how to write a book author in an essay

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How to Write a Book Name in an Essay

Last Updated: February 14, 2024 Fact Checked

This article was co-authored by Noah Taxis and by wikiHow staff writer, Danielle Blinka, MA, MPA . Noah Taxis is an English Teacher based in San Francisco, California. He has taught as a credentialed teacher for over four years: first at Mountain View High School as a 9th- and 11th-grade English Teacher, then at UISA (Ukiah Independent Study Academy) as a Middle School Independent Study Teacher. He is now a high school English teacher at St. Ignatius College Preparatory School in San Francisco. He received an MA in Secondary Education and Teaching from Stanford University’s Graduate School of Education. He also received an MA in Comparative and World Literature from the University of Illinois Urbana-Champaign and a BA in International Literary & Visual Studies and English from Tufts University. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 63,286 times.

When you’re writing an essay that includes a book title, it can be confusing to write the title correctly. However, it’s really easy once you know the rules. How you write the title will vary a little bit depending on the style your instructor assigns and if you are typing or handwriting the essay. Luckily, it's easy to follow the rules for writing a book name in an essay.

Writing Help

Typing an Essay in MLA or Chicago Style Format

• For example, you would write To Kill a Mockingbird , The Lord of the Rings , or Wuthering Heights .

• If you have the book name in front of you, you can just copy it down as it is printed.
• Articles include a, an, and the.
• Prepositions include at, in, on, of, about, since, from, for, until, during, over, above, under, underneath, below, beneath, near, by, next to, between, among, and opposite.
• Coordinating conjunctions include the FANBOYS, which are for, and, not, but, or, yet, and

• For example, you would write the name of William Faulkner’s novel Absalom, Absalom! with both the comma and the exclamation point in italics.

• If the highlight bar goes away, try again, making sure that you don’t click anywhere on the page after you highlight the book name.

• Alternatively, you can press the italicize icon before you type the title.
• If you’re using Microsoft Word to type your essay, the italicize key may appear if you hover over the highlighted book name.

• If the next word after your title appears italicized when you resume typing, simply highlight it and click the italicize icon to remove the formatting.

• For example, The Lord of the Rings trilogy is sometimes published in one volume. In this case, you could write the name of the first novel as "The Fellowship of the Ring" when citing it in an essay.

Typing an Essay in APA Format

• Capitalize the first letter of the words, not the entire word.
• If the word is a two-part hyphenated word in the title, you should capitalize both words. For example, you would write Blue River: The Trial of a Mayor-Elect .
• If there is a dash or colon in the title, you should capitalize the word after the punctuation, regardless of how long the word is. As above, you would write Blue River: The Trial of a Mayor-Elect .

• For example, you would write Philip K. Dick’s Do Androids Dream of Electric Sheep? with the question mark italicized.

• If the book name is not highlighted, left click and drag your cursor again, making sure that you don’t click again anywhere on the page.

• If you are using Microsoft Word, the italics icon may appear when you hover over the highlighted book title. It’s okay to click this key.

Handwriting an Essay

• For MLA and Chicago style essays, capitalize the first word of the book name and every word other than articles, prepositions, or coordinating conjunctions. For example, write The Lord of the Rings .
• If you’re using APA style, capitalize the first word and all words longer than 4 letters. [9] X Research source This means you would write Public Policy in Local Government .

• If you’re writing on lined paper, it may help to follow along the line of the paper. However, make sure your line is dark enough so that your instructor will see that you properly underlined the book name.

• For example, you would write Judy Blume’s Are You There, God? It’s Me, Margaret by underlining the punctuation marks as well as the words.

Expert Interview

Thanks for reading our article! If you’d like to learn more about academic writing, check out our in-depth interview with Noah Taxis .

• ↑ https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_general_format.html
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/writing_about_literature/formatting.html
• ↑ https://www.grammarly.com/blog/underline-or-italicize-book-titles/
• ↑ https://askus.library.wwu.edu/faq/116757
• ↑ https://libguides.up.edu/apa/books_ebooks
• ↑ https://apastyle.apa.org/style-grammar-guidelines/italics-quotations/italics

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Writing A Book Title In Your Essay – The Right Way

Table of contents

• 1 APA Style: How to Write Book Titles in Essays
• 2 APA Style Essay: Writing The Name of The Author
• 3 MLA Style Essay: Citing a Book Title
• 4 Chicago Style Essay: Writing the Book Title
• 5 Writing Various Types of Titles
• 6 Should We Underline or Italicize Book Titles?

When you are writing an academic essay , the book title and author’s name should be written in italics. However, if the book title is part of a larger work (such as a journal article), it should be underlined instead. So, you’re wondering how to write a book title in an essay?

Writing an essay with a book title can be tricky, particularly because each style guide has its own formatting rules for including titles in the main text. Whether you are using MLA, APA, Chicago, or Harvard referencing styles, you will need to consider how to properly format the book title. For more complicated literature-based assignments, seeking assistance from an admission essay writing service may be wise, as they specialize in writing essays that incorporate academic sources.

In this article, we will explore how to write both titles in an essay properly so that you avoid any mistakes!

APA Style: How to Write Book Titles in Essays

When writing an essay, you must follow the style guide provided by your professor. Some teachers may require you to use APA style and others MLA style. There are some rules on how to quote a book title in an essay. You should use italics and quotation marks when writing book titles in essays. For example: “ The Rape of Nanking: The Forgotten Holocaust of World War II. “

When writing a book title in APA Style , you should be aware of these rules:

Write the book title in italics and place it after the author’s name, which is presented in reverse order (last name first).

Use quotation marks around the headline of a chapter or article.

Capitalize proper names that are not common nouns (names of people, places, organizations), but do not capitalize words such as “and,” “or,” “to,” or “and/or.”

Do not capitalize prepositions that appear at the beginning of titles if they are followed by an article (e.g., “A,” “An”), but do capitalize prepositions at the beginning of titles if they are not followed by articles (“Of”).

The first word of the headline should be capitalized, as well as any other words after a colon or hyphen. For example, “The Elements of Style: Grammar for Everyone”  or “Theories of Personality: Critical Perspectives.”

Capitalize proper names and words derived from them (e.g., the names of people, places, organizations), except proper nouns used generically (e.g., ‘a bed’).

APA Style Essay: Writing The Name of The Author

You should always use the full name and surname of the author in your APA essay because this will give proper credit to the writer. If you do not mention the author’s full name, people may not know who wrote what and will think you copied it from somewhere else. This will cause lots of problems for you and your reputation as well.

Make sure that all authors’ names appear in the same format in each entry. For example, if one person’s surname is Smith and another’s is Jones, both have first names starting with “J.” It may seem like they are being cited as different people when they’re actually written differently from each other on separate pages in your paper.

To write an APA essay without any issues, there are certain rules that you need to follow while writing an author’s name in APA essay:

• Use only one author’s name in your paper unless there are multiple authors
• If there are multiple authors, then use both their last names followed by the initials of their first names
• Only use initials of first names when there are three or more authors; otherwise, use full names with their last names

Example: Johnson, M.C., Carlson, M., Smith, J. N., & Hanover, L. E.

MLA Style Essay: Citing a Book Title

Now let’s discuss how to mention a book in an essay. The MLA Handbook for Writers of Research Papers, 7th edition, published by the Modern Language Association (2014), contains detailed rules about how to cite a book title in an essay.

The following guidelines will instruct you on how to refer to a book in an essay in MLA style :

• List your sources at the end of your paper, before the works cited page or bibliography.
• Use italics for titles of books, magazines, and newspapers, but not for articles within those publications, which should be placed in quotation marks.
• Include all relevant book information under two categories: “title” and “author.” In the former category, include the work’s title and its subtitle if there is one; do this even if neither appears on your title page (see below). In the latter category, include only primary authors who have written or edited an entire book; if there are multiple contributors, you should cite them separately under each.

The general format for citing the title of the book in an essay is as follows:

Author’s last name, first initial (Date). Title of Book with Subtitle if there is one. Publisher Name/Location of Publisher; Year Published

Chicago Style Essay: Writing the Book Title

One of the most important things to remember when writing in Chicago style is how to write the title of a book in an essay. To write a good book title in an essay, you should follow these steps:

• Write it at the beginning of your sentence.
• Capitalize it just like any other noun or proper noun.
• Put a comma after the title unless it’s an introductory clause or phrase. For example: “The Firm,” by John Grisham (not “by”) and “The Catcher in the Rye,” by J.D Salinger (not “and”).
• In addition to the book’s name, punctuation marks should also be italicized.

For example: Harry Potter and the Half-blood Prince: Children’s Edition

Writing Various Types of Titles

Now that we covered how to write a book title and author in an essay, it’s time to look at some different types of titles. When you write a book title in an essay, several things must be considered. Whether it’s a book, series, chapter title, editor’s name, or author’s name, how you write it depends on where it appears in your paper.

Here are some key rules for writing headings for novels:

•  Use capital letters to write the title of the novel. For example,  The Secret Garden by Frances Hodgson Burnett .
• Use italics and capital letters to write the name of the author and his/her other works mentioned in a book title—for example,  Jane Austen’s Pride and Prejudice (1813) .

You should use quotation marks when writing headings of short title poems, articles, and stories.

However, before deciding which format to use, it is important to understand the main idea you want to express in your essay. Additionally, you could use essay papers for sale to help you accomplish your goal of writing an essay effectively.

Should We Underline or Italicize Book Titles?

It depends on which style guide you use. The Modern Language Association and Chicago Manual of Style both suggest using italics, while the American Psychological Association suggests using quotation marks with a few exceptions.

The way you write the title of a book in an essay is different depending on the instructions you were given. For example, if you’re writing an essay in APA style, use quotation marks around the book’s name. If you’re writing for MLA or Chicago style , however, italicize the book’s name instead. If you’re writing a handwritten essay instead of using a computer, capitalize and underline the book’s name.

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How to Write Book Titles in Your Essays

3-minute read

• 26th May 2023

When writing an essay, you’re likely to mention other authors’ works, such as books, papers, and articles. Formatting the titles of these works usually involves using quotation marks or italics.

So how do you write a book title in an essay? Most style guides have a standard for this – be sure to check that first. If you’re unsure, though, check out our guide below.

Italics or Quotation Marks?

As a general rule, you should set titles of longer works in italics , and titles of shorter works go in quotation marks . Longer works include books, journals, TV shows, albums, plays, etc. Here’s an example of a book mention:

Shorter works include poems, articles, chapters of books, episodes of TV shows, songs, etc. If it’s a piece that’s part of a biggHow to Write Book Titles in Your Essayser work, the piece considered a short work:

Exceptions to the Rule

The rule for writing book titles in italics applies specifically to running text . If the book title is standing on its own, as in a heading, there’s no need to italicize it.

Additionally, if the book is part of a larger series and you’re mentioning both the title of the series and that of the individual book, you can consider the book a shorter work. You would set the title of the series in italics and place the book title in quotation marks:

Punctuation in Book Titles

Do you need to apply italics to the punctuation in a book title? The short answer is yes – but only if the punctuation is part of the title:

If the punctuation isn’t part of the title (i.e., the punctuation is part of the sentence containing the title), you shouldn’t include in the italics:

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Summary: Writing Book Titles in Essays

We hope you’ll now feel confident when you’re writing and formatting book titles in your essays. Generally, you should set the title in italics when it’s in running text. Remember, though, to check your style guide. While the standards we’ve covered are the most common, some style guides have different requirements.

And once you finish writing your paper, make sure you send it our way! We’ll make sure any titles are formatted correctly as well as checking your work for grammar, spelling, punctuation, referencing, and more. Submit a free sample to try our service today.

Frequently Asked Questions

How do you write the title of a book in a sentence.

Set the title of the book in italics unless the book is part of a larger work (e.g., a book that’s part of a series):

When do you use quotation marks for titles?

Place titles of shorter works or pieces that are contained in a larger work in quotation marks:

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How to Write a Book Title in an Essay (MLA, APA etc.)

Formatting your essay correctly ensures that you get full recognition for the hard work you put into it. Wondering what to do? There are two scenarios that lead you to the question of "how to write a book title in an essay":

• You have not been required to use a particular style guide, in which case consistency remains important.
• You have been instructed to use a particular style guide. You now simply need to ensure that you are familiar with its rules.

Regardless of which of these scenarios holds true for you, this guide is here to help.

How to Write a Book Title in an Essay

Many style manuals call on writers use title case and italics to format a book title. Title case rules vary slightly from one style guide to the next, but generally capitalize all important words — nouns, pronouns, verbs, and adverbs. Conjunctions and prepositions are not capitalized unless they are very long (generally more than four letters) or they appear at the beginning or end of a book title.

Writers who are not required to work with a specific style manual can't go wrong if they stick to this style. Some examples would be:

• To Kill a Mockingbird by Harper Lee
• The Gift of Fear and Other Survival Signals That Protect us From Violence by Gavin de Becker
• The Cat With a Feathery Tail and Other Stories by Enid Blyton

If, on the other hand, you're required to use a style guide, it will likely be one of these:

• MLA, commonly used in disciplines relating to literature and social sciences.
• APA, commonly used in psychology and other sciences.
• Chicago, often used in the publishing industry.
• Harvard style, commonly used in philosophy and social sciences.

These are certainly not the only "big players" in the style guide world, but they're ones it's good to be familiar with. There is overlap between these styles, but there are also major differences — so knowing one definitely does not mean you know the others, too.

Guidelines for Writing a Book Title in an Essay

Looking for a short and sharp answer, so you can get on with the rest of your essay? This is it.

This quick guide will help you reference the book title of your choosing in the body of your essay, but what about your Works Cited pages? Each style guide offers different rules, and we'll use the same book as an example to illustrate the differences.

• MLA uses the following format: Author Last Name, First Name. Title of Book . City of Publication, Publisher, Publication Year. Example: Card, Orson Scott. Ender's Game. Tor Books, 1985. (You only have to detail the city of publication if the book was published before 1900, the publisher has offices in many localities, or the publisher is not known in the US.)
• APA uses the following format: Author Last Name, First Name. (Year of Publication). Title of book. Example: Card, Orson Scott. (1985). Ender's game.
• Chicago style uses the following format: Author Last Name, First Name. Book Title: Subtitle . Place of publication: Publisher, Year. Example: Card, Orson Scott. Ender's Game . Tor Books, 1985.
• Harvard uses the following format: Author Last Name, First Initial. (Publication Year). Title . ed. City: Publisher. Example: Card, O. (1985). Ender's Game. Tor Books.

If, after researching, you cannot find relevant information about publication years, publishers, or the city in which a book was published, you may omit it. For a full guide, it is always best to have a physical copy of the latest edition of the style manual you are using. You can, however, get by without this if you need to.

Should you still not know what to do, it will be helpful for you to know that you can "generate" citations for a particular style manual with the help of online tools like Cite Me . These are not always accurate, so if you decide to use one, always check the citation manually.

Why Is Proper Formatting Important?

All of the well-known style manuals ultimately serve the very same set of purposes, although they were each developed for a particular niche. The goals of these style manuals are both explicit and implicit:

• Following a style guide ensures consistency throughout a document, in this case an essay.
• Consistency ensures that reader's understand precisely what the writer is talking about, without exerting any effort on figuring that out. Clarity is especially important in academic writing.
• By using a style guide within a certain discipline, you show that you understand the rules within that discipline. This adds credibility to your voice as a writer. You have done your homework, have ideally bought the style manual, and are part of the "in group".
• Sticking to a certain style guide makes it easier for relevant parties to check your references, which they can then use to perform further research.

Students are increasingly asked to refer to style guides at all levels, including in high school. In this case, formatting your essay correctly, in accordance with the right style manual, serves two additional purposes:

• You'll lose points if you don't do it right, offering you an additional reason to do your research.
• Getting used to these formats prepares you for further education. If you are in high school, it prepares you for college-level writing. If you are an undergraduate student, it prepares you for academic work at the graduate and post-graduate levels.

Can you start an essay with a book title?

Yes, you can start an essay with a book title. This is a valid stylistic choice, but you will always want to consider your introduction carefully.

How do you write a book title in handwriting?

Students sometimes ask whether it is acceptable to underline book titles instead of italicizing them. This practice indeed stems from a time in which most students wrote their essays by hand. Although it has largely fallen out of practice now, you can still underline a book title if you are handwriting your essay.

How do you write a book title and chapter in an essay?

You should mention the chapter title first: "Rat" from Ender's Game by Orson Scott Card. Consult the relevant style manual to ensure you get the formatting right.

Can you shorten a book title in an essay?

Yes, you can. Reference the full title the first time you mention it (for example: Furiously Happy: A Funny Book About Horrible Things ). The next time you mention the book, you may simply refer to Furiously Happy .

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How to Write Book Titles in Essays: APA, MLA, Chicago Styles

It’s your practical and up-to-point guide on how to write a book title in an essay. You’ll get the formatting rules and examples for citing book and author names in academic papers.

