hook for a beowulf essay

Hook For Beowulf Essay

Beowulf is an Old English epic poem that was composed somewhere between the 8th and 11th century. Beowulf follows a great hero who comes to the aid of Hroðgar, the king of the Danes, whose mead hall in Heorot has been under attack by a man-eating creature known as Grendel. Beowulf kills Grendel and, too mortally wounded to survive, Beowulf goes on to kill Grendel’s mother as well before returning home.

Beowulf is one of the most important works in English literature. It has had a profound effect on the literary world, inspiring writers from William Shakespeare to J.R.R Tolkien with its powerful narrative of sacrifice and redemption during times of war, chaos, and loss. Beowulf was first translated into English by renowned poet Seamus Heaney in 1999 for the British Council after Burton Raffel’s translation won them over with its modern language that still kept true to Beowulf ‘s original prose. Now considered by many scholars as the definitive work on Beowulf, Beowulf is read by thousands of students every year.

Beowulf was composed in Old English sometime between the 8th and 11th century. Beowulf follows Beowulf, a great hero who comes to the aid of Hroðgar, the king of the Danes, whose mead hall in Heorot has been under attack by Grendel. Beowulf kills Grendel and goes on to kill his mother as well before returning home.

Beowulf is an Old English heroic epic in 3,182 lines of alliterative verse. Beowulf was composed in England in the early 650’s by an anonymous Anglo-Saxon poet. It has three main characters: Beowulf, King Hrothgar, and Grendel. Beowulf comes to aid his fellow Danes when Beowulf was just a teen from Geatland, Beowulf slays Grendel. Beowulf kills Grendel’s mother in order to return home to Beowulf’s

King Hrothgar’s halls in Heorot and Beowulf becomes King of the Geats. Beowulf becomes king of the Geats after his father dies at sea and Beowulf leads Geatish warriors into an epic battle with a dragon. The Beowulf poet did not provide many details of Beowulf’s life; however, he does mention that Beowulf had Swedish relatives through his mother (lines 536-539).

Hook sentence(s): Growing up in the heroic path, Beowulf was divided in such different ways of one’s point of view. Beowulf the hero fighting against Grendel and Grendel’s mother reaped Beowulf distinctively enough for Beowulf to gain the fame that would come in handy in Beowulf’s middle age. Beowulf was also known for his inclination towards greediness when he took the throne from King Hrothgar, usurping Beowulf’s own uncle in Beowulf’s homeland. However, Beowulf would come to his senses at the end of Beowulf’s life, when Beowulf offered Beowulf kingdom to Beowulf last remaining relative named Wiglaf when Beowulf was old and ridden with illness.

Beowulf is known for Beowulf heroic stature, but it did not mean that Beowulf was without flaws. Beowulf grew up in the heroic path, became king by usurping Beowulf’s own uncle even though he had kept growing power relatively low during Beowulf’s reign so far. Yet, this act was seen as Beowlver’s way of letting go of youthfulness. When confronted with Beowulf’s mortality Beowlver lets go of Beowulf’s greediness and allowed Beowulf’s own family to take Beowulf’s kingdom when Beowulf was old and ridden with illness.

Beowulf is one of those works that you will either love or hate and there’s not much in between. Some people would say it’s an epic poem. Some would call it a long story with special meaning behind it – indeed, Beowulf has been the subject of doctoral dissertations and books written about its inner meaning. The Beowulf poet remains anonymous to this day. Beowulf is one of the best-known works in Old English literature, Beowulf has an interesting opening sentence that sets up the mood for the entire story.

The script opens with Beowulf speaking directly to the audience/reader about a man who was so powerful he could speak with animals, and Beowulf promises to tell this story because it’s a part of his heritage.

The tale starts out in an ice age where everything ices over, Beowulf is born but he will grow up to become the strongest man among his people. Beowulf talks about growing up in a time where all the creatures of nightmares were real, Beowulf thanks God for protecting him from ever having to face anything like that. Beowulf is a hero and a warrior who will go on many great quests, Beowuful seems upset by something he can’t control instead of being glad that he wasn’t born into a time when it was dangerous everywhere. Beowulf says there were no heroes back then so Beowolf has to travel far away to find someone worthy of emulation.

Beowulf’s father dies. Beowulf returns home from an adventure met with the news that his father died from grief because he Beowulf so much. Beowulf is the only one strong enough to kill a monster named Grendel, Beowulf decides to hunt down Grendel because it’s his way of preventing future grief.

Beowulf travels to Denmark and arrives at Heorot. Beowulf hears that people have been unable to sleep peacefully in Heorot for twelve years due to a man-eating monster who raids Heorot every night. Beowulf fights with Grendel and kills him by ripping off his arm, Beowulf hangs up Grendel’s hand as a trophy outside of Heorot. Beowulf returns home after many adventures and everyone praises Beowolf but he insists he did little or nothing very worthwhile. Beowulf is Beowulf’s nephew’s guardian because Beowulf has no children. Beowulf invites Beowulf to stay with him in his kingdom but Beowolf declines the offer, Beowulf makes a good decision by not putting himself into an awkward position where he might have to fight Beowlph for leadership of his own tribe.

Beowulf returns home and saves Hygelac from a dragon that had come to take Beowulf’s land, Beowulf dies from being burned alive by the dragon. The story ends with BeoWulph being mourned as a great hero even though it seemed as though he was too busy playing hero elsewhere to be bothered by grief at home.

More Essays

• Beowulf Is Not A Hero
• Beowulf As A Hero In Beowulf and Grendel
• Beowulf: Unferth, the Same Martyr
• Beowulf and Hero
• The Character of Unferth in Beowulf and Grendel
• Beowulf Compared To Superman
• Beowulf Symbolism Essay
• Biblical Allusions In Beowulf
• Beowulf – epic tale
• The Hero – Zorro, Lassie, Hercules, and Beowulf

Leave a Comment Cancel reply

Save my name, email, and website in this browser for the next time I comment.

105 Beowulf Essay Topics & Examples

See tips on writing the Beowulf thesis statements and critical analysis of the poem. Also, our experts have prepared a list of ideas and prompts that allow you to explore the archetypal epic hero and more!

Beowulf an Epic Poem Analysis

• Categories: Beowulf

About this sample

Words: 945 |

Published: Mar 5, 2024

Words: 945 | Pages: 2 | 5 min read

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Verified writer

• Expert in: Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

1 pages / 459 words

3 pages / 1491 words

1 pages / 664 words

3.5 pages / 1589 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Beowulf

Beowulf is an epic poem that dates back to the 8th century and is considered one of the most important works of Old English literature. Throughout the poem, Beowulf encounters various monsters that he must defeat in order to [...]

With his incredible strength, courage, and sense of duty, Beowulf is one of the most iconic characters in Old English literature. In this essay, we will explore the characteristics of Beowulf that make him a heroic figure, as [...]

Beowulf and Grendel are two characters from the medieval epic poem Beowulf, written by an unknown author around the 8th century. While both characters play crucial roles in the story, they are polar opposites in terms of their [...]

Beowulf, the legendary hero of the Old English epic poem of the same name, is known for his numerous accomplishments throughout the narrative. From defeating monstrous creatures to serving his people with honor and bravery, [...]

The epic poem Beowulf is a classic example of the struggle between good and evil. The protagonist, Beowulf, embodies the values of bravery, loyalty, and honor, while the antagonist, Grendel, represents the forces of darkness and [...]

Beowulf, an epic poem written in old English, reflects many of the Anglo- Saxon societies ideals that we have seen. Many of these Anglo- Saxon ideals include: admiration for outstanding courage, belief in the importance of [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Writing Prompts about Beowulf

• 🗃️ Essay topics
• ❓ Research questions
• 📝 Topic sentences
• 🪝 Essay hooks
• 📑 Thesis statements
• 🔀 Hypothesis examples
• 🧐 Personal statements

🔗 References

🗃️ essay topics about beowulf.

• The heroic ideals and values portrayed in “Beowulf.”
• The theme of fate and destiny in “Beowulf.”
• The portrayal of monsters in “Beowulf.”
• The role of kingship and leadership in “Beowulf.”
• The symbolism of the mead hall in “Beowulf.”
• The role of the supernatural in “Beowulf.”
• The portrayal of loyalty and allegiance in “Beowulf.”
• The significance of the epic battles in “Beowulf.”
• The representation of good vs. evil in “Beowulf.”
• The importance of lineage and ancestry in “Beowulf.”
• The role of the bard and oral tradition in “Beowulf.”
• The role of women as peace-weavers in “Beowulf.”
• The themes of mortality and immortality in “Beowulf.”
• The depiction of courage and bravery in “Beowulf.”
• The exploration of honor and reputation in “Beowulf.”
• The significance of weapons and armor in “Beowulf.”
• The portrayal of the warrior code in “Beowulf.”
• The role of mentors and guides in “Beowulf.”
• The symbolism of treasure and wealth in “Beowulf.”
• The role of fate and free will in “Beowulf.”

❓ Research Questions about Beowulf

• What role do women play in “Beowulf”?
• How does the theme of fate manifest throughout the epic poem “Beowulf”?
• What are the different symbolic representations of monsters in “Beowulf”?
• How does the concept of heroism in “Beowulf” relate to contemporary notions of heroism?
• How does the depiction of kingship in “Beowulf” reflect the ideals of medieval society?
• What is the significance of the mead hall in “Beowulf”?
• What are the motives and consequences of revenge in “Beowulf”?
• How do supernatural elements contribute to the overall symbolic framework of “Beowulf”?
• How does loyalty and allegiance shape the actions of the characters in “Beowulf”?
• What is the significance of the epic battles in “Beowulf”?
• How does the theme of good vs. evil permeate throughout “Beowulf”?
• How does the importance of lineage influence the characters’ identities in “Beowulf”?
• What is the role of the bard and oral tradition in the preservation of “Beowulf”?
• What are the underlying themes of mortality and immortality in “Beowulf”?
• How is the portrayal of courage and bravery depicted in “Beowulf”?

📝 Beowulf Topic Sentences

• Beowulf’s heroic qualities and unwavering loyalty make him an iconic figure in Anglo-Saxon literature.
• The theme of good versus evil is prominently explored in the epic poem “Beowulf”, showcasing the moral dilemmas faced by the protagonist.
• The character of Grendel serves as a powerful symbol of the monstrous and the unknown in “Beowulf”, highlighting the fears and challenges faced by the heroic protagonist.

🪝 Good Hooks for Beowulf Paper

📍 anecdotal hooks on beowulf.

• Beowulf, the OG badass of the Middle Ages, slaying monsters and flexing his biceps before it was cool. Forget about superheroes in spandex; we’ve got a beer-guzzling, sword-wielding warrior with a hairstyle that could make even Thor jealous. Get ready for an epic tale of pure Viking awesomeness!
• Get ready to dive into a world of mead-soaked heroics and epic battles that would make even Dwayne “The Rock” Johnson raise an eyebrow. “Beowulf” is the original medieval action movie, where monsters get crushed, and the one-liners are as sharp as a Viking’s axe. Buckle up; it’s gonna be a wild ride!

📍 Definition Hooks for Essay about Beowulf

• “Beowulf”, an Old English epic poem that serves as a cornerstone of Anglo-Saxon literature, embodies the essence of heroism, valor, and the struggle between good and evil. With its rich tapestry of myth and adventure, “Beowulf” stands as a timeless testament to the power of storytelling.
• “Beowulf”, an iconic piece of medieval literature, is an epic poem that delves into the heroic exploits of its eponymous protagonist. Rooted in the oral tradition of storytelling, it showcases themes of bravery, honor, and the timeless struggle between mankind and supernatural forces.

📍 Statistical Hooks about Beowulf for Essay

• “Beowulf”, one of the oldest surviving epic poems, consists of over 3,000 lines Its enduring popularity is evident in its translations into more than 60 languages, making it a literary treasure cherished by scholars and readers worldwide.
• According to literary historians, “Beowulf,” composed between the 8th and 11th centuries, boasts an impressive 1,818 occurrences of the word “warrior” and 1,743 instances of the word “king.” These statistics highlight the central themes of valor, leadership, and the quest for glory within the epic poem.

📍 Question Hooks for Essay on Beowulf

• What makes “Beowulf” an enduring literary masterpiece? Is it the heroic exploits of its protagonist, the timeless themes of good versus evil, or the captivating blend of mythology and adventure?
• Who would win in a battle: Beowulf or today’s modern superheroes? Can the medieval warrior’s legendary strength and valor stand up against the superhuman powers and high-tech gadgets of our favorite comic book characters?

📑 Top Beowulf Thesis Statements

✔️ argumentative thesis on beowulf.

• Beowulf, the legendary hero of the Anglo-Saxon epic poem, represents the embodiment of traditional heroism rooted in honor, strength, and selflessness. Through his courageous deeds and unwavering loyalty, Beowulf serves as a timeless model of heroism that resonates across cultures and generations.
• Beowulf’s actions and choices throughout the epic poem highlight the complexities of heroism, demonstrating that true heroism goes beyond physical strength and includes qualities such as humility, sacrifice, and the ability to confront personal flaws, making him a multi-dimensional and relatable hero figure.

✔️ Analytical Thesis Examples about Beowulf

• By examining the cultural and historical context of “Beowulf,” the epic poem reveals deep insights into the values, beliefs, and societal structures of the Anglo-Saxon period. Through its portrayal of heroism, kinship, and the power of storytelling, “Beowulf” offers a window into a bygone era and its enduring impact on literature.
• “Beowulf,” as an epic poem, intricately weaves together themes of heroism, fate, and the human condition. Through the exploration of character development, symbolism, and narrative structure, “Beowulf” offers a nuanced analysis of the complexities and contradictions within the human experience, transcending its historical and cultural context.

✔️ Informative Thesis Samples about Beowulf

• “Beowulf,” an Old English epic poem, provides valuable insights into the social, cultural, and historical context of the Anglo-Saxon period. Through its examination of heroic ideals, societal structures, and the role of storytelling, “Beowulf” serves as a significant literary and historical document for understanding this era.
• “Beowulf,” one of the oldest surviving epic poems, offers a glimpse into the world of the early medieval period. Through its exploration of heroism, warrior culture, and the power of oral tradition, “Beowulf” provides valuable insights into the values and beliefs of Anglo-Saxon society.

🔀 Beowulf Hypothesis Examples

• The character of Grendel in “Beowulf” represents the embodiment of human fears and the unknown.
• The recurring theme of loyalty in “Beowulf” highlights the importance of steadfastness and honor in the face of adversity.

🔂 Null & Alternative Hypothesis about Beowulf

• Null hypothesis: The character of “Beowulf” in the epic poem represents a traditional heroic archetype without significant subversions or complexities.
• Alternative hypothesis: The character of “Beowulf” in the epic poem challenges traditional heroic archetypes by embodying nuanced qualities, confronting personal flaws, and demonstrating moral ambiguity.

🧐 Examples of Personal Statement on Beowulf

• As an avid reader and literature enthusiast, my journey with “Beowulf” has been nothing short of transformative. The epic poem has not only captured my imagination but has also taught me valuable lessons about courage, honor, and the complexities of human nature. Exploring the character of Beowulf has inspired me to embody similar virtues in my own life and strive to be a hero in my own right. Beowulf’s unwavering determination, selflessness, and commitment to justice have become guiding principles that I aim to emulate in my personal and academic pursuits.
• As a student with a passion for literature, “Beowulf” has been a captivating journey into the realms of heroism and the human spirit. Exploring the epic poem has not only sparked my imagination but also deepened my understanding of courage, loyalty, and the power of storytelling. Beowulf’s unwavering bravery and selflessness have inspired me to face challenges head-on, both in my academic pursuits and personal life. Studying “Beowulf” has opened my eyes to the rich cultural heritage of the Anglo-Saxon era, allowing me to appreciate the historical and social context in which the poem was written.
• Beowulf : The First English Epic
• Beag & Beaghroden-Women, Treasure and the Language of Social Structure in Beowulf
• Beowulf and the Hunt
• Reading Beowulf: Paradoxical Paradigms
• A Critical Companion to Beowulf

Cite this page

Select a referencing style

• Chicago (N-B)
• Chicago (A-D)

AssignZen. (2023, July 19). Writing Prompts about Beowulf. https://assignzen.com/writing-prompts/beowulf-essay-ideas/

"Writing Prompts about Beowulf." AssignZen , 19 July 2023, assignzen.com/writing-prompts/beowulf-essay-ideas/.

