this is a published collection of essays stories and articles

The 25 Greatest Essay Collections of All Time

Today marks the release of Aleksandar Hemon’s excellent book of personal essays, The Book of My Lives , which we loved, and which we’re convinced deserves a place in the literary canon. To that end, we were inspired to put together our list of the greatest essay collections of all time, from the classic to the contemporary, from the personal to the critical. In making our choices, we’ve steered away from posthumous omnibuses (Michel de Montaigne’s Complete Essays , the collected Orwell, etc.) and multi-author compilations, and given what might be undue weight to our favorite writers (as one does). After the jump, our picks for the 25 greatest essay collections of all time. Feel free to disagree with us, praise our intellect, or create an entirely new list in the comments.

The Book of My Lives , Aleksandar Hemon

Hemon’s memoir in essays is in turns wryly hilarious, intellectually searching, and deeply troubling. It’s the life story of a fascinating, quietly brilliant man, and it reads as such. For fans of chess and ill-advised theme parties and growing up more than once.

Slouching Towards Bethlehem , Joan Didion

Well, obviously. Didion’s extraordinary book of essays, expertly surveying both her native California in the 1960s and her own internal landscape with clear eyes and one eyebrow raised ever so slightly. This collection, her first, helped establish the idea of journalism as art, and continues to put wind in the sails of many writers after her, hoping to move in that Didion direction.

Pulphead , John Jeremiah Sullivan

This was one of those books that this writer deemed required reading for all immediate family and friends. Sullivan’s sharply observed essays take us from Christian rock festivals to underground caves to his own home, and introduce us to 19-century geniuses, imagined professors and Axl Rose. Smart, curious, and humane, this is everything an essay collection should be.

The Boys of My Youth , Jo Ann Beard

Another memoir-in-essays, or perhaps just a collection of personal narratives, Jo Ann Beard’s award-winning volume is a masterpiece. Not only does it include the luminous, emotionally destructive “The Fourth State of the Matter,” which we’ve already implored you to read , but also the incredible “Bulldozing the Baby,” which takes on a smaller tragedy: a three-year-old Beard’s separation from her doll Hal. “The gorgeous thing about Hal,” she tells us, “was that not only was he my friend, he was also my slave. I made the majority of our decisions, including the bathtub one, which in retrospect was the beginning of the end.”

Consider the Lobster , David Foster Wallace

This one’s another “duh” moment, at least if you’re a fan of the literary essay. One of the most brilliant essayists of all time, Wallace pushes the boundaries (of the form, of our patience, of his own brain) and comes back with a classic collection of writing on everything from John Updike to, well, lobsters. You’ll laugh out loud right before you rethink your whole life. And then repeat.

Notes of a Native Son , James Baldwin

Baldwin’s most influential work is a witty, passionate portrait of black life and social change in America in the 1940s and early 1950s. His essays, like so many of the greats’, are both incisive social critiques and rigorous investigations into the self, told with a perfect tension between humor and righteous fury.

Naked , David Sedaris

His essays often read more like short stories than they do social criticism (though there’s a healthy, if perhaps implied, dose of that slippery subject), but no one makes us laugh harder or longer. A genius of the form.

Against Interpretation , Susan Sontag

This collection, Sontag’s first, is a dazzling feat of intellectualism. Her essays dissect not only art but the way we think about art, imploring us to “reveal the sensuous surface of art without mucking about in it.” It also contains the brilliant “Notes on ‘Camp,'” one of our all-time favorites.

The Common Reader , Virginia Woolf

Woolf is a literary giant for a reason — she was as incisive and brilliant a critic as she was a novelist. These witty essays, written for the common reader (“He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of whole- a portrait of a man, a sketch of an age, a theory of the art of writing”), are as illuminating and engrossing as they were when they were written.

Teaching a Stone to Talk , Annie Dillard

This is Dillard’s only book of essays, but boy is it a blazingly good one. The slender volume, filled with examinations of nature both human and not, is deft of thought and tongue, and well worth anyone’s time. As the Chicago Sun-Times ‘s Edward Abbey gushed, “This little book is haloed and informed throughout by Dillard’s distinctive passion and intensity, a sort of intellectual radiance that reminds me both Thoreau and Emily Dickinson.”

Thirteen Ways of Looking at a Black Man , Henry Louis Gates Jr.

In this eloquent volume of essays, all but one of which were originally published in the New Yorker , Gates argues against the notion of the singularly representable “black man,” preferring to represent him in a myriad of diverse profiles, from James Baldwin to Colin Powell. Humane, incisive, and satisfyingly journalistic, Gates cobbles together the ultimate portrait of the 20th-century African-American male by refusing to cobble it together, and raises important questions about race and identity even as he entertains.

Otherwise Known As the Human Condition , Geoff Dyer

This book of essays, which won the National Book Critics Circle Award in the year of its publication, covers 25 years of the uncategorizable, inimitable Geoff Dyer’s work — casually erudite and yet liable to fascinate anyone wandering in the door, witty and breathing and full of truth. As Sam Lipsyte said, “You read Dyer for his caustic wit, of course, his exquisite and perceptive crankiness, and his deep and exciting intellectual connections, but from these enthralling rants and cultural investigations there finally emerges another Dyer, a generous seeker of human feeling and experience, a man perhaps closer than he thinks to what he believes his hero Camus achieved: ‘a heart free of bitterness.'”

Art and Ardor , Cynthia Ozick

Look, Cynthia Ozick is a genius. One of David Foster Wallace’s favorite writers, and one of ours, Ozick has no less than seven essay collections to her name, and we could have chosen any one of them, each sharper and more perfectly self-conscious than the last. This one, however, includes her stunner “A Drugstore in Winter,” which was chosen by Joyce Carol Oates for The Best American Essays of the Century , so we’ll go with it.

No More Nice Girls , Ellen Willis

The venerable Ellen Willis was the first pop music critic for The New Yorker , and a rollicking anti-authoritarian, feminist, all-around bad-ass woman who had a hell of a way with words. This collection examines the women’s movement, the plight of the aging radical, race relations, cultural politics, drugs, and Picasso. Among other things.

The War Against Cliché , Martin Amis

As you know if you’ve ever heard him talk , Martin Amis is not only a notorious grouch but a sharp critical mind, particularly when it comes to literature. That quality is on full display in this collection, which spans nearly 30 years and twice as many subjects, from Vladimir Nabokov (his hero) to chess to writing about sex. Love him or hate him, there’s no denying that he’s a brilliant old grump.

Cultural Amnesia: Necessary Memories From History and the Arts , Clive James

James’s collection is a strange beast, not like any other essay collection on this list but its own breed. An encyclopedia of modern culture, the book collects 110 new biographical essays, which provide more than enough room for James to flex his formidable intellect and curiosity, as he wanders off on tangents, anecdotes, and cultural criticism. It’s not the only who’s who you need, but it’s a who’s who you need.

I Feel Bad About My Neck: And Other Thoughts on Being a Woman , Nora Ephron

Oh Nora, we miss you. Again, we could have picked any of her collections here — candid, hilarious, and willing to give it to you straight, she’s like a best friend and mentor in one, only much more interesting than any of either you’ve ever had.

Arguably , Christopher Hitchens

No matter what you think of his politics (or his rhetorical strategies), there’s no denying that Christopher Hitchens was one of the most brilliant minds — and one of the most brilliant debaters — of the century. In this collection, packed with cultural commentary, literary journalism, and political writing, he is at his liveliest, his funniest, his exactingly wittiest. He’s also just as caustic as ever.

The Solace of Open Spaces , Gretel Ehrlich

Gretel Ehrlich is a poet, and in this collection, you’ll know it. In 1976, she moved to Wyoming and became a cowherd, and nearly a decade later, she published this lovely, funny set of essays about rural life in the American West.”Keenly observed the world is transformed,” she writes. “The landscape is engorged with detail, every movement on it chillingly sharp. The air between people is charged. Days unfold, bathed in their own music. Nights become hallucinatory; dreams, prescient.”

The Braindead Megaphone , George Saunders

Saunders may be the man of the moment, but he’s been at work for a long while, and not only on his celebrated short stories. His single collection of essays applies the same humor and deliciously slant view to the real world — which manages to display nearly as much absurdity as one of his trademark stories.

Against Joie de Vivre , Phillip Lopate

“Over the years,” the title essay begins, “I have developed a distaste for the spectacle of joie de vivre , the knack of knowing how to live.” Lopate goes on to dissect, in pleasantly sardonic terms, the modern dinner party. Smart and thought-provoking throughout (and not as crotchety as all that), this collection is conversational but weighty, something to be discussed at length with friends at your next — oh well, you know.

Sex and the River Styx , Edward Hoagland

Edward Hoagland, who John Updike deemed “the best essayist of my generation,” has a long and storied career and a fat bibliography, so we hesitate to choose such a recent installment in the writer’s canon. Then again, Garrison Keillor thinks it’s his best yet , so perhaps we’re not far off. Hoagland is a great nature writer (name checked by many as the modern Thoreau) but in truth, he’s just as fascinated by humanity, musing that “human nature is interstitial with nature, and not to be shunned by a naturalist.” Elegant and thoughtful, Hoagland may warn us that he’s heading towards the River Styx, but we’ll hang on to him a while longer.

