book of my life essay

Essay on My Book My Inspiration

Students are often asked to write an essay on My Book My Inspiration in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on My Book My Inspiration

Introduction.

Books are a treasure of knowledge and inspiration. My favorite book, which has greatly inspired me, is ‘To Kill a Mockingbird’ by Harper Lee.

Impact on Me

This book taught me about courage, empathy, and justice. It helped me understand that standing up for what’s right is important, even if it’s difficult.

Lessons Learned

The protagonist, Atticus Finch, taught me to treat everyone equally. This has inspired me to be fair and kind to all.

‘To Kill a Mockingbird’ is more than just a book to me. It’s a guide, a source of inspiration, and a mirror to society.

250 Words Essay on My Book My Inspiration

The power of perspective.

Frankl’s book, based on his experiences as a Holocaust survivor, delves deep into the human psyche, highlighting the power of perspective in the face of adversity. It teaches that even in the bleakest of circumstances, one can find meaning and purpose, thereby fostering resilience. This philosophy has inspired me to view challenges as opportunities for growth rather than obstacles.

Embracing Life’s Purpose

The central theme of the book, ‘Logotherapy’, posits that the primary motivational force in humans is the pursuit of life’s purpose. It has inspired me to seek my purpose and align my actions accordingly. It’s an ongoing journey, but the book has been instrumental in shaping my approach towards life.

Resilience in Adversity

Frankl’s resilience in the face of unimaginable hardship has been a source of strength. It has taught me that the human spirit is indomitable, and we can endure any hardship if we have a purpose that anchors us.

‘Man’s Search for Meaning’ has had a profound impact on my life. It has inspired me to embrace my purpose, persevere through adversity, and view life through a lens of optimism and resilience. This book, indeed, is my inspiration, guiding me in my journey of self-discovery and growth.

500 Words Essay on My Book My Inspiration

Books have been a constant source of inspiration, offering wisdom, knowledge, and perspectives that shape our worldviews. They serve as windows to different cultures, times, and minds, enabling us to broaden our horizons and deepen our understanding. This essay explores the profound influence of a book on my life, illustrating its transformative power.

The Book That Changed My Life

Unveiling the power of purpose.

Frankl’s book underscored the significance of purpose in life. He argued that even in the most dire circumstances, such as a concentration camp, one could find meaning and thus, a reason to live. This idea significantly shifted my perspective. I started to see challenges not as insurmountable obstacles but opportunities to grow, learn, and find purpose.

Embracing Life’s Uncertainties

Another important lesson from the book was the acceptance of life’s uncertainties. Frankl’s experiences taught me that life is unpredictable, and it’s our response to these uncertainties that defines us. This has encouraged me to embrace change and uncertainty, viewing them as avenues for personal growth and self-discovery.

Inspiring Personal Growth

Impacting my career choices.

Frankl’s book has also influenced my career choices. His emphasis on purpose and meaning has led me to seek a career that aligns with my passions and values. This pursuit of purposeful work has not only brought fulfillment but also motivated me to make a positive impact on society.

In conclusion, “Man’s Search for Meaning” has been a profound source of inspiration for me. It has shaped my worldview, personal growth, and career choices. The book serves as a testament to the power of literature in influencing our lives, reinforcing the idea that books can indeed be our best guides and companions. As we navigate through life, books like these can offer valuable insights, inspire us to grow, and help us find our purpose. The power of a book lies not just in its words, but in its ability to resonate with us, inspire introspection, and provoke change.

Apart from these, you can look at all the essays by clicking here .

Happy studying!

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If you’ve thought about putting your life to the page, you may have wondered how to write a memoir. We start the road to writing a memoir when we realize that a story in our lives demands to be told. As Maya Angelou once wrote, “There is no greater agony than bearing an untold story inside you.”

How to write a memoir? At first glance, it looks easy enough—easier, in any case, than writing fiction. After all, there is no need to make up a story or characters, and the protagonist is none other than you.

Still, memoir writing carries its own unique challenges, as well as unique possibilities that only come from telling your own true story. Let’s dive into how to write a memoir by looking closely at the craft of memoir writing, starting with a key question: exactly what is a memoir?

How to Write a Memoir: Contents

What is a Memoir?

• Memoir vs Autobiography

Memoir Examples

Short memoir examples.

• How to Write a Memoir: A Step-by-Step Guide

A memoir is a branch of creative nonfiction , a genre defined by the writer Lee Gutkind as “true stories, well told.” The etymology of the word “memoir,” which comes to us from the French, tells us of the human urge to put experience to paper, to remember. Indeed, a memoir is “ something written to be kept in mind .”

A memoir is defined by Lee Gutkind as “true stories, well told.”

For a piece of writing to be called a memoir, it has to be:

• Nonfictional
• Based on the raw material of your life and your memories
• Written from your personal perspective

At this point, memoirs are beginning to sound an awful lot like autobiographies. However, a quick comparison of Elizabeth Gilbert’s Eat, Pray, Love , and The Autobiography of Benjamin Franklin , for example, tells us that memoirs and autobiographies could not be more distinct.

Next, let’s look at the characteristics of a memoir and what sets memoirs and autobiographies apart. Discussing memoir vs. autobiography will not only reveal crucial insights into the process of writing a memoir, but also help us to refine our answer to the question, “What is a memoir?”

Memoir vs. Autobiography

While both use personal life as writing material, there are five key differences between memoir and autobiography:

1. Structure

Since autobiographies tell the comprehensive story of one’s life, they are more or less chronological. writing a memoir, however, involves carefully curating a list of personal experiences to serve a larger idea or story, such as grief, coming-of-age, and self-discovery. As such, memoirs do not have to unfold in chronological order.

While autobiographies attempt to provide a comprehensive account, memoirs focus only on specific periods in the writer’s life. The difference between autobiographies and memoirs can be likened to that between a CV and a one-page resume, which includes only select experiences.

The difference between autobiographies and memoirs can be likened to that between a CV and a one-page resume, which includes only select experiences.

Autobiographies prioritize events; memoirs prioritize the writer’s personal experience of those events. Experience includes not just the event you might have undergone, but also your feelings, thoughts, and reflections. Memoir’s insistence on experience allows the writer to go beyond the expectations of formal writing. This means that memoirists can also use fiction-writing techniques , such as scene-setting and dialogue , to capture their stories with flair.

4. Philosophy

Another key difference between the two genres stems from the autobiography’s emphasis on facts and the memoir’s reliance on memory. Due to memory’s unreliability, memoirs ask the reader to focus less on facts and more on emotional truth. In addition, memoir writers often work the fallibility of memory into the narrative itself by directly questioning the accuracy of their own memories.

Memoirs ask the reader to focus less on facts and more on emotional truth.

5. Audience

While readers pick up autobiographies to learn about prominent individuals, they read memoirs to experience a story built around specific themes . Memoirs, as such, tend to be more relatable, personal, and intimate. Really, what this means is that memoirs can be written by anybody!

Ready to be inspired yet? Let’s now turn to some memoir examples that have received widespread recognition and captured our imaginations!

If you’re looking to lose yourself in a book, the following memoir examples are great places to begin:

• The Year of Magical Thinking , which chronicles Joan Didion’s year of mourning her husband’s death, is certainly one of the most powerful books on grief. Written in two short months, Didion’s prose is urgent yet lucid, compelling from the first page to the last. A few years later, the writer would publish Blue Nights , another devastating account of grief, only this time she would be mourning her daughter.
• Patti Smith’s Just Kids is a classic coming-of-age memoir that follows the author’s move to New York and her romance and friendship with the artist Robert Maplethorpe. In its pages, Smith captures the energy of downtown New York in the late sixties and seventies effortlessly.
• When Breath Becomes Air begins when Paul Kalanithi, a young neurosurgeon, is diagnosed with terminal cancer. Exquisite and poignant, this memoir grapples with some of the most difficult human experiences, including fatherhood, mortality, and the search for meaning.
• A memoir of relationship abuse, Carmen Maria Machado’s In the Dream House is candid and innovative in form. Machado writes about thorny and turbulent subjects with clarity, even wit. While intensely personal, In the Dream House is also one of most insightful pieces of cultural criticism.
• Twenty-five years after leaving for Canada, Michael Ondaatje returns to his native Sri Lanka to sort out his family’s past. The result is Running in the Family , the writer’s dazzling attempt to reconstruct fragments of experiences and family legends into a portrait of his parents’ and grandparents’ lives. (Importantly, Running in the Family was sold to readers as a fictional memoir; its explicit acknowledgement of fictionalization prevented it from encountering the kind of backlash that James Frey would receive for fabricating key facts in A Million Little Pieces , which he had sold as a memoir . )
• Of the many memoirs published in recent years, Tara Westover’s Educated is perhaps one of the most internationally-recognized. A story about the struggle for self-determination, Educated recounts the writer’s childhood in a survivalist family and her subsequent attempts to make a life for herself. All in all, powerful, thought-provoking, and near impossible to put down.

While book-length memoirs are engaging reads, the prospect of writing a whole book can be intimidating. Fortunately, there are plenty of short, essay-length memoir examples that are just as compelling.

While memoirists often write book-length works, you might also consider writing a memoir that’s essay-length. Here are some short memoir examples that tell complete, lived stories, in far fewer words:

• “ The Book of My Life ” offers a portrait of a professor that the writer, Aleksandar Hemon, once had as a child in communist Sarajevo. This memoir was collected into Hemon’s The Book of My Lives , a collection of essays about the writer’s personal history in wartime Yugoslavia and subsequent move to the US.
• “The first time I cheated on my husband, my mother had been dead for exactly one week.” So begins Cheryl Strayed’s “ The Love of My Life ,” an essay that the writer eventually expanded into the best-selling memoir, Wild: From Lost to Found on the Pacific Crest Trail .
• In “ What We Hunger For ,” Roxane Gay weaves personal experience and a discussion of The Hunger Games into a powerful meditation on strength, trauma, and hope. “What We Hunger For” can also be found in Gay’s essay collection, Bad Feminist .
• A humorous memoir structured around David Sedaris and his family’s memories of pets, “ The Youth in Asia ” is ultimately a story about grief, mortality and loss. This essay is excerpted from the memoir Me Talk Pretty One Day , and a recorded version can be found here .

So far, we’ve 1) answered the question “What is a memoir?” 2) discussed differences between memoirs vs. autobiographies, 3) taken a closer look at book- and essay-length memoir examples. Next, we’ll turn the question of how to write a memoir.

How to Write a Memoir: A-Step-by-Step Guide

1. how to write a memoir: generate memoir ideas.

how to start a memoir? As with anything, starting is the hardest. If you’ve yet to decide what to write about, check out the “ I Remember ” writing prompt. Inspired by Joe Brainard’s memoir I Remember , this prompt is a great way to generate a list of memories. From there, choose one memory that feels the most emotionally charged and begin writing your memoir. It’s that simple! If you’re in need of more prompts, our Facebook group is also a great resource.

2. How to Write a Memoir: Begin drafting

My most effective advice is to resist the urge to start from “the beginning.” Instead, begin with the event that you can’t stop thinking about, or with the detail that, for some reason, just sticks. The key to drafting is gaining momentum . Beginning with an emotionally charged event or detail gives us the drive we need to start writing.

3. How to Write a Memoir: Aim for a “ shitty first draft ”

Now that you have momentum, maintain it. Attempting to perfect your language as you draft makes it difficult to maintain our impulses to write. It can also create self-doubt and writers’ block. Remember that most, if not all, writers, no matter how famous, write shitty first drafts.

Attempting to perfect your language as you draft makes it difficult to maintain our impulses to write.

4. How to Write a Memoir: Set your draft aside

Once you have a first draft, set it aside and fight the urge to read it for at least a week. Stephen King recommends sticking first drafts in your drawer for at least six weeks. This period allows writers to develop the critical distance we need to revise and edit the draft that we’ve worked so hard to write.

5. How to Write a Memoir: Reread your draft

While reading your draft, note what works and what doesn’t, then make a revision plan. While rereading, ask yourself:

• What’s underdeveloped, and what’s superfluous.
• Does the structure work?
• What story are you telling?

6. How to Write a Memoir: Revise your memoir and repeat steps 4 & 5 until satisfied

Every piece of good writing is the product of a series of rigorous revisions. Depending on what kind of writer you are and how you define a draft,” you may need three, seven, or perhaps even ten drafts. There’s no “magic number” of drafts to aim for, so trust your intuition. Many writers say that a story is never, truly done; there only comes a point when they’re finished with it. If you find yourself stuck in the revision process, get a fresh pair of eyes to look at your writing.

7. How to Write a Memoir: Edit, edit, edit!

Once you’re satisfied with the story, begin to edit the finer things (e.g. language, metaphor , and details). Clean up your word choice and omit needless words , and check to make sure you haven’t made any of these common writing mistakes . Be sure to also know the difference between revising and editing —you’ll be doing both. Then, once your memoir is ready, send it out !

Learn How to Write a Memoir at Writers.com

Writing a memoir for the first time can be intimidating. But, keep in mind that anyone can learn how to write a memoir. Trust the value of your own experiences: it’s not about the stories you tell, but how you tell them. Most importantly, don’t give up!

Anyone can learn how to write a memoir.

If you’re looking for additional feedback, as well as additional instruction on how to write a memoir, check out our schedule of nonfiction classes . Now, get started writing your memoir!

