what is meant by coherent essay

Table of Contents

Collaboration, information literacy, writing process, coherence – how to achieve coherence in writing.

• © 2023 by Joseph M. Moxley - University of South Florida

Coherence refers to a style of writing where ideas, themes, and language connect logically, consistently, and clearly to guide the reader's understanding. By mastering coherence , alongside flow , inclusiveness , simplicity,  and unity , you'll be well-equipped to craft professional or academic pieces that engage and inform effectively. Acquire the skills to instill coherence in your work and discern it in the writings of others.

What is Coherence?

Coherence in writing refers to the logical connections and consistency that hold a text together, making it understandable and meaningful to the reader. Writers create coherence in three ways:

• logical consistency
• conceptual consistency
• linguistic consistency.

What is Logical Consistency?

• For instance, if they argue, “If it rains, the ground gets wet,” and later state, “It’s raining but the ground isn’t wet,” without additional explanation, this represents a logical inconsistency.

What is Conceptual Consistency?

• For example, if you are writing an essay arguing that regular exercise has multiple benefits for mental health, each paragraph should introduce and discuss a different benefit of exercise, all contributing to your main argument. Including a paragraph discussing the nutritional value of various foods, while interesting, would break the conceptual consistency, as it doesn’t directly relate to the benefits of exercise for mental health.

What is Linguistic Consistency?

• For example, if a writer jumps erratically between different tenses or switches point of view without clear demarcation, the reader might find it hard to follow the narrative, leading to a lack of linguistic coherence.

Related Concepts: Flow ; Given to New Contract ; Grammar ; Organization ; Organizational Structures ; Organizational Patterns ; Sentence Errors

Why Does Coherence Matter?

Coherence is crucial in writing as it ensures that the text is understandable and that the ideas flow logically from one to the next. When writing is coherent, readers can easily follow the progression of ideas, making the content more engaging and easier to comprehend. Coherence connects the dots for the reader, linking concepts, arguments, and details in a clear, logical manner.

Without coherence, even the most interesting or groundbreaking ideas can become muddled and lose their impact. A coherent piece of writing keeps the reader’s attention, demonstrates the writer’s control over their subject matter, and can effectively persuade, inform, or entertain. Thus, coherence contributes significantly to the effectiveness of writing in achieving its intended purpose.

How Do Writers Create Coherence in Writing?

• Your thesis statement serves as the guiding star of your paper. It sets the direction and focus, ensuring all subsequent points relate back to this central idea.
• Acknowledge and address potential counterarguments to strengthen your position and add depth to your writing.
• Use the genres and organizational patterns appropriate for your rhetorical situation . A deductive structure (general to specific) is often effective, guiding the reader logically through your argument. Yet different disciplines may privilege more inductive approaches , such as law and philosophy.
• When following a given-to-new order, writers move from what the reader already knows to new information. In formal or persuasive contexts, writers are careful to vet new information for the reader following information literacy laws and conventions .
• Strategic repetition of crucial terms and your thesis helps your readers follow your main ideas and evidence for claims 
• While repetition is useful, varying language with synonyms can prevent redundancy and keep the reader engaged.
• Parallelism in sentences can provide rhythm and clarity, making complex ideas easier to follow.
• Consistent use of pronouns avoids confusion and helps in maintaining a clear line of thought.
• Arrange your ideas in a sequence that naturally builds from one point to the next, ensuring each paragraph flows smoothly into the next .
• Signposting , or using phrases that indicate what’s coming next or what just happened, can help orient the reader within your argument.
• Don’t bother repeating your argument in your conclusion. Prioritize conciseness. Yet end with a call to action or appeal to kairos and ethos .

Recommended Resources

• Organization
• Organizational Patterns

Brevity - Say More with Less

Clarity (in Speech and Writing)

Coherence - How to Achieve Coherence in Writing

Flow - How to Create Flow in Writing

Inclusivity - Inclusive Language

The Elements of Style - The DNA of Powerful Writing

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Achieving coherence

“A piece of writing is coherent when it elicits the response: ‘I follow you. I see what you mean.’ It is incoherent when it elicits the response: ‘I see what you're saying here, but what has it got to do with the topic at hand or with what you just told me above?’ ” - Johns, A.M

Transitions

Parallelism, challenge task, what is coherence.

Coherence in a piece of writing means that the reader can easily understand it. Coherence is about making everything flow smoothly. The reader can see that everything is logically arranged and connected, and relevance to the central focus of the essay is maintained throughout.

Repetition in a piece of writing does not always demonstrate cohesion.   Study these sentences:

So, how does repetition as a cohesive device work?

When a pronoun is used, sometimes what the pronoun refers to (ie, the referent) is not always clear. Clarity is achieved by  repeating a key noun or synonym . Repetition is a cohesive device used deliberately to improve coherence in a text.

In the following text, decide ifthe referent for the pronoun  it   is clear. Otherwise, replace it  with the key noun English  where clarity is needed.

Click here to view the revised text.

Suggested improvement

English has almost become an international language. Except for Chinese, more people speak it (clear reference; retain)  than any other language. Spanish is the official language of more countries in the world, but more countries have English ( it is replaced with a key noun) as their official or unofficial second language. More than 70% of the world's mail is written in English ( it is replaced with a key noun).  It (clear reference; retain) is the primary language on the Internet.

Sometimes, repetition of a key noun is preferred even when the reference is clear. In the following text, it is clear that it  refers to the key noun gold , but when used throughout the text, the style becomes monotonous.

Improved text: Note where the key noun gold is repeated. The deliberate repetition creates interest and adds maturity to the writing style.

Gold , a precious metal, is prized for two important characteristics. First of all, gold has a lustrous beauty that is resistant to corrosion. Therefore, it is suitable for jewellery, coins and ornamental purposes. Gold never needs to be polished and will remain beautiful forever. For example, a Macedonian coin remains as untarnished today as the day it was made 23 centuries ago. Another important characteristic of gold is its usefulness to industry and science. For many years, it has been used in hundreds of industrial applications. The most recent use of gold is in astronauts’ suits. Astronauts wear gold -plated shields when they go outside spaceships in space. In conclusion, gold is treasured not only for its beauty but also its utility.

Pronoun + Repetition of key noun

Sometimes, greater cohesion can be achieved by using a pronoun followed by an appropriate key noun or synonym (a word with a similar meaning).

Transitions are like traffic signals. They guide the reader from one idea to the next. They signal a range of relationships between sentences, such as comparison, contrast, example and result. Click here for a more comprehensive list of Transitions (Logical Organisers) .

Test yourself: How well do you understand transitions?

Which of the three alternatives should follow the transition or logical organiser in capital letters to complete the second sentence?

Using transitions/logical organisers

Improve the coherence of the following paragraph by adding transitions in the blank spaces. Use the italicised hint in brackets to help you choose an apporpriate transition for each blank. If you need to, review the list of Transitions (Logical Organisers)   before you start.

Using transitions

Choose the most appropriate transition from the options given to complete the article:

Overusing transitions

While the use of appropriate transitions can improve coherence (as the previous practice activity shows), it can also be counterproductive if transitions are overused. Use transitions carefully to enhance and clarify the logical connection between ideas in extended texts. Write a range of sentences and vary sentence openings. 

Study the following examples:

Identifying cohesive devices

• Literary Terms
• Definition & Examples
• When & How to Write Coherently

I. What is Coherence?

Coherence describes the way anything, such as an argument (or part of an argument) “hangs together.”  If something has coherence, its parts are well-connected and all heading in the same direction. Without coherence, a discussion may not make sense or may be difficult for the audience to follow. It’s an extremely important quality of formal writing.

Coherence is relevant to every level of organization, from the sentence level up to the complete argument. However, we’ll be focused on the paragraph level in this article. That’s because:

• Sentence-level coherence is a matter of grammar, and it would take too long to explain all the features of coherent grammar.
• Most people can already write a fairly coherent sentence, even if their grammar is not perfect.
• When you write coherent paragraphs, the argument as a whole will usually seem coherent to your readers.

Although coherence is primarily a feature of arguments, you may also hear people talk about the “coherence” of a story, poem, etc. However, in this context the term is extremely vague, so we’ll focus on formal essays for the sake of simplicity.

Coherence is, in the end, a matter of perception. This means it’s a completely subjective judgement. A piece of writing is coherent if and only if the reader thinks it is.

II. Examples of Coherence

There are many distinct features that help create a sense of coherence. Let’s look at an extended example and go through some of the features that make it seem coherent. Most people would agree that this is a fairly coherent paragraph:

Credit cards are convenient , but dangerous . People often get them in order to make large purchases easily without saving up lots of money in advance. This is especially helpful for purchases like cars, kitchen appliances, etc., that you may need to get without delay . However, this convenience comes at a high price : interest rates. The more money you put on your credit card, the more the bank or credit union will charge you for that convenience . If you’re not careful, credit card debt can quickly break the bank and leave you in very dire economic circumstances!

• Topic Sentence . The paragraph starts with a very clear, declarative topic sentence, and the rest of the paragraph follows that sentence. Everything in the paragraph is tied back to the statement in the beginning.
• Key terms . The term “credit card” appears repeatedly in this short paragraph. This signals the reader that the whole paragraph is about the subject of credit cards. Similarly, the word convenience (and related words) are also peppered throughout. In addition, the key term “ danger ” appears in the topic sentence and is then explained fully as the paragraph goes on.
• Defined terms . For most readers, the terms in this paragraph will be quite clear and will not need to be defined. Some readers, however, might not understand the term “interest rates,” and they would need an explanation. To these readers, the paragraph will seem less coherent !

Clear transitions . Each sentence flows into the next quite easily, and readers can follow the line of logic without too much effort.

III. The Importance of Coherence

Say you’re reading a piece of academic writing – maybe a textbook. As you read, you find yourself drifting off, having to read the same sentence over and over before you understand it. Maybe, after a while, you get frustrated and give up on the chapter. What happened?

Nine times out of ten, this is a symptom of incoherence. Your brain is unable to find a unified argument or narrative in the book. This may become frustrating and often happens when a book is above your current level of understanding. To someone else, the writing might seem perfectly coherent, because they understand the concepts involved. But from your perspective, the chapter seems incoherent. And as a result, you don’t get as much out of it as you otherwise would.

How can you avoid this in your own writing? How can you make sure that readers don’t misunderstand you (or just give up altogether)? The answer is to work on coherent writing. Coherence is perhaps the most important feature of argumentative writing. Without it, everything falls apart. If an argument is not coherent, it doesn’t matter how good the evidence is, or how beautiful the writing is: an incoherent argument will never persuade anyone or even hold their attention.

V. Examples in Literature and Scholarship

Since coherence is subjective, people will disagree about the examples. This is especially true in scholarly fields , where authors are writing for a very specific audience of experts; anyone outside that audience is likely to see the work as incoherent. For example, the various fields of analytic philosophy are a great place to look for coherence in scholarly work. Analytic philosophers are trained to write very carefully, with all the steps in the argument carefully laid out ahead of time. So their arguments usually have a remarkable internal coherence. However, analytic philosophy is a very obscure topic, and very few people are trained to understand the terms these scholars use! Thus, ironically, some of the most coherent writers in academia (from an expert perspective) usually come across as incoherent to the majority of readers.

For writing Indian Schools: a Nation’s Neglect , journalist Jill Burcum was nominated for a Pulitzer Prize in the editorial writing category. An excellent example of coherence in journalistic writing, the editorial deals with the shabby federal schools that are meant for Native Americans on reservations. The essay’s paragraphs are much shorter than they would be in an essay. Yet each one still revolves around a single, tightly focused set of ideas. You can find key concepts (such as “neglect”) that run as themes throughout the piece. The whole editorial is also full of smooth and clear transitions.

VI. Examples in Media and Pop Culture

You can often see something like argumentative coherence in political satire. Good satire always focuses on a single question and lampoons it in a highly coherent manner. Watch, for example, Jon Stewart’s opening monologues on The Daily Show. Whatever your opinion on Stewart’s politics, it’s hard to argue with the fact that he uses terms carefully. He transitions smoothly and focuses on a single, tightly controlled set of concepts in each monologue.

Sports debates can also provide a good example of coherence. When you watch a show about sports (like SportsCenter or First Take), pay attention to the attributes of coherence. How do the hosts and guests use their terms? Do they repeat key terms? Do they start each monologue with a “topic sentence”? Do they stick to one topic, or do they go off on tangents?

VII. Related Terms

“Cogency” sounds like “coherence,” but means convincing or persuasive . The two terms are related, though: an argument cannot be cogent if it’s not coherent, because coherence is essential to persuasion. However, an argument could be coherent but not cogent (i.e. it’s clear, unified, and easy to read, but the argument does not persuade its reader).

Focus is also related to coherence. Often, coherence problems emerge when the focus is too broad. When the focus is broad, there are just too many parts to cover all at once, and writers struggle to maintain coherence.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

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5 Coherent Paragraphs

When you think about it, there’s no contradiction in the advice of these two American writers. You should respond with genuine feeling and without inhibition to what stimulates you – in our case, a set of texts. But feeling isn’t enough. When Gustave Flaubert asked “Has a drinking song ever been written by a drunken man?” he meant a coherent song. Between “getting it down” and “handing it in” good writers show respect for their readers by organizing their material into recognizable patterns. An important benefit of this is that by distancing yourself from your ideas and putting them in order for your reader, you are forced to shape your own nebulous feelings into clear thoughts.

This brings us to the well-known (but apparently not well enough known) paragraph: the basic unit of composition. The traditional and still useful rule that a paragraph must have unity, coherence, and emphasis only means that it must make sense, that the sentences should fit together smoothly, and that not all the sentences function in the same way.

When you see that its purpose is to support your thesis by developing and connecting your ideas meaningfully, then paragraph structure should appeal to your common sense. As a point of emphasis a topic sentence – whether you choose to put it at the beginning, middle, or end – allows you to control your writing and guide your reader by expressing the main idea of the paragraph. Remember, you’re not writing a mystery novel. There will be relatively few instances in this type of essay when you’ll want to surprise your reader.

Must every paragraph have a topic sentence? Not necessarily: if the main idea is obvious, then a topic sentence may be omitted. But even if it is only implied by your paragraph, you and your reader should be able to state easily the main idea . Whether explicit or implicit, the topic sentence of each of your paragraphs should come out of your thesis statement and lead to your conclusion. Like the paragraph, the whole essay should have unity, coherence, and emphasis. Try this: next time you read an essay, underline only the topic sentences of each paragraph; then reread only what you’ve underlined. In many cases you’ll see that the underlined sentences make up a coherent paragraph all by themselves (this is an easy way to write an abstract, incidentally). That’s because most topic sentences are more specific than the thesis statement that generates them, but still more general than the supporting sentences in the paragraphs that illustrate them. Thus they are transitions between the writer’s promise to the reader and the keeping of that promise.

Examples: Opening Paragraphs

From a student essay discussing Kafka’s The Metamorphosis :

When Nietzsche declared that “God is dead,” he did so with an air of optimism. No longer could man be led about on the tight leash of religion; a man liberated could strive for the status of Overman. But what happens if a man refuses to let go of his “dead” God and remains too fearful to evolve into an Overman? Rejecting the concept of the Christian God means renouncing the scapegoat for the sins of man and accepting responsibility for one’s own actions. In The Metamorphosis Gregor Samsa plays the god-like role of financial provider for his family. However, when his transformation renders him useless in this role, the rest of Samsa’s family undergoes a change of its own: Kafka uses the metamorphoses of both Gregor and his family to illustrate a modern crisis.

Some comments on the structure:   Two provocative introductory sentences, then a transition question and a response that presents the central idea of the essay. Next, introduction of the text and characters under discussion. Finally, the topic sentence of the paragraph, which, as the thesis statement, promises an interpretation. A paragraph such as this engages the reader’s interest right away and makes the reader look forward to the rest of the essay.

From a student essay on the question, “What Do Historians of Childhood Do?”

In his 1982 book The Disappearance of Childhood , Neil Postman argues that the concept of childhood is a recent invention of literate society, enabled by the invention of moveable-type printing. Postman says as a result of television, literate adulthood and preliterate childhood are both vanishing. While Postman’s indictment of TV-culture is provocative, he ignores race, class, ideology, and economic circumstance as factors in the experience of both children and adults. Worse, he ignores history, making sweeping generalizations such as the claim that the pre-modern Greeks had no concept of children. These claims are contradicted by the appearance of children in classical Greek literature and in the Christian Gospels, written in Greek, which admonish their readers to “be as children.” A more useful and much more interesting observation might be that the idea of childhood and the experience of young people has changed significantly since ancient times, and continues to change.

