what is a review essay

How to Write Critical Reviews

When you are asked to write a critical review of a book or article, you will need to identify, summarize, and evaluate the ideas and information the author has presented. In other words, you will be examining another person’s thoughts on a topic from your point of view.

Your stand must go beyond your “gut reaction” to the work and be based on your knowledge (readings, lecture, experience) of the topic as well as on factors such as criteria stated in your assignment or discussed by you and your instructor.

Make your stand clear at the beginning of your review, in your evaluations of specific parts, and in your concluding commentary.

Remember that your goal should be to make a few key points about the book or article, not to discuss everything the author writes.

Understanding the Assignment

To write a good critical review, you will have to engage in the mental processes of analyzing (taking apart) the work–deciding what its major components are and determining how these parts (i.e., paragraphs, sections, or chapters) contribute to the work as a whole.

Analyzing the work will help you focus on how and why the author makes certain points and prevent you from merely summarizing what the author says. Assuming the role of an analytical reader will also help you to determine whether or not the author fulfills the stated purpose of the book or article and enhances your understanding or knowledge of a particular topic.

Be sure to read your assignment thoroughly before you read the article or book. Your instructor may have included specific guidelines for you to follow. Keeping these guidelines in mind as you read the article or book can really help you write your paper!

Also, note where the work connects with what you’ve studied in the course. You can make the most efficient use of your reading and notetaking time if you are an active reader; that is, keep relevant questions in mind and jot down page numbers as well as your responses to ideas that appear to be significant as you read.

Please note: The length of your introduction and overview, the number of points you choose to review, and the length of your conclusion should be proportionate to the page limit stated in your assignment and should reflect the complexity of the material being reviewed as well as the expectations of your reader.

Write the introduction

Below are a few guidelines to help you write the introduction to your critical review.

Introduce your review appropriately

Begin your review with an introduction appropriate to your assignment.

If your assignment asks you to review only one book and not to use outside sources, your introduction will focus on identifying the author, the title, the main topic or issue presented in the book, and the author’s purpose in writing the book.

If your assignment asks you to review the book as it relates to issues or themes discussed in the course, or to review two or more books on the same topic, your introduction must also encompass those expectations.

Explain relationships

For example, before you can review two books on a topic, you must explain to your reader in your introduction how they are related to one another.

Within this shared context (or under this “umbrella”) you can then review comparable aspects of both books, pointing out where the authors agree and differ.

In other words, the more complicated your assignment is, the more your introduction must accomplish.

Finally, the introduction to a book review is always the place for you to establish your position as the reviewer (your thesis about the author’s thesis).

As you write, consider the following questions:

• Is the book a memoir, a treatise, a collection of facts, an extended argument, etc.? Is the article a documentary, a write-up of primary research, a position paper, etc.?
• Who is the author? What does the preface or foreword tell you about the author’s purpose, background, and credentials? What is the author’s approach to the topic (as a journalist? a historian? a researcher?)?
• What is the main topic or problem addressed? How does the work relate to a discipline, to a profession, to a particular audience, or to other works on the topic?
• What is your critical evaluation of the work (your thesis)? Why have you taken that position? What criteria are you basing your position on?

Provide an overview

In your introduction, you will also want to provide an overview. An overview supplies your reader with certain general information not appropriate for including in the introduction but necessary to understanding the body of the review.

Generally, an overview describes your book’s division into chapters, sections, or points of discussion. An overview may also include background information about the topic, about your stand, or about the criteria you will use for evaluation.

The overview and the introduction work together to provide a comprehensive beginning for (a “springboard” into) your review.

• What are the author’s basic premises? What issues are raised, or what themes emerge? What situation (i.e., racism on college campuses) provides a basis for the author’s assertions?
• How informed is my reader? What background information is relevant to the entire book and should be placed here rather than in a body paragraph?

Write the body

The body is the center of your paper, where you draw out your main arguments. Below are some guidelines to help you write it.

Organize using a logical plan

Organize the body of your review according to a logical plan. Here are two options:

• First, summarize, in a series of paragraphs, those major points from the book that you plan to discuss; incorporating each major point into a topic sentence for a paragraph is an effective organizational strategy. Second, discuss and evaluate these points in a following group of paragraphs. (There are two dangers lurking in this pattern–you may allot too many paragraphs to summary and too few to evaluation, or you may re-summarize too many points from the book in your evaluation section.)
• Alternatively, you can summarize and evaluate the major points you have chosen from the book in a point-by-point schema. That means you will discuss and evaluate point one within the same paragraph (or in several if the point is significant and warrants extended discussion) before you summarize and evaluate point two, point three, etc., moving in a logical sequence from point to point to point. Here again, it is effective to use the topic sentence of each paragraph to identify the point from the book that you plan to summarize or evaluate.

Questions to keep in mind as you write

With either organizational pattern, consider the following questions:

• What are the author’s most important points? How do these relate to one another? (Make relationships clear by using transitions: “In contrast,” an equally strong argument,” “moreover,” “a final conclusion,” etc.).
• What types of evidence or information does the author present to support his or her points? Is this evidence convincing, controversial, factual, one-sided, etc.? (Consider the use of primary historical material, case studies, narratives, recent scientific findings, statistics.)
• Where does the author do a good job of conveying factual material as well as personal perspective? Where does the author fail to do so? If solutions to a problem are offered, are they believable, misguided, or promising?
• Which parts of the work (particular arguments, descriptions, chapters, etc.) are most effective and which parts are least effective? Why?
• Where (if at all) does the author convey personal prejudice, support illogical relationships, or present evidence out of its appropriate context?

Keep your opinions distinct and cite your sources

Remember, as you discuss the author’s major points, be sure to distinguish consistently between the author’s opinions and your own.

Keep the summary portions of your discussion concise, remembering that your task as a reviewer is to re-see the author’s work, not to re-tell it.

And, importantly, if you refer to ideas from other books and articles or from lecture and course materials, always document your sources, or else you might wander into the realm of plagiarism.

Include only that material which has relevance for your review and use direct quotations sparingly. The Writing Center has other handouts to help you paraphrase text and introduce quotations.

Write the conclusion

You will want to use the conclusion to state your overall critical evaluation.

You have already discussed the major points the author makes, examined how the author supports arguments, and evaluated the quality or effectiveness of specific aspects of the book or article.

Now you must make an evaluation of the work as a whole, determining such things as whether or not the author achieves the stated or implied purpose and if the work makes a significant contribution to an existing body of knowledge.

Consider the following questions:

• Is the work appropriately subjective or objective according to the author’s purpose?
• How well does the work maintain its stated or implied focus? Does the author present extraneous material? Does the author exclude or ignore relevant information?
• How well has the author achieved the overall purpose of the book or article? What contribution does the work make to an existing body of knowledge or to a specific group of readers? Can you justify the use of this work in a particular course?
• What is the most important final comment you wish to make about the book or article? Do you have any suggestions for the direction of future research in the area? What has reading this work done for you or demonstrated to you?

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How to Write Academic Reviews

• What is a review?
• Common problems with academic reviews
• Getting started: approaches to reading and notetaking
• Understanding and analyzing the work
• Organizing and writing the review

What Is a Review?

A scholarly review describes, analyzes, and evaluates an article, book, film, or performance (through this guide we will use the term “work” to refer to the text or piece to be reviewed).  A review also shows how a work fits into its disciplines and explains the value or contribution of the work to the field.

Reviews play an important role in scholarship. They give scholars the opportunity to respond to one another’s research, ideas and interpretations. They also provide an up-to-date view of a discipline. We recommend you seek out reviews in current scholarly journals to become familiar with recent scholarship on a topic and to understand the forms review writing takes in your discipline. Published scholarly reviews are helpful models for beginner review-writers. However, we remind you that you are to write your own assessment of the work, not rely on the assessment from a review you found in a journal or on a blog.

As a review-writer, your objective is to:

• understand a work on its own terms (analyze it)
• bring your own knowledge to bear on a work (respond to it)
• critique the work while considering validity, truth, and slant (evaluate it)
• place the work in context (compare it to other works).

Common Problems with Academic Reviews

A review is not a research paper.

Rather than a research paper on the subject of the work,an academic review is an evaluation about the work’s message, strengths, and value. For example, a review of Finis Dunaway’s Seeing Green would not include your own research about media coverage of the environmental movement; instead, your review would assess Dunaway’s argument and its significance to the field.

A review is not a summary

It is important to synthesize the contents and significance of the work you review, but the main purpose of a review is to evaluate, critically analyze, or comment on the text. Keep your summary of the work brief, and make specific references to its message and evidence in your assessment of the work.

A review is not an off-the-cuff, unfair personal response

An effective review must be fair and accurate. It is important to see what is actually in front of you when your first reaction to the tone, argument, or subject of what you are reviewing is extremely negative or positive.

You will present your personal views on the work, but they must be explained and supported with evidence. Rather than writing, “I thought the book was interesting,” you can explain why the book was interesting and how it might offer new insights or important ideas. Further, you can expand on a statement such as “The movie was boring,” by explaining how it failed to interest you and pointing toward specific disappointing moments.

Getting Started: Approaches to Reading and Notetaking

Pre-reading.

Pre-reading helps a reader to see a book as a whole. Often, the acknowledgments, preface, and table of contents of a book offer insights about the book’s purpose and direction. Take time before you begin chapter one to read the introduction and conclusion, examine chapter titles, and to explore the index or references pages.

Read more about strategies for critical and efficient reading

Reverse outline

A reverse outline helps a reader analyze the content and argument of a work of non-fiction. Read each section of a text carefully and write down two things: 1) the main point or idea, and 2) its function in the text. In other words, write down what each section says and what it does. This will help you to see how the author develops their argument and uses evidence for support.

Double-entry notebook

In its simplest form, the double-entry notebook separates a page into two columns. In one column, you make observations about the work. In the other, you note your responses to the work. This notetaking method has two advantages. It forces you to make both sorts of notes — notes about the work and notes about your reaction to the work — and it helps you to distinguish between the two.

Whatever method of notetaking you choose, do take notes, even if these are scribbles in the margin. If you don’t, you might rely too heavily on the words, argument, or order of what you are reviewing when you come to write your review.                                              

Understand and Analyze the Work

It is extremely important to work toward seeing a clear and accurate picture of a work. One approach is to try to suspend your judgment for a while, focusing instead on describing or outlining a text. A student once described this as listening to the author’s voice rather than to their own.