We’ve covered the top three citation styles: APA, Chicago, and MLA.

How to Write the Title of a Book in an Essay

First, remember the general rules of citing book names in academic works.

Here’s how to cite books in essays :

• Use capitalization. Every word of a book’s name goes in the title case, except prepositions, articles, and coordinating conjunctions.
• Use italics for longer and independent works. Use double quotations for shorter ones (poems, articles, book chapters, or play acts and scenes).
• Use single quotations for a book’s title within another title. (When citing monographs about literary works, for example.) 

While capitalization rules depend on the citation style, some general tips have a place to be. Please, no capitalization for:

• Articles: a, the (unless the book title begins with it)
• Coordinating conjunctions and prepositions: of, and, or, but, for, to, nor, in, so (unless the book title begins or ends with it)

Subordinating conjunctions (although, unless, because, if) go in capital letters.

How to Write a Book Title in an Essay: APA

APA (American Psychological Association) is the most popular style for citing academic works. It’s common for the social sciences like Education, Psychology, Sociology, and others. The current edition: 7th (2019).

Book titles in APA stand for:

• Italics. (If a book name includes any punctuation, italicize it too.)
• Capitalization. (Capitalize all words longer than four letters , regardless of the part of speech. Also, use capital letters for two-part words and those coming after a dash or a colon.)
• Double quotations instead of italics. (When citing a short work like an article or a poem; when citing a book chapter or when the book is a part of an anthology.)

For example: 

The Lord of the Rings but “The Fellowship of the Ring” (The latter is part of the trilogy.)

Related: How to Cite a Movie in APA Format

How to Write the Name of a Book in an Essay: Chicago

The Chicago Manual of Style is a guide by the University of Chicago. It’s common for fields like History, Fine Arts, and Business. The current edition: 17th (2017).

How to format book titles in Chicago:

• Italicize longer and independent works; put shorter ones in double quotations.
• Use italics for punctuation within a title.
• Capitalize all words except articles (a, the) and ALL prepositions or conjunctions (regardless of length).

For example:

In George Orwell’s 1984 , the author presents a dystopian society characterized by pervasive government surveillance and the suppression of individual freedom. The harrowing events in “Chapter 2,” where Winston Smith begins to rebel against the Party by starting a forbidden diary, mark a pivotal moment in the novel’s exploration of resistance against totalitarianism.

The style resembles the MLA format, but it’s flexible, allowing you to “break the rules if necessary.”

How to Write a Book Title in an Essay: MLA

MLA format stands for the Modern Language Association. It’s common for humanities like Literature, Culture, Linguistics, etc. The current edition: 8th (2016). 

How to format books in MLA:

• Italicize all words, including punctuation and those of two parts or going after colons and hyphens.
• Capitalize all words except articles (a, the) , prepositions, and short conjunctions within a book title.
• Use double quotations instead of italics when writing a book chapter or a part of a book series.

In Little Women , Beth March dies in Chapter 40, “The Valley of the Shadow.”

Formatting Book Author Names in Papers

Use the author’s full name (first and last) to format it in your essay for proper credit.

If a book has two authors, use both last names and initials. For works with three or more authors, use the last name of the first one and add “et all.”

No need to italicize author names in papers.

Why Properly Cite Book Titles in Essays

The short answer:

You won’t get a high grade for an essay. Formatting blunders count as mistakes.

The longer answer:

• You prove writing skills and an understanding of the rules in academia.
• Your papers maintain consistency. It’s critical to stick to criteria to prevent confusion. The consistent format for book headings also serves to better scannability and readability.
• You learn to cite different types of references for your future projects.

Do you italicize book titles?

Yes, you put book titles in italics. Please italicize long and stand-alone works: books, movies, webpages, reports, or music albums. Shorter works’ titles (articles, essays, poems, songs, or book chapters) come in quotations. (1)

Do you underline book titles?

Underlining book titles is an outdated practice. Some still use it in handwritten essays, but it’s not a must-follow rule. Neither APA nor MLA (or Chicago) mentions underlining book names in academic papers.

How to use book title capitalization in texts?

Capitalize every word in a book’s title. Exceptions are articles (a, the), prepositions, and short (three or fewer letters) conjunctions in mid-titles.

Are books italicized in all formatting styles?

Yes, book titles come in italics in all styles: APA, MLA, and Chicago. When citing book chapters or a book as a part of a series, use quotation marks instead.

How to write a book author in an essay?

Use the author’s full name when citing their book in your papers. For works with several authors, mention their last names and initials. Unlike book titles, author names come in standard formatting with no italics.

References:

• https://english.csuci.edu/resources/essay-writing-essentials.htm
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• Essay writing
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APA Style - 7th edition: Specific Rules for Authors & Titles

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Rules for writing titles.

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• Reference Lists

There are certain things to keep in mind when writing the author's name according to APA style. Authors may be individual people, multiple people, groups (institutions or organizations), or a combination of people and groups. 

• You must include all the authors up to 20 for individual items. For example, if you are using an article that has 19 authors you must list them all out on your reference page. 
• Use initials for the first and middle names of authors. Use one space between initials.
• All names are inverted (last name, first initial).
• Do not hyphenate a name unless it is hyphenated on the item.
• Separate the author's names with a comma and use the ampersand symbol "&"  before the last author listed.
• Spell out the name of any organization that is listed as an author.
• If there is no author listed, the item title moves in front of the publication date and is used.

An item that you use may have an editor instead of an author or in the case of audiovisual materials a writer or director.

• For editors follow the same rules above and put the abbreviation (Ed.) or (Eds.) behind the name(s). 
• For audiovisual materials follow the same rules as above and put the specialized role (Writer) (Director) behind the name. 

Zhang, Y. H.  (one author)

Arnec, A., & Lavbic, D. (two authors)​

Kent State University (organization as author)

Barr, M. J. (Ed.). (1 editor)

Powell, R. R., & Westbrook, L. (Eds.). (2 editors)

here are certain things to keep in mind when writing a title according to APA style.

• Book titles are italicized and written using sentence case (only the first word of a title, subtitle, or proper noun are capitalized).
• Book chapter titles are written using sentence case and are not italicized.
• Journal titles are italicized and written using title case (all the important words are capitalized).
• Article titles are written using sentence case and are not italicized.
• Webpages and websites are italicized and written using sentence case.

Publication manual of the American Psychological Association (book title, American Psychological Association is a proper noun so it is capitalized)

Student perspective of plagiarism (book chapter title)

Internet plagiarism in higher education: Tendencies, trigging factors and reasons among teacher candidates (article title, Tendencies is the first word of a sub-title so it is capitalized)

Assessment & Evaluation in Higher Education (journal title)

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How to Write A BOOK Title In An Essay

Writing a book title in an essay can be confusing. But it is necessary for the credibility and clarity of the write-up. Plus, each writing style has its own rules for formatting titles. Hence, doing such an activity could be a real pain for the students.

Don’t worry, as you are in the right place! Since this interesting article focuses on guiding you about how to write a book title in an essay accurately. So, read it thoroughly before you search for a professional  paper writing services  provider.

Table of Contents

Understanding Formatting Guidelines

The first step in learning how to write book name in essay is to learn the basics. It means you need to get comfortable with different formatting guidelines. Let’s begin with the style guides.

Different style guides

When writing essays for college , it’s important to know the rules for formatting book titles. The three most popular style guides are MLA, APA, and Chicago.

In  MLA format , you should usually italicize book titles. You can also put them in quotation marks when a type of work demands.

For example, a book title like “To Kill a Mockingbird” would be italicized:  To Kill a Mockingbird .

However, a chapter title within a book would be placed within quotation marks. For example, “The Ewell Family.”

In  APA style , the first word of book titles is capital.

For example, a book title like “The Catcher in the Rye” would be written as The catcher in the rye

Chicago Style

Chicago style demands a book title to be in italics or quotation marks. It is very similar to the MLA style. But Chicago style gives you a bit more leeway to use italics or quotation marks. It’s best to stay consistent with what you pick throughout your essay when using the Chicago style.

Consistency within the Essay

You must be consistent when including the title of a book in an essay. Figure out what style guide you must follow and ensure you stick with it. That means all the book titles you mention should look the same.

For example, if you choose to italicize book titles according to MLA style. Ensure that all book titles in your essay are italicized consistently. Avoid mixing italicization with quotation marks or using different formatting styles within the same essay.

Inconsistency in formatting can confuse readers and undermine the professionalism of your work. Paying attention to detail and maintaining consistency will contribute to your essay’s overall clarity and readability.

Determine the Appropriate Style Guide to Follow

To determine the appropriate style guide to follow for formatting book titles in your essay, consider the following:

Assignment Requirements

See if your teacher or the instructions for the assignment mention a certain style to go by. Stick to that, if they do, to ensure everything is consistent, and you meet the expectations.

Academic Discipline

Your field of study can affect which style guide you should use. For example, humanities and literature students usually use MLA style, while social sciences usually use APA style. It’s important to know what’s typical in your discipline to choose the right guide.

Formatting Book Titles in MLA Style

Humanities and liberal arts disciplines use MLA writing rules. In MLA style, book titles are usually in italics like in APA style. But there can be variations in capitalization and punctuation. Let’s explore each aspect in detail with examples:

In MLA style, book titles are put in italics to make them stand out from the rest of the text.

Titles of shorter works, such as articles or chapters, are enclosed in quotation marks.

Example 1: Italicized Book Title

Fitzgerald, F. Scott. The Great Gatsby .

Example 2: Book Chapter (In Quotation Marks)

Smith, John. “The Art of Persuasion.” Essays on Rhetoric.

Capitalization

In MLA style, follows the title case. It means keep the first letter of each word capital. Capitalize articles, conjunctions, and prepositions only if they are the first or last words in title.

Example 3: Correct Capitalization

Lee, Harper. To Kill a Mockingbird.

Punctuation

In MLA style, there should be no special punctuation like colons or periods between the main title and any subtitles. However, if the book’s title includes a subtitle, a colon should separate it from the main title.

Example 4: Book Title with Subtitle

Gladwell, Malcolm. Outliers: The Story of Success.

Edition and Volume Numbers

To refer to a certain book edition, add the edition number after the book title. If the book is part of a multi-volume work, indicate the volume number after the title as well.

Example 5: Edition and Volume Numbers

Johnson, Mary. Chemistry in Focus. 2nd ed.

Smith, Adam. The Wealth of Nations. Vol. 1.

Translated Titles

If the book you are citing is translated from another language, include the original title and the translator’s name in the citation.

Example 6: Translated Title

Kafka, Franz. The Metamorphosis. Translated by David Wyllie.

It’s important to remember that MLA style is always changing and being updated. So always refer to the latest edition of the MLA Handbook or your institution’s writing guidelines.

Formatting Book Titles in APA Style

Usually the social sciences disciplines use APA (American Psychological Association) style. Let’s look at how you must consider capitalization, punctuation and italics in this writing style.

Just capitalize the first word of any subtitles and proper nouns.

All other words, such as articles (a, an, the), conjunctions (and, but, or), and prepositions (in, on, at), are in lowercase.

Example 1: 

“The Power of Habit: Why We Do What We Do in Life and Business”

In APA style, book titles are italicized to distinguish them from the rest of the text.

Do not italicize titles of shorter works, such as articles or chapters. Just enclose them in quotation marks.

Example 2: Italics

Here’s an example of an italicized book title:

The Catcher in the Rye

In APA style, there should be a colon (:) between the main title and any subtitle.

When citing a book title within the text of your paper, use title case and italicize it.

When including book titles in your reference list, use sentence case and italicize it.

Example 3: Punctuation

Here’s an example of proper punctuation and citation within the text and reference list:

In-text citation

According to Smith (2019),  The Theory of Everything  provides an in-depth analysis of astrophysics.

Reference list citation

Smith, J. (2019).  the theory of everything . Publisher.

Include the edition number in parentheses right after the book title when a book has a specific edition.

If a book is part of a multi-volume work, you can also indicate the volume number after the title.

Example 4: Parenthesis

Here are examples of how to format book titles with edition and volume numbers:

Edition Number

Johnson, M. (2022). Chemistry in Focus (2nd ed.).

Volume Number

Smith, A. (2021). History of the United States (Vol. 3).

Include the translator’s name in square brackets if you cite a translated book. 

Example 5: Translated Thesis 

Here’s an example of how to format a translated book title:

Kundera, M. (1984). The Unbearable Lightness of Being [Original title: Nesnesitelná lehkost bytí].

Translated by M. Henry.

Formatting Book Titles in Chicago Style

The Chicago Manual of Style is mostly used in the humanities and social sciences disciplines. Chicago style follows two systems, namely Author-Date System and the notes and bibliography system. Let’s explore both of them.

Author-Date System

In the author-date system, you include:

• In-text citations with the author’s last name
• The publication year
• A corresponding entry in the reference list

Italicization

In the author-date system, book titles are italicized. It makes them Distinguish from other elements in the citation.

Chicago style uses a title case for book titles in the author-date system. It means the first letter of the title, subtitles, and any major words are capitalized.

There should be a period at the end of the full book citation in the reference list.

Example 1: In-Text Citation

Example 2: Reference List Citation

Smith, John. 2019.  The Theory of Everything . Publisher.

Notes and Bibliography System

You use footnotes or endnotes in the notes and bibliography system for in-text citations and a bibliography for the full list of references.

Similar to the author-date system, book titles are italicized in the notes and bibliography system.

In the notes and bibliography system, the Chicago style uses headline-style capitalization for book titles. It means that the first letter of the first and last words of the title are capitalized.

Put a period at the end of each full bibliographic entry in the notes and bibliography system.

Example 3: Footnote/Endnote Citation

John Smith,  The Theory of Everything  (Publisher, 2019), 25.

Example 4: Bibliography Citation

Smith, John.  The Theory of Everything . Publisher, 2019.

You may include the edition number after the title, and for multi-volume works, the volume number after the title.

Example 5: Edition Number

Johnson, Mary.  Chemistry in Focus . 2nd ed.

Example 6: Volume Number

Smith, Adam.  The Wealth of Nations . Vol. 1.

For translated works, include the original title and the translator’s name in the citation.

Example 7: Translated Title

Kafka, Franz.  The Metamorphosis . Translated by David Wyllie.

Citation of Book Titles in Other Situations

Let’s highlight some unusual circumstances of including a title of book in essay. Starting with:

Book titles within quotations

If you’re citing a direct quote from a book in your essay, you may need to put the book title in quotes. Generally, you should use double quotation marks for this.

For example:

According to Mark Twain, “The secret of getting ahead is getting started.”

In the novel 1984, George Orwell explores the theme of government surveillance through the famous line, “Big Brother is watching you.”

By using double quotation marks, you indicate that the words within the quotation marks are taken directly from the book.

Book Titles in Footnotes or Endnotes

In academic writing, footnotes or endnotes can be added to give extra info or credits. When including book titles, how you format them depends on the citation style you’re using.

In Chicago Style, book titles in footnotes or endnotes should usually be italicized or in quotation marks.

For Example:

Jane Austen,  Pride and Prejudice  (New York: Penguin Classics, 2002), 45.

Harper Lee,  To Kill a Mockingbird , (New York: Harper Perennial, 2006), 77.

Handling Foreign language book titles

Follow these rules for citing a book in a foreign language. You should keep the original language title, especially if it’s a popular work.

Italicize the foreign language book title following the same guidelines as you would for an English book title. Include a translation in parentheses if necessary.

Use the original foreign language title in sentence case without italics or quotation marks. Include a translation in brackets if needed.

Italicize or use quotation marks for foreign language book titles, following the same guidelines as you would for an English book title. Include a translation if required.

Special Cases

In certain situations, you might need to format book titles differently. Like if you’re talking about a poem or play. These types of works have their own rules for formatting titles. Let’s get to know them briefly. 

Typically, you’d put poem titles in quotation marks and longer pieces of poetry, like epics, in italics. It’s worth checking the style guide you’re using, though, since the rules can vary.

You’ll usually see the title written in italics when it comes to plays. The names of characters or speakers within the play are usually written with a mix of upper- and lowercase letters, without quotation marks.

Best Practices for Including Book Titles in Essays

Double-check formatting guidelines.

It’s super important to double-check the formatting rules for book titles when writing an essay since each style guide has its own rules. You need to make sure you’re following them properly.

Proofreading for Accuracy and Consistency

Look out for mistakes in how you’ve done the capitals, italics, and quotes. Double-check any extra rules that might apply to foreign language books, poems, plays, and other special cases.

Seek Assistance from Style Guides or Writing Resources

It’s a good idea to get help from style guides or writing tools when you are stuck with citations. You can also buy cheap essay from a well-reputed writing services provider.