Some comments on the structure:   Like the previous example, this essay begins with a statement from a text (this time with a paraphrase rather than a quotation) and builds towards a thesis statement. In this case the build-up, where the writer disagrees with one of the class texts, is stronger than the thesis. The writer has not stated exactly what he will argue, aside from saying he finds at least some of the ideas of childhood advanced in the course materials unsatisfactory. Keeping the reader in suspense may add to the interest of the essay, but in a short paper it might also waste valuable time and leave the reader unsure whether the writer has really thought things through.

From an essay on Crime and Punishment :

“Freedom depends upon the real…It is as impossible to exercise freedom in an unreal world as it is to jump while you are falling” (Colin Wilson, The Outsider, p. 39). Even without God, modern man is still tempted to create unreal worlds. In Feodor Dostoevsky’s Crime and Punishment Raskolnikov conceives the fantastic theory of the “overman.” After committing murder in an attempt to satisfy his theory, Raskolnikov falls into a delirious, death-like state; then, Lazarus-like, he is raised from the “dead.” His “resurrection” is not, as some critics suggest, a consequence of his love for Sonya and Sonya’s God. Rather, his salvation results from the freedom he gains when he chooses to live without illusions.

Comments: Once more, a stimulating opening. Between the first and last sentences, which frame the paragraph (the last one, as well as being the thesis sentence, is the specific application of the general first sentence), the writer makes her transition to the central idea and introduces the text and character she wishes to discuss. The reader is given enough information to know what to expect. It promises to be an interesting essay.

Each of the writers above chooses to open with a quotation or reference that helps to focus the reader’s attention and reveal the point of view from which a specific interpretation will be made. Movement from the general to the specific is very common in introductory thesis paragraphs, but it is not obligatory. You can begin with your thesis statement as the first sentence; start with a question; or use the entire opening paragraph to set the scene and provide background, then present your thesis in the second paragraph. Make choices and even create new options, so long as your sentences move to create a dominant impression on the reader.

Examples: Middle Paragraphs

From a student essay comparing P’u Sung-ling’s (17th century) The Cricket Boy and Franz Kafka’s (20th century) The Metamorphosis , two stories that deal with a son’s relationship to his family. (The writer’s thesis: according to these authors, one must connect in meaningful ways with other human beings in order to achieve what Virginia Woolf calls “health,” “truth,” and “happiness.”)

The most obvious similarity between Kiti and Gregor is that they both take the forms of insects; however, their and their families’ reactions to the changes account for the essential difference between the characters. Whereas Kiti thinks a cricket represents “all that [is] good and strong and beautiful in the world ( Cricket Boy , p. 2), Gregor is repulsed by his insect body and “closes his eyes so as not to have to see his squirming legs” ( Metamorphosis , p, 3). Their situations also affect their families differently.  Kiti’s experience serves as a catalyst that brings his family closer together: “For the first time, his father had become human, and he loved his father then” ( CB , p. 2). Gregor’s transformation, on the other hand, succeeds in further alienating him from his family: his parents “could not bring themselves to come in to him” ( M , p. 31). While Kiti and his parents develop a bond based on understanding and mutual respect, Gregor becomes not only emotionally estranged from his family, but also physically separated from them.

Some comments on the structure:   The writer is clearly on her way, with specific examples from the texts, to supporting her argument concerning the need for self-respect and communication. Notice that she uses transitions such as “however,” “whereas,” “also,” “on the other hand,” while,” and “not only…, but also…” to connect her thoughts and make her sentences cohere. Transitional words and phrases are the “glue” both within and between paragraphs: they help writers stick to the point, and also allow readers to stay on the path the writer intends.

Transitions

Writers use transitional words and expressions as markers to guide readers on their exploratory journey. They can express relationships very explicitly , which is often exactly what is needed. However, experienced writers can also build more subtle bridges between ideas, hinting at relationships with implicit transitions. These relationships may change from vague impressions to a very concrete statement, as the argument develops, allowing the reader to “discover” the writer’s conclusion as the essay builds to its final paragraph.

Examples of explicit transitional expressions

• Comparison: such as, like, similarly, likewise, in the same way, in comparison, correspondingly, analogous to
• Contrast: but, however, in contrast, although, different from, opposing, another distinction, paradoxically
•   Cause-effect: because, as a result, consequently, for this reason, produced, generated, yielded
•   Sequence: initially, subsequently, at the onset, next, in turn, then, ultimately
•  Emphasis: above all, of major interest, unequivocally, significantly, of great concern, notably
•   Examples: for example, in this instance, specifically, such as, to illustrate, in particular
•   Adding points: as well as, furthermore, also, moreover, in addition, again, besides

If you find that you are overusing explicit connectors and your transitions are beginning to feel mechanical (How many times have you used “furthermore” or “however”?  How many “other hands” do you have?), you can improve the flow of your writing either by changing up the transitional expressions, or by shifting toward more implicit transitions. One technique is, in the first sentence of the new paragraph, refer (either explicitly or implicitly) to material in the preceding paragraph. For example:

When Alcibiades does give his speech, we see that his example is Socrates himself.

While this interpretation still seems reasonable, I was surprised at the difficulty of uncovering useable data in the records of past societies.

This sometimes sickening detail that Dante uses to draw the reader emotionally into the Inferno also stimulates the reader to think about what he or she feels.

The Greek system is much more relaxed; obeisance and respect for the gods is not required, although in most cases it seems to make life easier.

Each of these implicit transition sentences builds on the previous paragraph and calls for support in the new paragraph. Even more subtle (that is, more difficult) would be to make the last sentence of the paragraph indicate the direction the next paragraph will take. If you try this, be careful you do not at the same time change the subject. You do not want to introduce a new idea at the end of a paragraph, and destroy its unity. Since it suggests a change in direction, we see this device used most commonly with thesis sentences at the end of introductory paragraphs, or in transitional paragraphs like the example above.

Other examples of hinges writers use to make connections include pronouns referring back to nouns in the previous paragraphs and synonyms to avoid repetition and overuse of pronouns. A good rule is not to overuse any device.

Concluding Paragraphs

From a student essay on Crime and Punishment :

Raskolnikov finally finds a new life:

Indeed he [is] not consciously reasoning at all; he [can] only feel .  Life [has] taken the place of logic and something quite different must be worked out in his mind. (Epi. II, p. 464)

Thus he ends his suffering by abandoning intelligence and reasoning.  Jean-Jacques Rousseau said that “above all the logic of the head is the feeling of the heart.” Ultimately, Raskolnikov transcends the “logic of the head” by discovering love and freedom.

Some comments on the structure: The paragraph works well as a conclusion because you can tell immediately that the writer has said all that she wants to say about the subject. She uses a quotation from another source, to “rub up against” Dostoevsky, expanding the dialogue between the text, the writer, and the reader by adding another voice. The answer to the “so what?” question is implied in the last sentence: love and freedom are values we all can share. Note that although this is a different conclusion from that of the earlier essay discussing Crime and Punishment , both interpretations are interesting and valid because both writers supported their arguments with careful readings of the text.

From a History essay analyzing the influence of Philippe Ariès’s book Centuries of Childhood on later historians:

In the end, Centuries of Childhood did not establish a conceptual framework for children’s history. Nor did the rival philosophies of history create a new paradigm for children’s history. Ariès identified a subject of study. He was a prospector who uncovered a rich vein of material. Subsequent miners should use whatever tools and techniques are best suited to getting the ore out of the ground. Historians should stop fighting over theories and get to work uncovering the lives of children and families. This will involve, as Jordanova suggested, self-awareness and sensitivity. But it should not be sidetracked by ideological debates. As Cunningham observed, the stakes for modern children and families are high. To make children’s history useful for the present, historians of children and families need to put aside their differences and get back to work.

Some comments on the structure:   As in the previous example, the writer includes the perspectives of other commentators. This is especially common in essays on secondary sources in history, because “historiography” is often imagined as an ongoing conversation about primary and important secondary texts. The “so what” statement is more explicit this time, relating the study of children in the past to improving the lives of children and families today. The importance of connecting with the needs of today is problematic (many historians would criticize this as “presentism”); so the writer includes a supporting perspective from a sympathetic commentator.

From an essay in which the writer compares and contrasts the character she is examining with a character from another work:

Like Ophelia, Gretchen has moments of confusion and despair, but she decides to give in to her feelings and take responsibility for them. By having Gretchen freely stay behind to face her execution, Goethe casts aside any similarities that his character shares with Shakespeare’s Ophelia. Along with the empowering freedom of Gretchen’s striving comes the struggle to act rightly. But if no objective absolutes exist, according to Goethe’s God, on what basis can Gretchen make her decisions in order to be saved? She comes to the realization that the only absolutes exist within herself. Goethe’s God saves her, not for being a penitent Christian, but for staying true to these self-imposed absolutes.

Some comments on the structure:  Another strong conclusion. The writer’s interpretation could be contested, but she has argued it well and convincingly throughout the essay and concluded strongly. Incidentally, note also that by specifying “Goethe’s God” in her interpretation she avoids any distracting discussion of religion and keeps her writing focused on literary analysis. We don’t argue the nature of “God” in an essay about literature; only the nature of the “God” in the text.

A Short Handbook for writing essays in the Humanities and Social Sciences Copyright © 2019 by Salvatore F. Allosso and Dan Allosso is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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6 Step #3: Coherent, Unified Paragraphs

Strong essays are built with solid, coherent, and unified paragraphs. They should be digestible units of thought that have similar structure to the essay itself: a topic sentence, a body of support, and a concluding or transitional statement to help the reader move through the essay with clarity. Body paragraphs should also be arranged according to your primary pattern of development and focused on supporting your big idea(s).

A body paragraph is an expansion of a single thought that is laid out according to a specific, logical structure:

• A strong, clear topic sentence that states the main idea of the paragraph (which will likely be a sub-point helping to explore your thesis).
• Several (two-four) sentences of development and support for your topic sentence: including quotes, summaries, and paraphrases of relevant sources and your substantive responses to the source material.
• A closing sentence of summary and/or a transition into the next paragraph.

BEST: When the writer uses paragraphs to present unified, coherent, organized, and well-developed thoughts in support of their overall thesis.

• Consult this link on how to construct coherent, engaging, and unified paragraphs.
• Here is another valuable source for shaping coherent paragraphs: OWL Website.
• And yet another link that addresses paragraph length and consistency.
• Here is a video on writing strong body paragraphs.
• Watch this video on Writing Effective Paragraphs.
• Here is another video on writing strong transitions.
• And finally, a companion link for writing smooth transitions.

The Writing Process Copyright © 2020 by Andrew Gurevich is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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11 Unity & Coherence

Preserving unity.

Academic essays need unity, which means that all of the ideas in an essay need to relate to the thesis, and all of the ideas in a paragraph need to relate to the paragraph’s topic. It can be easy to get “off track” and start writing about an idea that is somewhat related to your main idea, but does not directly connect to your main point.

All of the sentences in a paragraph should stay “on track;” that is, they should connect to the topic. One way to preserve unity in a paragraph is to start with a topic sentence that shows the main idea of the paragraph. Then, make sure each sentence in the paragraph relates to that main idea.

If you find a sentence that goes off track, perhaps you need to start a separate paragraph to write more about that different idea. Each paragraph should generally have only one main idea.

As you pre-write and draft an essay, try to pause occasionally. Go back to the assignment prompt and re-read it to make sure you are staying on topic. Use the prompt to guide your essay; make sure you are addressing all of the questions. Do not just re-state the words in the prompt. Instead, respond to the questions with your own ideas, in your own words, and make sure everything connects to the prompt and your thesis.

Activity A ~ Finding Breaks in Unity

Consider the following paragraphs. Is there a topic sentence? If so, do all of the other sentences relate to the topic sentence? Can you find any sentences that don’t relate?

     The planned community of Columbia, Maryland, was designed as a city open to all, regardless of race, level of income, or religion. When Columbia began in 1967, many cities in the U.S. did not allow people of certain races to rent or buy homes. Its developer, James W. Rouse, wanted to build a new city that had fair and open housing options for everyone. HCC has a building named for James W. Rouse. Today, the city’s nearly 100,000 remain diverse, as shown by recent census data. *****

    College can be expensive and difficult. Critical thinking is a very important skill for college students to develop so that they can be successful in their careers. Employers look for graduates who can understand information, analyze data, and solve problems. They also want employees who can think creatively and communicate their ideas clearly. College students need to practice these skills in all of their classes so that they can demonstrate their abilities to potential employers. ***** Bananas are one of Americans’ favorite types of fruit. The Cavendish variety, grown in Central and South America, is the most commonly sold here in the U.S. Recent problems with a fungus called Panama disease (or TR4), however, have led to a shortage of Cavendish bananas. Similar problems occurred a few years ago in parts of Asia and the Middle East. Because the fungus kills the crop and contaminates the soil, scientists are concerned that the popular Cavendish banana could be completely eradicated. Bananas contain many nutrients, including potassium and Vitamin B6. *****

Whether you choose to include a topic sentence or not, all of the sentences in your paragraph need to relate to the one main idea of the paragraph.

Another way to think about unity in a paragraph is to imagine your family tree. Draw a quick sketch of your family tree in your notebook. If you were writing an essay about your family, you might write a paragraph about close family members first. Next, you might branch out into another paragraph to write about more distant relatives. You might even include a paragraph about very close family friends, or pets. Each paragraph would have just one main idea (immediate family, more distant relatives, close family friends), and every sentence in each paragraph would relate to that main idea.

Activity B ~ Preserving Unity in Your Own Writing

Examine a composition that you have written for this class. Do all of your paragraphs have unity? Can you find any sentences that don’t relate to the topic of each paragraph? Exchange papers with a partner to peer review.

Ensuring Coherence

There are several ways to create connections between ideas in your essay. Here are some suggestions:

1. Repeat key words and phrases. This can be a powerful way to make a point. Consider this excerpt from Rev. Martin Luther King’s famous “I Have a Dream” speech at the 1963 March on Washington for Jobs and Freedom, in which he uses parallel structure :

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident, that all men are created equal.” I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today.

2. Use synonyms , as in this example, where King uses both repetition (“Let freedom ring”) and synonyms (for “mountains”):

And if America is to be a great nation, this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania. Let freedom ring from the snow-capped Rockies of Colorado. Let freedom ring from the curvaceous slopes of California. But not only that: Let freedom ring from Stone Mountain of Georgia. Let freedom ring from Lookout Mountain of Tennessee. Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.

3. Use pronouns to refer to antecedents , as King does here; this can be more elegant than just repeating the key words and phrases:

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

4. Use demonstratives ( this, that, these, those ) as adjectives or pronouns, as King does here:

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident, that all men are created equal.”…. This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood.  

Questions to Ponder

Pause for a moment here to think about the examples above. Think about audience, purpose, and context of an academic essay. Would you use the techniques for coherence in the same way that Dr. King did in his speech, or would you use the techniques in a different way? Discuss with a small group.

5. Use transitions. Transition words and phrases will help you to make sure your essay has coherence. Also called signal words/phrases or signposts, these help to guide your readers.

Transitions connect your related ideas; they can also show your reader that you are starting a new topic, giving an example, adding information, explaining causes and effects, and so on. Using the correct transition word or phrase in a sentence can make your writing much clearer. Try the activity below to think of possible transitions.

Activity C ~ Transition Words & Phrases

With your partner, brainstorm a list of transition words and phrases for each of the categories below.

Can you think of other transition words and phrases? What other categories do they belong to?

After you have completed these activities with your partner, consult  Transition Words & Phrases ~ Useful Lists for more on compare/contrast, addition, cause/effect, and other transitions to try.

Activity D ~ Ensuring Coherence in Your Own Writing

Examine a composition that you have written for this class for coherence. Find and mark examples of places where you used repetition, synonyms, pronouns or demonstratives to build connections between ideas.

Underline your transition words and phrases. Did you use the strongest signal words? Can you find examples where you need to add a transition? Or, did you use too many transitions? Exchange papers with a partner to peer review.

Consult our chapter on Transitions for more inspiration on achieving coherence and cohesion in your writing. Challenge yourself to use some new transitions in your next composition.

Is this chapter:

…about right, but you would like more examples? –> Read “ Cohesion and Coherence ” from George Mason University’s Writing Center.

…too easy, or you would like more examples? –> Read “ ESL: Coherence and Cohesion ” from the Writing & Communication Center at the University of Washington/Bothell

Note: links open in new tabs.