Ask questions to support your understanding of the work.

Questions for Works of Non-Fiction

• What is the subject/topic of the work? What key ideas do you think you should describe in your review?
• What is the thesis, main theme, or main point?
• What major claims or conclusions does the author make? What issues does the work illuminate?
• What is the structure of the work? How does the author build their argument?
• What sources does the author consult? What evidence is used to support claims? Do these sources in any way “predetermine” certain conclusions?
• Is there any claim for which the evidence presented is insufficient or slight? Do any conclusions rest on evidence that may be atypical?
• How is the argument developed? How do the claims relate? What does the conclusion reveal?

Questions for Works of Fiction

• What is the main theme or message? What issues does the book illuminate?
• How does the work proceed? How does the author build their plot?
• What kind of language, descriptions, or sections of plot alert you to the themes and significance of the book?
• What does the conclusion reveal when compared with the beginning?

Read Critically

Being critical does not mean criticizing. It means asking questions and formulating answers. Critical reading is not reading with a “bad attitude.” Critical readers do not reject a text or take a negative approach to it; they inquire about a text, an author, themselves, and the context surrounding all three, and they attempt to understand how and why the author has made the particular choices they have.

Think about the Author

You can often tell a lot about an author by examining a text closely, but sometimes it helps to do a little extra research. Here are some questions about the author that would be useful to keep in mind when you are reading a text critically:

• Who is the author? What else has the author written?
• What does the author do? What experiences of the author’s might influence the writing of this book?
• What is the author’s main purpose or goal for the text? Why did they write it and what do they want to achieve?
• Does the author indicate what contribution the text makes to scholarship or literature? What does the author say about their point of view or method of approaching the subject? In other words, what position does the author take?

Think about Yourself

Because you are doing the interpreting and evaluating of a text, it is important to examine your own perspective, assumptions, and knowledge (positionality) in relation to the text. One way to do this is by writing a position statement that outlines your view of the subject of the work you are reviewing. What do you know, believe, or assume about this subject? What in your life might influence your approach to this text?

Here are some prompts that might help you generate a personal response to a book:

• I agree that ... because ...                    
• I disagree that ... because ...
• I don’t understand ...
• This reminds me of …
• I’m surprised by …                 

Another way to examine your thoughts in relation to a text is to note your initial response to the work. Consider your experience of the text – did you like it? Why or why not?

• What did I feel when I read this book? Why?
• How did I experience the style or tone of the author? How would I characterize each?
• What questions would I ask this author if I could?
• For me, what are the three best things about this book? The three worst things? Why?

Consider Context

A reviewer needs to examine the context of the book to arrive at a fair understanding and evaluation of its contents and importance. Context may include the scholarship to which this book responds or the author’s personal motive for writing. Or perhaps the context is simply contemporary society or today’s headlines. It is certainly important to consider how the work relates to the course that requires the review.

Here are some useful questions:

• What are the connections between this work and others on similar subjects? How does it relate to core concepts in my course or my discipline?
• What is the scholarly or social significance of this work? What contribution does it make to our understanding?
• What, of relevance, is missing from the work: certain kinds of evidence or methods of analysis/development? A particular theoretical approach? The experiences of certain groups?
• What other perspectives or conclusions are possible?

Once you have taken the time to thoroughly understand and analyze the work, you will have a clear perspective on its strengths and weaknesses and its value within the field. Take time to categorize your ideas and develop an outline; this will ensure your review is well organized and clear.

Organizing and Writing the Review

A review is organized around an assessment of the work or a focused message about its value to the field. Revisit your notes and consider your responses to your questions from critical reading to develop a clear statement that evaluates the work and provides an explanation for that evaluation.

For example:

X is an important work because it provides a new perspective on . . .

X’s argument is compelling because . . . ; however, it fails to address . . .

Although X claims to . . ., they make assumptions about . . . , which diminishes the impact . . .

This statement or evaluation is presented in the introduction. The body of the review works to support or explain your assessment; organize your key ideas or supporting arguments into paragraphs and use evidence from the book, article, or film to demonstrate how the work is (or is not) effective, compelling, provocative, novel, or informative.

As with all scholarly writing, a well-organized structure supports the clarity of your review. There is not a rigid formula for organization, but you may find the following guidelines to be helpful. Note that reviews do not typically include subheadings; the headings listed here serve to help you think about the main sections of your academic review.

Introduction

Introduce the work, the author (or director/producer), and the points you intend to make about this work. In addition, you should

• give relevant bibliographic information
• give the reader a clear idea of the nature, scope, and significance of the work
• indicate your evaluation of the work in a clear 1-2 sentence thesis statement

Provide background information to help your readers understand the importance of the work or the reasons for your appraisal. Background information could include:

• why the issue examined is of current interest
• other scholarship about this subject
• the author’s perspective, methodology, purpose
• the circumstances under which the book was created

Sample Introduction

Within educational research, much attention has been given to the importance of diversity and equity, and the literature is rife with studies detailing the best ways to create environments that are supportive of diverse students. In “Guidance Matters,” however, Carpenter and Diem (2015) examined these concepts in a less-studied source: policy documents related to leadership training.  Using discourse analysis, they explored the ways in which government policies concerning the training of educational administrators discussed issues of diversity and equity. While their innovative methods allowed them to reveal the ways in which current policy promotes superficial platitudes to diversity rather than a deep commitment to promoting social justice, their data analysis left many of their identified themes vague and their discussion did not provide a clear explanation of the applications of their findings.

What works in this sample introduction:

• The nature of the larger issue, how best to create diversity and equity within educational environments, is clearly laid out.
• The paragraph clearly introduces the authors and study being reviewed and succinctly explains how they have addressed the larger issue of equity and diversity in a unique way.
• The paragraph ends with a clear thesis that outlines the strengths and weaknesses of the work.

Summary of the Work

Keep the summary of the work short! A paragraph or two should be sufficient. Summarize its contents very briefly and focus on:

• the purpose of the work
• the main points of the work
• the ideas, themes, or arguments that you will evaluate or discuss in the review

Analysis and Evaluation

Analyze and explain the significance of the main points of the work. Evaluate the work, answering questions such as the following:

• Does the work do what its author claimed it would?
• Is the work valid and accurate?
• How does the work fit into scholarship in the field?
• What are your reasons for agreeing, disagreeing, liking, disliking, believing, disbelieving?

Note that this section will take up the bulk of your review and should be organized into paragraphs. Because this form of writing typically does not use subheadings, strong paragraphing, particularly the use of clear topic sentences, is essential. Read more on paragraphing.

Reviews are informed by your critical reading or viewing of a work; therefore you need to include specific evidence from the work to support your claims about its message and its impact. Your writing and  your assessment of the work will be most effective if you paraphrase or summarize the evidence you use, rather than relying on direct quotations. Be sure to follow the rules for citation in your discipline. Read more on paraphrasing and summarizing.

Sample Body Paragraph

One of the strengths of Carpenter and Diem’s  (2015) study was innovative use of  and nuanced explanation of discourse analysis. Critiquing much of the research on policy for its positivist promises of “value neutral and empirically objective” (p. 518) findings, Carpenter and Diem (2015) argued that discourse theory can provide an important lens through which to view policy and its relationship to educational outcomes.  By interrogating the “inscribed discourses of policy making” (p. 518), they showed how policy language constructs particular social meanings of concepts such as diversity and equity. Significantly, this analysis was not simply about the language used within documents; instead, Carpenter and Diem (2015) argued that the language used was directly related to reality. Their “study examine[d] how dominant discourses related to equity, and their concretization within guiding policy documents, may shape the ways in which states, local school districts, and educational leaders are asked to consider these issues in their everyday practice” (Carpenter & Diem, 2015, p. 519). Thus, through the use of discourse theory, Carpenter and Diem (2015) framed policy language, which some might consider abstract or distant from daily life, as directly connected to the experience of educational leaders.

What works in this sample body paragraph:

• The paragraph begins with a clear topic sentence that connects directly to a strength mentioned in the thesis of the review.
• The paragraph provides specific details and examples to support how and why their methods are innovative.
• The direct quotations used are short and properly integrated into the sentences.

The paragraph concludes by explaining the significance of the innovative methods to the larger work.

Conclusion and Recommendation

Give your overall assessment of the work. Explain the larger significance of your assessment. Consider who would benefit from engaging with this work.

Review Essays for the Biological Sciences

A review essay for the biological sciences serves to discuss and synthesize key findings on a particular subject. Review papers are helpful to the writer and their colleagues in gaining critical awareness in specialized fields that may or may not be their own.

This guide explains what a review essay is and identifies several approaches to writing a review essay. Although much of the information is geared directly to the biological sciences, it is generally applicable to review essays in all fields.

What is a Review Essay?

A review essay is a synthesis of primary sources (mainly research papers presented in academic journals) on a given topic. A biological review essay demonstrates that the writer has thorough understanding of the literature and can formulate a useful analysis. While no new research is presented by the writer, the field benefits from the review by recieving a new perspective. There are several approaches one may take when writing a biological review:

A State of the art review

A state of the art review considers mainly the most current research in a given area. The review may offer new perspectives on an issue or point out an area in need of further research.

A Historical review

A historical review is a survey of the development of a particular field of study. It may examine the early stages of the field, key findings to present, key theoretical models and their evolution, etc.

A Comparison of perspectives review

A comparison of perspectives review contrasts various ways of looking at a certain topic. If in fact there is a debate over some process or idea, a comparison of perspectives review may illustrate the research that supports both sides. A comparison of perspectives review may introduce a new perspective by way of comparing it to another.

A Synthesis of two fields review

Many times researchers in different fields may be working on similar problems. A synthesis of two fields review provides insights into a given topic based on a review of the literature from two or more disciplines.

A Theoretical model building review

A theoretical model building review examines the literature within a given area with the intention of developing new theoretical assumptions.

Key considerations for writing a biological review essay

This guide will inform you of certain things not to miss when writing a review essay. It will also give you some information about using and documenting your sources.

Keep your focus narrow.

When writing a review essay it is important to keep the scope of the topic narrow enough so that you can discuss it thoroughly. For example a topic such as air quality in factories could be narrowed significantly to something like carbon dioxide levels in auto manufacturing plants .

A good way to narrow your focus is to start with a broad topic that is of some interest to you, then read some of the literature in the field. Look for a thread of the discussion that points to a more specific topic.

