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What is climate change mitigation and why is it urgent?

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• Climate change mitigation involves actions to reduce or prevent greenhouse gas emissions from human activities.
• Mitigation efforts include transitioning to renewable energy sources, enhancing energy efficiency, adopting regenerative agricultural practices and protecting and restoring forests and critical ecosystems.
• Effective mitigation requires a whole-of-society approach and structural transformations to reduce emissions and limit global warming to 1.5°C above pre-industrial levels.
• International cooperation, for example through the Paris Agreement, is crucial in guiding and achieving global and national mitigation goals.
• Mitigation efforts face challenges such as the world's deep-rooted dependency on fossil fuels, the increased demand for new mineral resources and the difficulties in revamping our food systems.
• These challenges also offer opportunities to improve resilience and contribute to sustainable development.

What is climate change mitigation?

Climate change mitigation refers to any action taken by governments, businesses or people to reduce or prevent greenhouse gases, or to enhance carbon sinks that remove them from the atmosphere. These gases trap heat from the sun in our planet’s atmosphere, keeping it warm. 

Since the industrial era began, human activities have led to the release of dangerous levels of greenhouse gases, causing global warming and climate change. However, despite unequivocal research about the impact of our activities on the planet’s climate and growing awareness of the severe danger climate change poses to our societies, greenhouse gas emissions keep rising. If we can slow down the rise in greenhouse gases, we can slow down the pace of climate change and avoid its worst consequences.

Reducing greenhouse gases can be achieved by:

• Shifting away from fossil fuels : Fossil fuels are the biggest source of greenhouse gases, so transitioning to modern renewable energy sources like solar, wind and geothermal power, and advancing sustainable modes of transportation, is crucial.
• Improving energy efficiency : Using less energy overall – in buildings, industries, public and private spaces, energy generation and transmission, and transportation – helps reduce emissions. This can be achieved by using thermal comfort standards, better insulation and energy efficient appliances, and by improving building design, energy transmission systems and vehicles.
• Changing agricultural practices : Certain farming methods release high amounts of methane and nitrous oxide, which are potent greenhouse gases. Regenerative agricultural practices – including enhancing soil health, reducing livestock-related emissions, direct seeding techniques and using cover crops – support mitigation, improve resilience and decrease the cost burden on farmers.
• The sustainable management and conservation of forests : Forests act as carbon sinks , absorbing carbon dioxide and reducing the overall concentration of greenhouse gases in the atmosphere. Measures to reduce deforestation and forest degradation are key for climate mitigation and generate multiple additional benefits such as biodiversity conservation and improved water cycles.
• Restoring and conserving critical ecosystems : In addition to forests, ecosystems such as wetlands, peatlands, and grasslands, as well as coastal biomes such as mangrove forests, also contribute significantly to carbon sequestration, while supporting biodiversity and enhancing climate resilience.
• Creating a supportive environment : Investments, policies and regulations that encourage emission reductions, such as incentives, carbon pricing and limits on emissions from key sectors are crucial to driving climate change mitigation.

Photo: Stephane Bellerose/UNDP Mauritius

Photo: La Incre and Lizeth Jurado/PROAmazonia

What is the 1.5°C goal and why do we need to stick to it?

In 2015, 196 Parties to the UN Climate Convention in Paris adopted the Paris Agreement , a landmark international treaty, aimed at curbing global warming and addressing the effects of climate change. Its core ambition is to cap the rise in global average temperatures to well below 2°C above levels observed prior to the industrial era, while pursuing efforts to limit the increase to 1.5°C.

The 1.5°C goal is extremely important, especially for vulnerable communities already experiencing severe climate change impacts. Limiting warming below 1.5°C will translate into less extreme weather events and sea level rise, less stress on food production and water access, less biodiversity and ecosystem loss, and a lower chance of irreversible climate consequences.

To limit global warming to the critical threshold of 1.5°C, it is imperative for the world to undertake significant mitigation action. This requires a reduction in greenhouse gas emissions by 45 percent before 2030 and achieving net-zero emissions by mid-century.

What are the policy instruments that countries can use to drive mitigation?

Everyone has a role to play in climate change mitigation, from individuals adopting sustainable habits and advocating for change to governments implementing regulations, providing incentives and facilitating investments. The private sector, particularly those businesses and companies responsible for causing high emissions, should take a leading role in innovating, funding and driving climate change mitigation solutions. 