Changing My Mind , Zadie Smith

Smith may be best known for her novels (and she should be), but to our eyes she is also emerging as an excellent essayist in her own right, passionate and thoughtful. Plus, any essay collection that talks about Barack Obama via Pygmalion is a winner in our book.

My Misspent Youth , Meghan Daum

Like so many other writers on this list, Daum dives head first into the culture and comes up with meat in her mouth. Her voice is fresh and her narratives daring, honest and endlessly entertaining.

The White Album , Joan Didion

Yes, Joan Didion is on this list twice, because Joan Didion is the master of the modern essay, tearing at our assumptions and building our world in brisk, clever strokes. Deal.

• About George Orwell
• Partners and Sponsors
• Accessibility
• Policies and complaints
• Upcoming events
• The Orwell Festival
• The Orwell Memorial Lectures
• Books by Orwell

Essays and other works

• Encountering Orwell
• Orwell Live
• About the prizes
• Reporting Homelessness
• Previous winners
• Orwell Fellows
• Finalists 2024
• Introduction
• Enter the Prize
• Terms and Conditions
• Volunteering
• About Feedback
• Responding to Feedback
• Start your journey
• Inspiration
• Find Your Form
• Start Writing
• Reading Recommendations
• Previous themes
• Our offer for teachers
• Lesson Plans
• Events and Workshops
• Orwell in the Classroom
• GCSE Practice Papers
• The Orwell Youth Fellows
• Paisley Workshops

The Orwell Foundation

• The Orwell Prizes
• The Orwell Youth Prize
• The Orwell Council

The Orwell Foundation is delighted to make available a selection of essays, articles, sketches, reviews and scripts written by Orwell.

This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of  the Orwell Estate . All queries regarding rights should be addressed to the Estate’s representatives at A. M. Heath literary agency.

The Orwell Foundation is an independent charity – please consider  making a donation to help us maintain these resources for readers everywhere.

Sketches For Burmese Days

• 1. John Flory – My Epitaph
• 2. Extract, Preliminary to Autobiography
• 3. Extract, the Autobiography of John Flory
• 4. An Incident in Rangoon
• 5. Extract, A Rebuke to the Author, John Flory

Essays and articles

• A Day in the Life of a Tramp ( Le Progrès Civique , 1929)
• A Hanging ( The Adelphi , 1931)
• A Nice Cup of Tea ( Evening Standard , 1946)
• Antisemitism in Britain ( Contemporary Jewish Record , 1945)
• Arthur Koestler (written 1944)
• British Cookery (unpublished, 1946)
• Can Socialists be Happy? (as John Freeman, Tribune , 1943)
• Common Lodging Houses ( New Statesman , 3 September 1932)
• Confessions of a Book Reviewer ( Tribune , 1946)
• “For what am I fighting?” ( New Statesman , 4 January 1941)
• Freedom and Happiness – Review of We by Yevgeny Zamyatin ( Tribune , 1946)
• Freedom of the Park ( Tribune , 1945)
• Future of a Ruined Germany ( The Observer , 1945)
• Good Bad Books ( Tribune , 1945)
• In Defence of English Cooking ( Evening Standard , 1945)
• In Front of Your Nose ( Tribune , 1946)
• Just Junk – But Who Could Resist It? ( Evening Standard , 1946)
• My Country Right or Left ( Folios of New Writing , 1940)
• Nonsense Poetry ( Tribune , 1945)
• Notes on Nationalism ( Polemic , October 1945)
• Pleasure Spots ( Tribune , January 1946)
• Poetry and the microphone ( The New Saxon Pamphlet , 1945)
• Politics and the English Language ( Horizon , 1946)
• Politics vs. Literature: An examination of Gulliver’s Travels ( Polemic , 1946)
• Reflections on Gandhi ( Partisan Review , 1949)
• Rudyard Kipling ( Horizon , 1942)
• Second Thoughts on James Burnham ( Polemic , 1946)
• Shooting an Elephant ( New Writing , 1936)
• Some Thoughts on the Common Toad ( Tribune , 1946)
• Spilling the Spanish Beans ( New English Weekly , 29 July and 2 September 1937)
• The Art of Donald McGill ( Horizon , 1941)
• The Moon Under Water ( Evening Standard , 1946)
• The Prevention of Literature ( Polemic , 1946)
• The Proletarian Writer (BBC Home Service and The Listener , 1940)
• The Spike ( Adelphi , 1931)
• The Sporting Spirit ( Tribune , 1945)
• Why I Write ( Gangrel , 1946)
• You and the Atom Bomb ( Tribune , 1945)

Reviews by Orwell

• Anonymous Review of Burmese Interlude by C. V. Warren ( The Listener , 1938)
• Anonymous Review of Trials in Burma by Maurice Collis ( The Listener , 1938)
• Review of The Pub and the People by Mass-Observation ( The Listener , 1943)

Letters and other material

• BBC Archive: George Orwell
• Free will (a one act drama, written 1920)
• George Orwell to Steven Runciman (August 1920)
• George Orwell to Victor Gollancz (9 May 1937)
• George Orwell to Frederic Warburg (22 October 1948, Letters of Note)
• ‘Three parties that mattered’: extract from Homage to Catalonia (1938)
• Voice – a magazine programme , episode 6 (BBC Indian Service, 1942)
• Your Questions Answered: Wigan Pier (BBC Overseas Service)
• The Freedom of the Press: proposed preface to Animal Farm (1945, first published 1972)
• Preface to the Ukrainian edition of Animal Farm  (March 1947)

External links are being provided for informational purposes only; they do not constitute an endorsement or an approval by The Orwell Foundation of any of the products, services or opinions of the corporation or organisation or individual. The Foundation bears no responsibility for the accuracy, legality or content of the external site or for that of subsequent links. Contact the external site for answers to questions regarding its content.

We use cookies. By browsing our site you agree to our use of cookies. Accept

Become a Supporting Member

For 15 years, Longreads has published and curated the best longform writing on the web—and we wouldn’t exist without supporters like you. Give today and ensure that quality journalism continues to flourish.

Thank you for your contribution!

The Best of the Web—in Your Inbox

Every day we scour the internet for the best longform writing, and every day we send you our editors' picks. Join 100,000 newsletter subscribers—and don't miss that story everyone is talking about.

• Daily Updates
• Weekly Top 5

Join Longreads today!

Register with Longreads for free and get access to our editors' picks collecting the best stories on the web, as well as our award-winning original writing.

Newsletters

Our privacy policy can be found here.

Thank you for registering!

An account was already registered with this email. Please check your inbox for an authentication link.

Longreads : The best longform stories on the web

Longreads Best of 2020: Essays

Share this:.

• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)
• Click to share on Tumblr (Opens in new window)
• Click to share on Pocket (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on Mastodon (Opens in new window)

All through December, we’re featuring Longreads’ Best of 2020. This year, our editors picked and featured hundreds of beautifully written and poignant essays published on the web. Because of the wide range of writing across many topics and themes, it was a challenge to sift through them all over the past several weeks to compile a definitive Best of Essays list. As I shortlisted stories, I realized there could be many different versions of this list, but, in the end, these eight reads really spoke to me.

If you like these, you can  sign up to receive our weekly email every Friday .

Mississippi: A Poem, in Days (Kiese Makeba Laymon, Vanity Fair )

Kiese Makeba Laymon was on a book tour when the pandemic hit in the U.S. In this stunner of a piece that unfolds over 14 days, the author writes on fear, racism, death, and home amid a moment of awakening. We follow along on the journey, from event to event in Ohio and West Virginia, with Laymon’s observations and thoughts interspersed with daily COVID-19 death counts and the latest words or orders from Donald Trump and Mississippi Governor Tate Reeves. It’s a powerful meditation, one that will stop you in your tracks.

We are awakened, I want to believe. 75 miles from the armed confederate statue in Oxford, Emmett Till’s childish body was destroyed. 70 miles from that armed confederate statue, Fannie Lou Hamer was nearly beaten to death. 160 miles from that armed confederate statue, Medgar Evers was murdered as he enters his home. 80 miles from that armed confederate statue, Martin Luther King was murdered in Memphis. It took way too much Black death to get here. I am wandering around the spiritual consequences of materially progressing at the expense of Black death. I want to be courageous. I wonder, though, when courage becomes contagious—when courage is credentialized, subsidized, and incentivized—if it is still courage at all. Today, as I prepare to push send, and I lather my hands in sanitizer, it feels a bit too much like cowardice. Maybe I’ll wait to send tomorrow. Maybe I won’t send at all. The Lafayette County Board of Supervisors, a group of white men, unanimously vote to keep the armed confederate monument in the middle of Oxford, the town where I live, teach, and write. Humiliation, agony, and death, are what I feel. It could all be so much worse, is what the worst of white folks want us to recite.

Molly (Blake Butler, The Volta )

December’s special issue of The Volta is dedicated to the late poet Molly Brodak, and Brodak’s husband, Blake Butler, writes an incredibly moving essay to remember and honor her. In “Molly,” he weaves an intimate portrait of his late wife — and the details, textures, and expanse of their relationship –with so much love and care. Grab a tissue before sitting down to read it.