32 Comments

Thank you for this website. It’s very engaging. I have been writing a memoir for over three years, somewhat haphazardly, based on the first half of my life and its encounters with ignorance (religious restrictions, alcohol, and inability to reach out for help). Three cities were involved: Boston as a youngster growing up and going to college, then Washington DC and Chicago North Shore as a married woman with four children. I am satisfied with some chapters and not with others. Editing exposes repetition and hopefully discards boring excess. Reaching for something better is always worth the struggle. I am 90, continue to be a recital pianist, a portrait painter, and a writer. Hubby has been dead for nine years. Together we lept a few of life’s chasms and I still miss him. But so far, my occupations keep my brain working fairly well, especially since I don’t smoke or drink (for the past 50 years).

Hi Mary Ellen,

It sounds like a fantastic life for a memoir! Thank you for sharing, and best of luck finishing your book. Let us know when it’s published!

Best, The writers.com Team

Hello Mary Ellen,

I am contacting you because your last name (Lavelle) is my middle name!

Being interested in genealogy I have learned that this was my great grandfathers wife’s name (Mary Lavelle), and that her family emigrated here about 1850 from County Mayo, Ireland. That is also where my fathers family came from.

Is your family background similar?

Hope to hear back from you.

Richard Lavelle Bourke

Hi Mary Ellen: Have you finished your memoir yet? I just came across your post and am seriously impressed that you are still writing. I discovered it again at age 77 and don’t know what I would do with myself if I couldn’t write. All the best to you!! Sharon [email protected]

I am up to my eyeballs with a research project and report for a non-profit. And some paid research for an international organization. But as today is my 90th birthday, it is time to retire and write a memoir.

So I would like to join a list to keep track of future courses related to memoir / creative non-fiction writing.

Hi Frederick,

Happy birthday! And happy retirement as well. I’ve added your name and email to our reminder list for memoir courses–when we post one on our calendar, we’ll send you an email.

We’ll be posting more memoir courses in the near future, likely for the months of January and February 2022. We hope to see you in one!

Very interesting and informative, I am writing memoirs from my long often adventurous and well travelled life, have had one very short story published. Your advice on several topics will be extremely helpful. I write under my schoolboy nickname Barnaby Rudge.

[…] How to Write a Memoir: Examples and a Step-by-Step Guide […]

I am writing my memoir from my memory when I was 5 years old and now having left my birthplace I left after graduation as a doctor I moved to UK where I have been living. In between I have spent 1 year in Canada during my training year as paediatrician. I also spent nearly 2 years with British Army in the hospital as paediatrician in Germany. I moved back to UK to work as specialist paediatrician in a very busy general hospital outside London for the next 22 years. Then I retired from NHS in 2012. I worked another 5 years in Canada until 2018. I am fully retired now

I have the whole convoluted story of my loss and horrid aftermath in my head (and heart) but have no clue WHERE, in my story to begin. In the middle of the tragedy? What led up to it? Where my life is now, post-loss, and then write back and forth? Any suggestions?

My friend Laura who referred me to this site said “Start”! I say to you “Start”!

Hi Dee, that has been a challenge for me.i dont know where to start?

What was the most painful? Embarrassing? Delicious? Unexpected? Who helped you? Who hurt you? Pick one story and let that lead you to others.

I really enjoyed this writing about memoir. I ve just finished my own about my journey out of my city then out of my country to Egypt to study, Never Say Can’t, God Can Do It. Infact memoir writing helps to live the life you are writing about again and to appreciate good people you came across during the journey. Many thanks for sharing what memoir is about.

I went to Egypt earlier this year. I aspire for my second book to document and tell the story of my travels of Africa, following the first – a memoir that led me to this post.

I am a survivor of gun violence, having witnessed my adult son being shot 13 times by police in 2014. I have struggled with writing my memoir because I have a grandson who was 18-months old at the time of the tragedy and was also present, as was his biological mother and other family members. We all struggle with PTSD because of this atrocity. My grandson’s biological mother was instrumental in what happened and I am struggling to write the story in such a way as to not cast blame – thus my dilemma in writing the memoir. My grandson was later adopted by a local family in an open adoption and is still a big part of my life. I have considered just writing it and waiting until my grandson is old enough to understand all the family dynamics that were involved. Any advice on how I might handle this challenge in writing would be much appreciated.

I decided to use a ghost writer, and I’m only part way in the process and it’s worth every penny!

Hi. I am 44 years old and have had a roller coaster life .. right as a young kid seeing his father struggle to financial hassles, facing legal battles at a young age and then health issues leading to a recent kidney transplant. I have been working on writing a memoir sharing my life story and titled it “A memoir of growth and gratitude” Is it a good idea to write a memoir and share my story with the world?

Thank you… this was very helpful. I’m writing about the troubling issues of my mental health, and how my life was seriously impacted by that. I am 68 years old.

[…] Writers.com: How to Write a Memoir […]

[…] Writers.com: “How to Write a Memoir” […]

I am so grateful that I found this site! I am inspired and encouraged to start my memoir because of the site’s content and the brave people that have posted in the comments.

Finding this site is going into my gratitude journey 🙂

We’re grateful you found us too, Nichol! 🙂

Firstly, I would like to thank you for all the info pertaining to memoirs. I believe am on the right track, am at the editing stage and really have to use an extra pair of eyes. I’m more motivated now to push it out and complete it. Thanks for the tips it was very helpful, I have a little more confidence it seeing the completion.

Well, I’m super excited to begin my memoir. It’s hard trying to rely on memories alone, but I’m going to give it a shot!

Thanks to everyone who posted comments, all of which have inspired me to get on it.

Best of luck to everyone! Jody V.

I was thrilled to find this material on How to Write A Memoir. When I briefly told someone about some of my past experiences and how I came to the United States in the company of my younger brother in a program with a curious name, I was encouraged by that person and others to write my life history.

Based on the name of that curious program through which our parents sent us to the United States so we could leave the place of our birth, and be away from potentially difficult situations in our country.

As I began to write my history I took as much time as possible to describe all the different steps that were taken. At this time – I have been working on this project for 5 years and am still moving ahead. The information I received through your material has further encouraged me to move along. I am very pleased to have found this important material. Thank you!

Wow! This is such an informative post packed with tangible guidance. I poured my heart into a book. I’ve been a professional creative for years to include as a writer, mainly in the ad game and content. No editor. I wasn’t trying to make it as an author. Looking back, I think it’s all the stuff I needed to say. Therapy. Which does not, in and of itself, make for a coherent book. The level of writing garnering praise, but the book itself was a hot mess. So, this is helpful. I really put myself out there, which I’ve done in many areas, but the crickets response really got to me this time. I bought “Educated” as you recommended. Do you have any blog posts on memoirs that have something to say to the world, finding that “something” to say? It feels like that’s theme, but perhaps something more granular. Thanks for this fantastic post. If I had the moola, I would sign up for a class. Your time is and effort is appreciated. Typos likely on comments! LOL

thanks. God bless

I am a member of the “Reprobates”, a group of seven retired Royal Air Force pilots and navigators which has stayed in intermittent touch since we first met in Germany in 1969. Four of the group (all of whom are in their late seventies or early eighties) play golf together quite frequently, and we all gather for reunions once or twice a year. About a year ago, one of the Reprobates suggested posterity might be glad to hear the stories told at these gatherings, and there have since been two professionally conducted recording sessions, one in London, and one in Tarifa, Spain. The instigator of these recordings forwarded your website to his fellow Reprobates by way of encouragement to put pen to paper. And, I, for one, have found it inspiring. It’s high time I made a start on my Memoirs, thank you.

Thank you for sharing this, Tim! Happy writing!

Hi, I’m Jo. I’m finally jumping in and writing the memoir that has been running alongside me for at least the last 5 years. I’m terrified, of what I’m not 100% sure. The story won’t leave me alone and right now is the time to start my first draft. I’m approaching half way through what nature may call natural life on Earth, mid-life sounds strange to say. It just feels like the right time to document the journey thus far – especially the last decade. It’s been a radical time for transformation, internally and externally. I’m afraid but your post and these comments have helped.

Good luck on your memoir, Jo! I’m excited to hear more.

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Personal Essay Elevated to Art: Aleksandar Hemon’s ‘The Book of My Lives’

Laura cogan.

It’s a fitting admonition for the fraught work of memoir writing. Memory, of course, betrays us incessantly, and the creative impulse of the fiction writer is somewhat at odds with the rigors of telling the non-fiction tale of one’s own biography. In The Book of My Lives (Farrar, Strauss & Giroux, 214 pages) Hemon collects fifteen essays about his life, all but one of which has been previously published. In gathering them, a nuanced picture of Hemon’s life emerges, yet it is not the singular, master narrative imposed by the standard memoir format.

The hybrid conception of The Book of My Lives places it neatly at the nexus of a recent surge of creativity and interest in the essay, and a protracted period of interest in the personal memoir. The force of Hemon’s writing is undeniable, and several of these pieces are exceptional; yet the collection is at times ungainly, with instances of repetition that give it a restless quality, a sense, if read straight through, of pacing in concentric circles around the book’s core subjects. This is not entirely for the bad: it’s interesting to see Hemon working and re-working his material, approaching the material of his experience from varying angles (much as he’s done in his fiction), and seeking narrative arcs in that material. This may be an unintended consequence of grouping pieces which were written separately and as stand-alone essays, but the effect is also an honest message about how we tell ourselves the stories of ourselves, revising and reflecting as we go along.

In “The Lives of Others,” the first essay, Hemon examines his own shifting sense of identity, and deftly parses the strange and complex metaphysics of immigrant life: the difficulties of fixing identity in a strange land, the essential importance of place to the secure identity of self. These are complex forces at work in all our lives, but forces which may remain blissfully unexamined for those of us never forced to start over in a new land. The siege of Sarajevo in 1992 eventually forced Hemon and his family to leave their native city for good: at twenty-eight, Hemon made a permanent home in Chicago (where he had originally intended to visit for just a few months), while his parents fled to Canada. Hemon writes with humor and profound compassion of the difficulties his parents face in acclimating to life in Canada, and ponders the act of narrating the self into being, into continued existence amid the ongoing existential crisis of exile: “The displaced person strives for narrative stability—here is my story!—by way of systemic nostalgia. My parents ceaselessly and favorably compared themselves with Canadians precisely because they felt inferior and ontologically shaky.” Hemon’s discussion of self and other, us and them, falters only when he drifts momentarily into bitterly sarcastic political cant (“And then the they flew in on September 11, 2001, and now they are everywhere, including the White House, by way of a falsified birth certificate.”) Though Hemon’s scorn is understandable, the sentiment as expressed here and in a few other such moments feels simplistic and familiar—not at all on the level of the rest of the work.

Though the historical backdrop to Hemon’s youth and young adulthood is political turmoil and upheaval, much of the material in his essays concerns nearly universal subjects: growing up, searching for identity as a man and as a writer, family dynamics, soccer, and chess. When, in “Sound and Vision,” a family vacation goes disastrously wrong and they find themselves stranded, without funds, near an airport in Italy, Hemon’s mother improvises a pleasant evening. Hemon cherishes the memory, recognizing, as we do, its significance: “In the middle of a catastrophe, the Hemons managed to scrounge up some makeshift joy.” Several of the essays proceed by way of first recalling how Hemon perceived circumstances at a given time, and then the shift that makes them significant to him now. Hemon’s tender homage to borscht in “Family Dining,” for example, is both uniquely an immigrant’s tale (to which many from Eastern Europe and Mitteleuropa may relate), and a familiar tale of growing up and coming to appreciate the traditions that bind a family together. Hemon’s attitude toward his younger self (or selves) is wry, drily amused, skeptical, but also patient, tolerant. His longing for the Sarajevo of his past is palpable; the loss that his family suffered through the siege of that city and the pain of their life in exile is vivid and affecting. His recollections open up a world unfamiliar to many Americans, and make Sarajevo a vividly complex and compelling place.

Much of The Book of My Lives revolves around either Hemon’s life in Sarajevo, or his experiences of emigration. But those who read “The Aquarium” when it first appeared in the New Yorker could perhaps not help but feel that essay’s presence hovering over all. It is the grim and agonizing center of this collection, though it is, wisely, the final piece in the book. “The Aquarium” is the wrenching story of Hemon’s baby daughter’s fatal illness. To say that nothing will ever be as it used to be after a child’s death is to say far too little of the impact such an immeasurable loss must have on a parent, on his sense of what the future might be. But Hemon is careful to show his experience is not, as hackneyed cliché would have it, beyond language; it is, instead, a loss that requires an almost unbearably precise language: a medical and metaphysical language that is unflinching in the face of catastrophe.

As Hemon’s elder daughter “furiously and endlessly unfurl[s]” tales of her new imaginary friend amid her younger sister’s cancer treatment, Hemon observes, “the need to tell stories is deeply embedded in our minds, and inseparably entangled with the mechanisms that generate and absorb language. Narrative imagination—and therefore fiction—is a basic evolutional tool of survival. We process the world by telling stories and produce human knowledge through our engagement with imagined selves.” Though “The Aquarium” stands rather starkly apart from the other pieces for the sheer force of its emotional immediacy, it also dwells on some of the same threads of thought.