Analyze, synthesize, and interpret.

A review essay is not a pure summary of the information you read for your review. You are required to analyze, synthesize, and interpret the information you read in some meaningful way.

It is not enough to simply present the material you have found, you must go beyond that and explain its relevance and significance to the topic at hand.

Establish a clear thesis from the onset of your writing and examine which pieces of your reading help you in developing and supporting the ideas in your thesis.

Use only academic sources.

A review essay reviews the academic body of literature—articles and research presented in academic journals. Lay periodicals such as, Discover , Scientific America , or Popular Science , are not adequate sources for an academic review essay.

If you are having trouble finding the academic journals in your field, ask one of your professors or a reference librarian.

Document your sources.

The material that you discuss in a review essay is obviously not your own, therefore it is crucial to document your sources properly. Proper documentation is crucial for two reasons: 1. It prevents the writer from being accused of plagiarism and 2. It gives the reader the opportunity to locate the sources the writer has reviewed because they may find them valuable in their own academic pursuits. Proper documentation depends on which style guide you are following.

Quote sparingly and properly.

No one wants to read a paper that is simply a string of quotes; reserve direct quotations for when you want to create a big impact. Often times the way a quote is written will not fit with the language or the style of your paper so paraphrase the authors words carefully and verbage as necessary to create a well formed paragraph.

Choose an informative title.

The title you choose for your review essay should give some indication of what lies ahead for the reader. You might consider the process you took in narrowing your topic to help you with your title—think of the title as something specific rather than a vague representation of your paper's topic. For example the title Wastewater Treatment might be more informative if rewritten as The Removal of Cloroform Bacteria as Practiced by California's Municipal Water Treatment Facilities .

Consider your audience.

More than likely your audience will be your academic peers, therefore you can make a couple assumptions and choose a writing style that suits the audience. Though your audience may lack the detailed knowledge you have about your topic, they do have similar background knowledge to you. You can assume that you audience understands much of the technical language you have to use to write about your topic and you do not have to go into great detail about background information.

Elements of a review essay

This guide explains each section of a review essay and gives specific information about what should be included in each.

On the title page include the title, your name, and the date. Your instructor may have additional requirements (such as the course number, etc.) so be sure to follow the guidelines on the assignment sheet. Professional journals may also have more specific requirements for the title page.

An abstract is a brief summary of your review. The abstract should include only the main points of your review. Think of the abstract as a chance for the reader to preview your paper and decide if they want to read on for the details.

Introduction

The introduction of your review should accomplish three things:

• It may sound redundant to "introduce" your topic in the introduction, but often times writer's fail to do so. Let the reader in on background information specific to the topic, define terms that may be unfamiliar to them, explain the scope of the discussion, and your purpose for writing the review.
• Think of your review essay as a statement in the larger conversation of your academic community. Your review is your way of entering into that conversation and it is important to briefly address why your review is relevant to the discussion. You may feel the relevance is obvious because you are so familiar with the topic, but your readers have not yet established that familiarity.
• The thesis is the main idea that you want to get across to your reader. your thesis should be a clear statement of what you intend to prove or illustrate by your review. By revealing your thesis in the introduction the reader knows what to expect in the rest of the paper.

The discussion section is the body of your paper. The discussion section contains information that develops and supports your thesis. While there is no particular form that a discussion section must take there are several considerations that a writer must follow when building a discussion.

• A review essay is not simply a summary of literature you have reviewed. Be careful not to leave out your own analysis of the ideas presented in the literature. Synthesize the material from all the works—what are the connections you see, or the connections you are trying to illustrate, among your readings.

A review essay is not a pure summary of the information you read for your review. You are required to analyze, synthesize, and interpret the information you read in some meaningful way. It is not enough to simply present the material you have found, you must go beyond that and explain its relevance and significance to the topic at hand. Establish a clear thesis from the onset of your writing and examine which pieces of your reading help you in developing and supporting the ideas in your thesis.

• Keep your discussion focused on your topic and more importantly your thesis. Don't let tangents or extraneous material get in the way of a concise, coherent discussion. A well focused paper is crucial in getting your message across to your reader.
• Keeping your points organized makes it easier for the reader to follow along and make sense of your review. Start each paragraph with a topic sentence that relates back to your thesis. The headings used for this guide give you some idea of how to organize the overall paper, but as far as the discussion section goes use meaningful subheadings that relate to your content to organize your points.
• Your thesis should illustrate your objectives in writing the review and your discussion should serve to accomplish your objectives. Make sure your keep your discussion related to the thesis in order to meet your objectives. If you find that your discussion does not relate so much to your thesis, don't panic, you might want to revise your thesis instead of reworking the discussion.

Conclusions

Because the conclusions section often gets left for last it is often the weakest part of a student review essay. It is as crucial a part of the paper as any and should be treated as such.

A good conclusion should illustrate the key connections between your major points and your thesis as well as they key connections between your thesis and the broader discussion—what is the significance of your paper in a larger context? Make some conclusions —where have you arrived as a result of writing this paper?

Be careful not to present any new information in the conclusion section.

Here you report all the works you have cited in your paper. The format for a references page varies by discipline as does how you should cite your references within the paper.

Citation Information

Neal Bastek. (1994-2024). Review Essays for the Biological Sciences. The WAC Clearinghouse. Colorado State University. Available at https://wac.colostate.edu/repository/writing/guides/.

Copyright Information

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• Critical Reviews

How to Write an Article Review

Last Updated: September 8, 2023 Fact Checked

This article was co-authored by Jake Adams . Jake Adams is an academic tutor and the owner of Simplifi EDU, a Santa Monica, California based online tutoring business offering learning resources and online tutors for academic subjects K-College, SAT & ACT prep, and college admissions applications. With over 14 years of professional tutoring experience, Jake is dedicated to providing his clients the very best online tutoring experience and access to a network of excellent undergraduate and graduate-level tutors from top colleges all over the nation. Jake holds a BS in International Business and Marketing from Pepperdine University. There are 13 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 3,092,653 times.

An article review is both a summary and an evaluation of another writer's article. Teachers often assign article reviews to introduce students to the work of experts in the field. Experts also are often asked to review the work of other professionals. Understanding the main points and arguments of the article is essential for an accurate summation. Logical evaluation of the article's main theme, supporting arguments, and implications for further research is an important element of a review . Here are a few guidelines for writing an article review.

Education specialist Alexander Peterman recommends: "In the case of a review, your objective should be to reflect on the effectiveness of what has already been written, rather than writing to inform your audience about a subject."

Things You Should Know

• Read the article very closely, and then take time to reflect on your evaluation. Consider whether the article effectively achieves what it set out to.
• Write out a full article review by completing your intro, summary, evaluation, and conclusion. Don't forget to add a title, too!
• Proofread your review for mistakes (like grammar and usage), while also cutting down on needless information. [1] X Research source

Preparing to Write Your Review

• Article reviews present more than just an opinion. You will engage with the text to create a response to the scholarly writer's ideas. You will respond to and use ideas, theories, and research from your studies. Your critique of the article will be based on proof and your own thoughtful reasoning.
• An article review only responds to the author's research. It typically does not provide any new research. However, if you are correcting misleading or otherwise incorrect points, some new data may be presented.
• An article review both summarizes and evaluates the article.

• Summarize the article. Focus on the important points, claims, and information.
• Discuss the positive aspects of the article. Think about what the author does well, good points she makes, and insightful observations.
• Identify contradictions, gaps, and inconsistencies in the text. Determine if there is enough data or research included to support the author's claims. Find any unanswered questions left in the article.

• Make note of words or issues you don't understand and questions you have.
• Look up terms or concepts you are unfamiliar with, so you can fully understand the article. Read about concepts in-depth to make sure you understand their full context.

• Pay careful attention to the meaning of the article. Make sure you fully understand the article. The only way to write a good article review is to understand the article.

• With either method, make an outline of the main points made in the article and the supporting research or arguments. It is strictly a restatement of the main points of the article and does not include your opinions.
• After putting the article in your own words, decide which parts of the article you want to discuss in your review. You can focus on the theoretical approach, the content, the presentation or interpretation of evidence, or the style. You will always discuss the main issues of the article, but you can sometimes also focus on certain aspects. This comes in handy if you want to focus the review towards the content of a course.
• Review the summary outline to eliminate unnecessary items. Erase or cross out the less important arguments or supplemental information. Your revised summary can serve as the basis for the summary you provide at the beginning of your review.

• What does the article set out to do?
• What is the theoretical framework or assumptions?
• Are the central concepts clearly defined?
• How adequate is the evidence?
• How does the article fit into the literature and field?
• Does it advance the knowledge of the subject?
• How clear is the author's writing? Don't: include superficial opinions or your personal reaction. Do: pay attention to your biases, so you can overcome them.

Writing the Article Review

• For example, in MLA , a citation may look like: Duvall, John N. "The (Super)Marketplace of Images: Television as Unmediated Mediation in DeLillo's White Noise ." Arizona Quarterly 50.3 (1994): 127-53. Print. [10] X Trustworthy Source Purdue Online Writing Lab Trusted resource for writing and citation guidelines Go to source

• For example: The article, "Condom use will increase the spread of AIDS," was written by Anthony Zimmerman, a Catholic priest.

• Your introduction should only be 10-25% of your review.
• End the introduction with your thesis. Your thesis should address the above issues. For example: Although the author has some good points, his article is biased and contains some misinterpretation of data from others’ analysis of the effectiveness of the condom.

• Use direct quotes from the author sparingly.
• Review the summary you have written. Read over your summary many times to ensure that your words are an accurate description of the author's article.

• Support your critique with evidence from the article or other texts.
• The summary portion is very important for your critique. You must make the author's argument clear in the summary section for your evaluation to make sense.
• Remember, this is not where you say if you liked the article or not. You are assessing the significance and relevance of the article.
• Use a topic sentence and supportive arguments for each opinion. For example, you might address a particular strength in the first sentence of the opinion section, followed by several sentences elaborating on the significance of the point.

• This should only be about 10% of your overall essay.
• For example: This critical review has evaluated the article "Condom use will increase the spread of AIDS" by Anthony Zimmerman. The arguments in the article show the presence of bias, prejudice, argumentative writing without supporting details, and misinformation. These points weaken the author’s arguments and reduce his credibility.