International collaboration and technology transfer is also crucial given the global nature and size of the challenge. As the main platform for international cooperation on climate action, the Paris Agreement has set forth a series of responsibilities and policy tools for its signatories. One of the primary instruments for achieving the goals of the treaty is Nationally Determined Contributions (NDCs) . These are the national climate pledges that each Party is required to develop and update every five years. NDCs articulate how each country will contribute to reducing greenhouse gas emissions and enhance climate resilience.   While NDCs include short- to medium-term targets, long-term low emission development strategies (LT-LEDS) are policy tools under the Paris Agreement through which countries must show how they plan to achieve carbon neutrality by mid-century. These strategies define a long-term vision that gives coherence and direction to shorter-term national climate targets.

Photo: Mucyo Serge/UNDP Rwanda

Photo: William Seal/UNDP Sudan

At the same time, the call for climate change mitigation has evolved into a call for reparative action, where high-income countries are urged to rectify past and ongoing contributions to the climate crisis. This approach reflects the UN Framework Convention on Climate Change (UNFCCC) which advocates for climate justice, recognizing the unequal historical responsibility for the climate crisis, emphasizing that wealthier countries, having profited from high-emission activities, bear a greater obligation to lead in mitigating these impacts. This includes not only reducing their own emissions, but also supporting vulnerable countries in their transition to low-emission development pathways.

Another critical aspect is ensuring a just transition for workers and communities that depend on the fossil fuel industry and its many connected industries. This process must prioritize social equity and create alternative employment opportunities as part of the shift towards renewable energy and more sustainable practices.

For emerging economies, innovation and advancements in technology have now demonstrated that robust economic growth can be achieved with clean, sustainable energy sources. By integrating renewable energy technologies such as solar, wind and geothermal power into their growth strategies, these economies can reduce their emissions, enhance energy security and create new economic opportunities and jobs. This shift not only contributes to global mitigation efforts but also sets a precedent for sustainable development.

What are some of the challenges slowing down climate change mitigation efforts?

Mitigating climate change is fraught with complexities, including the global economy's deep-rooted dependency on fossil fuels and the accompanying challenge of eliminating fossil fuel subsidies. This reliance – and the vested interests that have a stake in maintaining it – presents a significant barrier to transitioning to sustainable energy sources.

The shift towards decarbonization and renewable energy is driving increased demand for critical minerals such as copper, lithium, nickel, cobalt, and rare earth metals. Since new mining projects can take up to 15 years to yield output, mineral supply chains could become a bottleneck for decarbonization efforts. In addition, these minerals are predominantly found in a few, mostly low-income countries, which could heighten supply chain vulnerabilities and geopolitical tensions.

Furthermore, due to the significant demand for these minerals and the urgency of the energy transition, the scaled-up investment in the sector has the potential to exacerbate environmental degradation, economic and governance risks, and social inequalities, affecting the rights of Indigenous Peoples, local communities, and workers. Addressing these concerns necessitates implementing social and environmental safeguards, embracing circular economy principles, and establishing and enforcing responsible policies and regulations .

Agriculture is currently the largest driver of deforestation worldwide. A transformation in our food systems to reverse the impact that agriculture has on forests and biodiversity is undoubtedly a complex challenge. But it is also an important opportunity. The latest IPCC report highlights that adaptation and mitigation options related to land, water and food offer the greatest potential in responding to the climate crisis. Shifting to regenerative agricultural practices will not only ensure a healthy, fair and stable food supply for the world’s population, but also help to significantly reduce greenhouse gas emissions.  

Photo: UNDP India

Photo: Nino Zedginidze/UNDP Georgia

What are some examples of climate change mitigation?

In Mauritius , UNDP, with funding from the Green Climate Fund, has supported the government to install battery energy storage capacity that has enabled 50 MW of intermittent renewable energy to be connected to the grid, helping to avoid 81,000 tonnes of carbon dioxide annually. 

In Indonesia , UNDP has been working with the government for over a decade to support sustainable palm oil production. In 2019, the country adopted a National Action Plan on Sustainable Palm Oil, which was collaboratively developed by government, industry and civil society representatives. The plan increased the adoption of practices to minimize the adverse social and environmental effects of palm oil production and to protect forests. Since 2015, 37 million tonnes of direct greenhouse gas emissions have been avoided and 824,000 hectares of land with high conservation value have been protected.

In Moldova and Paraguay , UNDP has helped set up Green City Labs that are helping build more sustainable cities. This is achieved by implementing urban land use and mobility planning, prioritizing energy efficiency in residential buildings, introducing low-carbon public transport, implementing resource-efficient waste management, and switching to renewable energy sources. 