Among these threads, an interest in “the mechanisms that generate and absorb language” may be especially interesting to some readers, as Hemon’s facility with English has been the source of much admiration. Hemon’s illuminating use of the English language suggests something rare, and something more than mere fluency. His styling has the immigrant’s studied hyper-awareness of how the language works, and, at times, an inflected cadence that is beautifully unusual. Comparisons to Nabokov and Conrad seem irresistible to many reviewers of Hemon’s work, as these authors, too, were immigrants who transitioned to writing in English as adults. In a sense, this urge to compare is understandable: we may well marvel that Hemon could so successfully manage to begin writing in English in his late twenties, and he is forthright in his admiration for Conrad. The comparisons do not extend far, however, as Hemon does not seem to take after Conrad, in particular, and comparisons to Nabokov (beyond an interest in nostalgia and exile) are also thin. Such comparisons too often diminish the work of this exceptional contemporary writer while failing to illuminate much about his work.

One of the aspects that makes a successful essay an intensely rewarding reading experience is the thrill of dissonance between the modest expectations set by its diminutive scale, and the depth and breadth it achieves. So it is with several of the short pieces collected here, and with the impact of the collection as a whole. Hemon examines the ordinary and profound truths of family life and shines an inquiring light on his own interior life, all amid political upheaval and exceptional historical circumstances. Readers of Hemon’s fiction may find some of the terrain covered here familiar in its fundamentals, echoing material found in his stories and novels. The thrill of discovery, then, is in smaller moments, a continuation and deepening of what we’ve come to admire in this author’s writing.

The Book of My Lives can be read, in part, as an elegant exploration of the personal essay. Hemon wields the form’s familiar devices with skill. He uses section breaks to pause and approach the subject from a different angle, or takes an apparently circuitous path, only to arrive suddenly at a clearing where the profound connection between the overt subject matter and the subtext is made elegantly clear. So, for example, soccer and a meditation on spirituality (in “If God Existed, He’d Be a Solid Midfielder”), or the landscape of a city and one’s own interior life and “personal infrastructure” (in “Lives of a Flaneur”), or chess, writing, and the unmitigated pain of life as an immigrant (in “Grandmasters”). Hemon may consider himself a fiction writer first and foremost, but his nonfiction writing inherently celebrates the possibilities of the essay and its potency and flexibility as a form.

The time is right for such a study. As James Wood noted in the New Yorker , “At present, the American magazine essay, both the long feature piece and the critical essay, is flourishing, in unlikely circumstances.” We’ve recently seen excellent collections from Geoff Dyer and John Jeremiah Sullivan, among others. These varied collections find exuberant possibilities in the subjects the form can address, and how. A point of difference, however, is that Hemon’s essays are all personal ones—they take Hemon’s experiences as their sole subject matter, yet they are rigorously intellectual all the same. History and place and politics are major concerns here, but only, really, as they relate to Hemon’s life. All of which is fine, of course: many of the experiences are significant by any standards. Moreover, the raw material of experience is filtered through Hemon’s wonderfully searching critical apparatus, and rendered in wise and muscular prose. Yet strung together, even in something like chronological order, these essays make for an unwieldy memoir. These are pieces crafted to stand alone, some more enduring than others. Now, collected in this memorable volume, they still stand as distinct aspects of a vista, each an integral but independent part of the scene—perhaps a fitting metaphor for the imperfect narrative bent of memory itself.

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How to Write a Life Story Essay

Last Updated: April 14, 2024 Fact Checked

This article was co-authored by Alicia Cook . Alicia Cook is a Professional Writer based in Newark, New Jersey. With over 12 years of experience, Alicia specializes in poetry and uses her platform to advocate for families affected by addiction and to fight for breaking the stigma against addiction and mental illness. She holds a BA in English and Journalism from Georgian Court University and an MBA from Saint Peter’s University. Alicia is a bestselling poet with Andrews McMeel Publishing and her work has been featured in numerous media outlets including the NY Post, CNN, USA Today, the HuffPost, the LA Times, American Songwriter Magazine, and Bustle. She was named by Teen Vogue as one of the 10 social media poets to know and her poetry mixtape, “Stuff I’ve Been Feeling Lately” was a finalist in the 2016 Goodreads Choice Awards. There are 11 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 102,968 times.

A life story essay involves telling the story of your life in a short, nonfiction format. It can also be called an autobiographical essay. In this essay, you will tell a factual story about some element of your life, perhaps for a college application or for a school assignment.

Preparing to Write Your Essay

• If you are writing a personal essay for a college application, it should serve to give the admissions committee a sense of who you are, beyond the basics of your application file. Your transcript, your letters of recommendation, and your resume will provide an overview of your work experience, interests, and academic record. Your essay allows you to make your application unique and individual to you, through your personal story. [2] X Research source
• The essay will also show the admissions committee how well you can write and structure an essay. Your essay should show you can create a meaningful piece of writing that interests your reader, conveys a unique message, and flows well.
• If you are writing a life story for a specific school assignment, such as in a composition course, ask your teacher about the assignment requirements.

• Include important events, such as your birth, your childhood and upbringing, and your adolescence. If family member births, deaths, marriages, and other life moments are important to your story, write those down as well.
• Focus on experiences that made a big impact on you and remain a strong memory. This may be a time where you learned an important life lesson, such as failing a test or watching someone else struggle and succeed, or where you felt an intense feeling or emotion, such as grief over someone’s death or joy over someone’s triumph.

• Have you faced a challenge in your life that you overcame, such as family struggles, health issues, a learning disability, or demanding academics?
• Do you have a story to tell about your cultural or ethnic background, or your family traditions?
• Have you dealt with failure or life obstacles?
• Do you have a unique passion or hobby?
• Have you traveled outside of your community, to another country, city, or area? What did you take away from the experience and how will you carry what you learned into a college setting?

• Remind yourself of your accomplishments by going through your resume. Think about any awards or experiences you would like spotlight in your essay. For example, explaining the story behind your Honor Roll status in high school, or how you worked hard to receive an internship in a prestigious program.
• Remember that your resume or C.V. is there to list off your accomplishments and awards, so your life story shouldn't just rehash them. Instead, use them as a jumping-off place to explain the process behind them, or what they reflect (or do not reflect) about you as a person.

• The New York Times publishes stellar examples of high school life story essays each year. You can read some of them on the NYT website. [8] X Research source

Writing Your Essay

• For example, you may look back at your time in foster care as a child or when you scored your first paying job. Consider how you handled these situations and any life lessons you learned from these lessons. Try to connect past experiences to who you are now, or who you aspire to be in the future.
• Your time in foster care, for example, may have taught you resilience, perseverance and a sense of curiosity around how other families function and live. This could then tie into your application to a Journalism program, as the experience shows you have a persistent nature and a desire to investigate other people’s stories or experiences.

• Certain life story essays have become cliche and familiar to admission committees. Avoid sports injuries stories, such as the time you injured your ankle in a game and had to find a way to persevere. You should also avoid using an overseas trip to a poor, foreign country as the basis for your self transformation. This is a familiar theme that many admission committees will consider cliche and not unique or authentic. [11] X Research source
• Other common, cliche topics to avoid include vacations, "adversity" as an undeveloped theme, or the "journey". [12] X Research source

• Try to phrase your thesis in terms of a lesson learned. For example, “Although growing up in foster care in a troubled neighborhood was challenging and difficult, it taught me that I can be more than my upbringing or my background through hard work, perseverance, and education.”
• You can also phrase your thesis in terms of lessons you have yet to learn, or seek to learn through the program you are applying for. For example, “Growing up surrounded by my mother’s traditional cooking and cultural habits that have been passed down through the generations of my family, I realized I wanted to discover and honor the traditions of other, ancient cultures with a career in archaeology.”
• Both of these thesis statements are good because they tell your readers exactly what to expect in clear detail.

• An anecdote is a very short story that carries moral or symbolic weight. It can be a poetic or powerful way to start your essay and engage your reader right away. You may want to start directly with a retelling of a key past experience or the moment you realized a life lesson.
• For example, you could start with a vivid memory, such as this from an essay that got its author into Harvard Business School: "I first considered applying to Berry College while dangling from a fifty-food Georgia pine tree, encouraging a high school classmate, literally, to make a leap of faith." [15] X Research source This opening line gives a vivid mental picture of what the author was doing at a specific, crucial moment in time and starts off the theme of "leaps of faith" that is carried through the rest of the essay.
• Another great example clearly communicates the author's emotional state from the opening moments: "Through seven-year-old eyes I watched in terror as my mother grimaced in pain." This essay, by a prospective medical school student, goes on to tell about her experience being at her brother's birth and how it shaped her desire to become an OB/GYN. The opening line sets the scene and lets you know immediately what the author was feeling during this important experience. It also resists reader expectations, since it begins with pain but ends in the joy of her brother's birth.
• Avoid using a quotation. This is an extremely cliche way to begin an essay and could put your reader off immediately. If you simply must use a quotation, avoid generic quotes like “Spread your wings and fly” or “There is no ‘I’ in ‘team’”. Choose a quotation that relates directly to your experience or the theme of your essay. This could be a quotation from a poem or piece of writing that speaks to you, moves you, or helped you during a rough time.

• Always use the first person in a personal essay. The essay should be coming from you and should tell the reader directly about your life experiences, with “I” statements.
• For example, avoid something such as “I had a hard time growing up. I was in a bad situation.” You can expand this to be more distinct, but still carry a similar tone and voice. “When I was growing up in foster care, I had difficulties connecting with my foster parents and with my new neighborhood. At the time, I thought I was in a bad situation I would never be able to be free from.”

• For example, consider this statement: "I am a good debater. I am highly motivated and have been a strong leader all through high school." This gives only the barest detail, and does not allow your reader any personal or unique information that will set you apart from the ten billion other essays she has to sift through.
• In contrast, consider this one: "My mother says I'm loud. I say you have to speak up to be heard. As president of my high school's debate team for the past three years, I have learned to show courage even when my heart is pounding in my throat. I have learned to consider the views of people different than myself, and even to argue for them when I passionately disagree. I have learned to lead teams in approaching complicated issues. And, most importantly for a formerly shy young girl, I have found my voice." This example shows personality, uses parallel structure for impact, and gives concrete detail about what the author has learned from her life experience as a debater.

• An example of a passive sentence is: “The cake was eaten by the dog.” The subject (the dog) is not in the expected subject position (first) and is not "doing" the expected action. This is confusing and can often be unclear.
• An example of an active sentence is: “The dog ate the cake.” The subject (the dog) is in the subject position (first), and is doing the expected action. This is much more clear for the reader and is a stronger sentence.

• Lead the reader INTO your story with a powerful beginning, such as an anecdote or a quote.
• Take the reader THROUGH your story with the context and key parts of your experience.
• End with the BEYOND message about how the experience has affected who you are now and who you want to be in college and after college.

Editing Your Essay

• For example, a sentence like “I struggled during my first year of college, feeling overwhelmed by new experiences and new people” is not very strong because it states the obvious and does not distinguish you are unique or singular. Most people struggle and feel overwhelmed during their first year of college. Adjust sentences like this so they appear unique to you.
• For example, consider this: “During my first year of college, I struggled with meeting deadlines and assignments. My previous home life was not very structured or strict, so I had to teach myself discipline and the value of deadlines.” This relates your struggle to something personal and explains how you learned from it.

• It can be difficult to proofread your own work, so reach out to a teacher, a mentor, a family member, or a friend and ask them to read over your essay. They can act as first readers and respond to any proofreading errors, as well as the essay as a whole.

Expert Q&A

You Might Also Like

• ↑ http://education.seattlepi.com/write-thesis-statement-autobiographical-essay-1686.html
• ↑ https://study.com/learn/lesson/autobiography-essay-examples-steps.html
• ↑ https://www.psychologytoday.com/blog/fulfillment-any-age/201101/writing-compelling-life-story-in-500-words-or-less
• ↑ Alicia Cook. Professional Writer. Expert Interview. 11 December 2020.
• ↑ https://mycustomessay.com/blog/how-to-write-an-autobiography-essay.html
• ↑ https://www.ahwatukee.com/community_focus/article_c79b33da-09a5-11e3-95a8-001a4bcf887a.html
• ↑ http://www.nytimes.com/2014/05/10/your-money/four-stand-out-college-essays-about-money.html
• ↑ https://www.youtube.com/watch?v=xY9AdFx0L4s
• ↑ https://www.medina-esc.org/Downloads/Practical%20Advice%20Writing%20College%20App%20Essay.pdf
• ↑ http://www.businessinsider.com/successful-harvard-business-school-essays-2012-11?op=1
• ↑ http://www.grammar-monster.com/glossary/passive_sentences.htm

About This Article

A life story essay is an essay that tells the story of your life in a short, nonfiction format. Start by coming up with a thesis statement, which will help you structure your essay. For example, your thesis could be about the influence of your family's culture on your life or how you've grown from overcoming challenging circumstances. You can include important life events that link to your thesis, like jobs you’ve worked, friendships that have influenced you, or sports competitions you’ve won. Consider starting your essay with an anecdote that introduces your thesis. For instance, if you're writing about your family's culture, you could start by talking about the first festival you went to and how it inspired you. Finish by writing about how the experiences have affected you and who you want to be in the future. For more tips from our Education co-author, including how to edit your essay effectively, read on! Did this summary help you? Yes No

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Friday essay: Alice Pung — how reading changed my life

Author (non-fiction, fiction, young adult), The University of Melbourne

Disclosure statement

Alice Pung does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

University of Melbourne provides funding as a founding partner of The Conversation AU.