It’s super important to get book titles in essays right. Not just for clarity but also to show you’re a pro. Ensure that you stick to the accurate style guide. It could be MLA, APA, or Chicago. Plus, there are special rules for poems and more.

Furthermore, if you need a professional to help you out with citations, do count on the expertise of  our writers . They are always available to get you out of your troubles of how to write book titles in essays.

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How do i format book titles in mla style, should i italicize or use quotation marks for book titles in apa style.

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How To Write Book Titles The Proper Way: A Complete Guide For Writers

• February 10, 2022

Book titles within essays or papers can be tricky. There are specific rules that are given for how to include a book title in a way that sets it apart from the content of your writing given by the Modern Language Association. However, as with many other things in life, there are exceptions to the rules. This article will guide you through the rules of the writing style guides so that you can include a book’s title in your paper or essay correctly.

How to write book titles:

Style guides and book titles.

When it comes to book titles within text, there are a few different style guides that have rules you can follow, depending on your writing type. The three types that you will encounter most often are; MLA style, Chicago manual of style, and APA. A writing instructor will usually tell you what style guide you are expected to use for a particular essay or paper.

MLA Style Guide

The MLA handbook states that you should always italicize book titles when styling book titles within your text. The exception to this rule are religious texts. You would not italicize the Holy Bible or the sacred books or titles of other religions. Note the following example.

Pam had stayed most of the summer indoors, re-reading her favorite book series. She was already up to  Harry Potter and the Philosopher’s Stone , and she didn’t regret not being more active or going outside.

In the above example, the book title is italicized. Fiction titles and nonfiction titles alike must be in italics when within the text.

Series Titles in MLA

In the above example, a book from a series was used. But what if the text had not specified which book from the series Pam was reading? Would it still need to be in italics? The answer is: in this case, yes. In other cases, sometimes.

It’s really not as confusing as it seems. When you are talking about a book series but don’t want or need to include the complete series titles for the purposes of your work, you only have to put words in italics that also appear in the book titles. So, because  Harry Potter  is part of the title of all of the books in the series, you would italicize his name every time you mention the book.

However, if you were talking about Katniss Everdeen, you would not have to do this, as the book series she is featured in doesn’t use her name in the titles of  The Hunger Games  series. The same would be true of books like the Nancy Drew books.

Quotation Marks

There are instances in which titles should be placed inside of quotation marks within a paper or essay. This is done when you cite the titles of poems , a chapter title, short stories, articles, or blogs.

So, for example, if you were to write a paper that featured a poem from a book, you would put the book title in italics and the poems cited in quotation marks.

An example of an enduring love poem is “Annabel Lee” from  The Complete Tales and Poems of Edgar Allan Poe. 

Chapter Title

Another time that quotation marks should be used is when using the title of a chapter. If you are citing a specific chapter of a book, you would enclose the title of the chapter in quotation marks, and the title of the book should be in italics.

The desperation and sadness of a man on death row can be seen in the “Wild Wind Blowing” chapter of Norman Mailer’s  The Executioner’s Song. 

Short Stories

Short stories are another case. Much like the title of a chapter or poem, in which the title is placed in quotation marks, while the title of the book or collection it is found in is italics. The same can be said for sections, stories, or chapters cited within a literary journal.

Stepping away from his norm of horror and gore, Stephen King writes of trust, love, and regret in his story “The Last Rung on the Ladder,” which can be found in his short story collection  Night Shift. 

Punctuation Marks

If you are citing a story or title that includes question marks, you need to make sure to italicize the question mark when citing. Keep all punctuation, such as a question mark, comma, ellipses, colon, or exclamation mark, as it is in the original individual books.

If you want a funny and irreverent read, you’ve got to try  Are You There, Vodka? It’s Me, Chelsea.  Chelsea Handler has done a phenomenal job of being vulgar, relatable, and explaining life from her viewpoint in this hilarious and memorable book.

The Digital Age: Are Book Titles Underlined Anymore?

MLA style used to dictate that a book title should either be in italics or underlined. However, that is no longer the case. As computers started to take over as the major tool used in writing, it became unpopular to underline book titles. Therefore, this rule was dropped from the style guides.

However, it should be mentioned that when handwriting an essay or research paper, many instructors prefer that you underline book titles, as it’s relatively difficult to handwrite italics. If you are in a writing course or a class that is heavy on handwritten work, be sure to ask your instructor or teacher which method they prefer for citing a book title.

How to Come Up with Book Title Ideas

Now that quotation marks, italics, and style guides have been discussed, let’s move on to how you can come up with your own book title. If you’d like a title for your book that sounds interesting and will get a reader’s attention, you may find this article helpful.

Coming up with a good title for your book is a challenging yet essential marketing decision . The right title can make your target audience choose your new book off of the shelf instead of another writer’s work. Your book cover and your book title are quite possibly the most important marketing decisions you will make.

How to Choose a Good Book Title

Certain criteria should be met if you want to have a good book title , and there are specific steps involved in getting there. You may have assumed up until now that titles of books were just spur of the moment decisions made by authors or publishers, but a lot of work goes into writing good titles.

Grab the Reader’s Attention

As a general rule, you want your reader to remember your title and to sound interesting, even without the reader having seen the cover. There are several ways to do this. You can be a little dark with your title, be controversial, provoke the reader, or even be funny.

There are many examples of such works that use memorable and attention-seeking titles. The following are some different titles that are effective and would most likely provoke a reader to grab them from a shelf for closer inspection.

• Burn After Writing (Sharon Jones)
• Love in the Time of Cholera (Gabriel Garcia Marquez)
• Is Everyone Hanging Out Without Me? (Mindy Kaling)
• Are You There, Vodka? It’s Me, Chelsea (Chelsea Handler)
• The Devil Wears Prada (Lauren Weisberger)
• Chicken Soup for the Soul (various authors)
• God Bless You, Dr. Kevorkian (Kurt Vonnegut)

Shorter Titles

If your full title for your book is long, you may end up boring a reader or creating a situation where a reader tries to remember the title of your book, but it’s too long and ends up getting it confused with another book. Although you should always do your best to make sure that there aren’t books by other authors that share a title or have a title similar to your book (more on that in a minute), you don’t want a person to get confused and get the wrong book instead.

Research Your Title Ideas

It’s a good idea to take the titles you have considered for your book and make a list. Then, do your homework. You can use tools like Google Adwords to test out your title to see if there are others like it, or you can simply use any search engine and plug your title ideas into the search bar and see what similar or exact titles of the same words pop up.

Readers are generally busy people. They don’t have the time or the energy to ensure that writers get a title right. They’ll look for the book they are interested in, and if it proves to be too difficult, or if there are other books written that have the same title, they’ll move on to something else.

A writer really has to make sure that they have a title that isn’t going to be ignored, is interesting, isn’t too long, and isn’t too similar to other works.

The same goes for titles of short works within a larger body of work. Short works, like poems or stories, need to have unique titles as well when included in a larger body of work, such as a collection. If stories are similar in nature, be sure to title them differently so that readers will be able to tell them apart, as well.

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Book Reviews

What this handout is about.

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

What is a review?

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

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

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

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

Becoming an expert reviewer: three short examples

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

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

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

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

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

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

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

Here is one final review of the same book:

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

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

Developing an assessment: before you write

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

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

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

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

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

Writing the review

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

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

Introduction

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

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

Summary of content

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

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

Analysis and evaluation of the book

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

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

Finally, a few general considerations:

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

Works consulted

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

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

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

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

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

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

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How to Write a Book Title and Author in an Essay?

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So, you’re writing an essay, and you’re referencing a book. But how on earth do you write and cite the title and the author’s name correctly?

Do you use quotation marks? Italics? Punctuation? And what about capitalization?

The answer is a little more complicated than you might think. It all depends on the style of essay you’re writing, but once you’ve familiarized yourself with the rules for each one, it’s easy to mention and cite any book title and author’s name correctly, so you can get top marks from your instructor, each and every time.

Table of Contents

The Correct Way to Write a Book’s Title And Author in an Essay

In this post, we’ll look at the three most common essay formats used in the US and learn how to properly display book titles and author names in each one.

The Most Popular Essay Formats

The three most commonly used essay formats found in schools, universities, and higher education institutions across America are known as APA, MLA, and Chicago style.

The format your professor assigns will depend on the subject matter, the department, the purpose of the essay, and the instructor’s individual preferences.

APA stands for the American Psychological Association. This is the go-to format for scientific essays, including many social and behavioural sciences.

MLA stands for Modern Language Association and is the most frequently used format in humanities and liberal arts subjects, such as literature and history.

Chicago format, also known as Turabian after its creator, Kate L. Turabian, is commonly used in the publishing world and also in subjects such as anthropology, history, and selected social sciences.

Why is Using The Correct Format so Important?

The short answer is that you’ll receive a lower grade if you don’t.

But of course, there are many good reasons why proper formatting is important when writing papers and essays.

1. Consistency

Formats like APA, MLA, and Chicago provide a strict set of criteria to stick to throughout an essay, ensuring consistency.

Consistency avoids confusion for the reader and helps them to quickly and easily identify what the writer is trying to say.

2. References And Research

Sticking with one style or format makes it easier for readers to check citations and conduct further research into the chosen topic.

3. Demonstrating Understanding

In academic settings, adhering to a particular style guide, such as APA, MLA, or Chicago, demonstrates your understanding of the rules and principles of written material within that field.

This shows that you don’t just understand the subject; you also know how to write about it.

4. Preparation For Future Studies

Suppose you’re a high school student or a college undergrad, familiarizing yourself with the basic principles of essay formatting. In that case, it is a great way to prepare yourself for your future academic pursuits, especially if you plan to progress onto a graduate or postgraduate program.

How to Write a Book’s Title in The Main Body of an APA Style Essay?

Here are the key rules to remember when writing book titles in the main body of an APA-style essay:

• Use quotation marks (not italics) on either side of the book’s title (with the exception of the holy texts like the Bible and reference works like dictionaries and almanacs).
• The first word of the title should be capitalized.
• All words and terms containing more than four letters or symbols should be capitalized.
• Any two-part words containing a hyphen should be capitalized.
• Words placed directly after a colon or dash should also be capitalized.

For example, “Slaughterhouse-Five”

How to Write a Book’s Title in The Main Body of an MLA or Chicago Style Essay?

MLA and Chicago-style essays use similar rules when it comes to mentioning book titles in the main body of an essay. Here are the key things to remember when using either of these formats:

• The book’s title should be displayed in italics (not quotation marks), with the exception of holy texts like the Bible.
• If the title contains punctuation, this should be italicized, too.
• All verbs, nouns, and adjectives should be capitalized.
• If you’re referring to a chapter or mentioning a book alongside the series it belongs to, use quotation marks, not italics.

For example,

O ne Flew Over the Cuckoo’s Nest by Ken Kesey, or “A Clash of Kings” from A Song of Ice and Fire by George R.R. Martin

1. Avoid Capitalizing Minor Words

Unless they appear as the first word in a title, the following words should be displayed in lowercase.

• Prepositions , such as on, in, at, and from.
• Articles , such as the, a, and an.
• Coordinating conjunctions , such as so, and, yet, but, and for.

This might sound a little complex at first, but it’s pretty simple and intuitive once you get the hang of it.

99% of the time, the book’s title as it is displayed on the front cover is correct for both MLA and Chicago-style essays.

How to Write a Book’s Title in The Main Body of a Handwritten Essay?

Handwritten essays used to be the norm, but these days, they’re most definitely the exception.

Still, there may be some instances where you’re asked to handwrite an essay rather than type it, in which case, you should follow the rules below.

1. Capitalization

The capitalization rules for writing book titles in the main body of a handwritten essay are the same as with typed essays.

So, if you’re handwriting an APA-style essay, make sure to capitalize the first letter of the first word in the title and do the same for every word containing more than four letters.

And when handwriting an MLA or Chicago-style essay, capitalize the first letter of the first word of the title and do the same for every word except for articles, prepositions, or coordinating conjunctions.

2. Underlining

No matter the format, book titles should always be underlined when handwriting an essay

• Underline the complete title, including any words that come after a colon or dash
• Underline any punctuation that appears in the book’s title
• Avoid underlining each word separately; always use one continuous line
• Make your line as straight as possible by using a ruler or following the line on the paper

How to Cite a Book And its Author in a References or Works Cited Page?

So, now you know how to write the title of a book mentioned in the body of an essay.

But what do you do when you need to cite a book and its author in your references or works cited page?

To keep it simple, I’ll use Lucy Maud Montgomery’s 1908 classic children’s novel , Anne of Green Gables, as an example for each essay style.

1. Book Citations in APA Style

Here’s the proper format for citing authors and their book titles in APA:

Last Name, First Names. (Year the book was published). Book title .

For example, Montgomery, Lucy Maud. (1908). Anne of Green Gables.

2. Book Citations in MLA Style

Here’s the proper format for citing authors and their book titles in MLA:

Last Name, First Names. Book title . City of Publication, Publisher, Year the book was published.

Note: You only need to include the city of publication if the book was published before 1900 or if the publisher is not based in the US.

For example, Montgomery, Lucy Maud. Anne of Green Gables. L.C. Page & Co., 1908.

3. Book Citations in Chicago Style

Here’s the proper format for citing authors and their book titles in Chicago style:

Last Name, First Names. Book Title: Subtitle . City of publication: Publisher, Year the book was published.

Note: Just like with MLA style, you only need to include the city of publication if the book was published before 1900 or if the publisher is not based in the US.

For example, Montgomery, Lucy Maud. Anne of Green Gables . L.C. Page & Co., 1908.

4. Book Citations in a Hand Written Essay

If you’re handwriting an essay, you’ll no doubt be handwriting your references or works cited page, too.

In this case, you should still follow the appropriate formatting rules above in relation to the chosen essay style.

But where a title appears in italics in a printed essay, in a handwritten essay, it should be neatly underlined instead.

Missing Information

If you’ve searched high and low for a book’s publisher, publication date, or the city in which it was published, but you still can’t find the information, it’s generally acceptable to leave it out.

Essay writing is a skill that takes practice, and at first, the rules and principles of the different formats can seem complex. This is especially true when you’re writing about books and their authors or citing other people’s work.

But hopefully, this post has helped explain the structures used in each of the most commonly used formats so that next time you write an essay, you can be confident that you’re doing it right.

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Answered By: Gabe Gossett Last Updated: Jun 22, 2023     Views: 633103

The basic format for an in-text citation is: Title of the Book (Author Last Name, year).

One author: Where the Wild Things Are (Sendak, 1963) is a depiction of a child coping with his anger towards his mom.

Two authors (cite both names every time): Brabant and Mooney (1986) have used the comic strip to examine evidence of sex role stereotyping. OR The comic strip has been used to examine evidence of sex role stereotyping (Brabant & Mooney, 1986).

Three or more authors (cite the first author plus et al.): Tales from the Shadowhunter Academy (Clare et al., 2016) depicts a young man's experience at the Shadowhunter Academy, a place where being a former vampire is looked down upon.OR Clare et al. (2016) have crafted a unique story about a young man's journey to find himself.

No author: Cite the first few words of the reference entry (usually the title) and the year. Use double quotation marks around the title of an article or chapter, and italicize the title of a periodical, book, brochure, or report. Examples: From the book Study Guide (2000) ... or ("Reading," 1999).

Note: Titles of periodicals, books, brochures, or reports should be in italics and use normal title capitalization rules.

If you are citing multiple sources by multiple authors in-text, you can list all of them by the author's last name and year of publication within the same set of parentheses, separated by semicolons.

Example: (Adams, 1999; Jones & James, 2000; Miller, 1999)

For more information on how to cite books in-text and as a reference entry, see the APA Publication Manual (7th edition) Section 10.2 on pages 321-325 .