UNDP has supported the governments of Brazil, Costa Rica, Ecuador and Indonesia to implement results-based payments through the REDD+ (Reducing emissions from deforestation and forest degradation in developing countries) framework. These include payments for environmental services and community forest management programmes that channel international climate finance resources to local actors on the ground, specifically forest communities and Indigenous Peoples. 

UNDP is also supporting small island developing states like the Comoros to invest in renewable energy and sustainable infrastructure. Through the Africa Minigrids Program , solar minigrids will be installed in two priority communities, Grand Comore and Moheli, providing energy access through distributed renewable energy solutions to those hardest to reach.

And in South Africa , a UNDP initative to boost energy efficiency awareness among the general population and improve labelling standards has taken over commercial shopping malls.

What is UNDP’s role in supporting climate change mitigation?

UNDP aims to assist countries with their climate change mitigation efforts, guiding them towards sustainable, low-carbon and climate-resilient development. This support is in line with achieving the Sustainable Development Goals (SDGs), particularly those related to affordable and clean energy (SDG7), sustainable cities and communities (SDG11), and climate action (SDG13). Specifically, UNDP’s offer of support includes developing and improving legislation and policy, standards and regulations, capacity building, knowledge dissemination, and financial mobilization for countries to pilot and scale-up mitigation solutions such as renewable energy projects, energy efficiency initiatives and sustainable land-use practices. 

With financial support from the Global Environment Facility and the Green Climate Fund, UNDP has an active portfolio of 94 climate change mitigation projects in 69 countries. These initiatives are not only aimed at reducing greenhouse gas emissions, but also at contributing to sustainable and resilient development pathways.

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Take a Trip Inside Legendary Nightclub Berghain in Geoffrey Mak’s Memoir Mean Boys

By Geoffrey Mak

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Even if you’ve never been to Berghain, you’ve been to Berghain, such is its place in our shared vision of nightlife at its most unrestrained. Perhaps you saw seen an industrial club that looks suspiciously like it in John Wick: Chapter 4 last year, or maybe you watched blurry live streams of Lady Gaga launching ARTPOP there a decade ago. But perhaps no one has captured the dripping hedonism of the globally famous Berlin institution as beautifully as Geoffrey Mak does in the below excerpt from Mean Boys , the writer and critic’s new memoir-in-essays.

Documenting Mak’s dive into subcultures around the world as he shook off the constraints of an evangelical childhood, the boy in this particular essay is the author’s friend Ben, a locally famous bon vivant who was “like a bottle of sunshine: compulsively dazzling, but if you swallowed it, it would kill you.” After moving to Berlin in the wake of the 2008 financial crash, Mak found himself — a self-described “skinny Chinese kid from the suburbs” — thrust into the orbit of the dancers, DJs, models, and professional leisure lovers who frequented Berghain, losing themselves in the thumping 4/4 beat at weekend-spanning parties like Klubnacht.

Over the course of those endless techno-fueled nights, Mak writes that he found “rules to live by”: principles of freedom, communication, and community care that he still abides to this day. But the “most important” one, he concludes, is knowing “when to leave the party.” — Samantha Allen

Mean Boys: A Personal History by Geoffrey Mak

When Ben and I started going to Berghain, it felt like a rite of passage into some hermetic gay cult. Everything was discreet and fetishistic. We went every weekend, all summer. Our weekly party routine started on Friday, with a “warm- up” party, and then some bigger gay parties on Saturday at outer venues, such as Griessmuehle or ://about blank. At sunrise, we’d get back to our place and take a nap. Then on Sunday afternoon, we’d put on music and drink cheap wine while trying out different outfits in front of our hallway mirror. Our looks alternated from punk to health goth: combat boots, black vintage tees, and knee-high football socks. I remember Ben had these torn up Docs, which he had to pin together with a row of safety pins, like a tiny aluminum spine, that all came apart throughout the course of the night. Another time, I wore two oversize belts I bought at the market, clipped together with safety pins and cross-looped around my shoulders and back like a DIY harness. I had an elaborate system for where I stashed my drugs and how I recognized my bags when, at some late point in the night, speed or coke or K would all look like clumps of fungible white sugar.

We mostly went to Berghain on Sunday afternoons. Once we got in, we’d go out and tour the garden, find some people we knew, and then go off to the bathroom to split lines parceled out on our iPhones. Coke and ketamine we called “Calvin Klein,” and ketamine with MDMA, “Kate Moss.” We snorted both with rolled up euros, or tiny steel straws, which people either were or weren’t weird about sharing with strangers. From the downstairs bathroom, we’d walk upstairs to Berghain’s main hall, before which stood a massive white statue of Dionysus, a stand-in for bodily hedonism in dialectic with the technological severity of the club’s mechanistic aesthetic in neoclassical drag. Inside the main hall, there were no windows to the outside, yet the high, glass panels that divided the dance floor from the bar lent the space the autocratic aura of a cathedral.