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Having survived starvation and been spared execution, my father arrived in this new country, vassal-eyed and sunken-cheeked. I was born less than a month later and he named me Alice because he thought Australia was a Wonderland. Maybe he had vague literary aspirations for me, like most parents have vague infinite dreams for their babies, so small, so bewildered, so egoless. I arrived safe after so many babies had died under the regime created by a man who named himself deliberately after ruthless ambition — Political Potential, or Pol Pot for short.

“There was a tree,” my father told me when I was a teenager, “and this tree was where Pol Pot’s army, the Khmer Rouge, killed babies and toddlers. They would grab the infant by their ankles and swing them against the trunk and smash them again and again until they were dead.”

When I was an adult, I found out that there was not just the one tree. There were many such trees from which no cradle hung.

But as a child, growing up in Australia, the oldest of four, I knew the words to comfort crying babies. They’d been taught to me by my schoolteachers, with rhyme but without reason: when the bough breaks the cradle will fall and down will come baby, cradle and all. A gentle song to rock my sisters to sleep. If my mother understood the words I was singing, she’d yell at me.

My mother was always hollering at me about one thing or another. After the age of eight, I was never left in peace. She repeatedly told me that babies had really soft skulls, that there was even a hole in their heads that hadn’t yet closed. When I looked at my baby sister, I could see something pulsing on the top of her scalp, beneath the skin. Never drop a baby, they warned me, or your life will be over. They spoke in warnings and commands, like Old Testament sages. They’d seen babies dropped dead. Their language was literal, not literary, but it did the trick.

We could not complain that we were dying of boredom because they’d seen death close-up, and it was definitely not caused by a lack of Lego. We could not say that we were starving because at one malarial point in his life, my father thought that if he breathed inwards he could feel his backbone through his stomach. We could never be hungry or bored in our concrete house in Braybrook, behind a carpet factory that spewed out noxious methane smells that sent us to school reeking like whoopee-cushions.

But in this scatological suburb, I was indeed often bored shitless. Imagine this — you go outside and hoons in cobbled-together Holdens wind down their windows and tell you to Go Back Home, Chinks. So you walk home and inside, it’s supposed to be like home. But it’s not a home you know.

It’s a home your parents know, where the older siblings look after the younger ones and your mum works in an airless dark shed at the back making jewellery, and you think it’s called outworking because although she’s at home she’s always out working. Just like her mum in Phnom Penh and her mum’s mum in Phnom Penh and every other poor mum in the history of your family lineage.

“What are you doing here? Stop bothering me,” your mum would tell you. Or when she was desperate, she’d be cajoling: “Take your siblings out. Go for a walk. If you give me just one more hour, I’ll be done.” Her face would be blackened, her fingers cut. She’d have her helmet on, with the visor. She looked like a coal miner.

Back in Cambodia, the eldest siblings looked after the bevy of little ones, all the children roaming around the Central Market, en masse. Here, in these Melbourne suburbs they’d call it a marauding Asian gang, I bet. I preferred to stay at home. I had plenty to keep me occupied there. Our school library let me borrow books, but I can’t even remember the names of the librarians now. They didn’t like some of the kids because sometimes we stole books.

My best friend Lydia read a book about Helen Keller that so moved her, so expanded her 10-year-old sense of the world that she nicked it and stroked the one-line sample of Braille print on the last page until all the raised dots were flat. I nicked books too, books on needlecraft and making soft toys. Sometimes one of my aunts would come by and give us a garbage bag filled with fleecy fabric offcuts from her job sewing tracksuits in her own back shed.

Being a practical kid who bugged her parents at every opportunity possible for new toys, I wanted to have reference manuals on how to make them. I didn’t nick story books or novels because to me, those were like films I often only wanted to experience once.

One day, my baby sister rolled herself off the bed when I was supposed to be watching her. She was three months old. I had just turned nine. My mother ran into the house and railed at me like a dybbuk, “You’re dead! You’re dead!” She scooped my sister out of my hands. “What were you doing? You were meant to watch her!”

“She was asleep,” I sobbed, “I was reading a book.”

While my mother was working to support us in the dark back shed, I had been in the sunlit bedroom, staring for hours and hours on end at little rectangles, only stopping occasionally to make myself some Nescafé coffee with sweetened condensed milk. If this wasn’t the high life, then what was? Those books were not making me any smarter, she might have thought. Or even said, because it was something she was always telling me, because she couldn’t read or write herself. The government had closed down her Chinese school when she was in grade one, as the very first step of ethnic cleansing in Cambodia.

My mother called up my father and roared over the phone for him to come home immediately because I’d let my sister roll off the bed and she might be brain-damaged. “If she’s brain-damaged, you’re going to be dead,” my father said to me, before they both left for the hospital with my sister.

I hated my parents at that moment, but I hated myself more. I also hated the Baby-Sitters Club, all of those 12-year-old girls for whom looking after small children was just an endless series of sleepovers and car-washes and ice-cream parties and they even always got praised and paid for it. The only people I did not hate were my siblings. They were blameless.

This fucking reading , I thought, because this is how I thought back then, punctuated by profanity, because this is how I wrote back then in diaries I made at school of folded paper stapled together with colourful cardboard covers that I’d then take home and fill in with pages and pages of familial injustice. Sometimes the pen dug in so aggressively underlining a word of rage that I’d make a cut through the paper five pages deep. And this is how the kids talked at school, and also some of their parents who picked them up from school. But then I also realised, reading’s the only fucking good thing I have going for me .

It showed me parents who were not only reasonable, but indulgent. They were meant to be friends with their kids. They were meant to foster their creativity and enterprise. They hosted parties and baked cupcakes and laughed when their children messed up the house, and sat them down and explained things to them carefully with great verbal displays of affection. But only if the kids were like Kristy or Stacey or Dawn in the Baby-Sitters Club.

Read more: Friday essay: need a sitter? Revisiting girlhood, feminism and diversity in The Baby-Sitters Club

If they were anything like me, then they didn’t talk very much. We were refugees in school textbooks, there for edification, to induce guilt and gratitude. The presence of third-world people like us in a book immediately stripped that book of any reading-for-pleasure aspirations. We were hard work. We were Objects not Subjects. Or if subjects, subjects of charity and not agents of charity. Always takers, never givers. No wonder people resented us.

Hell, even I resented us! “Girls are more responsible,” my mother always told me. When my aunties dumped their children, my little cousins, with me, they’d always say, “Alice is so good. We trust her.” What’s one or two or three more when you already have so many in the house? they reasoned.

I imagined if some prying interloper had called the cops on my parents when I was young, seeing our makeshift crèche with no adult supervision around. “If you tell the government what I do,” my mother always warned me when I was a child, “they’ll take me away and lock me up and your brother and sisters will be distributed to your aunts and uncles or be put in foster homes.”

What she did — her 14-hour days in the back shed, working with potassium cyanide and other noxious chemicals to produce the jewellery for stores that would then pay her only a couple of dollars per ring or pendant — she thought was a crime. She got paid cash in hand, so she never paid any taxes. She just didn’t understand that she wasn’t the criminal; she was the one being exploited.

My mother began work at 13 in a plastic-bag factory, after her school was closed down. When all the men were at war, the factories were filled with women and children. One afternoon, she told me, she accidentally sliced open a chunk of her leg with the plastic-bag-cutting machine. She had to stay home for the next two weeks. She spent those two weeks worrying whether she’d be replaced by another little girl. In her whole working life, spanning over half a century, my mother has never signed an employment contract because she can’t write or read.

“People can rip me off so easily,” she would often lament, “that’s why I have to have my wits about me at all times.” She’d always count out the exact change when she went grocery shopping even though it mortified me as a kid, and drove those behind her in line nuts. “If they overcharge me and you’re not here, how can I explain anything to them?” she’d ask, “I don’t speak English.”

She’d memorise landmarks when driving, because she couldn’t read street signs. During elections, she would put a “1” next to the candidate who looked the most attractive in their photo. And she’d ask me to read the label on her prescription medicines.

“Tell me carefully,” she’d instruct, “too much or too little and you could kill me.” The power over life and death, I thought, not really a responsibility I wanted at eight. But power over life and death is supposed to be what great works of art are about. Sometimes, there’s not a huge chasm between being literate and being literary. They are not opposite ends of a continuum.

Sure, I enjoyed the classics, especially that line in Great Expectations when Pip determines that he will return a gentleman and deliver “gallons of condescension”. But the depictions of working children, children treated as economic units of labour, as instruments for ulterior adult ends – this was nothing new to me.

Looking after children is hard work. No one cares when things go right, it is the natural course of the universe. But everyone swarms in when things go wrong. A whole swat team, sometimes consisting of your own extended family members, ready to whack at you like a revolting bug if harm should befall your minor charges. The sad reality is that when you slap a monetary value onto these services, people sit up.

They pay attention. They first splutter about how outrageous it is. Then slowly they accept it. You hope that one day no children will be left at home, minding other children while their parents work, because all working parents will be able to access good, affordable childcare.

Often when people rail, think of the children! they are not really thinking of the children. Otherwise, they would listen to the children, not condemn the parents for situations beyond their control — illiteracy, minimum wages, poverty.

Jeanette Winterson wrote about art’s ability to coax us away from the mechanical and towards the miraculous. It involves just seeing the extraordinary in the ordinary. To understand that an eight-year-old can and will take responsibility and care of themselves when left to their own devices requires imaginative empathy, not judgement.

Reading showed me what the world could be. My life told me what the world was. It was not Jane Eyre or Lizzie Bennet or even Nancy Drew that opened my life to the possibility of a better existence. It was Ann M. Martin and her Baby-Sitters Club. That children should get paid was a crazy idea, that they should get paid for babysitting even more audacious.

That a handful of pre-teen girls could start a small business from Claudia’s home — beautiful artistic Asian Claudia Kishi with her own fixed phone line — and that they could muster all the neighbourhood children under their care and largesse was revolutionary to me.

In my life, the miraculous does not involve magic. There is nothing that makes the state of childhood particularly magical. There is a lot that is frightening, brutal and cruel about every stage of life. After all, I know that a single tree can harbour a cradle or a grave. But to be able to do what my hardworking, wonderful mother never could — time-travel, mind-read, even never to mistake dish detergent for shampoo because the pictures of fruit on the bottle are similar — this is a gift I will never take for granted.

This is an extract from The Gifts of Reading: Essays on the Joys of Reading, Giving and Receiving Books curated by Jennie Orchard, with all royalties to be donated to Room to Read (RRP $32.99, Hachette Australia), available now.

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The Story of My Life Essay

Kattelman is a freelance writer who specializes in writing about the arts. In this essay, she considers the poetic elements present in Keller's autobiography.

In The Story of My Life Helen Keller recounts her early experiences of being awakened to a world of words and concepts through the brilliant teaching methods of her tutor and constant companion, Anne Sullivan. She carefully retraces the moments when she first connected a word with the physical object it represents (water) and continues on to describe how she gradually built up a vocabulary and an understanding of not only a physical world, but also a world of intangible concepts, ideas, images and emotions. Keller connected to the world through the words that were spelled into her hand, and it was these words that sparked an understanding of human existence. By realizing that words could be puttogether to evoke mental images, Keller...

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , and the best memoirs of the decade , and we have now reached the fifth list in our series: the best essay collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Ten

Oliver sacks, the mind’s eye (2010).

Toward the end of his life, maybe suspecting or sensing that it was coming to a close, Dr. Oliver Sacks tended to focus his efforts on sweeping intellectual projects like On the Move (a memoir), The River of Consciousness (a hybrid intellectual history), and Hallucinations (a book-length meditation on, what else, hallucinations). But in 2010, he gave us one more classic in the style that first made him famous, a form he revolutionized and brought into the contemporary literary canon: the medical case study as essay. In The Mind’s Eye , Sacks focuses on vision, expanding the notion to embrace not only how we see the world, but also how we map that world onto our brains when our eyes are closed and we’re communing with the deeper recesses of consciousness. Relaying histories of patients and public figures, as well as his own history of ocular cancer (the condition that would eventually spread and contribute to his death), Sacks uses vision as a lens through which to see all of what makes us human, what binds us together, and what keeps us painfully apart. The essays that make up this collection are quintessential Sacks: sensitive, searching, with an expertise that conveys scientific information and experimentation in terms we can not only comprehend, but which also expand how we see life carrying on around us. The case studies of “Stereo Sue,” of the concert pianist Lillian Kalir, and of Howard, the mystery novelist who can no longer read, are highlights of the collection, but each essay is a kind of gem, mined and polished by one of the great storytellers of our era.  –Dwyer Murphy, CrimeReads Managing Editor

John Jeremiah Sullivan, Pulphead (2011)

The American essay was having a moment at the beginning of the decade, and Pulphead was smack in the middle. Without any hard data, I can tell you that this collection of John Jeremiah Sullivan’s magazine features—published primarily in GQ , but also in The Paris Review , and Harper’s —was the only full book of essays most of my literary friends had read since Slouching Towards Bethlehem , and probably one of the only full books of essays they had even heard of.