1. AssignZen . "Writing Prompts about Beowulf." July 19, 2023. https://assignzen.com/writing-prompts/beowulf-essay-ideas/.

Bibliography

AssignZen . "Writing Prompts about Beowulf." July 19, 2023. https://assignzen.com/writing-prompts/beowulf-essay-ideas/.

AssignZen . 2023. "Writing Prompts about Beowulf." July 19, 2023. https://assignzen.com/writing-prompts/beowulf-essay-ideas/.

AssignZen . (2023) 'Writing Prompts about Beowulf'. 19 July.

Beowulf Study Guide

Beowulf is the most ancient text in Old English that has been preserved till nowadays. Scientists still wrestle over many questions related to the manuscript. Did a single author write it? Why was the next unnamed? What is its literary value?

This Beowulf Study Guide prepared by Custom-Writing.org experts answers some of these questions and gives clues to a better understanding of the story of Beowulf.

Beowulf Key Facts

Beowulf study guide: articles.

The poem’s summary

If you need to quickly figure out the intricacies of the poem’s plot, this page will be helpful. It contains Beowulf plot overview, a timeline, and chapter summaries.

Character analysis  

This article on Beowulf characters analyses Beowulf, Grendel, Hrothgar, Grendel’s mother, Unferth, and minor characters of the famous epic poem.

Themes of Beowulf  

Want to learn more about themes in Beowulf ? Chech this article then. Christianity, hospitality, loyalty, bravery – all the poem’s themes are described here.

Symbolism & literary analysis  

Is Beowulf an epic? Where does it take place? Find all the answers in this article. It focuses on the poem’s symbols, metaphors, setting, genre, etc.

Essay topics and examples  

If you need to write a Beowulf essay, check the collection we’ve prepared. It contains Beowulf essay samples as well as a list of the topics and prompts.

Beowulf Q&A  

Looking for questions and answers about the epic poem? On this page, you’ll find the answers to the most pressing questions about Beowulf. Enjoy!

Beowulf Historical Context

The plot is set between the 5th and the 8th century . That is why it was also a historical text for its creator, who lived several centuries later. The historical background of the poem (for instance, the construction of Heorot) helped scientists define the time frame and the location when and where the events took place.

In 2013, archaeologists found the ruins of Heorot. The excavations were carried out in Lejre, Denmark, some 20 miles from Copenhagen.

The poem is swinging from the pagan to Christian traditions and back. It is another confirmation of the timing assumptions of scholars. Beowulf could be composed long before the manuscript we know. It could be an orally transmitted legend that was later written down to be preserved as a legacy. The manuscript writer lived when the Christian religion grew stronger. Pagan rites and views of life faded away.

For this reason, we should read Beowulf in the context of hundreds of years that contributed to its creation. For example, the wrath of Grendel is a multilayered symbol. In the 5 th century, it meant unknown and illogical evil that threatened everyone who went too far from their settlement. In the 11 th century, it was already the symbol of the Biblical devil .

The handwriting analysis shows that two English monks composed the text at the beginning of the 11th century.

The manuscript is in the British Museum . It is among the most translated texts in human history because its themes and issues are eternal. Medieval people enjoyed the heroism, honor, and loyalty of the main hero. Modern readers also find the characters relatable, and the theme of good and evil is topical now as never before.

• Share to Facebook
• Share to Twitter
• Share to LinkedIn
• Share to email

Looking for Beowulf summary and analysis? Need to quickly figure out the intricacies of the poem’s plot? You’re in the right place! In the article prepared by our experts, you’ll find Beowulf plot overview, an illustrated timeline, as well as chapter summaries of the classic tale. 📊 Beowulf Plot Overview ...

Is Beowulf a hero? ️Where is he from? How he dies? Find all the answers in this article on Beowulf characters prepared by Custom-Writing.org experts. Grendel, Hrothgar, Grendel’s mother, Unferth, and others are described below. There is also a Beowulf character map that presents the main characters and their connections. ...

The themes and motifs of the poem indicate which models of behavior were favored and criticized in the Middle Ages. Generosity, loyalty, strength, heroism, and courage made up a respected personality. On the contrary, envy, greed, betrayal, and cowardice characterized a negative character. The unknown author looks for these motifs...

Beowulf is the first text written in Old English. The described events date back to the 6th century, but the manuscript appeared between the 8th and 11th century AD. It explains why the poem needs a translation to Modern English for an unprepared reader to understand it. Moreover, some literary...

This epic poem is the oldest known written artifact in Old English. It reveals the life, traditions, and culture of the people who lived a millennium ago. At the same time, Beowulf presents such archetypes as loyalty, courage, generosity, hospitality, honor, and heroism. We can relate to these moral categories...

Beowulf is an epic poem by an unknown author. It was written between the 8th and 11th centuries, but the plot describes the events that date back to 500 AD. The original text is in Old English, so the general public studies the poem in a translation. This selection by...

Beowulf was too arrogant to admit he was too old for a hero’s role in the battle with the dragon. He wanted to achieve another feat and receive fame. He felt his death was near, but it did not stop him. After all, dying in a battle was the best...

The poem Beowulf and the novel Grendel have a similar plot. Both literary works characterize Grendel in the same way, with minor differences. In the poem, he is an angry man-eating creature with primitive human traits. In the novel, he is lonely and miserable. His inner world is emotionally complicated....

In Beowulf, the Anglo-Saxon culture manifests itself in gift-giving, hospitality, feasts and celebrations, and the mixture of Pagan and Christian traditions. Such notions as lords, thanes, and warrior tribes were also typical for this culture. In the Anglo-Saxon culture, any achievement in a battle had to be rewarded. There were...

Beowulf was too old for the battle with the dragon. He sensed his death was soon. But he was a king, and kings are responsible for their people. The dragon attacked their homes, so Beowulf had to eliminate it. Besides, in Anglo-Saxon culture, dying in a battle was considered the...

At the time when Beowulf was written, and even more so when the described events took place, there was no such a country like Denmark. Beowulf took fifteen chosen companions with him to fight a man-eating monster who threatened the Danish tribe. There were several reasons why he decided to...

Apart from some other conflicts that mainly fall under the category “Person Vs. Person,” the central conflict is “Person Vs. Supernatural.” Accordingly, the poem describes three battles of Beowulf: with Grendel, his mother, and the dragon. All of them are evil supernatural creatures that kill people and threaten their mead-halls....

The epic poem tells the life story of a Geatish hero, his feats, and achievements. He sails to the land of the Danes to help them fight Grendel, a monster who ate people. This storyline is enframed with the lineage of the Danish kings and other historical or fictional events...

Beowulf came to fight the dragon with eleven warriors. Ten of them betrayed him in fear, but Wiglaf stayed. The two of them opposed the fire-breathing creature. When Beowulf’s sword broke, Wiglaf stabbed the dragon in its stomach. It gave the hero time to take out his knife, which he...

Grendel, the first monster that appears in the poem, came to Heorot by night. At that moment, Beowulf pretended he was asleep. Here the hero played the role of a sleeping monster whose lair was disturbed. He can defeat a monster only by acting like a monster. Grendel and his...

Grendel’s mother killed Aeschere, Hrothgar’s favorite thane. This loss was too personal to leave it unrevenged. He asked Beowulf to battle Grendel’s mother to bring an end to the monstrous breed. Besides, the hero was the only person Hrothgar believed was strong enough for the task. The next night after...

Beowulf takes place in Scandinavia around the 6th century AD. The Geats and the Scyldings (or Danes) were real tribal groups. They lived on the territory of modern southern Sweden and Denmark, respectively. We may suppose that Beowulf crossed the Baltic Sea. Still, it is impossible to define the exact...

Beowulf is one of the first epic heroes that can be found in ancient literature. His brave and noble character helps him defeat evil monsters that killed the Danes and Geats. Beowulf is strong and loyal to his kings. He does everything possible to improve the life of the people...

The battle with Grendel finishes when Beowulf tears off his arm, and the monster runs away to die in the swamps. But Grendel’s mother was driven by vengeance. By night, she penetrated Heorot. She took away Hrothgar’s best advisor and Grendel’s hand. Later Beowulf found the advisor’s head near the...

In the battle with the dragon, Beowulf acts as a protagonist. He is the character with whom readers identify themselves. The dragon is the antagonist. It opposes Beowulf and kills him. A protagonist and an antagonist are antonyms. These opposing forces create a conflict in a story and move the...

Traditionally, epic literature is formed as a long and narrative poem. It also has such literary devices as kennings and rich imagery. Epic poems do not have a rhyme in the sense of modern poetry. Instead, their unique form is achieved by alliteration and rhythm. An indispensable criterion is the...

Unferth is one of the warriors under Hrothgar’s rule. Unferth questioned Beowulf’s ability to defeat Grendel because once Beowulf failed in a swimming competition. Unferth was jealous of the hero’s strength, bravery, and the way the king accepted him. This feeling highlights the difference between these two characters. When Beowulf...

When Hygelac died, Queen Hygd offered Beowulf to take the throne as Heardred, her son, was too young to rule the Geats. Beowulf refused but promised to serve the young king till his dying day. But Heardred was killed in a battle. Then Beowulf became the King of the Geats...

Unferth gave Hrunting to Beowulf as an infallible legendary sword that survived many battles. But when Beowulf fought Grendel’s mother, his sword could not penetrate her armored skin. It even did not scratch her. For this reason, Beowulf had to put aside this weapon and use the giant sword from...

Beowulf comes to help Hrothgar because the king helped Beowulf’s father once a long time ago. The heroic code dictated Beowulf to be loyal to the benefactors of his family. He had to repay for the good deed. Moreover, Beowulf strived for fame, and killing Grendel would bring him glory....

Beowulf fights Grendel’s mother in her deep underwater lair. It is located in a building with a high arch. An ancient sword made by giants hangs on the wall as if waiting for Beowulf to use it. All of these objects and details bear symbolic meaning. Many epic heroes had...

Heorot is a mead-hall and a critical location in Beowulf. The hall is situated in Denmark. It serves as a seat of rule for Hrothgar, a legendary Danish king. He built the hall to celebrate victories and protect his people from any invaders. So, the attack on Heorot was the...

The heroic code required equal terms in a battle for warriors. Beowulf knew that Grendel’s only weapon was his hands. For this reason, the warrior took off his armor and put away his sword. He caught Grendel by his hand and tore it off. The monster died from this mortal...

Beowulf killed Grendel’s mother using a sword he found in her cave. It was an ancient sword forged by giants, Cain’s descendants, like Grendel and his mother. When Beowulf killed the mother and decapitated Grendel, the sword melted away because of the mother’s poisonous blood. In that battle, Beowulf went...

When the night came, and Beowulf was getting ready for the battle, he took off all of his armor. He also put away the sword to fight Grendel barehanded. He motivated it by the fact that the monster was unarmed, so that they would be equal. Besides, Beowulf relied on...

Rising action features the conflicts and challenges of the characters in a fictional plot. The story escalates when all the characters start experiencing various negative things. In Beowulf, rising action takes place between Grendel’s attack on the mead-hall and Beowulf’s battle with Grendel’s mother. The latter marks the climax of...

Hrothgar plays a father figure in Beowulf’s life, and their relationship is full of mutual respect and loyalty. These two words represent the message the author wanted to convey by describing these two characters’ communication. In the end, Beowulf becomes a wise king, just as Hrothgar was. The heroic code...

75 Beowulf Essay Topics

Beowulf, penned at the dawn of the 11th century, stands as a cornerstone of Old English literature. This epic poem, extending over 3,000 lines and unfolding across the war-torn landscapes of ancient Scandinavia, offers a rich tapestry of themes and stylistic nuances that continue to fascinate scholars and students alike. When tasked with an essay on Beowulf, selecting an engaging topic is paramount. This article delves into potential subjects for your paper and provides guidance on choosing one that resonates with you.

Table of Contents

Tips for Choosing an Optimal Beowulf Essay Topic

Opting for a topic that genuinely piques your interest rather than a seemingly easy one can significantly enhance the quality of your research and writing. Here’s how you can make an informed choice:

• Personal Interest: Engage with topics that intrigue you, encouraging deeper thought and thorough research.
• Uniqueness: While you don’t have to select an obscure subject, strive for a fresh perspective in your discussion, ensuring your essay stands out.
• Scope: Narrow down broad topics to specific aspects, providing a clear direction for your essay and making it more manageable.

Inspiring Beowulf Essay Topics

Consider exploring various dimensions of the poem through topics such as:

• The societal roles of women in Beowulf.
• The effect of digression in enhancing the narrative.
• The relationship between warriors and lordship.
• The portrayal of traditional society within the epic.
• Character development throughout the poem.
• Lessons derived from the tales of Siegmund and Finn.
• The theme of male dominance in Beowulf.
• The significance of Hrothgar’s sermon in understanding the author’s viewpoint.
• The central role of the mead hall in the community.
• An in-depth analysis of Grendel’s character.
• Beowulf’s virtues and flaws.
• A detailed review of the epic battle between Beowulf and Grendel.
• Major themes and moral lessons in the story.
• The eternal clash of good vs. evil as depicted in the poem.
• An evaluation of Beowulf’s heroism.
• Parallels between Beowulf and the biblical Cain.
• The influence of religion in Beowulf’s world.
• The importance of lineage and ancestry in one’s self-esteem.
• Beowulf’s leadership qualities or lack thereof.
• Perspectives on treasure and material wealth within the poem.

Symbolism and Motifs in Beowulf

• The role of dragons in ancient literature and Beowulf.
• The significance of the mead hall and community bonding.
• Water’s symbolic role in Beowulf’s challenges and battles.
• The representation of light and darkness in the poem.
• The importance of armor and shields in the poem.

Historical and Cultural Context

• Beowulf’s relationship with historical Scandinavian events.
• How Beowulf reflects Anglo-Saxon values and beliefs.
• Paganism vs. Christianity in Beowulf.
• The societal structure and its influence on the narrative.
• The depiction of funeral rites and their significance.

Character Analyses

• Unferth’s role and contrast with Beowulf.
• The depiction of women: Wealhtheow and Grendel’s mother.
• King Hrothgar’s leadership vs. Beowulf’s heroism.
• The significance of Wiglaf and the idea of loyalty.
• Analyzing Aeschere’s importance to Hrothgar and the story.

Narrative Techniques and Literary Devices

• The role of the scop (bard) in Beowulf.
• The use of kennings and their impact on imagery.
• Alliteration and its rhythmic role in Beowulf.
• The function of epic similes in the poem.
• The influence of oral tradition on the narrative style.

Themes and Philosophies

• The concept of fate (wyrd) in Beowulf.
• The price of pride and its consequences.
• The exploration of mortality and legacy.
• The balance between courage and recklessness.
• Revenge as a driving force in Beowulf.

Comparative Analyses

• Beowulf and modern superheroes: parallels and contrasts.
• Comparing Beowulf to other epics like “The Iliad” or “Gilgamesh”.
• Beowulf and the Norse sagas: similarities and differences.
• The idea of the monstrous in Beowulf vs. other literature.
• Beowulf’s influence on Tolkien’s “The Lord of the Rings”.

Broader Perspectives

• Beowulf’s relevance in the 21st century.
• The challenges and merits of translating Beowulf.
• How adaptations (like movies or novels) have interpreted Beowulf.
• The depiction of heroism in Beowulf vs. modern culture.
• The ethics and values presented in Beowulf and their applicability today.