• Make sure you have identified and discussed the 3-4 key issues in the article.

Sample Article Reviews

Expert Q&A

You Might Also Like

• ↑ https://writing.wisc.edu/handbook/grammarpunct/proofreading/
• ↑ https://libguides.cmich.edu/writinghelp/articlereview
• ↑ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4548566/
• ↑ Jake Adams. Academic Tutor & Test Prep Specialist. Expert Interview. 24 July 2020.
• ↑ https://guides.library.queensu.ca/introduction-research/writing/critical
• ↑ https://www.iup.edu/writingcenter/writing-resources/organization-and-structure/creating-an-outline.html
• ↑ https://writing.umn.edu/sws/assets/pdf/quicktips/titles.pdf
• ↑ https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_periodicals.html
• ↑ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4548565/
• ↑ https://writingcenter.uconn.edu/wp-content/uploads/sites/593/2014/06/How_to_Summarize_a_Research_Article1.pdf
• ↑ https://www.uis.edu/learning-hub/writing-resources/handouts/learning-hub/how-to-review-a-journal-article
• ↑ https://writingcenter.unc.edu/tips-and-tools/editing-and-proofreading/

About This Article

If you have to write an article review, read through the original article closely, taking notes and highlighting important sections as you read. Next, rewrite the article in your own words, either in a long paragraph or as an outline. Open your article review by citing the article, then write an introduction which states the article’s thesis. Next, summarize the article, followed by your opinion about whether the article was clear, thorough, and useful. Finish with a paragraph that summarizes the main points of the article and your opinions. To learn more about what to include in your personal critique of the article, keep reading the article! Did this summary help you? Yes No

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Literature Reviews

• What is a literature review?
• Steps in the Literature Review Process
• Define your research question
• Determine inclusion and exclusion criteria
• Choose databases and search
• Review Results
• Synthesize Results
• Analyze Results
• Librarian Support

What is a Literature Review?

A literature or narrative review is a comprehensive review and analysis of the published literature on a specific topic or research question. The literature that is reviewed contains: books, articles, academic articles, conference proceedings, association papers, and dissertations. It contains the most pertinent studies and points to important past and current research and practices. It provides background and context, and shows how your research will contribute to the field. 

A literature review should: 

• Provide a comprehensive and updated review of the literature;
• Explain why this review has taken place;
• Articulate a position or hypothesis;
• Acknowledge and account for conflicting and corroborating points of view

From  S age Research Methods

Purpose of a Literature Review

A literature review can be written as an introduction to a study to:

• Demonstrate how a study fills a gap in research
• Compare a study with other research that's been done

Or it can be a separate work (a research article on its own) which:

• Organizes or describes a topic
• Describes variables within a particular issue/problem

Limitations of a Literature Review

Some of the limitations of a literature review are:

• It's a snapshot in time. Unlike other reviews, this one has beginning, a middle and an end. There may be future developments that could make your work less relevant.
• It may be too focused. Some niche studies may miss the bigger picture.
• It can be difficult to be comprehensive. There is no way to make sure all the literature on a topic was considered.
• It is easy to be biased if you stick to top tier journals. There may be other places where people are publishing exemplary research. Look to open access publications and conferences to reflect a more inclusive collection. Also, make sure to include opposing views (and not just supporting evidence).

Source: Grant, Maria J., and Andrew Booth. “A Typology of Reviews: An Analysis of 14 Review Types and Associated Methodologies.” Health Information & Libraries Journal, vol. 26, no. 2, June 2009, pp. 91–108. Wiley Online Library, doi:10.1111/j.1471-1842.2009.00848.x.

Meryl Brodsky : Communication and Information Studies

Hannah Chapman Tripp : Biology, Neuroscience

Carolyn Cunningham : Human Development & Family Sciences, Psychology, Sociology

Larayne Dallas : Engineering

Janelle Hedstrom : Special Education, Curriculum & Instruction, Ed Leadership & Policy ​

Susan Macicak : Linguistics

Imelda Vetter : Dell Medical School

For help in other subject areas, please see the guide to library specialists by subject .

Periodically, UT Libraries runs a workshop covering the basics and library support for literature reviews. While we try to offer these once per academic year, we find providing the recording to be helpful to community members who have missed the session. Following is the most recent recording of the workshop, Conducting a Literature Review. To view the recording, a UT login is required.

• October 26, 2022 recording
• Last Updated: Oct 26, 2022 2:49 PM
• URL: https://guides.lib.utexas.edu/literaturereviews

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Writing a Literature Review

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A literature review is a document or section of a document that collects key sources on a topic and discusses those sources in conversation with each other (also called synthesis ). The lit review is an important genre in many disciplines, not just literature (i.e., the study of works of literature such as novels and plays). When we say “literature review” or refer to “the literature,” we are talking about the research ( scholarship ) in a given field. You will often see the terms “the research,” “the scholarship,” and “the literature” used mostly interchangeably.

Where, when, and why would I write a lit review?

There are a number of different situations where you might write a literature review, each with slightly different expectations; different disciplines, too, have field-specific expectations for what a literature review is and does. For instance, in the humanities, authors might include more overt argumentation and interpretation of source material in their literature reviews, whereas in the sciences, authors are more likely to report study designs and results in their literature reviews; these differences reflect these disciplines’ purposes and conventions in scholarship. You should always look at examples from your own discipline and talk to professors or mentors in your field to be sure you understand your discipline’s conventions, for literature reviews as well as for any other genre.

A literature review can be a part of a research paper or scholarly article, usually falling after the introduction and before the research methods sections. In these cases, the lit review just needs to cover scholarship that is important to the issue you are writing about; sometimes it will also cover key sources that informed your research methodology.

Lit reviews can also be standalone pieces, either as assignments in a class or as publications. In a class, a lit review may be assigned to help students familiarize themselves with a topic and with scholarship in their field, get an idea of the other researchers working on the topic they’re interested in, find gaps in existing research in order to propose new projects, and/or develop a theoretical framework and methodology for later research. As a publication, a lit review usually is meant to help make other scholars’ lives easier by collecting and summarizing, synthesizing, and analyzing existing research on a topic. This can be especially helpful for students or scholars getting into a new research area, or for directing an entire community of scholars toward questions that have not yet been answered.

What are the parts of a lit review?

Most lit reviews use a basic introduction-body-conclusion structure; if your lit review is part of a larger paper, the introduction and conclusion pieces may be just a few sentences while you focus most of your attention on the body. If your lit review is a standalone piece, the introduction and conclusion take up more space and give you a place to discuss your goals, research methods, and conclusions separately from where you discuss the literature itself.

Introduction:

• An introductory paragraph that explains what your working topic and thesis is
• A forecast of key topics or texts that will appear in the review
• Potentially, a description of how you found sources and how you analyzed them for inclusion and discussion in the review (more often found in published, standalone literature reviews than in lit review sections in an article or research paper)
• Summarize and synthesize: Give an overview of the main points of each source and combine them into a coherent whole
• Analyze and interpret: Don’t just paraphrase other researchers – add your own interpretations where possible, discussing the significance of findings in relation to the literature as a whole
• Critically Evaluate: Mention the strengths and weaknesses of your sources
• Write in well-structured paragraphs: Use transition words and topic sentence to draw connections, comparisons, and contrasts.

Conclusion:

• Summarize the key findings you have taken from the literature and emphasize their significance
• Connect it back to your primary research question

How should I organize my lit review?

Lit reviews can take many different organizational patterns depending on what you are trying to accomplish with the review. Here are some examples:

• Chronological : The simplest approach is to trace the development of the topic over time, which helps familiarize the audience with the topic (for instance if you are introducing something that is not commonly known in your field). If you choose this strategy, be careful to avoid simply listing and summarizing sources in order. Try to analyze the patterns, turning points, and key debates that have shaped the direction of the field. Give your interpretation of how and why certain developments occurred (as mentioned previously, this may not be appropriate in your discipline — check with a teacher or mentor if you’re unsure).
• Thematic : If you have found some recurring central themes that you will continue working with throughout your piece, you can organize your literature review into subsections that address different aspects of the topic. For example, if you are reviewing literature about women and religion, key themes can include the role of women in churches and the religious attitude towards women.
• Qualitative versus quantitative research
• Empirical versus theoretical scholarship
• Divide the research by sociological, historical, or cultural sources
• Theoretical : In many humanities articles, the literature review is the foundation for the theoretical framework. You can use it to discuss various theories, models, and definitions of key concepts. You can argue for the relevance of a specific theoretical approach or combine various theorical concepts to create a framework for your research.

What are some strategies or tips I can use while writing my lit review?

Any lit review is only as good as the research it discusses; make sure your sources are well-chosen and your research is thorough. Don’t be afraid to do more research if you discover a new thread as you’re writing. More info on the research process is available in our "Conducting Research" resources .

As you’re doing your research, create an annotated bibliography ( see our page on the this type of document ). Much of the information used in an annotated bibliography can be used also in a literature review, so you’ll be not only partially drafting your lit review as you research, but also developing your sense of the larger conversation going on among scholars, professionals, and any other stakeholders in your topic.

Usually you will need to synthesize research rather than just summarizing it. This means drawing connections between sources to create a picture of the scholarly conversation on a topic over time. Many student writers struggle to synthesize because they feel they don’t have anything to add to the scholars they are citing; here are some strategies to help you:

• It often helps to remember that the point of these kinds of syntheses is to show your readers how you understand your research, to help them read the rest of your paper.
• Writing teachers often say synthesis is like hosting a dinner party: imagine all your sources are together in a room, discussing your topic. What are they saying to each other?
• Look at the in-text citations in each paragraph. Are you citing just one source for each paragraph? This usually indicates summary only. When you have multiple sources cited in a paragraph, you are more likely to be synthesizing them (not always, but often
• Read more about synthesis here.

The most interesting literature reviews are often written as arguments (again, as mentioned at the beginning of the page, this is discipline-specific and doesn’t work for all situations). Often, the literature review is where you can establish your research as filling a particular gap or as relevant in a particular way. You have some chance to do this in your introduction in an article, but the literature review section gives a more extended opportunity to establish the conversation in the way you would like your readers to see it. You can choose the intellectual lineage you would like to be part of and whose definitions matter most to your thinking (mostly humanities-specific, but this goes for sciences as well). In addressing these points, you argue for your place in the conversation, which tends to make the lit review more compelling than a simple reporting of other sources.