Well, we all picked a good one. Every essay in Pulphead is brilliant and entertaining, and illuminates some small corner of the American experience—even if it’s just one house, with Sullivan and an aging writer inside (“Mr. Lytle” is in fact a standout in a collection with no filler; fittingly, it won a National Magazine Award and a Pushcart Prize). But what are they about? Oh, Axl Rose, Christian Rock festivals, living around the filming of One Tree Hill , the Tea Party movement, Michael Jackson, Bunny Wailer, the influence of animals, and by god, the Miz (of Real World/Road Rules Challenge fame).

But as Dan Kois has pointed out , what connects these essays, apart from their general tone and excellence, is “their author’s essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects’ and his own foibles.” They are also extremely well written, drawing much from fictional techniques and sentence craft, their literary pleasures so acute and remarkable that James Wood began his review of the collection in The New Yorker with a quiz: “Are the following sentences the beginnings of essays or of short stories?” (It was not a hard quiz, considering the context.)

It’s hard not to feel, reading this collection, like someone reached into your brain, took out the half-baked stuff you talk about with your friends, researched it, lived it, and represented it to you smarter and better and more thoroughly than you ever could. So read it in awe if you must, but read it.  –Emily Temple, Senior Editor

Aleksandar Hemon, The Book of My Lives (2013)

Such is the sentence-level virtuosity of Aleksandar Hemon—the Bosnian-American writer, essayist, and critic—that throughout his career he has frequently been compared to the granddaddy of borrowed language prose stylists: Vladimir Nabokov. While it is, of course, objectively remarkable that anyone could write so beautifully in a language they learned in their twenties, what I admire most about Hemon’s work is the way in which he infuses every essay and story and novel with both a deep humanity and a controlled (but never subdued) fury. He can also be damn funny. Hemon grew up in Sarajevo and left in 1992 to study in Chicago, where he almost immediately found himself stranded, forced to watch from afar as his beloved home city was subjected to a relentless four-year bombardment, the longest siege of a capital in the history of modern warfare. This extraordinary memoir-in-essays is many things: it’s a love letter to both the family that raised him and the family he built in exile; it’s a rich, joyous, and complex portrait of a place the 90s made synonymous with war and devastation; and it’s an elegy for the wrenching loss of precious things. There’s an essay about coming of age in Sarajevo and another about why he can’t bring himself to leave Chicago. There are stories about relationships forged and maintained on the soccer pitch or over the chessboard, and stories about neighbors and mentors turned monstrous by ethnic prejudice. As a chorus they sing with insight, wry humor, and unimaginable sorrow. I am not exaggerating when I say that the collection’s devastating final piece, “The Aquarium”—which details his infant daughter’s brain tumor and the agonizing months which led up to her death—remains the most painful essay I have ever read.  –Dan Sheehan, Book Marks Editor

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Of every essay in my relentlessly earmarked copy of Braiding Sweetgrass , Dr. Robin Wall Kimmerer’s gorgeously rendered argument for why and how we should keep going, there’s one that especially hits home: her account of professor-turned-forester Franz Dolp. When Dolp, several decades ago, revisited the farm that he had once shared with his ex-wife, he found a scene of destruction: The farm’s new owners had razed the land where he had tried to build a life. “I sat among the stumps and the swirling red dust and I cried,” he wrote in his journal.

So many in my generation (and younger) feel this kind of helplessness–and considerable rage–at finding ourselves newly adult in a world where those in power seem determined to abandon or destroy everything that human bodies have always needed to survive: air, water, land. Asking any single book to speak to this helplessness feels unfair, somehow; yet, Braiding Sweetgrass does, by weaving descriptions of indigenous tradition with the environmental sciences in order to show what survival has looked like over the course of many millennia. Kimmerer’s essays describe her personal experience as a Potawotami woman, plant ecologist, and teacher alongside stories of the many ways that humans have lived in relationship to other species. Whether describing Dolp’s work–he left the stumps for a life of forest restoration on the Oregon coast–or the work of others in maple sugar harvesting, creating black ash baskets, or planting a Three Sisters garden of corn, beans, and squash, she brings hope. “In ripe ears and swelling fruit, they counsel us that all gifts are multiplied in relationship,” she writes of the Three Sisters, which all sustain one another as they grow. “This is how the world keeps going.”  –Corinne Segal, Senior Editor

Hilton Als, White Girls (2013)

In a world where we are so often reduced to one essential self, Hilton Als’ breathtaking book of critical essays, White Girls , which meditates on the ways he and other subjects read, project and absorb parts of white femininity, is a radically liberating book. It’s one of the only works of critical thinking that doesn’t ask the reader, its author or anyone he writes about to stoop before the doorframe of complete legibility before entering. Something he also permitted the subjects and readers of his first book, the glorious book-length essay, The Women , a series of riffs and psychological portraits of Dorothy Dean, Owen Dodson, and the author’s own mother, among others. One of the shifts of that book, uncommon at the time, was how it acknowledges the way we inhabit bodies made up of variously gendered influences. To read White Girls now is to experience the utter freedom of this gift and to marvel at Als’ tremendous versatility and intelligence.

He is easily the most diversely talented American critic alive. He can write into genres like pop music and film where being part of an audience is a fantasy happening in the dark. He’s also wired enough to know how the art world builds reputations on the nod of rich white patrons, a significant collision in a time when Jean-Michel Basquiat is America’s most expensive modern artist. Als’ swerving and always moving grip on performance means he’s especially good on describing the effect of art which is volatile and unstable and built on the mingling of made-up concepts and the hard fact of their effect on behavior, such as race. Writing on Flannery O’Connor for instance he alone puts a finger on her “uneasy and unavoidable union between black and white, the sacred and the profane, the shit and the stars.” From Eminem to Richard Pryor, André Leon Talley to Michael Jackson, Als enters the life and work of numerous artists here who turn the fascinations of race and with whiteness into fury and song and describes the complexity of their beauty like his life depended upon it. There are also brief memoirs here that will stop your heart. This is an essential work to understanding American culture.  –John Freeman, Executive Editor

Eula Biss, On Immunity (2014)

We move through the world as if we can protect ourselves from its myriad dangers, exercising what little agency we have in an effort to keep at bay those fears that gather at the edges of any given life: of loss, illness, disaster, death. It is these fears—amplified by the birth of her first child—that Eula Biss confronts in her essential 2014 essay collection, On Immunity . As any great essayist does, Biss moves outward in concentric circles from her own very private view of the world to reveal wider truths, discovering as she does a culture consumed by anxiety at the pervasive toxicity of contemporary life. As Biss interrogates this culture—of privilege, of whiteness—she interrogates herself, questioning the flimsy ways in which we arm ourselves with science or superstition against the impurities of daily existence.

Five years on from its publication, it is dismaying that On Immunity feels as urgent (and necessary) a defense of basic science as ever. Vaccination, we learn, is derived from vacca —for cow—after the 17th-century discovery that a small application of cowpox was often enough to inoculate against the scourge of smallpox, an etymological digression that belies modern conspiratorial fears of Big Pharma and its vaccination agenda. But Biss never scolds or belittles the fears of others, and in her generosity and openness pulls off a neat (and important) trick: insofar as we are of the very world we fear, she seems to be suggesting, we ourselves are impure, have always been so, permeable, vulnerable, yet so much stronger than we think.  –Jonny Diamond, Editor-in-Chief 

Rebecca Solnit, The Mother of All Questions (2016)

When Rebecca Solnit’s essay, “Men Explain Things to Me,” was published in 2008, it quickly became a cultural phenomenon unlike almost any other in recent memory, assigning language to a behavior that almost every woman has witnessed—mansplaining—and, in the course of identifying that behavior, spurring a movement, online and offline, to share the ways in which patriarchal arrogance has intersected all our lives. (It would also come to be the titular essay in her collection published in 2014.) The Mother of All Questions follows up on that work and takes it further in order to examine the nature of self-expression—who is afforded it and denied it, what institutions have been put in place to limit it, and what happens when it is employed by women. Solnit has a singular gift for describing and decoding the misogynistic dynamics that govern the world so universally that they can seem invisible and the gendered violence that is so common as to seem unremarkable; this naming is powerful, and it opens space for sharing the stories that shape our lives.

The Mother of All Questions, comprised of essays written between 2014 and 2016, in many ways armed us with some of the tools necessary to survive the gaslighting of the Trump years, in which many of us—and especially women—have continued to hear from those in power that the things we see and hear do not exist and never existed. Solnit also acknowledges that labels like “woman,” and other gendered labels, are identities that are fluid in reality; in reviewing the book for The New Yorker , Moira Donegan suggested that, “One useful working definition of a woman might be ‘someone who experiences misogyny.'” Whichever words we use, Solnit writes in the introduction to the book that “when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable.” This storytelling work has always been vital; it continues to be vital, and in this book, it is brilliantly done.  –Corinne Segal, Senior Editor

Valeria Luiselli, Tell Me How It Ends (2017)

The newly minted MacArthur fellow Valeria Luiselli’s four-part (but really six-part) essay  Tell Me How It Ends: An Essay in Forty Questions  was inspired by her time spent volunteering at the federal immigration court in New York City, working as an interpreter for undocumented, unaccompanied migrant children who crossed the U.S.-Mexico border. Written concurrently with her novel  Lost Children Archive  (a fictional exploration of the same topic), Luiselli’s essay offers a fascinating conceit, the fashioning of an argument from the questions on the government intake form given to these children to process their arrivals. (Aside from the fact that this essay is a heartbreaking masterpiece, this is such a  good  conceit—transforming a cold, reproducible administrative document into highly personal literature.) Luiselli interweaves a grounded discussion of the questionnaire with a narrative of the road trip Luiselli takes with her husband and family, across America, while they (both Mexican citizens) wait for their own Green Card applications to be processed. It is on this trip when Luiselli reflects on the thousands of migrant children mysteriously traveling across the border by themselves. But the real point of the essay is to actually delve into the real stories of some of these children, which are agonizing, as well as to gravely, clearly expose what literally happens, procedural, when they do arrive—from forms to courts, as they’re swallowed by a bureaucratic vortex. Amid all of this, Luiselli also takes on more, exploring the larger contextual relationship between the United States of America and Mexico (as well as other countries in Central America, more broadly) as it has evolved to our current, adverse moment.  Tell Me How It Ends  is so small, but it is so passionate and vigorous: it desperately accomplishes in its less-than-100-pages-of-prose what centuries and miles and endless records of federal bureaucracy have never been able, and have never cared, to do: reverse the dehumanization of Latin American immigrants that occurs once they set foot in this country.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Zadie Smith, Feel Free (2018)

In the essay “Meet Justin Bieber!” in Feel Free , Zadie Smith writes that her interest in Justin Bieber is not an interest in the interiority of the singer himself, but in “the idea of the love object”. This essay—in which Smith imagines a meeting between Bieber and the late philosopher Martin Buber (“Bieber and Buber are alternative spellings of the same German surname,” she explains in one of many winning footnotes. “Who am I to ignore these hints from the universe?”). Smith allows that this premise is a bit premise -y: “I know, I know.” Still, the resulting essay is a very funny, very smart, and un-tricky exploration of individuality and true “meeting,” with a dash of late capitalism thrown in for good measure. The melding of high and low culture is the bread and butter of pretty much every prestige publication on the internet these days (and certainly of the Twitter feeds of all “public intellectuals”), but the essays in Smith’s collection don’t feel familiar—perhaps because hers is, as we’ve long known, an uncommon skill. Though I believe Smith could probably write compellingly about anything, she chooses her subjects wisely. She writes with as much electricity about Brexit as the aforementioned Beliebers—and each essay is utterly engrossing. “She contains multitudes, but her point is we all do,” writes Hermione Hoby in her review of the collection in The New Republic . “At the same time, we are, in our endless difference, nobody but ourselves.”  –Jessie Gaynor, Social Media Editor

Tressie McMillan Cottom, Thick: And Other Essays (2019)

Tressie McMillan Cottom is an academic who has transcended the ivory tower to become the sort of public intellectual who can easily appear on radio or television talk shows to discuss race, gender, and capitalism. Her collection of essays reflects this duality, blending scholarly work with memoir to create a collection on the black female experience in postmodern America that’s “intersectional analysis with a side of pop culture.” The essays range from an analysis of sexual violence, to populist politics, to social media, but in centering her own experiences throughout, the collection becomes something unlike other pieces of criticism of contemporary culture. In explaining the title, she reflects on what an editor had said about her work: “I was too readable to be academic, too deep to be popular, too country black to be literary, and too naïve to show the rigor of my thinking in the complexity of my prose. I had wanted to create something meaningful that sounded not only like me, but like all of me. It was too thick.” One of the most powerful essays in the book is “Dying to be Competent” which begins with her unpacking the idiocy of LinkedIn (and the myth of meritocracy) and ends with a description of her miscarriage, the mishandling of black woman’s pain, and a condemnation of healthcare bureaucracy. A finalist for the 2019 National Book Award for Nonfiction, Thick confirms McMillan Cottom as one of our most fearless public intellectuals and one of the most vital.  –Emily Firetog, Deputy Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Elif Batuman, The Possessed (2010)

