language of book review

How to Write a Book Review: A Comprehensive Tutorial With Examples

You don’t need to be a literary expert to craft captivating book reviews. With one in every three readers selecting books based on insightful reviews, your opinions can guide fellow bibliophiles toward their next literary adventure.

Learning how to write a book review will not only help you excel at your assigned tasks, but you’ll also contribute valuable insights to the book-loving community and turn your passion into a professional pursuit.

In this comprehensive guide,  PaperPerk  will walk you through a few simple steps to master the art of writing book reviews so you can confidently embark on this rewarding journey.

What is a Book Review?

A book review is a critical evaluation of a book, offering insights into its content, quality, and impact. It helps readers make informed decisions about whether to read the book.

Writing a book review as an assignment benefits students in multiple ways. Firstly, it teaches them how to write a book review by developing their analytical skills as they evaluate the content, themes, and writing style .

Secondly, it enhances their ability to express opinions and provide constructive criticism. Additionally, book review assignments expose students to various publications and genres, broadening their knowledge.

Furthermore, these tasks foster essential skills for academic success, like critical thinking and the ability to synthesize information. By now, we’re sure you want to learn how to write a book review, so let’s look at the book review template first.

Table of Contents

Book Review Template

How to write a book review- a step by step guide.

Check out these 5 straightforward steps for composing the best book review.

Step 1: Planning Your Book Review – The Art of Getting Started

You’ve decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let’s take a step back and plan your approach. Since knowing how to write a book review that’s both informative and engaging is an art in itself.

Choosing Your Literature

First things first, pick the book you want to review. This might seem like a no-brainer, but selecting a book that genuinely interests you will make the review process more enjoyable and your insights more authentic.

Crafting the Master Plan

Next, create an  outline  that covers all the essential points you want to discuss in your review. This will serve as the roadmap for your writing journey.

The Devil is in the Details

As you read, note any information that stands out, whether it overwhelms, underwhelms, or simply intrigues you. Pay attention to:

• The characters and their development
• The plot and its intricacies
• Any themes, symbols, or motifs you find noteworthy

Remember to reserve a body paragraph for each point you want to discuss.

The Key Questions to Ponder

When planning your book review, consider the following questions:

• What’s the plot (if any)? Understanding the driving force behind the book will help you craft a more effective review.
• Is the plot interesting? Did the book hold your attention and keep you turning the pages?
• Are the writing techniques effective? Does the author’s style captivate you, making you want to read (or reread) the text?
• Are the characters or the information believable? Do the characters/plot/information feel real, and can you relate to them?
• Would you recommend the book to anyone? Consider if the book is worthy of being recommended, whether to impress someone or to support a point in a literature class.
• What could improve? Always keep an eye out for areas that could be improved. Providing constructive criticism can enhance the quality of literature.

Step 2 – Crafting the Perfect Introduction to Write a Book Review

In this second step of “how to write a book review,” we’re focusing on the art of creating a powerful opening that will hook your audience and set the stage for your analysis.

Identify Your Book and Author

Begin by mentioning the book you’ve chosen, including its  title  and the author’s name. This informs your readers and establishes the subject of your review.

Ponder the Title

Next, discuss the mental images or emotions the book’s title evokes in your mind . This helps your readers understand your initial feelings and expectations before diving into the book.

Judge the Book by Its Cover (Just a Little)

Take a moment to talk about the book’s cover. Did it intrigue you? Did it hint at what to expect from the story or the author’s writing style? Sharing your thoughts on the cover can offer a unique perspective on how the book presents itself to potential readers.

Present Your Thesis

Now it’s time to introduce your thesis. This statement should be a concise and insightful summary of your opinion of the book. For example:

“Normal People” by Sally Rooney is a captivating portrayal of the complexities of human relationships, exploring themes of love, class, and self-discovery with exceptional depth and authenticity.

Ensure that your thesis is relevant to the points or quotes you plan to discuss throughout your review.

Incorporating these elements into your introduction will create a strong foundation for your book review. Your readers will be eager to learn more about your thoughts and insights on the book, setting the stage for a compelling and thought-provoking analysis.

How to Write a Book Review: Step 3 – Building Brilliant Body Paragraphs

You’ve planned your review and written an attention-grabbing introduction. Now it’s time for the main event: crafting the body paragraphs of your book review. In this step of “how to write a book review,” we’ll explore the art of constructing engaging and insightful body paragraphs that will keep your readers hooked.

Summarize Without Spoilers

Begin by summarizing a specific section of the book, not revealing any major plot twists or spoilers. Your goal is to give your readers a taste of the story without ruining surprises.

Support Your Viewpoint with Quotes

Next, choose three quotes from the book that support your viewpoint or opinion. These quotes should be relevant to the section you’re summarizing and help illustrate your thoughts on the book.

Analyze the Quotes

Write a summary of each quote in your own words, explaining how it made you feel or what it led you to think about the book or the author’s writing. This analysis should provide insight into your perspective and demonstrate your understanding of the text.

Structure Your Body Paragraphs

Dedicate one body paragraph to each quote, ensuring your writing is well-connected, coherent, and easy to understand.

For example:

• In  Jane Eyre , Charlotte Brontë writes, “I am no bird; and no net ensnares me.” This powerful statement highlights Jane’s fierce independence and refusal to be trapped by societal expectations.
• In  Normal People , Sally Rooney explores the complexities of love and friendship when she writes, “It was culture as class performance, literature fetishized for its ability to take educated people on false emotional journeys.” This quote reveals the author’s astute observations on the role of culture and class in shaping personal relationships.
• In  Wuthering Heights , Emily Brontë captures the tumultuous nature of love with the quote, “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.” This poignant line emphasizes the deep, unbreakable bond between the story’s central characters.

By following these guidelines, you’ll create body paragraphs that are both captivating and insightful, enhancing your book review and providing your readers with a deeper understanding of the literary work. 

How to Write a Book Review: Step 4 – Crafting a Captivating Conclusion

You’ve navigated through planning, introductions, and body paragraphs with finesse. Now it’s time to wrap up your book review with a  conclusion that leaves a lasting impression . In this final step of “how to write a book review,” we’ll explore the art of writing a memorable and persuasive conclusion.

Summarize Your Analysis

Begin by summarizing the key points you’ve presented in the body paragraphs. This helps to remind your readers of the insights and arguments you’ve shared throughout your review.

Offer Your Final Conclusion

Next, provide a conclusion that reflects your overall feelings about the book. This is your chance to leave a lasting impression and persuade your readers to consider your perspective.

Address the Book’s Appeal

Now, answer the question: Is this book worth reading? Be clear about who would enjoy the book and who might not. Discuss the taste preferences and circumstances that make the book more appealing to some readers than others.

For example:  The Alchemist is a book that can enchant a young teen, but those who are already well-versed in classic literature might find it less engaging.

Be Subtle and Balanced

Avoid simply stating whether you “liked” or “disliked” the book. Instead, use nuanced language to convey your message. Highlight the pros and cons of reading the type of literature you’ve reviewed, offering a balanced perspective.

Bringing It All Together

By following these guidelines, you’ll craft a conclusion that leaves your readers with a clear understanding of your thoughts and opinions on the book. Your review will be a valuable resource for those considering whether to pick up the book, and your witty and insightful analysis will make your review a pleasure to read. So conquer the world of book reviews, one captivating conclusion at a time!

How to Write a Book Review: Step 5 – Rating the Book (Optional)

You’ve masterfully crafted your book review, from the introduction to the conclusion. But wait, there’s one more step you might consider before calling it a day: rating the book. In this optional step of “how to write a book review,” we’ll explore the benefits and methods of assigning a rating to the book you’ve reviewed.

Why Rate the Book?

Sometimes, when writing a professional book review, it may not be appropriate to state whether you liked or disliked the book. In such cases, assigning a rating can be an effective way to get your message across without explicitly sharing your personal opinion.

How to Rate the Book

There are various rating systems you can use to evaluate the book, such as:

• A star rating (e.g., 1 to 5 stars)
• A numerical score (e.g., 1 to 10)
• A letter grade (e.g., A+ to F)

Choose a rating system that best suits your style and the format of your review. Be consistent in your rating criteria, considering writing quality, character development, plot, and overall enjoyment.

Tips for Rating the Book

Here are some tips for rating the book effectively:

• Be honest: Your rating should reflect your true feelings about the book. Don’t inflate or deflate your rating based on external factors, such as the book’s popularity or the author’s reputation.
• Be fair:Consider the book’s merits and shortcomings when rating. Even if you didn’t enjoy the book, recognize its strengths and acknowledge them in your rating.
• Be clear: Explain the rationale behind your rating so your readers understand the factors that influenced your evaluation.