King, Martin Luther, Jr. “I Have a Dream.” March on Washington for Jobs and Freedom. 28 August 1963. Washington, D.C. Speech.

to start to do something different

short piece or sample, for example a direct quote in writing or a few measures of a musical composition

to think about

ENGLISH 087: Academic Advanced Writing Copyright © 2020 by Nancy Hutchison is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Writing Resources: Developing Cohesion

Cohesion  is a characteristic of a successful essay  when it flows as a united whole ; meaning, there is unity and connectedness between all of the parts. Cohesion is a writing issue at a macro and micro level. At a macro-level, cohesion is the way a paper uses a thesis sentence, topic sentences, and transitions across paragraphs to help unify and focus a paper. On a micro-level, cohesion happens within the paragraph unit between sentences; when each sentence links back to the previous sentence and looks ahead to the next, there is cohesion across sentences. Cohesion is an important aspect of writing because it helps readers to follow the writer’s thinking. 

Misconceptions & Stumbling Blocks

Many writers believe that you should avoid repetition at all costs. It’s true that strong writing tends to not feel repetitive in terms of style and word choice; however, some repetition is necessary in order to build an essay and even paragraphs that build on each other and develop logically. A pro tip when you’re drafting an essay would be to build in a lot of repetition and then as you revise, go through your essay and look for ways you can better develop your ideas by paraphrasing your argument and using appropriate synonyms.

Building Cohesion

Essay focus: macro cohesion.

Locate & read your thesis sentence and the first and last sentence of each paragraph. You might even highlight them and/or use a separate piece of paper to make note of the key ideas and subjects in each (that is, making a reverse outline while you’re reading).

• How do these sentences relate?
• How can you use the language of the thesis statement again in topic sentences to reconnect to the main argument?
• Does each paragraph clearly link back to the thesis? Is it clear how each paragraph adds to, extends, or complicates the thesis?
• Repetition of key terms and ideas (especially those that are key to the argument)
• Repetition of central arguments; ideally, more than repeating your argument, it evolves and develops as it encounters new supporting or conflicting evidence.
• Appropriate synonyms. Synonyms as well as restating (paraphrasing) main ideas and arguments both helps you to explain and develop the argument and to build cohesion in your essay.

Paragraph Focus: Micro Cohesion

For one paragraph, underline the subject and verb of each sentence.

• Does the paragraph have a consistent & narrow focus?
• Will readers see the connection between the sentences?
• Imagine that the there is a title for this paragraph: what would it be and how would it relate to the underlined words?
• Repetition of the central topic and a clear understanding of how the evidence in this paragraph pushes forward or complicates that idea.
• Variations on the topic
• Avoid unclear pronouns (e.g., it, this, these, etc.). Rather than using pronouns, try to state a clear and specific subject for each sentence. This is an opportunity to develop your meaning through naming your topic in different ways.
• Synonyms for key terms and ideas that help you to say your point in slightly new ways that also push forward your ideas.

Sentence to Sentence: Micro Cohesion  

Looking at one paragraph, try to name what each sentence is doing to the previous: is it adding further explanation? Is it complicating the topic? Is it providing an example? Is it offering a counter-perspective? Sentences that build off of each other have movement that is intentional and purposeful; that is, the writer knows the purpose of each sentence and the work that each sentence accomplishes for the paragraph.

• Transition words (look up a chart) to link sentence and to more clearly name what you’re doing in each sentence (e.g., again, likewise, indeed, therefore, however, additionally, etc.) 
• Precise verbs to help emphasize what the writer is doing and saying (if you’re working with a source/text) or what you’re doing and saying.
• Again, clear and precise subjects that continue to name your focus in each sentence.

A Link to a PDF Handout of this Writing Guide

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Guilford College Writing Manual

Revising to improve coherence.

• Practical Considerations
• Write to Learn
• Defining and Freeing the Self
• Joining a Community of Seekers
• Final Thoughts
• A Proposed Categorization of the Academic Writer's Responsibilities
• Required Writing Courses
• Placement in First-Year Writing Courses
• Writing Courses Beyond First-Year English
• Informal vs. Formal Writing
• Essay vs. Article
• Two Models of Papers
• What is the Real Difference?
• Specific Expectations of Papers
• Grade Descriptions
• The A Paper
• The B Paper
• The C Paper
• The D Paper
• The F Paper
• What makes college reading different?
• Levels of Reading
• An Overview
• Sample Schedule
• Suggestions for Prewriting
• Modes of Invention
• Four Categories of Invention
• Intuition Heuristics
• The Five Perspectives
• Loosening Heuristics
• Closing Observations
• Introduction
• Preliminary Tasks
• The Search Strategy
• Finding Materials
• Finding Appropriate Websites
• Selected Websites
• Documenting Your Sources
• Open Form vs. Fixed Form
• Geography of a Thesis and Proof Essay
• Introductions
• Body Paragraphs
• Conclusions
• Maintaining Control
• Geography of an Issues and Exploration Paper
• Reader Expectations
• What is Style?
• Festival of Verbs
• Two Zones of the Word Stock
• Levels of Generality
• Writing with Nouns and Verbs
• Avoiding Cliches
• The Two Faces of Jargon
• Using "I" in Academic Writing
• What Kinds of Sentences to Use
• Hemingway vs. Faulkner
• Three Syntactic Devices Worth Using
• Subject-Verb-Object
• Touches of Elegance
• Gunning's Fog Index
• Why It's Important
• Two General Principles
• Some College-Level Problems
• A Word on Typos
• An Important General Rap
• Revising Checklist
• Revising for Concreteness
• Revising to Eliminate Wordiness
• Revising to Sharpen
• Revising to Make More Effective Use of Quotations
• Revising to Make Language More Inclusive
• Revising to Brighten
• What It Is and Why We Do It
• Sample Edit Guide

REVISING TO IMPROVE COHERENCE

            Coherence describes the way that the elements in our sentences and para­graphs hang together to produce meaning. Usually when we write rough drafts, we are concerned mainly with getting our thoughts on paper, not with making sure that they interconnect well so that a reader can process our reasoning easily. We may even leave logical steps out.

            Revising for coherence means going back to the draft with the reader's needs in mind. It may mean inserting transitional words and phrases, or creating parallelism so that the reader can see at a glance that a pair of elements carry the same weight, or rearranging material within a sentence so that the reader gets an accurate sense of what’s important and what’s not. Generally, it means instructing the reader on how to read our discourse.

            The goal? Sharp focus.

            It may be profitable to think of focus in terms of its original meaning. Borrowed without change from Latin, this word surprisingly first meant "hearth" or "fireplace" (compare fellow derivatives FOYER and FUEL)—in other words, that central point from which heat and light radiate throughout a structure.  Focus entered the language of optical science with the sense of a place where things converge, and it is this sense of convergence and centrality and the sharp image that a correctly focused lens produces that we intend when we speak of FOCUS in writing.

Original paragraph :

            Vegetation covers the earth, except for those areas continuously covered with ice or utterly scorched by continual heat. Richly fertilized plains and river valleys are places where plants grow, as well as at the edge of perpetual snow in high mountains. There is plant growth not only in and around lakes and swamps but under the ocean and next to it. The cracks of busy city sidewalks have plants in them as well as in barren rocks. Before man existed the earth was covered with vegetation, and the earth will have vegetation long after evolutionary history swallows us up.

                                                                                    (from Joseph Williams, Style )

            The sentences contain sufficient information, but when read together they seem hazy, disconnected. It's not clear‑‑really‑‑what the main point is, even though one can sense the underlying logic. Note how the revising choices in the following version alleviate the problem.  Then we'll look at the specific changes that were made.

Revised paragraph :

Except in those areas continually covered with ice or scorched by  continual heat, the earth is covered with vegetation.  Plants grow not only in richly fertilized plains and river valleys but at the edge of perpetual snow in high mountains, not only in and around lakes and swamps but under the ocean and next to it.  They survive in the cracks of busy city sidewalks as well as in barren rocks.  Vegetation covered the earth before we existed and will cover the earth after evolution swallows us up.

            This version is much more reader‑friendly because the writer has made the following changes:

            (1)  Shifted the material in the first sentence so that the main point comes at the end of the sentence. Readers expect the most important informa­tion to come at the end. By putting it there, the writer has insured that the reader will not interpret the exception ("except for . . .") to be what this paragraph is about.  Instead, the reader can confidently go to the next sentence looking for examples of "the earth is covered with vegetation."

            (2)  Taken the six examples which make up the meat of the paragraph and put them in grammatically parallel constructions so the reader can see at a glance that they are all being used in the same way‑‑as examples.  Note how in the revi­sion, the grammatical subject is "plants" throughout the middle sentences, whereas in the previous version the subjects are "plains and river valleys," "plants," "plant growth," "the cracks of busy city sidewalks."  The subject‑shifts in the original are abrupt and confusing.

            (3) Strengthened the continuity from second last sentence to final sentence by beginning with "vegetation."  "Vegetation" connects immediately with the previous sentences, whereas in the original version, the opening clause suddenly shifts us into a historical perspective in which the first grammatical subject is "man."  Note also how the writer has sharpened the paragraph's focus‑-and hence the coherence‑‑by eliminating wordiness and strengthening the verbs.

Using transitions

             Another sure‑fire way of improving coherence is to use transitional words and phrases. Such devices function like road signs. They signal immediately the logical relationship between parts of a sentence, or, if positioned near the beginning of a sentence, the relationship between that sentence and the sentence that preceded it. Any two consecutive sentences have an implicit logical relationship; often it helps the reader if you make the relationship explicit. In looking at the following list of transitions drawn from the Harbrace College Handbook , note the logical relationships indicated by the category headings:

            1.  Alternative and addition : or, nor, and, and then, moreover, further, furthermore, besides, likewise, also, too, again, in addition, even more important, next, first, second, third, in the first place, in the second place, finally, last.

            2.  Comparison : similarly, likewise, in like manner.

            3.  Contrast : but, yet, or, and yet, however, still, nevertheless, on the other hand, on the contrary, conversely, even so, notwithstanding, for  all that, in contrast, at the same time, although this may be true, otherwise, nonetheless.

            4.  Place : here, beyond, nearby, opposite to, adjacent to, on the opposite side.

            5.  Purpose : to this end, for this purpose, with this object.         

            6.  Cause, result : so, for, hence, therefore, accordingly, consequently, thus, thereupon, as a result, then, because.

            7.  Summary, repetition, exemplification, intensification : to sum up, in brief, on the whole, in sum, in short, as I have said, in other words, that is, to be sure, as has been noted, for example, for instance, in fact, indeed, to tell the truth, in any event.

            8.  Time : meanwhile, at length, soon, after a few days, in the mean­time, afterward, later, now, then, in the past, while.

            See the improvement in coherence that results when transitions are added to the following paragraph:

            Cable television sounds like a good deal at first. All available local channels can be piped into a television set for a relatively low cost per month. The reception is clear‑‑a real bonus in fringe and rural areas.  Several channels for news and local access are in the basic monthly fee.  A cable connection to a second or third TV set costs extra. In most places subscribers have to pay as much as thirty dollars a month extra to get the channels like Home Box Office and The Disney Channel.  The movies change each month. The pay‑TV movie channels run the same films over and over during a month's time.  Many of the films offered each month are box office flops or reruns of old movies that can be viewed on regular channels.  Cable television isn't really a bargain.

                                                                        from Harbrace College Handbook

            Cable television sounds like a good deal at first. All available local channels can be piped into a television set for a relatively low cost per month. And the reception is clear‑‑a real bonus in fringe and rural areas. Moreover , several channels for news and local access are in the basic monthly fee. On the other hand , a cable connection to a second or third TV set costs extra. And in most places subscribers have to pay as much as thirty dollars a month extra to get the channels like Home Box Office and The Disney Channel. While it is true that the movies change each month, the pay‑TV channels run the same films over and over during a month's time, and many of the films offered each month are box office flops or reruns of old movies that can be viewed on regular channels.  In sum , cable television isn't really a bargain.

A final comment about transitional words and phrases : don’t overuse them. As historian Richard Marius observes, “when we use them too frequently to hold an essay together, they leave the rivets in our writing showing."

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Cohesion How to make texts stick together

Cohesion and coherence are important features of academic writing. They are one of the features tested in exams of academic English, including the IELTS test and the TOEFL test . This page gives information on what cohesion is and how to achieve good cohesion. It also explains the difference between cohesion and coherence , and how to achieve good coherence. There is also an example essay to highlight the main features of cohesion mentioned in this section, as well as some exercises to help you practise.

For another look at the same content, check out YouTube or Youku , or the infographic .

It is important for the parts of a written text to be connected together. Another word for this is cohesion . This word comes from the verb cohere , which means 'to stick together'. Cohesion is therefore related to ensuring that the words and sentences you use stick together.

Good cohesion is achieved through the following five main methods, each of which is described in more detail below:

• repeated words/ideas
• reference words
• transition signals
• substitution

Two other ways in which cohesion is achieved in a text, which are covered less frequently in academic English courses, are shell nouns and thematic development . These are also considered below.

Repeated words/ideas

Check out the cohesion infographic »

One way to achieve cohesion is to repeat words, or to repeat ideas using different words (synonyms). Study the following example. Repeated words (or synonyms) are shown in bold.

Cohesion is an important feature of academic writing . It can help ensure that your writing coheres or 'sticks together', which will make it easier for the reader to follow the main ideas in your essay or report . You can achieve good cohesion by paying attention to five important features . The first of these is repeated words. The second key feature is reference words. The third one is transition signals. The fourth is substitution. The final important aspect is ellipsis.

In this example, the word cohesion is used several times, including as a verb ( coheres ). It is important, in academic writing, to avoid too much repetition, so using different word forms or synonyms is common. The word writing is also used several times, including the phrase essay or report , which is a synonym for writing . The words important features are also repeated, again using synonyms: key feature , important aspect .

Reference words

Reference words are words which are used to refer to something which is mentioned elsewhere in the text, usually in a preceding sentence. The most common type is pronouns, such as 'it' or 'this' or 'these'. Study the previous example again. This time, the reference words are shown in bold.

Cohesion is an important feature of academic writing. It can help ensure that your writing coheres or 'sticks together', which will make it easier for the reader to follow the main ideas in your essay or report. You can achieve good cohesion by paying attention to five important features. The first of these is repeated words. The second key feature is reference words. The third one is transition signals. The fourth is substitution. The final important aspect is ellipsis.

The words it , which and these are reference words. The first two of these, it and which , both refer to 'cohesion' used in the preceding sentence. The final example, these , refers to 'important features', again used in the sentence that precedes it.

Transition signals, also called cohesive devices or linking words, are words or phrases which show the relationship between ideas. There are many different types, the most common of which are explained in the next section on transition signals . Some examples of transition signals are:

• for example - used to give examples
• in contrast - used to show a contrasting or opposite idea
• first - used to show the first item in a list
• as a result - used to show a result or effect

Study the previous example again. This time, the transition signals are shown in bold. Here the transition signals simply give a list, relating to the five important features: first , second , third , fourth , and final .

Substitution

Substitution means using one or more words to replace (substitute) for one or more words used earlier in the text. Grammatically, it is similar to reference words, the main difference being that substitution is usually limited to the clause which follows the word(s) being substituted, whereas reference words can refer to something far back in the text. The most common words used for substitution are one , so , and auxiliary verbs such as do, have and be . The following is an example.

• Drinking alcohol before driving is illegal in many countries, since doing so can seriously impair one's ability to drive safely.

In this sentence, the phrase 'doing so' substitutes for the phrase 'drinking alcohol before driving' which appears at the beginning of the sentence.

Below is the example used throughout this section. There is just one example of substitution: the word one , which substitutes for the phrase 'important features'.

Ellipsis means leaving out one or more words, because the meaning is clear from the context. Ellipsis is sometimes called substitution by zero , since essentially one or more words are substituted with no word taking their place.

Below is the example passage again. There is one example of ellipsis: the phrase 'The fourth is', which means 'The fourth [important feature] is', so the words 'important feature' have been omitted.

Shell nouns

Shell nouns are abstract nouns which summarise the meaning of preceding or succeeding information. This summarising helps to generate cohesion. Shell nouns may also be called carrier nouns , signalling nouns , or anaphoric nouns . Examples are: approach, aspect, category, challenge, change, characteristics, class, difficulty, effect, event, fact, factor, feature, form, issue, manner, method, problem, process, purpose, reason, result, stage, subject, system, task, tendency, trend, and type . They are often used with pronouns 'this', 'these', 'that' or 'those', or with the definite article 'the'. For example:

• Virus transmission can be reduced via frequent washing of hands, use of face masks, and isolation of infected individuals. These methods , however, are not completely effective and transmission may still occur, especially among health workers who have close contact with infected individuals.
• An increasing number of overseas students are attending university in the UK. This trend has led to increased support networks for overseas students.

In the example passage used throughout this section, the word features serves as a shell noun, summarising the information later in the passage.