How to Write a Book Review: Awesome Guide

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

What Is a Book Review?

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

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

Book Review Template

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

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

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

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

Step 1: Planning

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

Consider these points before writing:

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

Step 2: Introduction

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

Step 3: Body

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

Step 4: Conclusion

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

Step 5: Rate the Book (Optional)

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

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

Writing Tips

Here is the list of tips for the book review:

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

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

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

Book Review Examples

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

Book review

Kenneth Grahame’s ‘The Wind in the Willows’

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

Book Review

Dr. John’s ‘Pollution’

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

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How To Write A Book Review?

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Review: In ‘Still,’ Confessions Doom Two Reunited Lovers

Despite a juicy premise, this Colt Coeur production, starring Tim Daly and Jayne Atkinson, never manages to take off.

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By Rhoda Feng

In her essay “The Carrier Bag Theory of Fiction,” the novelist Ursula K. Le Guin hymned the bag as the proper shape for stories: it “is full of beginnings without ends, of initiations, of losses, of transformations and translations, and far more tricks than conflicts.”

One of the characters in Lia Romeo’s “Still,” a writer, carries just such a bag — a possible wink to her fellow novelist. The tote is large enough to house a ukulele, an avocado and a package of macadamia nuts — all of which are divulged in the play’s single moment of spontaneity — but its owner can’t seem to effect any Le Guinian “transformations” or “tricks.” There is a sense of stasis to the aptly named two-hander, which never ripens from a situation into a story.

“Still,” a Colt Coeur production that opened recently at DR2 Theater in the East Village, begins with two characters, former flames, meeting in a bar. Mark (a suave Tim Daly) and Helen (Jayne Atkinson) are in their mid-60s and haven’t seen each other in years. Sharing a bottle of wine, they shoot the breeze about their children and recent divorce (him) and new book and cancer diagnosis (her).

At first, they are content to pretend their past romance has subsided into a platonic relationship, but as the alcohol goes to their heads, they admit to carrying a torch for each other. A highlight of the show is their seduction scene: It’s the first I’ve seen onstage that unabashedly invokes the corporeal indignities of aging. The director Adrienne Campbell-Holt has Mark and Helen walk slowly toward each other while making sotto voce confessions: “I’m missing the nail on my right big toe,” “I have three fake teeth,” “I have arthritis in my knees.” Do I need to spell out what happens next?

Alexander Woodward’s softly lit set spins to reveal a hotel room. Resting against each other in bed, Mark and Helen proceed, post-coitally this time, with their confessions. Mark, who lives in Colorado, is considering relocating to Washington, D.C., to run for Congress, as a “moderate” Republican. “I wish you’d told me that before we ——” Helen says, gesturing limply to the bed with rumpled sheets. She considers herself a liberal, but political differences aren’t the only thing on her mind.

Part of the reason their relationship ended was because she had an abortion. Despite what Mark told her decades ago, he wanted Helen to have the baby. She, on the other hand, had felt — and still feels — that it would have been a mistake. “When we walked out of that clinic, I was — scraped out, and I was sad. But I felt so light, knowing that … all my cells were my own again,” she tells him. The stage is thus set for a real conflict.

Romeo is too smart to turn her characters into slogans for and against abortion rights, but neither does she do anything more than scatter the seeds of a setup. Precisely when we want her to floor the accelerator, she brakes, steps out of her vehicle and abandons her characters. Will Helen publish a memoir about her abortion? Will the book torpedo Mark’s chances of being elected to Congress?

We’ll never know. The play doesn’t end so much as peter off, like the volume dying down in a pair of headphones. That’s too bad because the premise of “Still” is juicy enough for one of Helen’s novels. She may one day turn it into a sequel to her current best seller, but as she knows better than anyone, those can take a vexingly long time to write.

Still Through May 18 at the DR2 Theater, Manhattan; coltcoeur.org . Running time: 1 hour 15 minutes.

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A Roadmap to Reimbursement for Psychedelics

Molly candon.

Insurance reimbursement for psychedelic therapy is integral to treatment accessibility.

Psychedelics have been used for millennia, but they have only recently hit the medical mainstream. Given the ongoing toll of mental illness, marked by decades-long increases in suicide deaths, overdose deaths, and alcohol-related mortality in the U.S., clinical trials of psychedelics and other dissociative drugs like ketamine (which I will collectively refer to as psychedelics) are more than encouraging.

The benefits of psychedelics can be seen in hours rather than weeks, and studies have found that psychedelic administration reduces symptoms in patients with difficult-to-treat conditions, including post-traumatic stress disorder (PTSD) and treatment-resistant depression . Additional research on the costs and cost-effectiveness of psychedelics is needed and underway.

Psychedelics present an interesting paradigm when it comes to their delivery, since they are often accompanied by spiritual or psychotherapeutic support, which is sometimes referred to as psychedelic-assisted therapy.

Varun Saraswathula and I developed a useful framework for thinking about psychedelic and psychedelic-assisted therapy regulation: analyzing the two dimensions of medicalization versus guidance. Medicalization refers to the degree to which psychedelics are administered by health care providers, such as physicians or nurse practitioners with prescribing authority, while guidance refers to the degree to which spiritual or psychotherapeutic support accompanies psychedelic administration.

Existing regulatory frameworks, including those in Australia and Canada , require more medicalized and guided delivery models. States such as Oregon and Colorado have left the door open for medicalized, unmedicalized, guided, and unguided options.

The psychedelic delivery paradigm complicates insurance coverage—or the lack thereof. With the exception of Spravato , a derivative of ketamine that was approved by the U.S. Food and Drug Administration (FDA) in 2019, psychedelics and psychedelic-assisted therapy are not typically covered by insurance. Without insurance coverage, these treatments will be inaccessible to many who need them the most. Provider buy-in also matters: Spravato is covered by insurers such as Medicare, yet studies have found that it is rarely prescribed. Fewer than 1,300 Medicare beneficiaries were prescribed Spravato between its FDA approval in March of 2019 to 2020.

What does a roadmap to reimbursement look like? On the medicalization side, FDA approval is the first step. FDA could imminently approve MDMA to treat PTSD, and psilocybin will likely follow. Proponents of psychedelics are hopeful that the U.S. Drug Enforcement Administration (DEA) will respond by rescheduling MDMA and psilocybin, but there is no guarantee.

In the case of Epidiolex , which contains a naturally occurring cannabinoid that treats two rare forms of epilepsy, the DEA rescheduled the FDA-approved formulation but did not reschedule cannabis. As of 2024, cannabis remains a Schedule I drug, alongside drugs with the highest potential for abuse, and patients rely on budtenders rather than trained pharmacists.

When it comes to guidance, the likelihood of insurance coverage is bolstered by the American Medical Association’s (AMA) recent release of three new current procedural terminology (CPT) codes to support “psychedelic drug monitoring services.” Providers use CPT codes to uniformly describe medical procedures or services, which if applied to psychedelics would allow psychedelic-assisted therapy to be tracked. A critical caveat, however, is that neither FDA approval nor the AMA’s introduction of CPT codes mean that insurers will reimburse psychedelics or psychedelic-assisted therapy.

Take ketamine , which was approved by FDA as an analgesic in 1970. Ketamine is frequently prescribed off label for psychiatric conditions and often delivered alongside billable psychotherapeutic support. Yet it is rarely reimbursed by insurance. As a result, some employers have incorporated ketamine-assisted therapy as a workplace benefit using third-party administrators.

Even if insurers decide to cover psychedelics, there are a variety of barriers that patients and providers face. In the case of Spravato, FDA approved its use in combination with an antidepressant for treatment-resistant depression—a diagnosis that typically requires failure of previous antidepressant therapy. Insurers could institute prior authorization to curb patient use, which has been referred to as the “blunt instrument” of utilization management. And, given the proliferation of high deductible health plans, excessive out-of-pocket costs may mean that patients cannot afford care. For example, despite the low cost of intravenous ketamine, a round of ketamine-assisted therapy can cost thousands of dollars.

Who delivers psychedelic-assisted therapy could result in more restrictions, as reimbursement can be limited to specific provider types. For instance, Medicare Part B’s recent decision to cover acupuncture extends to patients with chronic low back pain and must be administered by approved Medicare providers. This decision means most licensed acupuncturists cannot bill Medicare directly. Notably, the University of California, Berkeley’s Psychedelic Facilitation Certification Program is open to health care providers, including physicians, nurses, and social workers, as well as chaplains and “those trained in traditional plant medicine lineages who carry the support of their community.”

There is a regulatory toolkit to increase insurance coverage, which could be harnessed by policymakers if insurers are unwilling to reimburse. In the case of employer-sponsored insurance, state-level mandates were shown to be effective at expanding access to home and community-based services for autism, and had disproportionate effects for patients who used more care.

However, self-insured plans are exempt from state-level mandates due to the Employee Retirement Income Security Act of 1974 . Mental health parity laws have also helped expand access to mental health care but enforcement of these laws is inconsistent. Neither of these policies solve the intractable problem of network adequacy, at least in the short-term. According to a national survey , half of psychiatrists do not accept insurance. Secret shopper studies have demonstrated additional challenges that patients face when trying to access therapists.

Where does that leave us? We know that some psychedelics and psychedelic-assisted therapy are effective at treating some of the most intractable mental illnesses. We know that a patchwork of psychedelic legislation, particularly its criminalization, make reimbursement difficult. And we know that, without insurance coverage, many individuals with PTSD, treatment-resistant depression, and other debilitating symptoms will not be able to use these services.

There is more to learn about the safety, efficacy, cost-effectiveness, and iatrogenic effects of psychedelics and psychedelic-assisted therapy. But one thing to prepare for is a future in which the psychedelics boom turns into an inequitable bust unless insurers pave the way.

Molly Candon is an assistant professor at the University of Pennsylvania Center for Mental Health .

This essay is part of a six-part series entitled,  Global Perspectives on Psychedelics Regulation .

Related Essays

Why We Need To Talk About Psychedelic Dispensaries

Dispensaries could fill the regulatory void for psychedelics and promote public health.

Branching Regulatory Paths and Dead Ends in Psychedelics

The convergence of current psychedelics regulatory pathways may bring benefits and new challenges.

Administrative Law Essay Competition Winners

Two essays by the student winners of a Penn Carey Law essay competition describe important regulatory issues.