Wrapping Up

By including a rating in your book review, you provide your readers with an additional insight into your thoughts on the book. While this step is optional, it can be a valuable tool for conveying your message subtly yet effectively. So, rate those books confidently, adding a touch of wit and wisdom to your book reviews.

Additional Tips on How to Write a Book Review: A Guide

In this segment, we’ll explore additional tips on how to write a book review. Get ready to captivate your readers and make your review a memorable one!

Hook ’em with an Intriguing Introduction

Keep your introduction precise and to the point. Readers have the attention span of a goldfish these days, so don’t let them swim away in boredom. Start with a bang and keep them hooked!

Embrace the World of Fiction

When learning how to write a book review, remember that reviewing fiction is often more engaging and effective. If your professor hasn’t assigned you a specific book, dive into the realm of fiction and select a novel that piques your interest.

Opinionated with Gusto

Don’t shy away from adding your own opinion to your review. A good book review always features the writer’s viewpoint and constructive criticism. After all, your readers want to know what  you  think!

Express Your Love (or Lack Thereof)

If you adored the book, let your readers know! Use phrases like “I’ll definitely return to this book again” to convey your enthusiasm. Conversely, be honest but respectful even if the book wasn’t your cup of tea.

Templates and Examples and Expert Help: Your Trusty Sidekicks

Feeling lost? You can always get help from formats, book review examples or online  college paper writing service  platforms. These trusty sidekicks will help you navigate the world of book reviews with ease. 

Be a Champion for New Writers and Literature

Remember to uplift new writers and pieces of literature. If you want to suggest improvements, do so kindly and constructively. There’s no need to be mean about anyone’s books – we’re all in this literary adventure together!

Criticize with Clarity, Not Cruelty

When adding criticism to your review, be clear but not mean. Remember, there’s a fine line between constructive criticism and cruelty. Tread lightly and keep your reader’s feelings in mind.

Avoid the Comparison Trap

Resist the urge to compare one writer’s book with another. Every book holds its worth, and comparing them will only confuse your reader. Stick to discussing the book at hand, and let it shine in its own light.

Top 7 Mistakes and How to Avoid Them

Writing a book review can be a delightful and rewarding experience, especially when you balance analysis, wit, and personal insights. However, some common mistakes can kill the brilliance of your review. 

In this section of “how to write a book review,” we’ll explore the top 7 blunders writers commit and how to steer clear of them, with a dash of  modernist literature  examples and tips for students writing book reviews as assignments.

Succumbing to the Lure of Plot Summaries

Mistake: Diving headfirst into a plot summary instead of dissecting the book’s themes, characters, and writing style.

Example: “The Bell Jar chronicles the life of a young woman who experiences a mental breakdown.”

How to Avoid: Delve into the book’s deeper aspects, such as its portrayal of mental health, societal expectations, and the author’s distinctive narrative voice. Offer thoughtful insights and reflections, making your review a treasure trove of analysis.

Unleashing the Spoiler Kraken

Mistake: Spilling major plot twists or the ending without providing a spoiler warning, effectively ruining the reading experience for potential readers.

Example: “In Metamorphosis, the protagonist’s transformation into a monstrous insect leads to…”

How to Avoid: Tread carefully when discussing significant plot developments, and consider using spoiler warnings. Focus on the impact of these plot points on the overall narrative, character growth, or thematic resonance.

Riding the Personal Bias Express

Mistake: Allowing personal bias to hijack the review without providing sufficient evidence or reasoning to support opinions.

Example: “I detest books about existential crises, so The Sun Also Rises was a snoozefest.”

How to Avoid: While personal opinions are valid, it’s crucial to back them up with specific examples from the book. Discuss aspects like writing style, character development, or pacing to support your evaluation and provide a more balanced perspective.

Wielding the Vague Language Saber

Mistake: Resorting to generic, vague language that fails to capture the nuances of the book and can come across as clichéd.

Example: “This book was mind-blowing. It’s a must-read for everyone.”

How to Avoid: Use precise and descriptive language to express your thoughts. Employ specific examples and quotations to highlight memorable scenes, the author’s unique writing style, or the impact of the book’s themes on readers.

Ignoring the Contextualization Compass

Mistake: Neglecting to provide context about the author, genre, or cultural relevance of the book, leaving readers without a proper frame of reference.

Example: “This book is dull and unoriginal.”

How to Avoid: Offer readers a broader understanding by discussing the author’s background, the genre conventions the book adheres to or subverts, and any societal or historical contexts that inform the narrative. This helps readers appreciate the book’s uniqueness and relevance.

Overindulging in Personal Preferences

Mistake: Letting personal preferences overshadow an objective assessment of the book’s merits.

Example: “I don’t like stream-of-consciousness writing, so this book is automatically bad.”

How to Avoid: Acknowledge personal preferences but strive to evaluate the book objectively. Focus on the book’s strengths and weaknesses, considering how well it achieves its goals within its genre or intended audience.

Forgetting the Target Audience Telescope

Mistake: Failing to mention the book’s target audience or who might enjoy it, leading to confusion for potential readers.

Example: “This book is great for everyone.”

How to Avoid: Contemplate the book’s intended audience, genre, and themes. Mention who might particularly enjoy the book based on these factors, whether it’s fans of a specific genre, readers interested in character-driven stories, or those seeking thought-provoking narratives.

By dodging these common pitfalls, writers can craft insightful, balanced, and engaging book reviews that help readers make informed decisions about their reading choices.

These tips are particularly beneficial for students writing book reviews as assignments, as they ensure a well-rounded and thoughtful analysis.!

Many students requested us to cover how to write a book review. This thorough guide is sure to help you. At Paperperk, professionals are dedicated to helping students find their balance. We understand the importance of good grades, so we offer the finest writing service , ensuring students stay ahead of the curve. So seek expert help because only Paperperk is your perfect solution!

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How to Write a Book Review: The Ultimate Guide

WHAT IS A BOOK REVIEW?

Traditionally, book reviews are evaluations of a recently published book in any genre. Usually, around the 500 to 700-word mark, they briefly describe a text’s main elements while appraising the work’s strengths and weaknesses. Published book reviews can appear in newspapers, magazines, and academic journals. They provide the reader with an overview of the book itself and indicate whether or not the reviewer would recommend the book to the reader.

WHAT IS THE PURPOSE OF A BOOK REVIEW?

There was a time when book reviews were a regular appearance in every quality newspaper and many periodicals. They were essential elements in whether or not a book would sell well. A review from a heavyweight critic could often be the deciding factor in whether a book became a bestseller or a damp squib. In the last few decades, however, the book review’s influence has waned considerably, with many potential book buyers preferring to consult customer reviews on Amazon, or sites like Goodreads, before buying. As a result, book review’s appearance in newspapers, journals, and digital media has become less frequent.

WHY BOTHER TEACHING STUDENTS TO WRITE BOOK REVIEWS AT ALL?

Even in the heyday of the book review’s influence, few students who learned the craft of writing a book review became literary critics! The real value of crafting a well-written book review for a student does not lie in their ability to impact book sales. Understanding how to produce a well-written book review helps students to:

●     Engage critically with a text

●     Critically evaluate a text

●     Respond personally to a range of different writing genres

●     Improve their own reading, writing, and thinking skills.

Not to Be Confused with a Book Report!

WHAT’S THE DIFFERENCE BETWEEN A BOOK REVIEW AND A BOOK REPORT?

While the terms are often used interchangeably, there are clear differences in both the purpose and the format of the two genres. Generally speaking, book reports aim to give a more detailed outline of what occurs in a book. A book report on a work of fiction will tend to give a comprehensive account of the characters, major plot lines, and themes in the book. Book reports are usually written around the K-12 age range, while book reviews tend not to be undertaken by those at the younger end of this age range due to the need for the higher-level critical skills required in writing them. At their highest expression, book reviews are written at the college level and by professional critics.

Learn how to write a book review step by step with our complete guide for students and teachers by familiarizing yourself with the structure and features.

BOOK REVIEW STRUCTURE

ANALYZE Evaluate the book with a critical mind.

THOROUGHNESS The whole is greater than the sum of all its parts. Review the book as a WHOLE.

COMPARE Where appropriate compare to similar texts and genres.

THUMBS UP OR DOWN? You are going to have to inevitably recommend or reject this book to potential readers.

BE CONSISTENT Take a stance and stick with it throughout your review.