Making her laugh made me feel alive, like I’d really accomplished something. She wanted to laugh, I think, despite a widening parcel in her telling her that laughter in a world like ours was for fools. When I think the sound of it now, it reminds me of a bird trapped in a ballroom, looking for anywhere to land.

But there was always something still there underneath that, shredding its pasture—parts of her so dark and displaced I cannot find them anywhere touching the rest of how she was. The story, like all stories, holds no true shape. And that’s exactly what it wants—the pain—it wants more blank to feed the pain with, to fill the space up. It wants us all.

Then, in her poem, “Horse and Cart,” one of the last she ever wrote: “I can’t even imagine a horse / anymore. / That we sat on their spines / and yanked their mouths around.” The gears of her mind, as she grew tired, wore down even these good times, seeking further ways to break them up, send her away.

I Cry for the Mountains: A Legacy Lost (Dave Daley, Chico Enterprise-Record )

California experienced another unprecedented wildfire season this year; a number of fire complexes burned throughout the state, including the massive North Complex Fire that started in August and burned in Northern California’s Plumas and Butte counties. Rancher Dave Daley offers a devastating account of the destruction of his family’s cattle range in Plumas National Forest, and a passionate plea to legislators and regulators to ultimately listen to the land and the locals when it comes to forest management. Daley originally posted this account on Facebook; his followers recommended that the Chico Enterprise-Record  reprint it for a wider audience.

I cry for the forest, the trees and streams, and the horrible deaths suffered by the wildlife and our cattle. The suffering was unimaginable. When you find groups of cows and their baby calves tumbled in a ravine trying to escape, burned almost beyond recognition or a fawn and small calf side by side as if hoping to protect one another, you try not to wretch. You only pray death was swift. Worse, in searing memory, cows with their hooves, udder and even legs burned off still alive who had to be euthanized. A doe lying in the ashes with three fawns, not all hers I bet. And you are glad they can stand and move, even with a limp, because you really cannot imagine any more death today.

For those of you on the right blaming the left and California, these are National Forest lands that are “managed” by the feds. They have failed miserably over the past 50 years. Smokey the Bear was the cruelest joke ever played on the western landscape, a decades long campaign to prevent forest fires has resulted in mega-fires of a scope we’ve never seen. Thanks, Smokey.

I get frustrated with experts and consultants who drive by and “know just what to do.” For 35 years I have attended conferences, given presentations and listened. What I have learned is solutions are local and specific. What happens in one watershed in Plumas or Butte County may be entirely different in the Lassen National Forest just next door. But experts of all kinds are glad to tell you how to do it. “Let’s prescribe graze, use virtual fences, change your timing, change your genetics.” Prescribe graze the forest and canyons? Yea. Right. They don’t know what they don’t know but they will take the honorarium anyway and have a great dinner on your dime. The locals and land rarely benefit.

How My Mother and I Became Chinese Propaganda (Jiayang Fa n , The New Yorker )

Jiayang Fan pens a masterful piece of personal history, on her mother and their relationship, identity, family, propaganda and social media, and chronic illness (her mother has amyotrophic lateral sclerosis, or ALS) . Fan recounts her struggle to help her mother get hospital care during New York’s COVID-19 crisis, all while going viral and facing threats on social media, calling her a criminal and a traitor to China. She tells a complicated and very personal story, one of loyalty and love, with strength and eloquence.

My mother has always knelt at the altar of  mianzi , an aspiration of which A.L.S. makes a spectacular mockery. You may think it’s embarrassing to slur your speech and limp, but wait until you are being spoon-fed and pushed around in a wheelchair—all of which will seem trivial once you can no longer wash or wipe yourself. The progress of the disease is a forced march toward the vanishing point of  mianzi . When my mother was first given her diagnosis, she became obsessed with the idea of why—why her, why now, and, above all, why an illness that would subject her to the kind of public humiliation she feared more than death itself. When she could still operate her first-generation iPad, my mother gave me a contact list of everyone she was still in touch with in China, and told me that, except for her siblings, no one must know of her affliction. Such self-imposed isolation seemed like madness to me, but she preferred to cut friends out of her life rather than admit to the indignity of her compromised state. Her body’s insurrection, my mother believes, is her punishment for her prideful strivings in America.

At the beginning of the pandemic, I had read that a virus is neither dead nor alive, and replicates only in the shelter of a host organism. I began to think of “Jiayang Fan” as viral not in a social-media sense but in a biological one; the calamitous state of the world and certain random mutations in the story had made it unexpectedly contagious. My original posts had served their purpose; now they were serving the purposes of others. I had unwittingly bred a potent piece of propaganda.

The Promise That Tested My Parents Until the End (Christopher Solomon, GQ )

Don’t you ever put me in one of those places,  she said. Don’t put  me  in one of those places,  my father replied.

Christopher Solomon’s parents made a pledge to one another. But what did that actually look like over time, especially when his father became sick? What does unconditional love and devotion look like in our own lives? Solomon writes an honest and heartbreaking essay on love, aging, and marriage — in sickness and in health.

In time what was imperceptible in him became noticeable, and then what was noticeable became something worse. The landscape of my father changed, the coastline eroded. There was less of him, until the old map of my father no longer fit the man before us. It has been 20 years now since he was diagnosed, and sometimes it is hard to remember a time that he was not sick. His speech became a gargle of consonants. The dementia took most of his mind. His body curled in on itself—shrinking, reducing, as if he were becoming an infant again. Despite this, for years he still played the piano, every day, and nearly as well as ever—the mysteryland of the brain permitting this freedom even as body, and mind, crumbled around him. My mother would sing along from the kitchen, as she always had. And then one day, after I arrive home, my mother sounds more concerned than usual.  He has stopped playing the piano,  she says. This seems to worry her more than anything else.

Finally, exhausted, she relents. She drives to visit a nearby nursing home. Afterward she cries in the parking lot. She cries for what she sees there. She cries at the prospect of breaking the Promise. She cries because even though almost nothing remains of her husband—even though he is the cause of her sleepless nights and her tendinitis and her bruises and her anger—in 55 years she rarely has been apart from him. She loves even the scrap of him that remains. He is half of the story they share, of the red VW Beetle and the sunstruck Italian patios and the singalongs and the three towheaded children. As long as he is here, their story, however unlikely, is not yet over. She cries because the end of him is the end of a possibility. And I think, not for the first time, how little I still know about love.

Kamala Harris, Mass Incarceration and Me (Reginald Dwayne Betts, The New York Times Magazine )

“The prosecutor’s job, unlike the defense attorney’s or judge’s, is to do justice. What does that mean when you are asked by some to dole out retribution measured in years served, but blamed by others for the damage incarceration can do?” In this nuanced reported essay about mass incarceration in the U.S., Reginald Dwayne Betts reveals “our contradictory impulses” around crime, punishment, and the justice system. And he knows these impulses well, as both a felon and a son to a woman who was raped by a Black man.

But I know that on the other end of our prison sentences was always someone weeping. During the middle of Harris’s presidential campaign, a friend referred me to a woman with a story about Senator Harris that she felt I needed to hear. Years ago, this woman’s sister had been missing for days, and the police had done little. Happenstance gave this woman an audience with then-Attorney General Harris. A coordinated multicity search followed. The sister had been murdered; her body was found in a ravine. The woman told me that “Kamala understands the politics of victimization as well as anyone who has been in the system, which is that this kind of case — a 50-year-old Black woman gone missing or found dead — ordinarily does not get any resources put toward it.” They caught the man who murdered her sister, and he was sentenced to 131 years. I think about the man who assaulted my mother, a serial rapist, because his case makes me struggle with questions of violence and vengeance and justice. And I stop thinking about it. I am inconsistent. I want my friends out, but I know there is no one who can convince me that this man shouldn’t spend the rest of his life in prison.

Safe at Home in Los Angeles (Lynell George, High Country News )

Lynell George’s beautiful read exemplifies what I love about writing on place and home. A native of Los Angeles, George builds and shapes a complex L.A. in her piece: a “city of contradictions,” an elusive, ever-shifting place “built on either impermanence or illusion.” It’s a sensory and richly textured portrait of a vast place, looking at Los Angeles through a sort of kaleidoscope lens of gentrification, nature, and the pandemic lockdown.

Los Angeles has long been a contested domain — both as territory (from the Indigenous Tongva onward) and as emblem. Boosters, speculators and swindlers have had their way not just with the land but with the very image of Los Angeles. The city grew, like an opportunistic vine. It couldn’t just  be . It had to be bigger than life, better than perfect. Even within my lifetime, popular culture has conjured a vision of Los Angeles that is sleight-of-hand, a trick of light, brutally at odds with the lived experience. Los Angeles, by its sprawling nature, absolutely resists oversimplification. This, despite its frustrations, irritants and absurdities, is precisely why I remain here.

Those stories of place, the Los Angeles of my childhood and adolescence and young adulthood — the ’60s, ’70s, ’80s, ’90s — couldn’t be told until we began to tell them. Until we steadied and raised our voices. Until we made our way through gatekeepers, and most significantly until we were of age and of mind to turn our attention to a shifting definition of the West (or  El Norte ), one that included stories of migration and immigration, of protest, of underemployment, of struggle, and of love and resilience despite disappointment, and in the ways in which we tend to the physical environment, to conserve against drought or be mindful of energy use and emissions. We must tend to the region’s various topographies in narrative. It’s imperative. Or they will be lost. As a chronicler, my responsibility is to try and tell an honest story. True to its roots. Even now, even in this quiet moment in the city, we must remember its cacophony, its music.