In-depth Explorations

• The importance of loyalty and kinship in the poem.
• The nature of evil: Analyzing Grendel and his lineage.
• The concept of legacy in Beowulf’s final act.
• The depiction of aging and its impact on heroism.
• The influence of external forces, like God or fate, on characters’ decisions.

Beowulf’s Battles

• A detailed look into Beowulf’s battle with the dragon.
• Strategy and might: The takedown of Grendel.
• Psychological warfare: Beowulf vs. Grendel’s mother.
• The consequences and aftermath of each of Beowulf’s battles.
• The role of supernatural vs. human strength in Beowulf’s combat scenes.

Creative Angles for Your Beowulf Essay

Dive into the poem’s depths by examining:

• The symbolism of gold and its reflection on societal values.
• The heroic ideals embodied by characters.
• The significance of weaponry and its portrayal of strength and honor.
• Gender roles and equality in Beowulf’s era.
• The portrayal of leadership and its impact on society.
• Beowulf’s enduring strength and prowess in his later years.
• The cultural and societal norms depicted in the poem.
• The integration and importance of religious motifs.
• A critique of the society within Beowulf, highlighting admirable and disdainful attributes.
• The exploration of fictional elements within the historical context of the poem.

Concluding Thoughts on Beowulf Essay Topics

Whether you encounter Beowulf in high school or college, crafting an essay on this epic can seem daunting. However, with a topic that strikes a chord with you and a unique angle, your essay can resonate deeply and intellectually. Should you find yourself struggling, remember that professional help is just a click away. Submit an order form, and receive a top-notch, plagiarism-free essay, complete with proper citations and adherence to your guidelines.

How to Write a Hook: Start Off Your Essay Strong with This Guide

What is a Hook for an Essay: Importance and Purpose

Which section of your essay can make your readers dip their toes into your writing? Is it the body paragraphs where all the analysis is laid out? Or maybe the introduction, where you present your thesis statement and voice your perspective on the subject? Well, if you think it is the latter, then we must agree with your decision. However, let's get more specific; if we take the introductory paragraph to pieces, which piece gets the most recognition? You must have guessed from the article's title that we're talking about a hook. But first, let's define what is a hook for an essay before we walk you through the reasons why it deserves our pat on the back.

The hook is the initial sentence in a written work. Whether you're asking how to write a hook for a song, blog post, or term paper, know that the purpose of any effective hook is to seize the reader's attention. It can be one sentence long, often for shorter pieces, or composed of several lines - usually for larger pieces. Making the reader want to keep reading is what an essay hook accomplishes for your paper, just as an intriguing introduction does for any piece.

Our main emphasis in this guide is on creating a good hook for an essay. Nonetheless, these fundamental guidelines apply to nearly every format for communicating with your audience. Whether writing a personal statement, a speech, or a presentation, making a solid first impression is crucial to spur your readers into action.

How to Write a Hook for Different Kinds of Writing

Although it is a tough skill to master, understanding how to write a hook is crucial for academic writing success. By reviewing the most prevalent kinds of essay hooks, you can discover how to effectively captivate readers from the start and generate a hook that is ideal for your article. To do so, let's head over to the following sections prepared by our dissertation writers .

How to Write a Hook for a College Essay?

By mastering how to write a hook for a college essay, you have the opportunity to stand out from the hundreds of applicants with identical academic portfolios to yours in your college essay. It should shed light on who you are, represent your true nature, and show your individuality. But first, you need an attention-grabbing start if you want the admissions committee to read more of yours than theirs. For this, you'll require a strong hook.

Set the Scene

When wondering how to write a good hook for an essay, consider setting the scene. Open in the middle of a key moment, plunge in with vivid details and conversation to keep your essay flowing and attract the reader. Make the reader feel like they are seeing a moment from your life and have just tuned in.

Open with an Example

Starting with a specific example is also a great idea if you're explaining how you acquired a particular skill or unique accomplishment. Then, similar to how you established the scenario above, you may return to this point later and discuss its significance throughout the remaining sections.

Open with an Anecdote

Using an anecdotal hook doesn't necessarily mean that your essay should also be humorous. The joke should be short and well-aimed to achieve the best results. To assist the reader in visualizing the situation and understanding what you are up against when tackling a task or overcoming a challenge, you might also use a funny irony. And if this sounds too overwhelming to compose, buy an essay on our platform and let our expert writers convey your unmatched story!

How to Write a Hook for an Argumentative Essay?

If you write a strong hook, your instructor will be compelled to read your argument in the following paragraphs. So, put your creative thinking cap on while crafting the hook, and write in a way that entices readers to continue reading the essay.

Use Statistics

Statistics serve as a useful hook because they encourage research. When used in argumentative writing, statistics can introduce readers to previously undiscovered details and data. That can greatly increase their desire to read your article from start to finish. You can also consider this advice when unsure how to write a good hook for a research paper. Especially if you're conducting a quantitative study, a statistic hook can be a solid start.

Use a Common Misconception

Another answer to your 'how to write a hook for an argumentative essay' question is to use a common misconception. What could be a better way to construct an interesting hook, which should grab readers' attention, than to incorporate a widely held misconception? A widespread false belief is one that many people hold to be true. When you create a hook with a misinterpretation, you startle your readers and immediately capture their interest.

How to Write a Hook for a Persuasive Essay?

The finest hooks for a persuasive essay capture the reader's interest while leading them to almost unconsciously support your position even before they are aware of it. You can accomplish this by employing the following hook ideas for an essay:

Ask a Rhetorical Question

By posing a query at the outset of your essay, you may engage the reader's critical thinking and whet their appetite for the solution you won't provide until later. Try to formulate a question wide enough for them to not immediately know the answer and detailed enough to avoid becoming a generic hook.

Use an Emotional Appeal

This is a fantastic approach to arouse sympathy and draw the reader into your cause. By appealing to the reader's emotions, you may establish a bond that encourages them to read more and get invested in the subject you cover.

Using these strategies, you won't have to wonder how to write a hook for a persuasive essay anymore!

How to Write a Hook for a Literary Analysis Essay?

Finding strong essay openers might be particularly challenging when writing a literary analysis. Coming up with something very remarkable on your own while writing about someone else's work is no easy feat. But we have some expert solutions below:

Use Literary Quotes

Using a literary quote sounds like the best option when unsure how to write a hook for a literary analysis essay. Nonetheless, its use is not restricted to that and is mostly determined by the style and meaning of the quotes. Still, when employing literary quotes, it's crucial to show two things at once: first, how well you understand the textual information. And second, you know how to capture the reader's interest right away.

Employ Quotes from Famous People

This is another style of hook that is frequently employed in literary analysis. But if you wonder how to write a good essay hook without sounding boring, choose a historical person with notable accomplishments and keep your readers intrigued and inspired to read more.

How to Write a Hook for an Informative Essay?

In an informative essay, your ultimate goal is to not only educate your audience but also engage and keep them interested from the very beginning. For this, consider the following:

Start with a Fact or Definition

You might begin your essay with an interesting fact or by giving a definition related to your subject. The same standard applies here for most types mentioned above: it must be intriguing, surprising, and/or alarming.

Ask Questions that Relate to Your Topic

Another solution to 'How to write a hook for an informative essay?' is to introduce your essay with a relevant question. This hook lets you pique a reader's interest in your essay and urge them to keep reading as they ponder the answer.

Need a Perfect Article?

Hire a professional to write a top-notch essay or paper for you! Click the button below to get custom essay help.

Expert-Approved Tips for Writing an Essay Hook

Are you still struggling with the ideal opening sentence for your essay? Check out some advice from our essay helper on how to write a hook sentence and make your opening stand out.

• Keep your essay type in mind . Remember to keep your hook relevant. An effective hook for an argumentative or descriptive essay format will differ greatly. Therefore, the relevancy of the hook might be even more important than the content it conveys.
• Decide on the purpose of your hook . When unsure how to write a hook for an essay, try asking the following questions: What result are you hoping to get from it? Would you like your readers to be curious? Or, even better, surprised? Perhaps even somewhat caught off guard? Determine the effect you wish to accomplish before selecting a hook.
• Choose a hook at the end of the writing process. Even though it should be the first sentence of your paper, it doesn't mean you should write your hook first. Writing an essay is a long and creative process. So, if you can't think of an effective hook at the beginning, just keep writing according to your plan, and it will eventually come into your head. If you were lucky enough to concoct your hook immediately, double-check your writing to see if it still fits into the whole text and its style once you've finished writing.
• Make it short . The shorter, the better – this rule works for essay hooks. Keeping your hook to a minimum size will ensure that readers will read it at the same moment they start looking at your essay. Even before thinking if they want or don't want to read it, their attention will be captured, and their curiosity will get the best of them. So, they will continue reading the entire text to discover as much as possible.

Now you know how to write a good hook and understand that a solid hook is the difference between someone delving further into your work or abandoning it immediately. With our hook examples for an essay, you can do more than just write a great paper. We do not doubt that you can even write a winning term paper example right away!

Try to become an even better writer with the help of our paper writing service . Give them the freedom to write superior hooks and full essays for you so you may learn from them!

Do You Lack Creative Writing Skills?

This shouldn't stop you from producing a great essay! Order your essay today and watch your writing come alive.

What Is A Good Hook For An Essay?

How to write a hook for an essay, what is a good hook for an argumentative essay.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

Related Articles

73 Essay Hook Examples

An essay hook is the first one or two sentences of your essay that are used to grab the reader’s attention and draw them into your discussion.

It is called a hook because it “grabs” the reader and doesn’t let them go! It should have something in there that makes the reader feel curious and intrigued, compelling them to continue reading.

Techniques for Good Essay Hooks

Here are a few techniques that you can use to write a good essay hook:

• Use a Quotation : Sometimes, a relevant quotation from a well-known author or expert can help establish the context or theme of your essay. Next time you’re conducting research for an essay, keep an eye out for a really compelling quote that you could use as your hook for that essay.
• Start with a Statement that is Surprising or Unusual: A surprising or unusually statement will draw a reader in, making them want to know more about that topic. It’s good if the statement contradicts common knowledge or reveals an insight about your topic that isn’t immediately obvious. These can be particularly good for argumentative essays where you’re putting forward a controversial or compelling argument as your thesis statement .
• Tell a Brief Anecdote : A short, interesting story related to your topic can personaize the story, making it more than just a dry essay, and turning it into a compelling narrative that’s worth reading.
• Use Statistics or Facts: Interesting, surprising, or shocking facts or statistics work similarly to surprising statements: they make us want to know more about a topic. Statistics and facts in your introductions are particularly useful for analytical, expository , and argumentative essays.
• Start with a Question: Questions that make the reader think deeply about an issue, or pose a question that the reader themselves has considered, can be really effecitve. But remember, questions tend to be better for informal and personal essays, and are generally not allowed in formal argumentative essays. If you’re not sure if you’re allowed to use questions in your essays, check with your teacher first.

Below, I’ll present some examples of hooks that you could use as inspiration when writing your own essay hook.

Essay Hook Examples

These examples might help stimulate your thinking. However, keep in mind that your essay hook needs to be unique to your essay, so use these as inspiration but write your own essay hook that’s perfect for your own essay.

1. For an Essay About Yourself

An essay about yourself can be personal, use “I” statements, and include memories or thoughts that are deeply personal to you.

• Question: “Have you ever met someone who could turn even the most mundane events into a thrilling adventure? Let me introduce myself.”
• Anecdote: “The smell of freshly baked cookies always takes me back to the day when I accidentally started a baking business at the age of nine.”
• Intriguing Statement: “I’ve always believed that you haven’t truly lived until you’ve read a book upside down, danced in the rain, or taught a parrot to say ‘I love pizza.'”
• Quotation: “As Mark Twain once said, ‘The secret of getting ahead is getting started.’ That’s a philosophy I’ve embraced in every aspect of my life.”
• Humorous Statement: “I’m a self-proclaimed ‘professional chocolate tester’ – a title that’s not only delicious but also requires extreme dedication.”
• Start with your Mission Statement : “My life motto is simple but powerful: be the person who decided to go for it.
• Fact or Statistic: “According to a study, people who speak more than one language tend to be better at multitasking . As a polyglot, I certainly live up to that statistic.”
• Comparison or Metaphor: “If my life were a book, it would be a blend of an adventurous novel, a suspense thriller, and a pinch of romantic comedy.”
• Personal Revelation: “Ever since I was a child, I’ve had an uncanny ability to communicate with animals. It’s an unusual skill, but one that has shaped my life in many ways.”
• Narrative: “The day everything changed for me was an ordinary Tuesday. Little did I know, a single conversation would lead me to discover my true passion.”

2. For a Reflective Essay

A reflective essay often explores personal experiences, feelings, and thoughts. So, your hooks for reflective essays can usually be more personal, intriguing, and engaging than other types of essays. Here are some examples for inspiration:

• Question: “Have you ever felt as though a single moment could change your entire life? This essay is going to explore that moment for me.”
• Anecdote: “I was standing on the edge of the Grand Canyon, looking at the vast emptiness, and for the first time, I truly understood the word ‘perspective’.”
• Bold Statement: “There is a part of me that is still trapped in that room, on that rainy afternoon, holding the letter that would change everything.”
• Personal Revelation: “The first time I truly felt a sense of belonging wasn’t in a crowded room full of friends, but in the quiet solitude of a forest.”
• Intriguing Statement: “In my life, silence has been a teacher more profound than any words could ever be.”
• Quotation: “Einstein once said, ‘The only source of knowledge is experience.’ Now, looking back, I realize how profound that statement truly is.”
• Comparison or Metaphor: “If my life is a tapestry, then that summer was the vibrant thread that changed the entire pattern.”
• Narrative: “As the train pulled out of the station, I realized I wasn’t just leaving my hometown, I was leaving my old self behind.”
• Philosophical Statement: “In the theater of life, we are both the actor and the audience, playing our part and watching ourselves simultaneously.”
• Emotive Statement: “There is a sort of sweet sorrow in remembering, a joy tinged with a hint of sadness, like the last notes of a beautiful song.”

For an Argumentative Essay

Essay hooks for argumentative essays are often the hardest. This type of essay tends to require the most formal type of academic writing, meaning your hook shouldn’t use first person, and should be more based on fact and objectivity, often at the expense of creativity. Here are some examples.

• Quotation: “Thomas Jefferson once said, ‘Whenever the people are well-informed, they can be trusted with their own government.’ If Jefferson were alive today, he would likely feel that this meed for a well-informed citizenry is falling well short of where he would aspire.”
• Provocative Statement: “Despite what romantic films may portray, love at first sight is merely a myth perpetuated by society. This essay will prosecute the argument that love at first sight is a myth.”
• Statistical Fact: “According to the World Health Organization, depression is the leading psychological disability worldwide. Yet, mental health is still stigmatized and often overlooked. This essay will argue that depression should be seen as a health issue, and stigmatization of depression causes serious harm to society.”
• Comparison: “Much like an unchecked infection, climate change, if left ignored, can spread far beyond what it is today, causing long-term economic and social problems that may even threaten the longevity of humanity itself.”
• Contradiction : “While we live in an era of unprecedented technological advancements, millions around the world are still denied basic internet access.”
• Bold Declaration: “Animal testing is not only ethically unacceptable, but it also undermines the progress of medical research.”
• Challenging Belief: “Despite popular belief, the automation of jobs is not a threat but an opportunity for society to evolve.”
• Quotation: “George Orwell wrote in ‘1984’, ‘Big Brother is Watching You.’ In our modern society, with the advancement of technology, this is becoming more of a reality than fiction.”
• Intriguing Statement: “Despite countless diet fads and fitness trends, obesity rates continue to rise. This argumentative essay will argue that this is because medical practitioners’ approaches to health and weight loss are fundamentally flawed.”
• Statistical Fact: “Research reveals that over 90% of the world’s plastic waste is not recycled. This alarming figure calls for a drastic change in social attitudes towards consumption and waste management.”
• Challenging Assumption: “Society often assumes that progress and growth are intrinsically good, but this is not always the case in the realm of economic development.”
• Contradiction: “Western society upholds the value of freedom, yet every day, members of society cede personal liberties in the name of convenience and security.”
• Analogy: “Like an overplayed song, when a news story is repeated too often, it loses its impact. In the era of digital media, society is becoming desensitized to critical issues.”
• Relevant Anecdote: “In a village in India, the arrival of a single computer transformed the lives of the residents. This small anecdote underscores the importance of digital inclusion in today’s world.”
• Call to Rethink: “In a world where success is often equated with financial wealth, it is time for society to reconsidered what truly constitutes a successful life.”