FEATURES OF A BOOK REVIEW

PAST TENSE You are writing about a book you have already read.

EMOTIVE LANGUAGE Whatever your stance or opinion be passionate about it. Your audience will thank you for it.

VOICE Both active and passive voice are used in recounts.

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ELEMENTS OF A BOOK REVIEW

As with any of the writing genres we teach our students, a book review can be helpfully explained in terms of criteria. While there is much to the ‘art’ of writing, there is also, thankfully, a lot of the nuts and bolts that can be listed too. Have students consider the following elements before writing:

●     Title: Often, the title of the book review will correspond to the title of the text itself, but there may also be some examination of the title’s relevance. How does it fit into the purpose of the work as a whole? Does it convey a message or reveal larger themes explored within the work?

●     Author: Within the book review, there may be some discussion of who the author is and what they have written before, especially if it relates to the current work being reviewed. There may be some mention of the author’s style and what they are best known for. If the author has received any awards or prizes, this may also be mentioned within the body of the review.

●     Genre: A book review will identify the genre that the book belongs to, whether fiction or nonfiction, poetry, romance, science-fiction, history etc. The genre will likely tie in, too with who the intended audience for the book is and what the overall purpose of the work is.

●     Book Jacket / Cover: Often, a book’s cover will contain artwork that is worthy of comment. It may contain interesting details related to the text that contribute to, or detract from, the work as a whole.

●     Structure: The book’s structure will often be heavily informed by its genre. Have students examine how the book is organized before writing their review. Does it contain a preface from a guest editor, for example? Is it written in sections or chapters? Does it have a table of contents, index, glossary etc.? While all these details may not make it into the review itself, looking at how the book is structured may reveal some interesting aspects.

●     Publisher and Price: A book review will usually contain details of who publishes the book and its cost. A review will often provide details of where the book is available too.

BOOK REVIEW KEY ELEMENTS

As students read and engage with the work they will review, they will develop a sense of the shape their review will take. This will begin with the summary. Encourage students to take notes during the reading of the work that will help them in writing the summary that will form an essential part of their review. Aspects of the book they may wish to take notes on in a work of fiction may include:

●     Characters: Who are the main characters? What are their motivations? Are they convincingly drawn? Or are they empathetic characters?

●     Themes: What are the main themes of the work? Are there recurring motifs in the work? Is the exploration of the themes deep or surface only?

●     Style: What are the key aspects of the writer’s style? How does it fit into the wider literary world?

●     Plot: What is the story’s main catalyst? What happens in the rising action? What are the story’s subplots? 

A book review will generally begin with a short summary of the work itself. However, it is important not to give too much away, remind students – no spoilers, please! For nonfiction works, this may be a summary of the main arguments of the work, again, without giving too much detail away. In a work of fiction, a book review will often summarise up to the rising action of the piece without going beyond to reveal too much!

The summary should also provide some orientation for the reader. Given the nature of the purpose of a review, it is important that students’ consider their intended audience in the writing of their review. Readers will most likely not have read the book in question and will require some orientation. This is often achieved through introductions to the main characters, themes, primary arguments etc. This will help the reader to gauge whether or not the book is of interest to them.

Once your student has summarized the work, it is time to ‘review’ in earnest. At this point, the student should begin to detail their own opinion of the book. To do this well they should:

i. Make It Personal

Often when teaching essay writing we will talk to our students about the importance of climbing up and down the ladder of abstraction. Just as it is helpful to explore large, more abstract concepts in an essay by bringing it down to Earth, in a book review, it is important that students can relate the characters, themes, ideas etc to their own lives.

Book reviews are meant to be subjective. They are opinion pieces, and opinions grow out of our experiences of life. Encourage students to link the work they are writing about to their own personal life within the body of the review. By making this personal connection to the work, students contextualize their opinions for the readers and help them to understand whether the book will be of interest to them or not in the process.

ii. Make It Universal

Just as it is important to climb down the ladder of abstraction to show how the work relates to individual life, it is important to climb upwards on the ladder too. Students should endeavor to show how the ideas explored in the book relate to the wider world. The may be in the form of the universality of the underlying themes in a work of fiction or, for example, the international implications for arguments expressed in a work of nonfiction.

iii. Support Opinions with Evidence

A book review is a subjective piece of writing by its very nature. However, just because it is subjective does not mean that opinions do not need to be justified. Make sure students understand how to back up their opinions with various forms of evidence, for example, quotations, statistics, and the use of primary and secondary sources.

EDIT AND REVISE YOUR BOOK REVIEW

As with any writing genre, encourage students to polish things up with review and revision at the end. Encourage them to proofread and check for accurate spelling throughout, with particular attention to the author’s name, character names, publisher etc. 

It is good practice too for students to double-check their use of evidence. Are statements supported? Are the statistics used correctly? Are the quotations from the text accurate? Mistakes such as these uncorrected can do great damage to the value of a book review as they can undermine the reader’s confidence in the writer’s judgement.

The discipline of writing book reviews offers students opportunities to develop their writing skills and exercise their critical faculties. Book reviews can be valuable standalone activities or serve as a part of a series of activities engaging with a central text. They can also serve as an effective springboard into later discussion work based on the ideas and issues explored in a particular book. Though the book review does not hold the sway it once did in the mind’s of the reading public, it still serves as an effective teaching tool in our classrooms today.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

BOOK REVIEW GRAPHIC ORGANIZER (TEMPLATE)

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Book and Movie review writing examples (Student Writing Samples)

Below are a collection of student writing samples of book reviews.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to both read the movie or book review in detail but also the teacher and student guides which highlight some of the key elements of writing a text review

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of book review writing.

We would recommend reading the example either a year above and below, as well as the grade you are currently working with to gain a broader appreciation of this text type .

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Book reviews Structure and language

Book reviews are sometimes used on undergraduate courses, and frequently appear in academic journals. This page considers what a book review is , how to structure one , and provides some language for writing a book review .

What is a book review?

A book review describes and critically evaluates a (usually recent) book. Like any kind of review, for example a review of a film or television programme, it will offer a description of the main points, consider the strengths and weaknesses, and give an overall evaluation, in order to allow the reader to decide whether or not it will be of interest to them and therefore a good investment of their time and money. Book reviews are sometimes used as assignments on undergraduate courses, and are a common component of academic journals. They are typically short pieces of work, around 500-750 words in length. They may sometimes be shorter or longer, but will rarely exceed 1000 words. A book review should not be confused with a book report, which is a relatively short and purely descriptive assignment, common in high school (rather than university) courses.

Structure of book reviews

A book review will usually begin with bibliographic information . This means details such as the name of the book, the name(s) of the author(s), and the publisher. Other details may be helpful, for example date and place of publication, format, edition, number of pages, price and ISBN.

The text of the review should begin with an introduction . As the review will be fairly brief, it is common to begin with an anecdote or quotation which captures the main idea of the book. The introduction will identify the author and title, specify the type of book, and state the book's subject matter. Further background detail to place the book in context may be given, for example previous work by the author in the same field, prior work by other writers in the same field, or information about the book series (if the book is part of a series). The thesis of the book, i.e. its specific contribution, may also be given, along with your own thesis, i.e. your initial appraisal of the work and key observations.

The main body of the review will provide description and critical evaluation of the text. These may be dealt with separately, with description first and evaluation next, or in combination. Although the evaluation is the more important part, the description may still take up half or two thirds of the content of the main body, in order to lay the foundation for the evaluation.

The description of the text will summarise the book. Evidence from the book, such as quotations, may be used to support the points. This part might give information on the following areas, which can later be used as criteria for evaluating the book:

• content of the book (possibly by chapter-by-chapter);
• the author's purpose;
• the intended audience;
• the author's arguments and themes;
• sources used in the book;
• how the book is organised or laid out.

The critical evaluation will present your reaction to the book. You might compare it to other (similar) books in the field, and consider its relative strengths and weaknesses. In this part you may respond to the areas above by considering key questions, as follows, to further highlight the strengths and weaknesses of the book.

• Content of the book . Is everything included? Is there too much information? Is anything essential left out?
• The author's purpose . Has the author succeeded in their purpose?
• The intended audience . Is the book appropriate for the intended audience? Why (not)? Who else might benefit from reading it?
• The author's arguments and themes . How valid or effective are the arguments and themes? Do you agree with the author's opinions? Why (not)?
• Sources used in the book . How strong are the sources? Are there enough?
• How the book is organised or laid out . Is it organised in a logical or useful way? Are there any problems? Is the layout clear and easy to use?