My Mustache, My Self (Wesley Morris, The New York Times Magazine )

This essay from Wesley Morris on growing a mustache during the pandemic is about so much more than quarantine-grown facial hair — it’s a brilliant and vulnerable piece on masculinity and race, one in which Morris reflects on becoming himself and considers and celebrates his Blackness.

The mustache had certainly conjoined me to a past I was flattered to be associated with, however superficially. But there were implications. During the later stages of the movement, a mustached man opened himself up to charges of white appeasement and Uncle Tom-ism. Not because of the mustache, obviously, but because of the approach of the sort of person who would choose to wear one. Such a person might not have been considered radical enough, down enough, Black enough. The civil rights mustache was strategically tolerant. It didn’t advocate burning anything down. It ran for office — and sometimes it won. It was establishmentarian, compromising and eventually, come the infernos at the close of the 1960s, it fell out of fashion, in part because it felt out of step with the urgency of the moment.

The Black-power salute is not a casual gesture. It’s weaponry. You aim that arm and fire. I aimed mine in solidarity — with white people instead of at a system they personify. And that didn’t feel quite right. But how would I know? I had never done a Black-power salute. It always seemed like more Blackness than I’ve needed, maybe more than I had. I’m not Black-power Black. I’ve always been milder, more apprehensive than that. I was practically born with a mustache.

Cheri Lucas Rowlands

Cheri has been an editor at Longreads since 2014. She's currently based in the San Francisco Bay Area. More by Cheri Lucas Rowlands

Support Longreads

By clicking submit, you agree to share your email address with the site owner and Mailchimp to receive marketing, updates, and other emails from the site owner. Use the unsubscribe link in those emails to opt out at any time.

We've recently sent you an authentication link. Please, check your inbox!

Sign in with a password below, or sign in using your email .

Get a code sent to your email to sign in, or sign in using a password .

Enter the code you received via email to sign in, or sign in using a password .

Subscribe to our newsletters:

Sign in with your email

Lost your password?

Try a different email

Send another code

Sign in with a password

UK Edition Change

• UK Politics
• News Videos
• Paris 2024 Olympics
• Rugby Union
• Sport Videos
• John Rentoul
• Mary Dejevsky
• Andrew Grice
• Sean O’Grady
• Photography
• Theatre & Dance
• Culture Videos
• Fitness & Wellbeing
• Food & Drink
• Health & Families
• Royal Family
• Electric Vehicles
• Car Insurance Deals
• Lifestyle Videos
• Hotel Reviews
• News & Advice
• Simon Calder
• Australia & New Zealand
• South America
• C. America & Caribbean
• Middle East
• Politics Explained
• News Analysis
• Today’s Edition
• Home & Garden
• Broadband deals
• Fashion & Beauty
• Travel & Outdoors
• Sports & Fitness
• Climate 100
• Sustainable Living
• Climate Videos
• Solar Panels
• Behind The Headlines
• On The Ground
• Decomplicated
• You Ask The Questions
• Binge Watch
• Travel Smart
• Watch on your TV
• Crosswords & Puzzles
• Most Commented
• Newsletters
• Ask Me Anything
• Virtual Events
• Wine Offers
• Betting Sites

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged in Please refresh your browser to be logged in

The decade’s best essay collections, from Zadie Smith to Jia Tolentino

Incisive and exacting, these collections make light work of untangling the last 10 years, writes annabel nugent.

Article bookmarked

Find your bookmarks in your Independent Premium section, under my profile

For free real time breaking news alerts sent straight to your inbox sign up to our breaking news emails

Sign up to our free breaking news emails, thanks for signing up to the breaking news email.

Between the climate crisis, Brexit and the launch of winter Love Island , it is easy to feel caught in an existential spiderweb, waiting for anxiety (or the onset of World War Three, whichever comes first) to consume you.

But some writers are making light work of untangling the last 10 years. Incisive and exacting, their essays tackle the big and the small – meme culture, Dostoyevsky, Bieber pandemonium, race politics, and the climate crisis are made comprehensible in their hands. These are the essay collections that make any resolution to “read more nonfiction” infinitely more enjoyable.

Trick Mirror by Jia Tolentino (2019)

Jia Tolentino rebuffs critics’ claims that she’s the voice of a generation, but after reading Trick Mirror , any other title seems to fall short. The New Yorker staff writer is most astute when deciphering her home ground – the internet. Her best essays talk double-tapping automaton, monetisation and surveillance, and hardcore fans begging their favourite celebrities to kill them. For anyone simultaneously disillusioned and addicted to the perils of modern life, Tolentino’s words will strike a chord.

White Girls by Hilton Als (2013)

Hilton Als cut his teeth on theatre reviews (earning him a Pulitzer Prize in 2017), but the writer’s talents are anything but narrow. Race, class and sexuality coalesce in a collection of essays that opens up American culture for prying eyes. Als writes equally well on Eminem and porn as he does queerness and love. Flannery O’Connor, Michael Jackson and Truman Capote all feature in this politically astute, moving collection.

See What Can be Done by Lorrie Moore (2018)

The title borrows from a phrase that Moore’s editor at The New York Review would use when editing her fiction. See What Can be Done does not simply despair at the state of today, but mines that despair to find some way forward. The master of short stories writes expectedly well on fellow literary greats such as Margaret Atwood , Miranda July and Philip Roth . More surprising is her poetic wrestling with subjects like Barack Obama , HBO’s True Detective and the Republican primary debate. Each chapter offers up enormous wisdom far beyond its bite-sized proportions.

Pulphead by John Jeremiah Sullivan (2011)

John Jeremiah Sullivan takes a scalpel to pop culture and history in Pulphead . Incisive prose on everything from Christian Rock festivals in the Ozarks to Bunny Wailer with vigour and humanity. The son of a reporter and an English teacher, Sullivan writes prose with the qualities of storytelling and the grounding of in-depth research.

Absolutely on Music by Haruki Murakami (2011)

The Japanese author is known for surrealist fiction and running ultra-marathons, but here, he sits down instead with friend and former conductor of the Boston Symphony Orchestra, Seiji Ozawa. What ensues is an enthusiastic and unpretentious discussion on their shared love for classical music. Their metiers are in perfect sync – boring industry topics like mundane bureaucracies and performer personalities are transformed by Murakami’s deft hand. While the subject may be esoteric, its appeal is definitely not.‘

When I Was a Child I Read Books: Essays by Marilynne Robinson (2012)

The list of books by Marilynne Robinson is upsettingly short, but every brilliant word she writes makes up for the scarcity. Robinson’s prose takes on a more exacting frankness in her nonfiction than in her Gilead trilogy. Essays on society and theology sound like a drag, but in this collection they are anything but. The Christian core of her Pulitzer prize-winning fiction comes through more visibly in these essays, but similarly does not have the alienating effect you would expect.

Feel Free by Zadie Smith (2018)

Razor-sharp essays take a long, hard look at topics both large – think intelligent takes on Bieber fever – and very, very small, as in the author’s childhood bathroom. As the title suggests, each essay explores the concept of freedom in all its meanings, but most are concerned with the artistic kind and the act of taking it, whether it’s given to you or not. Smith’s writing is casual and discursive but never rambling. Feel Free champions art as a place where freedom allows for complex issues to be safely explored.

The Possessed: Adventures with Russian Books and the People Who Read Them by Elif Batuman (2010)

Elif Batuman makes Russian literature fun. An unapologetic nerd for Dostoyevsky and Tolstoy, Batuman’s book is likely to be the best thing that’s happened to the genre in modern times. The Possessed is a biblio-memoir of sorts, tracking the author’s time spent studying Russian lit at Stanford. The New Yorker staff writer fires on all cylinders in a collection of essays more about reading as a way of life than the idiosyncrasies of The Idiot .

All About Love: New Visions by bell hooks (2010)

In this collection, bell hooks moves deftly between affection, respect, commitment, gender stereotypes, domination, ego and aggression. With the help of psychological and philosophical ideas, the author pins down the airiness of love in a ruthless dissection, moments of ecstasy offset by brooding on patriarchal thinking. This collection paves the way for a more universal understanding of love.

This Young Monster by Charlie Fox (2017)

The last decade has birthed monsters of the good, bad and ugly varieties. In his debut novel, art critic Charlie Fox writes on modern monstrosity. In nine essays, Fox pays tribute to the art world’s outsiders. His subjects are diverse, taking on the 19th century poet Rimbaud as impressively as he grapples with The Duffer Brothers’ Stranger Things . This Young Monster is a love letter to those who “rebel against a reality that’s too cruel or boring for them to inhabit”. Fox’s voice is equal parts critical and personal, and always playful.