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Comments (13)

• This was very useful for me! I was having a really hard time finding information on how to mention an article title AND the author in text in APA so this was very helpful!!! by Ryan Waddell on Jun 27, 2019
• If I just mention that I used a book to teach a topic do I have to include it in the reference list? by Franw on Oct 17, 2019
• @Franw, if it is a source that informs your paper in any way, or if your reader would have reason to look it up, then you should include a full reference list entry for the book. by Gabe [Research & Writing Studio] on Oct 18, 2019
• Maybe I'm misunderstanding the question, but I think the OP is asking how to refer to a book title, not how to cite one. I believe APA uses quotation marks around book titles and MLA uses italics. by AB on Dec 12, 2019
• @AB: The first sentence has been tweaked to clarify title of book usage, reflecting the examples given. For APA style you should use italics for book titles. It would be quotation marks. by Gabe [Research & Writing Studio] on Dec 12, 2019
• Hi, can any one help me with in-text-citation of this, how can i cite it in the text Panel, I. L. (2002). Digital transformation: A framework for ICT literacy. Educational Testing Service, 1-53. by Milad on Aug 20, 2021
• @Milad: In that case it would be (Panel, 2002). If you are quoting, or otherwise choosing to include page numbers, put a comma after the year, then p. and the page number(s). by Gabe Gossett on Aug 20, 2021
• Hey, I'm a little bit curious, what if I'm mentioning a book and paraphrasing it but still want to give credit. Would I put the information into parenthesis instead? Like: Paraphrased info. ("Title in Italics" Author, year) by Kai on Sep 14, 2023
• @Kai: Apologies for not seeing your question sooner! (Our academic year has not started yet). If I am understanding your question correctly, what I suggest is referring to the book title in the narrative of your writing, rather than in the in-text citation. I do not see an examples of using a book title in an in-text citation except for rare circumstances including citing a classic religious text or using the title when there is no author information because it is the start of your reference list entry. Basically, APA's in-text convention is supposed to make it easy for your reader to locate the source being cited in the reference list. So the first part of the in-text citation, usually authors, comes first to locate it alphabetically. Putting the book title first when you have an author name can throw that off. by Gabe Gossett on Sep 21, 2023
• Perhaps this is along the lines of the response to Kai - Can you reference a book title as a common point of social understanding to demonstrate a common concept? Is official citing required if you use widely known titles such as "Where's Waldo" and "Who Moved My Cheese?" to make a point of illustration? by Chez Renee on Sep 30, 2023
• @Chez: Aside from some classical religious texts, if it is a published book, I'd try to make sure that it is appropriately cited for APA style. That said, I think I understand where it gets tricky with things like Where's Waldo, since that is a series of books and stating "Where's Waldo" is a cultural reference many people would understand, though you can't reasonably cite the entire series. I don't believe that APA gives guidance for this particular issue. If it is being referred to in order to back up a claim, it would help to cite a particular book. If not, then it might work to use a statement such as, "Hanford's Where's Waldo series . . ." by Gabe Gossett on Oct 02, 2023
• How to cite a dissertation thesis in apa form? by Elizabeth on Feb 05, 2024
• @Elizabeth: For citing a dissertation or thesis you can check out our page answering that here https://askus.library.wwu.edu/faq/153308 by Gabe Gossett on Feb 05, 2024

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MLA Works Cited Page: Books

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Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

When you are gathering book sources, be sure to make note of the following bibliographic items: the author name(s), other contributors such as translators or editors, the book’s title, editions of the book, the publication date, the publisher, and the pagination.

The 8 th  edition of the MLA handbook highlights principles over prescriptive practices. Essentially, a writer will need to take note of primary elements in every source, such as author, title, etc. and then assort them in a general format. Thus, by using this methodology, a writer will be able to cite any source regardless of whether it’s included in this list.

Please note these changes in the new edition:

• Commas are used instead of periods between Publisher, Publication Date, and Pagination.
• Medium is no longer necessary.
• Containers are now a part of the MLA process. Commas should be used after container titles.
• DOIs should be used instead of URLS when available.
• Use the term “Accessed” instead of listing the date or the abbreviation, “n.d."

Below is the general format for any citation:

Author. Title. Title of container (do not list container for standalone books, e.g. novels), Other contributors (translators or editors), Version (edition), Number (vol. and/or no.), Publisher, Publication Date, Location (pages, paragraphs URL or DOI). 2 nd  container’s title, Other contributors, Version, Number, Publisher, Publication date, Location, Date of Access (if applicable).

Basic Book Format

The author’s name or a book with a single author's name appears in last name, first name format. The basic form for a book citation is:

Last Name, First Name. Title of Book . City of Publication, Publisher, Publication Date.

* Note: the City of Publication should only be used if the book was published before 1900, if the publisher has offices in more than one country, or if the publisher is unknown in North America.

Book with One Author

Gleick, James. Chaos: Making a New Science . Penguin, 1987.

Henley, Patricia. The Hummingbird House . MacMurray, 1999.

Book with More Than One Author

When a book has two authors, order the authors in the same way they are presented in the book. Start by listing the first name that appears on the book in last name, first name format; subsequent author names appear in normal order (first name last name format).

Gillespie, Paula, and Neal Lerner. The Allyn and Bacon Guide to Peer Tutoring . Allyn and Bacon, 2000.

If there are three or more authors, list only the first author followed by the phrase et al. (Latin for "and others") in place of the subsequent authors' names. (Note that there is a period after “al” in “et al.” Also note that there is never a period after the “et” in “et al.”).

Wysocki, Anne Frances, et al. Writing New Media: Theory and Applications for Expanding the Teaching of Composition . Utah State UP, 2004.

Two or More Books by the Same Author

List works alphabetically by title. (Remember to ignore articles like A, An, and The.) Provide the author’s name in last name, first name format for the first entry only. For each subsequent entry by the same author, use three hyphens and a period.

Palmer, William J. Dickens and New Historicism . St. Martin's, 1997.

---. The Films of the Eighties: A Social History . Southern Illinois UP, 1993.

Book by a Corporate Author or Organization

A corporate author may include a commission, a committee, a government agency, or a group that does not identify individual members on the title page.

List the names of corporate authors in the place where an author’s name typically appears at the beginning of the entry.

American Allergy Association. Allergies in Children . Random House, 1998.

When the author and publisher are the same, skip the author, and list the title first. Then, list the corporate author only as the publisher.

Fair Housing—Fair Lending. Aspen Law & Business, 1985.

Book with No Author

List by title of the book. Incorporate these entries alphabetically just as you would with works that include an author name. For example, the following entry might appear between entries of works written by Dean, Shaun and Forsythe, Jonathan.

Encyclopedia of Indiana . Somerset, 1993.

Remember that for an in-text (parenthetical) citation of a book with no author, you should provide the name of the work in the signal phrase and the page number in parentheses. You may also use a shortened version of the title of the book accompanied by the page number. For more information see the In-text Citations for Print Sources with No Known Author section of In-text Citations: The Basics .

A Translated Book

If you want to emphasize the work rather than the translator, cite as you would any other book. Add “translated by” and follow with the name(s) of the translator(s).

Foucault, Michel. Madness and Civilization: A History of Insanity in the Age of Reason . Translated by Richard Howard, Vintage-Random House, 1988.

If you want to focus on the translation, list the translator as the author. In place of the author’s name, the translator’s name appears. His or her name is followed by the label, “translator.” If the author of the book does not appear in the title of the book, include the name, with a “By” after the title of the book and before the publisher. Note that this type of citation is less common and should only be used for papers or writing in which translation plays a central role.

Howard, Richard, translator. Madness and Civilization: A History of Insanity in the Age of Reason . By Michel Foucault, Vintage-Random House, 1988.

Republished Book

Books may be republished due to popularity without becoming a new edition. New editions are typically revisions of the original work. For books that originally appeared at an earlier date and that have been republished at a later one, insert the original publication date before the publication information.

For books that are new editions (i.e. different from the first or other editions of the book), see An Edition of a Book below.

Butler, Judith. Gender Trouble . 1990. Routledge, 1999.

Erdrich, Louise. Love Medicine . 1984. Perennial-Harper, 1993.

An Edition of a Book

There are two types of editions in book publishing: a book that has been published more than once in different editions and a book that is prepared by someone other than the author (typically an editor).

A Subsequent Edition

Cite the book as you normally would, but add the number of the edition after the title.

Crowley, Sharon, and Debra Hawhee. Ancient Rhetorics for Contemporary Students . 3rd ed., Pearson, 2004.

A Work Prepared by an Editor

Cite the book as you normally would, but add the editor after the title with the label "edited by."

Bronte, Charlotte. Jane Eyre,  edited by Margaret Smith, Oxford UP, 1998.

Note that the format for citing sources with important contributors with editor-like roles follows the same basic template:

...adapted by John Doe...

Finally, in the event that the source features a contributor that cannot be described with a past-tense verb and the word "by" (e.g., "edited by"), you may instead use a noun followed by a comma, like so:

...guest editor, Jane Smith...

Anthology or Collection (e.g. Collection of Essays)

To cite the entire anthology or collection, list by editor(s) followed by a comma and "editor" or, for multiple editors, "editors." This sort of entry is somewhat rare. If you are citing a particular piece within an anthology or collection (more common), see A Work in an Anthology, Reference, or Collection below.

Hill, Charles A., and Marguerite Helmers, editors. Defining Visual Rhetorics . Lawrence Erlbaum Associates, 2004.

Peterson, Nancy J., editor. Toni Morrison: Critical and Theoretical Approaches . Johns Hopkins UP, 1997.

A Work in an Anthology, Reference, or Collection

Works may include an essay in an edited collection or anthology, or a chapter of a book. The basic form is for this sort of citation is as follows:

Last name, First name. "Title of Essay." Title of Collection , edited by Editor's Name(s), Publisher, Year, Page range of entry.

Some examples:

Harris, Muriel. "Talk to Me: Engaging Reluctant Writers." A Tutor's Guide: Helping Writers One to One , edited by Ben Rafoth, Heinemann, 2000, pp. 24-34.

Swanson, Gunnar. "Graphic Design Education as a Liberal Art: Design and Knowledge in the University and The 'Real World.'" The Education of a Graphic Designer , edited by Steven Heller, Allworth Press, 1998, pp. 13-24.

Note on Cross-referencing Several Items from One Anthology: If you cite more than one essay from the same edited collection, MLA indicates you may cross-reference within your works cited list in order to avoid writing out the publishing information for each separate essay. You should consider this option if you have several references from a single text. To do so, include a separate entry for the entire collection listed by the editor's name as below:

Rose, Shirley K, and Irwin Weiser, editors. The Writing Program Administrator as Researcher . Heinemann, 1999.

Then, for each individual essay from the collection, list the author's name in last name, first name format, the title of the essay, the editor's last name, and the page range:

L'Eplattenier, Barbara. "Finding Ourselves in the Past: An Argument for Historical Work on WPAs." Rose and Weiser, pp. 131-40.

Peeples, Tim. "'Seeing' the WPA With/Through Postmodern Mapping." Rose and Weiser, pp. 153-67.

Please note: When cross-referencing items in the works cited list, alphabetical order should be maintained for the entire list.

Poem or Short Story Examples :

Burns, Robert. "Red, Red Rose." 100 Best-Loved Poems, edited by Philip Smith, Dover, 1995, p. 26.

Kincaid, Jamaica. "Girl." The Vintage Book of Contemporary American Short Stories , edited by Tobias Wolff, Vintage, 1994, pp. 306-07.

If the specific literary work is part of the author's own collection (all of the works have the same author), then there will be no editor to reference:

Whitman, Walt. "I Sing the Body Electric." Selected Poems, Dover, 1991, pp. 12-19.

Carter, Angela. "The Tiger's Bride." Burning Your Boats: The Collected Stories, Penguin, 1995, pp. 154-69.

Article in a Reference Book (e.g. Encyclopedias, Dictionaries)

For entries in encyclopedias, dictionaries, and other reference works, cite the entry name as you would any other work in a collection but do not include the publisher information. Also, if the reference book is organized alphabetically, as most are, do not list the volume or the page number of the article or item.

"Ideology." The American Heritage Dictionary.  3rd ed. 1997. 

A Multivolume Work

When citing only one volume of a multivolume work, include the volume number after the work's title, or after the work's editor or translator.

Quintilian. Institutio Oratoria . Translated by H. E. Butler, vol. 2, Loeb-Harvard UP, 1980.

When citing more than one volume of a multivolume work, cite the total number of volumes in the work. Also, be sure in your in-text citation to provide both the volume number and page number(s) ( see "Citing Multivolume Works" on our in-text citations resource .)

Quintilian. Institutio Oratoria . Translated by H. E. Butler, Loeb-Harvard UP, 1980. 4 vols.

If the volume you are using has its own title, cite the book without referring to the other volumes as if it were an independent publication.

Churchill, Winston S. The Age of Revolution . Dodd, 1957.

An Introduction, Preface, Foreword, or Afterword

When citing an introduction, a preface, a foreword, or an afterword, write the name of the author(s) of the piece you are citing. Then give the name of the part being cited, which should not be italicized or enclosed in quotation marks; in italics, provide the name of the work and the name of the author of the introduction/preface/foreword/afterword. Finish the citation with the details of publication and page range.

Farrell, Thomas B. Introduction. Norms of Rhetorical Culture , by Farrell, Yale UP, 1993, pp. 1-13.

If the writer of the piece is different from the author of the complete work , then write the full name of the principal work's author after the word "By." For example, if you were to cite Hugh Dalziel Duncan’s introduction of Kenneth Burke’s book Permanence and Change, you would write the entry as follows:

Duncan, Hugh Dalziel. Introduction. Permanence and Change: An Anatomy of Purpose, by Kenneth Burke, 1935, 3rd ed., U of California P, 1984, pp. xiii-xliv.

Book Published Before 1900

Original copies of books published before 1900 are usually defined by their place of publication rather than the publisher. Unless you are using a newer edition, cite the city of publication where you would normally cite the publisher.

Thoreau, Henry David. Excursions . Boston, 1863.

Italicize “The Bible” and follow it with the version you are using. Remember that your in-text (parenthetical citation) should include the name of the specific edition of the Bible, followed by an abbreviation of the book, the chapter and verse(s). (See Citing the Bible at In-Text Citations: The Basics .)

The Bible. Authorized King James Version , Oxford UP, 1998.

The Bible. The New Oxford Annotated Version , 3rd ed., Oxford UP, 2001.

The New Jerusalem Bible. Edited by Susan Jones, Doubleday, 1985.

A Government Publication

Cite the author of the publication if the author is identified. Otherwise, start with the name of the national government, followed by the agency (including any subdivisions or agencies) that serves as the organizational author. For congressional documents, be sure to include the number of the Congress and the session when the hearing was held or resolution passed as well as the report number. US government documents are typically published by the Government Printing Office.

United States, Congress, Senate, Committee on Energy and Natural Resources. Hearing on the Geopolitics of Oil . Government Printing Office, 2007. 110th Congress, 1st session, Senate Report 111-8.

United States, Government Accountability Office. Climate Change: EPA and DOE Should Do More to Encourage Progress Under Two Voluntary Programs . Government Printing Office, 2006.

Cite the title and publication information for the pamphlet just as you would a book without an author. Pamphlets and promotional materials commonly feature corporate authors (commissions, committees, or other groups that does not provide individual group member names). If the pamphlet you are citing has no author, cite as directed below. If your pamphlet has an author or a corporate author, put the name of the author (last name, first name format) or corporate author in the place where the author name typically appears at the beginning of the entry. (See also Books by a Corporate Author or Organization above.)

Women's Health: Problems of the Digestive System . American College of Obstetricians and Gynecologists, 2006.

Your Rights Under California Welfare Programs . California Department of Social Services, 2007.

Dissertations and Master's Theses

Dissertations and master's theses may be used as sources whether published or not. Unlike previous editions, MLA 8 specifies no difference in style for published/unpublished works.

The main elements of a dissertation citation are the same as those for a book: author name(s), title (italicized) , and publication date. Conclude with an indication of the document type (e.g., "PhD dissertation"). The degree-granting institution may be included before the document type (though this is not required). If the dissertation was accessed through an online repository, include it as the second container after all the other elements.

Bishop, Karen Lynn. Documenting Institutional Identity: Strategic Writing in the IUPUI Comprehensive Campaign . 2002. Purdue University, PhD dissertation.

Bile, Jeffrey. Ecology, Feminism, and a Revised Critical Rhetoric: Toward a Dialectical Partnership . 2005. Ohio University, PhD dissertation.

Mitchell, Mark. The Impact of Product Quality Reducing Events on the Value of Brand-Name Capital: Evidence from Airline Crashes and the 1982 Tylenol Poisonings.  1987. PhD dissertation.  ProQuest Dissertations and Theses.

List the names of corporate authors in the place where an author’s name typically appears at the beginning of the entry if the author and publisher are not the same.

Fair Housing—Fair Lending. Aspen Law & Business, 1985.

Why I Kept My Kinks a Secret

F or the past decade, while I worked on a novel, I clung to a lie. On most days, I recited this lie, out loud, as if praying, hoping to relax the panic that held me in its grip for much of that time, and still hasn’t let me go. It kept me writing, the lie, though it’s about to fall apart. I’ll let no one read this book, I told myself. It’s still what I’m saying. I’m writing this just days before the novel will publish. I think of that fact, which is inexorable, and panic’s harsh grip closes tight again.

I’ve spoken with friends and, at times, in public about this novel-incited panic. If asked what I’m afraid of, I’ve offered multiple explanations, all of which are true, fine, but partial. For one thing, Exhibit explores plural kinds of desire, including physical longing, much of it queer; having grown up Korean, Catholic, and evangelical, I can’t quite escape the triple helping of lust-prohibiting shame and guilt I’ve known since I was a child. I’ve left religion, but the old edicts have proved hard to forget. In addition, the book is peopled with fictional artists, most of them women, aiming high with their work: they’re fired by large ambitions. So am I. It can feel as though, just by divulging this, I’m inviting peril. (Isn’t the phrase “ambitious woman” code for “unlikable woman,” a friend once said; I asked if it was even a code.) Plus, one woman in Exhibit isn’t being faithful to her loving husband; a couple of the artists refuse to be parents. It’s as if I made a list of boxes a person might tick to explain why a woman ought to be disliked, perhaps despised, and then, writing this novel, I filled in each box.