For a Compare and Contrast Essay

A compare and contrast essay examines two issues, looking at both the similarities and differences between them. A good hook for a compare and contrast essay will immediately signal to the reader the subjects that are being compared and why they’re being compared. Here are sine ideas for hooks for a compare and contrast essay:

• Quotation: “As Charles Dickens wrote in his novel ‘A Tale of Two Cities’, ‘It was the best of times, it was the worst of times’. This could equally apply to the contrasting dynamics of urban and rural living.”
• Provocative Statement: “Despite popular belief, cats and dogs have more in common than society tends to think.”
• Comparison: “Comparing being an only child to growing up with siblings is like contrasting a solo performance with an orchestral symphony.”
• Contradiction: “While many view classic literature and contemporary fiction as worlds apart, they are more akin to two sides of the same coin.”
• Bold Declaration: “Android and iPhone may compete in the same market, but their philosophies could not be more different.”
• Statistical Fact: “Statistics show that children who grow up reading books tend to perform better academically than those who do not. But, the jury is out on how reading traditional books compares to reading e-books on screens.”
• Quotation: “As Robert Louis Stevenson once wrote, ‘Sooner or later, we all sit down to a banquet of consequences.’ This statement can be used to frame a comparison between short-term and long-term thinking.”
• Provocative Statement: “Democracy and dictatorship are often seen as polar opposites, but are they are not as different as they seem.”
• Comparison: “Climate change and plastic pollution are two major environmental issues, yet they demand different approaches and solutions.”
• Contradiction: “While traditional classrooms and online learning are seen as separate modes of education, they can often blend into a cohesive learning experience.”
• Bold Declaration: “Though both based on merit, the structures of capitalism and socialism lead to vastly different societal outcomes.”
• Imagery: “The painting styles of Van Gogh and Monet can be contrasted as a stormy sea versus a tranquil pond.”
• Historical Reference: “The philosophies of the Cold War-era – capitalism and communism – provide a lens to contrast economic systems.”
• Literary Comparison: “The dystopian societies portrayed in George Orwell’s ‘1984’ and Aldous Huxley’s ‘Brave New World’ serve as contrasting visions of the future.”
• Philosophical Question: “Individualism and collectivism shape societies in distinct ways, but neither one can truly exist without the other.”

See Here for my Guide on Writing a Compare and Contrast Essay

For a Psychology Essay

Writing an engaging hook for a psychology essay involves sparking the reader’s interest in the human mind, behavior, or the specific psychology topic you’re discussing. Here are some stimulating hooks for a psychology essay:

• Rhetorical Question: “How much control do we truly have over our own actions?”
• Quotation: “Sigmund Freud once said, ‘Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.’ This essay will explore whether this is universally true.”
• Provocative Statement: “Contrary to popular belief, ‘venting out’ anger might actually be fueling the fire of fury.”
• Comparison: “Just as an iceberg reveals only a fraction of its bulk above water, conscious minds may only be a small piece of who humans truly are.”
• Contradiction: “While it may seem counterintuitive, studies show that individuals who are more intelligent are also more likely to suffer from mental health issues.”
• Bold Declaration: “Despite advances in technology, understanding the human brain remains one of the final frontiers in science.”
• Statistical Fact: “According to a study by the American Psychological Association, nearly one in five adults in the U.S. lives with a mental illness. Yet, mental health continues to be a topic shrouded in stigma.”

For a Sociology Essay

Writing an engaging hook for a sociology essay involves sparking the reader’s interest in social behaviors, cultural phenomena, or the specific sociology topic you’re discussing. Here are ideas for hooks for a sociology essay:

• Quotation: “As Karl Marx once noted, ‘Social progress can be measured exactly by the social position of the fair sex.’ Sadly, society has not made much progress in gender equality.”
• Provocative Statement: “Social media, initially created to connect people, is ironically leading society into an era of unprecedented isolation.”
• Comparison: “Comparing society to a theater, where each individual plays a role, it is possible to start to see patterns and scripts embedded in daily interactions.”
• Contradiction: “While people often believe that technology is bringing society closer together, evidence suggests that it’s actually driving a wedge between people, creating ‘digital divides’.”
• Bold Declaration: “Human societies are constructed on deeply ingrained systems of inequality, often invisible to those benefiting from them.”
• Statistical Fact: “A recent study found that women still earn only 81 cents for every dollar earned by men. This stark wage gap raises questions about equality in the workforce.”

For a College Application Essay

A college essay is a personal statement where you can showcase who you are beyond your grades and resume. It’s your chance to tell your unique story. Here are ten potential hooks for a college essay:

• Anecdote: “At the age of seven, with a wooden spoon as my baton, I confidently conducted an orchestra of pots and pans in my grandmother’s kitchen.”
• Provocative Statement: “I believe that life is like a game of chess. The king might be the most important piece, but it’s the pawns that can change the entire course of the game.”
• Personal Revelation: “It wasn’t until I was lost in a foreign city, armed with nothing but a map in a language I didn’t understand, that I truly discovered my love for adventure.”
• Intriguing Question: “Have you ever wondered how it feels to be part of two completely different cultures, yet wholly belong to neither?”
• Bold Declaration: “Breaking a bone can be a painful experience. Breaking stereotypes, however, is an entirely different kind of challenge.”
• Unusual Fact: “I can recite the periodic table backwards while juggling three tennis balls. It’s a strange talent, but it’s a perfect metaphor for how I tackle challenges.”
• Quotation: “As Albert Einstein once said, ‘Imagination is more important than knowledge.’ This quote has defined my approach to learning.”
• Narrative: “It was a cold winter’s day when I first discovered the magic of turning a blank page into a world full of characters, stories, and ideas.”
• Metaphor: “Like a caterpillar transforming into a butterfly, my high school years have been a period of profound metamorphosis.”
• Humorous Statement: “Being the youngest of five siblings, I quickly learned that the best way to be heard was to become the family’s unofficial lawyer.”

Conclusion: The Qualities of a Good Essay Hook

As I wrap up this article, I want to share a few last tips on qualities that a good essay hook should have. Keep these tips in mind when writing your essay hook and using the above essay hook examples:

First, relevance . A good hook should be directly relevant to the topic or theme of your essay. The hook should provide a preview of what’s to come without giving too much away.

Second, Intrigue. A great hook should make the reader want to continue reading. It should create a question in the reader’s mind or present a fascinating idea that they want to know more about.

Third, uniqueness. An effective hook should be original and unique. It should stand out from the many other essays that the reader might be going through.

Fourth, clarity. Even though a hook should be captivating and original, it should also be clear and easy to understand. Avoid complex sentences and jargon that might confuse the reader.

Fifth, genre conventions. Too often, my students try to be so creative in their essay hooks that they forget genre conventions . The more formal an essay, the harder it is to write the hook. My general approach is to focus on statistics and facts, and avoid rhetorical questions , with more formal essay hooks.

Keep in mind that you should run your essay hook by your teacher by showing them your first draft before you submit your essay for grading. This will help you to make sure it follows genre conventions and is well-written.

Chris Drew (PhD)

Dr. Chris Drew is the founder of the Helpful Professor. He holds a PhD in education and has published over 20 articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education. [Image Descriptor: Photo of Chris]

• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ Forest Schools Philosophy & Curriculum, Explained!
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ Montessori's 4 Planes of Development, Explained!
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ Montessori vs Reggio Emilia vs Steiner-Waldorf vs Froebel
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd/ Parten’s 6 Stages of Play in Childhood, Explained!

Leave a Comment Cancel Reply

Your email address will not be published. Required fields are marked *

Study Like a Boss

Beowulf Hook Sentence Essay

Hook sentence(s): Growing up in the heroic path, Beowulf was divided in such a differenct ways of one’s point of views. B Set- up/Hints: Burton Raffel, an author who translated this book, shown how Beowulf structured though his journeys, or his quests, to be a real hero for everyone. C Focusing theme/idea: Beowulf have been in many many fights shaped his thoughts and his behaviors which related to the theme of the books. D Thesis statement: According to the theme of the work as a whole, Beowulf developed and undeveloped himself at the same time in all of situations that he have been through.

His ction also affect to other people and society around him. E Topic sentence: Fighting pattern of Beowulf mostly related to the loyalty and reputation themes . FSupport #1: For example, with the relationship between Hrothgar, the king of Danes, and Edgetho, Beowulf’s father, bring Beowulf across the ocean to help the Danes from Grendel, descendant of Cain . As a family, the king of Danes was served with loyalty by Beowulf. G Detail/ Example: “My purpose was this: to win the good will of your people or die in battle”(43).

From this quote, It show that Beowulf was already planned what he is going to do and it is a onorable behavior as a heroic warrior. H Commentary #1: Beowulf’s behavior is clearly shown his loyalty not only for the king of the Danes but also to his people in the Danes. I Commentary #2: By defeated Grendel and helped the Danes fear vanished, he has gained praise from many people including the king and it makes him proud when he done something good. He will continue doing the right things until his death.

J Support #2: The help from Beowulf to the Danes is not only because of loyalty and friendship but also to gain his reputation among the people between the lands. K Detail/Example: “Your glory is too great to forget: it will last forever”(61). After Grendel was defeated, Beowulf was also gained fame that made his name went all over the land. L Commentary #1: Many people respected him from his heroic deed. Along with other fighting with Grendel’s mother and the Dragon, reputation after the fight made their life better.

However, if they die in the fight they believed that it will lead them to glorious life after death . M Commentary #2: Beowulf and his comrade brought peace to the Danes which turned their countries into brothers. Relationship evelopment would help when one country needs help in the future. N Conclusion Beowulf have always been a good hero for people in both country in many fights. He began to know himself though the fight, he did not become braver in every fight but by knowing his abilities helped him defeated the monster. E Topic sentence: Being a human, Beowulf cannot live forever.

His body and his strength will gone when the time comes. F Support #1: Throughout the whole fights, as a warrior, he is strong and everyone sees him as a hero of them, even he’s old he still have to fight with the dragon. In fact, heroes are not always strong and human body would not last forever. It is natural for living things on the earth. G Detail/Example: “That shepherd of evil, guardian of crime, knew at once that nowhere on earth had he met a man whose hands were harder; his mind was flooded with fear-but nothing could take his talons and himself from that tight hard grip”(46-47).

H Commentary #1: From this quote, Beowulf strength is beyond any other man Grendel have ever met. Grendel was tortured and killed by him. I Commentary #2: Nevertheless, as he gets older, he keep etting weak compared to himself in teenager. J Support #2: As an old king, his name was already been through the whole area, no one want to fight with him. K Detail/Example: “I’ve worn this crown for fifty winters: no neighboring people have tried to threaten the Geats, send soldiers against us or talked of terror. My days have gone by as fate willed” (107). and “My time is gone” (109).

L Commentary #1: In his reign, nearly everyone was afraid of his power as he says in the quote that no one threatens them. However, after his death news spread over the ountries, the war started again. M Commentary #2: The strong hero has died and his death caused trouble between countries, Beowulf is like cat and other countries is mice so while the cat’s away, the mice will play. N Conclusion Beowulf have learned more about kinship and the feeling when he was a king, it’s helped him understanding the violent world, which made him died peacefully with the bravery deeds.

E Topic sentence: The impact of Beowulf strength are also related to vengeance theme in the book. His development unsatisfied some other character and other characters were aused troubles. F Support #1: As the result of the fight between Grendel and Beowulf, Beowulf has shown his abilities, which causes harm to Grendel. After the death of Grendel, his mother comes back to revenge for her son. G Detail/Example: “His mother’s sad heart, and her greed, drove her from her den on the dangerous path way of revenge”(63). H Commentary #1: Grendel’s mother was enraged by the time she found out who killed her son.

I Commentary #2:Even though, she is not as strong as Grendel but the violent thoughts and gloominess makes her more powerful. J Support #2: Beowulf’s fight with the dragon was also related to vengeance. K Detail/Example: “Vomiting fire and smoke, the dragon burned down their homes. They watched in horror as the flames rose up; the angry monster meant to leave nothing alive”(95). L Commentary #1: The anger of the dragon burned down many cities and killed many innocent lives. Only because the slave stole one of the dragon’s cup to satisfy his master. M Commentary #2: From this point, he did realized that soon he will die.

He’s getting older everyday and nothing fears him anymore. Beowulf sacrificed his life in order to protect his cities. N Conclusion (or clincher) sentence: In this book, vengeance comes in many forms, but the same things that always happened is there’s someone died. Sadness and misery is in their heart. Beowulf happened to be the one who solved all the problems, he was loved by everyone even he was dead . Restatement: Many things happened through the story as well as Beowulf, who becomes more understanding about humankind . P Synthesize, don’t summarize: Time is not going to stop for anyone.

Life must go on and no one could escape it. Beowulf did not get his strength and his reputation easily, he has to work hard for it. Q Create a new meaning: In conclusion, the environment around Beowulf shaped him to be who he was and his actions and behaviors reflected the themes of the books, which affect to other characters around him. R Redirect your readers: Living in the world is not easy, as a adult. Every person always have something to be stress about and not everyone finds the right ways to solve the problems. Beowulf is one the those people who succeed in life , however, it doesn’t mean that he is happy.

To export a reference to this article please select a referencing style below:

Related posts:

• Beowulf, a story about a young warrior and his quest through life
• Mythological character of Beowulf
• The Anglo-Saxon epic Beowulf
• Beowulf and Grendel
• Beowulf Characters and Analysis
• Beowulf – A Noble King
• Beowulf – A Story About A Young Warrior
• Heroism Of Beowulf
• Motivations in Beowulf
• Beowulf (Christianity vs. Paganism)
• Beowulf is not a hero for one main reason
• The epic poem Beowulf
• Beowulf: Character Analysis
• Beowulf Epic And Hero
• Hemingway, a master of the declarative subject-verb-object sentence

• Share full article

For more audio journalism and storytelling, download New York Times Audio , a new iOS app available for news subscribers.

Supported by

The Ezra Klein Show

Transcript: Ezra Klein Interviews D. Graham Burnett

Every Tuesday and Friday, Ezra Klein invites you into a conversation about something that matters, like today’s episode with D. Graham Burnett. Listen wherever you get your podcasts .

Transcripts of our episodes are made available as soon as possible. They are not fully edited for grammar or spelling.

Your Mind Is Being Fracked

The historian of science d. graham burnett on what’s at stake in the rise of an extractive attention economy and how we can reclaim our attention..

[MUSIC PLAYING]

From New York Times Opinion, this is “The Ezra Klein Show.”

I think a lot about the way we talk about attention. Because the way we talk about something is the way we think about it. What do you always hear about attention when you’re in school? Pay attention, as if we have a certain amount of attention in our mental wallet, and we have to spend it wisely. We need to use it to buy algebra, rather than buying gossip or jokes or daydreams.

I wish that was how my attention worked. It certainly did not work that way then. I graduated high school with a 2.2 because I cannot pay attention. I just can’t, to information delivered in the form of long lectures. I wish I could. I try. My attention, it just doesn’t feel to me like something I get to spend.

It feels — I don’t know. It feels more like taking my dogs on a walk. Sometimes they walk where I want them to. Sometimes I’m in control, and sometimes I am not in control. They walk where they want to. They get scared by thunder, and they try to run away.

Sometimes a dog side-eyes them from across the street, and they turn from mild-mannered terriers into killing machines. Sometimes they are obsessively trying to get a chicken bone. And even when I hurry them past it, they spend the whole rest of the walk clearly thinking about that chicken bone and scheming about how to get back there.