Finally, there should be a conclusion to the book review. This will sum up your thoughts on the book. This means summarising the book's strengths and weaknesses, indicating whether this is a useful book, whether it will make a lasting contribution to its field, whether you recommend it, and who will benefit from reading it.

Note that the above is the structure for a book review for a non-fiction work, which is the most common kind of review for university study. For a work of fiction, a similar approach can be used, though in place of the points for argument and sources, you would consider setting, plot, characters, use of language and voice when describing the book, and consider how effective each of these elements are when evaluating it.

Language for book reviews

It is important is to make sure that your views are distinct from the author's. This can be done by using the author's name, or referring to 'The author' or 'The book'.

The following phrases might be useful for summarising the contents of the book.

• The book is divided into the following parts.
• This text is divided into four main chapters focusing on...
• Section one of the book details...
• The opening chapter focuses on...
• The second section explores...
• Chapter three...
• The next chapter...
• The final chapter...

The following phrases can be used to highlight weaknesses.

• The book would benefit from...
• A nice addition to the book would be...
• The weakest area of the book is...
• The only/main/greatest weakness/drawback of the book is...

The following phrases can be used to indicate a suitable audience for the book.

• The book should appeal to those who...
• This book is applicable to...
• It would be an excellent resource for...
• The book is particularly interesting for...
• The book will be of interest to...
• This book is highly recommended to...
• ... are likely to find the book useful.
• ... would find it valuable.

The following adjectives can be used to give a positive review (negatives of these can be used for a negative review).

• informative
• interesting
• well-organised
• substantial
• comprehensive

Example review

An example book review, as well as exercises for book reviews, can be found in the book Academic Writing Genres: Essays, Reports & Other Genres , part of the EAP Foundation series of books. You can use the form below to download a sample of the book .

GET FREE EBOOK

Like the website? Try the books. Enter your email to receive a free sample from Academic Writing Genres .

Below is a checklist for book reviews. Use it to check your own writing, or get a peer (another student) to help you.

Next section

Find out more about research proposals in the next section.

Previous section

Go back to the previous section about literature reviews .

Author: Sheldon Smith    ‖    Last modified: 27 December 2022.

Sheldon Smith is the founder and editor of EAPFoundation.com. He has been teaching English for Academic Purposes since 2004. Find out more about him in the about section and connect with him on Twitter , Facebook and LinkedIn .

Compare & contrast essays examine the similarities of two or more objects, and the differences.

Cause & effect essays consider the reasons (or causes) for something, then discuss the results (or effects).

Discussion essays require you to examine both sides of a situation and to conclude by saying which side you favour.

Problem-solution essays are a sub-type of SPSE essays (Situation, Problem, Solution, Evaluation).

Transition signals are useful in achieving good cohesion and coherence in your writing.

Reporting verbs are used to link your in-text citations to the information cited.

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Blog – Posted on Friday, Mar 29

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

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

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

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

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

Pro-tip : But wait! How are you sure if you should become a book reviewer in the first place? If you're on the fence, or curious about your match with a book reviewing career, take our quick quiz:

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What must a book review contain?

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

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

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

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

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

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Book review examples for fiction books

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

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

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

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

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

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

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

Lyndsey reviews George Orwell’s 1984 on Goodreads:

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

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

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

The New York Times reviews Lisa Halliday’s Asymmetry :

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

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

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

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

In Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl.

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

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

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

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

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

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

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

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

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

Examples of children’s and YA fiction book reviews

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

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

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

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

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

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

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

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

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

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

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

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

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

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

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

Examples of genre fiction book reviews

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

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

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

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

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

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

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

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

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

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

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

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

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

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

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

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

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

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

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

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

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

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

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

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

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

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

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

Stacked Books reviews Malcolm Gladwell’s Outliers :

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

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

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

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

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

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

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

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

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

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

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

Emily May reviews Michelle Obama’s Becoming on Goodreads:

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

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

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

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

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

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

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

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

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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 Review: Awesome Guide

A book review allows students to illustrate the author's intentions of writing the piece, as well as create a criticism of the book — as a whole. In other words, form an opinion of the author's presented ideas. Check out this guide from EssayPro - book review writing service to learn how to write a book review successfully.

What Is a Book Review?

You may prosper, “what is a book review?”. Book reviews are commonly assigned students to allow them to show a clear understanding of the novel. And to check if the students have actually read the book. The essay format is highly important for your consideration, take a look at the book review format below.

Book reviews are assigned to allow students to present their own opinion regarding the author’s ideas included in the book or passage. They are a form of literary criticism that analyzes the author’s ideas, writing techniques, and quality. A book analysis is entirely opinion-based, in relevance to the book. They are good practice for those who wish to become editors, due to the fact, editing requires a lot of criticism.

Book Review Template

The book review format includes an introduction, body, and conclusion.

• Introduction
• Describe the book cover and title.
• Include any subtitles at this stage.
• Include the Author’s Name.
• Write a brief description of the novel.
• Briefly introduce the main points of the body in your book review.
• Avoid mentioning any opinions at this time.
• Use about 3 quotations from the author’s novel.
• Summarize the quotations in your own words.
• Mention your own point-of-view of the quotation.
• Remember to keep every point included in its own paragraph.
• In brief, summarize the quotations.
• In brief, summarize the explanations.
• Finish with a concluding sentence.
• This can include your final opinion of the book.
• Star-Rating (Optional).

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

Writing a book review is something that can be done with every novel. Book reviews can apply to all novels, no matter the genre. Some genres may be harder than others. On the other hand, the book review format remains the same. Take a look at these step-by-step instructions from our professional writers to learn how to write a book review in-depth.

Step 1: Planning

Create an essay outline which includes all of the main points you wish to summarise in your book analysis. Include information about the characters, details of the plot, and some other important parts of your chosen novel. Reserve a body paragraph for each point you wish to talk about.

Consider these points before writing:

• What is the plot of the book? Understanding the plot enables you to write an effective review.
• Is the plot gripping? Does the plot make you want to continue reading the novel? Did you enjoy the plot? Does it manage to grab a reader’s attention?
• Are the writing techniques used by the author effective? Does the writer imply factors in-between the lines? What are they?
• Are the characters believable? Are the characters logical? Does the book make the characters are real while reading?
• Would you recommend the book to anyone? The most important thing: would you tell others to read this book? Is it good enough? Is it bad?
• What could be better? Keep in mind the quotes that could have been presented better. Criticize the writer.

Step 2: Introduction

Presumably, you have chosen your book. To begin, mention the book title and author’s name. Talk about the cover of the book. Write a thesis statement regarding the fictitious story or non-fictional novel. Which briefly describes the quoted material in the book review.

Step 3: Body

Choose a specific chapter or scenario to summarise. Include about 3 quotes in the body. Create summaries of each quote in your own words. It is also encouraged to include your own point-of-view and the way you interpret the quote. It is highly important to have one quote per paragraph.

Step 4: Conclusion

Write a summary of the summarised quotations and explanations, included in the body paragraphs. After doing so, finish book analysis with a concluding sentence to show the bigger picture of the book. Think to yourself, “Is it worth reading?”, and answer the question in black and white. However, write in-between the lines. Avoid stating “I like/dislike this book.”

Step 5: Rate the Book (Optional)

After writing a book review, you may want to include a rating. Including a star-rating provides further insight into the quality of the book, to your readers. Book reviews with star-ratings can be more effective, compared to those which don’t. Though, this is entirely optional.

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Dive into literary analysis with EssayPro . Our experts can help you craft insightful book reviews that delve deep into the themes, characters, and narratives of your chosen books. Enhance your understanding and appreciation of literature with us.

Writing Tips

Here is the list of tips for the book review:

• A long introduction can certainly lower one’s grade: keep the beginning short. Readers don’t like to read the long introduction for any essay style.
• It is advisable to write book reviews about fiction: it is not a must. Though, reviewing fiction can be far more effective than writing about a piece of nonfiction
• Avoid Comparing: avoid comparing your chosen novel with other books you have previously read. Doing so can be confusing for the reader.
• Opinion Matters: including your own point-of-view is something that is often encouraged when writing book reviews.
• Refer to Templates: a book review template can help a student get a clearer understanding of the required writing style.
• Don’t be Afraid to Criticize: usually, your own opinion isn’t required for academic papers below Ph.D. level. On the other hand, for book reviews, there’s an exception.
• Use Positivity: include a fair amount of positive comments and criticism.
• Review The Chosen Novel: avoid making things up. Review only what is presented in the chosen book.
• Enjoyed the book? If you loved reading the book, state it. Doing so makes your book analysis more personalized.