I’m stalling again, though, as I have my whole life, finding it all but physically impossible to put words to it , a longing I depict in the pages most adept at provoking bona fide panic. In truth, the principal origin of my anxiety, the thing that can trap me inside hours-long fits of gasping, crying, and the false if no less potent belief I might be dying, has to do with a word I haven’t yet said here: kink.

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This isn’t my first time writing or talking about kink—in 2021, my friend Garth Greenwell and I co-edited and published a bestselling short-fiction anthology titled, well, Kink . To support that book’s publication, I also wrote essays refuting prevalent, harmful beliefs about kink, fallacies about it being abusive, malign to women, an illness requiring a cure; I spoke about kink for print, audio, the internet, and during panels and readings.

But in that deluge of words, I didn’t let slip a thing about my own proclivities. I kept the language general, usually plural: I referred to some people, many people, to groups, subcultures, communities. If I felt obliged to be specific, I alluded to what one might want. I turned fluent in talking about kink while eliding the personal; at least a few readers caviled that, as far as they could tell, I’d thought up and co-edited an anthology that spotlit kink despite having no interest in it apart from the fictional. It was, I felt certain, what I required: to hide. Or, that is, to publish the book, but while I stayed veiled in fiction’s opacities, a disguise integral to the form. I relied on Ronald Barthes’s motto, larvatus prodeo: I advance pointing to my mask.

Now, though, I’ve written an entire novel told from the position of a queer Korean American woman artist who, along with her other desires, pines to explore kink. People, I’m aware, will suspect me, a queer Korean American woman artist, of having lifted the book’s events in full from my life.

Even so, I might persist in hiding. It’s still fiction, after all. And isn’t it enough, or so I’ve thought, that I’ve told the world I’m queer? I love being queer; it’s also true that queerness is judged to be an illness by a lot of Koreans both diasporic and mainland. Not long ago—for much of Korea’s Joseon period, which lasted from 1392 to 1910—the law ordained that a Korean woman could be divorced for “excessive” talking, a so-called sin. Expelled, fending for herself, the divorced woman risked dying, a hazard my body has perhaps not forgotten, though here I am, talking about, of all things, sex. Queer sex, at that. But it’s possible this rigid mask, the passed-down fiats, aren’t helping me, let alone the writing, as much as I thought.

Kink is a large, shifting term, with outlines etched less by what it is than is not, this single word applied to an ever-changing negative space. Lina Dune , a prominent kink writer and podcaster, defines kink as any sexual act or practice diverging “one tiny step outside of what you were brought up to believe is acceptable.” So, bondage, sadomasochism, fetishes, and role play are examples of kinks, and these aren’t fringe penchants. By some measures, 40% to 70% of people might be kinky ; given the stigma, this estimate could be on the low end.

For me, kink entails playing with control. Stated, explicit power dynamics; intense physical sensations, including pain; rules—these pursuits are so crucial to my body’s understanding of sex that, in their absence, lust also goes missing. It isn’t optional, a bit of pep to add on top of the chief act. Hence, sex lacking all signs of kink isn’t quite, in any personally significant sense of the word, sex. I’ve known this to be true as far back as I can recall desiring; for about as long, I believed I should keep it quiet, that I’d be thought aberrant, wrong, for craving as I did, the yes of desire paired with this I can’t . Friends spoke about lust in ways I found puzzling, alien. To be safe, I nodded. I feigned being like them. First kisses, initial forays into sexual activity: none of it felt fulfilling, and still, I played along.

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It wasn’t until I met the person who’d become my husband that, months into dating, with great trouble, I began trying to explain. Since kink figures as central a role in who I am as being queer, a woman, Korean, a person, a living being, I had to give him the chance, I thought, to run.

So what, one might ask. Kink is visible, in public, even stylish, to an extent I didn’t think possible while I was growing up, and kink-specific gathering places exist both online and, at least in big cities, in person. No one wishing to fulfill a desire for kink who is also in possession of a phone needs to be afraid, as I used to be, of lifelong failure. People mention kink in social-media bios, in dating profiles. In the milieus I inhabit, full of writers, editors, and artists all tilting left, to kink-shame—to deride a person’s kink—is itself often judged passé, risible. Why, then, as I write this, are my hands shaking, as though my very fingers are urging me to stop, to go back into hiding?

It wasn’t long ago that being pulled to kink was classed as being disordered. Until 2013, sadomasochism, along with fetishism, was pathologized as a mental illness in the Diagnostic and Statistical Manual of Mental Disorders, or the DSM—a ruling with legal implications for jobs, parental rights. While kink is depicted more than it used to be in popular culture, it’s still so often tied to grave psychic damage, evil, or both that there’s a futile, tiring game I play: if a character in film or television is, say, a serial killer, an appalling villain, I track how long it takes until they’re shown engaging in kink. It can take just five, ten minutes before I’m proven right again.

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It’s thus no surprise that lies about kink run wild. On the first day of the anthology Kink’s release, which, again, was a brief three years ago, the most indignant replies came from writers and editors I’d never met arguing that kink is abusive, misogynist, disordered. (Briefly, for anyone fresh to this dispute: a bright, wide line divides even the most physically rough kink from abuse—the giving and negotiating of explicit, detailed consent—and though some people do gain healing through kink, it has no more of a requisite etiology than do other kinds of sexuality.) In my own, less parochial circles, it’s still not unusual for people to question what the purpose of a fictional character’s kink might be, why it’s there, as though it has to be willed, optional, and not, as it is for me, vital.

If otherwise well-educated adults find kink confusing, it’s no wonder that youths might, too. Per a recent survey of 5,000 college students in the Midwest, conducted by Debby Herbenick, director of the Center for Sexual Health Promotion at Indiana University, two-thirds of the women said they’d been choked by a partner during sex. While a longing for sexual asphyxiation is possible, and does fall under kink’s rubric, it’s also so dangerous that many kink aficionados consider it entirely off limits. One can’t safely choke a person; lasting damage can result, up to and including death. In the study, women spoke of partners choking them without having obtained consent ahead of time, a flouting of essential, first-priority kink practices.

Kink, as Dune says, isn’t about one person forcing their will on another: instead, it’s “an ongoing conversation, a collaboration between consenting equals.” Preludial talk of desires, limits; figuring out where there is and isn’t overlap; deciding on safewords; finding ways to check in along the way; segueing from a sexual encounter into aftercare, which folds in activities that can include talking about what took place, to bring oneself back to a less charged state—all this, too, is part of kink.

For a lot of people, kink can be a less bewildering landscape to navigate than more orthodox types of sex. In lieu of abiding by fixed scripts of what sex ought to be, one listens to one’s individual body, following and articulating what’s desired. Zoë Peterson, a scientist and clinical psychologist who directs the Kinsey Institute’s Sexual Assault Initiative, notes that, with the U.S.’s dearth of sex education, some people might never be asked, “What do you like and not like?” It can be highly difficult for people to think about this, let alone speak it aloud, and to another person. Sex-related shame bedevils most of us, not just the kink-inclined. And so, Peterson says, she tends to “hold up the kink community as a good model of sexual-consent communication.” In other words, these consent practices can be useful to people at large.

I ask Peterson how she’d respond to a still-widespread objection to this kind of dialogue, that consent made so precise is off-putting, clinical, lacking space for abandon, spontaneity. Here, too, she says, kink communities provide a model. “I don't think anyone's like, ‘Kink isn't sexy,’” she says, with a laugh. “No one says that.”

I’m doing it again : referring to people , to one . Scientists pointing to kink as a benign model, the talk of detailed consent—it all sounds so logical, so calm that I almost forget the panic stifling each attempt I’ve ever made to voice my own desires.

But along with the pervading stigma, here’s what else I find terrifying: part of what I want, the shape of how I lust, could be mistaken as lining up with painful, absurd lies about women who look like me—that we’re docile, hypersexual, pliant, willing to be ill-used. It’s a myth distorting our histories in the U.S., codified in the 1875 Page Act , which stopped the immigration of Chinese women on the pretext that they were “immoral.” It’s also present in any number of violent acts toward Asian women, and people who present as women, including the 2021 Atlanta spa shootings , which the killer tried to explain with a so-called “sex addiction,” a concept not recognized in psychiatric literature but one many people, not excluding the media, quickly accepted as a real disease.

Both after and before the Atlanta shootings, I’ve written and spoken about injustice from the vantage point of being a Korean woman, an Asian woman. I’ve heard from thousands of Asian people, most often women, about their own experiences of racism . It was, and is, a profound honor to be trusted with such griefs. I’ve also received death threats, rape threats, as replies to what I wrote; I’ve been chased down the street by men, had my ass grabbed in bars. Less violent, but also infuriating, are the times people have fancied it’s right to tell me what to do, have assayed to push me around. None of this is special. It’s not unique, is the problem. But as a result, for a long while, I’ve tried, with how I dress, talk, and hold myself, to project what others might interpret as strength, an effort that’s felt all the more urgent as I publish words that people read.

I’m afraid that, by unveiling desires I’ve kept hidden, I’ll spoil this effort. And that, given the nature of some of what I want, I’ll add to the terrible lies about us. Might, then, get more of us hurt, killed. On the one hand, this sounds histrionic, over-the-top: it’s just a novel, I tell myself, and I’m one person. Still, the bigoted and ignorant can be so easily misled, by almost nothing. Each novel births a world. Shame, guilt then spring up: what am I, a Korean woman, doing, talking about sex at all? I should hide again, back where it’s safe.

But this, but that: the abiding panic spirals, its coil tight. In the lulls, when its grip goes slack, I’m able to trust in what else I believe about books. The solitude I used to know, when I thought I was alone with strange desires, my body wrong, abnormal—that long isolation, too, twined me with the pall of something like death. Other people’s words, books, and art, by offering kinship, pulled me free, provided a refuge. It felt salvific, finding the solitude to be an illusion: learning that even I, at least in private, could live as my full self.

Despite the panic, I did write Exhibit , a chronicle of kinky, queer, Korean American women intent on pursuing what they want. Striving to bring to the novel all the skills I possess, I hoped to claim that this, too, the it I’ve often wished gone, belongs in literature. Which is also saying it belongs, period, as do I. Our bodies aren’t wrong. If allowed the option of changing, excising kink from my body, I’d refuse. For what else could I be, and why would I want to? Kink has brought me such delight. Exhibit’s narrator, Jin Han, spends much of the novel working to move out of hiding. I’m trying to follow her there.

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E. B. White is one of the most famous children’s book authors. But he should be better known for his essays.

I was well into adulthood before I realized the co-author of my battered copy of The Elements of Style was also the author of Stuart Little and Charlotte’s Web . That’s right, the White of the revered style manual that everyone knew as “Strunk and White” also wrote children’s books…as well as some of the best essays in the English language.

If you’re of a certain age, you might well remember E. B. White’s pointers in The Elements of Style :

Place yourself in the background; write in a way that comes naturally; work from a suitable design; write with nouns and verbs; do not overwrite; do not overstate; avoid the use of qualifiers; do not affect a breezy style; use orthodox spelling; do not explain too much; avoid fancy words; do not take shortcuts at the cost of clarity; prefer the standard to the offbeat; make sure the reader knows who is speaking; do not use dialect; revise and rewrite.

That’s some good advice, much better than the terrible counsel offered on Page 76: “Avoid the elaborate, the pretentious, the coy, and the cute.” Thanks, E. B., I do what I want. ☹️

Born in 1899 in Mount Vernon, N.Y., Elwyn Brooks White attended Cornell University, where he earned the nickname “Andy.” (Weird historical fact: If your last name was White, you were automatically an Andy at Cornell, in honor of the school’s co-founder, Andrew Dickson White. There is no connection to fellow Cornell alum Andy Bernard .) After graduation, White worked as a journalist and an advertising copywriter for several years. He published his first article in The New Yorker the year it was founded, 1925.

White became a staff writer at The New Yorker in 1927, but was an early enthusiast of the work-from-home movement, initially refusing to come to the office and eventually agreeing to come in only on Thursdays. In those days, he shared a small office (“a sort of elongated closet,” he called it) with James Thurber.

His famous officemate later recalled that White had an odd a brilliant habit: When visitors were announced, he would climb out the office window and scamper down the fire escape. “He has avoided the Man in the Reception Room as he has avoided the interviewer, the photographer, the microphone, the rostrum, the literary tea, and the Stork Club,” Thurber later remembered of the chronically shy author. “His life is his own.”

In 1929, White and Thurber co-authored their first book, Is Sex Necessary? Or, Why You Feel the Way You Do . (Don’t worry: It was comic essays.) That same year, White married Katharine Angell, The New Yorker’s fiction editor from its inaugural year until 1960. She was the mother of Roger Angell , the famed essayist and baseball writer who himself became a fiction editor at The New Yorker in the 1950s.

In 1938, White and Katharine moved permanently to a farm in Maine they had purchased five years before. If you’re wondering about the inspiration for 1952’s Charlotte’s Web , look no further than White’s 1948 essay for The Atlantic, “ Death of a Pig .” (He bought the pig with the intention of fattening it for slaughter; instead, he later nursed it through a fatal illness and buried it on the farm.)

Stuart Little had been published seven years before Charlotte’s Web . Along with 1970’s The Trumpet of the Swan , these books have made White one of the nation’s best-known children’s authors. I’m sure White didn’t mind, but by all rights, he should be better known for his essays. He authored over 20 collections of such classics as “Once More to the Lake,” “The Sea and The Wind That Blow,” “The Ring of Time,” “A Slight Sound at Evening” and “Farewell, My Lovely!” Endlessly anthologized, many are also taught in writing workshops to this day.

In 1949, White published Here Is New York , a short book developed from an essay about the pros and cons of living in New York City. In a 2012 essay for America , literary editor Raymond Schroth, S.J., noted White’s juxtaposition in Here Is New York of technological terrors like nuclear bombers (the Soviet Union detonated its first atomic bomb in 1949) with the simple beauties of nature:

Grand Central Terminal has become honky tonk, the great mansions are in decline, and there is generally more tension, irritability and great speed. The subtlest change is that the city is now destructible. A single flight of planes no bigger than a flock of geese could end this island fantasy, burn the towers and crumble the bridges. But the United Nations will make this the capital of the world. The perfect target may become the perfect “demonstration of nonviolence and racial brotherhood.” A block away in an interior garden was an old willow tree. This tree, symbol of the city, White said, must survive.

“It is a battered tree, long suffering and much climbed, held together by strands of wire but beloved of those who know it,” White wrote in Here Is New York . “In a way it symbolizes the city: life under difficulties, growth against odds, sap-rise in the midst of concrete, and the steady reaching for the sun. Whenever I look at it nowadays, and feel the cold shadow of the planes, I think: ‘This must be saved, this particular thing, this very tree.’”

The tree lasted for another six decades —two more than the Cold War, in fact—before finally being chopped down in 2009.

In a 1954 review of books by White and James Michener, America literary editor Harold C. Gardiner, S.J. , said White “has one of the most distinctive styles discernible on the American literary scene.” Since even the most cursory review of Father Gardiner’s many years of commentary shows he hated almost everything, it was quite a compliment. (Later in the review, he noted that “Mr. Michener, who has done better in his other books, comes a cropper here mainly because his style is wooden, sententious and dull.”)

In 1963, White received the Presidential Medal of Freedom for his writings. Fifteen years later, he was awarded a special Pulitzer Prize for “his letters, essays, and the full body of his work.” In 2005, the composer Nico Muhly debuted a song cycle based on The Elements of Style at the New York Public Library. Among its signature moments was a tenor offering more of White’s good advice, this time in song:

Do not use a hyphen between words that can be better written as one word .

White died in 1985 at his farm in Maine. His wife Katharine had died eight years earlier. His obituary in The New York Times quoted William Shawn, the legendary editor of The New Yorker:

His literary style was as pure as any in our language. It was singular, colloquial, clear, unforced, thoroughly American and utterly beautiful. Because of his quiet influence, several generations of this country's writers write better than they might have done. He never wrote a mean or careless sentence. He was impervious to literary, intellectual and political fashion. He was ageless, and his writing was timeless.

Our poetry selection for this week is “ Another Doubting Sonnet ,” by Renee Emerson. Readers can view all of America ’s published poems here .

Also, news from the Catholic Book Club: We are reading Norwegian novelist and 2023 Nobel Prize winner Jon Fosse’s multi-volume work Septology . Click here to buy the book, and click here to sign up for our Facebook discussion group .