My attention feels like that to me. And this is what I don’t like about the way we talk about attention. We are not always in control of it. We may not even usually be in control of it. The context in which our attention plays out, what kinds of things are around us, it really matters. And it’s supposed to. Attention is supposed to be open to the world around us.

But that openness, it makes us subject to manipulation. You really see that now when you open your computer or your phone. It’s like the whole digital street is covered in chicken bones. There’s lightning cracking overhead. There are always dogs barking.

And I worry about this for my own mental habits, for my kids, for everybody’s kids. I don’t think we’re creating an intentionally healthy world here. And so I keep looking for episodes we can do on this, and I keep feeling like we’re getting near it, but not quite there. Because the way we talk about attention, it just doesn’t feel rigorous enough to me. It doesn’t feel like it is getting at the experience of it well.

And so I keep looking for episodes we can do on this, people who have found a better way to study attention or talk about it or teach it. Then I was reading this piece on attention in “The New Yorker” by Nathan Heller, and I came across D. Graham Burnett, who’s doing all three.

He’s a historian of science at Princeton University. He’s working on a book about the laboratory study of attention. And he’s a co-founder of the Strother School of Radical Attention, which is a kind of grassroots, artistic effort to create a curriculum around attention. And yeah, that got my attention. As always, my email, [email protected].

D. Graham Burnett, welcome to the show.

Oh, it’s such a pleasure to be here. Thanks.

So you’ve written that our attention is getting fracked. What do you mean by that?

Fracking. I suspect most of your listeners have heard that term. Fracking is mostly associated with this idea of getting petroleum resources out of the earth. But it’s a new technology for doing that. In the old days, pre major exploitation of petroleum resources, there were these big, juicy zits of high-value crude oil just sitting there in the earth, waiting to geyser up if you tapped them. Drill a hole — whew, gusher.

We’ve tapped all that out. The only way you can get the remaining petroleum and natural gas resources out of the deep earth is to pump down in there high pressure, high volume detergent, which forces up to the surface this kind of slurry, mixture of natural gas, crude oil, leftover detergent, and juice and nasty stuff, which you then separate out, and you get your monetizable crude.

This is a precise analogy to what’s happening to us in our contemporary attention economy. We have a, depending on who you ask, $500 billion, $3 trillion, $7 trillion industry, which, to get the money value of our attention out of us, is continuously pumping into our faces high-pressure, high-value detergent in the form of social media and non-stop content that holds us on our devices. And that pumping brings to the surface that spume, that foam of our attention, which can be aggregated and sold off to the highest bidder.

How do you define what attention is?

I would love for us to use this whole conversation to roll up on the shores of that deepest question again and again. So let me go at it one way. I’m in the process of finishing a history of science book about the laboratory study of this thing called attention since about 1880. In laboratories, using experiments, scientists have, since the late 19th century, sliced and diced a human capacity that they’ve called attention.

And it is that work that they did that has made it possible, I would argue, to price the thing called attention that we’re invoking when we use that fracking metaphor. It’s entangled with the idea of stimulus and response. The earliest experimental work on attention is about sitting folks in laboratory chairs and showing them certain kinds of displays, a cursor, a flash.

That triggering or targeting conception of attention has been the primary way that scientists, experimental psychologists, engineers, have conceptualized and placed in evidence a thing called attention. When they started doing early eye tracking experiments to follow where people’s gaze went, how much information they could take in at a glance, and figuring out how to quantify that — largely, it should be said, financed by friends in the emerging advertising industry — there was a kind of unholy symbiotic relationship that emerged between certain forms of experimental psychology and those who were trying to study how to sell mouthwash and cigarettes.

When those folks were doing that kind of work, they were certainly talking about a thing that was attention. They could call it attention. And it’s very similar to the thing that, right now, the most powerful computational technologies, the most sophisticated programmers and the most intricate algorithms are madly working to aggregate and auction continuously.

In your research, what’s been the holiest or most unholy attention experiment you’ve come across?

Oh, I love that question. Well, let’s do unholy. And maybe you’ll give me two. In the interwar period, a set of experiments called pursuit tests were used to train and assess the capability of military aviators. Pursuit tests were attention experiments, a little like forerunners of video games. Imagine a cursor that moves around on a non-computer screen. This is manual, like a clockwork cursor that’s traveling back and forth in front of you.

And you have a little envelope, a mechanical envelope that you have to move, manipulate kind of with a joystick, to keep bracketing that cursor as it moves around in front of you. And then we hook you up to a rebreather so that you’re gradually deprived of oxygen.

That’s a big twist. [LAUGHS] I didn’t see that one coming.

Yeah, we might also hook you up with headphones and run a lot of really loud and distracting noise through them. And we could also ask you to pedal or do other exhausting things with your body. There are a whole set of ways we could complicate this ecology. And then, as you gradually lose consciousness, you’re asked to continue for as long as you can, manipulating this envelope around the cursor.

This was understood to be an attentional test. It’s cybernetic, as you can see. It’s a way of integrating humans with machines. It uses attentionality as a way of measuring the kind of mechanization of the human subject in relation to a machine. Some people are better at it than others.

And let me assure you, if you’re going to put somebody in the cockpit of one of these very expensive fighter planes, you want somebody who’s really good at that. So I would call that one kind of an unholy — I mean, let’s be clear. I’m —

Yeah, fixating fighter pilots to see what happens to their attention. Yeah, I’ll categorize that in the unholy.

Yeah, I don’t want to sound paranoiac either. I’m in favor of fighter pilots who are able to pay attention —

Yes, I understand why they were doing it.

OK, yeah. Nevertheless, you can get a little shiver when you think about the way now, we’ve been, if you like, cybernetically integrated into our devices. And you can see aspects of that reality prefigured in the genealogy of experimental work on attention that I’m describing.

I’ll give you another one. The development during the Second World War of radar created unprecedented opportunities for defense capabilities in relation particularly to German U-Boats. Nevertheless, no matter how good your radar is, if the person looking at the radar screen isn’t paying attention to it, you’re totally screwed.

A really intense set of classified experiments took place during the Second World War to assess a very new problem — how long could people pay attention to screens? And what could you do to optimize their ability to keep paying attention to screens for long periods of time? That work gives rise to an understanding of the way people cease to pay attention, what comes to be called the vigilance decrement, the drop-off in vigilance to a statistically low frequency phenomenon.

And that work, too, can give you a little shiver to come to understand that there is, again, this deep, technoscientific story of studying a thing that we recognize as attention, but studying it in this highly instrumentalized way that is entirely bound to questions of stimulus and response, to triggering and targeting.

And we see the legacy of that kind of work, to this day, in the way we think about attention. That attention was sliced and diced in laboratories. And that very same thing is what’s now being priced with these calamitous effects in the way we experience ourselves.

I’m so interested by that form of attention. And it gets at something that has bothered me about a lot of the writing on attention and some of the conversations I’ve had on the show about attention, which is, it’s so wound up in this idea of attention as being something we should always have agency over.

I think that implicitly, in a lot of discussion of attention and a lot of research around attention, the attentional goal seems to emerge as a worker who never breaks focus on their task across the entire day. And so the enemy of attention in this telling is distraction. And I do feel that as a worker, right? I come in and I open my computer, and I immediately feel distracted by messages coming and Slacks and a million things.

And then, at the same time, that discourse, it points somewhere I’d like to go, but not the only place I’d like to go, right? I don’t imagine the good life as being a life where I have the attentional capacity of the perfect worker. Right? A lot of what I’m interested in theory with attention is, a sort of more open form of awareness, an ability to see other people more deeply.

And I’m a meditator. And so one thing I notice a lot, over time, is that what I think I should be paying attention to, and then what appears to come up with great value to me are not the same thing. Right? Too much agency over my attention, too much control is a way of not hearing other things in the world, too.

You put your finger on, really, the heart of the matter. So I want to suggest that part of what makes the conversation around attention right now, both so difficult and so important, is that secreted within that term are, in fact, two very different projects bumping up against each other.

In a laboratory, you use instruments. As it turns out, if you use instruments to get at a thing called attention, you end up finding an instrumentalized form of attention. Is that form of attention real? Absolutely. In fact, the technologies for making it real are powerful. You can quantify it. You can place it in evidence experimentally. Is it part of what’s in that sort of worker conception of attention that you invoked? Yes, as it happens, it is.

But that other thing that you’re kind of calling in when you talk about meditation, when you talk about awareness, when we invoke the sort of experience of being, the kind of ecstasy that can come with a certain durational flow of immersion in a person, a conversation, a book, the experience of reading, an object, that comes from a different place. It’s also in the language of attention, and it has its own separate history.

If you want to see both those operating now, let me give you two recent theorists of attention, both very prominent, whose accounts of what attention is are absolutely contradictory, perfectly paradoxical, but sort of both, interestingly, true. Two biz school theorists, Davenport and Beck, do a book called “The Attention Economy.” I think it’s 2001. They don’t actually coin the phrase, but they’re responsible for it sort of exploding into the collective conversation.

How do they define attention in that book? They say attention is what triggers, catalyzes, awareness into action. Attention is what catalyzes awareness into action. Definition that couldn’t be more different — the recently deceased French philosopher Bernard Stiegler, in a beautiful and difficult book called “Taking Care of the Youth and the Generations,” centers that book on attention.

What does he say attention is? He says, attention, playing with the “attendre” in French, is waiting, the exact opposite of catalytic triggering. It’s waiting. It’s, in fact, for him, infinite waiting. And what are you waiting on when you attend to an object? Wait on it. He says you’re waiting on the disclosure of the long webs of connectedness that are in the object. Which long webs of connectedness are a mirroring of the rich, long webs of connectedness that are in you?

So let’s imagine for a second that there was a painting on the wall of this studio, and you and I were looking at it together. We might look at that painting. It might be, let’s say, a religious icon or something. And you and I would bring to the experience of looking at it what we have. We would notice colors. We would think about other images like it we might have seen. We would think about the other images that might not be here, but that could be or the symbolic things that are in it.

And as we experience that kind of web of things that are in the image, we’d really be sort of seeing a long web of connectedness that’s in ourselves. And so, for Stiegler, attention is waiting on the disclosure of those long webs of connectedness, which are a mirroring of our own infinitude in the world. Attention, infinite waiting. Attention, triggering. Sharp contrast.

And let me try to bring in a third thing that I think is kind of exquisitely poised over and outside of that contestation between those two. In the early 20th century novel “Wings of the Dove,” the American novelist Henry James describes a really beautiful and intense scene in which a very, very ill woman, terminally ill woman, has a fleeting encounter with the doctor she desperately needs. She believes this doctor kind of knows what she needs to survive. She hopes that this doctor can kind of get her past her anguish.

The doctor’s very busy, and James depicts the scene where the two of them sit for a moment. And he describes the doctor as placing on the table between them a clear, clean crystal cup, empty of attention, an empty crystal cup of attention that the doctor places on the table between them. And that sort of figuration of attention as a kind of an empty cup that we place between ourselves and the object of our attention is like, I think it exquisitely invokes that idea of imminence, that kind of negative capability.

Anything’s possible here, the gesture of generosity. It has a little bit of that sense of waiting, but it also has a sense of a solicitation. Something needs to happen. So it includes elements of that catalytic, and it includes elements of that kind of mirroring, waiting image. And so, when I have to talk about what I think attention is, I’ll often use that image. Like, what’s attention? Attention is that kind of empty cup we can place between ourselves and the things we care about in the world and see what happens.

You’ve talked about how attention is — or at least the way we think about it now, is a modern construct. Can you talk a bit about that?

Let me give you one of the most amazing arguments about attention that’s ever been made by anybody, by my distinguished colleague Jonathan Crary. Jonathan Crary is an art historian at Columbia University. In a book called “Suspensions of Perception,” published around 2000, he made a super challenging argument about where that language of attention comes from and why, in the late 19th century, the same time that the scientists start studying it in laboratories, everybody starts getting worried about it and talking about it in a very particular way.

Crary argues that you don’t see a lot of discussions about attention in the 1780s, 1790s, even 1820. It’s not a thing. He says that worry about attention comes into being across the second half of the 19th century in a very particular way because of a very specific set of transformations in the experience of personhood. Imagine white guys in wigs with knickers on.

Those guys thought of themselves as a little bit like a camera obscura, right? Those boxes that have a little pinhole in them, like a forerunner of the camera. And the mind is like that box. There’s a world out there. There’s a world in here. There’s a nice mapping function between those two worlds. And therefore I, as a propertied white male subject, am good in the world because the world is out there and in me, in a relatively unproblematic way.

Crary argues, I think correctly, that that way of conceptualizing the human, the classical model of human subjectivity, implodes across the second half of the 19th century. What kills it? What does it end? We discover that, in fact, everybody doesn’t have the same picture inside themselves as what’s out there in the world, that we’re these oozy things made of meat, you know? And that actually, our eyes have blind spots. And suddenly the sort of physiological complexity of sensation makes a mincemeat of the classical model.

So then where are you in this kind of blooming, buzzing confusion of modernity now that you’re like an opaque, thick meat creature, instead of this nice camera obscura creature? Well, Crary argues that attention is born in that moment as a way of saying, again, that I hold together as one being, as I confront or encounter the world. Where are you? You are where your attention is.

Your will maybe, that’s that idea that somehow will has something to do with it. That for William James, attention and will were almost inextricable, right? That free will itself, if it existed, its locus was the moment in which I could choose to give my attention here versus there. And while everybody recognized that there was involuntary attention, there was this deep sense that attention was born in the late 19th century as a new language for talking about the coherence of the human subject.

Let me offer two responses that come to mind, and starting here. So obviously, he knows the discourse around attention much better than I ever will. But the first thing that I know where there was a lot of discussion and conversation about attention, going far, far, far back before the 19th century, is within religion.

So in Christianity, you have deep attention to attention among different kinds of monks and monastics. Buddhism has that. There are traditions in Judaism around that. I’m sure there’s much more in other religions that I know less well. Prayer is an attentional question. Meditation is a technology of attention as it gets talked about now. But you can frame it in much more spiritual ways than that. So what should that make us think that there was so much more, perhaps, attention to attention within the monastic religious traditions?

It’s a great question again, and I share your interest in those forms of attention. I do want to say that while it is certainly true that people have been concerned about how to hold before their minds and their senses objects since forever, and that religious spaces have been central zones for that sort of combat of the senses and the will, if one actually digs in on that stuff, the language often isn’t sort of the language we would use.

Contemplation, for instance, was a central preoccupation of monks.

But if you had brought them the kinds of questions that are getting asked by the early 20th century concerning that sort of stimulus response phenomenon or even the ways that William James will talk about attention, that would have been unrecognizable to them. That said, much of my own interest in attention actually comes out of my own meditational life as well. I care deeply about the spiritual traditions that inform our resources, as we begin to think about what to do now.

And there are some 20th century thinkers who have commented in really profound ways on the relationship between prayer and the thing we are now worried about when we talk about attention. The great French mystic Simone Weil comes to mind.

So Simone Weil, who skirted up to the edge of Christianity in different ways, but never crossed over, was a political activist, a labor activist, and ultimately, a kind of social justice martyr across the era of the Second World War, wrote passionately that pure, unmixed attention is prayer.

So for her, if you like apophatic attention, attention that won’t have an easy object or end or purpose. When I say apophatic, I invoke the tradition of negative theology, right? Two theological traditions. One where you try to get at God directly, one where you say, look, God is so beyond us. We’re not going to get to God. We’re finite creatures. God is infinite.

Our best chance to get anything like the God space is to enumerate everything that’s not God to get at God via the via negativa, the negative way. So we will enumerate the cloud of unknowing, rather than getting all puffed up with ourselves that we’re having a conversation with God.

I would argue that Simon Weil’s account of attention as a sort of radical, pure emptying of one’s self, an openness to immanence, is apophatic. It’s an attention that isn’t triggerable. It won’t target. You can’t bring it out in stimulus and response experimentations because it waits in a kind of ecstatic and infinite openness for that which it knows not.