This Changes Everything: Capitalism v the Climate by Naomi Klein (2014)

Naomi Klein takes no prisoners in this polemic book on climate change. Klein makes a damning argument against powerful right-wing think tanks, lobby groups and corporate elites that have dictated catastrophic environmental policies and contributed to widespread climate change denial. Klein’s writing is forthright in its condemnation of capitalism. This Changes Everything is an urgent read and one that couldn’t be more pertinent than it is today – or tomorrow, and all the days after that.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Subscribe to Independent Premium to bookmark this article

Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.

New to The Independent?

Or if you would prefer:

Hi {{indy.fullName}}

• My Independent Premium
• Account details
• Help centre

Advertisement

Supported by

The Shortlist

Essay Collections on Home, Culture and Everything in Between

• Share full article

By Lori Soderlind

• Nov. 17, 2020

MAYBE THE PEOPLE WOULD BE THE TIMES By Luc Sante 328 pp. Verse Chorus. Paper, $19.95.

Sante’s collection of essays is a cabinet of curiosities, filled with the dark, the curious, the marvelous, the magnificent and the simply strange subjects that have passed through his imagination, mainly in the past 15 years of his work as an author and a critic.

The book opens with several moving personal reflections on the East Village music scene of Sante’s youth, and contains a lustrous oeuvre of art and cultural criticism, but its most striking pieces evade easy categories. A section of writing on photography includes staged arcade portraits, fotonovelas and a series of photos of people in masks. One mixed-media essay invents collectors’ notes for old 45-r.p.m. records. Another short piece observes the party mood of a crowd gathered at the scene of a street accident.

Sante’s cultural filter catches what others might dismiss as obscure or inconsequential. True, his interests include the likes of Sophie Calle, H. P. Lovecraft and other well-known figures present and past, but even they are examined for their fringe qualities, and their presence in this collection only elevates the importance of the doodles and shoe stores he also shows us. Perhaps anyone could write well about Patti Smith; Sante’s taste for the cultural margins is a singular gift.

In one short essay, Sante writes of a little-known photographer, Bruce Barone, calling his images of American cities in the 1970s and ’80s “annals of a former world … documented so fleetingly and obscurely that I sometimes have felt it existed only in my imagination.” This is exactly the sensation of reading Sante’s own collected works. So many treasures, snatched back from obscurity, including moments of his own life.

THE AGE OF SKIN By Dubravka Ugresic Translated by Ellen Elias-Bursac 236 pp. Open Letter. Paper, $16.95.

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and  log into  your Times account, or  subscribe  for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber?  Log in .

Want all of The Times?  Subscribe .

September 20, 2024

published by phi beta kappa

Print or web publication, joyas voladoras.

Revisiting an ode to the heart by one of our best-loved writers

Since this short essay by Brian Doyle was published in the Scholar 15 years ago, it has been read hundreds of thousands of times on our website and often borrowed for classroom use. It is the lead piece in a just-published collection of Brian’s essays called One Long River of Sound: Notes on Wonder. Brian died at the age of 60 in 2017.

Listen to a narrated version of this essay:

Consider the hummingbird for a long moment. A hummingbird’s heart beats ten times a second. A hummingbird’s heart is the size of a pencil eraser. A hummingbird’s heart is a lot of the hummingbird.  Joyas voladoras , flying jewels, the first white explorers in the Americas called them, and the white men had never seen such creatures, for hummingbirds came into the world only in the Americas, nowhere else in the universe, more than three hundred species of them whirring and zooming and nectaring in hummer time zones nine times removed from ours, their hearts hammering faster than we could clearly hear if we pressed our elephantine ears to their infinitesimal chests.

Each one visits a thousand flowers a day. They can dive at sixty miles an hour. They can fly backwards. They can fly more than five hundred miles without pausing to rest. But when they rest they come close to death: on frigid nights, or when they are starving, they retreat into torpor, their metabolic rate slowing to a fifteenth of their normal sleep rate, their hearts sludging nearly to a halt, barely beating, and if they are not soon warmed, if they do not soon find that which is sweet, their hearts grow cold, and they cease to be. Consider for a moment those hummingbirds who did not open their eyes again today, this very day, in the Americas: bearded helmet-crests and booted racket-tails, violet-tailed sylphs and violet-capped woodnymphs, crimson topazes and purple-crowned fairies, red-tailed comets and amethyst woodstars, rainbow-bearded thornbills and glittering-bellied emeralds, velvet-purple coronets and golden-bellied star-frontlets, fiery-tailed awlbills and Andean hillstars, spatuletails and pufflegs, each the most amazing thing you have never seen, each thunderous wild heart the size of an infant’s fingernail, each mad heart silent, a brilliant music stilled.

Hummingbirds, like all flying birds but more so, have incredible enormous immense ferocious metabolisms. To drive those metabolisms they have race-car hearts that eat oxygen at an eye-popping rate. Their hearts are built of thinner, leaner fibers than ours. Their arteries are stiffer and more taut. They have more mitochondria in their heart muscles—anything to gulp more oxygen. Their hearts are stripped to the skin for the war against gravity and inertia, the mad search for food, the insane idea of flight. The price of their ambition is a life closer to death; they suffer more heart attacks and aneurysms and ruptures than any other living creature. It’s expensive to fly. You burn out. You fry the machine. You melt the engine. Every creature on earth has approximately two billion heartbeats to spend in a lifetime. You can spend them slowly, like a tortoise and live to be two hundred years old, or you can spend them fast, like a hummingbird, and live to be two years old.

The biggest heart in the world is inside the blue whale. It weighs more than seven tons. It’s as big as a room. It  is  a room, with four chambers. A child could walk around it, head high, bending only to step through the valves. The valves are as big as the swinging doors in a saloon. This house of a heart drives a creature a hundred feet long. When this creature is born it is twenty feet long and weighs four tons. It is waaaaay bigger than your car. It drinks a hundred gallons of milk from its mama every day and gains two hundred pounds a day, and when it is seven or eight years old it endures an unimaginable puberty and then it essentially disappears from human ken, for next to nothing is known of the the mating habits, travel patterns, diet, social life, language, social structure, diseases, spirituality, wars, stories, despairs and arts of the blue whale. There are perhaps ten thousand blue whales in the world, living in every ocean on earth, and of the largest animal who ever lived we know nearly nothing. But we know this: the animals with the largest hearts in the world generally travel in pairs, and their penetrating moaning cries, their piercing yearning tongue, can be heard underwater for miles and miles.

Mammals and birds have hearts with four chambers. Reptiles and turtles have hearts with three chambers. Fish have hearts with two chambers. Insects and mollusks have hearts with one chamber. Worms have hearts with one chamber, although they may have as many as eleven single-chambered hearts. Unicellular bacteria have no hearts at all; but even they have fluid eternally in motion, washing from one side of the cell to the other, swirling and whirling. No living being is without interior liquid motion. We all churn inside.

So much held in a heart in a lifetime. So much held in a heart in a day, an hour, a moment. We are utterly open with no one in the end—not mother and father, not wife or husband, not lover, not child, not friend. We open windows to each but we live alone in the house of the heart. Perhaps we must. Perhaps we could not bear to be so naked, for fear of a constantly harrowed heart. When young we think there will come one person who will savor and sustain us always; when we are older we know this is the dream of a child, that all hearts finally are bruised and scarred, scored and torn, repaired by time and will, patched by force of character, yet fragile and rickety forevermore, no matter how ferocious the defense and how many bricks you bring to the wall. You can brick up your heart as stout and tight and hard and cold and impregnable as you possibly can and down it comes in an instant, felled by a woman’s second glance, a child’s apple breath, the shatter of glass in the road, the words  I have something to tell you , a cat with a broken spine dragging itself into the forest to die, the brush of your mother’s papery ancient hand in the thicket of your hair, the memory of your father’s voice early in the morning echoing from the kitchen where he is making pancakes for his children.

Brian Doyle , an essayist and novelist, died on May 27, 2017. To read Epiphanies, his longtime blog for the Scholar , please go here.

● NEWSLETTER

20 Must-Read Best Essay Collections of 2019

Rebecca Hussey

Rebecca holds a PhD in English and is a professor at Norwalk Community College in Connecticut. She teaches courses in composition, literature, and the arts. When she’s not reading or grading papers, she’s hanging out with her husband and son and/or riding her bike and/or buying books. She can't get enough of reading and writing about books, so she writes the bookish newsletter "Reading Indie," focusing on small press books and translations. Newsletter: Reading Indie Twitter: @ofbooksandbikes

View All posts by Rebecca Hussey

Calling all essay fans! For your reading pleasure, I’ve rounded up the best essay collections of 2019. It was a fabulous year for essays (although I say that about most years, to be honest). We’ve had some stellar anthologies of writing about disability, feminism, and the immigrant experience. We’ve had important collections about race, mental health, the environment, and media. And we’ve had collections of personal essays to entertain us and make us feel less alone. There should be something in this list for just about any reading mood or interest.

These books span the entire year, and in cases where the book isn’t published yet, I’ve given you the publication date so you can preorder it or add it to your library list.

I hope this list of the best essay collections of 2019 helps you find new books you love!

About Us: Essays from the Disability Series of the New York Times , edited by Peter Catapano and Rosemarie Garland-Thomson

This book emerged from a  New York Times series of personal essays on living with a disability. Each piece was written by a person in the disabled community, and the volume contains an introduction by Andrew Solomon. The topics cover romance, shame, ambition, childbearing, parenting, aging, and much more. The authors offer a wide range of perspectives on living in a world not built for them.