In this space every week, America features reviews of and literary commentary on one particular writer or group of writers (both new and old; our archives span more than a century), as well as poetry and other offerings from America Media. We hope this will give us a chance to provide you with more in-depth coverage of our literary offerings. It also allows us to alert digital subscribers to some of our online content that doesn’t make it into our newsletters.

Other Catholic Book Club columns:

The spiritual depths of Toni Morrison

What’s all the fuss about Teilhard de Chardin?

Moira Walsh and the art of a brutal movie review

​​Who’s in hell? Hans Urs von Balthasar had thoughts.

Happy reading!

James T. Keane

James T. Keane is a senior editor at America.

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Shedding his Lemony Snicket persona, Daniel Handler lets off some steam

In his new book, “And Then? And Then? What Else?,” the author of “A Series of Unfortunate Events” explores the joys, frustrations and ironies of the writing life.

Writers lead messy lives, constantly condemned to days of lousy first drafts, failed ideas and chronic misstatements. Daniel Handler feels this deeply throughout his kinda-sorta memoir, “ And Then? And Then? What Else? ” Eventually it reaches a boiling point. Late in the book he abandons his quirky-cool demeanor — he’s best known as Lemony Snicket, author of the offbeat children’s books “A Series of Unfortunate Events” — and lets fly with an f-bomb-laden rant about cancel culture and the pressure writers feel to be everything to everyone.

It’s a fierce cri de coeur at a time when books — especially kids’ books — are targeted on the right and writers who misstep on the inclusivity front get targeted on the left. (Oddly, Handler doesn’t mention his own moment as a near-cancelee. Onstage while emceeing the 2014 National Book Awards, he directed a racist watermelon joke at Black author Jacqueline Woodson ; after a social media pile-on, he apologized.) Handler isn’t interested in wading far into the politics of writing today — elsewhere his prose tends toward the gentle, sprightly and personal. Still, it’s not hard to see why he made room for the tirade: He wants to encourage you to give up seeking easy answers about who writers are and how writing works.

“And Then?” — the title comes from a poem by Baudelaire, the namesake of the “Unfortunate Events” siblings — doesn’t have a subtitle to explain itself. But a good one might be “A Memoir of Writerly Confusions.” For Handler, the writing life means forever stepping into frustration and strange ironies. He recalls writing nine drafts for the “Unfortunate Events” movie before being fired from the job — and then being asked to consult on the script, without pay. “Previously I had considered these people innocent,” he says of the moviemakers, “and then maybe dumb, and then maybe a pack of vicious demons. I understood, too, that they were, at least obliquely, the reason I owned a house.”

Plainly, embracing the mess has made him a success: He recalls how some young Lemony Snicket fans were so excited to see him at readings that “bookstores began to have contingency plans for when a child, excited to meet me, threw up.” (The life of a reader can get messy, too.) So understandably, he’s fully embraced the idea of mess-as-process, that successful writing means wrestling with demons. On that front, he’s had a few. In one chapter, he recalls that during his college years he was stalked by visions of malevolent figures, accompanied by seizures that briefly sent him to a psych ward. Recovery wasn’t conquering those visions but making a kind of peace with them: “I still, to this day, see these figures, frequently but not frighteningly, not anymore,” he writes.

That experience has fueled a sensibility in which he does best when he’s open to strangeness. He takes inspiration from the melodrama of opera but also finds joy and insight in tacky kitsch like “Attack of the 50 Foot Woman.” His polestars as an artist are art-film figures like Guy Maddin, who tweaks silent-film conventions, and, most obviously, Edward Gorey, whose not-for-kids-but-really-they-are illustrated stories inspired the Lemony Snicket books’ mordant brilliance. Still, he keeps his heroes at arm’s length: Recalling sending Gorey a fan note, he writes: “I never heard back from Gorey, but shortly afterward he died. I like to think that I killed him.”

Lines like that reflect the sort of tone we want from writer’s guides — intimate, self-deprecating. But these days, we also want them to be practical. The most prominent modern example remains Stephen King’s memoir “On Writing,” and countless others since have borrowed its tone and intention. George Saunders’s “A Swim in the Pond in the Rain” invites us to study classic Russian short stories. In “Essays One,” Lydia Davis brilliantly dismantles her own stories like a car engine. Handler’s book belongs in that company, but he’s skeptical of how much he can offer in terms of practical tips: Whenever he hears the word “process,” he writes, “I wish I could lay my head down on a table.”

Yet there are moments when Handler warms to the role of advice giver. Like every author, he encourages you to read a lot — he recalls the teacher who introduced him to Muriel Spark, the perfect writer for him at just the right time. And he encourages writers to abandon bespoke notebooks and keep it simple; he describes his (yes) process for gathering and reshuffling notes into stories, and how he forgives his sloppy drafts. He’s taken a lesson from his occasional musical collaborator, Magnetic Fields frontman Stephin Merritt, who’s “a devout corraller of happy accidents, encouraging musicians to try the wrong approach, the bonkers note, anything to fill the blanks.”

But all this — Spark, Gorey, B-movies, weird troubling figures in the corner of your eye — doesn’t solve the problem of producing good writing. As for what does, Handler recalls working on a script for a director who sent his draft back pockmarked with the letters “DB,” short for “do better.” Handler was infuriated at the vague note, but he took the lesson: “Now I write it in my own margins all the time, shorthand for I don’t know what’s wrong here but it needs to improve. I want to write better, but I usually don’t know how. Nobody does, really.” For Handler, knowing there’s no right way to do it is the most liberating advice of all.

Mark Athitakis is a critic in Phoenix and the author of “ The New Midwest .”

And Then? And Then? What Else?

By Daniel Handler

Liveright. 240 pp. $26.99

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A Different Kind of Dad Book: Lucas Mann on Fatherhood, Writing, and the Essay as an Act of Care

The author of “attachments: essays on fatherhood and other performances” in talks to brian gresko.

Lucas Mann’s collection Attachments: Essays on Fatherhood and Other Performances is the book I wish I had fifteen years ago when I was in my early thirties, at home with a newborn. Those were days when I’d spend eight hours or more in near constant contact with my son, often with no adult interaction (I didn’t even have a smartphone at the time, so forget group chats or social media). By the time my spouse returned from work, I’d feel wrung out and exhausted, and yet, at the same time, hungry for intellectual stimulation, for news of something other than my small world.

There was, too, the particular strangeness of going out in public as a masculine presenting body caring for a baby: the grace allotted to me by some, the eye-rolls and admonishments provided without provocation from others, the level of attention and yet invisibility I garnered in general. As Mann writes of being at home with his own daughter in those early years, “I’m so glad to no longer be in that place; sometimes I miss it in a way that makes my breath catch.”

In the twelve essays that comprise Attachments , Mann grapples with how everything about parenting feels profound and yet utterly banal, original yet done a million times before by humans throughout history, such that talking about it, let alone writing about it, can feel maddening and pointless. He brings to this problem the particular conundrum of being a man writing about caregiving, which can feel performative in the worst way, like another form of male posturing on the page.

Though the heart of these essays are personal, he ranges wide, from an analysis of how Brad Pitt eats in movies and what this says about male body image in our culture, to discussing the rise of “dad bloggers” (I was a daily blogger for Disney’s parenting site once upon a time) and the role of humor in writing about fatherhood, to a beautiful and moving homage to the documentary The Andy Warhol Diaries .

There are few books where I think “this is just my kind of thing” the way I did with Mann’s, and so it was a pleasure to speak to him about it and how, paradoxically, he hopes that if he’s done his job right, the reader won’t walk away thinking about him at all.

Brian Gresko: My son was born a week after I graduated from my MFA program, so I moved into the roles of writer and stay-at-home parent simultaneously. You, on the other hand, had a publishing history before becoming a dad. I’m curious to know what led you to start writing about this aspect of yourself. And who are some of the authors who inspired these essays?

Lucas Mann: At first, parenthood and writing felt antithetical to me. As you said, I’d had this whole writing life pre-kid—I went to grad school young, published a book, got a job teaching writing, kept on hustling and publishing. Writing, dedication to it and the ambition to succeed at it (though I probably couldn’t articulate what I would’ve deemed “success”) was the organizing principle of my adult life.

But becoming parents was something my wife and I really wanted, and when we knew it was going to happen for us I think I set up parenthood in my mind as anti-writing in a way that might feel like a relief. I had the enormous privilege of a tenure track job that accrued enough unused sick days that I could cobble together parental leave for the semester, then extend through the summer. I’d finished a novel draft right before my wife gave birth, and I thought I’d just chip away at revisions whenever I wasn’t tired (obviously a fucking ridiculous plan).

At one point, when my daughter was maybe four months, the Los Angeles Review of Books solicited me for an essay. I said yes on instinct, and then ended up freaking out and bailing. That was a holy shit moment for me. I got pretty substantial novel edits back from my agent and couldn’t get into those either. Long story short, I was totally submerged in early parenthood for eight months or so, then was back to teaching, trying to ease into that, then when my daughter was a little over a year, Covid hit, daycare shut down, my wife still had to go into work, and so it was just me and my daughter again for most of the day.

At that point, I was like, I’m not going to try to write; there are people who wake up at five and juggle things and all that, and I’m not one of those people. Plus, my daughter was waking up at five anyway. After six or seven months, we held our breath and sent her back to daycare so I could teach. The LARB reached out yet again, for which I’m forever grateful, asking me if I’d take another shot at an essay. I wrote this essay that was ostensibly about rewatching The Office , but all of this parenthood stuff ended up threaded through. And the writing felt alive , the voice felt like mine, but evolved.

It ended up feeling like a perfect storm, where I hadn’t written for the longest stretch of my adult life, and there was this incredible vividness of life with a baby, then quarantine with a toddler, which could feel so constricting but also so expansive in terms of just how much intimacy and intensity radiated from it, the act of looking at this one person with more depth and responsibility than I’d ever experienced. Once I made a gesture toward putting that into words, my writer self and this new self converged. That felt so wonderful.

When I went back and looked at the old novel draft it was like, Oh wow, someone else wrote this novel, good for him. I knew that if I was going to commit to writing again, I had to explore the world through this new lens; that’s where my interest and curiosity was.

As for what I was reading, you know, if you’re someone invested in literary nonfiction as a genre, the way we both are, you’re steeped in amazing literature about parenthood, just rarely ever from cishet men. Long before I ever thought about being a parent, I remember reading Maggie Nelson’s description of folding her kid’s tiny clothes, and the way care for her kid was this one beautiful, complex thread in a narrative about all forms of love and care—sex, art, politics, etc. This might sound cheesy, but I really believe the essay form to be an act of care—locating, stalking, zooming in on what matters to you and why, trying to depict love through the way your mind follows an idea. To write as a parent reinvigorated my passion for the form.

When I was starting to chip away at essays, I just wanted to read work that felt alive with the intensity of a particular point of view. These were kind of all over the place in terms of genre and voice, but I loved Brandon Taylor’s Real Life , Tove Ditlevsen’s Copenhagen trilogy, Rachel Yoder’s Nightbitch , Sasha Fletcher’s Be There to Love Me at the End of the World , got back into Knausgaard’s My Struggle.

Some of these had to do with parenthood, some not at all, but each felt like a writer absolutely committed to articulating the particularities and the vivid, unique pitch of one voice, one point of view, one act of being in the world in a particular moment. And I said, okay, that’s my only job here.

BG: It’s funny you mention Knausgaard. Volume one of My Struggle came out the year my son was born. I had friends who expected I’d be excited about it, but there was Knausgaard’s attitude in excerpts and interviews, his bone dry, weary wit, and then there was the physicality of the man himself—the brooding eyes, the perfectly unkempt hair, the omnipresent cigarette—like a Matthew McConaughey of white elephantine art. I envied that, was attracted to it, but also found those parts of myself icky, because he presented a kind of cool that had no space for me, it seemed so self-important and self-obsessed.

Your essay “Dads Being Dudes Making Jokes” made me wonder if Knausgaard’s public presentation of himself isn’t just an extended bit, the literary equivalent of a dad joke, and perhaps I didn’t get it? My sense of humor is idiosyncratic, and most dad jokes rely on and reinforce gender roles and dichotomies I find restrictive and false. This made me wonder: How has your performance of fatherhood been affected by penning these essays?

LM: I’ve got no beef with Knausgaard myself, beyond the beef I have with any, as you say, brooding, perfectly unkempt gorgeous men. Maybe if he was American I would, but I found something sort of anthropologically fascinating about reading My Struggle while parenting in the US in a pandemic—like damn, the social safety net has created the optimal space for this man to just brood and riff; what an impossible dream!

I think that writing about fatherhood after more than a decade of operating within personal writing generally was helpful for me because if you engage in this particular art form seriously, for long enough, the challenge and pleasure becomes entirely wrapped up in the idea of performing the self, the balance between desired “authenticity” and then how much of perceived authenticity is a performance on the page.

For me, it’s always this balance of wanting to seem… lovable, I guess, on the page, just like I want to be in life, but then working to reject that impulse or explore that impulse, and get at something more gross and complicated beneath it. That’s the work, to me; if a piece of writing doesn’t do that, I think it has failed. And I never, ever, ever want to be cool on the page. I hate that shit. I am by no means a cool person, but I like to think I’m at least slightly cooler in real life than I am in these essays, or any essay I write.

Fatherhood, as a subject, presents an almost cartoonish version of this central essayist’s dilemma—how much do you want to rest on easy charm, or the most placating joke, or this sense of superiority and expertise, versus the fraught, tangled, shameful, confusing lived experience that simmers right beneath the surface. I don’t see essay writing as an extension of life, per se, but I do see it as the genuine attempt to look closely at what you have lived and are living, to force yourself to see and to work to better understand. That’s never changed my behavior, or made me learn a lesson or anything, but it does make me more aware of my behavior.

As I say in the book, I often love being a dad in public, for obvious ego reasons—this is the closest I’ll ever come to how I imagine it feels to be very good looking and walk into a party. And I feel the temptation of leaning into all the gender shit you talk about; I get to be the big, sweet, sturdy jungle gym.

But I also love the actual experience of being with my daughter in the world, watching her move through it, looking back at me sometimes, but increasingly looking straight ahead at what she wants to try next. It can feel like we’re alone in the world together; everything else is at a muted volume. So these are moments that feel both performed and deeply authentic, selfish and full of care at the same time. Writing about them has been an act of trying to investigate and reconcile that dichotomy, trying to find something that feels true.

BG: These essays are so smart and exquisitely written but for me it’s the way you sit within that dichotomy that grabbed and moved me. That, and “performing the self,” brings me to Andy Warhol and his diaries, which you write about in the final essay in Attachments , “Summer Diary.” I love this piece in part because I loved The Andy Warhol Diaries documentary (the AI narrator really did work well), and found it so surprising to get a glimpse beneath Warhol’s more widely-known, dry, public self and find this sweet, insecure, tender queer man.

You write, “ The Diaries made me think about sappy not as something surfacy but something deep and ingrained,” and I thought yes, that’s exactly right, and that connects to camp for me, which is also two things at once, deep and surfacy, performed and authentic, in bad taste but absolutely fabulous. I believe there’s an element of camp to sappiness, and to parenthood, and particularly to writing about parenthood—asking readers to bear witness to moments equally embarrassing and important, profound and banal—that I think you bring to this book.

Writing about my relationship with my son also highlights for me how all writing is time-based, just a snapshot of what the author is obsessed with at that particular moment. It’s more clear with writing about our children because our relationship with them is one written in time.

I wonder: What do you hope a reader will walk away from your book thinking about you as you as a dad in this particular moment in time in your life? And what do you hope your daughter might think of this book when, years from now, she discovers it among the other works you’ve published?

LM: This is maybe an absurd answer to your question, but I hope readers don’t think much of anything about me. I guess what I mean is that I don’t know that I matter that much in these essays. Or if you finish this book and you’re thinking about the specifics of me , I don’t know if I did my job. This is a weird catch-22 I’ve found in personal writing generally, where the process of writing doesn’t feel like putting myself out there, though of course it is. Instead, it’s offering up all these details, these intimacies that I’d never speak out loud to anyone but I feel much more comfortable dealing with on the page, until I almost start to blur, at least in my mind.

I’m sure I’m kidding myself to some degree, but I think the goal of good personal writing should be to not leave people with the feeling of, Wow this one person’s life is interesting, painful, annoying, whatever; instead, maybe the goal is to come away reminded that there are so many people living, feeling these things that are intense but also recognizable, and how wild it is that something like parenting can be simultaneously the most monumental, exhausting, particular, intimate shit ever, but also… regular. Or that’s just how I delude myself into getting something on the page. Either way, I’m sticking to it.

As for my daughter reading it, you know I’ve thought a lot about how so much of this book depicts her at such a young age that she realistically won’t remember it. Maybe it’ll just feel like reading fiction, or an account of some other random kid—who knows. If I want her to get anything from it someday… it’s probably too easy to say that I want her to feel loved, but that’s it. Whatever fraction of the real love I managed to get on the page.