Writing a book review is something worth thinking about. Professors commonly assign this form of an assignment to students to enable them to express a grasp of a novel. Following the book review format is highly useful for beginners, as well as reading step-by-step instructions. Writing tips is also useful for people who are new to this essay type. If you need a book review or essay, ask our book report writing services ' write paper for me ' and we'll give you a hand asap!

We also recommend that everyone read the article about essay topics . It will help broaden your horizons in writing a book review as well as other papers.

Book Review Examples

Referring to a book review example is highly useful to those who wish to get a clearer understanding of how to review a book. Take a look at our examples written by our professional writers. Click on the button to open the book review examples and feel free to use them as a reference.

Book review

Kenneth Grahame’s ‘The Wind in the Willows’

Kenneth Grahame’s ‘The Wind in the Willows’ is a novel aimed at youngsters. The plot, itself, is not American humor, but that of Great Britain. In terms of sarcasm, and British-related jokes. The novel illustrates a fair mix of the relationships between the human-like animals, and wildlife. The narrative acts as an important milestone in post-Victorian children’s literature.

Book Review

Dr. John’s ‘Pollution’

Dr. John’s ‘Pollution’ consists of 3 major parts. The first part is all about the polluted ocean. The second being about the pollution of the sky. The third part is an in-depth study of how humans can resolve these issues. The book is a piece of non-fiction that focuses on modern-day pollution ordeals faced by both animals and humans on Planet Earth. It also focuses on climate change, being the result of the global pollution ordeal.

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How To Write A Book Review?

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

• How To Write A Review: Cambridge B2 First

• Posted on 24/07/2019
• Categories: Blog
• Tags: B2 First , Cambridge Exams , FCE , First Certificate , Resources to learn English , Writing

Students who are taking their B2 First Certificate exam (FCE) will be asked to do two pieces of writing within an 80 minute time limit. Part 1 is always an essay . Part 2 is where you can get a bit more creative. You might, for example, be asked to write a letter, a report or a review, all of which have their own style and set guidelines.

When writing a review it can be difficult to know where to start. But don’t be afraid! We are here to help you every step of the way.

Remember a review could be for a book, a film, a magazine, a restaurant or even a product .

Three steps to writing a great review

Let’s start with something simple. Imagine. You turn over the page to your writing part 2 and you see this question:

Question taken from Cambridge Assessment English website . (Feb 2018)

Step One: Make a plan

The first thing to do is to make a plan, just like we did in our B2 First essay guidelines .

Think of a book you read in which the main character behaved in a surprising way. This could be surprising in a good way, where the character does something amazing and helps somebody. Or maybe there’s a twist at the end and the character does something really shocking. Either way take some time to really think about your choice.

E.g. I’m going to choose The Great Gatsby, because I had to read the book 3 times when I was at school and I’ve seen the film so I feel like I know it really well .

The structure

Next, think of the structure. Consider all the parts of the question and use that to help organise your review. Make notes about the following:

• An interesting title
• A catchy introduction
• A summary of the plot
• A surprising moment
• Your recommendation

Remember you’re going to want to separate these with clear paragraphs that are going to help the examiner read to the end without getting a headache.

You also need to consider the tone and how the review should sound to the reader. Remember this is for a magazine. Think about all the magazines you like to read. You want to sound chatty and grab the reader’s attention, but not bore them to sleep. Think semi-formal but friendly!

Useful Vocabulary

Now brainstorm some useful vocabulary for your chosen book, including lots of adjectives. Avoid using boring adjectives like good or bad . It’s much more exciting to say ‘amazing’ and ‘disappointing’ or ‘ terrific ’ and ‘terrible’ .

Here’s some more useful vocabulary to get you started:

superficial / deceptive / fascinating / unbelievable / rich / lonely / kind / reserved/ to be set in / to be written by / prosperity / characters / jazz age / protagonist / atmosphere / author / chapter / ending / fictional towns / prohibition / novel / on the outskirts / sad story.

Your next step is to think of some linking phrases. These are going to help tie together your thoughts and bring your review to life!

• Overall if you like…
• I was pleasantly surprised by…
• In fact…
• What I disliked the most was…
• The book contains…
• As well as…
• This well-written book…
• Unbelievably…

Step Two: Write it

Once you have a solid plan, writing your review should be easy!

First start with an interesting title. E.g. The Unexpected Anti-Hero. It relates to both the book that’s being reviewed and the question. It’s also short and snappy .

Next write an engaging introduction. Maybe start with a rhetorical question, for example:

Are you a fan of the Jazz Age? Then this is the book for you!

Or a general statement about the book that will hook the reader:

The Great Gatsby is a classic, with many twists and turns.

You could also give some background information. Here we use the past simple:

The Great Gatsby was written by F.S.Fitzgerald and is set in prosperous Long Island in 1922.

The second paragraph should summarise the plot (note – we usually describe a story in present tense ):

Gatsby is a mysterious character, he has big extravagant parties, and we never know if we can trust him.

The third paragraph is where we introduce the surprising moment and reveal what the main character did and why it was surprising:

• The most shocking part is when…
• I couldn’t believe it when…
• It was so surprising when…

In the fourth paragraph, give a recommendation! Here the examiner wants to hear your overall opinion. It can be something simple:

• I strongly recommend..

Or something more inventive:

• I wouldn’t read the novel again because…
• Everyone should read this immediately!

But don’t forget to say why!

Step Three: Check it

Now you have your winning book review it’s time to check for all those little (and big) mistakes.

Make sure you check:

• You’ve answered all parts of the question.
• It is easy to read.
• Your spelling is correct.
• You’ve used the 3rd person(s).
• You have used punctuation.
• There’s a variety of nouns and adjectives.
• Pick a book you know quite well! Whether it’s Harry Potter or The Hunger Games , make sure you have lots to say about it!
• Don’t be afraid to give both negative and positive opinions!
• Experiment with using first person and try addressing the reader with ‘you’.
• Read lots of real authentic reviews online, anything from holidays to music concerts, exhibitions to video games!
• Remember to put some of your own personality into your review. Have some fun with it and good luck!

Follow the links for some excellent phrases and vocabulary for other types of reviews.

Restaurant Reviews

Film Reviews

TV / Theatre Reviews

Exhibition & Concert Reviews

Here are some more sample questions for you to practice on your own:

Choose one and post your reviews in the comments section.

Glossary for Language Learners

Find the following words in the article and then write down any new ones you didn’t know.

Twist (n): : a sudden change in a story that you do not expect..

Chatty (adj): having a friendly style.

Avoid doing something (v): to intentionally not do something.

Terrific (adj): excellent.

Snappy (adj): concise.

Hook (v): to catch.

adj = adjective

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8 Hidden Benefits of Being Bilingual

• By: oxfordadmin
• Posted on 17/07/2019

4 Past Tenses and When to Use Them

• Posted on 31/07/2019

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How to Speak New York

In “Language City,” the linguist Ross Perlin chronicles some of the precious traditions hanging on in the world’s most linguistically diverse metropolis.

While Massachusetts and Virginia were English-only colonies, from its founding New York has been a haven for different languages. Credit... Public/Official

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LANGUAGE CITY: The Fight to Preserve Endangered Mother Tongues in New York, by Ross Perlin

“Up on the sixth floor of an old commercial building along the sunless canyon of 18th Street, there is a room where languages from all over the world converge.” It makes sense that the Endangered Language Alliance, the only organization in the world focused on “the linguistic diversity of cities,” lives here, in a donated office in the most linguistically diverse metropolis on earth. It is also here that Ross Perlin begins “Language City,” his gorgeous new narrative of New York, as told through the hundreds of languages spoken in its five boroughs.

On any given day, the E.L.A.’s cramped office bursts with people singing in Bishnupriya Manipuri (originally from Bangladesh), writing in Tsou (Taiwan) and recording in Ikota (Gabon). A caller from the Bronx, with a voice “full of longing,” seeks recordings of the language he left at the Mali-Burkina Faso border when he was 7.

Perlin, the co-director of the E.L.A. and an accomplished linguist himself, explains that up to half of the world’s 7,000 languages are likely to die over the next few centuries. But his book is less a lament for the deaths of endangered languages than an account of how, like their speakers, they have built new lives in a place where half the residents speak a language other than English at home.

Perlin retells the familiar story of the city through the lens of its exceptional linguistic history, beginning with Indigenous languages like Lenape (in which Manaháhtaan means “the place where we get bows”). Early settlers included the first 32 Walloon families to live permanently in New Amsterdam and enslaved Kikongo speakers from the Kingdom of the Kongo.