In The Possessed Elif Batuman indulges her love of Russian literature and the result is hilarious and remarkable. Each essay of the collection chronicles some adventure or other that she had while in graduate school for Comparative Literature and each is more unpredictable than the next. There’s the time a “well-known 20th-centuryist” gave a graduate student the finger; and the time when Batuman ended up living in Samarkand, Uzbekistan, for a summer; and the time that she convinced herself Tolstoy was murdered and spent the length of the Tolstoy Conference in Yasnaya Polyana considering clues and motives. Rich in historic detail about Russian authors and literature and thoughtfully constructed, each essay is an amalgam of critical analysis, cultural criticism, and serious contemplation of big ideas like that of identity, intellectual legacy, and authorship. With wit and a serpentine-like shape to her narratives, Batuman adopts a form reminiscent of a Socratic discourse, setting up questions at the beginning of her essays and then following digressions that more or less entreat the reader to synthesize the answer for herself. The digressions are always amusing and arguably the backbone of the collection, relaying absurd anecdotes with foreign scholars or awkward, surreal encounters with Eastern European strangers. Central also to the collection are Batuman’s intellectual asides where she entertains a theory—like the “problem of the person”: the inability to ever wholly capture one’s character—that ultimately layer the book’s themes. “You are certainly my most entertaining student,” a professor said to Batuman. But she is also curious and enthusiastic and reflective and so knowledgeable that she might even convince you (she has me!) that you too love Russian literature as much as she does. –Eleni Theodoropoulos, Editorial Fellow

Roxane Gay, Bad Feminist (2014)

Roxane Gay’s now-classic essay collection is a book that will make you laugh, think, cry, and then wonder, how can cultural criticism be this fun? My favorite essays in the book include Gay’s musings on competitive Scrabble, her stranded-in-academia dispatches, and her joyous film and television criticism, but given the breadth of topics Roxane Gay can discuss in an entertaining manner, there’s something for everyone in this one. This book is accessible because feminism itself should be accessible – Roxane Gay is as likely to draw inspiration from YA novels, or middle-brow shows about friendship, as she is to introduce concepts from the academic world, and if there’s anyone I trust to bridge the gap between high culture, low culture, and pop culture, it’s the Goddess of Twitter. I used to host a book club dedicated to radical reads, and this was one of the first picks for the club; a week after the book club met, I spied a few of the attendees meeting in the café of the bookstore, and found out that they had bonded so much over discussing  Bad Feminist  that they couldn’t wait for the next meeting of the book club to keep discussing politics and intersectionality, and that, in a nutshell, is the power of Roxane. –Molly Odintz, CrimeReads Associate Editor

Rivka Galchen, Little Labors (2016)

Generally, I find stories about the trials and tribulations of child-having to be of limited appeal—useful, maybe, insofar as they offer validation that other people have also endured the bizarre realities of living with a tiny human, but otherwise liable to drift into the musings of parents thrilled at the simple fact of their own fecundity, as if they were the first ones to figure the process out (or not). But Little Labors is not simply an essay collection about motherhood, perhaps because Galchen initially “didn’t want to write about” her new baby—mostly, she writes, “because I had never been interested in babies, or mothers; in fact, those subjects had seemed perfectly not interesting to me.” Like many new mothers, though, Galchen soon discovered her baby—which she refers to sometimes as “the puma”—to be a preoccupying thought, demanding to be written about. Galchen’s interest isn’t just in her own progeny, but in babies in literature (“Literature has more dogs than babies, and also more abortions”), The Pillow Book , the eleventh-century collection of musings by Sei Shōnagon, and writers who are mothers. There are sections that made me laugh out loud, like when Galchen continually finds herself in an elevator with a neighbor who never fails to remark on the puma’s size. There are also deeper, darker musings, like the realization that the baby means “that it’s not permissible to die. There are days when this does not feel good.” It is a slim collection that I happened to read at the perfect time, and it remains one of my favorites of the decade. –Emily Firetog, Deputy Editor

Charlie Fox, This Young Monster (2017)

On social media as in his writing, British art critic Charlie Fox rejects lucidity for allusion and doesn’t quite answer the Twitter textbox’s persistent question: “What’s happening?” These days, it’s hard to tell.  This Young Monster  (2017), Fox’s first book,was published a few months after Donald Trump’s election, and at one point Fox takes a swipe at a man he judges “direct from a nightmare and just a repulsive fucking goon.” Fox doesn’t linger on politics, though, since most of the monsters he looks at “embody otherness and make it into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own invention.”

If clichés are loathed because they conform to what philosopher Georges Bataille called “the common measure,” then monsters are rebellious non-sequiturs, comedic or horrific derailments from a classical ideal. Perverts in the most literal sense, monsters have gone astray from some “proper” course. The book’s nine chapters, which are about a specific monster or type of monster, are full of callbacks to familiar and lesser-known media. Fox cites visual art, film, songs, and books with the screwy buoyancy of a savant. Take one of his essays, “Spook House,” framed as a stage play with two principal characters, Klaus (“an intoxicated young skinhead vampire”) and Hermione (“a teen sorceress with green skin and jet-black hair” who looks more like The Wicked Witch than her namesake). The chorus is a troupe of trick-or-treaters. Using the filmmaker Cameron Jamie as a starting point, the rest is free association on gothic decadence and Detroit and L.A. as cities of the dead. All the while, Klaus quotes from  Artforum ,  Dazed & Confused , and  Time Out. It’s a technical feat that makes fictionalized dialogue a conveyor belt for cultural criticism.

In Fox’s imagination, David Bowie and the Hydra coexist alongside Peter Pan, Dennis Hopper, and the maenads. Fox’s book reaches for the monster’s mask, not really to peel it off but to feel and smell the rubber schnoz, to know how it’s made before making sure it’s still snugly set. With a stylistic blend of arthouse suavity and B-movie chic,  This Young Monster considers how monsters in culture are made. Aren’t the scariest things made in post-production? Isn’t the creature just duplicity, like a looping choir or a dubbed scream? –Aaron Robertson, Assistant Editor

Elena Passarello, Animals Strike Curious Poses (2017)

Elena Passarello’s collection of essays Animals Strike Curious Poses picks out infamous animals and grants them the voice, narrative, and history they deserve. Not only is a collection like this relevant during the sixth extinction but it is an ambitious historical and anthropological undertaking, which Passarello has tackled with thorough research and a playful tone that rather than compromise her subject, complicates and humanizes it. Passarello’s intention is to investigate the role of animals across the span of human civilization and in doing so, to construct a timeline of humanity as told through people’s interactions with said animals. “Of all the images that make our world, animal images are particularly buried inside us,” Passarello writes in her first essay, to introduce us to the object of the book and also to the oldest of her chosen characters: Yuka, a 39,000-year-old mummified woolly mammoth discovered in the Siberian permafrost in 2010. It was an occasion so remarkable and so unfathomable given the span of human civilization that Passarello says of Yuka: “Since language is epically younger than both thought and experience, ‘woolly mammoth’ means, to a human brain, something more like time.” The essay ends with a character placing a hand on a cave drawing of a woolly mammoth, accompanied by a phrase which encapsulates the author’s vision for the book: “And he becomes the mammoth so he can envision the mammoth.” In Passarello’s hands the imagined boundaries between the animal, natural, and human world disintegrate and what emerges is a cohesive if baffling integrated history of life. With the accuracy and tenacity of a journalist and the spirit of a storyteller, Elena Passarello has assembled a modern bestiary worthy of contemplation and awe. –Eleni Theodoropoulos, Editorial Fellow

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Esmé Weijun Wang’s collection of essays is a kaleidoscopic look at mental health and the lives affected by the schizophrenias. Each essay takes on a different aspect of the topic, but you’ll want to read them together for a holistic perspective. Esmé Weijun Wang generously begins The Collected Schizophrenias by acknowledging the stereotype, “Schizophrenia terrifies. It is the archetypal disorder of lunacy.” From there, she walks us through the technical language, breaks down the Diagnostic and Statistical Manual ( DSM-5 )’s clinical definition. And then she gets very personal, telling us about how she came to her own diagnosis and the way it’s touched her daily life (her relationships, her ideas about motherhood). Esmé Weijun Wang is uniquely situated to write about this topic. As a former lab researcher at Stanford, she turns a precise, analytical eye to her experience while simultaneously unfolding everything with great patience for her reader. Throughout, she brilliantly dissects the language around mental health. (On saying “a person living with bipolar disorder” instead of using “bipolar” as the sole subject: “…we are not our diseases. We are instead individuals with disorders and malfunctions. Our conditions lie over us like smallpox blankets; we are one thing and the illness is another.”) She pinpoints the ways she arms herself against anticipated reactions to the schizophrenias: high fashion, having attended an Ivy League institution. In a particularly piercing essay, she traces mental illness back through her family tree. She also places her story within more mainstream cultural contexts, calling on groundbreaking exposés about the dangerous of institutionalization and depictions of mental illness in television and film (like the infamous Slender Man case, in which two young girls stab their best friend because an invented Internet figure told them to). At once intimate and far-reaching, The Collected Schizophrenias is an informative and important (and let’s not forget artful) work. I’ve never read a collection quite so beautifully-written and laid-bare as this. –Katie Yee, Book Marks Assistant Editor

Ross Gay, The Book of Delights (2019)

When Ross Gay began writing what would become The Book of Delights, he envisioned it as a project of daily essays, each focused on a moment or point of delight in his day. This plan quickly disintegrated; on day four, he skipped his self-imposed assignment and decided to “in honor and love, delight in blowing it off.” (Clearly, “blowing it off” is a relative term here, as he still produced the book.) Ross Gay is a generous teacher of how to live, and this moment of reveling in self-compassion is one lesson among many in The Book of Delights , which wanders from moments of connection with strangers to a shade of “red I don’t think I actually have words for,” a text from a friend reading “I love you breadfruit,” and “the sun like a guiding hand on my back, saying everything is possible. Everything .”

Gay does not linger on any one subject for long, creating the sense that delight is a product not of extenuating circumstances, but of our attention; his attunement to the possibilities of a single day, and awareness of all the small moments that produce delight, are a model for life amid the warring factions of the attention economy. These small moments range from the physical–hugging a stranger, transplanting fig cuttings–to the spiritual and philosophical, giving the impression of sitting beside Gay in his garden as he thinks out loud in real time. It’s a privilege to listen. –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Terry Castle, The Professor and Other Writings (2010) · Joyce Carol Oates, In Rough Country (2010) · Geoff Dyer, Otherwise Known as the Human Condition (2011) · Christopher Hitchens, Arguably (2011) ·  Roberto Bolaño, tr. Natasha Wimmer, Between Parentheses (2011) · Dubravka Ugresic, tr. David Williams, Karaoke Culture (2011) · Tom Bissell, Magic Hours (2012)  · Kevin Young, The Grey Album (2012) · William H. Gass, Life Sentences: Literary Judgments and Accounts (2012) · Mary Ruefle, Madness, Rack, and Honey (2012) · Herta Müller, tr. Geoffrey Mulligan, Cristina and Her Double (2013) · Leslie Jamison, The Empathy Exams (2014)  · Meghan Daum, The Unspeakable (2014)  · Daphne Merkin, The Fame Lunches (2014)  · Charles D’Ambrosio, Loitering (2015) · Wendy Walters, Multiply/Divide (2015) · Colm Tóibín, On Elizabeth Bishop (2015) ·  Renee Gladman, Calamities (2016)  · Jesmyn Ward, ed. The Fire This Time (2016)  · Lindy West, Shrill (2016)  · Mary Oliver, Upstream (2016)  · Emily Witt, Future Sex (2016)  · Olivia Laing, The Lonely City (2016)  · Mark Greif, Against Everything (2016)  · Durga Chew-Bose, Too Much and Not the Mood (2017)  · Sarah Gerard, Sunshine State (2017)  · Jim Harrison, A Really Big Lunch (2017)  · J.M. Coetzee, Late Essays: 2006-2017 (2017) · Melissa Febos, Abandon Me (2017)  · Louise Glück, American Originality (2017)  · Joan Didion, South and West (2017)  · Tom McCarthy, Typewriters, Bombs, Jellyfish (2017)  · Hanif Abdurraqib, They Can’t Kill Us Until they Kill Us (2017)  · Ta-Nehisi Coates, We Were Eight Years in Power (2017)  ·  Samantha Irby, We Are Never Meeting in Real Life (2017)  · Alexander Chee, How to Write an Autobiographical Novel (2018)  · Alice Bolin, Dead Girls (2018)  · Marilynne Robinson, What Are We Doing Here? (2018)  · Lorrie Moore, See What Can Be Done (2018)  · Maggie O’Farrell, I Am I Am I Am (2018)  · Ijeoma Oluo, So You Want to Talk About Race (2018)  · Rachel Cusk, Coventry (2019)  · Jia Tolentino, Trick Mirror (2019)  · Emily Bernard, Black is the Body (2019)  · Toni Morrison, The Source of Self-Regard (2019)  · Margaret Renkl, Late Migrations (2019)  ·  Rachel Munroe, Savage Appetites (2019)  · Robert A. Caro,  Working  (2019) · Arundhati Roy, My Seditious Heart (2019).

Emily Temple

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The Books That Changed My Life

A Book That Realigned My Life’s Principles

Just like so many others, I have always been conscious about the importance of work in my life. Watching my parents has taught me to approach work with a sense of seriousness and dedication, and its role in elevating our quality of life by giving it purpose and meaning.