Cohesion is an important feature of academic writing. It can help ensure that your writing coheres or 'sticks together', which will make it easier for the reader to follow the main ideas in your essay or report. You can achieve good cohesion by paying attention to five important features . The first of these is repeated words. The second key feature is reference words. The third one is transition signals. The fourth is substitution. The final important aspect is ellipsis.

Thematic development

Cohesion can also be achieved by thematic development. The term theme refers to the first element of a sentence or clause. The development of the theme in the rest of the sentence is called the rheme . It is common for the rheme of one sentence to form the theme of the next sentence; this type of organisation is often referred to as given-to-new structure, and helps to make writing cohere.

Consider the following short passage, which is an extension of the first example above.

• Virus transmission can be reduced via frequent washing of hands, use of face masks, and isolation of infected individuals. These methods, however, are not completely effective and transmission may still occur, especially among health workers who have close contact with infected individuals. It is important for such health workers to pay particular attention to transmission methods and undergo regular screening.

Here we have the following pattern:

• Virus transmission [ theme ]
• can be reduced via frequent washing of hands, use of face masks, and isolation of infected individuals [ rheme ]
• These methods [ theme = rheme of preceding sentence ]
• are not completely effective and transmission may still occur, especially among health workers who have close contact with infected individuals [ rheme ]
• health workers [ theme, contained in rheme of preceding sentence ]
• [need to] to pay particular attention to transmission methods and undergo regular screening [ rheme ]

Cohesion vs. coherence

The words 'cohesion' and 'coherence' are often used together with a similar meaning, which relates to how a text joins together to make a unified whole. Although they are similar, they are not the same. Cohesion relates to the micro level of the text, i.e. the words and sentences and how they join together. Coherence , in contrast, relates to the organisation and connection of ideas and whether they can be understood by the reader, and as such is concerned with the macro level features of a text, such as topic sentences , thesis statement , the summary in the concluding paragraph (dealt with in the essay structure section), and other 'bigger' features including headings such as those used in reports .

Coherence can be improved by using an outline before writing (or a reverse outline , which is an outline written after the writing is finished), to check that the ideas are logical and well organised. Asking a peer to check the writing to see if it makes sense, i.e. peer feedback , is another way to help improve coherence in your writing.

Example essay

Below is an example essay. It is the one used in the persuasion essay section. Click on the different areas (in the shaded boxes to the right) to highlight the different cohesive aspects in this essay, i.e. repeated words/ideas, reference words, transition signals, substitution and ellipsis.

Title: Consider whether human activity has made the world a better place.

History shows that human beings have come a long way from where they started. They have developed new technologies which means that everybody can enjoy luxuries they never previously imagined. However , the technologies that are temporarily making this world a better place to live could well prove to be an ultimate disaster due to , among other things, the creation of nuclear weapons , increasing pollution , and loss of animal species . The biggest threat to the earth caused by modern human activity comes from the creation of nuclear weapons . Although it cannot be denied that countries have to defend themselves, the kind of weapons that some of them currently possess are far in excess of what is needed for defence . If these [nuclear] weapons were used, they could lead to the destruction of the entire planet . Another harm caused by human activity to this earth is pollution . People have become reliant on modern technology, which can have adverse effects on the environment . For example , reliance on cars causes air and noise pollution . Even seemingly innocent devices, such as computers and mobile phones, use electricity, most of which is produced from coal-burning power stations, which further adds to environmental pollution . If we do not curb our direct and indirect use of fossil fuels, the harm to the environment may be catastrophic. Animals are an important feature of this earth and the past decades have witnessed the extinction of a considerable number of animal species . This is the consequence of human encroachment on wildlife habitats, for example deforestation to expand cities. Some may argue that such loss of [animal]   species is natural and has occurred throughout earth's history. However , the current rate of [animal]   species loss far exceeds normal levels   [of animal species loss] , and is threatening to become a mass extinction event. In summary , there is no doubt that current human activities such as the creation of nuclear weapons , pollution , and destruction of wildlife , are harmful to the earth . It is important for us to see not only the short-term effects of our actions, but their long-term ones as well. Otherwise , human activities will be just another step towards destruction .

Aktas, R.N. and Cortes, V. (2008), 'Shell nouns as cohesive devices in published and ESL student writing', Journal of English for Academic Purposes , 7 (2008) 3-14.

Alexander, O., Argent, S. and Spencer, J. (2008) EAP Essentials: A teacher's guide to principles and practice . Reading: Garnet Publishing Ltd.

Gray, B. (2010) 'On the use of demonstrative pronouns and determiners as cohesive devices: A focus on sentence-initial this/these in academic prose', Journal of English for Academic Purposes , 9 (2010) 167-183.

Halliday, M. A. K., and Hasan, R. (1976). Cohesion in English . London: Longman.

Hinkel, E. (2004). Teaching Academic ESL Writing: Practical Techniques in Vocabulary and Grammar . Mahwah: Lawrence Erlbaum Associates Inc Publishers.

Hyland, K. (2006) English for Academic Purposes: An advanced resource book . Abingdon: Routledge.

Thornbury, S. (2005) Beyond the Sentence: Introducing discourse analysis . Oxford: Macmillan Education.

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Below is a checklist for essay cohesion and coherence. Use it to check your own writing, or get a peer (another student) to help you.

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Author: Sheldon Smith    ‖    Last modified: 03 February 2022.

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

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

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

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

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

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

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

Paragraph Unity, Coherence, and Development

In each paragraph of an essay, one particular idea or topic is developed and explained. In order to successfully do so, however, it is essential that the paragraph be written in a unified and coherent manner. 

A unified paragraph must follow the idea mentioned in the topic sentence and must not deviate from it. For a further explanation on topic sentences, see the Write Right on Topic Sentences .

A coherent paragraph has sentences that all logically follow each other; they are not isolated thoughts. Coherence can be achieved in several ways. First, using transitions helps connect ideas from one sentence to the next. For more on transitions, see the Write Right on Transitions . Second, ordering thoughts in numerical sequence helps to direct the reader from one point to the next. Third, structuring each paragraph according to one of the following patterns helps to organize sentences: general to particular; particular to general; whole to parts; question to answer; or effect to cause. 

Remember that a paragraph should have enough sentences so that the main idea of the topic sentence is completely developed. Generalizations should be supported with examples or illustrations. Also, details and descriptions help the reader to understand what you mean. Don't ever assume that the reader can read your mind: be specific enough to develop your ideas thoroughly, but avoid repetition

An effective paragraph might look like this:

It is commonly recognized that dogs have an extreme antagonism toward cats. This enmity between these two species can be traced back to the time of the early Egyptian dynasties. Archaeologists in recent years have discovered Egyptian texts in which there are detailed accounts of canines brutally mauling felines. Today this type of cruelty between these two domestic pets can be witnessed in regions as close as your own neighborhood. For example, when dogs are walked by their masters (and they happen to catch sight of a stray cat), they will pull with all their strength on their leash until the master is forced to yield; the typical result is that a feline is chased up a tree. The hatred between dogs and cats has lasted for many centuries, so it is unlikely that this conflict will ever end.

This paragraph is effective for the following reasons:

• The paragraph shows unity. All the sentences effectively relate back to the topic sentence at the beginning of the paragraph. 
• The paragraph shows coherence. There is a flow of thoughts and ideas among the sentences in this paragraph. There are good transitions employed in the paragraph. The writer also presents her sub-topics in an orderly fashion that the reader can follow easily.
• The paragraph is developed. The writer gives herself enough space to develop the topic. She gives us at least two reasons to accept her argument and incorporates some examples in order to give those reasons more validity.

Reference: Strunk, Wiliam Jr., and E. B. White. The Elements of Style . 4th ed., Allyn and Bacon, 2000.

Copyright © 2009 Wheaton College Writing Center

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How to write a cohesive essay

When it comes to writing, people usually emphasise the importance of good grammar and proper spelling. However, there is a third element that actually helps authors get their thoughts across to readers, that is cohesiveness in writing. 

In writing, cohesiveness is the quality that makes it easier for people to read and understand an essay’s content. A cohesive essay has all its parts (beginning, middle, and end) united, supporting each other to inform or convince the reader. 

Unfortunately, this is an element that even intermediate or advanced writers stumble on. While the writer’s thoughts are in their compositions, all too often readers find it difficult to understand what is being said because of the poor organisation of ideas. This article provides tips on how you can make your essay cohesive. 

1. Identify the thesis statement of your essay

A thesis statement states what your position is regarding the topic you are discussing. To make an essay worth reading, you will need to make sure that you have a compelling stance.

However, identifying the thesis statement is only the first step. Each element that you put in your essay should be included in a way that supports your argument, which should be the focus of your writing. If you feel that some of the thoughts you initially included do not contribute to strengthening your position, it might be better to take them out when you revise your essay to have a more powerful piece. 

2. Create an outline 

One of the common mistakes made by writers is that they tend to add a lot of details to their essay which, while interesting, may not really be relevant to the topic at hand. Another problem is jumping from one thought to another, which can confuse a reader if they are not familiar with the subject.

Preparing an outline can help you avoid these difficulties. List the ideas you have in mind for your essay, and then see if you can arrange these thoughts in a way that would make it easy for your readers to understand what you are saying. 

While discursive essays do not usually contain stories, the same principle still applies. Your writing should have an introduction, a discussion portion and a conclusion. Again, make sure that each segment supports and strengthens your thesis statement.

As a side note, a good way to write the conclusion of your essay is to mention the points that you raised in your introduction. At the same time, you should use this section to summarise main ideas and restate your position to drive the message home to your readers. 

3. Make sure everything is connected

In connection to the previous point, make sure that each section of your essay is linked to the one after it. Think of your essay as a story: it should have a beginning, middle, and end, and the way that you write your piece should logically tie these elements together in a linear manner. 

4. Proofread before submitting your essay

Make sure to review your composition prior to submission. In most cases, the first draft may be a bit disorganised because this is the first time that your thoughts have been laid out on paper. By reviewing what you have written, you will be able to see which parts need editing, and which ones can be rearranged to make your essay more easily understood by your readers. Try to look at what you wrote from the point of view of your audience. Will they be able to understand your train of thought, or do you need to reorganise some parts to make it easier for them to appreciate what you are saying? Taking another look at your essay and editing it can do wonders for how your composition flows.

Writing a cohesive essay could be a lot easier than you think – especially when you follow these steps. Don’t forget that reading complements writing: try reading essays on various topics and see if each of their parts supports their identified goal or argument.

What to know about the crisis of violence, politics and hunger engulfing Haiti

A long-simmering crisis over Haiti’s ability to govern itself, particularly after a series of natural disasters and an increasingly dire humanitarian emergency, has come to a head in the Caribbean nation, as its de facto president remains stranded in Puerto Rico and its people starve and live in fear of rampant violence. 

The chaos engulfing the country has been bubbling for more than a year, only for it to spill over on the global stage on Monday night, as Haiti’s unpopular prime minister, Ariel Henry, agreed to resign once a transitional government is brokered by other Caribbean nations and parties, including the U.S.

But the very idea of a transitional government brokered not by Haitians but by outsiders is one of the main reasons Haiti, a nation of 11 million, is on the brink, according to humanitarian workers and residents who have called for Haitian-led solutions. 

“What we’re seeing in Haiti has been building since the 2010 earthquake,” said Greg Beckett, an associate professor of anthropology at Western University in Canada. 

What is happening in Haiti and why?

In the power vacuum that followed the assassination of democratically elected President Jovenel Moïse in 2021, Henry, who was prime minister under Moïse, assumed power, with the support of several nations, including the U.S. 

When Haiti failed to hold elections multiple times — Henry said it was due to logistical problems or violence — protests rang out against him. By the time Henry announced last year that elections would be postponed again, to 2025, armed groups that were already active in Port-au-Prince, the capital, dialed up the violence.

Even before Moïse’s assassination, these militias and armed groups existed alongside politicians who used them to do their bidding, including everything from intimidating the opposition to collecting votes . With the dwindling of the country’s elected officials, though, many of these rebel forces have engaged in excessively violent acts, and have taken control of at least 80% of the capital, according to a United Nations estimate. 

Those groups, which include paramilitary and former police officers who pose as community leaders, have been responsible for the increase in killings, kidnappings and rapes since Moïse’s death, according to the Uppsala Conflict Data Program at Uppsala University in Sweden. According to a report from the U.N . released in January, more than 8,400 people were killed, injured or kidnapped in 2023, an increase of 122% increase from 2022.

“January and February have been the most violent months in the recent crisis, with thousands of people killed, or injured, or raped,” Beckett said.

Armed groups who had been calling for Henry’s resignation have already attacked airports, police stations, sea ports, the Central Bank and the country’s national soccer stadium. The situation reached critical mass earlier this month when the country’s two main prisons were raided , leading to the escape of about 4,000 prisoners. The beleaguered government called a 72-hour state of emergency, including a night-time curfew — but its authority had evaporated by then.

Aside from human-made catastrophes, Haiti still has not fully recovered from the devastating earthquake in 2010 that killed about 220,000 people and left 1.5 million homeless, many of them living in poorly built and exposed housing. More earthquakes, hurricanes and floods have followed, exacerbating efforts to rebuild infrastructure and a sense of national unity.

Since the earthquake, “there have been groups in Haiti trying to control that reconstruction process and the funding, the billions of dollars coming into the country to rebuild it,” said Beckett, who specializes in the Caribbean, particularly Haiti. 

Beckett said that control initially came from politicians and subsequently from armed groups supported by those politicians. Political “parties that controlled the government used the government for corruption to steal that money. We’re seeing the fallout from that.”

Many armed groups have formed in recent years claiming to be community groups carrying out essential work in underprivileged neighborhoods, but they have instead been accused of violence, even murder . One of the two main groups, G-9, is led by a former elite police officer, Jimmy Chérizier — also known as “Barbecue” — who has become the public face of the unrest and claimed credit for various attacks on public institutions. He has openly called for Henry to step down and called his campaign an “armed revolution.”

But caught in the crossfire are the residents of Haiti. In just one week, 15,000 people have been displaced from Port-au-Prince, according to a U.N. estimate. But people have been trying to flee the capital for well over a year, with one woman telling NBC News that she is currently hiding in a church with her three children and another family with eight children. The U.N. said about 160,000 people have left Port-au-Prince because of the swell of violence in the last several months. 

Deep poverty and famine are also a serious danger. Gangs have cut off access to the country’s largest port, Autorité Portuaire Nationale, and food could soon become scarce.

Haiti's uncertain future

A new transitional government may dismay the Haitians and their supporters who call for Haitian-led solutions to the crisis. 

But the creation of such a government would come after years of democratic disruption and the crumbling of Haiti’s political leadership. The country hasn’t held an election in eight years. 

Haitian advocates and scholars like Jemima Pierre, a professor at the University of British Columbia, Vancouver, say foreign intervention, including from the U.S., is partially to blame for Haiti’s turmoil. The U.S. has routinely sent thousands of troops to Haiti , intervened in its government and supported unpopular leaders like Henry.

“What you have over the last 20 years is the consistent dismantling of the Haitian state,” Pierre said. “What intervention means for Haiti, what it has always meant, is death and destruction.”

In fact, the country’s situation was so dire that Henry was forced to travel abroad in the hope of securing a U.N. peacekeeping deal. He went to Kenya, which agreed to send 1,000 troops to coordinate an East African and U.N.-backed alliance to help restore order in Haiti, but the plan is now on hold . Kenya agreed last October to send a U.N.-sanctioned security force to Haiti, but Kenya’s courts decided it was unconstitutional. The result has been Haiti fending for itself. 

“A force like Kenya, they don’t speak Kreyòl, they don’t speak French,” Pierre said. “The Kenyan police are known for human rights abuses . So what does it tell us as Haitians that the only thing that you see that we deserve are not schools, not reparations for the cholera the U.N. brought , but more military with the mandate to use all kinds of force on our population? That is unacceptable.”  

Henry was forced to announce his planned resignation from Puerto Rico, as threats of violence — and armed groups taking over the airports — have prevented him from returning to his country.  

Now that Henry is to stand down, it is far from clear what the armed groups will do or demand next, aside from the right to govern. 

“It’s the Haitian people who know what they’re going through. It’s the Haitian people who are going to take destiny into their own hands. Haitian people will choose who will govern them,” Chérizier said recently, according to The Associated Press .

Haitians and their supporters have put forth their own solutions over the years, holding that foreign intervention routinely ignores the voices and desires of Haitians. 

In 2021, both Haitian and non-Haitian church leaders, women’s rights groups, lawyers, humanitarian workers, the Voodoo Sector and more created the Commission to Search for a Haitian Solution to the Crisis . The commission has proposed the “ Montana Accord ,” outlining a two-year interim government with oversight committees tasked with restoring order, eradicating corruption and establishing fair elections. 

For more from NBC BLK, sign up for our weekly newsletter .