The crowd was filled with a curated cast of recognizable characters: shirtless leather gays, models from the Eastern Bloc set, cybergoths, new wave porn stars, speed freaks from the hardcore scene, and art world intellectuals. Ben and I usually lost one another in the crowd, found other friends, moved between “upstairs” and “downstairs,” or drifted into lines for the bathroom stalls to share drugs, buy drugs, or take a shit because E gave you the runs. It wasn’t uncommon to run into somebody I knew from New York who was in town for the weekend: DJs doing the European festival circuit or artists stopping by in the city before exhibiting at Basel. This is how I got most of my social news — six-month recaps in the garden, sharing a bottle of Club-Mate between us in concrete cubicles beneath the trees.

All throughout the building hummed the 4/4 beat associated with techno, looped in perpetuity: one-two-three-four, one-two-three-four. This music is often identified by a rhythmic system from 120 to 140 BPM, into which changes and revolutions are gradually introduced by a modification of individual components in exquisite relation to each other. At Berghain, a closing techno set can run up to fifteen hours. To some of the techno DJs I know, a set that lasts one hour is considered “light”; two hours, “enough to work with”; four hours, “standard”; and eight to fourteen hours, merely “a challenge” and curiously not “unreasonable.” It’s perhaps by this logic that techno makes people “lose their minds” at the rave, in the sense that the phrase is also used to mean maniacal. After spending upward of twenty hours in a single club, a combination of sustained sleep deprivation, drugs, and exhaustion from having not eaten contributes to a sophisticated delirium. In a meditative state, the conscious mind becomes vacant to receive the unknown. It is possible to fall into multiple states of consciousness at once, like sleepwalking through a lucid dream. Only after the repeated breakdown and exhaustion of one’s restrictive faculties — what might be considered bodily system failure — can the secret life of one’s mind be permitted to flourish, completely uninhibited, at ten in the morning, when you are beyond dehydrated, skin slicked smooth by the salt of your sweat.

Toward Klubnacht’s final stretch, when Sunday begins to vibrate into Monday, people socialize in the lounge or go out and get food before coming back. Others take more drugs, burn out fast, leave. The gays, losing interest in the dance floor, go to fuck in the darkrooms, where monotonous music is preferred, allowing sexual rhythms to ride their course, uninterrupted by sudden gyrations or beat drops in the music. In fact, the kind of techno played during these hours, from one to four, resembles an intensely slow simmer, refined to an almost perverse level, like the way sex happens in these places over drawn-out periods of time, with shared partners moving in and out of the orgy’s physical configurations.

Like candlelit chapels, the darkrooms are austere and dim. People rarely talk, except for basic negotiations, reducing communication to glance and touch. Men cruise each other, standing along the periphery, masturbating while others fuck against the wall or on stools or on the leather sling. “Rave music has always been structured around the delay of climax: mantra-as-Tantra,” writes Simon Reynolds. “Instead of the tension/climax narrative of traditional pop, rave music creates a feeling of ‘arrested orgasm,’ a plateau of bliss that can be neither exceeded nor released.” Orgasm becomes less “the point” here than the delayed promise that allows the pleasure of sexual tension to cull and relax.

When gratification is deferred to such an attenuated state, the anticipation becomes palpable. Tension hovers like a forecast of thunder. Static seems to gather in the air, crackling and fizzing with expectation. At some point in the early morning, after four but before six, the promised moment that only the club’s most serious regulars know to expect arrives. The dance floor has thinned out. New entrances to the club have closed. Then, music blasts like a gunshot, blitzing across the cheering and whistling crowd. Heads gather to the dance floor from all corners of the club, as if getting dragged into a whirlpool. The percussion comes suddenly and majestically, like a bolt, not from outside but from within the speakers, sizzling and electrifying along the wires and bursting onto the dance floor. With the lights spasmodically flashing across the building, you’d think it was Beyoncé at the Super Bowl. The building declares its soul in these moments, the way a machine achieves formal ecstasy when used at maximum capacity. Rhythm propels your body. Between the ground and the ceiling, it seems, is the universe contained, and it is moving. Lights bend off lacquered skin in a million tiny laser beams as we move in unison to the same beat. In the music, desire and gratification become one, both terrifying and propulsive. Joy cuts like rain. I often experienced this as a release, but into what, I couldn’t determine. It wasn’t us in control, and it wasn’t exactly the DJ, but it was something that everyone undeniably felt and knew like an instant ravening. Our insatiable hunger for it matched the inexhaustibility of its pleasure, and that’s exactly what it was, pleasure , abundant and overflowing. To know this kind of pleasure is to know the body at its maximum capacity. There isn’t any faith required; it is absolute presence.