While Massachusetts and Virginia were “fanatically intolerant English-only colonies,” New Amsterdam did not seem to care; in 1643, a priest wrote of finding 18 languages among just a few hundred men. New Yorke soon boasted not just languages like English, Spanish, French and Russian, but also Basque and Breton, Catalan and Maltese. Some 200 years later, the Hart-Celler Act of 1965, which ended longstanding national-origin immigration quotas, helped make Bengali and Urdu two of the city’s most widely spoken languages.

Throughout, Perlin never misses the chance to reinforce a key point: The history of New York’s lesser-known languages is also that of the traumas of many speakers. Some fled genocide (as in the cases of Western Armenian and Judeo-Greek), others mass deportation (languages of the North Caucuses), racial violence (Gullah, an English-based Creole) or starvation (Irish). Linguistic minorities “have been overrepresented in diaspora,” Perlin points out, because they are “hit hardest by conflict, catastrophe and privation and thus impelled to leave.”

Perlin’s excellent account of the present-day city chronicles six New Yorkers all working, in some way, to extend the lives of their languages. This includes Rasmina, who takes Perlin to “380,” a six-story apartment building in Flatbush that has housed over 100 of the world’s 700 speakers of Seke, a Tibetan-Burman language. Ibrahima runs a website in N’ko, a West African alphabet created in 1949, and Irwin writes poetry in Nahuatl, an Indigenous language he absorbed while listening in at his grandfather’s grocery store in Mexico.

Husniya plans children’s books in Wakhi, a Pamiri language spoken where Tajikistan, Pakistan, Afghanistan and China meet. Dianne, probably the last native speaker of Lenape, tells Perlin wistfully, “Now there’s nowhere to hear the language outside the walls of my head.”

It’s hard to be hopeful. Intergenerational transfer of endangered languages is particularly difficult. Still, Perlin builds a compelling case for why preserving them matters not just for the speakers, but for humanity itself. It’s an argument he lives in his own life. (I invite you, too, to binge-watch Perlin’s fascinating YouTube dispatches from China — in Yiddish. ) But change is inevitable. As Perlin says, “Someday English, too, will be down to its last speaker.”

About halfway through reading “Language City,” I reached for the Bible, looking for the story of the Tower of Babel. I knew the basics of the Genesis story: At a time when the world had “one language and a common speech,” the people of Babel decided to build a city, with a tower reaching to heaven. God disapproved and “confused” their language “so they would not understand each other.” Work on the city — and the tower — halted.

But I’d forgotten what happened next: God scattered the people of Babel over the face of the earth. “Language City” is a deft refutation of this parable’s moral. Far from scattering, people have instead converged on the city, bringing their words with them. And New York’s towers have never risen higher.

LANGUAGE CITY : The Fight to Preserve Endangered Mother Tongues in New York | By Ross Perlin | Atlantic Monthly Press | 415 pp. | $28

The Migrant Crisis in New York City

The arrival of more than 100,000 migrants over the past year has become a crisis for the city’s shelter system, schools and budget..

The Crisis, Explained: Why are large numbers of migrants coming to New York City? And how is the city responding? Here is what to know .

Debit Cards For Migrants: New York City officials are moving ahead with a contentious plan to give migrant families debit cards for food and baby supplies, with the first cards being distributed  to a small handful of new arrivals.

Missing School to Work : Migrant children selling candy during school hours can frequently be seen in the subway. The situation breaks several laws and rules, but whose job is it to do something about it ?

A Growing Group: Amid the influx of people from Latin America, thousands of Chinese migrants  have also made their way to New York City, with many crossing into the United States through the southern border.

A Struggling Relocation Effort: A $25 million program designed to resettle 1,250 migrant families across New York State is floundering, having moved only about 170 households  and barely easing the burden on the city’s shelter system.

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Stop trying to make language ‘funner.’ Grammar rules exist for a reason.

Anne curzan’s book ‘says who’ goes too far in renouncing the fundamental rules of language usage.

Because my no-nonsense mother habitually said “He don’t” and “She don’t,” and my moody steelworker father never opened a book after he quit school at 16, it may seem surprising that I became a stickler for correct English as well as a serious reader. Or perhaps not. To this day, though, I dislike faddish words, vulgarisms, most slang, weaselly euphemisms, clichés, and prose styles that are overly chummy, preachy or hip. When I write, I do my best to sound grown-up but try not to come across as a bewildered holdover from the 19th century.

So I should have been wary when I picked up Anne Curzan’s “ Says Who? A Kinder, Funner Usage Guide for Everyone Who Cares About Words .” “Funner” provocatively signals that this isn’t a book for someone, like me, who once devoted his days and nights to Robert Graves and Alan Hodge’s “The Reader Over Your Shoulder,” William Strunk and E.B. White’s “The Elements of Style,” Theodore M. Bernstein’s “The Careful Writer,” and William Zinsser’s “On Writing Well.” Instead, “Says Who?” pointedly aims to defuse common anxieties over what is “proper” and “improper” usage.

To do this, Curzan, dean of the College of Literature, Science and the Arts at the University of Michigan, contends that virtually every grammar or vocabulary no-no you learned from Miss Thistlebottom is wrong or out of date. In olden days, a grammatical slip was looked on as something shocking, but now, it would seem, almost anything goes. You can use “like” instead of “as” and “as if,” “who” instead of “whom,” even “irregardless,” regardless of the mute scorn of linguistic “grammandos.” For these last, the barbarisms are always at the gates.

Curzan does underscore that context and social situation should always be considered when we write and speak. As my father used to warn me when I was launching into some heated, clearly ill-advised back talk, “Watch your language, boy.” I quickly did, if I knew what was good for me. The same advice, minus the “boy,” is good for anyone. So is adjusting your words to your audience. You don’t write to your boss in the same way you talk to your children or the way you try to chat up an attractive stranger in a bar.

Curzan repeatedly emphasizes that language evolves, that we should welcome change, that new words express new ideas and thoughts. No one would argue otherwise. Yet rules define any game. Without them, games wouldn’t even exist. Similarly, the traditional principles of sentence structure, verb agreement and even spelling ensure effective and clear communication. Grammar helps us to say what we mean and others to know rather than guess what we’re talking about.

In her own prose, Curzan tries hard to downplay any soupçon of the didactic by adopting an up-to-date, friendly cheeriness. For my taste, she goes too far. She loads on the maple syrup, tacitly assuming that no one will pay attention to her linguistic points without a lot of sweetening. Perhaps she’s right, but I find this approach implicitly demeaning. But then, I would probably register somewhere in the middle of what Curzan calls her “crankiness meter.”

I say “middle” because I do agree with Curzan about the importance of what she calls “kinder,” more inclusive language and usage that avoids giving offense. To advocate for such sensitivity is a key purpose of her book. As she notes, it’s one thing to say “How tall is he?” and quite another to ask “How short is he?” Though essentially the same question, one is neutral and the other judgmental.

Yet even if we all need to be more understanding and less captious about some aspects of our changing language, Curzan doesn’t stress strongly enough the consequences of using vulgar, ugly and slovenly English. As with clothes and manners, the issue is what the sociologist Erving Goffman called the presentation of self in everyday life. Miss Eliza Doolittle can testify that if you talk like a Cockney flower girl, the world will regard you as a Cockney flower girl, but if you talk like a duchess, it will treat you as one. Fundamentally, you may be as gentle and sensitive as Saint Francis of Assisi, but if your English is loose, ungrammatical and crude, or alternatively if it’s pretentious, circumlocutory and condescending, people will think you are either stupid or a pompous blowhard. It’s hard to undo the effects of first impressions.

Verbal tics are particularly insidious. If you continually use “like” in, like, every other sentence you, like, say, it will not only drive others crazy but also brand you as essentially ditsy. If you regularly resort to prefabricated idioms — such as “at the end of the day,” “drain the swamp” or “on the same page” — you aren’t really thinking; your mind has simply turned on the cruise control.

To my old-fashioned mind, the adult use of street lingo, locker room demotic or teen slang, coupled with a lax attitude toward traditional grammar, often indicates a somewhat pathetic nostalgie de la boue. The poor and marginalized are thought to be more genuine, more vital, more imaginative than the dull middle class and the etiolated rich. It’s pretty to think so. However, my parents knew that sounding uneducated, ungrammatical or illiterate isn’t funner; it makes you a figure of fun. The world belongs to those who are taken seriously.