So that’s the other question that comes up for me. There is an argument that what we are saying about attention now is just another moral panic of the kind we’ve been having since the early 19th century, that people were complaining about how we were losing our attention then. Trains were too fast, life was too fast. Everybody’s reading newspapers.

And it’s the same arguments, and yet, it’s all been fine. We worried about this with the advent of radio, with the advent of television. It just comes up and up and up and up. And then we just kind of move on to the next thing, and we worry about it again. And when people think about the attentional golden age, to the extent they imagine it, they don’t mean the 15 century. They mean right before whatever the thing they’re worried about now is, right?

Blogging was great. Social media was too far. Or if blogging was too much, newspapers were great, but digital news is too far. How do you think about that concern that you and me, we are aging and just part of a perennial moral panic?

I’m sympathetic to that critique of all this. By the same token, people have been deeply right, again and again, that things were changing. And things have changed in ways that were catastrophic, in addition to changing in ways that have been transformative and good. And some measure of what we need out of historical consciousness is the kind of critical discernment to make those judgments.

So, was there a moral panic about advertising in the early 20th century? There sure was. Why? Because people started experimenting with projecting advertisements using very bright lights, arc lamps on the underside of clouds. And everyone was like, this is horrible. I don’t want to read soap ads like on the night sky. And then people began to think it would be amazing to have amplified screaming ads floating in the air over cities so that you would have continuous barrages of sound advertisements in space. Also, horrible.

New technologies do really make possible new forms of human exploitation. This is real. The factory system certainly improved life in lots of ways. It made available much less expensive textiles, for instance. But you’d have to be out of your mind not to recognize that the aggregation of labor in the satanic mills of Lancashire created monstrous new labor conditions, against which people had to gather together and mount resistance.

I would argue that we are in a moment now in which this human fracking and the essentially unregulated commodification of this precious stuff out of which we make ourselves the instrument of our being, this is creating conditions that are at odds with human flourishing. We know this. And we need to mount new forms of resistance.

We don’t know yet what the forms of resistance will be, just like those early resistors in the factory system didn’t yet understand the way that labor politics and trade unionism would emerge as meaningful technologies of collective action. We don’t yet know what forms of resistance are going to emerge. That is what we need, is like all hands on deck for a kind of attention activism that raises our awareness. And this work is happening in lots of different places already. And we need to see what happens with it in the years ahead.

Maybe this is a digression, maybe it’s not, because you’re a historian who has dealt with this question, I think, a bunch. I’m fascinated by the way we think about past moral panics. Call them moral panics, right? The very term assumes just a hysteria that then went away. Often, when I go back and I read critics of a previous technological moment, it’s true on one level that, obviously, the world did not come to an end. We’re sitting here talking. And it is also often true that they were right.

You go back and read Neil Postman’s “Amusing Ourselves to Death,” and the thing he is predicting roughly will eventually happen is that we will think everything must be entertainment. And so even things that should not be entertainment will become driven by and assessed on the values of entertainment. And it is just like a direct line to Donald Trump. And you could say, oh, we had a previous moral panic about television, or you could say, all these people were right. The world didn’t end, but a lot of bad things actually did happen.

I think about this with advertising. Mid-century, there is a tremendous amount of critique and interest in the rise of advertising. You can read “The Affluent Society” by John Kenneth Galbraith, and he’s very interested in this question. And my sense is, among economists and others, that’s looked back on as a little bit embarrassing, right? Like, look, there’s advertising, and it’s fine.

And I don’t know. I’m actually amazed. I moved to New York about a year ago. I’m amazed at how much advertising is permitted on the subway. Public space, right? The subway I would go into for a long time, it had a grayscale image advertising “The Exorcist” reboot — horrifying image, like two girls, black [INAUDIBLE] dripping from their mouth. I mean, just grotesque. Every morning, I would see it.

And it seems a little bit dystopic. This is public space. Why am I being — why every morning, when I bring my five-year-old onto the subways, he’s seeing an ad for a horror movie? But we’ve just gotten used to it.

I’m curious how you think about this discourse, this sense that the things we worried about in the past, we were obviously wrong to worry about. And as such, worrying about things in the present is probably going to be wrong, too. Because eventually, we’ll simply make our peace with it, and the world will move on. And if it does that, then, clearly, it was fine.

Yeah. Where even to begin? Oh, my heavens. I mean, those who have worried that things were getting worse have been essential to our being clear-eyed about our condition again and again. The process by which money value has displaced other languages of value, big picture, that’s one of the enormous secular trends one can discern over the last 150, 200 years. And I would say many of the things you just invoked are, in effect, explicable out of that dynamic.

Now, I don’t want to sound reactionary when I say that, and I also don’t wish to kind of invoke some fantasy utopia of the past, but we are more severed from each other now than at any time in human history, even as we have this kind of ersatz experience of our being aggregated in new and powerful ways.

We’ve seen dynamics that simultaneously severed us from each other and created new aggregations, for instance, the rise of nationalism across the 19th century, which was a kind of harrowing ideology that created new forms of collective identity and displaced experiences of intimacy at the same time with monstrous consequences. So it’s totally reasonable, I believe, to be extremely uneasy about the dynamics that we’re seeing.

One thing that has, again, bothered me about a lot of the discourse on attention is, I think, because we don’t have a good definition of it itself, we don’t, I think, think about it very clearly. We know what we often don’t want. A lot of us don’t want the feeling, the fractured, irritated, outraged feeling we have on social media or online. We don’t like learning and noticing in ourselves that the amount of time we spend on any single task on the computer has dropped and dropped and dropped.

A lot of us have this experience of fracture. So we know what we don’t want — this. I don’t think we have a very good, positive vision. How do you think about the creation of a positive vision of attention, given the extraordinary diversity of human experience and wants?

Yeah, it’s a very hard question. In a sense, you’re asking both a question about authority and also asking a question about prescription. Are we going to prescribe for people this versus that, and who will prescribe? I think of the extraordinary definition of education that Gayatri Spivak offers, which is the non-coercive rearranging of desire. What’s education? The non-coercive rearranging of desire.

And that rings for you?

I have to say it does.

That’s not how my education felt to me.

Well, I don’t think a lot of our educations work that way. So I would say that that’s a richly humanistic and, at the same time, critical account of education. It’s not especially an account of education that conduces to making optimized workers in the labor force.

But let’s just sort of unpack it for a second. We organize our lives around desire in some basic sense. You say, we just tell people that they shouldn’t want, enjoy, receive that little dopamine hit, feel good when they’re scrolling through TikTok. Well, OK. Our desires can go lots of different places. It’s also possible for us to put our desires in places that ultimately lead to our being unhappy and lonely, not flourishing.

The question of how to organize our desires, how to know what it is we want that is what we really want, or what, in wanting, most dignifies and extends our experience of being, as opposed to, again, severing and impoverishing us. That’s the hard work of education. And people have to work that stuff out for themselves, but also, they have to work that stuff out with other people.

That’s, in a sense, why the humanistic tradition brings with it tradition, stuff, the kind of best that’s been thought and said — texts, objects. Here, here, look at this. It’s not, “look at this, I’m going to force you.” It’s, “I want you non-coercively to discover that in being with this in these ways, something good will happen.”

Yeah, let me hold on to this idea of non-coercion. So first, for me, education was coercive. I did not want to spend eight hours a day sitting in these small classrooms being lectured at. Just didn’t. I had to — which I don’t think is a bad thing. I am not really one of these people who thinks that childhood should be up to the whims of the child. I don’t think I would have made good decisions as a kid. I’m not sure the decisions made for me were great decisions either — but nevertheless.

And something that has been on my mind has been how bad, I think, parents, at least of certain classes right now, have gotten at coercion. And it worries me because my kids are young. So it’s kind of easy right now, but I know it’s going to get harder. And I see all these parents who know that they don’t think their kids should have a smartphone when they’re 11. And they fall because, eh, the other kids do.

And I see in this debate that we’re having right now about smartphones and kids, what I would describe as a real discomfort with how to be paternalistic when paternalism is actually needed. So Jon Haidt writes his book, “The Anxious Generation.” Part of the book’s thesis is that smartphones and social media have kicked off a mental health crisis in our children. Then there’s a huge back and forth on these exact studies.

And one thing I really noticed in this whole debate, where I think the research is very complicated and you can fairly come to a view on either end of it, is that if you convinced me that my kids scroll on their phones for four hours a day, had no outcome on their mental health at all — it did not make them more anxious — it did not make them more depressed — it would change my view on this not at all. I just think, as a way of living a good life, you shouldn’t be staring at your phone for four hours a day.

And yet, I also realize the language of society right now and parenting doesn’t have that much room for that. And I think we have a lot of trouble talking about just what we think a good life would be. Not a life that leads to a good job, not a life that leads to a high income, but just the idea, which I think we were more comfortable talking in terms of at other points in history, that it is better to read books than to not read books, no matter if you can measure that on somebody’s income statement or not.

And so I wonder not just about the non-coercive rearranging of desire, but I also wonder about — I mean, I don’t love calling it the coercive rearranging of desire, but the ability to talk about what we think we should desire or socially approve of, and then particularly for younger kids, for whom their attentional resources are being formed, actually insist upon that.

So I want to ask you back a question in response to that, which is, just, where do you anchor your intuition that it is, say, better to read a book than it is to scroll on TikTok for four hours?

If I’m being honest as a parent, right — and I’m not saying I would legislate this — I anchor it in my own experience of attention. I think books are remarkable and specific in their ability to simultaneously allow for a deep immersion in somebody else, right? Another human being’s story or thoughts or mind, and also create a lot of space for your own mind wandering. And I will say — and it’s one of the reasons I wanted to invite you on the show. We’ll talk about the School of Attention that you’re part of in a bit. I will say that my biggest concern and the concern that nobody really has an answer to for me, because I do want to send my kids to public school, is that I care less about how they are taught subjects than how they are taught attention, what kind of attention they’re able to bring to the things they will want to know. But again, the thing that worries me is that I see so little discourse like that.

I’m enormously moved by what you’re saying. The dynamics that you’re describing are not unfolding in empty space. They’re unfolding in relation to a basically unbridled dynamic of financial optimization. Like, we just can’t leave capitalism out of this. The system in which we operate is centrally driven by return on investment, not by human flourishing.

And there may be no other way to organize large, modern, complex societies. But we would be insane not continuously to hold before us the essential adversary here. The corporations are not on our sides. And the fact that a major split of our contemporary economy has figured out how to monetize not just our labor, but our actual ability to give ourselves to what we care about, is extremely bad for our ability to continue to be non-inhuman beings.

I think I’m getting at something similar when I talk about my discomfort with how hard we find it to criticize choice. People mean a lot of things when they talk about neoliberalism, and I don’t love the term, one, because I think it annoys people and shuts them down. But the other is because it’s imprecise. But the thing I mean, when I talk about neoliberalism and the neoliberal age, is a period in which the logic of markets became the logic.

Absolutely.

And I think it has become very difficult to think outside of market logic. And when I read older texts, I see a lot more discussion of the good of virtues of — and a lot of it is very religiously inflected, to be fair. I mean, religion was an alternative structure of logic of meaning that was in contestation with economic ways of thinking about that. I think as religion has weakened not only as an organized force, but as a kind of conceptual way of looking at the world, capitalism market logic has taken over a lot of that space. And the market does not have our interests at heart.

You invoke religion as one of the traditions on which one has been able to draw for a discourse of value that would not reduce to money value. I would invoke to other kinds of institutions that have been really important. There’s the space of education. I mean, I basically believe that a lot of what we do in the humanities is a training of attention.

And partially, that’s like why we have to hold on to and protect spaces for humanistic work in our education, because a lot of the other stuff can be instrumentalized. It’s part of the reason it’s getting increasingly exterminated from universities because you can’t monetize it. And but I say all of that just because interpretation or meaning is so inextricable from the labor of attention.

And there’s a third, which I also think is interesting to consider, which is spaces of art, music, aesthetics. I mean, artists have always made fun of the bourgeois collector who showed up with a giant bag of money and said, show me the most expensive thing, and I’ll take it. And the people in the know and the space of the arts would snicker and say, how callow that he walked out with that. That’s not the good stuff.

So each of those spaces, spaces of religion and institutions of education, study, teaching, and learning, and then museums and spaces of artistic production, symphonies, music, each of those institutions has meaningful traditions of non-instrumentalizable attention.

Is attention the category of the thing we want or a subcategory of the thing that we want? So sometimes I wonder if attention is a word like health. If I told you health is important, you’d nod your head. You’re nodding your head, in fact, right now. If I said, I’m really trying to work on my health, on the one hand, you would get what I meant by that. On some level, I don’t want to die soon and young for a preventable reason. But I also wouldn’t really tell you anything. There’s so many subcategories to health, right? You go to doctors for different parts of the body. And there’s mental health and fitness and different kinds of fitness and cardiovascular and strength. And sometimes when we talk about attention, it feels to me like we are talking about a thing like health, the entire basket of different forms of awareness and experience we use when we are moving through the world.

And sometimes it feels like we are talking about something very specific, right? Cardiovascular fitness, not health, right? And then alongside that, there are all these other things you might want to cultivate and be concerned about. Which one is it for you?

I think you put your finger exactly on that duplex nature of our discourse around attention. Both those notions are in the language of attention that we use. And I would argue that what’s important now is that we have the richest conversation about attention to surface it as our collective concern in the way that this podcast and all the podcasts you’ve done on this and the wide range of authors, like Jenny Odell and James Williams and Tim Wu, all these folks who’ve written on this.

We need more of all of that because — and here’s where your language of health is exactly right — what we need is a kind of almost revolutionary rising of our awareness around the importance of this stuff. I’m old enough to remember a period back when nobody went running. James F. Fixx, right? He wrote the book on running in — what was it — ‘77. Before that, regular people didn’t go jogging. They didn’t go running. People who ran were people who were sort of athletes or people in school because they were doing collective sports.

Also, there weren’t gyms that regular people went to. Right? There were places like Gold’s Gym, where you could go if you were a powerlifter or a boxer. I’m talking 1974 or ‘75. The whole idea that ordinary people would concern themselves with their fitness is something that’s emerged over the last 40 years. It’s staggering to consider the scale of the collective awareness of our physical well-being. Now, does that mean that health itself is a new idea? No, people have been worried about their health since forever. But the specific activation of fitness, that’s a relatively new thing, and it’s really changed in our lifetimes. And I’m proposing to you that that’s going to happen again. Over the next 40 years, a collective recognition that our wellness in our attentional lives, our hygiene and health and our attention, is going to be constitutive of our experience of being. This is what’s going to happen. It’s going to reshape education, which, as you’ve signaled, needs to be for and about attention. That’s what it needs to teach. And it’s going to transform our other ways of being together.

So you’re trying to do some of this. You have, along with others, this School of Attention. What are you trying to teach?

Yeah, I love this stuff. I mean, we think of the school as a little bit Black Mountain College, creative, artistic collaboration; a little bit like something like the Brooklyn Institute for Social Research, continuing education for people who want to read together and think and be together in person in a place; and then a little bit like the kind of radical labor schools of the teens and ‘20s, like the schools created by the International Ladies’ Garment Workers’ Union, which were more like activist projects to promote a certain kind of politics.

So that’s kind of the triangle in which we place the school. The school does not promote some single programmatic theory of attention. On the contrary, we’re interested in all the different traditions that can inform how we take attention forward. We had a senior Zen student do a course on Zen meditation as an intentional form. A class on cinematography as a medium in which attention is choreographed cinematically. A class on perfume where smell as a sensory modality is centered as a sort of attentional form.

We run workshops — and this is separate from the classes. We do free workshops. And the workshops are sort of opportunities to actually do some intentional stuff together, exercises in which people will, for instance, listen four times to the same four-minute piece of music under, again, different sort of mental orientations, but collectively, then take some notes and talk out what happened as they sort of used their attention.