Brian Gresko

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Oscar Wilde’s Art of Disobedience

Msn article rss.

Revisiting his critical writing, we learn a valuable lesson about the critic’s role in refusing bad taste and bad politics.

“Disobedience, in the eyes of anyone who has read history, is man’s original virtue,” Oscar Wilde declares in his 1891 essay, “The Soul of Man Under Socialism.” “It is through disobedience that progress has been made, through disobedience and through rebellion.”

Books in review

The critical writings of oscar wilde: an annotated selection.

“Classic Wilde,” you might think. Isn’t it like him to argue that the betterment of civilization depends upon misbehavior? Since his death in 1900, at the age of 46, the writer’s popular image as a provocateur has only strengthened, and not without cause. In Wilde’s oeuvre, contradiction is not merely a rhetorical attitude, but an implicit intellectual challenge. Yet as a critic and essayist, his commitment to insubordination is also entangled with a lifelong philosophical inquiry into the conundrum of creating art on one’s own terms, unburdened by the demands of public opinion or by a milieu’s prevailing aesthetic conventions. If yielding to authority was tantamount to degradation, as Wilde believed, beauty and art could flourish only in conditions of freedom, which by his own definition constituted a utopia of socialist hedonism. “Man is made for something better than disturbing dirt,” he writes. Rather than brute, “unintellectual” labor, human life ought to be occupied by the sorts of activities likely to draw accusations of idleness: creative pastimes of one’s choosing or absolute contemplative leisure.

His body of criticism, newly collected in The Critical Writings of Oscar Wilde , cultivates an aesthetic of disobedience. Its language—sly, limber, epigrammatic—models the same rebellious individualism that it so fiercely advocates. In this annotated volume, editor Nicholas Frankel assembles a selection of Wilde’s most famous nonfiction writing, largely devoted to the matters of how an artist creates art and how others should receive it. Frankel divides this collection into four chronologized groups: reviews, essays and dialogues, letters to the press, and epigrams and paradoxes. Together, they illuminate a swaggering intellectual career that spans not just the novel, the play, and the poem but also, to a prodigious degree, the periodical.

As Frankel suggests in his introduction, “Wilde approached the writing of criticism with wit, irony, and a consummate sense of style, so much so that his critical writing is often hardly recognizable as criticism .” This flouting of rhetorical custom may itself be understood as a subtle form of defiance: a commitment to submitting language to a laboratory experiment of Wilde’s own devising. Take, for example, the argument that human progress requires disobedience, in which he invokes the latter’s “virtue,” as if the point of his writing is to yoke opposites, arousing tension through their unexpected alliance.

Wilde was no stranger to tension, or to scandal. The chutzpah of his criticism issues from his enduring friction with the cultural habits and assumptions of late Victorian England, from his resistance to complacency within a context he found sorely wanting. Yet inside that raucous rebellion, one cannot but discern a yearning impulse: that to obey, or not, could finally diminish as relevant modes of sociality; that an individual—queer, Irish, aesthetically flamboyant—could commit himself to beauty amid the peril fomented by an anxious nation scouting out transgression on every page.

By the late 19th century, Great Britain’s literary ecosystem was populated by a roster of venerated critics: Thomas Carlyle loomed large in the field, his sway unhindered by his death in 1881. Matthew Arnold’s 1865 essay “The Function of Criticism at the Present Time”—which Wilde would take to task 25 years later—famously champions the work of critics as crucial to literature in the wake of much public disparagement. John Ruskin and Walter Pater played crucial roles in art history and aesthetics, and each was uniquely indispensable to Wilde’s own thinking. But whatever intellectual debts Wilde owed to his critical forebears, he would not compound them through stylistic mimicry. Even the most recreational readers of Wilde could not confuse him for the author of The Stones of Venice (written by Ruskin in 1851) or Studies in the History of the Renaissance (written by Pater in 1873, and often referred to by Wilde as “my golden book”). Nor did the figure of “the critic,” chiseled in the Victorian imagination as a Carlyle-like symbol of sober wisdom, appeal to Wilde’s puckishness.

While he delighted in the role of the critic, Wilde was the first to admit his own limits. A critic cannot confer truth to his readers, nor should he attempt to do so, Wilde argued. At most, a critic can propose the terms of conversation. He implies that the power of language is essentially dialogic; it draws significance through its summoning of oppositions. Frankel delineates this impulse in Wilde’s criticism, identifying it as a proto-Bakhtinian “dialectical understanding of the truth”—an understanding that renders proof and reliability as red herrings. “No artist desires to prove anything,” Wilde asserts in the preface to The Picture of Dorian Gray , for “even things that are true can be proved.”

To scout out the precise coordinates of Wilde’s critical inconsistencies would be to miss his greater rhetorical point. (“Who wants to be consistent?” asks Vivian in his 1889 dialogue, “The Decay of Lying: An Observation.”) Still, his mercurial tendencies were not always choreographed. Early in his career, Wilde argued that artistic self-sufficiency existed in autonomous relation to one’s milieu. “Such an expression as English art is a meaningless expression,” he told the Royal Academy’s art students in an 1883 lecture. “Nor is there any such thing as a school of art even. There are merely artists, that is all.” Like the Greek deities depicted in Wilde’s beloved Hellenistic sculpture, artistic sensibility is born unto the artist with inviolable sanctity; it is a tidy, closed system, he suggests, dependent only upon itself.

Yet within two years’ time, Wilde changed his mind and began to acknowledge, even to insist upon the significance of cultural context. “An artist is not an isolated fact,” he writes in “Mr. Whistler’s Ten O’Clock” (1885), a withering review of the American painter’s lecture on aestheticism; “he is the resultant of a certain milieu and a certain entourage, and can no more be born of a nation that is devoid of any sense of beauty than a fig can grow from a thorn or a rose blossom from a thistle.” Wilde had once counted James McNeil Whistler among his friends, but the affection between them soured as Wilde’s views shifted to an irreconcilably opposing position. One blistering point of contention regarded the critic’s role in artistic discourse. In his lecture, Whistler laments the scourge of criticism, condemning its practitioners as “the middleman in this matter on Art.” Criticism, in Whistler’s estimation, amounts to little more than static interference: “It has widened the gulf between the people and the painter, has brought about the most complete misunderstanding as to the aim of the picture.”

The Nation Weekly

Wilde saw the matter differently. He also knew that Whistler had long harbored a grudge against Victorian critics. In 1878, Whistler had filed a libel suit against Ruskin for a mean review. The artist won the case, although the jury conveyed its disdain for the proceedings by awarding him only a farthing in damages. Nonetheless, as Frankel writes in his introduction, the ruling in such a public case imperiled the critic’s “hitherto unquestioned authority.” The case implied the triumph of the artist over the critic, which is a constant conflict that still produces a thorny question: Why should critics possess the authority to critique art they did not create?

Wilde pokes at this question in “Mr. Whistler’s 10 O’Clock” and attempts to settle it through a shift in vocabulary: “I say that only an artist is a judge of art…. For there are not many arts, but one art merely: poem, picture and Parthenon, sonnet and statue…he who knows one knows all.” This statement foreshadows a more explicit moment of philosophical departure, in which Wilde demands criticism’s recognition as an aesthetic equivalent to other artistic forms. Even Matthew Arnold, one of criticism’s most famous defenders, had declined to make this leap: “The critical power is of lower rank than the inventive,” he admitted. Arnold’s critic does not create art but instead evaluates, assembles, organizes.

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Although an admirer of Arnold, Wilde could not abide what seemed to him a diminishing of the critic’s role. A critic was no mere lens by which to reflect a superior creation, nor a pale imitation of literary artistry. The cultural contributions made by critics warranted appreciation on their own terms. Wilde issued his own apologia in 1890 by way of his famous dialogue, “The Critic as Artist: With Some Remarks on the Importance of Doing Nothing.” Initially titled “The True Function and Value of Criticism,” it delivers a pointed refutation of Arnold’s thesis.

The conversation unfolds between Wilde’s slick, in-dialogue proxy, Gilbert, and his skeptical interlocutor, Ernest, who feeds Gilbert a handy supply of queries and protestations that incite his elaboration on the art of criticism. “You seem to me to be allowing your passion for criticism to lead you a great deal too far,” Ernest protests. “For, after all, even you must admit that it is much more difficult to do a thing than to talk about it.” Gilbert, who shares the author’s love of sly contradiction, is prepared for this moment, epigrams loaded in his quiver: “Not at all. That is a gross popular error…. Anybody can make history. Only a great man can write it…. [Action] is the last resource of those who know not how to dream.”

Here is a defense of criticism that refuses all prior terms and is shaped instead by Wilde’s own pleasure-centered metric. Loath to accommodate an industrializing empire’s fetish for productivity, he casts the writing of criticism in opposition to exertion of any sort. As Gilbert and Ernest debate, they gaze at the night sky, where “the moon…gleams like a lion’s eye”; Egyptian cigarettes dangle from their fingers. As Frankel notes in his introduction, “The critic is an artist, to be sure, but he is also a corporeal creature, whose thoughts and ideas are extensions of his physical life, not a repudiation of it.” In the domain of Wilde’s dialogues, his speakers are at liberty to enact the conditions that Wilde understands as central to creative work. If it is the critical instinct, not the creative one, that breeds innovation, then the critic requires the stillness afforded by “doing nothing”—by settling into one’s flesh and heeding one’s own impressions, wherever they meander.

Gilbert’s position in “The Critic as Artist” is seductive, but it courts disagreement. When I’ve read this dialogue in the past, my reactions have sometimes eked into Ernest territory. One could dispense with Arnold’s solemn distinction between critical and creative abilities without landing where Wilde does. But why would one read Wilde in pursuit of intellectual mitigations? Rather, one turns to him because the extravagance of his theories begets the most enthralling possibilities. Or as Gilbert concludes, “To the critic the work of art is simply a suggestion for a new work of his own, that need not necessarily bear any obvious resemblance to the thing it criticizes.”

There are a few peculiar lines at the conclusion of Wilde’s 1885 essay, “The Truth of Masks: A Note on Illusion,” in which he offers a sly disclaimer to the argument he would make five years later:

Not that I agree with everything that I have said in this essay. There is much with which I entirely disagree. The essay simply represents an artistic standpoint, and in aesthetic criticism attitude is everything.

The critic shoulders many artistic and intellectual responsibilities, but always saying precisely what one believes is not among them. As the essay’s title implies, a writerly posture—a linguistic mask—might signify more than any so-called authentic claim. Performance, Wilde knew, was a reliably tangible fact of existence; another person’s truth was a glint on the horizon, easily contested and endlessly deferred.

In April 1895, during Wilde’s failed libel case against the Marquess of Queensberry, he was questioned about a line in his series of epigrams, “Phrases and Philosophies for the Use of the Young” (1894): “A truth ceases to be true when more than one person believes it.” Wilde explained that according to his “philosophical definition,” truth was “something so personal…that in fact the same truth can never be apprehended by two minds.” The court could not abide such vast ideological diversity, particularly when posited by a man who, soon after, would be convicted of gross indecency for homosexuality. Wilde’s truth—and his adherence to it—yielded criminal condemnation and punishment: It signified an illicit, unpardonable refusal.

In “The Critic as Artist,” Wilde also invokes the matter of necessary disobedience, although he draws on more strident language than he does in “The Soul of Man Under Socialism.” “What is termed Sin is an essential element of progress,” Gilbert declares. But lest the reader misinterpret the remark as equivocal, he presses the point: “Without it the world would stagnate, or grow old, or become colourless…. In its rejection of the current notions about morality, it is one with the higher ethics.” Perhaps these lines comprise a kind of beatitude, uttered for those who, like Wilde, resisted impossible assimilatory demands. Or perhaps they’re a nudge to the docile reader: The only route to Utopia is illuminated by disobedience.

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Alice Munro, Nobel Laureate and Master of the Short Story, Dies at 92

Her stories were widely considered to be without equal, a mixture of ordinary people and extraordinary themes.

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By Anthony DePalma

Alice Munro, the revered Canadian author who started writing short stories because she did not think she had the time or the talent to master novels, then stubbornly dedicated her long career to churning out psychologically dense stories that dazzled the literary world and earned her the Nobel Prize in Literature, died on Monday night in Port Hope, Ontario, east of Toronto. She was 92.

A spokesman for her publisher, Penguin Random House Canada, confirmed the death, at a nursing home. Ms. Munro’s health had declined since at least 2009, when she said she’d had heart bypass surgery and had been treated for cancer, though she continued to write.

Ms. Munro was a member of the rare breed of writer, like Katherine Anne Porter and Raymond Carver, who made their reputations in the notoriously difficult literary arena of the short story, and did so with great success. Her tales — many of them focused on women at different stages of their lives coping with complex desires — were so eagerly received and gratefully read that she attracted a whole new generation of readers.

Ms. Munro’s stories were widely considered to be without equal, a mixture of ordinary people and extraordinary themes. She portrayed small-town folks, often in rural southwestern Ontario, facing situations that made the fantastic seem an everyday occurrence. Some of her characters were fleshed out so completely through generations and across continents that readers reached a level of intimacy with them that usually comes only with a full-length novel.

She achieved such compactness through exquisite craftsmanship and a degree of precision that did not waste words. Other writers declared some of her stories to be near-perfect — a heavy burden for a writer of modest personal character who had struggled to overcome a lack of self-confidence at the beginning of her career, when she left the protective embrace of her quiet hometown and ventured into the competitive literary scene.

Her insecurity, however powerfully she felt it, was never noticed by her fellow writers, who celebrated her craftsmanship and freely lent her their highest praise.

The Irish novelist Edna O’Brien ranked Ms. Munro with William Faulkner and James Joyce as writers who had influenced her work. Joyce Carol Oates said Munro stories “have the density — moral, emotional, sometimes historical — of other writers’ novels.” And the novelist Richard Ford once made it clear that questioning Ms. Munro’s mastery over the short story would be akin to doubting the hardness of a diamond or the bouquet of a ripened peach.

“With Alice it’s like a shorthand,” Mr. Ford said. “You’ll just mention her, and everybody just kind of generally nods that she’s just sort of as good as it gets.”

In awarding her the Nobel in 2013 , when she was 82, the Swedish Academy cited her 14 collections of stories and referred to her as “a master of the contemporary short story,” praising her ability to “accommodate the entire epic complexity of the novel in just a few short pages.”

As famous for the refined exuberance of her prose as for the modesty of her personal life, Ms. Munro declined to travel to Sweden to accept her Nobel, saying she was too frail. In place of the formal lecture that winners traditionally give, she taped a long interview in Victoria, British Columbia, where she had been visiting when her award was announced. When asked if the process of writing her stories had consumed her entirely, she responded that it did, then added, “But you know, I always got lunch for my children.”

During the presentation of the taped interview at the Swedish Academy, the Swedish actress Pernilla August read an excerpt from Ms. Munro’s story “Carried Away,” a multi-decade tale of dashed expectations that typified the complicated, often disappointing, world of her stories.

“She had a picture taken. She knew how she wanted it to be,” the excerpt read. “She would have liked to wear a simple white blouse, a peasant girl’s smock with the string open at the neck. She did not own a blouse of that description and in fact had only seen them in pictures. And she would have liked to let her hair down. Or if it had to be up, she would have liked it piled very loosely and bound with strings of pearls.

“Instead she wore her blue silk shirtwaist and bound her hair as usual. She thought the picture made her look rather pale, hollow-eyed. Her expression was sterner and more foreboding than she had intended. She sent it anyway.”

‘Our Chekhov’

Ms. Munro’s early success in Canada, where her first collection of stories, “Dance of the Happy Shades” (1968), won the Governor General’s Literary Award, the equivalent of a Pulitzer Prize for fiction, spread to the United States after her stories began to be published in The New Yorker in 1977. She was an important member of a generation of Canadian writers, along with Margaret Atwood and Michael Ondaatje, whose celebrity reached far beyond the country’s borders.

Ms. Munro went on to win the Governor General’s award twice more, along with two Giller Prizes, another important national award in Canada, and many other honors. In 2009, she withdrew her collection “Too Much Happiness” from consideration for yet another Giller because she believed that a younger writer should have a chance to win it.

That same year she was awarded the Man Booker International Prize for her lifelong body of work, which the judges claimed was “practically perfect.” The awards committee commented that although she was known mostly as a short-story writer, “she brings as much depth, wisdom and precision to every story as most novelists bring to a lifetime of novels.”

“To read Alice Munro is to learn something every time that you never thought of before,” the judges said.

As her many-layered style developed, her short stories came to be neither short nor simply stories — she included 15 stories in her first book, but only eight or nine longer ones in some of her most recent collections. The greater length of each story gave her room to explore the psychological profiles of her characters more fully, and the resulting works are tightly woven tapestries of great tension, lasting resonance and stunning breadth that combine the emotional thrust of a novel with the pinpoint power of a masterful poem.