When I was young, I didn’t want to be regarded as a yokel, and that meant avoiding the yokelisms spoken all around me. Through language — that is, through reading, writing and speech — I hoped to better myself. I listened to recordings of Richard Burton and John Gielgud reciting poetry, Vincent Price and Basil Rathbone reading Poe’s short stories. At about the age of 14, I even unearthed a Victorian translation of Demosthenes’ orations and — this is absolutely true — was soon declaiming them to a bathroom’s tiled walls, sometimes following the ancient Greek’s training method by placing a few pebbles in my mouth. When Benjamin Franklin in his autobiography and Somerset Maugham in “The Summing Up” extolled the prose of the 18th century, I paid attention. Addison, Voltaire and Swift — these were the masters of concision, clarity, elegance and wit. I adopted these classical ideals as my own, though part of me has always secretly hankered to write with the baroque grandeur and all-stops-out organ roll of Sir Thomas Browne, Robert Burton and Jeremy Taylor.

Effective prose, in truth, doesn’t resemble conversation. It’s more like sculpting with clay. You start with an inchoate mass, shape it a bit, hate the result, start over, try this, try that, give up, slink away in disgust, come back, work some more and eventually end up with something that looks vaguely like a pot or an essay. Above all, though, as my favorite ghost story author, Vernon Lee, observed in “The Handling of Words,” the craft of the writer consists “in manipulating the contents of the Reader’s mind.” She added that “construction” — and that includes word choice — “means thinking out the results of every movement you set up in the Reader’s mind, how that movement will work into, help, or mar the other movements which you have set up there already, or which you will require to set up there in the future.”

To communicate ideas effectively, clarity must always remain paramount, but that doesn’t preclude an occasional rhetorical flourish or madcap turn of phrase. Nonetheless, tread carefully: Flashy prose, slang and pop references will sound hokey and dated in 20 years. That groovy Beat poetry, man, you can still dig it, though you really need to have bongos. Tom Wolfe’s Kandy-Kolored, Tangerine-Flaked, over-the-top style now screams “It’s the Age of Aquarius!” While it’s essential to write for one’s own time, a more restrained diction can often result in a longer shelf life for even supposedly deathless prose.

Still, avoiding mass-speak doesn’t mean you should go panting after show-offy, recherché diction. Anyone can use a thesaurus. Except under highly specialized circumstances, most of which are hard to imagine, never, ever use “sockdolager,” “rupestrian,” “solatium” or “gallinaceous” in a sentence. All these, by the way, were recently emailed to me from a website called Word Genius. I’ve already forgotten what they mean.

Polonius once asked Hamlet, “What do you read, my lord?” To which the melancholy Dane answered, “Words, words, words.” Anne Curzan and I both love the English language, she being more accepting of the new, while I instinctively value established grammar and usage as bulwarks against confusion, not a set of fetters that bind us. We both agree that people’s use of English brings consequences, often unforeseen and unintended. All of us, then, need to choose our words wisely. But which ones? “That,” as Hamlet once also said, “is the question.”

A Kinder, Funner Usage Guide for Everyone Who Cares About Words

By Anne Curzan

Crown. 336 pp. $29

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THE LANGUAGE INSTINCT

How the mind creates language.

by Steven Pinker ‧ RELEASE DATE: Feb. 24, 1994

Another in a series of books (Joel Davis's Mother Tongue , p. 1303; Ray Jackendorf's Patterns in the Mind, p. 1439) popularizing Chomsky's once controversial theories explaining the biological basis of language. Variously mellow, intense, and bemused—but never boring—Pinker (Director, Center for Cognitive Neuroscience/MIT), emphasizes Darwinian theory and defines language as a "biological adaptation to communicate." While Pinker bases his argument on the innate nature of language, he situates language in that transitional area between instinct and learned behavior, between nature and culture. Starting with what he calls a "grammar gene," Pinker describes the way primitives, children (his special interest), even the deaf evolve natural languages responding to the universal need to communicate. He refutes the "comic history" of linguistic determinism, the belief that language shapes thinking, undermining it with examples from music, mathematics, and kinship theory. Following his lively, user-friendly demonstration of even the most forbidding aspects of linguistics, and his discussion of vocabulary, how words are acquired, built, and used, he rises to a celebration of the "harmony between the mind...and the texture of reality." This theme, the power and mystery of the human mind, permeates Pinker's engaging study, balanced with the more sober scientific belief that the mind is an "adapted computational model": "To a scientist," he writes, "the fundamental fact of human language is its sheer improbability." Among the many interesting though not sequential ideas: If language is innate, biologically based, then it can't be taught either to animals or computers. Pinker shows why adults have difficulty learning a foreign language, and he mediates coolly between rules and usage, between systematic and non-prescriptive grammar. Designed for a popular audience, this is in fact a hefty read full of wonder and wisdom.

Pub Date: Feb. 24, 1994

ISBN: 0061336467

Page Count: 388

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 1993

SCIENCE & TECHNOLOGY

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by Steven Pinker

THE RIGHT STUFF

by Tom Wolfe ‧ RELEASE DATE: Sept. 24, 1979

Yes: it's high time for a de-romanticized, de-mythified, close-up retelling of the U.S. Space Program's launching—the inside story of those first seven astronauts. But no: jazzy, jivey, exclamation-pointed, italicized Tom Wolfe "Mr. Overkill" hasn't really got the fight stuff for the job. Admittedly, he covers all the ground. He begins with the competitive, macho world of test pilots from which the astronauts came (thus being grossly overqualified to just sit in a controlled capsule); he follows the choosing of the Seven, the preparations for space flight, the flights themselves, the feelings of the wives; and he presents the breathless press coverage, the sudden celebrity, the glorification. He even throws in some of the technology. But instead of replacing the heroic standard version with the ring of truth, Wolfe merely offers an alternative myth: a surreal, satiric, often cartoony Wolfe-arama that, especially since there isn't a bit of documentation along the way, has one constantly wondering if anything really happened the way Wolfe tells it. His astronauts (referred to as "the brethren" or "The True Brothers") are obsessed with having the "right stuff" that certain blend of guts and smarts that spells pilot success. The Press is a ravenous fool, always referred to as "the eternal Victorian Gent": when Walter Cronkite's voice breaks while reporting a possible astronaut death, "There was the Press the Genteel Gent, coming up with the appropriate emotion. . . live. . . with no prompting whatsoever!" And, most off-puttingly, Wolfe presumes to enter the minds of one and all: he's with near-drowing Gus Grissom ("Cox. . . That face up there!—it's Cox. . . Cox knew how to get people out of here! . . . Cox! . . ."); he's with Betty Grissom angry about not staying at Holiday Inn ("Now. . . they truly owed her"); and, in a crude hatchet-job, he's with John Glenn furious at Al Shepard's being chosen for the first flight, pontificating to the others about their licentious behavior, or holding onto his self-image during his flight ("Oh, yes! I've been here before! And I am immune! I don't get into corners I can't get out of! . . . The Presbyterian Pilot was not about to foul up. His pipeline to dear Lord could not be clearer"). Certainly there's much here that Wolfe is quite right about, much that people will be interested in hearing: the P-R whitewash of Grissom's foul-up, the Life magazine excesses, the inter-astronaut tensions. And, for those who want to give Wolfe the benefit of the doubt throughout, there are emotional reconstructions that are juicily shrill. But most readers outside the slick urban Wolfe orbit will find credibility fatally undermined by the self-indulgent digressions, the stylistic excesses, and the broadly satiric, anti-All-American stance; and, though The Right Stuff has enough energy, sass, and dirt to attract an audience, it mostly suggests that until Wolfe can put his subject first and his preening writing-persona second, he probably won't be a convincing chronicler of anything much weightier than radical chic.

Pub Date: Sept. 24, 1979

ISBN: 0312427565

Page Count: 370

Publisher: Farrar, Straus and Giroux

Review Posted Online: Oct. 13, 2011

Kirkus Reviews Issue: Sept. 1, 1979

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by Tom Wolfe

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BOOK TO SCREEN

WHY FISH DON'T EXIST

A story of loss, love, and the hidden order of life.

by Lulu Miller illustrated by Kate Samworth ‧ RELEASE DATE: April 14, 2020

A quirky wonder of a book.

A Peabody Award–winning NPR science reporter chronicles the life of a turn-of-the-century scientist and how her quest led to significant revelations about the meaning of order, chaos, and her own existence.