A bitingly funny, extremely online novel about sisterhood

Alexandra tanner’s ‘worry’ tells the story of two sisters sinking into mutual isolation in the months before the covid pandemic began.

“ Worry ,” Alexandra Tanner’s debut book, is not a covid novel, but you’d be forgiven for mistaking it for one. A 2019 period piece set in the dwindling months before the virus paralyzed the world, “Worry” opens with the newly single and nominally employed Jules preparing for her younger sister Poppy to move in. Poppy promises to crash for just a few weeks — she stays the year. The Brooklyn apartment that Jules once shared with her longtime boyfriend becomes the claustrophobic backdrop for the sisters’ codependence. Together they regress, and Tanner’s domestic novel is a study in the conditions that might prompt a person to self-isolate, even in a pandemic-free world: internet addiction, delivery and dating apps, an epidemic of loneliness, the bare fact of anxiety.

“Worry” is paced like the internet: Petty micro-dramas create a sense of movement, but mostly nothing happens. Jules is an aspiring writer who works remotely for a SparkNotes rip-off and has a quasi-boyfriend she credits with being a “marginally better kisser” than her dozens of other dating app matches. This passes for bona fide adulthood to Poppy, who, isolated by a mental health crisis and long-standing chronic illness, is struggling to find a job and a new apartment. Jules, meanwhile, spends her days scrolling, developing an obsession with Mormon mommy bloggers. She stalks and screenshots the “mommies” (her term of choice) in pursuit of an essay about “America, and Jews, and assimilation, and militancy, and god, and conspiracism, and whatever” (an essay that Tanner did in fact write for Jewish Currents but that Jules never does).

Really, Jules has to admit, what she’s after is “an excuse to feel like the way I looked at the internet was different than the way everyone else looked at the internet,” but the algorithm doesn’t distinguish between ironic followers and real ones. The friends she once kept up with have been replaced by the mommies, to whom she means little more than a fraction of ad revenue. Sometimes her journalistic distance falls away and she replies to their antisemitic conspiracies in anonymous, heated exchanges that make up her daily dose of interaction. She logs in, like so many of us, with aspirations of playing cultural critic but finds herself stuck as a hapless consumer, hypnotized by the sparkling pixels and their attendant jealousies. In “Worry,” Tanner posits that we were doomed to social isolation long before the virus spread, non-playable characters in our virtually mortgaged lives.

Health anxieties, coupled with social ones, and the tantalizing convenience of online shopping, mean that the sisters rarely interface with the outside world. Poppy grows increasingly depressed by the outbreaks of full-body hives she has suffered since childhood; Jules lives in constant fear of infection, whether from improperly cooked food at trendy restaurants or sex with her dating app matches. Worry is an ouroboros: Anxiety breeds illness, and illness more anxiety. Their apartment complex used to be a Jewish hospital, and for these two afflicted Jewish American Princesses, it sort of still is.

Tanner, adept in the argot of the hyper-online inert (she’s now adapting her bitingly funny dialogue for television), skewers the girls’ lassitude while remaining sensitive to the inevitable ennui of modern life. “Our great-grandparents fled Europe for what?” Poppy cries. “So one day we could buy thirty-dollar tubes of organic aluminum-free deodorant and sit on our asses making content ?” Poppy adopts a three-legged dog named Amy Klobuchar but neglects to give her enough water, so she must rush Amy to the vet not once but twice. To borrow from a tweet , “You people can’t do anything.”

The sisters’ airless apartment may become cause for concern, but it’s also the stage where Tanner blocks out their manic intimacy. Sisterhood, not unlike the internet, is its own universe. It has its own language (the sisters speak of their “Mommy and Daddy,” monikers they might avoid in the presence of outside company), and quotidian dramas that explode and diffuse without warning. For a week, a paper towel sits on the kitchen floor because neither sister will admit to having dropped it. But against the fleeting ephemera of online projections, their relationship offers moments of genuine self-recognition; when Jules picks on Poppy, it’s only because looking at her sister can be like catching herself in the mirror at an unflattering angle.

The world is only about to get worse for Poppy and Jules: The job market will collapse, their effective quarantine will be made law. But while “Worry” documents the ways we’ve slid toward a culture of loneliness, Tanner has crafted, in Poppy and Jules, a relationship fleshy enough to endure the online vortex. “I can’t build my whole life around my sister,” Jules yells at Poppy after an argument. “Why not?” Poppy asks, but Jules can’t come up with an answer.

Ariella Garmaise is an assistant editor at the Walrus. Her writing has been published in the Los Angeles Review of Books, LitHub and other publications.

By Alexandra Tanner

Scribner. 291 pp. $27

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Donald Trump and Megan Mullally performing the Green Acres theme song at the Emmy Awards, Los Angeles, September 2005

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In the Warsaw Ghetto in October 1941 Mary Berg, then a teenager, wrote in her diary about the improbable persistence of laughter in that hellish place:

Every day at the Art Café on Leszno Street one can hear songs and satires on the police, the ambulance service, the rickshaws, and even the Gestapo, in a veiled fashion. The typhus epidemic itself is the subject of jokes. It is laughter through tears, but it is laughter. This is our only weapon in the ghetto—our people laugh at death and at the Nazi decrees. Humor is the only thing the Nazis cannot understand.

Berg here movingly expresses a common and comforting idea. Laughter is one of the few weapons that the weak have against the strong. Gallows humor is the one thing that cannot be taken away from those who are about to be hanged, the final death-defying assertion of human dignity and freedom. And the hangmen don’t get the jokes. Fascists don’t understand humor.

There is great consolation in these thoughts. Yet is it really true that fascists don’t get humor? Racist, misogynistic, antisemitic, xenophobic, antidisabled, and antiqueer jokes have always been used to dehumanize those who are being victimized. The ghetto humor that Berg recorded was a way of keeping self-pity at bay. But as Sigmund Freud pointed out, jokes can also be a way of shutting down pity itself by identifying those who are being laughed at as the ones not worthy of it: “A saving in pity is one of the most frequent sources of humorous pleasure.” Humor, as in Berg’s description, may be a way of telling us not to feel sorry for ourselves. But it is more often a way of telling us not to feel sorry for others. It creates an economy of compassion, limiting it to those who are laughing and excluding those who are being laughed at. It makes the polarization of humanity fun.

Around the time that Berg was writing her diary, Theodor Adorno and Max Horkheimer were pointing to the relationship between Nazi rallies and this kind of comedy. The rally, they suggested, was an arena in which a release that was otherwise forbidden was officially permitted:

The anti-Semites gather to celebrate the moment when authority lifts the ban; that moment alone makes them a collective, constituting the community of kindred spirits. Their ranting is organized laughter. The more dreadful the accusations and threats, the greater the fury, the more withering is the scorn. Rage, mockery, and poisoned imitation are fundamentally the same thing.

Donald Trump is not a Nazi, and his followers are (mostly) not fascists. But it is not hard to see how this description resonates with his campaign appearances. Trump is America’s biggest comedian. His badinage is hardly Wildean, but his put-downs, honed to the sharpness of stilettos, are many people’s idea of fun. For them, he makes anger, fear, and resentment entertaining.

For anyone who questions how much talent and charisma this requires, there is a simple answer: Ron DeSantis. Why did DeSantis’s attempt to appeal to Republican voters as a straitlaced version of Trump fall so flat? Because Trumpism without the cruel laughter is nothing. It needs its creator’s fusion of rage, mockery, and poisoned imitation, whether of a reporter with a disability or (in a dumb show that Trump has been playing out in his speeches in recent months) of Joe Biden apparently unable to find his way off a stage. It demands the withering scorn for Sleepy Joe and Crooked Hillary, Crazy Liz and Ron DeSanctimonious, Cryin’ Chuck and Phoney Fani. It requires the lifting of taboos to create a community of kindred spirits. It depends on Trump’s ability to be pitiless in his ridicule of the targets of his contempt while allowing his audience to feel deeply sorry for itself. (If tragedy, as Aristotle claimed, involves terror and pity, Trump’s tragicomedy deals in terror and self-pity.)

Hard as it is to understand, especially for those of us who are too terrified to be amused, Trump’s ranting is organized laughter. To understand his continuing hold over his fans, we have to ask: Why is he funny?

This is not the 1930s or the 1940s, and we should not expect this toxic laughter to be organized quite as it was then. Trump functions in a culture supersaturated with knowingness and irony. In twentieth-century European fascism, the relationship between words and actions was clear: the end point of mockery was annihilation. Now, the joke is “only a joke.” Populist politics exploits the doubleness of comedy—the way that “only a joke” can so easily become “no joke”—to create a relationship of active connivance between the leader and his followers in which everything is permissible because nothing is serious.

This shift has happened in Europe, too. Think of Boris Johnson’s clown act, his deliberately ruffled hair, rumpled clothes, and ludicrous language. Or think of Giorgia Meloni, the first Italian prime minister from the far right since Benito Mussolini, posting on election day in September 2022 a TikTok video of herself holding two large melons ( meloni in Italian) in front of her breasts: fascism as adolescent snigger. It is impossible to think of previous far-right leaders engaging in such public self-mockery. Only in our time is it possible for a politician to create a sense of cultlike authority by using the collusiveness of comedy, the idea that the leader and his followers are united by being in on the joke.

Trump may be a narcissist, but he has a long history of this kind of self-caricature. When he did the Top Ten List on the David Letterman show in 2009, he seemed entirely comfortable delivering with a knowing smirk the top ten “financial tips” written for him, including “When nobody’s watching I go into a 7/11 and stick my head under a soda nozzle”; “Save money by styling your own hair” (pointing to his own improbable coiffure); “Sell North Dakota to the Chinese”; “If all else fails, steal someone’s identity”; and “The fastest way to get rich: marry and divorce me.” This performance, moreover, was the occasion for Trump’s entry into the world of social media. His first ever tweet was: “Be sure to tune in and watch Donald Trump on Late Night with David Letterman as he presents the Top Ten List tonight!”

At the 2005 Emmy Awards, Trump dressed in blue overalls and a straw hat and, brandishing a pitchfork, sang the theme song from the 1960s TV comedy Green Acres . Trump is a terrible singer and a worse actor, but he seemed completely unembarrassed on stage. He understood the joke: that Oliver, the fictional character he was impersonating, is a wealthy Manhattanite who moves to rustic Hooterville to run a farm, following his dream of the simple life—an alternative self that was amusing because it was, for Trump, unimaginable. But he may have sensed that there was also a deep cultural resonance. The Apprentice was “reality TV ,” a form in which the actual and the fictional are completely fused.