CORRECTION (March 15, 2024, 9:58 a.m. ET): An earlier version of this article misstated which university Jemima Pierre is affiliated with. She is a professor at the University of British Columbia, Vancouver, not the University of California, Los Angeles, (or Columbia University, as an earlier correction misstated).

Patrick Smith is a London-based editor and reporter for NBC News Digital.

Char Adams is a reporter for NBC BLK who writes about race.

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1.6: Coherent Paragraphs

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Get it down. Take chances. It may be bad, but it’s the only way you can do anything really good. (William Faulkner)

You wouldn’t hand in a lot of sticks and boards bunched together and call it a table. It’s no better to hand in a detached bundle of statements starting nowhere in particular, training along and then fading out – and call it a theme. (Dorothy Canfield Fisher)

When you think about it, there’s no contradiction in the advice of these two American writers. You should respond with genuine feeling and without inhibition to what stimulates you – in our case, a set of texts. But feeling isn’t enough. When Gustave Flaubert asked “Has a drinking song ever been written by a drunken man?” he meant a coherent song. Between “getting it down” and “handing it in” good writers show respect for their readers by organizing their material into recognizable patterns. An important benefit of this is that by distancing yourself from your ideas and putting them in order for your reader, you are forced to shape your own nebulous feelings into clear thoughts.

This brings us to the well-known (but apparently not well enough known) paragraph: the basic unit of composition. The traditional and still useful rule that a paragraph must have unity, coherence, and emphasis only means that it must make sense, that the sentences should fit together smoothly, and that not all the sentences function in the same way.

When you see that its purpose is to support your thesis by developing and connecting your ideas meaningfully, then paragraph structure should appeal to your common sense. As a point of emphasis a topic sentence – whether you choose to put it at the beginning, middle, or end – allows you to control your writing and guide your reader by expressing the main idea of the paragraph. Remember, you’re not writing a mystery novel. There will be relatively few instances in this type of essay when you’ll want to surprise your reader.

Must every paragraph have a topic sentence? Not necessarily: if the main idea is obvious, then a topic sentence may be omitted. But even if it is only implied by your paragraph, you and your reader should be able to state easily the main idea . Whether explicit or implicit, the topic sentence of each of your paragraphs should come out of your thesis statement and lead to your conclusion. Like the paragraph, the whole essay should have unity, coherence, and emphasis. Try this: next time you read an essay, underline only the topic sentences of each paragraph; then reread only what you’ve underlined. In many cases you’ll see that the underlined sentences make up a coherent paragraph all by themselves (this is an easy way to write an abstract, incidentally). That’s because most topic sentences are more specific than the thesis statement that generates them, but still more general than the supporting sentences in the paragraphs that illustrate them. Thus they are transitions between the writer’s promise to the reader and the keeping of that promise.

The ideal gas law is easy to remember and apply in solving problems, as long as you get the proper values a

Examples: Opening Paragraphs

From a student essay discussing Kafka’s The Metamorphosis :

When Nietzsche declared that “God is dead,” he did so with an air of optimism. No longer could man be led about on the tight leash of religion; a man liberated could strive for the status of Overman. But what happens if a man refuses to let go of his “dead” God and remains too fearful to evolve into an Overman? Rejecting the concept of the Christian God means renouncing the scapegoat for the sins of man and accepting responsibility for one’s own actions. In The Metamorphosis Gregor Samsa plays the god-like role of financial provider for his family. However, when his transformation renders him useless in this role, the rest of Samsa’s family undergoes a change of its own: Kafka uses the metamorphoses of both Gregor and his family to illustrate a modern crisis.

Some comments on the structure: Two provocative introductory sentences, then a transition question and a response that presents the central idea of the essay. Next, introduction of the text and characters under discussion. Finally, the topic sentence of the paragraph, which, as the thesis statement, promises an interpretation. A paragraph such as this engages the reader’s interest right away and makes the reader look forward to the rest of the essay.

From a student essay on the question, “What Do Historians of Childhood Do?”

In his 1982 book The Disappearance of Childhood , Neil Postman argues that the concept of childhood is a recent invention of literate society, enabled by the invention of moveable-type printing. Postman says as a result of television, literate adulthood and preliterate childhood are both vanishing. While Postman’s indictment of TV-culture is provocative, he ignores race, class, ideology, and economic circumstance as factors in the experience of both children and adults. Worse, he ignores history, making sweeping generalizations such as the claim that the pre-modern Greeks had no concept of children. These claims are contradicted by the appearance of children in classical Greek literature and in the Christian Gospels, written in Greek, which admonish their readers to “be as children.” A more useful and much more interesting observation might be that the idea of childhood and the experience of young people has changed significantly since ancient times, and continues to change.

Some comments on the structure: Like the previous example, this essay begins with a statement from a text (this time with a paraphrase rather than a quotation) and builds towards a thesis statement. In this case the build-up, where the writer disagrees with one of the class texts, is stronger than the thesis. The writer has not stated exactly what he will argue, aside from saying he finds at least some of the ideas of childhood advanced in the course materials unsatisfactory. Keeping the reader in suspense may add to the interest of the essay, but in a short paper it might also waste valuable time and leave the reader unsure whether the writer has really thought things through.

From an essay on Crime and Punishment :

“Freedom depends upon the real…It is as impossible to exercise freedom in an unreal world as it is to jump while you are falling” (Colin Wilson, The Outsider, p. 39). Even without God, modern man is still tempted to create unreal worlds. In Feodor Dostoevsky’s Crime and Punishment Raskolnikov conceives the fantastic theory of the “overman.” After committing murder in an attempt to satisfy his theory, Raskolnikov falls into a delirious, death-like state; then, Lazarus-like, he is raised from the “dead.” His “resurrection” is not, as some critics suggest, a consequence of his love for Sonya and Sonya’s God. Rather, his salvation results from the freedom he gains when he chooses to live without illusions.

Comments: Once more, a stimulating opening. Between the first and last sentences, which frame the paragraph (the last one, as well as being the thesis sentence, is the specific application of the general first sentence), the writer makes her transition to the central idea and introduces the text and character she wishes to discuss. The reader is given enough information to know what to expect. It promises to be an interesting essay.

Each of the writers above chooses to open with a quotation or reference that helps to focus the reader’s attention and reveal the point of view from which a specific interpretation will be made. Movement from the general to the specific is very common in introductory thesis paragraphs, but it is not obligatory. You can begin with your thesis statement as the first sentence; start with a question; or use the entire opening paragraph to set the scene and provide background, then present your thesis in the second paragraph. Make choices and even create new options, so long as your sentences move to create a dominant impression on the reader.

Examples: Middle Paragraphs

From a student essay comparing P’u Sung-ling’s (17th century) The Cricket Boy and Franz Kafka’s (20th century) The Metamorphosis , two stories that deal with a son’s relationship to his family. (The writer’s thesis: according to these authors, one must connect in meaningful ways with other human beings in order to achieve what Virginia Woolf calls “health,” “truth,” and “happiness.”)

The most obvious similarity between Kiti and Gregor is that they both take the forms of insects; however, their and their families’ reactions to the changes account for the essential difference between the characters. Whereas Kiti thinks a cricket represents “all that [is] good and strong and beautiful in the world ( Cricket Boy , p. 2), Gregor is repulsed by his insect body and “closes his eyes so as not to have to see his squirming legs” ( Metamorphosis , p, 3). Their situations also affect their families differently. Kiti’s experience serves as a catalyst that brings his family closer together: “For the first time, his father had become human, and he loved his father then” ( CB , p. 2). Gregor’s transformation, on the other hand, succeeds in further alienating him from his family: his parents “could not bring themselves to come in to him” ( M , p. 31). While Kiti and his parents develop a bond based on understanding and mutual respect, Gregor becomes not only emotionally estranged from his family, but also physically separated from them.

Some comments on the structure: The writer is clearly on her way, with specific examples from the texts, to supporting her argument concerning the need for self-respect and communication. Notice that she uses transitions such as “however,” “whereas,” “also,” “on the other hand,” while,” and “not only…, but also…” to connect her thoughts and make her sentences cohere. Transitional words and phrases are the “glue” both within and between paragraphs: they help writers stick to the point, and also allow readers to stay on the path the writer intends.

Transitions

Only connect! (E.M. Forster)

Writers use transitional words and expressions as markers to guide readers on their exploratory journey. They can express relationships very explicitly , which is often exactly what is needed. However, experienced writers can also build more subtle bridges between ideas, hinting at relationships with implicit transitions. These relationships may change from vague impressions to a very concrete statement, as the argument develops, allowing the reader to “discover” the writer’s conclusion as the essay builds to its final paragraph.

Examples of explicit transitional expressions

• Comparison: such as, like, similarly, likewise, in the same way, in comparison, correspondingly, analogous to
• Contrast: but, however, in contrast, although, different from, opposing, another distinction, paradoxically
• Cause-effect: because, as a result, consequently, for this reason, produced, generated, yielded
• Sequence: initially, subsequently, at the onset, next, in turn, then, ultimately
• Emphasis: above all, of major interest, unequivocally, significantly, of great concern, notably
• Examples: for example, in this instance, specifically, such as, to illustrate, in particular
• Adding points: as well as, furthermore, also, moreover, in addition, again, besides

If you find that you are overusing explicit connectors and your transitions are beginning to feel mechanical (How many times have you used “furthermore” or “however”? How many “other hands” do you have?), you can improve the flow of your writing either by changing up the transitional expressions, or by shifting toward more implicit transitions. One technique is, in the first sentence of the new paragraph, refer (either explicitly or implicitly) to material in the preceding paragraph. For example:

When Alcibiades does give his speech, we see that his example is Socrates himself.

While this interpretation still seems reasonable, I was surprised at the difficulty of uncovering useable data in the records of past societies.

This sometimes sickening detail that Dante uses to draw the reader emotionally into the Inferno also stimulates the reader to think about what he or she feels.

The Greek system is much more relaxed; obeisance and respect for the gods is not required, although in most cases it seems to make life easier.

Each of these implicit transition sentences builds on the previous paragraph and calls for support in the new paragraph. Even more subtle (that is, more difficult) would be to make the last sentence of the paragraph indicate the direction the next paragraph will take. If you try this, be careful you do not at the same time change the subject. You do not want to introduce a new idea at the end of a paragraph, and destroy its unity. Since it suggests a change in direction, we see this device used most commonly with thesis sentences at the end of introductory paragraphs, or in transitional paragraphs like the example above.

Other examples of hinges writers use to make connections include pronouns referring back to nouns in the previous paragraphs and synonyms to avoid repetition and overuse of pronouns. A good rule is not to overuse any device.

Remember: in general, your transitions should not draw attention to themselves and distract your reader; they should help your argument flow as smoothly and logically as possible.

Concluding Paragraphs

From a student essay on Crime and Punishment :

Raskolnikov finally finds a new life:

Indeed he [is] not consciously reasoning at all; he [can] only feel . Life [has] taken the place of logic and something quite different must be worked out in his mind. (Epi. II, p. 464)

Thus he ends his suffering by abandoning intelligence and reasoning. Jean-Jacques Rousseau said that “above all the logic of the head is the feeling of the heart.” Ultimately, Raskolnikov transcends the “logic of the head” by discovering love and freedom.

Some comments on the structure: The paragraph works well as a conclusion because you can tell immediately that the writer has said all that she wants to say about the subject. She uses a quotation from another source, to “rub up against” Dostoevsky, expanding the dialogue between the text, the writer, and the reader by adding another voice. The answer to the “so what?” question is implied in the last sentence: love and freedom are values we all can share. Note that although this is a different conclusion from that of the earlier essay discussing Crime and Punishment , both interpretations are interesting and valid because both writers supported their arguments with careful readings of the text.

From a History essay analyzing the influence of Philippe Ariès’s book Centuries of Childhood on later historians:

In the end, Centuries of Childhood did not establish a conceptual framework for children’s history. Nor did the rival philosophies of history create a new paradigm for children’s history. Ariès identified a subject of study. He was a prospector who uncovered a rich vein of material. Subsequent miners should use whatever tools and techniques are best suited to getting the ore out of the ground. Historians should stop fighting over theories and get to work uncovering the lives of children and families. This will involve, as Jordanova suggested, self-awareness and sensitivity. But it should not be sidetracked by ideological debates. As Cunningham observed, the stakes for modern children and families are high. To make children’s history useful for the present, historians of children and families need to put aside their differences and get back to work.

Some comments on the structure: As in the previous example, the writer includes the perspectives of other commentators. This is especially common in essays on secondary sources in history, because “historiography” is often imagined as an ongoing conversation about primary and important secondary texts. The “so what” statement is more explicit this time, relating the study of children in the past to improving the lives of children and families today. The importance of connecting with the needs of today is problematic (many historians would criticize this as “presentism”); so the writer includes a supporting perspective from a sympathetic commentator.

From an essay in which the writer compares and contrasts the character she is examining with a character from another work:

Like Ophelia, Gretchen has moments of confusion and despair, but she decides to give in to her feelings and take responsibility for them. By having Gretchen freely stay behind to face her execution, Goethe casts aside any similarities that his character shares with Shakespeare’s Ophelia. Along with the empowering freedom of Gretchen’s striving comes the struggle to act rightly. But if no objective absolutes exist, according to Goethe’s God, on what basis can Gretchen make her decisions in order to be saved? She comes to the realization that the only absolutes exist within herself. Goethe’s God saves her, not for being a penitent Christian, but for staying true to these self-imposed absolutes.

Some comments on the structure: Another strong conclusion. The writer’s interpretation could be contested, but she has argued it well and convincingly throughout the essay and concluded strongly. Incidentally, note also that by specifying “Goethe’s God” in her interpretation she avoids any distracting discussion of religion and keeps her writing focused on literary analysis. We don’t argue the nature of “God” in an essay about literature; only the nature of the “God” in the text.

Remember: these basic units of composition we call paragraphs are used to introduce, support, and conclude your thesis. Remarkably, their use remains pretty much the same, whether you are writing a five-paragraph essay or a 350-page dissertation. If you use them skillfully, your reader should understand your position and be able to follow the progress of your ideas. If you are “going somewhere” with your argument, your transitions will appear natural and smooth. Your essay can have any number of paragraphs, so long as they connect with your thesis and with one another. Finally, since they allow you to deal with ideas sequentially, don’t try to juggle more than one point at a time. You’ll confuse both yourself and your readers. These common-sense guidelines promote the much-prized “unity, coherence, and emphasis” your readers will sense in good paragraphs. Good paragraphs yield good essays.

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Guest Essay

It Hurts to See Biden Imitating Trump on Trade

By Roger Lowenstein

Mr. Lowenstein is the author of “Ways and Means: Lincoln and His Cabinet and the Financing of the Civil War.”

Waving the flag as he heads into election season, President Biden is opposing the acquisition of U.S. Steel, a once-great steel maker headquartered in Pittsburgh, by a bigger and stronger Japanese company, Nippon Steel. “I told our steel workers I have their backs, and I meant it,” Mr. Biden said in a statement. “U.S. Steel has been an iconic American steel company for more than a century, and it is vital for it to remain an American steel company that is domestically owned and operated.”

No doubt, Mr. Biden hopes to counter the nativist appeal of Donald Trump, especially in a state with a long history of anti-free trade sentiment. (Abraham Lincoln carried Pennsylvania 164 years ago on the strength of the Republican Party’s pro-tariff stance.)

But blocking the purchase would be destructive to American interests overseas and at home. First off, U.S. Steel is far from the icon Mr. Biden says it is. Within the industry, it ranks third in the United States and 27th in the world. Once America’s third-largest company , today it ranks 186th on the Fortune list.

Moreover, Nippon Steel’s nonhostile $14.1 billion deal is clearly in America’s interest as well as in the workers’ interest. The Japanese company, which already produces steel in the United States as well as in Latin America and across Asia, won the sale in the boardroom by offering roughly twice as much as a domestic competitor, Cleveland-Cliffs. Nippon has promised to inject needed capital and technology to make the century-old former icon more competitive. It also promises that U.S. Steel will keep making its steel in the United States and keep its headquarters in Pittsburgh.

But Cleveland-Cliffs has been lobbying the Biden administration hard, and so has the United Steelworkers union, to block the deal. Yesterday, the union rewarded Mr. Biden by endorsing him for re-election.

Legislators in both parties have jumped on the populist bandwagon. Senator Bob Casey, running for re-election in Pennsylvania, said he would “work like hell against any deal that leaves our steelworkers behind.” Never mind that under red-white-and-blue American ownership, U.S. Steel’s work force plummeted from 340,000 during World War II to about 22,000 today.