And possibly the coolest thing we do at the school are these things called sidewalk studies, in which between 5 and 10 people will get together, usually a bar or a cafe, and they’ll read a carefully selected paragraph closely together and talk about it seminar style, having a drink. That paragraph is on a card. When you flip the card over, there’s a thing to do together, like a street action, like a kind of situationist style activity.

So an example would be like a great Audre Lorde passage on food in the city. The action is going into a bodega and actually examining the bodega for where surveillance is happening, where nourishment is happening, and then moving to the second bar and talking through what it was like to be in the space of the bodega with the Audre Lorde passage in our heads together.

And there are dozens and dozens of these exercises that are continuously being invented by folks in the school and doing them together. They do it because it’s a way of being together and practicing attention together to generate forms of solidarity.

I’m interested in that idea of practicing attention together. With my kids, when I think about this, one of the things that I wonder is when I ask, what do I mean by I want them taught attention? Some part of it is just I want them to have familiarity, a visceral, somatic familiarity with what different kinds of attention feel like.

I’m not sure I had that for a very long time. I’d, of course, experienced many kinds of attention, but it’s only later in life I become more mindful of what they feel like. And that’s helped me diminish the role of some in my life. The reason I’m not on Twitter or X anymore is that I don’t like the feeling of the attention it furnishes. I don’t like how I feel when I leave it. The reason I’ve sort of moved back to paper books is I do like the feeling of the attention. I notice that it is healthier for me. It sounds to me a little bit like something you all are trying to do is just creating contexts in which you experience different kinds of attention, so you have that internal map you can work with.

Absolutely. It’s a do by doing kind of thing. You actually have to come together with other people and surface the question of attention and then experience what giving one’s attention with others can do to be reminded of how precious that feature of our being is and discover what can be returned from the world to themselves out of opening themselves to it intentionally.

So I thought a good place to end here would be to do the deep listening activity, or at least a truncated version of it that you described earlier. So how do you lead people through this?

OK, so this would be an example of one of the exercises we might do at one of the attention labs at the Strother School. And we always like to make clear that we borrow from lots of different traditions. So this is very much like the kinds of exercises that the wonderful sound artist genius, Pauline Oliveros, would use in her practice.

It’s not exactly like her stuff, but we always kind of talk a bit about Pauline Oliveros, and we set this one up. And there are other sound artists who inform the kind of stuff we care about, Annea Lockwood and others. The exercise is going to have four phases. I understand that you’ve got a sort of sound piece queued up.

We’ve got it.

OK we’re going to actually play it four times. So your listeners have to be ready. You’re going to hear that piece of music, which is about how many minutes would you say?

I think we’ve cut it to 30 seconds or so.

OK, so it’s 30 seconds. We normally do this for a little longer, but all right. So wherever you are, get ready. You’re going to hear this 30-second sound piece four times. And I’m going to give you the mood under which you’ll attend to it. First, just listen. OK? First, listen.

Second listen, recall. What have you heard before?

Third listen, discover. What do you hear for the first time?

And four, finally, don’t listen. What do you find when you don’t listen?

So let’s talk back and forth. An observation about each of the phases. What happened in the first phase for you, Ezra?

The striking thing about listening to it the first time was the way my body’s response kept changing. So initially, it’s like you got these birds. It seems like it’s going to be a kind of nice ambient piece of music.

And then just like the intense, escalating tension, somewhat mounting dread, the noise goes up. The number of sounds happening simultaneously, it feels like it goes up. The volume goes up. So by the end, you’ve begun — or for me, I began as, oh, a nice — like, Jesus Christ, why did my producers choose this piece of music? So, yeah, it was a little bit — the first time, I was just on the ride of the bodily response to it.

For me, in the first attempt through, I was acutely attuned to 1,000 questions sort of pulling me in all directions. Because I’m accustomed to doing these kinds of things over a long time, so longer, more immersive, more people, so a lot of anxiety as to whether this kind of thing can work in this setting. So the truth is, I became aware about midway through that I was effectively not listening to the thing at all on the first time through, trying, but trying, but failing for me on the first one. We go to the second listen where we were trying to hear something that we’d heard before, recall.

The second one I was struck by — so I remembered the birds, right? I noticed they go on a little bit longer than I thought. And the second, I was a little braced because I remembered the feeling I had on the first. I was like, oh, as this keeps going, you feel worse. And so the remembrance was of what was coming in the way that then made me surprised by what was there in the moment.

Super interesting. This is so embarrassing, but I heard the birds for the first time in the second phase. [LAUGHS]

It’s not remembering.

That’s not. So it was a double catastrophe because I was like, how the heck did I not hear the birds in the first phase? My listening was so bad in phase one and two. Wait a second, I’m not supposed to discover new things until phase three.

So I had phase catastrophic disaster and felt bad about myself, but then sort of rounded on that and became aware of that inexorable march time that comes in and the harrowing fatalism that one associates with that musical mode. And so I had gotten to that in the first listen and was able to be like, OK, OK, I’m remembering that. I’m remembering that. Third listen, were you able to discover anything new?

Yeah, I was more attentive to the birds, so I was sort of tracking them. I realized they disappear. The whole piece, then, on the third, the thing I noticed was it feels like you’re clear cutting a forest, right? That felt to me like what that piece of music was, right? You were going through the forest. It’s initially fairly untouched. And then with each rising, I mean, the birds eventually falling silent, that tick, tick, tick, tick. When you talk about the fatalism of it, I mean, this felt like a piece of music that was about the clear cutting of an ecosystem.

Yeah, and I love — discovery for me involved a loop into how this piece came to be. I heard a twang that felt guitar-like, but I’m almost certain that the music was composed electronically. So I had a little moment of your engineer or your creatives, whoever’s back there making this, and were they at a machine? What kind of machine? What kinds of clips or samples were they drawing on?

So my kind of discovery, in a sense, was the sources and being recalled to the question of the sources of these sounds, these acoustic experiences. Final phase, four, you tried not to listen, Ezra. What happened?

It was more comfortable.

That body response to that kind of mounting dread, that anxiety, just was muted. So it was more like the way I listen to music when I work, where my attention is not on the music, and the music is providing a mood and an energy. Right? The music is a kind of stimulant.

What did you —

I’m not deeply immersed in it.

What did you do with the rest of you to not listen? Because, of course, our ears are funny. You can’t close your ears. So the stuff’s going to keep coming in. It’s not like our eyes. We’re —

Well, I moved to the eyes.

More of my attention was on what I was seeing.

Yeah, I did exactly the same thing. Did you close your eyes in the first three phases? Did you keep them open as you were listening? You did?

Kept them open on all.

That’s interesting. I closed them, but I opened my eyes on the final phase and had a little taste. It was quick, but a little taste of that foretaste of the ecstasy of trying to awaken my visual field, and brighten it such that it would displace my acoustic experience.

So I kind of had hyper vision for a second in an effort to blast out of my ears the acoustic experience by overwhelming it with the other sensory modality. And that was a little tremor of the good stuff where you can sort of feel an activation of what you can do with your attention as an aspect of being. I must say I enjoyed that.

So what’s the point of all that for you? If that is a successful lesson when you do it, what are you hoping people will have experienced? What is the meta lesson of that lesson, right? It’s not just what you heard in the music. What did we just do?

Yeah. I want to just admit that I’m not super sure, and that kind of uncertainty is part of it. And what I can assure you is that when seven or eight people get together in Brooklyn and do something like this for half hour or 45 minutes, we all come out of it feeling so good.

It just feels so right to be with ourselves and what our minds and senses can do and with other people in relation to what’s in the world this way. And I think that at this moment, we need to carve out more spaces for these kinds of activated experiences within our teaching and learning environments.

Let me end on this. If you’re somebody who’s not near the Brooklyn Strother School of Radical Attention, but are somebody who kind of senses something is wrong with your attention, wrong the intentional world that you inhabit, and you want it to be better for you, you want to find a space of what will feel like attentional health, where do you start?

Yeah, it’s a great question. And for my answer, I’m going to read one of the “12 Theses on Attention” written by The Friends. Thesis 9 of the 12 theses reads, “Sanctuaries for true attention already exist. They are among us now, but they’re endangered. And many are in hiding, operating in self-sustaining, inclusive, generous, and fugitive forms. These sanctuaries can be found, but it takes an effort of attention to find them. And this seeking is also attention’s effort to heal itself.”

So my answer is, find a sanctuary. It’s there. And your listeners out there, they all have their different sweet spots where they are able to protect themselves from the frackers. It might be gardening. It might be that they actually can weld. And when they’ve got their visor down and they’re in the puddle of the hot metal, that’s when everything is zoned out. They may be knitting, and they may be doing a Zumba class.

I don’t know what it is they’re doing that’s near you and what you would find and make possible, but find your people. And out of finding your people and with a measure of intentionality, insisting upon the sanctuary where you are resistant to being fracked, attention can begin to heal. And that seeking out of the sanctuary space is itself already part of the healing.

So then always our final question, what are three books you would recommend to the audience?

Oh, there are so many great books. And all we need to do is protect the ability to read them, and we’ll be good. Well, let’s start with one that I think is a deep and challenging and important book in this kind of attention space. And it’s by my esteemed colleague Natasha Dow Schüll down at N.Y.U. It’s called “Addiction by Design.”

Natasha Dow Schüll is a science and technology studies scholar, an anthropologist by training, and she did an extraordinary book on video poker machines, gambling machines in Vegas. It’s a kind of a pre-smartphone book about the engineering of addiction by the folks who designed those gambling machines and the environments in which they sit.

And if you want to have a kind of harrowing inwardness with the sophisticated, dark pattern technologies that can be achieved, even in the most primitive technologies, those machines are not fancy in important ways, right? They are a kind of 19th century printing press to a modern, full-color laser printer in relation to what we have now in our pockets. But already to see how sophisticated the design of those systems were to suck people in and hold them, it’s amazing. Natasha Dow Schüll, “Addiction by Design.”

A second book that I love and that also comes out of my field and that I think is a deep and hard but beautiful and important book for thinking about the history of science would be the book “Objectivity” by Peter Galison and Lorraine Daston, both of whom are really great historians of science. That book is a history of something that seems impossible to historicize. I mean, objectivity doesn’t have a history. Objectivity is just being objective. That’s like transhistorical.

And they do an extraordinary and counterintuitive job of showing how radically historical our conceptualization of objectivity itself is, how entangled it is with shifting ideas of subjectivity, for instance, or the way that it plays off of the emergence of mechanical technologies for making inscriptions. So “Objectivity” by Peter Galison and Lorraine Daston.

And then I guess my wild card book would just be a book I love and a book about the imagination, belief, dreams, and about America. It’s by Herman Melville, of course, the author of “Moby Dick,” a book I also love.

But I’m going to invoke his much stranger book, “The Confidence-Man,” which is a book about how belief happens and who the people are who can make us believe and about the sort of entanglement of hope and belief. It’s very much a book about this strange country that I love and believe in, and that has to make us all also very uncomfortable a lot of the time. Herman Melville’s “The Confidence-Man.”

D. Graham Burnett, thank you very much.

Total pleasure. Thanks.

This episode of “The Ezra Klein Show” was produced by Rollin Hu and Kristin Lin. Fact-checking by Michelle Harris with Mary Marge Locker and Kate Sinclair. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones and Aman Sahota. Our senior editor is Claire Gordon. The show’s production team also includes Annie Galvin and Elias Isquith. Original music by Isaac Jones and Aman Sahota. Audience strategy by Kristina Samulewski and Shannon Busta. The executive producer of New York Times Opinion Audio is Annie-Rose Strasser. And special thanks to Sonia Herrero.

EZRA KLEIN: From New York Times Opinion, this is “The Ezra Klein Show.”

D. GRAHAM BURNETT: Oh, it’s such a pleasure to be here. Thanks.

EZRA KLEIN: So you’ve written that our attention is getting fracked. What do you mean by that?

D. GRAHAM BURNETT: Fracking. I suspect most of your listeners have heard that term. Fracking is mostly associated with this idea of getting petroleum resources out of the earth. But it’s a new technology for doing that. In the old days, pre major exploitation of petroleum resources, there were these big, juicy zits of high-value crude oil just sitting there in the earth, waiting to geyser up if you tapped them. Drill a hole — whew, gusher.

EZRA KLEIN: How do you define what attention is?

D. GRAHAM BURNETT: I would love for us to use this whole conversation to roll up on the shores of that deepest question again and again. So let me go at it one way. I’m in the process of finishing a history of science book about the laboratory study of this thing called attention since about 1880. In laboratories, using experiments, scientists have, since the late 19th century, sliced and diced a human capacity that they’ve called attention.

EZRA KLEIN: In your research, what’s been the holiest or most unholy attention experiment you’ve come across?

D. GRAHAM BURNETT: Oh, I love that question. Well, let’s do unholy. And maybe you’ll give me two. In the interwar period, a set of experiments called pursuit tests were used to train and assess the capability of military aviators. Pursuit tests were attention experiments, a little like forerunners of video games. Imagine a cursor that moves around on a non-computer screen. This is manual, like a clockwork cursor that’s traveling back and forth in front of you.

EZRA KLEIN: That’s a big twist. [LAUGHS] I didn’t see that one coming.

D. GRAHAM BURNETT: Yeah, we might also hook you up with headphones and run a lot of really loud and distracting noise through them. And we could also ask you to pedal or do other exhausting things with your body. There are a whole set of ways we could complicate this ecology. And then, as you gradually lose consciousness, you’re asked to continue for as long as you can, manipulating this envelope around the cursor.

EZRA KLEIN: Yeah, fixating fighter pilots to see what happens to their attention. Yeah, I’ll categorize that in the unholy.

D. GRAHAM BURNETT: Yeah, I don’t want to sound paranoiac either. I’m in favor of fighter pilots who are able to pay attention —

EZRA KLEIN: Yes, I understand why they were doing it.

D. GRAHAM BURNETT: OK, yeah. Nevertheless, you can get a little shiver when you think about the way now, we’ve been, if you like, cybernetically integrated into our devices. And you can see aspects of that reality prefigured in the genealogy of experimental work on attention that I’m describing.

EZRA KLEIN: I’m so interested by that form of attention. And it gets at something that has bothered me about a lot of the writing on attention and some of the conversations I’ve had on the show about attention, which is, it’s so wound up in this idea of attention as being something we should always have agency over.

D. GRAHAM BURNETT: You put your finger on, really, the heart of the matter. So I want to suggest that part of what makes the conversation around attention right now, both so difficult and so important, is that secreted within that term are, in fact, two very different projects bumping up against each other.

EZRA KLEIN: You’ve talked about how attention is — or at least the way we think about it now, is a modern construct. Can you talk a bit about that?

D. GRAHAM BURNETT: Let me give you one of the most amazing arguments about attention that’s ever been made by anybody, by my distinguished colleague Jonathan Crary. Jonathan Crary is an art historian at Columbia University. In a book called “Suspensions of Perception,” published around 2000, he made a super challenging argument about where that language of attention comes from and why, in the late 19th century, the same time that the scientists start studying it in laboratories, everybody starts getting worried about it and talking about it in a very particular way.

EZRA KLEIN: Let me offer two responses that come to mind, and starting here. So obviously, he knows the discourse around attention much better than I ever will. But the first thing that I know where there was a lot of discussion and conversation about attention, going far, far, far back before the 19th century, is within religion.

D. GRAHAM BURNETT: It’s a great question again, and I share your interest in those forms of attention. I do want to say that while it is certainly true that people have been concerned about how to hold before their minds and their senses objects since forever, and that religious spaces have been central zones for that sort of combat of the senses and the will, if one actually digs in on that stuff, the language often isn’t sort of the language we would use.

Contemplation, for instance, was a central preoccupation of monks. But if you had brought them the kinds of questions that are getting asked by the early 20th century concerning that sort of stimulus response phenomenon or even the ways that William James will talk about attention, that would have been unrecognizable to them. That said, much of my own interest in attention actually comes out of my own meditational life as well. I care deeply about the spiritual traditions that inform our resources, as we begin to think about what to do now.