Miller began doing research on David Starr Jordan (1851-1931) to understand how he had managed to carry on after the 1906 San Francisco earthquake destroyed his work. A taxonomist who is credited with discovering “a full  fifth  of fish known to man in his day,” Jordan had amassed an unparalleled collection of ichthyological specimens. Gathering up all the fish he could save, Jordan sewed the nameplates that had been on the destroyed jars directly onto the fish. His perseverance intrigued the author, who also discusses the struggles she underwent after her affair with a woman ended a heterosexual relationship. Born into an upstate New York farm family, Jordan attended Cornell and then became an itinerant scholar and field researcher until he landed at Indiana University, where his first ichthyological collection was destroyed by lightning. In between this catastrophe and others involving family members’ deaths, he reconstructed his collection. Later, he was appointed as the founding president of Stanford, where he evolved into a Machiavellian figure who trampled on colleagues and sang the praises of eugenics. Miller concludes that Jordan displayed the characteristics of someone who relied on “positive illusions” to rebound from disaster and that his stand on eugenics came from a belief in “a divine hierarchy from bacteria to humans that point[ed]…toward better.” Considering recent research that negates biological hierarchies, the author then suggests that Jordan’s beloved taxonomic category—fish—does not exist. Part biography, part science report, and part meditation on how the chaos that caused Miller’s existential misery could also bring self-acceptance and a loving wife, this unique book is an ingenious celebration of diversity and the mysterious order that underlies all existence.

Pub Date: April 14, 2020

ISBN: 978-1-5011-6027-1

Page Count: 224

Publisher: Simon & Schuster

Review Posted Online: Jan. 1, 2020

Kirkus Reviews Issue: Feb. 1, 2020

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The loom of language, by frederick bodmer (a review).

The first half of the 20 th century was a heady time for language learning and study. The field of philology (now commonly called historical linguistics) was at its zenith. Much of the evolution of the Proto-Indo European language family had been worked out. The hope that a world-wide auxiliary language, such as Esperanto , would be adopted internationally had not yet been utterly dashed by the two World Wars.

In this milieu, Frederick Bodmer published The Loom of Language , an erudite guide on how to study multiple languages efficiently. Bodmer was a professor of philology at MIT during this time. He was succeeded there in 1955 by Noam Chomsky, whose revolutionary ideas were responsible as much as anything for changing philology into what we think of as modern linguistics.

The book was edited by Bodmer’s friend Lancelot Hogben , a zoologist turned popular science writer and inventor of the auxiliary language Interglossa , and was part of a series of books entitled Primers for the Age of Plenty that also included volumes on mathematics, general science, and history. The science and history books are long out of print, but the mathematics book, Mathematics for the Million , remains available. (I, of course, own a copy and will review it eventually…)

There is so much great information in here that it requires repeat readings over several years, especially Part II. Consider this book a meta-manual for learning how to learn languages.

It is divided into four parts. Part I is a “natural history” of language. Part II covers the “hybrid heritage” of English as a language which straddles the Germanic and Romance branches of the Indo-European language tree. Part III covers language problems and planning movements. Part IV is a “language museum” of comparative vocabulary tables.

The most fascinating feature of this book is how it frames being a native English speaker as a positive, not a negative. While speaking English might be a disincentive to learn other languages, it can also be a great base to learn from due to its hybrid Germanic/Romantic vocabulary. As such, the book covers Swedish, Danish, Dutch, and German in the Teutonic track and French, Spanish, Portuguese, and Italian in the Romance track, not to mention plenty of discussion of parent languages like Latin and Old English.

The Loom of Language shares much information and spirit with The Seven Sieves . The latter is also very good, but Loom is more comprehensive and easier to find. There is even a scanned copy available on Archive.org .

As I said above, Part II is a treasure trove. Bodmer distills everything a student needs to know about sound correspondences, etc. to make connections across the outlined languages and accelerate learning. The only annoyance is that the huge tables in Part IV aren’t available online somewhere as spreadsheets (the book is almost a century old after all) so one could import them into a spaced repetition system like Anki for efficient learning. I typed these out as Google spreadsheets for my own use. I’ve made them available here: Romance Word List , Germanic Word List , and the Greek Roots List from the language museum. Importing into Anki or suchlike is pretty easy.

With the growth of the “polyglot” trend online, resources that purport to teach you how to learn languages quickly are increasingly common. Fluent in 3 Months by Benny Lewis and Fluent Forever by Gabriel Wyner are two notable examples. However, few of these modern books come close to the rigor of Bodmer’s tome.

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The Modern Language Review , an English-language quarterly journal appearing continuously since 1905, publishes articles and book reviews on modern and medieval European languages, literatures, and cultures around the globe where European languages are spoken. The journal welcomes scholarship that takes a global or comparative approach as well as articles that appeal to a broad cross-section of scholars working on areas including, but not limited to, literature, the visual and performing arts, sociolinguistics, cultural history, and translation studies. All contributions are in English. The General Editor is Lucy O’Meara. We encourage submissions from scholars at all stages, including postgraduate researchers.

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Volume 112, 2017

• Volume 112, Part 4, October 2017
• Volume 112, Part 3, July 2017
• Volume 112, Part 2, April 2017
• Volume 112, Part 1, January 2017

Volume 111, 2016

• Volume 111, Part 4, October 2016
• Volume 111, Part 3, July 2016
• Volume 111, Part 2, April 2016
• Volume 111, Part 1, January 2016

Volume 110, 2015

• Volume 110, Part 4, October 2015
• Volume 110, Part 3, July 2015
• Volume 110, Part 2, April 2015
• Volume 110, Part 1, January 2015

Volume 109, 2014

• Volume 109, Part 4, October 2014
• Volume 109, Part 3, July 2014
• Volume 109, Part 2, April 2014
• Volume 109, Part 1, January 2014

Volume 108, 2013

• Volume 108, Part 4, October 2013
• Volume 108, Part 3, July 2013
• Volume 108, Part 2, April 2013
• Volume 108, Part 1, January 2013

Volume 107, 2012

• Volume 107, Part 4, October 2012
• Volume 107, Part 3, July 2012
• Volume 107, Part 2, April 2012
• Volume 107, Part 1, January 2012

Volume 106, 2011

• Volume 106, Part 4, October 2011
• Volume 106, Part 3, July 2011
• Volume 106, Part 2, April 2011
• Volume 106, Part 1, January 2011

Volume 105, 2010

• Volume 105, Part 4, October 2010
• Volume 105, Part 3, July 2010
• Volume 105, Part 2, April 2010
• Volume 105, Part 1, January 2010

Volume 104, 2009

• Volume 104, Part 4, October 2009
• Volume 104, Part 3, July 2009
• Volume 104, Part 2, April 2009
• Volume 104, Part 1, January 2009

Volume 103, 2008

• Volume 103, Part 4, October
• Volume 103, Part 3, July
• Volume 103, Part 2, April
• Volume 103, Part 1, January

Volume 102, 2007

• Volume 102, Part 4, October 2007
• Volume 102, Part 3, July 2007
• Volume 102, Part 2, April 2007
• Volume 102, Part 1, January 2007

Volume 101, 2006

• Volume 101, Part 4, October 2006
• Volume 101, Part 3, July 2006
• Volume 101, Part 2, April 2006
• Volume 101, Part 1, January 2006

Volume 100, 2005

• Volume 100, Supplement: One Hundred Years of MLR General and Comparative Studies 2005
• Volume 100, Part 4, October 2005
• Volume 100, Part 3, July 2005
• Volume 100, Part 2, April 2005
• Volume 100, Part 1, January 2005

Volume 99, 2004

• Volume 99, Part 4, October 2004
• Volume 99, Part 3, July 2004
• Volume 99, Part 2, April 2004
• Volume 99, Part 1, January 2004

Volume 98, 2003

• Volume 98, Part 4, October 2003
• Volume 98, Part 3, July 2003
• Volume 98, Part 2, April 2003
• Volume 98, Part 1, January 2003

Volume 97, 2002

• Volume 97, Part 4, October 2002
• Volume 97, Part 3, July 2002
• Volume 97, Part 2, April 2002
• Volume 97, Part 1, January 2002

Volume 96, 2001

• Volume 96, Part 4, October 2001
• Volume 96, Part 3, July 2001
• Volume 96, Part 2, April 2001
• Volume 96, Part 1, January 2001

Additional Information

Additional materials.

Additional Issue Materials

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Planned Release Date: 29 Apr, 2024

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About This Game

System requirements.

• OS: Windows 10/11
• Processor: Intel Core 2 Duo E6320 (2*1866) or equivalent
• Memory: 2 GB RAM
• Graphics: GeForce 7600 GS (512 MB) or equivalent
• Storage: 1 GB available space

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