What hurts is to see Mr. Biden imitating Mr. Trump, who has vowed, if elected to a second term, to block the Nippon acquisition “ instantaneously .” Mr. Biden’s statement of opposition was slightly weaker; he denounced the deal without explicitly vowing to kill it. Still, rather than confront the defeated former president in an instance where Mr. Trump was wrong on the merits, Mr. Biden pandered to Mr. Trump’s followers.

This mirrors Mr. Biden’s general approach on trade, fairly characterized as Trump-lite. He suspended some of Mr. Trump’s tariffs but left others solidly in place. He stuffed his signature Inflation Reduction Act with numerous “Buy American” requirements offensive to U.S. allies. The best that can be said for Mr. Biden on this front is that his protectionism is inconsistent, whereas Mr. Trump’s is a coherent part of his poisonous America First ideology.

Mr. Trump’s worldview is of America as fortress. Mr. Biden’s is not. Mr. Biden recognizes that what happens beyond America’s borders, as in Ukraine and Gaza, is vitally important to the United States. His economic nationalism in this instance is out of place with the respect he purports to show for American allies.

The great lesson of the 1930s and ’40s was that trade was important beyond its economic aspect — it was vital to international security. The international economic crisis and World War II were successive acts in an interrelated nightmare, first trade barriers and currency wars, then worsening depression, aggressive nationalism and shooting war.

It did no good to bankrupt rival nations, as the allies, led by France, attempted with Germany after World War I. Germany did not respond well. It did no good to enact protective tariffs because other nations would surely retaliate — but the U.S. Congress did so anyway, enacting the Smoot-Hawley tariff (over the protests of more than 1,000 economists) in 1930, worsening the Great Depression.

After World War II, the victors — led by the United States — reckoned from bitter experience that the catastrophe of the war had its seeds in the economic nationalism that preceded it.

The allied effort to build a new international order included not just political safekeeping organizations such as the United Nations and military alliances such as NATO but also economic collaboration such as the World Bank, the I.M.F. and Bretton Woods.

The postwar aim was not to make our friends, or even our rivals, suffer. It was to see them prosper. Preventing international depression was just as important as preventing war. In contemporary (Trumpian) terms, making Mexico “pay” would have been stupidly self-defeating. The worse Mexico does, the more migrants cross our border.

Economists today are just as persuaded as in 1930 that trade, in general, makes all countries richer, albeit those affected in specific industries merit assistance and retraining. In recent decades trade has achieved a miracle, helping to lift millions in the developing world out of poverty. To retreat from internationalism is to retreat into a blinkered world of shrinking economic pies, in which each principality protects what it has rather than contributes to growth. Closed markets foster narrow thinking and nativist, prejudiced societies. We have seen the political benefits from trade in our own lifetimes. American military strength helped to win the Cold War, but so did the example of American capitalism, which other people wanted in on. More than missiles, they wanted McDonald’s.

The White House has suggested that U.S. Steel’s acquisition by Nippon, the world’s fourth-largest steel maker, will be subject to a national security review by a group with White House and cabinet-level participation known as the Committee on Foreign Investment in the United States. The notion that foreign ownership of an American steel plant poses a national security risk is ludicrous — steel is not in short supply, and Japan is friend, not foe.

A negative decision would chill future investment in the United States and wound America’s partner in the Pacific, a vital relationship as tensions with China rise. Among the Japanese, it would revive memories of bygone racism. (According to The Wall Street Journal, Lourenco Goncalves, the chief executive of Cleveland-Cliffs, was heard on a private call with investors appearing to mock the accents of Nippon executives.) Not a way to treat an ally.

Mr. Trump is immune to such arguments. Mr. Biden should know better.

Roger Lowenstein is a journalist and the author of “Ways and Means: Lincoln and His Cabinet and the Financing of the Civil War.”

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What Have Fourteen Years of Conservative Rule Done to Britain?

By Sam Knight

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My life divides, evenly enough, into three political eras. I was born in 1980, a year after Margaret Thatcher entered Downing Street with the prayer of St. Francis of Assisi on her lips: “Where there is doubt, may we bring faith. And where there is despair, may we bring hope.” The Conservative-run Britain of the eighties was not harmonious. Life beyond the North London square where my family lived often seemed to be in the grip of one confrontation or another. The news was always showing police on horseback. There were strikes, protests, the I.R.A., and George Michael on the radio. My father, who was a lawyer in the City, travelled to Germany to buy a Mercedes and drove it back, elated. Until Thatcher resigned, when I was ten, her steeply back-combed hair and deep, impossible voice played an outsized role in my imagination—a more interesting, more dangerous version of the Queen.

I was nearly seventeen when the Tories finally lost power, to Tony Blair and “New Labour,” an updated, market-friendly version of the Party. Before he moved to Downing Street, Blair lived in Islington, the gentrifying borough I was from. Boris Johnson, an amusing right-wing columnist, who was getting his start on television, also lived nearby. Our local Member of Parliament was an out-of-touch leftist named Jeremy Corbyn.

New Labour believed in the responsibility of the state to look after its citizens, and in capitalism to make them prosper. Blair was convincing, even when he was wrong. He won three general elections in ten years and walked out of the House of Commons to a standing ovation, undefeated in his eyes. I was turning thirty when Labour eventually ran out of road, undone by the Iraq War, the global financial crisis, and the grim temper of Gordon Brown, Blair’s successor. He was caught in a hot-mike moment describing an ordinary voter, who was complaining about taxes and immigration, as a bigot.

Since then, it’s been the Conservatives again. In 2010, the Party returned to government in a coalition with the Liberal Democrats. Since 2015, it has held power alone. Last May, the Tories surpassed the thirteen years and nine days that New Labour had held office. But the third political era of my lifetime has been nothing like the previous two. There has been no dominant figure or overt political project, no Thatcherism, no Blairism. Instead, there has been a quickening, lowering churn: five Prime Ministers, three general elections, two financial emergencies, a once-in-a-century constitutional crisis, and an atmosphere of tired, almost constant drama.

The period is bisected by the United Kingdom’s decision, in 2016, to leave the European Union, a Conservative fantasy, or nightmare, depending on whom you talk to. Brexit catalyzed some of the worst tendencies in British politics—its superficiality, nostalgia, and love of game play—and exhausted the country’s political class, leaving it ill prepared for the pandemic and the twin economic shocks of the war in Ukraine and the forty-nine-day experimental premiership of Liz Truss. Covering British politics during this period has been like trying to remember, and explain, a very convoluted and ultimately boring dream. If you really concentrate, you can recall a lot of the details, but that doesn’t lead you closer to any meaning.

Last year, I started interviewing Conservatives to try to make sense of these years. “One always starts with disclaimers now—I didn’t start this car crash,” Julian Glover, a former speechwriter for David Cameron, the longest-serving Prime Minister of the period, told me. I spoke to M.P.s and former Cabinet ministers; political advisers who helped to make major decisions; and civil servants, local-government officials, and frontline workers hundreds of miles from London who had to deal with the consequences.

Some people insisted that the past decade and a half of British politics resists satisfying explanation. The only way to think about it is as a psychodrama enacted, for the most part, by a small group of middle-aged men who went to élite private schools, studied at the University of Oxford, and have been climbing and chucking one another off the ladder of British public life—the cursus honorum , as Johnson once called it—ever since. The Conservative Party, whose history goes back some three hundred and fifty years, aids this theory by not having anything as vulgar as an ideology. “They’re not on a mission to do X, Y, or Z,” as a former senior adviser explained. “You win and you govern because we are better at it, right?”

Another way to think about these years is to consider them in psychological, or theoretical, terms. In “Heroic Failure,” the Irish journalist Fintan O’Toole explains Brexit by describing Britain’s fall from imperial nation to “occupied colony” of the E.U., and the rise of a powerful English nationalism as a result. Last year, Abby Innes, a scholar at the London School of Economics, published “Late Soviet Britain: Why Materialist Utopias Fail,” which argues that, since Thatcher, Britain’s political mainstream has become as devoted to particular ideas about running the state—a default commitment to competition, markets, and forms of privatization—as Brezhnev’s U.S.S.R. ever was. “The resulting regime,” Innes writes, “has proved anything but stable.”

These observations are surely right, but I worry that they obscure two basic truths about Britain’s experience since 2010. The first is that the country has suffered grievously. These have been years of loss and waste. The U.K. has yet to recover from the financial crisis that began in 2008. According to one estimate, the average worker is now fourteen thousand pounds worse off per year than if earnings had continued to rise at pre-crisis rates—it is the worst period for wage growth since the Napoleonic Wars. “Nobody who’s alive and working in the British economy today has ever seen anything like this,” Torsten Bell, the chief executive of the Resolution Foundation, which published the analysis, told the BBC last year. “This is what failure looks like.”

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High levels of employment and immigration, coupled with the enduring dynamism of London, mask a national reality of low pay, precarious jobs, and chronic underinvestment. The trains are late. The traffic is bad. The housing market is a joke. “The core problem is easy to observe, but it’s tough to live with,” Mark Carney, the former governor of the Bank of England, told me. “It’s just not that productive an economy anymore.”

With stagnant wages, people’s living standards have fallen. In 2008, Brown’s Labour government commissioned Michael Marmot, a renowned epidemiologist, to come up with ways to reduce England’s health inequalities. Marmot made suggestions in six policy areas, including better access to child care, walking and cycling programs, social-security reforms, and measures to improve people’s sense of agency at work. In 2010, he presented his ideas to the incoming Conservative-led coalition, which accepted his findings. “I thought, Wow, this is great. . . . I was pretty bullish about the whole thing,” Marmot told me. “The problem was they then didn’t do it.”

Ten years later, Marmot led a follow-up study, in which he documented stalling life expectancy, particularly among women in England’s poorest communities—and widening inequalities. “For men and women everywhere the time spent in poor health is increasing,” he wrote. “This is shocking.” According to Marmot, the U.K.’s health performance since 2010, which includes rising infant mortality, slowing growth in children, and the return of rickets, makes it an outlier among comparable European nations. “The damage to the nation’s health need not have happened,” Marmot concluded in 2020. He told me, “It was a political choice.”

And that is the second, all too obvious, fact of British life throughout this period: a single party has been responsible. You cannot say that the country has been ruled against its will. Since 2010, the Tories have emerged as the winner of the popular vote and as the largest party in Parliament in three elections. In December, 2019, Boris Johnson won an eighty-seat majority in the House of Commons, the Conservatives’ biggest electoral success since the heyday of Thatcherism.

How is this possible? The opposition has been underwhelming. For years, Labour drifted and squabbled under two unconvincing leaders: Ed Miliband and Corbyn, my old Islington M.P. It is telling that, since Labour elected Keir Starmer, an unimaginative former prosecutor with a rigidly centrist program, the Party is competitive again. But the Conservatives have not survived by default. Their party has excelled at diminishing Britain’s political landscape and shrinking the sense of what is possible. It has governed and skirmished, never settling for long. “It’s all about constantly drawing dividing lines,” a former Party strategist told me. “That’s all you need. It’s not about big ideological debates or policies or anything.” In many ways, the two momentous decisions of this period—what came to be known as austerity and Brexit—are now widely accepted as events that happened, rather than as choices that were made. Starmer’s Labour Party does not seek to reverse them.

If you live in an old country, it can be easy to succumb to a narrative of decline. The state withers. The charlatans take over. You give up on progress, to some extent, and simply pray that this particular chapter of British nonsense will come to an end. It will. Rishi Sunak, the fifth, and presumably final, Conservative Prime Minister of the era, faces an election later this year, which he will almost certainly lose. But Britain cannot move on from the Tories without properly facing up to the harm that they have caused.

The Conservative Party manifesto for the 2010 election was a plain blue hardback book titled “Invitation to Join the British Government.” After the Party’s longest spell out of power in more than a century, its pitch to voters was “the Big Society,” a call for civic volunteering and private enterprise after the statism of Labour. “There was a feeling that it must be possible to be positive about a better future in a way that wasn’t socialist,” Glover, the former speechwriter, said. “And that wasn’t an ignoble thing to try.”

Beginning in 2005, Cameron and George Osborne, the shadow Chancellor, had modernized the Tories. The duo represented a new generation of Conservatives: deft and urbane, easy in their privilege. Osborne was the heir to a baronetcy; Cameron’s family descended from a mistress of William IV. Cameron embraced centrist causes, including the environment and prison reform. There was talk of a “post-bureaucratic age.” But the main aim was simpler. “Above all, it was trying to win,” Osborne told me recently.

In the spring of 2009, Cameron told a gathering of Party members in Gloucestershire, “The age of irresponsibility is giving way to the age of austerity.” The speech was part of a successful campaign to associate Labour’s public spending with the global financial crash, to which Britain had been badly exposed. “The word ‘austerity’ was deliberately introduced into the lexicon by myself and David Cameron,” Osborne said. “Austerity” evoked the country’s sober rebuilding after the Second World War. “The word didn’t have the connotations then that it does now,” Osborne recalled. “It was, you know, a bit like prudence.”

In 2010, the Conservatives fell short of a majority in the House of Commons and formed, with the Liberal Democrats, Britain’s first coalition government in almost seventy years. The state was running a deficit of a hundred and fifty-seven billion pounds—about one and a half times the budget of the National Health Service. Any incoming administration would have had to find ways to balance the books, but, under Cameron and Osborne’s leadership, austerity was a moral as well as an economic mission. “We allowed it to become the defining thing,” the former senior adviser reflected.

“Austerity” is now a contested term. Plenty of Conservatives question whether it really happened. So it is worth being clear: between 2010 and 2019, British public spending fell from about forty-one per cent of G.D.P. to thirty-five per cent. The Office of Budget Responsibility, the equivalent of the American Congressional Budget Office, describes what came to be known as Plan A as “one of the biggest deficit reduction programmes seen in any advanced economy since World War II.” Governments across Europe pursued fiscal consolidation, but the British version was distinct for its emphasis on shrinking the state rather than raising taxes.

Like the choice of the word itself, austerity was politically calculated. Huge areas of public spending—on the N.H.S. and education—were nominally maintained. Pensions and international aid became more generous, to show that British compassion was not dead. But protecting some parts of the state meant sacrificing the rest: the courts, the prisons, police budgets, wildlife departments, rural buses, care for the elderly, youth programs, road maintenance, public health, the diplomatic corps.

Plan A spooked economists because of the risk to economic growth. But, in 2013, the British economy grew by 1.8 per cent. The government claimed victory. Around that time, Osborne declared that the nation could win “the global race” and become the richest major economy in the world by 2030. “We were in complete command of the political landscape,” he recalled. “The U.K. is the country that is seen to have got its act together after the crash. London has become the kind of global capital. So it has worked—there’s a bit of a dénouement coming—but it had worked.” At the general election in 2015, the Conservatives won a majority in the House of Commons, with proposals to make a further thirty-seven billion pounds’ worth of cuts.

“It was devastatingly politically effective,” Osborne told me, of austerity. It’s just that the effects were so horrendous. Between 2010 and 2018, funding for police forces in England fell by up to a quarter. Officers stopped investigating burglaries. Only four per cent now end in prosecution. In 2021, the median time between a rape offense and the completion of a trial reached more than two and a half years. Last fall, hundreds of school buildings had to be closed for emergency repairs, because the country’s school-construction budget had been cut by forty-six per cent between 2009 and 2022.

In October, I talked with Tony Durcan, a retired local-government employee who was responsible for libraries and other cultural programs in the city of Newcastle during the twenty-tens. Durcan told me that he’d had “a good war,” all things considered. There were moments, he said, when the sheer extremity of the crisis was exciting. Between 2010 and 2020, central-government funding for local authorities fell by forty per cent. At one point, it looked as if sixteen of Newcastle’s eighteen libraries would close. The city’s parks budget was cut by ninety-one per cent. The situation forced some creative reforms: Newcastle City Library now hosts the Citizens Advice bureau, where residents can apply for benefits and seek other forms of financial guidance. (The library is featured in “I, Daniel Blake,” Ken Loach’s anti-austerity film of 2016.) But other parts of the city government fell apart. “Youth services and a lot of community-support services, they just disappeared completely,” Durcan said. Child poverty rose sharply. (About forty per cent of children in Newcastle currently live below the poverty line.) But after a while Durcan and his colleagues stopped talking about the cuts, even though their budgets continued to fall. “There was a view—was it helpful? Were you risking losing confidence in the city?”

Over time, Durcan came to question the official reasoning for the savings. “You can make a mistake, even when you’re acting for the best,” he explained. “I don’t think that’s what happened in austerity.” Newcastle was a Labour stronghold, as was the rest of the northeast. Until 2019, the Tories held only three out of twenty-nine parliamentary seats in the region. A similar pattern was repeated across England. Poorer communities, particularly in urban areas, which tended to vote Labour, suffered disproportionately.