Green Acres , scenes from which played on a screen behind Trump as he was singing, pioneered this kind of metatelevision. Its debut episode set it up as a supposed documentary presented by a well-known former newscaster. Its characters regularly broke the fourth wall. When Oliver launched into rhapsodic speeches about American rural values, a fife rendition of “Yankee Doodle” would play on the soundtrack, and the other characters would move around in puzzlement trying to figure out where the musician was. Eva Gabor, playing Oliver’s pampered wife, admits on the show that her only real talent is doing impressions of Zsa Zsa Gabor, the actor’s more famous real-life sister.

The critic Armond White wrote in 1985 that “ Green Acres ’ surreal rationale is to capture the moment American gothic turns American comic.” Trump playing Oliver in 2005 may be the moment American comedy turned gothic again. Whoever had the idea of connecting Trump back to Green Acres clearly understood that “Donald Trump” had by then also become a metatelevision character, a real-life failed businessman who impersonated an ultrasuccessful mogul on The Apprentice . And Trump went along with the conceit because he instinctively understood that self-parody was not a threat to his image—it was his image. This connection to Green Acres was reestablished by Trump himself as president of the United States. In December 2018, as he was about to sign the Farm Bill into law, Trump tweeted, “Farm Bill signing in 15 minutes! #Emmys #TBT,” with a clip of himself in the Green Acres spoof. Hooterville and the White House were as one.

What is new in the development of antidemocratic politics is that Trump brings all this comic doubleness—the confusion of the real and the performative, of character and caricature—to bear on the authoritarian persona of the caudillo, the duce, the strongman savior. The prototype dictators of the far right may have looked absurd to their critics (“Hitler,” wrote Adorno and Horkheimer, “can gesticulate like a clown, Mussolini risk false notes like a provincial tenor”), but within the community of their followers and the shadow community of their intended victims, their histrionics had to be taken entirely seriously. Trump, on the other hand, retains all his self-aware absurdity even while creating a political persona of immense consequence.

This comic-authoritarian politics has some advantages over the older dictatorial style. It allows a threat to democracy to appear as at worst a tasteless prank: in the 2016 presidential campaign even liberal outlets like The New York Times took Hillary Clinton’s e-mails far more seriously than Trump’s open stirring of hatred against Mexicans and Muslims. Funny-autocratic functions better in a society like that of the US, where the boundaries of acceptable insult are still shifting and mainstream hate-mongering still has to be light on its feet. It allows racial insults and brazen lies to be issued, as it were, in inverted commas. If you don’t see those invisible quotation marks, you are not smart enough—or you are too deeply infected by the woke mind virus—to be in on the joke. You are not part of the laughing community. The importance of not being earnest is that it defines the boundaries of the tribe. The earnest are the enemy.

The extreme right in America was very quick to understand the potency of “only a joke” in the Internet age. In a 2001 study of three hate speech websites sympathetic to the Ku Klux Klan, Michael Billig noted that each of them described itself on its home page as a humorous exercise. The largest, called “N…..jokes KKK ” (the ellipsis is mine) carried the disclaimers: “You agree by entering this site, that this type of joke is legal where you live, and you agree that you recognize this site is meant as a joke not to be taken seriously”; “And you agree that this site is a comedy site, not a real racist site”; “We ARE NOT real life racists.”

What does “real life” even mean when Klansmen are not really racist? The power of this “humorous” mode of discourse lies at least partly in the way it blurs the distinctions between the real and the symbolic, and between words and actions. Consider the example of some of the men tried for their alleged parts in a 2020 plot to kidnap Gretchen Whitmer, the Democratic governor of Michigan. One of them, Barry Croft, insisted at his trial in 2022 that he was joking most of the time when he posted on Facebook questions like “Which governor is going to end up being dragged off and hung for treason first?” Another, Brandon Caserta, was acquitted in 2022 in part because he successfully pleaded that violent statements he made on Facebook and in secretly recorded meetings of the group were not serious. These included claims that the Second Amendment sanctions the killing of “agents of the government when they become tyrannical.” “I may kill dozens of agents but eventually die in the process,” Caserta wrote on Facebook in May 2020. He later posted that he would beat government agents so hard they would “beg til they couldn’t beg any more because their mouth is so full of blood.”

At Croft’s trial, his defense attorney put it to an FBI witness that a meme Croft posted showing thirty bullets as “30 votes that count” was “A little tongue-in-cheek? A little bit funny?” On the second season of Jon Ronson’s superb podcast series for the BBC , Things Fell Apart , Caserta acknowledges that, on the secret recordings, he is heard to urge his fellow militia members that any lawyers advocating for the Covid vaccine be decapitated in their own homes, speaks of “wanting Zionist banker blood,” and advocates blowing up buildings where the vaccine is manufactured. He nonetheless insists to Ronson:

This isn’t something I’m dead serious about. This is nothing I ever planned. It’s funny, dude! It’s funny! It’s fun to blow stuff up. It’s fun to shoot guns. It’s fun to say ridiculous offensive shit. And if it offends you, so what? I don’t care about your feelings and how you feel about words. Sorry!

The twist of logic here is striking: Caserta equates blowing stuff up and shooting people with saying ridiculous offensive shit. Violent words and violent actions are all covered by the same disclaimer—one that Trump’s apologists use to blur the relationship between his words and his followers’ actions in the assault on the Capitol on January 6, 2021. In the Trumpian twilight zone where democracy is dying but not yet dead, the connection between words (“fight like hell”) and deeds (the armed invasion of the Capitol) must be both strong and weak, sufficiently “no joke” to be understood by the faithful yet sufficiently “only a joke” to be deniable to the infidels. The comic mode is what creates the plausible deniability that in turn allows what used to be mainstream Republicans (and some Democrats) to remain in denial about what Trumpism really means.

For those who love Trump, there is something carnivalesque in all of this. In his discussion of “mediaeval laughter” in Rabelais and His World , Mikhail Bakhtin wrote that “one might say that it builds its own world versus the official world, its own church versus the official church, its own state versus the official state.” Bakhtin suggested that the

festive liberation of laughter…was a temporary suspension of the entire official system with all its prohibitions and hierarchic barriers. For a short time life came out of its usual, legalized and consecrated furrows and entered the sphere of utopian freedom.

Trump and many of his followers have made this quite literal. They create their own America, their own republic, their own notions of legality, their own church of the leader’s cult, their own state versus what they see as the official state. In this way, extreme polarization becomes a sphere of utopian freedom.

This is the capacious zone in which Trump’s comedy operates, an arena that admits everyone who gets the joke, from those who fantasize about killing tyrants, decapitating lawyers, and torturing government agents to those who just like to blow off steam by listening to their hero saying stuff that riles the woke enemy. It is crucial that in Trump’s delivery there is no shift from mockery to seriousness, no line between entertainment and violence. His singsong tone is generous and flexible, serving equally well for vaudeville and vituperation. In his streams of consciousness, they flow together as complementary currents.

In the recent speeches in which he has upped the ante on openly fascist rhetoric by characterizing his opponents as “vermin” and accusing immigrants of “poisoning the blood of our country,” it is notable that his cadence is soft, almost lilting. There is no warning to his audience that these comments are of a different order. They are not even applause lines. By underplaying them, Trump leaves open the fundamental question: Is his mimicking of Hitler’s imagery just another impersonation, all of a piece with the way he does Biden and Haley in funny voices or even with the way he sings the theme song from Green Acres ?

Even when Trump actually goes the whole way and acknowledges that his rhetoric is indeed Hitlerian, as he did in a speech in Iowa after the alarmed reaction of liberals to his previous “poisoning the blood” speech, it is in a passage that jumbles together murderous intent, complaint about the media, and comic acting: “They are destroying the blood of our country. That’s what they’re doing…. They don’t like it when I said that. And I never read Mein Kampf .” But he makes the “Kampf” funny, puckering his lips and elongating the “pf” so it sounds like a rude noise. He continues: “They said ‘Oh, Hitler said that.’” Then he adds his defense: “in a much different way.” It is the stand-up comedian’s credo: it’s not the jokes, it’s the way you tell ’em. And this is, indeed, true—the difference is in the way he tells it, in a voice whose ambiguous pitch has been perfected over many years of performance.

The knowingness is all. In the speech in Conway, South Carolina, on February 10, in which he openly encouraged Russia to attack “delinquent” members of NATO , this startling statement, with potential world-historical consequences, was preceded by Trump’s metatheatrical riff on the idea of “fun.” What was fun, he told his followers, was the reaction he could provoke just by saying “Barack Hussein Obama”:

Every time I say it, anytime I want to have a little fun…even though the country is going to hell, we have to have a little bit of fun…. Remember Rush Limbaugh, he’d go “Barack Hooosaynn Obama”—I wonder what he was getting at.

He then segued into another commentary on his own well-honed send-up of Joe Biden: “I do the imitation where Biden can’t find his way off the stage…. So I do the imitation—is this fun?—I say this guy can’t put two sentences together…and then I go ‘Watch!’” (He said the word with a comic pout.) “I’ll imitate him. I go like this: ‘Haw!’” Trump hunches his shoulders and extends his arm, in a parody of Biden’s gestures. In this burlesque, Trump is not just mimicking his opponent; he is explicitly reenacting his own previous mocking impersonation, complete with commentary. He is simultaneously speaking, acting, and speaking about his acting.

It is within this “fun” frame that Trump proceeded to insinuate that there is something awry with Nikki Haley’s marriage: “Where’s her husband? Oh he’s away…. What happened to her husband? What happened to her husband! Where is he? He’s gone. He knew, he knew.” He and presumably many members of the audience were aware that Michael Haley is currently serving in Djibouti with the South Carolina National Guard. But as part of the show, with the funny voices and the exaggerated gestures, that lurid hint at some mysteriously unmentionable scandal (“He knew, he knew”) is somehow amusing. And then so is Trump’s story about telling an unnamed head of a “big” NATO country that the US would not defend it from invasion and—the punch line—that he would “encourage” Russia “to do whatever the hell they want.” Here Trump is acting in both senses, both ostentatiously performing and exerting a real influence on global politics—but which is which? How can we tell the dancer from the dance?