Black is the Body: Stories from my Grandmother’s Time, My Mother’s Time, and Mine by Emily Bernard

Emily Bernard’s essays are about her experiences of race. She writes about life as a black woman in Vermont, her family’s history in Alabama and Nashville, her job as a professor who teaches African American literature, and her adoption of twin girls from Ethiopia. It begins with the story of a stabbing in New Haven and uses that as a springboard to write about what it means to live in a black body.

Burn It Down: Women Writing about Anger , edited by Lilly Dancyger (Seal Press, October 8)

Women’s anger has been the source of some important and powerful writing lately (see Rebecca Traister’s  Good and Mad and Soraya Chemaly’s  Rage Becomes Her ). This collection brings together a diverse group of writers to further explore the subject. The book’s 22 writers include Leslie Jamison, Melissa Febos, Evette Dionne, and more.

The Collected Schizophrenias by Esmé Weijun Wang

The Collected Schizophrenias is a collection of essays on mental and chronic illness. Wang combines research with her personal knowledge of illness to explore misconceptions about schizophrenia and disagreements in the medical community about definitions and treatments. She tells moving, honest personal stories about living with mental illness.

The Collector of Leftover Souls: Field Notes on Brazil’s Everyday Insurrections by Eliane Brum, Translated by Diane Grosklaus Whitty (Graywolf, October 15)

This volume collects work from two of Brum’s books, and includes investigative pieces and profiles about Brazil and its people. She focuses on underrepresented communities such as indigenous midwives from the Amazon and people in the favelas of São Paulo. Her book captures the lives and voices of people not often written about.

Erosion: Essays of Undoing by Terry Tempest Williams (Sarah Crichton Books, October 8)

This volume collects essays written between 2016 and 2018 covering the topic she has always written so beautifully about: the natural world. The essays focus on the concept of erosion, including the erosion of land and of the self. They are her response to the often-overwhelming challenges we face in the political and the natural world.

The Good Immigrant: 26 Writers Reflect on America ,  edited by Nikesh Shukla and Chimene Suleyman

This volume brings together an amazing group of writers including Chigozie Obioma, Jenny Zhang, Fatimah Asghar, Alexander Chee, and many more. The essayists are first and second generation immigrants who describe their personal experiences and struggles with finding their place in the U.S. The pieces connect first-person stories with broader cultural and political issues to paint an important picture of the U.S. today.

Good Things Happen to People You Hate: Essays by Rebecca Fishbein (William Morrow, October 15)

In the tradition of Samantha Irby and Sloane Crosley, this collection is a humorous look at life’s unfairness. Fishbein writes about trouble with jobs, bedbugs, fires, and cyber bullying. She covers struggles with alcohol, depression, anxiety, and failed relationships. She is honest and hilarious both, wittily capturing experiences shared by many.

I Like to Watch: Arguing My Way Through the TV Revolution by Emily Nussbaum

This book contains new and previously published essays by  New Yorker  critic Emily Nussbaum. The pieces include reviews and profiles. They also argue for a new type of criticism that can accommodate the ambition and complexity of contemporary television. She makes a case for opening art criticism up to new forms and voices.

I’m Telling the Truth, But I’m Lying by Bassey Ikpi

Bassey Ikpi’s essay collection is about her personal experiences dealing with Bipolar II and anxiety. She writes about struggling with mental health even while her career as a spoken word artist was flourishing. She looks at the ways our mental health is intertwined with every aspect of our lives. It’s an honest look at identity, health, and illness.

Little Weirds by Jenny Slate (Little, Brown and Company, November 5)

These pieces are humorous, whimsical essays about things that are on Jenny Slate’s mind. As she—an actress and stand-up comedian as well as writer—describes it, “I looked into my brain and found a book. Here it is.” With a light touch, she tells us honestly what it’s like to be her and how she sees the world, one little, weird piece of it at a time.

Make It Scream, Make It Burn: Essays   by Leslie Jamison

Here is Jamison’s follow-up essay collection to the bestselling   Empathy Exams . This one is divided into three sections, “Longing,” “Looking,” and “Dwelling,” each with pieces that combine memoir and journalism. Her subjects include the Sri Lankan civil war, the online world Second Life, the whale 52 Blue, eloping in Las Vegas, giving birth, and many more.

My Time Among the Whites: Notes from an Unfinished Education   by Jennine Capó Crucet

Crucet grew up in Miami, the daughter of Cuban refugees. Here she explores her family’s attempts to fit into American culture and her feeling of being a stranger in her own country. She considers her relationship to the so-called “American Dream” and what it means to live in a place that doesn’t always recognize your right to be there.

Notes to Self: Essays by Emilie Pine

Emilie Pine is an Irish writer, and this book is a bestseller in Ireland. These six personal essays touch on addiction, sexual assault, infertility, and more. She captures women’s experiences that often remain hidden. She writes about bodies and emotions from rage to grief to joy with honesty, clarity, and nuance.

Our Women on the Ground: Essays by Arab Women Reporting from the Arab World by Zahra Hankir (Editor) and Christiane Amanpour (Foreword)

This collection gathers together 19 writers discussing their experiences as journalists working in their home countries. These women risk their lives reporting on war and face sexual harassment and difficulties traveling alone, but they also are able to talk to women and get stories their male counterpoints can’t. Their first person accounts offer new perspectives on women’s lives and current events in the Middle East.

The Source of Self-Regard: Selected Essays, Speeches, and Meditations by Toni Morrison

Picking this up is a fitting way to pay tribute to the great Toni Morrison, who just passed away last summer. This book is a collection of essays, speeches, and meditations from the past four decades. Topics include the role of the artist, African Americans in American literature, the power of language, and discussions of her own work and that of other writers and artists.

Surfacing by Kathleen Jamie

Kathleen Jamie is a poet and nature writer. These essays combine travel, memoir, and history to look at a world rapidly changing because of our warming climate. She ranges from thawing tundra in Alaska to the preserved homes of neolithic farmers in Scotland and also examines her own experiences with change as her children grow and her father dies.

Thick: And Other Essays by Tressie McMillan Cottom

As of this writing,  Thick  was just longlisted for a National Book Award in nonfiction. McMillan Cottom’s essays look at culture and personal experience from a sociological perspective. It’s an indispensable collection for those who want to think about race and society, who like a mix of personal and academic writing, and who want some complex, challenging ideas to chew on.

White Flights: Race, Fiction, and the American Imagination   by Jess Row

White Flights is an examination of how race gets written about in American fiction, particularly by white writers creating mostly white spaces in their books. Row looks at writers such as Don DeLillo, Annie Dillard, David Foster Wallace, Jonathan Franzen, and more to consider the role that whiteness has played in the American literary imagination.

The Witches Are Coming   by Lindy West (Hachette Books, November 5)

The Witches Are Coming  is Lindy West’s follow-up to her wonderful, best-selling book  Shrill .  She’s back with more of her incisive cultural critiques, writing essays on feminism and the misogyny that is (still) embedded in every part of our culture. She brings humor, wit, and much-needed clarity to the gender dynamics at play in media and culture.

There you have it—the best collections of 2019! This was a great year for essays, but so were the two years before. Check out my round-ups of the best essay collections from 2018 and 2017 .

You Might Also Like

• Official Biography
• The Churchill Documents
• Book Reviews
• Bibliography
• Annotated Bibliography: Works About Churchill
• General, 1874-1977
• Travels, 1874-1961
• Palestine, 1945-46
• Israel, 1947-49
• Election Results
• The Art of Winston Churchill Gallery
• Churchill Conference Archive
• Dramatizations
• Documentaries

The Brief, Sparkling Life of the Collected Essays

• By RICHARD M LANGWORTH
• | February 13, 2023
• Category: Books

Origin of t he Collected Essays  

Upon announcement of the Collected Works (1974), critics complained that they were incom ple te . Winston Churchill had written hundreds of p e riodical ar ticles and other pieces not found in his books, even in comp ilations like Thoughts and Adventures . To its credit, the Library of Imperi al History decided to respond.

T he publ ishers duly commissioned Michael Wolff, formerly one of Randolph Churchill ’ s “ youn g gentlemen ” assistants on the Official Bio graphy . His task was to compile Churchill writings not already in t h e Collected Works . The result was four satisfying volumes that would then have cost a fortune to acquire in original form, assuming one could even locate them. Many periodicals were obscure, qu ickly read and discarded , their contents forgotten. Thus the real value of the Collected Essays .

Michael Wolff ignored mater ial he considered “ not essays in any sense of the word—letters, political pamphlets, speeches. Others, more marginal, were excluded because they wer e not mean t for written p ublicati o n . ” ( F o r many of these see Rona ld I. Cohen, “Winston Churchill ’s Unknown Canon, ” 2020.) Still, this  left Wolff with nearly 2000 pages of rare articles, published for the first tim e in volume form. Fa stidiously , he s ubdivided the essays by subject: W ar, P olitics , P e ople, and a catch-all volume, Churchill a t Large .