In Liverpool, where the Conservatives have not won a Parliamentary seat for forty years, spending, per head, fell more than in any other city in the country. Public-health spending in Blackpool, one of the poorest local authorities in England, was cut almost five times more, per person, than in the affluent county of Surrey, just south of London, whose eleven M.P.s are all Tories. Durcan and his colleagues noted the discrepancies between Labour- and Conservative-supporting regions. “And so there was cynicism,” he said, “and also great disappointment, a sense of injustice.”

Osborne denies that austerity was ever targeted in this way. “It’s not like we ministers just sit there and go, We’re not going to cut Kensington Council. We’re going to cut Liverpool Council. That is a lampoonish way of thinking about British politics,” he said. But some of his colleagues were more willing to acknowledge that electoral thinking was at play. One former Cabinet minister conceded that there were “big strategic moves” to favor older voters, who were more likely to vote Conservative, in the form of pension increases and interventions to raise property prices. David Gauke, a Treasury minister from 2010 to 2017, agreed that the parts of the country that had benefitted most under Labour had seen their budgets cut under the Conservatives. “There was a rebalancing that went on,” he said. “Did it go too far? Maybe it did.”

What was less forgivable, in the end, was the cuts’ unthinking nature, their lack of reason. In the fall of 2013, a staffer named Giles Wilkes, who worked for a senior Liberal Democrat minister in the coalition, became alarmed by projections that showed ever-reducing government budgets. “I don’t wish to paint the picture of the British state as too chaotic and heedless and amateur. But I was wandering around in 2013 and 2014, saying to people, Does anyone know what this means for the Home Office or the court system, for local authorities and the social-care budget?” Wilkes said. “Nobody was curious .” Wilkes is now a fellow at the Institute for Government, a nonpartisan think tank. “It was very obvious in real time,” he told me. “There wasn’t a central function going, Hold on a mo. Have we made sure that we can provide a decent prison estate, a decent sort of police system?”

And so stupid things happened. Since 2010, forty-three per cent of the courts in England and Wales have closed. No one thinks that this was a good idea. For years, the Conservatives cut prison funding and staffing while encouraging longer jail times. “You kind of had a mismatch,” Gauke, who later served as the Justice Secretary, admitted. The number of adults sentenced to more than ten years in prison more than doubled—until the system caved in, overrun by violence, self-harm, drug use, and staff shortages. In 2023, the government activated what it called Operation Safeguard, in which hundreds of jail cells in police stations were requisitioned to hold convicted offenders, because the prisons were full. In September, a terrorism suspect escaped from Wandsworth Prison, in South London, by clinging to the underside of a food-delivery truck. Eighty of the prison’s two hundred and five officers had not shown up for work that day.

The long-term effects of austerity are still playing out. A 2019 paper by Thiemo Fetzer, an economist at the University of Warwick, asked, “Did Austerity Cause Brexit?” Fetzer found that, beginning in 2010, the parts of the country most affected by welfare cuts were more likely to support Nigel Farage’s U.K. Independence Party, which campaigned against immigration and the E.U. The withdrawal of the social safety net in communities already negatively hit by globalization exacerbated the sense of a nation going awry. Public-health experts, including Marmot, argue that a decade of frozen health-care spending undermined the country’s response to the pandemic. More broadly, austerity has contributed to an atmosphere of fatalism, an aversion to thinking about the future. “It is a mood,” Johnna Montgomerie, a professor at the University of British Columbia who studies debt and inequality, has written. “A depression, a chronic case of financial melancholia.”

Since leaving politics, in 2017, Osborne has enjoyed a lucrative career, serving simultaneously as an adviser at BlackRock, the asset-management firm, and as the editor of the Evening Standard newspaper; more recently, he has been a partner at an investment bank and a podcaster. He insists that the cuts, ultimately, enabled the U.K.’s public finances to withstand the pandemic and the energy crisis that followed Russia’s invasion of Ukraine. “There’s no counterfactual,” he told me. Osborne likes to accuse his critics of living in a parallel reality, in which the financial crisis and Britain’s deficit never existed: “It’s, like, Apart from the assassination, Mrs. Lincoln, did you enjoy the play?”

But that does not mean the Tories made good choices. British social-security payments are at their lowest levels, relative to wages, in half a century. Under a steady downward ratchet, started by Osborne and continued by his successors, household payments have been capped and income thresholds effectively lowered. In 2017, a “two child” limit was placed on benefits for poor families. In November, 2018, Philip Alston, the U.N.’s special rapporteur on extreme poverty, toured the U.K. When we spoke, he recalled a strong sense of denial, or ignorance, among British politicians about the consequences of their decisions. “There was a disconnect between the world and what senior ministers wanted to believe,” he said.

The fall in Britain’s living standards isn’t easy for anyone to talk about, least of all Conservatives. The Resolution Foundation, which studies the lives of people with low and middle incomes, is chaired by David Willetts, a former minister in Cameron’s government. Willetts is a tall, genial man, who worked for Margaret Thatcher’s policy unit in the eighties. His nickname in the Party was Two Brains. “What I say to Tories now is, Look, we are behind for various reasons,” Willetts said, carefully. “You can argue about it. But our household incomes are clearly lower than France or Germany or the Netherlands.” Part of the problem, Willetts explained, was that Britain’s richest twenty per cent had largely been spared the effects of the past fourteen years—and that made it genuinely difficult for them to comprehend the damage. “We are all O.K.,” he said. “The burden of adjustment has almost entirely been borne by the less affluent half of the British population.”

In late November, I took a train to Worcester, a cathedral city south of Birmingham, on the River Severn. It was a raw, washed-out morning. Floodwater shone in the meadows. The city is famous as the home of Lea & Perrins Worcestershire sauce—a dark, sweet yet sour, almost indescribably English condiment, first sold by a pair of chemists in 1837—which has been doused on two centuries’ worth of shepherd’s pie and other stodgy lunches. Worcester used to be a den of political corruption: in 1906, men willing to sell their votes to the Tories could collect payment in the rest rooms of the Duke of York, a pub in the middle of town. More recently, it has been a bellwether. In the nineties, Conservative strategists described “Worcester Woman,” a median female voter—politically aware, married, with two children. (Since 1979, the city’s M.P.s have belonged to the party in power.) I was on my way to Citizens Advice Worcester—part of a charitable network that offers free counselling on debt relief and legal matters—behind a restored Victorian hotel.

Shakira was playing on the radio in the reception and a sign read “If You Are Frightened of Your Partner, Call Us.” Geraint Thomas, a Welsh lawyer who runs the center, was in his office, worrying about a heating bill. A few years ago, it was some four thousand pounds a year, but after recent price hikes it was now about fourteen thousand. In 2017, the charity had started running services in Herefordshire as well. Now funding was tight, and various Covid emergency funds were coming to an end. “Next year, we have got a bit of a hole,” Thomas said. The clock on his wall had stopped.

Since 2019, the number of people seeking help at the center had risen by thirty per cent. Two years of high inflation and rising interest rates meant that the caseworkers were now seeing homeowners and people working two jobs, along with the unemployed and families on benefits. “It’s like a black hole, dragging more and more people in,” Colin Stuart, who manages volunteers, said. Anne Limbert, who oversees the advice team, explained that, until a few years ago, it was usually possible to make a recovery plan for clients. “It used to be that we could help people, you know, and make a difference,” she said. “Now it’s just kind of depressing.” Increasingly, Limbert was sending clients to food banks.

The caseworkers said that they had mostly tuned out politics. Gwen Fraser, a volunteer manager in Herefordshire, which has some of England’s most deprived rural communities, had met a visiting M.P. a few months earlier. “I thought, You’re not in the real world, mate,” she said. Not long ago, a seventy-seven-year-old man, behind on his mortgage, had told Fraser that he was suicidal. The proportion of people coming to the center with a long-term health condition had risen by twenty per cent since 2019. (N.H.S. prescriptions for antidepressants in England almost doubled between 2011 and 2023.) Fraser had recently settled on a phrase that she found useful in her paperwork: “Overwhelming distress.”

Worcester Woman voted for Brexit. In 2016, the city chose to leave the European Union by a margin of fifty-four per cent to forty-six per cent. The perception of the Brexit vote as a cry of anguish from deindustrialized northern towns or from faded seaside resorts isn’t wrong—it just leaves out the rest of England. Two weeks after the referendum, Danny Dorling, a geography professor at the University of Oxford, published an article in the British Medical Journal showing that Leave voters weren’t defined neatly either by geography or by income. Fifty-nine per cent identified as middle class, and most lived in the South. “People wouldn’t believe me for years,” Dorling told me. “This was Hampshire voted to leave.”

Dorling’s politics are on the left. He opposed Brexit and often describes Britain as a failing state. During the summer of 2018, Dorling gave dozens of public talks across the country reflecting on the referendum. He noticed that places that had voted Remain invariably had better rail connections than those that voted Leave. A lot of Brexit supporters were older and economically secure but had a keen sense of the country going downhill. “Something was falling apart,” Dorling said. “They had got a house in their twenties. They’d had full employment. Their children were in their forties and they might be renting. . . . It was an almost entirely unselfish vote by the old for their grandchildren—let’s try it, or let’s at least show we’re angry.”

How you interpret the Brexit vote informs, to a great extent, how you make sense of the past fourteen years of British politics. It is not just a watershed—a before and after. It is also a prism that clarifies or scrambles the picture entirely. One perspective sees the whole saga as a woeful mistake. In this view, Cameron decided to settle, once and for all, an internal Tory argument about Britain’s place in an integrating E.U., a question that had haunted the Party since the last days of Thatcher. In the process, he turned what was an abstruse obsession on the right wing of British politics into a much simpler, terrifyingly binary choice for the population on how they felt their life was going.

In the accident theory of Brexit, leaving the E.U. has turned out to be a puncture rather than a catastrophe: a falloff in trade; a return of forgotten bureaucracy with our near neighbors; an exodus of financial jobs from London; a misalignment in the world. “There is a sort of problem for the British state, including Labour as well as all these Tory governments since 2016, which is that they are having to live a lie,” as Osborne, who voted Remain, said. “It’s a bit like tractor-production figures in the Soviet Union. You have to sort of pretend that this thing is working, and everyone in the system knows it isn’t.”

The other view sees Brexit as an unfinished revolution. Regardless of its origins, the vote in 2016 was a repudiation of how Britain had been governed for a generation or more. In the B . M . J . article, Dorling observed that younger voters—who chose overwhelmingly to remain in the E.U.—were angry with their elders. “They will feel newly betrayed . . . but their real betrayal has been a long time in the making,” he wrote. For a highly centralized country that is smaller than Wyoming, the U.K. is lopsided beyond belief. It contains regional inequalities greater than those between the east and the west of Germany, or the north and the south of Italy—inequalities that have been allowed by successive governments to grow to shameful extremes. On average, people in Nottingham earn about a quarter of what people make in Kensington and Chelsea, in West London, which is some two hours away by train.

During the Brexit campaign, the E.U. came to represent not just a supranational monolith across the English Channel but profound distances within the U.K. itself. And the politicians who defended the E.U. looked and sounded, for the most part, as if they spent more time in Tuscany each summer than they had spent on Teesside in their lives. “The kind of globalism, the internationalism, the liberal élite view, was seized on by people who thought that they’d been spoken down to for decades,” John Hayes, a Tory M.P. and a Brexiteer, told me. “And the more they wheeled out the establishment figures, the more it was, Yeah, that’s them. Those are the ones who don’t get it. They don’t understand us.”

Almost eight years after the vote, what stays with me is how unimagined Brexit was. Overnight, and against the will of its leaders, the country abandoned its economic model—as the Anglo-Saxon gateway to the world’s largest trading bloc—and replaced it with nothing at all. “I can’t think of another occasion when a party has so radically changed direction while in office,” Willetts said. Thatcher was an architect of the E.U.’s single market, which in time became a heresy.

You can marvel at the recklessness of Brexiteers such as Farage, or of Johnson, who spearheaded the Vote Leave campaign. (“He is not a Brexiteer,” Osborne said. “I really would go to my grave saying, deep down, Boris Johnson did not want to leave the E.U.”) But the real dereliction ran deeper. Sensible Britain failed. The Civil Service did not plan for Brexit. Ivan Rogers was the U.K.’s permanent representative to the E.U. from 2013 to 2017. He started warning about the likelihood of Brexit about five years before the vote. “It was difficult to get the attention of the system,” he said. Beyond a briefing paper, demanded by the House of Lords, there was only some “confidential thinking,” in the words of Jeremy Heywood, the former head of the Civil Service. (Heywood died in 2018.) “The mandarins have a lot to answer for on this,” Rogers said. “We were very badly prepared in 2016.”

“I didn’t think it was very wise,” Carney, the former governor of the Bank of England, said, of the official refusal to consider the referendum going wrong. “We did a ton of planning.” After the vote, the Bank stabilized the markets while British politics imploded. Cameron resigned and was replaced by Theresa May, a former Home Secretary with limited experience of the economy or of international affairs. In the second half of 2016, May worked with a small group of advisers to formulate a Brexit strategy that ultimately satisfied nobody. “It was incredibly poor statecraft,” a former Cabinet colleague said. “Absolute shit. Abominable.” The abiding image of the Brexit talks was a photo of Michel Barnier, the E.U.’s chief negotiator, with his colleagues and their neat piles of paper on one side of a table, while their British counterparts, led by David Davis, a bluff former special-forces reservist, sat on the other side with a single notebook among them.

One Friday lunchtime, a couple of months ago, I met Dominic Cummings at a pub not far from his house in London. A light snow was in the air. Cummings, who is fifty-two, worked on education policy in the coalition government before becoming the campaign director of Vote Leave. (He coined its notorious slogan, “Take Back Control.”) Cummings is a Savonarola figure in British politics, an ascetic and a technocrat, who wants to save the state by burning it down. He refers to Elon Musk by his first name and writes Substack essays with titles such as “On Complexity, ‘fog and moonlight,’ prediction, and politics VII: why social science is so bad at prediction & what is to be done.”

Cummings reveres the Apollo space program and takes a dim view of almost all Britain’s elected officials. “Where they are not malicious they are moronic,” he told me once. He talks rapidly, with a slight Northern rasp. (He is from Durham, near Newcastle.) Next to our table in the pub, a woodstove emitted a sudden, enveloping cloud of smoke, which dissipated while we talked. Cummings appeared to be wearing two hats, against the cold. He apologized if it seemed as if he were staring at me. He had recently undergone retinal surgery.

Cummings, unsurprisingly, saw Brexit in revolutionary terms—as a chance to break with the country’s ruling orthodoxy. “The Vote Leave campaign was not of the Tory Party,” he said. “It was not a conservative—big ‘C’ or little ‘c’—effort. But none of them wanted to confront the reasons why we did it in the first place. . . . For us, this was an attempt to wrench us off the Cameron, establishment, Blairite line.” Cummings believes that Britain must rediscover its ability to build things—roads, railways, houses, research institutes, products that people want to buy—in order to prosper again. He argues that it is America’s ecosystem of universities, entrepreneurs, and government procurement departments that have helped maintain its economic and technological edge, not just lower taxes or a freer form of capitalism. “When you start talking about this to Tories, they go, Oh, Dominic, you sound like a terrible central planner,” Cummings said. “And you go, That’s America. This is not weird left-wing shit.”

No one would accuse Cummings of having a popular platform. His jam is A.I. and Nietzsche. But, after the Brexit vote, he kept waiting for May’s government to act on what was, to him, its obvious implications: to restrict immigration, reform the state, and explore dramatic economic policies, in order to diverge from the E.U. and to boost the country’s productivity. “I kept thinking, month after month, God, like, it’s weird the way they are just thrashing around and not facing it,” Cummings said. In his view, the election of Trump, that November, provided a perfect excuse for Remainers not to take the Brexit vote seriously. “They just lumped it all in with, Oh, it’s a global tide of populism. It’s mad, irrational, evil. It’s partly funded by Putin,” he said. “They didn’t have to reëvaluate and go, Maybe the establishment in general has been, like, fucking up for twenty-plus years. ”

In July, 2019, May resigned as Prime Minister and was replaced by Johnson, who hired Cummings as a senior adviser. Cummings thought that Johnson would probably screw it up. At the same time, he saw an opportunity to advance what he considered the true Vote Leave agenda. “In some sense,” he said, “the risk was worth taking.”

That fall was the most kinetic, breathtaking period of Britain’s fourteen years of Tory rule. With Cummings at his side, along with Lee Cain, another former Vote Leave official, who became his director of communications, Johnson broke the deadlock that had existed since the referendum. He asked the Queen to prorogue, or suspend, Parliament. He expelled twenty-one Conservative M.P.s—including eight former Cabinet ministers and Nicholas Soames, the grandson of Winston Churchill—for attempting to stop the country from leaving the E.U. with no deal at all.