This shuffling in a typical Trump speech of different levels of seriousness—personal grudges beside grave geopolitics, savage venom mixed with knockabout farce, possible truths rubbing up against outrageous lies—creates a force field of incongruities. Between the looming solidity of Trump’s body and the airy, distracted quality of his words, in which weightless notions fly off before they are fully expressed, he seems at once immovable and in manic flux.

Incongruity has long been seen as one of the conditions of comedy. Francis Hutcheson in Reflections Upon Laughter (1725) noted that it is “this contrast or opposition of ideas of dignity and meanness which is the occasion of laughter.” The supposedly dignified idea of “greatness” is vital to Trump’s presence and rhetoric. But it is inextricably intertwined with the mean, the inconsequential, even the infantile. He is at one moment the grandiose man of destiny and the next a naughty child—an incongruity that can be contained only within an organized laughter in which the juxtaposition of incompatibilities is the essence of fun. This is why Trump’s lapses into pure gibberish—like telling a National Rifle Association gathering in Harrisburg, Pennsylvania, on February 9 that the Democrats are planning to “change the name of Pennsylvania” and that, in relation to the marble columns in the hall, it was “incredible how they could [have been built] years ago without the powerful tractors that you have today”—do not make his fans alarmed about his mental acuity. Cognitive dysfunction is not a worry with a man whose métier is cognitive dissonance.

Part of the dissonance is that Trump’s stand-up routine is completely dependent on the idea that he and his audience most despise: political correctness. Like much of the worst of contemporary comedy, Trump both amuses and thrills his audience by telling them that he is saying what he is not allowed to say. “Beautiful women,” he said at the rally in South Carolina after pointing to a group of female superfans in the audience. “You’re not allowed to say that anymore, but I’ll say it…. That usually is the end of a career, but I’ll say it.” There are so many layers to a moment like this: the idea that the woke mob is stopping manly men from complimenting attractive women, a sideways nod toward the “pussygate” tapes that should have ended Trump’s political career but didn’t, a dig at the Me Too movement, a reiteration of Trump’s right to categorize women as “my type” or “not my type,” the power of the leader to lift prohibitions—not just for himself but, in this carnivalesque arena of utopian freedom, for everyone in the audience.

Flirting with the unsayable has long been part of his shtick. If we go all the way back to May 1992 to watch Trump on Letterman’s show, there is a moment when Trump silently mouths the word “shit.” He does this in a way that must have been practiced rather than spontaneous—it takes some skill to form an unspoken word so clearly for a TV audience that everyone immediately understands it. Letterman plays his straight man: “You ain’t that rich, Don, you can’t come on here and say that.” But of course Trump did not “say” it. A sympathetic audience loves a moment like this because it is invited to do the transgressive part in its head. It gets the pleasure of filling in the blank.

Trump’s audiences, in other words, are not passive. This comedy is a joint enterprise of performer and listener. It gives those listeners the opportunity for consent and collusion. Consider a televised speech Trump gave at the Al Smith Dinner, hosted by the Catholic archbishop of New York, Cardinal Timothy Dolan, in October 2016, near the end of the presidential campaign. The dinner, held to raise money for Catholic charities, is traditionally the last occasion on which the two main presidential candidates share a stage—Hillary Clinton was also present. Trump deadpanned that he knew he would have a receptive audience because “so many of you in the archdiocese already have a place in your heart for a guy who started out as a carpenter working for his father. I was a carpenter working for my father. True.”

What is the joke here? That Trump is like Jesus Christ. Imagine if Clinton had attempted an equivalent gag. There would have been outrage and uproar: Clinton has insulted all Christians by making a blasphemous comparison between herself and the divine Savior. But the cameras cut to Dolan, a sycophantic supporter of Trump, and showed him laughing heartily. And if the cardinal found it funny, it was funny. It was thus an in-joke. If Clinton had made it, it would be the ultimate out-joke, proof of the Democrats’ contempt for people of faith.

But what is allowed as funny will sooner or later be proposed seriously. Many of those attending Trump rallies now wear T-shirts that proclaim “Jesus Is My Savior. Trump Is My President.” Some of them illustrate the slogan with a picture of an ethereal Christ laying both his hands on Trump’s shoulders. What begins as a risqué quip ends up as a religious icon. There is no line here between sacrilege and devotion, transgressive humor and religious veneration.

Just as Trump’s jokes can become literal, his ugly realities can be bathed in the soothing balm of laughter. Long before he ran for president, he was indulged on the late-night talk shows as the hilarious huckster. In 1986 Letterman tried repeatedly to get Trump to tell him how much money he had, and when he continually evaded the question, Letterman broke the tension with the laugh-line, “You act like you’re running for something.” In December 2005 Conan O’Brien asked him, “You also have an online school? Is that correct?” Trump replied, “Trump University—if you want to learn how to get rich.” The audience howled with laughter, presumably not because they thought he was kidding but because the very words “Trump University” are innately absurd. When he did that Top Ten List on Letterman in 2009, Trump’s comic financial advice included “For tip number four, simply send me $29.95.”

But these jokes came true. Trump wouldn’t say how much he was worth because his net worth was partly fictional. Trump did run for something. Trump University was an innately funny idea that people took seriously enough to enable Trump to rip them off. And Trump does want you to send him $29.95—the first thing you get on Trump’s official website is an insistent demand: “Donate Today.” This is the thing about Trump’s form of organized laughter, in which the idea of humor obscures the distinction between outlandish words and real-life actions. Sooner or later, the first becomes the second. The in-joke becomes the killer line.

March 21, 2024

Who Should Regulate Online Speech?

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Fintan O’Toole is the Advising Editor at The New York Review and a columnist for The Irish Times. His most recent book, We Don’t Know Ourselves: A Personal History of Modern Ireland , was published in the US last year. (March 2024)

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As Taylor Swift's 'The Tortured Poets Department' drops, here's everything you need to know

A new era of Taylor Swift is near.

The artist's 11th studio album , “The Tortured Poets Department,” drops Friday.

The lead-up to release day has been littered with puzzles, Easter eggs and other hallmarks of Swift’s ever-theorizing fan base.

Here's what to know ahead of the release.

When does the album officially debut?

"The Tortured Poets Department" will be released Friday at 12 a.m. ET. It is currently available for preorder .

If you plan to stream "The Tortured Poets Department" right after its release, be prepared for potential delays. When Swift’s most recent brand new album, "Midnights" was released, Spotify briefly crashed because of intense demand.

How many tracks are there?

The album consists of 16 songs.

There will be four bonus tracks: “The Manuscript,” The Bolter,” “The Albatross” and “The Black Dog.” Each bonus track will be available on separate physical album variants and won’t be on the streaming version of the album.

Historically, Swift has made vinyl exclusives available on streaming platforms several months after their physical release.

The average track length on “The Tortured Poets Department” is 4 minutes and 4 seconds — the third longest across Swift’s discography.

The longest song on the album is “But Daddy I Love Him,” which clocks in at 5 minutes and 40 seconds. “I Can Fix Him (No Really I Can) is the shortest at 2 minutes and 36 seconds. The length of each bonus track has not yet been revealed.

Who else worked on the album?

Florence + the Machine and Post Malone are both featured artists on the album. The two are also credited as co-writers on their songs.

Aaron Dessner — songwriter, producer, and band member of The National and Big Red Machine — is one of two producers who worked on “The Tortured Poets Department,” along with Swift’s longtime friend and collaborator, Jack Antonoff. Dessner is credited as a songwriter on five of the 16 tracks on the standard album, while Antonoff co-wrote eight tracks.

Swift is credited as a songwriter on every track on the standard album, including two entirely self-written tracks: "My Boy Only Breaks His Favorite Toys" and "Who's Afraid of Little Old Me?"

Why is it called ‘The Tortured Poets Department’?

Fans were quick to note that “The Tortured Poets Department” is the longest title for a Taylor Swift album by a large margin, a distinction previously held by her third album, “Speak Now.” Before “TTPD,” “Speak Now” was her only album title consisting of more than one word.

Speculation surrounding the new album and its uncharacteristic title has primarily revolved around Swift’s 2023 breakup with British actor Joe Alwyn after their six-year relationship.

After the album announcement, a 2022 Variety interview between Alwyn and Paul Mescal resurfaced on X. The pair revealed in the interview that they were both members of a WhatsApp group chat titled “The Tortured Man Club,” prompting some fans to draw parallels between Alwyn and Swift’s upcoming album.

The true meaning of “The Tortured Poets Department” remains to be seen, but the rollout of the album has featured references to famous poems like Charles Baudelaire's “The Albatross,” among other literary references.

When can fans expect a new music video?

In a video of the “TTPD Timetable” posted on her Instagram account Tuesday, Swift announced she will release a music video at 8 p.m. ET Friday.

She did not specify which track the video would be for.

The announcement in the timetable was accompanied by 14 tally marks, leading some sleuthing Swifties to theorize that the video could be for the album’s first track, “Fortnight (ft. Post Malone), the title of which refers to a 14-day period, or the album’s 14th track, “The Smallest Man Who Ever Lived.”

What's the Spotify pop-up that's in Los Angeles?

Los Angeles Swifties celebrated release week with a pop-up library in partnership with Spotify.

The three-day event ran from April 16-18 at the Grove and featured a sneak peak at some of the album’s lyrics.

A manuscript was front and center at the installation, revealing new lyrics periodically as the pages were turned over the course of three days.

Fans took to social media to identify other potential Easter eggs in the pop-up library, such as a bust of a peace sign, a quill and fountain pens, and a globe that appeared to be pointing to Florida, the name of a track on the album.

Were there any other notable Easter eggs leading up to the release?

QR code murals appeared in cities across the world such as Melbourne, Paris, Chicago and London. Each QR code revealed a singular letter, which Swifties pieced together to spell " For A Fortnight."

In a collaboration with Apple Music, Swift sorted some of her existing discography into thematic playlists , along with audio messages from the singer. These messages seemed to confirm some fans' theories that the playlists mirrored the five stages of grief – denial, anger, bargaining, depression and acceptance – indicating that the new album may grapple with grief or loss.

Swift later used a song from each playlist to reveal a hidden word on Apple Music each day leading up to the release of "The Tortured Poets Department."

The final word, "mortem," was revealed Thursday, hidden in the lyrics of the song "Begin Again." The secret message was "We hereby conduct this post mortem."