“ The authentic voice of Winston Churchill ”

Michael Wolff ’ s introduction  is alone worth the price of admission. The Essays , he argues, offer unique insight s . Churc hill ’ s books went through many reviews and drafts , and were sometimes revised with new information . The result was polished and accurate, Wolff wrote , but

a long way removed from the original Churchillian utterances as he dic tated the first paragraphs in the middle of the night , perhaps many months before. This is where special interest attaches to these essays. For the most part, they represent the authentic voice of Winston Churchill in a way that can otherwise only be captu r ed in his speeches. [And even his speeches were endlessly polished.]

Of course, this sometimes works to Churchill’s detriment: the style is occasionally less than best, the ideas not properly developed. But Churchill was never a dull man, was almost incapable of writing or speaking a dull sentence, an d h is ideas were nearly always imaginative. As a biographical record these essays are therefore unique, and as literary yardsticks they are of great interest. As historical and political works, they aid in understanding Churchill and hi s place in history.

“Potboilers”

S ome scholar s disagree . Churc hill repeate dly revised and rewrote his books because he wanted them exactly right. Whate ver your opinio n, the Collected Essays remain unique and valuable. They are in dispensable to students of our author.

The original articles were raced into print , because Chur chill always needed money and to move to his next assignment . Ev en WSC referred to s ome as “ potb oilers. ” Why labor over   “Are There Men on the Moon ? ” or “I was Astonished by M o ro c co ”? His staff enjoy ed the se because the boss r arely indulged in endless re vision . “ We all loved doing pot b oil ers, ” sai d secretary Grace Hamblin .

War and Politics

Chur chill and War runs from young Winst on ’s 1895 Cuban dispatches into the Second World War. Wolff i ncludes two forewords , to Louis Spears ’s Prelude to War and Pitt ’s War Speeches . B etter than half the volume covers the First World War, and a large portion of the rest is the run-up to the Second.

C hurchill and Pol itics spans the great issues of 190 3 to 1946: Fr ee Trade to Socialism, India to the Abdic a tion . The finale, “If I Were an American, ” decla res America the ho pe of the future,   inheritor of the li berties of the Engl ish-Speaking Peoples. Occasi o nally Wolff provides a   prefatory note . No one would know what “Sheffield and Its Shadow ” (1903) is a bout without one . Many issues then better known, l ike H o use of Lords reform, could do with prefa ces today.

People and “Everything Else”

Churchill and Peo ple delves as far back as King Alfred the Great and Sha kespeare ’s Julius Caesar on up to figures Church ill knew, but not then in Great Contemporari es. Inc luded are such obscurities as William Willett , who con ceived of Da yligh t Savings T ime. Important too is Churchill himself. His 1935 series, “My Li fe , ” mainly adds adven tures not included in his 1930 au tobiography.

Chur c hill at Large is a cor nucopi a f or “every thing else. ” It runs from young Winston ’s 1899 sh ort story “Man O verboar d! ” to his eer ie 1947 conversation with his father ’s ghost i n “The Dream. ” A grand review of the 20th century, “Great Events of Our Time , ” vie s with his impressions of America from 1906 to 1946, and his retelling of “The World ’s Greatest Stories, ” from Don Quixote to Uncle Tom ’s Cabin . He re too are his classic 1930 w hat-if, “ If Lee Had Not Won the Battle of Gettysburg, ” and his con troversial 1920 thesis, “Zionism versus Bolshevism. ”

Centenary Limited Edition

Like the Works , the Essays were e laborately bound in full vellum bl ocked gilt with titles on spine and Churchill arms on cover , all edges gilt, inside edges of boards tooled gilt, silk page markers, marbled endpapers, head- and foot – bands, etc. E ach volume was house d in a dark green leatherette slipcase with the Churchill Arms gilt on top panel. 

In 1987, I discovered the remaining un bound sheets of the Essays at the bindery in Cornwall, and a num ber of sets were bound in materials other than the original vellum. C hief among these are cream morocco (green slipcases) and red morocco (red slipcases). These differ from t he more m odestly b ound Centenary Edition , and ar e labeled “ Centenary Limited Edition ” on the half title and title page. (See “The Sordid History of the Collected Works” for the long story of the search.)

Centenary Edition

Internally this was the same as the above, except for the words “ Centenary Edition ” on the half title and t itle page . It wa s bound in quarter navy morocco with the Churchill Arms blocked gilt on the covers and the spine titles blocked gilt . While f itted with page markers and marbled endpapers, the volumes lacked gil t dent e lles on the inner boards and only the top page edges were gilt. Like the Centenary Limite d Edition, some unbound sheets were also later b o und in full red morocco . Originally , the Cen tenary Edition was not individually slipcased. However, co pies sold in the 1990s were sometimes boxed in sets of four.

Grateful thanks

For kind assistance in research and for photos, the aut hor wishes to thank two leading Churchill specialist booksellers: Barry Singer of Chartwell Bookselle rs in New York City; and Marc Kuritz of the Churchill Book Collector in San Diego. Appre ciation also goes to the late Mark Weber, f or his many contributions to our knowledge and friendship.

Has Hillsdale ever considered republishing The Collected Essays? – Yes, but like everything it’s a question of time, funding and priorities. It is a worthy project.

Leave a Reply Cancel reply

Churchill project articles, stay in touch with us.

Subscribe now and receive weekly newsletters with educational materials, new courses, interesting posts, popular books, and much more!

YOUR EMAIL ADDRESS

• History & Society
• Science & Tech
• Biographies
• Animals & Nature
• Geography & Travel
• Arts & Culture
• Games & Quizzes
• On This Day
• One Good Fact
• New Articles
• Lifestyles & Social Issues
• Philosophy & Religion
• Politics, Law & Government
• World History
• Health & Medicine
• Browse Biographies
• Birds, Reptiles & Other Vertebrates
• Bugs, Mollusks & Other Invertebrates
• Environment
• Fossils & Geologic Time
• Entertainment & Pop Culture
• Sports & Recreation
• Visual Arts
• Demystified
• Image Galleries
• Infographics
• Top Questions
• Britannica Kids
• Saving Earth
• Space Next 50
• Student Center

• Why is Charles Dickens important?
• What was Charles Dickens’s early life like?
• When did Mark Twain start writing?
• What are some of Mark Twain’s most famous works?
• What was Johann Wolfgang von Goethe’s family like?

Our editors will review what you’ve submitted and determine whether to revise the article.

• PressbooksOER - Media Communication, Convergence and Literacy - Major Magazine Formats
• University of Minnesota Library - History of Magazine Publishing
• Social Science LibreTexts - Magazines
• The Encyclopedia of Science Fiction - Magazines
• magazine - Children's Encyclopedia (Ages 8-11)
• magazine and journal - Student Encyclopedia (Ages 11 and up)

magazine , a printed or digitally published collection of texts (essays, articles, stories, poems), often illustrated, that is produced at regular intervals (excluding newspapers). A brief treatment of magazines follows. For full treatment, see publishing: Magazine publishing .

The modern magazine has its roots in early printed pamphlets , broadsides, chapbooks , and almanacs , a few of which gradually began appearing at regular intervals. The earliest magazines collected a variety of material designed to appeal to particular interests. One of the earliest ones was a German publication, Erbauliche Monaths-Unterredungen (“Edifying Monthly Discussions”), which was issued periodically from 1663 to 1668. Other learned journals soon appeared in France, England, and Italy, and in the early 1670s lighter and more entertaining magazines began to appear, beginning with Le Mercure Galant (1672; later renamed Mercure de France ) in France. In the early 18th century, Joseph Addison and Richard Steele brought out The Tatler (1709–11; published three times weekly) and The Spectator (1711–12, 1714; published daily). These influential periodicals contained essays on matters political and topical that continue to be regarded as examples of some of the finest English prose written. Other critical reviews treating literary and political issues also started up in the mid-1700s throughout western Europe, and at the end of the century specialized periodicals began appearing, devoted to particular fields of intellectual interest, such as archaeology, botany, or philosophy.

By the early 19th century a different, less learned audience had been identified, and new types of magazines for entertainment and family enjoyment began to appear, among them the popular weekly, the women’s weekly, the religious and missionary review, the illustrated magazine, and the children’s weekly. Their growth was stimulated by the general public’s broader interest in social and political affairs and by the middle and lower classes’ growing demand, in both cities and rural areas, for reading matter. Woodcuts and engravings were first extensively used by the weekly Illustrated London News (1842), and by the end of the 19th century many magazines were illustrated.

Magazine publishing benefited in the late 19th and 20th centuries from a number of technical improvements, including the production of inexpensive paper, the invention of the rotary press and the halftone block, and, especially, the addition of advertisements as a means of financial support. Other developments since then have included a greater specialization of topics; more illustrations, especially those reproducing colour photographs; a decline in power and popularity of the critical review and a rise in that of the mass-market magazine; and an increase in magazines for women.

With the rise of the Internet in the late 20th century, more and more magazines put versions of their material online. During this time, other types of magazines became increasingly popular. These included electronic magazines, known as e-zines or zines . Often of casual design and produced by at most a few people, e-zines tended to be highly personal and irreverent . Another kind of magazine was the fanzine, which was generally produced for fans of a sport or a particular celebrity, among other subjects.