Over the years, her stories seemed to grow darker and more paradoxical, even though she often described her own life as ordinary and generally upbeat. Often her characters were simple people confronting unusual circumstances. But those situations could be odd, even bizarre, such as an accident in which a soldier who returned from war is decapitated after his sleeve is caught in a factory machine, or the actions of an unattractive girl who steals so much money from her parents’ store to pay boys for sex that her parents are forced to declare bankruptcy. The women in her stories tended to be emotionally pierced — divorced women, adulteresses and noble victims of life’s vicissitudes.

Like Faulkner, Eudora Welty and the other Southern writers she admired, Ms. Munro was capable of breathing life into an entire world — for her, the importunate countryside of southwestern Ontario and the placid, occasionally threatening presence of Lake Huron.

Cynthia Ozick called her “our Chekhov,” and the description stuck.

In a 2009 review of “Too Much Happiness,” Michiko Kakutani of The New York Times described the collection’s title story as “a brilliant distillation of her Chekhovian art.”

Never a Novel

Ms. Munro was able to live a life remarkable for its normalcy. Her days, like her characters’, were filled with quotidian routines punctuated by the explosive mystery of happenstance and accident.

Outside of a decade spent on the west coast of Canada during her first marriage, she lived with a great deal of satisfaction in the Ontario bramble she celebrated in her stories, quietly composing them in the house where her second husband was raised, not far from the place where she was born.

Perhaps the question that most dogged her throughout her long career was why, with her abundant talents and perceptive eye, she restricted herself to what is generally seen as the limited world of the short story rather than launch into the glittery universe of the novel.

“I don’t really understand a novel,” Ms. Munro confessed to Mervyn Rothstein of The Times in a 1986 interview. “I don’t understand where the excitement is supposed to come in a novel, and I do in a story. There’s a kind of tension that if I’m getting a story right I can feel right away.”

While one of her early collections, “Lives of Girls and Women,” is sometimes called a novel, Ms. Munro and her longtime editor at Alfred A. Knopf, Ann Close, considered it a collection of linked stories.

“Once I started to write that, I was off,” she told The Paris Review. “Then I made a big mistake. I tried to make it a regular novel, an ordinary sort of childhood adolescence novel. About March I saw it wasn’t working. It didn’t feel right to me, and I thought I would have to abandon it. I was very depressed. Then it came to me that what I had to do was pull it apart and put it in the story form. Then I could handle it.”

At times she swore she would never write a novel — almost dismissing the challenge as too great for her to even attempt. But at other times she seemed to wistfully wonder, as one of her characters might, how different her life might have been had she written a blockbuster novel.

“I’m thinking of something now, how it might be a novel, but I bet you it won’t be,” she said in a 1998 interview, just after publication of her widely acclaimed collection “The Love of a Good Woman.” She confessed that on occasion she had experimented with stretching her stories into novels but said she found that the stories “start to sag” when she did so, as though being taken beyond their natural limits. Still, the lure never completely evaporated. “My ambition is to write a novel before I die,” she said, also in 1998.

She never did.

Shortly before receiving her Nobel in 2013, Ms. Munro told several interviewers that she had decided to stop writing. As far back as 2009, she had disclosed her cancer diagnosis and that she’d undergone heart bypass surgery. Her declining health had robbed her of strength, but she also remarked that she’d been writing since she was 20 and had grown weary of what Del, a character in “Lives of Girls and Women” who is generally taken to be Ms. Munro’s proxy, says is a writer’s only duty, which is “to produce a masterpiece.”

“That’s a long time to be working,” Ms. Munro said, “and I thought maybe it’s time to take it easy.”

Rural Beginnings

Alice Ann Laidlaw was born on July 10, 1931, in the village of Wingham, Ontario, hard by the banks of Lake Huron. She was the first of three children of Robert Eric Laidlaw and Anne Clarke (Chamney) Laidlaw. Her father had tried his luck at the rather exotic undertaking of raising silver foxes and mink, but when that failed he went through a number of professions, including stints as foundry watchman and turkey farmer.

When Anne Laidlaw developed Parkinson’s disease, it fell to Alice, not yet a teenager but the oldest of the three children, to care for her mother, an experience that she wove through her writing. She was able to attend college after winning a two-year scholarship to the University of Western Ontario in London, Ontario, about 65 miles south of Wingham.

She majored in English but initially kept her ambition to write fiction to herself. She dropped out before completing her studies and married a fellow student, James Munro. She sold her first short work of fiction, a story, to the radio service of the Canadian Broadcasting Corporation.

The Munros settled in Vancouver and had two children; a third died at birth. Ms. Munro said the domestic demands of those years — balancing parenthood with her dream of writing, “getting apple juice, answering the phone and letting the cat in” — left her no time or energy for ambitious projects like writing novels. Instead, she dedicated herself to mastering the short story, a form that she felt she could manage in between raising her children and taking care of her house.

In 1963, Ms. Munro and her husband moved to Victoria, where she helped him found a bookstore, Munro’s, and gave birth to another daughter. The marriage ended in 1973, and she moved back to Ontario.

By then, her literary reputation in Canada was established. In 1968, her first book, “Dance of the Happy Shades,” a collection of short stories compiled over a dozen years, introduced readers to what would later be widely recognized as “Alice Munro Country” — the rigidly introspective landscape of solitary country roads and stolid houses of yellow brick within which shy lives and solemn secrets unfolded.

“Everybody knows what a house does, how it encloses space and makes connections between one enclosed space and another and presents what is outside in a new way,” she wrote in a 1982 essay. “That is the nearest I can come to explaining what a story is for me.”

Her stories are blanketed with countless small but sharp observations that animate Munro Country. For instance, in “Spaceships Have Landed,” a story in the collection “Open Secrets” (1994), the main character drunkenly flirts with her boyfriend’s friend, only to be grossly insulted by him. The next day, she calls him to the porch of her house and confronts him while using a piece of steel wool to clean freshly laid eggs.

Such details evoke a sense of the semirural Canadian backcountry, a quiet land where people never deliberately call attention to themselves and the ordinariness of life can be suddenly disrupted by accidents, arrivals and unanticipated departures.

Although Ms. Munro was most often described as a Canadian writer, her stories evoked not Canada itself but the bittersweet triumphs, mishaps and humiliations of small town life. And in the end, every landscape served as backdrop for her central themes, which were the unpredictability of life and the betrayals that women suffer or commit — scenes redolent with autobiography.

In “The Albanian Virgin,” a celebrated story featuring a rare exotic setting as well as the familiar Canadian landscape, the female protagonist runs a bookstore in Victoria and dreamily contemplates the errant directions taken by her life: “But I was not despondent. I had made a desperate change in my life, and in spite of the regrets that I suffered every day, I was proud of that. I felt as if I had finally come out into the world in a new, true, skin.”

A Publicity-Shy ‘Plodder’

Ms. Munro shunned much of the publicity usually associated with literary success and limited her book tour appearances and readings. She often referred to herself in a self-deprecating way; she said she had not “come out of the closet” as a professional writer until she was 40, and she called herself a “plodder” because of the slow and deliberate way she worked, often writing in her nightclothes for several hours in the morning and then extensively revising her stories before sending them off.

But to critics, there was nothing plodding about her stories, which were put together so seamlessly that the many flashbacks, flash-forwards and shifts in time and place that she employed happened without notice. She often started her stories at a point where other authors might end theirs, and continued them well past the climax or denouement that would have satisfied others less driven by the twists of fate. Inevitably, this left readers to work out who exactly the narrator was and how one character was related to another.

Eventually, though, every piece would fit together. “It’s like a child’s puzzle,” the novelist Anne Tyler once said of Ms. Munro’s work. “In the most successful of the stories, the end result is a satisfying click as everything settles precisely into place.”

After the turbulence and dislocation she went through before Ms. Munro turned 40, her life and career clicked satisfyingly into place when she returned to southern Ontario. She started seeing Gerald Fremlin, a geographer, and after a brief romance married him and moved into the house in Clinton, Ontario, where he was raised.

She is survived by her daughters, Sheila, Jenny and Andrea. Sheila Munro is the author of the 2001 memoir “Lives of Mothers and Daughters: Growing Up With Alice Munro.”

She embarked on an ambitious schedule of publishing a collection of short stories every three or four years, winning praise and admiration across Canada, where she comes close to being a household literary saint. After receiving her first Governor General’s award, she won it twice more, for “Who Do You Think You Are?” in 1978 and for “The Progress of Love” in 1986.

In 1998, she received the Giller Prize for “The Love of a Good Woman,” and in 2004 she picked up another for “Runaway.” After the National Book Critics Circle agreed for the first time to consider authors from outside the United States for its award, Ms. Munro won in 1998 for “The Love of a Good Woman.”

As if she were a character in one of her stories, plagued by bad timing and unlucky happenstance, Ms. Munro was not at home when the Swedish Academy called to tell her that she had won; it had to leave a telephone message. She was in Victoria visiting her daughter, who heard the news and woke her mother at 4 a.m. Still groggy when interviewed by the CBC, Ms. Munro admitted that she’d forgotten that the prize was to be awarded that day, calling it “a splendid thing to happen,” adding, “more than I can say.”

Struggling to control her emotions, she reflected on her success and what it might mean for literature. “My stories have gotten around quite remarkably for short stories,” she told the interviewer. “I would really hope that this would make people see the short story as an important art, not something you play around with until you got a novel written.”

Lisa D. Awano and Sofia Poznansky contributed reporting.

An earlier version of this obituary misspelled the given name of an author who praised Ms. Munro’s writing. She is Anne Tyler, not Ann.

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‘A sense of calm’: Amy Tan’s writing and illustrations soar in new book about birds

In an interview, Tan describes what she hopes people will learn from her book. The celebrated author of “The Joy Luck Club” and more than a dozen other works will discuss “The Backyard Bird Chronicles” at the University of San Diego on Wednesday.

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Most of the drawings in Amy Tan’s unusual and rewarding new book, “The Backyard Bird Chronicles,” are of birds: birds at play, birds nibbling. Her book pulls from six years of journal entries about watching and studying birds in her backyard in Sausalito. But one of the drawings is not like the others.

It is a pencil sketch of Tan’s own face, peering through binoculars. In front of her eyes are two big black lenses. “What birds see: owl eyes = death,” she writes in all caps, as a caption to her self-portrait. It is a clever perspective shift in a book full of such reversals.

Tan is always wondering what the birds are seeing, feeling, thinking — about the world, about one another and about her, the quiet giant who feeds them and is always watching.

This is the book’s signature blend: ardent and undying curiosity, mixed with equal parts wit, courage and respect for her (flighty) subjects.

It may also be also some of Tan’s. The first of her seven novels, “The Joy Luck Club,” hit a nerve with readers for its unflinching portrayal of the lives of two generations of women living and dying in two continents — and became an international bestseller. She’s since written a screenplay, children’s books, more novels, several nonfiction books and has a novel in progress.

“The Backyard Bird Chronicles” is an unusual book because it’s sui generis — it’s Amy Tan’s unique take on drawing birds and reflecting on nature, survival and the state of the world. It’s made up of vignettes, a page or two long, plus her animal sketches and drawings, which improve astoundingly over the six years.

In someone else’s hands, this roughly 300-page book might have been a field guide or birding companion: workhorses for the serious hobbyist. But in Tan’s, it’s lithe, funny and never predictable.

There’s rivalry and loyalty. Love triangles and scheming. Ingenues, divas and towering villains. Even a burnt out mom. The cast: hummingbirds, owls, juncos, finches, crows, a menacing hawk, cheeky rodents and more.

The wider world also filters in: the COVID-19 pandemic and the isolation it wrought, plus wildfires, anti-Asian racism and the death of a friend.

This book was not meant for us. In an interview last week, Tan explained that she started journaling “really for myself, to find a sense of calm at a time that was very divisive in our country, and that really was upsetting — to the point it occupied my mind a lot. And I decided I needed to do something to reset my brain.”

It only became a book because her editor at Knopf, Daniel Halpern, coaxed her. “I said, ‘No, you don’t know what this really is. It’s messy. It’s, it’s got misspellings, you know, it’s all over the place.’ And he said, ‘No, I think we can do that, and the mess is authentic,’ ” Tan said.

It’s actually happened once before: Halpern also convinced her to write “Where the Past Begins,” a memoir that poet and essayist Mary Carr compared to Vladimir Nabokov’s “Speak, Memory.” Tan told a reporter in 2017, “I wrote this in a fugue state, not realizing what I was writing. It wasn’t until I was done that I became a little distressed and thought, wait a minute, this is going to be published?”

Even here, writing just for herself, Tan uses her writer’s eye to find dramas in every cranny of her leafy backyard. She’s not counting species and checking names off a list. The drawings aren’t all formal studies — quite the opposite. The sketches are cartoonish. And the birds are full-fledged characters.

Some of this was inspired by her nature journaling teacher, John Muir Laws, one of the people named in the book’s dedication. He taught her to “feel the life force of the bird,” Tan said.

“I took it a step further, being a fiction writer, and it was to ‘be the bird.’ And that way I would experience — try to experience — in my imagination, what it’s like to be a bird. Because everything that birds do, practically everything, is geared towards survival. ... And so I get to see it through their eyes what they need to do.”

Tan knows she is not a scientist, and in the book she often jokes about how she’s doing things in a non-science way. She gives the birds human attributes. She talks to them. She answers for them. She loves them.

Did being a writer and embracing that part of her — imagination, humor and emotion — help her ask better questions or tune in better or differently?

“Absolutely,” Tan answered.

Some of what she wonders: “Has anyone followed one-legged migratory birds for a year to see if they survive?” “What kind of cognitive skills would a crow possess to experience embarrassment?” and “At what point do fledglings learn they are not the center of the world?”

This isn’t just the story of birds. It’s also the story of what can happen when you open your eyes and start noticing what’s around you.

In a dense but brief interview — her voice was worn out from talking on a book and birding tour — Tan said she hopes the book will inspire readers to do the same.

“I think that many, many people are seeking some kind of peace within themselves or they need to de-stress. They need to feel they are in control of their lives when things are falling apart. And nature offers that place where they can find themselves, be restored, or find refuge from stress. It’s there and it’s free,” she said.

She also hopes readers will “get into conservation somehow, whether it is making sure that window collisions don’t happen, or advocating that outdoor cats be brought indoors, and maybe even getting involved with a conservation organization devoted to birds.”

Asked if Tan has changed over the decades, her longtime agent, Sandra Dijkstra, who has represented the author since “The Joy Luck Club,” replied in an email: “Not in my view! Amy has just grown wiser over the years, even as she has maintained her wicked sense of humor and fun, too.”

Dijkstra added: “What is truly unique and powerful for me in Amy’s new book, ‘Backyard Bird Chronicles,’ is that it offers us a novelist’s perspective on the avian world: As Amy sees and interacts with them each, these birds become like ‘characters’ in her novels. And, at its heart, ‘Backyard’ is a book about love, which we sorely need in today’s crazy world.”

Tan doesn’t know if nature journaling and bird watching will filter into her creative writing.

“I’ve spent so many years now, thousands and thousands of hours on this. I think to myself, Well, how could it not seep in, you know? And then I would have the excuse to continue to watch birds every day.”

Tan described fiction writing, as she does it, as much more vulnerable than the type of personal, narrative nonfiction that appears in her journals.

“There are parts of myself that are very deep, that I only find through writing fiction. And it makes me vulnerable also, when it’s about to be published, and now this very private side of me is going to be shared,” Tan said. “People reading the book would not recognize that that is a discovery in myself. They will just see it as part of the story or part of the character. However, I dig very, very deep in emotions in my novels.”

Journaling, you can keep doing and doing. Fiction feels more fragile.

“The recognition, the realizations that happen in fiction can be so shocking and so gratifying that you want to keep doing it,” she said. “But at the same time, you’re afraid you’re going to lose it — whatever it is that enables you to write fiction. So, this skill, this focus, this ability to create a story might suddenly abandon you: it is the fear of, I think, almost every writer.”

Has Tan ever felt that way?

“I feel that way at the end of writing a book. I’m completely drained. And then when I have to start again, I feel that maybe I don’t have it in me anymore. And then I begin. I have to get over that, and then I just start. So get over yourself. Just begin,” she said.

“The Backyard Book Chronicles” by Amy Tan (Knopf, 2024; 320 pages)

Warwick’s and the University of San Diego present Amy Tan

When: 7 p.m. Wednesday

Where: IPJ Theatre, Joan B. Kroc Institute for Peace and Justice, USD, 5555 Marian Way, San Diego

Tickets: $40.66 (includes signed copy of book)

Online: warwicks.com/event/tan-2024

[email protected]

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