Excerpted from  Mean Boys: A Personal History. Used with the permission of the publisher, Bloomsbury. Copyright © 2024 by Geoffrey Mak.

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Don’t Slam the Door on Inexpensive Chinese Electric Vehicles

By Gernot Wagner and Conor Walsh

Dr. Wagner and Dr. Walsh are economists at Columbia Business School.

President Biden came out swinging this week when he announced a series of steep tariffs on Chinese imports, including 25 percent on certain steel and aluminum products, 50 percent on semiconductors and solar panels and 100 percent on electric vehicles.

The administration’s official reason for the policy is simple: Chinese imports are undercutting American manufacturers in swing states like Michigan, Wisconsin and Pennsylvania. And Mr. Biden wants to protect them from competition, as he pours huge amounts of government money into building up the manufacturing of electric vehicles and solar panels that can eventually compete with China’s inexpensive offerings. But the truth is, these new tariffs on electric vehicles are little more than a handout to legacy car companies like General Motors and Ford. Middle-class Americans should have access to these cars, and because of these tariffs, they will remain a luxury, available mainly to the rich.

With more cash and better credit, wealthy Americans are the only ones who can afford the electric vehicles currently on the market, which cost over $55,000 on average. A recent survey found that 83 percent of E.V. drivers in the United States had a household income above $75,000, which is the median in the country ; 57 percent had incomes above $100,000.

Low-cost Chinese models that lower- and middle-income Americans could afford — like BYD’s Seagull, which runs for less than $10,000 — aren’t currently sold here largely because of tariffs over 25 percent. The new tariffs of 100 percent will make it even harder for these cars to compete in the U.S. market.

The hope is that one day, U.S. automakers can offer Americans the low-cost electric cars they have long promised. But that’s still a long way off, in part because the companies (with the exception of Tesla) have been slow to scale up their E.V. production to the point where the costs could come down. (And Tesla, too, has scrapped plans to sell a car under $35,000.) Every electric vehicle sold still cuts into the profits they make from selling gasoline-powered vehicles, and General Motors and Ford together sold fewer than 150,000 E.V.s in 2023, a tiny fraction of the 15 million new cars sold in the United States last year.

It is clear that American car manufacturers need to catch up to the competition, and fast . The problem with using tariffs to protect them from competition is that the companies then have less incentive to invest in new technologies. Chinese companies will continue making huge strides , selling their cars abroad while cutting off opportunities for American companies to export their own products to foreign markets. What’s more, Chinese cars could still enter the United States through the back door, if companies like BYD set up manufacturing plants in Mexico or Southeast Asia.

We’ve been here before. In the 1980s, the Reagan and Bush administrations worried about the fact that Japan was dumping cheap cars onto our market. The response then was voluntary export quotas, which allowed Japanese entry into the market in a way the new tariffs will not. Japanese competition ultimately forced U.S. car manufacturers to innovate. This time around, Chinese competition could have had a similar effect.

This isn’t to say that the United States shouldn’t consider tariffs at all. There is a different kind of tariff focused on the greenhouse gas emissions created in making imported goods that would protect America’s nascent green economy and give consumers access to the cheaper clean cars and solar panels from China they want. The European Union will apply such carbon tariffs beginning in 2026, with prices now around $75 per ton of carbon dioxide, which will set an equal playing field for domestic manufacturers and importers alike. We could do the same in the United States.

Carbon tariffs create all the right incentives : They encourage foreign manufacturers to decarbonize their products, leading to a virtuous cycle of lower prices and emissions. They also enjoy bipartisan support in the United States, from senators such as Sheldon Whitehouse, Democrat of Rhode Island, and Bill Cassidy, Republican of Louisiana. Both have introduced bills that would collect tariffs based on the carbon intensity of imports.

The Biden administration is right that climate policies must work for the people of Detroit and Pittsburgh as much as they work for well-off Tesla drivers. But to accomplish these goals, it ought to be taxing China for its soaring carbon emissions, not for its electric vehicles and solar panels, which for now, at least, the United States needs badly. Given China’s soaring carbon emissions , carbon tariffs will be tough on the country, but for the right reasons.

Gernot Wagner is a climate economist at Columbia Business School. Conor Walsh is a macroeconomist at the school.

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