Technological advancements, however, also had a downside for the magazine industry. As people had easier—and often free—access to a wealth of content, traditional magazines faced declining readership. In addition, ad revenue dropped as advertisers increasingly turned to other online outlets. Such factors contributed to a number of magazines folding in the early 21st century, while others were forced to discontinue print editions and publish only digital versions.

• Craft and Criticism
• Fiction and Poetry
• News and Culture
• Lit Hub Radio
• Reading Lists

• Literary Criticism
• Craft and Advice
• In Conversation
• On Translation
• Short Story
• From the Novel
• Bookstores and Libraries
• Film and TV
• Art and Photography
• Freeman’s
• The Virtual Book Channel
• Behind the Mic
• Beyond the Page
• The Cosmic Library
• The Critic and Her Publics
• Emergence Magazine
• Fiction/Non/Fiction
• First Draft: A Dialogue on Writing
• The History of Literature
• I’m a Writer But
• Lit Century
• The Lit Hub Podcast
• Tor Presents: Voyage Into Genre
• Windham-Campbell Prizes Podcast
• Write-minded
• The Best of the Decade
• Best Reviewed Books
• BookMarks Daily Giveaway
• The Daily Thrill
• CrimeReads Daily Giveaway

Community and Connection: On the Unexpected Benefits of Publishing Through a Small Press

Rilla askew finds her audience with the help of indies after the shuttering of small press distribution.

My first book, a collection of stories called Strange Business , was published by Viking Press in 1992. Like first love or a first child, that first book can make you feel as if nobody’s ever been through this experience in quite this thrilling way before.

I knew I was damned lucky to be represented by an experienced New York agent, published by a trade publisher, edited by a brilliant editor, positively reviewed in Publishers Weekly and The New York Times —an emerging writer’s dream. I also thought it would always be this way.

Scroll forward a few decades. In early 2023 I found myself with seven published books and a few national awards behind me, a new book of stories looking for a home, and no agent to guide it into an uneasy publishing landscape transformed by the pandemic and dramatic corporate changes.

Mine is not, I think, a rare journey. We used to be called midlist, we writers who win prizes and get great reviews but don’t sell in large numbers. I’m not sure trade publishers even use that term anymore. They’re not really interested in middling sellers. No matter the thrill and attention out of the gate, if we don’t make that transition from promising debut to big seller, trade publishing loses interest.

My work is strongly place-based, certainly literary, often historical, though not in the popular historical romance genre, and my new book is a collection of short stories, which are notoriously hard to sell. But we write what we have to write, don’t we? I’m committed to the regional, historical, literary nature of my work, no matter how economically unviable it may be.

I’m also pretty clear-eyed about the challenges in publishing, which has never been easy but seems increasingly tough these days. I knew that an independent or university press would be my best bet, and having had good experiences publishing with a university press, I considered that route.

But around this same time, I began to notice that four writers I admire had works forthcoming from a publisher I’d never heard of: Belle Point Press. I looked them up and found they were really small—a husband and wife team headquartered in Fort Smith, Arkansas—and really new. Less than a year old then.

Now, I’m one who espouses a robust literary landscape that embraces the excellent writing emerging from my own region and elsewhere. I also believe that best sellers and profit margins can’t be the only determinants of what gets published.

But would I trust my work to a small press that was just now launching? Would they be stable enough to see it through, viable enough to get the book distributed, durable enough to keep it in print once it’s out in the world?

Two things convinced me to send that first query: one was that I trusted the writers who’d already entrusted their work to Belle Point. They’re not household names, these poets and fiction writers, but I know the exquisite quality of their work because they’re part of my writing community.

Here in Oklahoma, we have a vibrant literary community. From U.S. Poet Laureate Joy Harjo to bestselling crime novelist Lou Berney, emerging writers like Mary Gray and Chelsea T. Hicks to the Woody Guthrie Poets, we read one other’s work, attend one another’s events.

Our connections spread beyond the state’s borders to Texas and New Mexico, Kansas and Missouri, Arkansas and Tennessee, all through the Mid-South and the Lower Midwest.

Here, collectively, we’re telling the story of a place, whether that’s an intentional part of our subject or not. Buttressed by some of the finest independent bookstores anywhere, we’ve forged a sense of belonging that says our voices matter, our stories matter—our place matters. Trade publishing, with its emphasis on economics and large numbers of sales, may not pay attention, but regionally focused small presses like Belle Point can, and do.

That’s the other factor that caused me to approach Belle Point: their clearly articulated vision, which is so in tune with my own. Founder and publisher Casie Dodd declares her roots in eastern Oklahoma and the hills of Arkansas, her commitment to small presses, independent literature, and local community.

“I want to believe that choosing to value and prioritize the people immediately around us,” she writes in the press Substack, “with a shared vocabulary and history, shared contexts or adjacent meandering ancestral threads, makes our work more honest. It enables our books to go deeper beyond representing A Place or A Voice.”

This is what I’ve been trying to do in my own writing since that first book of stories in 1992. By focusing a sharp lens on a particular place—Oklahoma with its wounded history and complex present—and telling the truth of this place as keenly and honestly as I can, I’m telling a much larger story, as writers from James Joyce to Crystal Wilkinson have done.

And this, as I’ve come to know, is what readers who value my work look for. One advantage of having been around a while is that I know my audience—who they are, where they are, and how they’re most likely to buy books, which is primarily from independent bookstores and online booksellers, where independent publishers are not at such a disadvantage.

In the past I enjoyed personal engagement with my editors at Penguin and Ecco, but a type of translation was sometimes needed: of culture, place, background. Casie understands the language and cultural forces at work in my fiction, and so the editing process has been smooth and especially gratifying. She created a knockout cover for the book—nuanced, evocative—because she so understands the stories’ underpinnings. Casie personally attends book fairs and literary festivals, shows up for book launches, nurtures each of Belle Point’s titles into the world.

I’ve learned that dexterity, flexibility, and a personal touch are hallmarks of this laser-focused small press. Without the resources and connections of a trade publisher, Belle Point is creative about finding ways to get attention for their list. They have a uniquely branded prose chapbook series, for instance, and my nonfiction essay in the series has garnered a good deal of pre-pub publicity for my book of stories. They’re deft at social media and have strong connections with independent bookstores.

I’ll admit I did have concerns at first about distribution with such a new press. But many of my writer friends are poets who always publish with small presses, so I knew there are workarounds. Probably none of us could have foreseen the devastation among independent publishers and writers at the closing of Small Press Distribution earlier this year. But this is where the commitment, dexterity, and flexibility of a small press can come into play.

Over the course of their short life, Belle Point has forged personal contacts with booksellers across the region. Now they’ve negotiated distribution with a national distributor, but their method began with handselling books to booksellers, who in turn hand sell to readers, who, by word of mouth, share with other readers.

These readers and booksellers are an integral part of our literary community. From Poetry Night at Indigenous-owned Green Feather Books in Norman to standing-room-only debut launches at Tulsa’s Magic City Books or The Floating Bookshop in Oklahoma City, from the emerging Creative Writing Center at Literati Press & Comics in OKC’s Paseo Arts District to Black Lit Weekend at Fulton Street Books in Tulsa, readers and writers come together in bookstores to read, listen, exchange.

It’s a positive feedback loop, this connection between independent presses, independent bookstores, writers, and readers. Here, we’re creating a body of literature larger than the sum of its parts, grounded in a recognition that we’re all in this storytelling, truth-telling business together.

The power of community seems to me inseparable from individual commitment to the quality of the work or finding a means to put it into the world. Belle Point Press in Fort Smith, Arkansas, Turning Plow Press in Enid, Oklahoma, Deep Vellum in Dallas, Texas, independent presses throughout the region are integrated, significant forces in our literary communities.

I suspect this kind of connectedness is true all over the U.S., especially in the vast, non-urban, non-East Coast/West Coast middle of the country. Find your independent bookstores, you’ll find your community. Find your community, and you’ll find your readers. Find your readers, you’ll find your press. They’re out there, nurturing the story of us and our vision and this moment into the world.

______________________________

The Hungry and the Haunted   by Rilla Askew is available via Belle Point Press.

• Share on Facebook (Opens in new window)
• Click to share on Twitter (Opens in new window)
• Click to share on Google+ (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Reddit (Opens in new window)
• Click to share on Tumblr (Opens in new window)
• Click to share on Pinterest (Opens in new window)
• Click to share on Pocket (Opens in new window)

Rilla Askew

Previous article, next article, support lit hub..

Join our community of readers.

to the Lithub Daily

Popular posts.

Here's the 2024 Booker Prize shortlist.

• RSS - Posts

Literary Hub

Created by Grove Atlantic and Electric Literature

Sign Up For Our Newsletters

How to Pitch Lit Hub

Advertisers: Contact Us

Privacy Policy

Support Lit Hub - Become A Member

Become a Lit Hub Supporting Member : Because Books Matter

For the past decade, Literary Hub has brought you the best of the book world for free—no paywall. But our future relies on you. In return for a donation, you’ll get an ad-free reading experience , exclusive editors’ picks, book giveaways, and our coveted Joan Didion Lit Hub tote bag . Most importantly, you’ll keep independent book coverage alive and thriving on the internet.

Become a member for as low as $5/month