Unfortunately, the external demands of deadlines that shape our work schedules have also shaped my attitude towards it. I feared the consequences of submitting my homework late in school, which was as good as not submitting it altogether. To avoid punishment, I’d submit homework that was partially completed but always on time, receiving a passing grade and avoiding punishment as a result. Learning, therefore, became less important as long as I managed to keep my anxiety of not getting reprimanded, and of failing, at bay.

This attitude increased over the years, making me believe that mediocrity was my limit of excellence. It’s not that I shied away from work – it’s just that I thought unoriginal essays, poorly drafted and designed architectural plans, and basic presentations were what I was capable of.

Reading Robert Pirsig’s Zen And The Art Of Motorcycle Maintenance changed all of that . By recounting his concepts of Western and Eastern philosophy during a 17-day motorcycle trip across America, Pirsig helped me identify the dehumanising effect my attitude towards work had on my psyche. The discourses in Zen helped me realise that I had confused my work with ‘productivity’, since I’d seen the latter being valued more than high-quality work.

Once I made this distinction, I began to see my activities as an extension of myself and took ownership of them. Over the weeks, I would still my mind before every shirt I ironed, every sandwich I made and every piece I wrote, and give it my complete attention. The result was that I stopped producing work that was mediocre, and everything I did had a certain originality and quality to it that I never knew I was capable of.

Zen also untangled a lot of needless frustration and disappointment by reminding me that you cannot step away from nor should you be ashamed of the pain, confusion and countless failures when you choose to aspire towards true quality. In this way, mastery became a lifelong process that made me see each day as an opportunity to become better than I was the previous day — a process that brings gratitude and purpose to every waking moment.

Books That Helped Me Appreciate The Spectrum Of Humanity

I was exposed to a wide variety of films and TV shows that ran along formulaic ‘good guy vs bad guy’ storylines while growing up. My impressionable mind made me believe that if I always sided with the good guys in these movies, I must always be right from a moral standpoint.

This righteousness, coupled with my short temper, meant that I was in danger of cementing a rather rigid worldview that would trigger hostility at the slightest variation from my opinions.

But things changed as I began to read fiction by great writers who used the power of prose to channel their imagination, their curiosity, and their empathy to help me understand the lives and the worlds of the supposedly evil, the misfits, the forsaken, and the ones who come from a different race, sex, class, or community.

Take Fyodor Dostoevsky’s books, for example. The Brothers Karamazov gave me the chance to explore the underbelly of 19 th century Russia and introduced me to the depravity of Fyodor and Ivan Karamazov, while Crime And Punishment brought the harrowing crimes committed by Rodion Raskolnikov to light. Dostoevsky leaves no doubt in the minds of readers that these characters have committed horrible crimes. But, he also shows how they were driven by the more complex emotions of anger, guilt, and righteousness, and at times, the basic needs of success, status, and acceptance.

Dostoevsky does not justify these acts. Instead, he lets us step into the shoes of these characters by showing us their emotions, needs and their inner psyche. That’s when I realised that these were motives that drive most of us as well. This insight helped me understand how the world cannot be neatly divided into black and white compartments, and that most human beings (and their actions) exist in a spectrum of grey.

The compassion with which these writers narrate the lives and choices of others blurred the boundaries of the tidy compartments within which I placed those who were different from me. These books reminded me that I was part of a shared and fragile humanity, and helped me see the sufferings of others from a wider perspective. It was this understanding of the complexity of human nature that helped me realise that the unemployed hustlers, drunkards and prostitutes in John Steinbeck’s Cannery Row or the migrant tailors in Rohinton Mistry’s A Fine Balance were not lowlifes who deserved to suffer their fate, nor were they meant to be pitied, but rather, they were human beings who were trying to survive in a complicated world.

This exposure has slowly enabled me to withhold my judgement on the lives and choices of others. It has made the way I form my opinions more deliberate, thus making me more open to appreciating the diverse and interesting stories that people have to share. This, in turn, has made me more accommodating of the people around me, thereby ensuring I lead a more fulfilling life.

The Wellspring Of Our Curiosity

Like so many other readers, I remember deriving many hours of pleasure when I first dove into J.K. Rowling’s wizarding world with Harry Potter and his friends. At the end of each volume, I’d wonder if I’d ever find other books that were as good as them. In my attempts to answer this question, I have been exposed to books by some great writers – many of whom have helped me see the world in a new light.

I have also learnt that we can rarely force events to change our lives in a pre-planned manner, and the same can be said about reading books . Nonetheless, I am sure that the act of reading can help us stay on this path in a powerful way. This is because we take a chance to explore new horizons and viewpoints with every new book, and, if we are lucky, get exposed to truths that resonate so deeply with us that they can help guide us through our time on earth.

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Consider Me Booked!

Books and stories have always been an integral part of my life. I explored the lives of great inventors, leaders, and mythical heroes by poring over GK books and fables and illustrated tales. But it was the Harry Potter series and Roald Dahl’s works that turned me into a proud reader. I value kindness and generosity the most in people, and the novels that bring these out resonate the most with me. When I am not working or reading, I patiently channel my curiosity into the world of jazz music, cinema, cooking, or my inner world through my solitude.

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Siddhesh, I enjoyed this exploration of what a life-changing book means to you. Your point that these books changed your life gradually, subtly, over the course of years — is I think characteristic of change in general. In real life, change is seldom as abrupt and dramatic. It’s slow, erratic, and requires deliberate effort over the course of years.

I love Dostoesvsky for his deep dive into individual psyche. He withholds judgment to the extent that the reader begins to wonder whether judging another person is possible at all. That’s a scary prospect, isn’t it? To judge someone is to put them at a comfortable distance from us. Literature that disrupts our judgments and forces us to examine our assumptions — that makes us uncomfortable — is powerful.

I’m going to read *Zen* this year.

I’d also love to know what books people recommended to you turned out *not* to be life-changing, and why not.

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Importance Of Books Essay in English - 100, 200, 500 Words

• Essay on Importance of Books

Books play a vital role in our lives. They are an infinite source of knowledge, entertainment, and new ideas, that help to make the reader’s mind sharp, and develop creativity. Reading books can also stimulate our imagination and creativity faculty of brain. As we read, we are transported to different worlds and experiences, which can spark our own ideas and inspire us to think in new ways. Here are a few sample essays on importance of books .

100 Words Essay on Importance of Books

200 words essay on importance of books, 500 words essay on importance of books.

Books are a really an important part of everyone’s life in some way or the other. Books have a high significance in our lives because they provide knowledge, information, and entertainment to the reader. They can broaden our horizons and deepen our understanding of the world around us. Books can also help us develop our critical thinking skills by exposing us to different ideas and perspectives. Additionally, books can help us escape from the stresses of everyday life and provide us with a temporary relief from our daily routine. Overall, books are a valuable resource that can enrich our lives in countless ways.

Books are an essential part of our lives. They provide us with knowledge, entertainment, and the opportunity to escape from the stresses of everyday life. Books can open up new worlds and experiences, and allow us to learn about different cultures and perspectives. They can also help us to develop our critical thinking skills and broaden our understanding of the world around us.

Books have the power to inspire and motivate us, and can provide us with the tools and knowledge we need to overcome challenges and achieve our goals. They can also serve as a source of comfort and solace, providing us with a sense of connection and understanding during difficult times. Additionally, books are an important tool for preserving knowledge and history. They allow us to learn from the past and gain insight into the experiences and thoughts of those who came before us. This can help us to better understand our own place in the world and the challenges and opportunities that we face.

In short, books play a vital role in our lives. They provide us with knowledge, entertainment, and the opportunity to expand our minds and explore new ideas. They are a valuable resource that we should continue to cherish and support.

Books are an invaluable part of our lives. They are the inevitable tool for knowledge, and entertainment and have been proven to be stress relievers. Books can help us experience new worlds, explore deep insights into the world and help us form a wider perspective. Books have the power to inspire and motivate us, and can provide us with the tools and knowledge we need to overcome challenges and achieve our goals . For example, a biography of a successful person can inspire us to pursue our dreams and work towards our goals. A self-help book can provide us with the tools and strategies we need to overcome a personal challenge or improve an aspect of our lives.

Books are a powerful tool for preserving knowledge and history. They allow us to learn from the past and gain insight into the experiences and thoughts of those who came before us. This can help us to better understand our own place in the world and the challenges and opportunities that we face. Books can also serve as a source of comfort and solace, providing us with a sense of connection and understanding during difficult times.

How the book “The Alchemist” helped me

One of the books that have had a profound impact on my life is ' The Alchemist' by Paulo Coelho . I first read this book when I was going through a difficult time in my life, feeling lost and unsure of my direction. The story of the main character, Santiago, who embarks on a journey to find his "Personal Legend," resonated with me deeply.

As I read the book, I was struck by the idea that each of us has a unique purpose in life, and that it is up to us to pursue it with determination and passion. The book also emphasized the importance of following our hearts and listening to our inner guidance, even when it goes against the norms and expectations of society. The message of ' The Alchemist' gave me the courage and inspiration to follow my own dreams and pursue my own ' Personal Legend' . It also helped me to let go of my fears and doubts, and trust in the power of the universe to support me on my journey

In short, "The Alchemist" has been a guiding light in my life, providing me with wisdom, guidance, and motivation to pursue my dreams. It is a book that I have re-read many times, and one that I will continue to turn to whenever I need guidance and inspiration.

In conclusion, books are an essential part of our lives in one way or the other. They provide us with knowledge, entertainment, and the opportunity to expand our minds and explore new ideas. They are a valuable resource that we should continue to cherish and support. Whether we are reading for personal growth, to learn about the world, or to escape from the stresses of everyday life, books have the power to enrich and enhance our lives in countless ways.

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Narrative Essay on The Book That Changed My Life

Books have the power to transport us to different worlds, challenge our perspectives, and inspire personal transformation. In this narrative, I will share the profound impact of a particular book that changed my life, exploring the moments of enlightenment, self-discovery, and growth that have shaped my journey.

Discovering the Book

It was a nondescript day like any other when I stumbled upon the book that would alter the course of my life. Tucked away on a dusty shelf in the corner of a bookstore, its title caught my eye, beckoning me to delve into its pages. Little did I know that within those worn covers lay the keys to unlocking a world of insight and revelation.

Immersion in the Pages

As I immersed myself in the pages of the book, I found myself captivated by its wisdom, its words resonating deep within my soul. Each chapter unveiled new truths, challenging my preconceived notions and inviting me to question the very fabric of my reality. It was as if the author had reached through the pages and touched the innermost recesses of my being, igniting a spark of curiosity and introspection that would forever alter my perspective.

Moments of Enlightenment 

As I journeyed through the book, I experienced moments of profound enlightenment that left me breathless with wonder. I discovered new ways of thinking, new paths to explore, and new depths of understanding that I never knew existed. With each revelation, I felt myself shedding the layers of ignorance and complacency that had weighed me down, emerging as a more enlightened and aware version of myself.

Self-Discovery and Reflection

The book served as a mirror, reflecting back to me aspects of myself that I had long ignored or denied. It challenged me to confront my fears, my insecurities, and my deepest desires, forcing me to reckon with the truth of who I was and who I wanted to become. Through moments of introspection and self-reflection, I embarked on a journey of self-discovery that would forever alter the trajectory of my life.

Growth and Transformation 

As I turned the final page of the book, I realized that I was not the same person who had first picked it up. I had grown, evolved, and transformed in ways that I never thought possible. The lessons I had learned, the insights I had gained, and the truths I had uncovered had fundamentally shifted my perspective on life, love, and the pursuit of happiness.

Integration into Daily Life 

Armed with the knowledge and wisdom gleaned from the book, I set out to integrate its teachings into my daily life. I sought to embody its principles of compassion, mindfulness, and gratitude, striving to live each day with intention and purpose. Though the journey was not without its challenges, I found solace in the knowledge that I was walking a path of authenticity and integrity.

The book that changed my life served as a catalyst for personal growth, transformation, and self-discovery. Its words became a guiding light, illuminating the path ahead and inspiring me to become the best version of myself. As I continue on my journey, I am forever grateful for the profound impact of this book, and the lessons it has taught me about life, love, and the boundless potential of the human spirit.

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Essay on My Aim in Life

• Updated on  
• Apr 15, 2024

Writing an essay is like searching for your inner self. Have you ever wondered why professors or your teachers assign you these writing tasks ? Why don’t they simply ask you to express yourself in oral form? The logic behind their asking you to write an essay is fairly simple. It is easy for you to express yourself more logically when you write an essay. By assigning you an essay task, your teachers are trying to help you develop your writing skills, vocabulary , and your unique writing style. Essays form an integral part of many academic and scholastic exams like SAT, and UPSC among many others. It is a crucial evaluative part of English proficiency tests as well like IELTS , TOEFL , Duolingo , and many more. In this blog, we will learn how to write an essay on My Aim in Life.

This Blog Includes:

Why should you have an aim in life, how to achieve your aim, essay on my aim in life in 100 words, essay on my aim in life in 200 words, essay on my aim in life in 500 words, essay on my aim in life to become a doctor, essay on my aim in life to become a teacher, essay on my aim in life to become an engineer.

A man with no career goals in life will never be successful. All of his goals will be shattered or fail at some time. He walks with a limp in his daily existence. In life, it is essential to have a realistic objective or goal. It will give your existence a new layer of meaning. When you accomplish it, you will be able to discover your true purpose in life and set an example for others on how to live life to the fullest. Not only that but completing your objective will bring you and your family a great deal of joy and happiness.