EZRA KLEIN: So that’s the other question that comes up for me. There is an argument that what we are saying about attention now is just another moral panic of the kind we’ve been having since the early 19th century, that people were complaining about how we were losing our attention then. Trains were too fast, life was too fast. Everybody’s reading newspapers.

D. GRAHAM BURNETT: I’m sympathetic to that critique of all this. By the same token, people have been deeply right, again and again, that things were changing. And things have changed in ways that were catastrophic, in addition to changing in ways that have been transformative and good. And some measure of what we need out of historical consciousness is the kind of critical discernment to make those judgments.

EZRA KLEIN: Maybe this is a digression, maybe it’s not, because you’re a historian who has dealt with this question, I think, a bunch. I’m fascinated by the way we think about past moral panics. Call them moral panics, right? The very term assumes just a hysteria that then went away. Often, when I go back and I read critics of a previous technological moment, it’s true on one level that, obviously, the world did not come to an end. We’re sitting here talking. And it is also often true that they were right.

D. GRAHAM BURNETT: Yeah. Where even to begin? Oh, my heavens. I mean, those who have worried that things were getting worse have been essential to our being clear-eyed about our condition again and again. The process by which money value has displaced other languages of value, big picture, that’s one of the enormous secular trends one can discern over the last 150, 200 years. And I would say many of the things you just invoked are, in effect, explicable out of that dynamic.

EZRA KLEIN: One thing that has, again, bothered me about a lot of the discourse on attention is, I think, because we don’t have a good definition of it itself, we don’t, I think, think about it very clearly. We know what we often don’t want. A lot of us don’t want the feeling, the fractured, irritated, outraged feeling we have on social media or online. We don’t like learning and noticing in ourselves that the amount of time we spend on any single task on the computer has dropped and dropped and dropped.

D. GRAHAM BURNETT: Yeah, it’s a very hard question. In a sense, you’re asking both a question about authority and also asking a question about prescription. Are we going to prescribe for people this versus that, and who will prescribe? I think of the extraordinary definition of education that Gayatri Spivak offers, which is the non-coercive rearranging of desire. What’s education? The non-coercive rearranging of desire.

EZRA KLEIN: And that rings for you?

D. GRAHAM BURNETT: I have to say it does.

EZRA KLEIN: That’s not how my education felt to me.

D. GRAHAM BURNETT: Well, I don’t think a lot of our educations work that way. So I would say that that’s a richly humanistic and, at the same time, critical account of education. It’s not especially an account of education that conduces to making optimized workers in the labor force.

EZRA KLEIN: Yeah, let me hold on to this idea of non-coercion. So first, for me, education was coercive. I did not want to spend eight hours a day sitting in these small classrooms being lectured at. Just didn’t. I had to — which I don’t think is a bad thing. I am not really one of these people who thinks that childhood should be up to the whims of the child. I don’t think I would have made good decisions as a kid. I’m not sure the decisions made for me were great decisions either — but nevertheless.

D. GRAHAM BURNETT: So I want to ask you back a question in response to that, which is, just, where do you anchor your intuition that it is, say, better to read a book than it is to scroll on TikTok for four hours?

EZRA KLEIN: If I’m being honest as a parent, right — and I’m not saying I would legislate this — I anchor it in my own experience of attention. I think books are remarkable and specific in their ability to simultaneously allow for a deep immersion in somebody else, right? Another human being’s story or thoughts or mind, and also create a lot of space for your own mind wandering.

And I will say — and it’s one of the reasons I wanted to invite you on the show. We’ll talk about the School of Attention that you’re part of in a bit. I will say that my biggest concern and the concern that nobody really has an answer to for me, because I do want to send my kids to public school, is that I care less about how they are taught subjects than how they are taught attention, what kind of attention they’re able to bring to the things they will want to know. But again, the thing that worries me is that I see so little discourse like that.

D. GRAHAM BURNETT: I’m enormously moved by what you’re saying. The dynamics that you’re describing are not unfolding in empty space. They’re unfolding in relation to a basically unbridled dynamic of financial optimization. Like, we just can’t leave capitalism out of this. The system in which we operate is centrally driven by return on investment, not by human flourishing.

EZRA KLEIN: I think I’m getting at something similar when I talk about my discomfort with how hard we find it to criticize choice. People mean a lot of things when they talk about neoliberalism, and I don’t love the term, one, because I think it annoys people and shuts them down. But the other is because it’s imprecise. But the thing I mean, when I talk about neoliberalism and the neoliberal age, is a period in which the logic of markets became the logic.

D. GRAHAM BURNETT: Absolutely.

EZRA KLEIN: And I think it has become very difficult to think outside of market logic. And when I read older texts, I see a lot more discussion of the good of virtues of — and a lot of it is very religiously inflected, to be fair. I mean, religion was an alternative structure of logic of meaning that was in contestation with economic ways of thinking about that. I think as religion has weakened not only as an organized force, but as a kind of conceptual way of looking at the world, capitalism market logic has taken over a lot of that space. And the market does not have our interests at heart.

D. GRAHAM BURNETT: You invoke religion as one of the traditions on which one has been able to draw for a discourse of value that would not reduce to money value. I would invoke to other kinds of institutions that have been really important. There’s the space of education. I mean, I basically believe that a lot of what we do in the humanities is a training of attention.

EZRA KLEIN: Is attention the category of the thing we want or a subcategory of the thing that we want? So sometimes I wonder if attention is a word like health. If I told you health is important, you’d nod your head. You’re nodding your head, in fact, right now. If I said, I’m really trying to work on my health, on the one hand, you would get what I meant by that. On some level, I don’t want to die soon and young for a preventable reason.

But I also wouldn’t really tell you anything. There’s so many subcategories to health, right? You go to doctors for different parts of the body. And there’s mental health and fitness and different kinds of fitness and cardiovascular and strength. And sometimes when we talk about attention, it feels to me like we are talking about a thing like health, the entire basket of different forms of awareness and experience we use when we are moving through the world.

D. GRAHAM BURNETT: I think you put your finger exactly on that duplex nature of our discourse around attention. Both those notions are in the language of attention that we use. And I would argue that what’s important now is that we have the richest conversation about attention to surface it as our collective concern in the way that this podcast and all the podcasts you’ve done on this and the wide range of authors, like Jenny Odell and James Williams and Tim Wu, all these folks who’ve written on this.

We need more of all of that because — and here’s where your language of health is exactly right — what we need is a kind of almost revolutionary rising of our awareness around the importance of this stuff. I’m old enough to remember a period back when nobody went running. James F. Fixx, right? He wrote the book on running in — what was it — ’77. Before that, regular people didn’t go jogging. They didn’t go running. People who ran were people who were sort of athletes or people in school because they were doing collective sports.

Also, there weren’t gyms that regular people went to. Right? There were places like Gold’s Gym, where you could go if you were a powerlifter or a boxer. I’m talking 1974 or ’75. The whole idea that ordinary people would concern themselves with their fitness is something that’s emerged over the last 40 years. It’s staggering to consider the scale of the collective awareness of our physical well-being.

Now, does that mean that health itself is a new idea? No, people have been worried about their health since forever. But the specific activation of fitness, that’s a relatively new thing, and it’s really changed in our lifetimes. And I’m proposing to you that that’s going to happen again. Over the next 40 years, a collective recognition that our wellness in our attentional lives, our hygiene and health and our attention, is going to be constitutive of our experience of being.

This is what’s going to happen. It’s going to reshape education, which, as you’ve signaled, needs to be for and about attention. That’s what it needs to teach. And it’s going to transform our other ways of being together.

EZRA KLEIN: So you’re trying to do some of this. You have, along with others, this School of Attention. What are you trying to teach?

D. GRAHAM BURNETT: Yeah, I love this stuff. I mean, we think of the school as a little bit Black Mountain College, creative, artistic collaboration; a little bit like something like the Brooklyn Institute for Social Research, continuing education for people who want to read together and think and be together in person in a place; and then a little bit like the kind of radical labor schools of the teens and ’20s, like the schools created by the International Ladies’ Garment Workers’ Union, which were more like activist projects to promote a certain kind of politics.

EZRA KLEIN: I’m interested in that idea of practicing attention together. With my kids, when I think about this, one of the things that I wonder is when I ask, what do I mean by I want them taught attention? Some part of it is just I want them to have familiarity, a visceral, somatic familiarity with what different kinds of attention feel like.

I’m not sure I had that for a very long time. I’d, of course, experienced many kinds of attention, but it’s only later in life I become more mindful of what they feel like. And that’s helped me diminish the role of some in my life. The reason I’m not on Twitter or X anymore is that I don’t like the feeling of the attention it furnishes. I don’t like how I feel when I leave it.

The reason I’ve sort of moved back to paper books is I do like the feeling of the attention. I notice that it is healthier for me. It sounds to me a little bit like something you all are trying to do is just creating contexts in which you experience different kinds of attention, so you have that internal map you can work with.

D. GRAHAM BURNETT: Absolutely. It’s a do by doing kind of thing. You actually have to come together with other people and surface the question of attention and then experience what giving one’s attention with others can do to be reminded of how precious that feature of our being is and discover what can be returned from the world to themselves out of opening themselves to it intentionally.

EZRA KLEIN: So I thought a good place to end here would be to do the deep listening activity, or at least a truncated version of it that you described earlier. So how do you lead people through this?

D. GRAHAM BURNETT: OK, so this would be an example of one of the exercises we might do at one of the attention labs at the Strother School. And we always like to make clear that we borrow from lots of different traditions. So this is very much like the kinds of exercises that the wonderful sound artist genius, Pauline Oliveros, would use in her practice.

EZRA KLEIN: We’ve got it.

D. GRAHAM BURNETT: OK we’re going to actually play it four times. So your listeners have to be ready. You’re going to hear that piece of music, which is about how many minutes would you say?

EZRA KLEIN: I think we’ve cut it to 30 seconds or so.

D. GRAHAM BURNETT: OK, so it’s 30 seconds. We normally do this for a little longer, but all right. So wherever you are, get ready. You’re going to hear this 30-second sound piece four times. And I’m going to give you the mood under which you’ll attend to it. First, just listen. OK? First, listen.

EZRA KLEIN: The striking thing about listening to it the first time was the way my body’s response kept changing. So initially, it’s like you got these birds. It seems like it’s going to be a kind of nice ambient piece of music.

D. GRAHAM BURNETT: For me, in the first attempt through, I was acutely attuned to 1,000 questions sort of pulling me in all directions. Because I’m accustomed to doing these kinds of things over a long time, so longer, more immersive, more people, so a lot of anxiety as to whether this kind of thing can work in this setting. So the truth is, I became aware about midway through that I was effectively not listening to the thing at all on the first time through, trying, but trying, but failing for me on the first one. We go to the second listen where we were trying to hear something that we’d heard before, recall.

EZRA KLEIN: The second one I was struck by — so I remembered the birds, right? I noticed they go on a little bit longer than I thought. And the second, I was a little braced because I remembered the feeling I had on the first. I was like, oh, as this keeps going, you feel worse. And so the remembrance was of what was coming in the way that then made me surprised by what was there in the moment.

D. GRAHAM BURNETT: Super interesting. This is so embarrassing, but I heard the birds for the first time in the second phase. [LAUGHS]

EZRA KLEIN: It’s not remembering.

D. GRAHAM BURNETT: That’s not. So it was a double catastrophe because I was like, how the heck did I not hear the birds in the first phase? My listening was so bad in phase one and two. Wait a second, I’m not supposed to discover new things until phase three.

EZRA KLEIN: Yeah, I was more attentive to the birds, so I was sort of tracking them. I realized they disappear. The whole piece, then, on the third, the thing I noticed was it feels like you’re clear cutting a forest, right? That felt to me like what that piece of music was, right? You were going through the forest. It’s initially fairly untouched. And then with each rising, I mean, the birds eventually falling silent, that tick, tick, tick, tick. When you talk about the fatalism of it, I mean, this felt like a piece of music that was about the clear cutting of an ecosystem.

D. GRAHAM BURNETT: Yeah, and I love — discovery for me involved a loop into how this piece came to be. I heard a twang that felt guitar-like, but I’m almost certain that the music was composed electronically. So I had a little moment of your engineer or your creatives, whoever’s back there making this, and were they at a machine? What kind of machine? What kinds of clips or samples were they drawing on?

EZRA KLEIN: It was more comfortable.

D. GRAHAM BURNETT: Really?

EZRA KLEIN: That body response to that kind of mounting dread, that anxiety, just was muted. So it was more like the way I listen to music when I work, where my attention is not on the music, and the music is providing a mood and an energy. Right? The music is a kind of stimulant.

D. GRAHAM BURNETT: What did you —

EZRA KLEIN: I’m not deeply immersed in it.

D. GRAHAM BURNETT: What did you do with the rest of you to not listen? Because, of course, our ears are funny. You can’t close your ears. So the stuff’s going to keep coming in. It’s not like our eyes. We’re —

EZRA KLEIN: Well, I moved to the eyes.

D. GRAHAM BURNETT: Yeah.

EZRA KLEIN: More of my attention was on what I was seeing.

D. GRAHAM BURNETT: Yeah, I did exactly the same thing. Did you close your eyes in the first three phases? Did you keep them open as you were listening? You did?

EZRA KLEIN: Kept them open on all.

D. GRAHAM BURNETT: That’s interesting. I closed them, but I opened my eyes on the final phase and had a little taste. It was quick, but a little taste of that foretaste of the ecstasy of trying to awaken my visual field, and brighten it such that it would displace my acoustic experience.

EZRA KLEIN: So what’s the point of all that for you? If that is a successful lesson when you do it, what are you hoping people will have experienced? What is the meta lesson of that lesson, right? It’s not just what you heard in the music. What did we just do?

D. GRAHAM BURNETT: Yeah. I want to just admit that I’m not super sure, and that kind of uncertainty is part of it. And what I can assure you is that when seven or eight people get together in Brooklyn and do something like this for half hour or 45 minutes, we all come out of it feeling so good.

EZRA KLEIN: Let me end on this. If you’re somebody who’s not near the Brooklyn Strother School of Radical Attention, but are somebody who kind of senses something is wrong with your attention, wrong the intentional world that you inhabit, and you want it to be better for you, you want to find a space of what will feel like attentional health, where do you start?

D. GRAHAM BURNETT: Yeah, it’s a great question. And for my answer, I’m going to read one of the “12 Theses on Attention” written by The Friends. Thesis 9 of the 12 theses reads, “Sanctuaries for true attention already exist. They are among us now, but they’re endangered. And many are in hiding, operating in self-sustaining, inclusive, generous, and fugitive forms. These sanctuaries can be found, but it takes an effort of attention to find them. And this seeking is also attention’s effort to heal itself.”

EZRA KLEIN: So then always our final question, what are three books you would recommend to the audience?

D. GRAHAM BURNETT: Oh, there are so many great books. And all we need to do is protect the ability to read them, and we’ll be good. Well, let’s start with one that I think is a deep and challenging and important book in this kind of attention space. And it’s by my esteemed colleague Natasha Dow Schüll down at N.Y.U. It’s called “Addiction by Design.”

EZRA KLEIN: D. Graham Burnett, thank you very much.

D. GRAHAM BURNETT: Total pleasure. Thanks.

EZRA KLEIN: This episode of “The Ezra Klein Show” was produced by Rollin Hu and Kristin Lin. Fact-checking by Michelle Harris with Mary Marge Locker and Kate Sinclair. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones and Aman Sahota. Our senior editor is Claire Gordon. The show’s production team also includes Annie Galvin and Elias Isquith. Original music by Isaac Jones and Aman Sahota. Audience strategy by Kristina Samulewski and Shannon Busta. The executive producer of New York Times Opinion Audio is Annie-Rose Strasser. And special thanks to Sonia Herrero.

Advertisement