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The first and most important job is to exercise extreme caution when making a decision. A goal leads to the correct career. So, here are a few steps to remember at every stage of your existence.

• Be proactive at all times
• Keep a healthful and balanced lifestyle
• Keep pessimism at bay
• Procrastination should be avoided
• Increase your skills
• Accept your mistakes
• Seek professional advice
• Consider your ultimate destination
• Keep track of your accomplishments
• Maintain your concentration

The aim in life is really important because an aimless person is like a rudderless ship in the sea and does not know the direction of their destination. Likewise, if we also don’t have an aim in our life, we won’t know where to reach. So if you want to be successful and do something in your life then you just need to pick an aim. There are so many aims in human life. I have an aim also. I want to become a professor. I hope I will be able to become a professor one day and I will study hard for it.

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The aim in life is really important because an aimless person is like a rudderless ship in the sea and does not know the direction of their destination. Likewise, if we also don’t have an aim in our life, we won’t know where to reach. I always wanted to be a professor and now my family is inspiring me to become a professor too. My parents are really supportive and they respect my decision. My favourite subject is English . My teachers are really helpful and they help me a lot to understand everything on this particular subject. They also guide me a lot about future decisions.

Ms. Divya is my English professor and she knows about my future plans. She always inspires me to do better and work harder. The reason behind My Future Plan: I have a few specific reasons for my future plan. I was once explaining some doubts of my classmates and I realized that I really like explaining and teaching. After my English Honours degree, I will prepare for the Master’s degree. I am pretty much confident about that and I know I will work hard to pursue my dream. Everyone should have a reasonable aim in their life that will help them to reach success.

Also Read : IELTS Essay Topics

The aim in life is really important because an aimless person is like a rudderless ship in the sea and does not know the direction of their destination. Likewise, if we also don’t have an aim in our life, we won’t know where to reach. Thus to achieve it one has to overcome many obstacles and setbacks from time to time. I always wanted to be a professor and now my family is inspiring me to become a professor too. My parents are really supportive and they respect my decision. I have seen lots of my friends want to become a professor, and some of them want to pursue an MBA . There are a lot of aims and goals available that students can choose in their lives. Right now in this world, the top trending professions are Doctor, Teacher, Programmer, Designer, Architect, Marketer, Supervisor, Manager, Engineer, etc. Maybe you have something unique in you and you want to pursue that. So different people adopt different aims according to their inclinations, tastes or perceptions about life. My teachers are really helpful and are always guiding and helping me with my future plans. 

They have always inspired me to do better and work harder. I was once explaining some doubts to my classmates and I realized that I really like explaining and teaching. Later, I experienced teaching while doing an internship with an NGO. I went to a slum and taught kids there. I felt a different kind of satisfaction after teaching them. At that time I realized that I had never felt happier than this and decided to become a professor. I am one who enjoys exploring new places and getting to know new cultures, languages, and cuisines, and working as a professor offers many chances for me to develop those interests. After my English Honours degree, I will prepare for the Master’s degree. Then I am planning to take the UGC NET exam . Another big plus is the working hours that academia can offer, which are frequently more flexible than in other professions.

The biggest advantage of being a professor is that I find jobs in many places worldwide. I am really honest and passionate about my aim in life. It is surely a long journey but I will try my best to reach my goal and I suggest everyone do the same. According to me, timely execution of an action plan with a proactive attitude is the key to success. One of the best ways to stay motivated is by visualizing the change and likewise by achieving step-by-step milestones.

My aim in life is to grow to be a doctor in the future. I believe that medicine is one of the noblest professions to pursue in the world. I belong to a family of doctors and just like my mother, I aspire to be a neurosurgeon. The study of neurology and its impact on our behaviour, personality, and character is what intrigues me the most about the field. My curiosity towards the medical world and ambition to be a doctor is what motivates me to study harder and more diligently. The study of medicine is not easy but it opens up a whole new world of interaction. Learning about basic cell function to discovering the mechanisms of our brain is a fascinating journey. As a school student, I wish to excel in certain subjects like biology, chemistry, physics, maths, and psychology so that I can pursue my dream of becoming a doctor and a neurosurgeon. I hope to participate in different charities, health clinics, and services to gain the relevant skills one needs to be a doctor. I wish to work upon my social and communication skills because good communication is the backbone of every industry. I have the confidence and hope that one day I will achieve my aim in life to become a doctor.

“A good teacher can inspire hope, ignite the imagination, and instil a love of learning.” Teachers are the foundation of a good society, they not only facilitate learning but also inspire children to follow their dreams and goals in life. This is why my aim in life is to become a teacher. My teachers have had a tremendous impact on my life, they taught me to believe in myself and follow my path no matter what. I wish to inculcate this belief and nurture it. Becoming a teacher can help me spread this knowledge and belief of believing in one’s ability to achieve their goals, to be individualistic and creative. I believe that I can be a good teacher because of my experience, humility, and caring nature. I possess all the skills and qualities that a promising teacher should possess. I hope one day I get the opportunity to follow my passion for teaching and educating the world in the future.

My aim in life is to become an engineer. Belonging to a family of engineers I have aspired to become a mechanical engineer like my father. Efforts anyone puts in becoming an engineer will be the best investment ever. I will face many challenges at work but it will open an array of opportunities for me around the world. My curiosity towards the engineering world and ambition to be an engineer is what drives me to study harder and more diligently. I have started to prepare myself for this journey from the school level. Engineering is all about creating new products and bringing up changes in the existing ones for better functioning. I have started participating in various Olympiads, competitions to level up my knowledge and turn my passion into a career. I hope one day I get the opportunity to follow my passion for engineering and bring a change in the future.

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The aim of my life is a common essay topic for students. It focuses on their ambitions, goals, and what they aspire to be when they grow up. It is a great learning and language exercise for school students.

The best answer is to provide a representation of your ambitions and ideal life. Students can talk about why they wish to pursue a particular course or career and how it aligns with their future ambitions.

The aim of a student should be to learn and improve upon their existing knowledge systems.

The word aim means something that you intend to do or a purpose in life.

My life aims to become a pilot.

An essay should be at least 100 words long.

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We hope this blog gives you an idea about how to write and present an essay on My Aim in Life that puts forth your opinions. For more information on such informative topics for your school, visit our essay writing and follow Leverage Edu .

Nikita Puri

Nikita is a creative writer and editor, who is always ready to learn new skills. She has great knowledge about study abroad universities, researching and writing blogs about them. Being a perfectionist, she has a habit of keeping her tasks complete on time before the OCD hits her. When Nikita is not busy working, you can find her eating while binge-watching The office. Also, she breathes music. She has done her bachelor's from Delhi University and her master's from Jamia Millia Islamia.

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Aim my life beautician

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I told him he was too short for me. Then we fell in love

I was 57 years old — divorced almost 25 years — when I met Jim on Match.com. He was a year older than me, divorced for an equal number of years. His children, like mine, were grown and gone.

Right away I knew I liked this man. He was smart and funny and handsome and quietly sexy. He knew how to listen, but when he spoke — in a voice I loved, soft and deep — he had interesting things to say. He had great hair.

At the restaurant where we met, three hours passed like nothing. 

On our next date, Jim picked me up in his beloved convertible, a very old and not particularly valuable Porsche. Riding in the passenger seat beside him, headed to the ocean, I felt like Audrey Hepburn in “Two for the Road.” We hiked for hours, then went for wine and oysters. 

On our third date he came to my house. I made pasta with pesto sauce, some of which must have ended up on my wrist without my noticing, but Jim did. Very tenderly, he took my hand and brought it to his lips. He licked the pesto off.

Now comes the hard part of this story. The first hard part. The harder part comes later.

At the end of this perfectly terrific and romantic date, I told Jim how much I liked him. “I hope I get to know you better,” I said. 

There was just one problem, I told him. “You’re too short for me.”

I’m not proud of this statement. But there you have it.

I’m 5-foot-6 on a good day. I estimated that Jim was 5-foot-7. It’s not as if when we walked into a restaurant together I’d be towering over him.

But I had always seen myself with a tall man — 6 feet tall at least, and on the burly side.

I know why I’d dreamed up this picture. By the time I met Jim, I’d been on my own a long time. I could not name a time in my life when a man had taken care of me. And though this made no sense — worse, it was idiotic — I had come to equate strength, and the ability to protect me, with height and physical girth. 

That wasn’t Jim.

We were sitting on the couch in my living room when I delivered the news to Jim that he was too short to be my boyfriend. He’d been about to kiss me. A stricken look came over his face.

“I’d better go home,” he said.

“We can still be friends,” I told him. (The kiss of death.) He shook his head.

“I’ve been falling in love with you,” he said. “If we can’t be together — really together — I can’t see you again.”

But he did. Not that I revised my position on height as a requirement for a romantic relationship with me. He just decided to hang in there a while longer. I didn’t know this yet, though I’d learn: Jim was a fighter. 

We took another hike. He brought along his Nikon. It turned out he was a serious photographer. Also a bass player in a band. Also an Eagle Scout. Still 5-foot-7, however.

A week or so later I invited Jim over to my house again for a meal. It was a weekend known as Fleet Week, when the Blue Angels fighter pilot team comes to San Francisco to perform amazing air stunts in the sky over the city. All that day, in preparation for the big air show, they’d practiced their maneuvers over Marin County, where I lived. I loved watching them.

I set out a plate of some very nice cheese. Jim brought a bottle of wine. The two of us sat out on my deck waiting for the planes to appear overhead. Jim lit up a cigar.

Then there they were: a phalanx of six planes, swooping and dipping just over our heads at Mach speed, their wings nearly touching but not quite. 

“There’s just something about the Blue Angels,” I told Jim. “They’re so incredibly sexy.”

He lifted the cigar to his lips. Blew out a puff of smoke, his gaze fixed on the wild blue yonder.

“There’s an interesting requirement for becoming a Blue Angel,” he said.

“I guess you have to be really great at flying a plane,” I offered. “With excellent eyesight.” 

“To qualify as a Blue Angel,” Jim said, taking his time, “a person cannot be taller than 5-foot-7.” 

Then he just smiled. 

We were married a year and a half later. With the high heels I chose to wear for our wedding, I was probably a little taller than Jim. He was unfazed by this. He was never anything but proud of me, and proud to stand at my side. I had a name for him: my guard dog. Because no matter what, he looked out for me.

Now comes the truly hard part in this story. 

A year after our wedding, Jim was diagnosed with stage 2 pancreatic cancer . He survived a 14-hour surgery, a year of chemotherapy and radiation, the loss of his hair, the loss of feeling in his fingers — which meant he could no longer play his guitar. The loss of just about everything he loved other than me. His weight dropped to under 100 pounds by this point. Though I knew the pain was terrible, he refused morphine until the very end. He didn’t want to lose consciousness. He didn’t want to miss a minute of being alive and at my side.

Jim has been dead eight years now. I still think of him every time I see the Blue Angels — and so many other times. I never felt a need to check the accuracy of what he told me about height requirements for joining that elite squad of pilots, though I learned recently that his claim was inaccurate — just a brilliant strategic invention that allowed me to see what was in fact true: My husband was brave and strong in ways that had nothing to do with physical stature.

Sometimes, still, I wear a particular checked flannel shirt he loved. Also his blue jeans. And it feels good to me that we were the same size. I know this now: You don’t need to be tall or burly to be someone’s guard dog.

Joyce Maynard is a bestselling author. Her new novel, “How the Light Gets In,” came out in June 2024. She is also the author of “The Best of Us,” a memoir about finding and losing her husband.

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Weeks After Alice Munro’s Death, Daughter Tells of Dark Family Secret

Andrea Skinner said in The Toronto Star that her stepfather sexually abused her at age 9, and that her mother stayed with him after she learned of it.

By Elizabeth A. Harris

Andrea Robin Skinner, a daughter of the Canadian Nobel laureate Alice Munro, said her stepfather sexually abused her as a child — and that her mother knew about it, and chose to stay with him anyway.

Skinner, who is now an adult, detailed these accusations in an essay in The Toronto Star on Sunday. According to a separate article in The Toronto Star, Skinner went to the Ontario police, and in 2005, her stepfather, Gerald Fremlin, was charged with indecent assault against her. He pleaded guilty.

By then, he was 80 years old. He got a suspended sentence and probation for two years. Munro stayed with him until he died in 2013.

Because of her mother’s fame, Skinner wrote, “the silence continued.” Munro died on May 13 at 92.

“What I wanted was some record of the truth, some public proof that I hadn’t deserved what had happened to me,” Skinner wrote of going to the police in 2005, about 30 years after the abuse began.

“I also wanted this story, my story, to become part of the stories people tell about my mother,” Skinner continued. “I never wanted to see another interview, biography or event that didn’t wrestle with the reality of what had happened to me, and with the fact that my mother, confronted with the truth of what had happened, chose to stay with, and protect, my abuser.”

Attempts to reach Skinner on Sunday were unsuccessful.

Skinner wrote that the abuse began in 1976, when she was 9 years old and went to visit Fremlin, then in his 50s, and her mother, who was in her 40s. She said he climbed into the bed where she was sleeping and sexually assaulted her. Skinner said she told her stepmother, who then told Skinner’s father. Her father did not confront Munro.

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