On a Tuesday in late September, the Supreme Court ruled that Johnson’s suspension of Parliament had been unlawful. “The effect upon the fundamentals of our democracy was extreme,” the Justices found. I stood outside the court in the rain, and it felt as though the thousand-year-old timbers of the state were moving beneath our feet. Someone in the crowd was wearing a prison jumpsuit and an enlarged Johnson head. A woman was dressed as a suffragist. Anna Soubry, a former Tory M.P. who quit the party to fight for a second referendum, shook her head in wonder. “Astonishing,” she said. But Johnson prevailed. Before the year was out, he had cobbled together a new, hard-line Brexit deal and thumped Corbyn at a general election on another three-word Cummings-approved slogan: “Get Brexit Done.”

Johnson was, briefly, unassailable. In the election that December, the Conservatives won seats in places such as Bishop Auckland, in Cummings’s home county of Durham, which they had not held for more than a hundred years. The Party gathered a new, loose coalition of pro-Brexit voters—many of whom were from formerly Labour-voting English towns—to go with its traditionally older, fiscally conservative base. Johnson’s celebrity (the hair, the mess, the faux Churchillian vibes, the ridiculous Latin) was the glue that held it all together. He sensed the public mood. (With Johnson, that was not the same as doing something about it.) He disavowed austerity—promising more money for the N.H.S., new hospitals, and more police—and described a mighty program to redress the country’s economic imbalances, which he called Levelling Up.

Johnson’s premiership collapsed under the pressure of the pandemic and of his own proclivities. According to Cummings, the alignment between the goals of Vote Leave and Johnson’s ambitions as Prime Minister decoupled in January, 2020, just a few weeks after the election. Cummings wanted to overhaul the civil service and Britain’s planning laws. Johnson, for his part, wanted a rest. “He was, like, What the fuck are you talking about? Why would I want to do that?” Cummings recalled. (Johnson did not reply to a request for comment.) “It’s basically cake-ism, right?,” Cummings said, referring to Johnson’s political lodestar: having his cake and eating it, too. “I want to do all the things you want to do, and I want everyone to love me,” Cummings recalled. “I was, like, Yeah, that’s not happening.”

Britain’s first cases of the coronavirus were announced on January 31, 2020, the day the country left the European Union. In March, Johnson ordered the first national lockdown, caught COVID , and later spent three nights in the I.C.U. For months, the country staggered from one set of restrictions to the next—a reflection of Johnson’s inconstant attitude toward the virus. In texts, Cummings used a shopping-cart emoji to indicate the Prime Minister veering from one half-formed idea to the next. Levelling Up became a pork-barrel exercise: of seven hundred and twenty-five million pounds earmarked in June, 2021, about eighty per cent was for Conservative constituencies.

Johnson’s Downing Street was operatically dysfunctional. A rift opened between Cummings and his team and a faction centered on Carrie Symonds, Johnson’s then fiancée, a former Conservative Party communications director. In November, 2020, Cummings accused the Prime Minister of betraying the Vote Leave program and resigned. “I said, Listen, we had a deal. And if you end up breaking our deal there is going to be hell to pay,” Cummings recalled. Cain left as well. A little more than a year later, the Daily Mirror , a left-wing tabloid, broke the news that Johnson and his staff had organized parties while the rest of the country was under lockdown—beginning with the party for Cain’s departure, the previous November. Johnson resigned six months later.

The pandemic bore out truths about the British state. There were bright spots: the vaccines and their rollout by the N.H.S.; the intervention of the Treasury, under Rishi Sunak, the Chancellor, whose furlough plan protected millions of jobs. More generally, though, the virus revealed tired public services, a population in poor health, and a government that was less competent than it thought it was. “It’s very convenient for everyone to blame Boris,” Cummings said. “But the truth is, in January, February, of 2020, it was the civil service saying‚ We’re the best-prepared country in the world. We’re brilliant at pandemics. The reality is, everything was crumbling.”

In October, 2023, Cummings testified at the U.K.’s Covid inquiry, an investigation of the government’s handling of the pandemic led by a retired judge. His written evidence was a hundred and fifteen pages long and began with an epigraph from “War and Peace”: “Nothing was ready for the war which everybody expected.”

The hearings took place in an office building around the corner from Paddington Station. I sat next to a row of bereaved family members, who were holding photographs of their loved ones. Cummings wore a white linen shirt, which came untucked, a tweed jacket with elbow patches, and black boots. He is such a contentious figure—an agent of these disordered times—that people often don’t really listen to what he says. A great deal of the media coverage of Cummings’s testimony focussed on his texting style. In messages during the pandemic, he referred to ministers as “useless fuckpigs,” “morons,” and “cunts.” The inquiry’s lawyer asked Cummings if he thought his language had been too strong. “I would say, if anything, it understated the position,” he replied.

In written testimony, Cummings implored the Covid inquiry to address a wider crisis in Britain’s political class. “Our political parties and the civil service are extremely closed institutions with little place for people who can think and build,” he wrote. Cummings believes that the war in Iraq, the financial crisis, the pandemic, and the invasion of Ukraine all, in their ways, exposed serious shortcomings in the British state that have yet to be addressed.

Brexit, too. When we met, Cummings observed that the country has still failed to confront the full implications of the vote, either domestically or abroad: “You can just treat it as, like, a weird thing, like a witch trial in a medieval village. Now the witch has been burnt, and now the community is getting back to normal. Or you can think of it as part of big structural changes in Western politics, society, and the economy. And if the establishment thinks that you can treat it like a sort of episode of witchcraft mania, then they’re just going to walk straight into recurring shocks.”

I was at Heathrow Airport, refreshing the BBC’s Web site on my phone, when the screen changed to a black-and-white commemorative portrait of the Queen. On February 6, 1952, when Elizabeth’s father, George VI, died, the Prime Minister was Winston Churchill. “We cannot at this moment do more than record a spontaneous expression of our grief,” he told the House of Commons that afternoon. Seventy years later, in September, 2022, Britain was seized again by deference, tenderness, and other, more inchoate, emotions. You could not escape the ritual. Hats, horses, artillery in London’s parks. In her later years, the Queen’s aura of permanence had been enhanced by the recklessness at work in other parts of Britain’s public life. Her survival helped to contain a sense of crisis.

The Queen died on Liz Truss’s second full day in office. When the country’s brand-new Prime Minister and her husband, Hugh O’Leary, arrived at Westminster Abbey for the state funeral, Australian television identified them as “maybe minor royals.” Four days later, Truss launched the Growth Plan 2022, a Thatcher-inspired, forty-five-billion-pound package of tax cuts intended to reignite the British economy. The bond markets didn’t like it. The pound fell to a record low against the dollar. The International Monetary Fund asked Truss to “re-evaluate.” Her approval rating dropped by almost thirty points in a week. Ashen, Truss fired her Chancellor, Kwasi Kwarteng, then left office herself, on October 25th, serving seventy-one days fewer than Britain’s previous shortest-serving Prime Minister, George Canning, who died suddenly of pneumonia in 1827.

It made sense to pretend that Truss and her Growth Plan had been a rogue mission, inflicted on an unsuspecting nation. Truss was depicted as mad, or ideologically unreliable, or both. She had been a Liberal Democrat at Oxford who once opposed the monarchy. She was strangely besotted with mental arithmetic. But the truth is that Truss was neither an outlier nor a secret radical, but a representative spirit of the Conservative Party and its years in power. She was one of the first M.P.s of her intake to be promoted to the Cabinet, brought on by Cameron, before serving both May and Johnson in a hectic and haphazard series of important jobs: running departments for the environment, justice, international trade, and a large part of the Treasury.

In all these positions, Truss was the same: spiky, dynamic, considered skillful on TV. In 2012, she and Kwarteng contributed to “Britannia Unchained,” an ode to tax cutting and deregulation that described the British as “among the worst idlers in the world.” I asked one of Truss’s contemporaries, the former Cabinet minister, if anyone took the ideas seriously at the time. It was hard to catch the attention of the Party’s base under the coalition, he complained. “The easiest way was to show a bit of leg,” he said. “It used to be hanging.” Truss campaigned for Remain before becoming a Brexiteer. As Foreign Secretary, she posed on top of a tank—pure Thatcher cosplay—and dominated the government’s Flickr account, with pictures of herself jogging across the Brooklyn Bridge and standing, ruminatively, in Red Square, in Moscow.

“It’s silliness,” Rory Stewart told me. Stewart became a Conservative M.P. on the same day as Truss, in 2010, after working for the British government in Iraq, running an N.G.O. in Afghanistan, and teaching at Harvard. He was ejected from the Party during the Johnson purge of 2019. Last year, he published “How Not to Be a Politician,” a compulsive, depressing memoir of his career during this period. “It’s clever, silly people. It’s a lack of seriousness,” he said, of Truss and many of his peers.

In 2015, Stewart was sent to work under Truss at Britain’s department for the environment. Truss challenged him to come up with a strategy for England’s national parks in three days. “She said, Come on, Rory, how difficult can this be?” he recalled. Truss started firing off suggestions. “Get young people into nature. Blah blah blah blah.” (The plan was announced on time; Truss declined to speak to me.) “I felt with Liz Truss slight affection but above all profound pity,” Stewart said. “Because she’s approaching these big conversations as though she’s sort of performing as an underprepared undergraduate at a seminar.”

On a cloudless summer’s morning, in the dog days of Theresa May’s government, I travelled to Scunthorpe, in North Lincolnshire. In the sixties, Scunthorpe was a growing steel town with four blast furnaces named after English queens. In 2016, the population voted overwhelmingly for Brexit; three years later, the steelworks was at risk of closure, in part because of trade uncertainties caused by the vote. British Steel, which ran the plant, had been sold to private-equity investors for a pound. Four thousand jobs were on the line.

In the afternoon, I sat down with Simon Green, the deputy chief executive of the local council. Green was in his early fifties, angular and forthright. He grew up in Grimsby, a fishing town on the coast, and spent his career in local government—in Boston and New York, as well as in Nottingham and Sheffield—before taking the job in North Lincolnshire, in 2017. Green was sick of reporters, like me, coming up to Scunthorpe from London for the day, to gawk at its predicament and wonder why people could have believed that Brexit would improve their situation. “No disrespect, but we do get a level of poverty porn,” he said. “A lot of doom and gloom.”

Green assured me that the Brexit-related anxiety around the steelworks was a blip. “We’re actually on a bit of a comeback roll,” he said. He was excited about the region’s potential for green technology and the construction of HS2, a new Y-shaped high-speed railway that was going to transform connections between London and cities in the northeast and the northwest. “Rail track, ballast, concrete, cement—you name anything to do with trains, infrastructure, it’s an engineering, Midlands, Northern thing,” he said. Green ascribed the Brexit vote in Scunthorpe to “values and culture” rather than to economics—a sense of dislocation and of feeling disdained by politicians in London.

Recently, I wondered how Green was getting on. In 2019, Scunthorpe was part of the “Red Wall” of Labour constituencies that flipped for the Tories. British Steel had changed hands once more. Now Chinese investors were planning to install new furnaces, which required fewer workers and were fed with scrap metal. For the first time since 1890, the plant would no longer produce virgin steel from ore. I met Green a couple of weeks before Christmas. He had left his job a few days before. He seemed relieved to be done. Seven local authorities in England have gone bust since 2020, including the one serving Birmingham, Britain’s second-largest city. In North Lincolnshire, the council now spends about three-quarters of its budget on services for vulnerable children and adults—roughly double the proportion of a decade ago. “We’re still here,” Green said, ruefully. The saga of the steelworks continued. “It’s endless,” he went on. “Is it closing? Isn’t it closing?” Britain has had eleven different economic programs in the past thirteen years.

We were in a teaching room at the University Campus North Lincolnshire, which opened a few years ago in the former local-authority offices. The old council chamber, built in the shape of a blast furnace, was now a lecture hall. The average student age was twenty-nine. Green was proud of the project. It reminded him of mechanics’ institutes in the nineteenth century. “People are using their own judgment to better themselves,” he said. “If you want a job in this area, you can get a job. We need more quality opportunity.” Green had had a clear strategy for Scunthorpe and the nearby Humber estuary, built around green technology and education. “I asked a question to my colleagues and politicians as well,” he said. “What sort of town do you want this to be in ten, fifteen, twenty years?”

Britain has no equivalent strategy for itself. In September, Sunak weakened several of the country’s key climate-change targets. A few weeks later, he cancelled what was left of HS2, the new rail network. Only the stem of the Y will now be built, from London to Birmingham, at a cost of some four hundred and seventy million pounds per mile , with little or no benefit to the North. “I can get quite excited, agitated by that,” Green said. “It makes us look a laughingstock.” Green was studiously apolitical when we talked. I had no sense of which way he voted. But he despaired of the shallowness and contingency now at the heart of British politics, and the lack of narrative coherence—or shared purpose—about what these years of struggle had been intended to achieve. I asked if he ever worried that the country was in a permanent state of decline. “I think, at the moment, we are at the crossroads,” he replied.

When will it end? Sunak says that he will call a general election in the second half of the year. The gossip in Westminster says that probably that means mid-November: a British encore, to follow the main event in the U.S. But it could come as soon as May. The Prime Minister began preparing the ground last fall, after his first year in office, by presenting himself as a change candidate—a big claim, considering the circumstances.

In October, I went to Manchester to watch Sunak address the Conservative Party’s annual conference. He was introduced onstage by his wife, Akshata Murty, the daughter of N. R. Narayana Murthy, a founder of Infosys, the Indian I.T. conglomerate. (According to the London Sunday Times , Sunak and Murty have an estimated net worth of about five hundred million pounds.) Murty wore an orange pants suit, and she addressed Britain’s most successful political organization as if it were a local gardening society. “Please know that Rishi is working hard,” she said. “He shares your values and he knows how much you care about the future of the U.K.”

Sunak has a quietly imploring tone. British politics was in a bad way, he explained. People were fed up. “It isn’t anger,” Sunak said. “It’s an exhaustion with politics, in particular politicians saying things and then nothing ever changing.” Sunak dated the rot back thirty years without explaining why, but, presumably, to indicate the fall of Thatcher. (Thatcher was everywhere in Manchester; she is the modern Party’s only ghost.) Having positioned himself as the country’s next, truly transformative, leader, Sunak offered his party a weirdly pallid program: the dismantling of HS2, plus two long-range, complex policies, to abolish smoking and to reform the A-levels—England’s standard end-of-school exams. “We will be bold. We will be radical,” Sunak promised. “We will face resistance and we will meet it.”

Increasingly, Sunak has been pulled between the Party’s diverging instincts: to retreat to the dry, liberal competence of the Cameron-Osborne regime or to head off in a more explicitly protectionist, anti-immigrant, anti-woke direction. In Manchester, the energy was unmistakably on the Party’s right. Suella Braverman, then the Home Secretary, magnetized delegates with a speech warning of a “hurricane” of mass migration. Truss staged a growth rally, and Nigel Farage cruised the conference hall, posing for selfies. (There is talk of Farage standing as a Conservative M.P.) Back in London, I had lunch with David Frost, an influential Conservative peer. “Rishi, I feel for him, in a way,” Frost said. “He’s just trying to keep the show on the road and not upset all these different wings of the Party. But the consequence of that is you end up with a sort of agenda which is not politically meaningful at all.”

On January 14th, a poll of fourteen thousand people, which Frost facilitated, suggested that the Party is on course for a huge defeat later this year. The question is what kind of haunted political realm it will leave behind. Under Starmer, Labour has been tactical in the extreme, exorcising Corbyn’s left-wing policies (Corbyn has been blocked from standing for the Party at the election), while making vague noises about everything else. It has nothing new to say about Brexit and equivocates about its own tax and spending plans, if it wins power. The Party recently scaled back a plan to invest twenty-eight billion pounds a year in green projects. There is no rescue on the way for Britain’s welfare state.

Osborne noted all this with satisfaction. “The underlying economic arguments have basically been accepted,” he said, of austerity. “It’s rather like the Thatcher period. Everyone complained that Thatcher did deindustrialization, and yet no one wants to unpick it.” By contrast, Cummings sees the two cautious, hedging leaders in charge of Britain’s main political parties—and the relief among some centrists that the candidates are not so different from each other—in rather darker terms. “They are deluded when they think it’s great that Sunak and Starmer are in. It’s just like they’re arguing over trivia,” he said. “The politics of it are insane.”

I am afraid that I agree. It is unnerving to be heading into an election year in Britain with the political conversation so small, next to questions that can feel immeasurable. I put this to Hayes, the Tory M.P., when I went to see him in the House of Commons. “You’re arguing we have very vanilla-flavor politics, in a richly colored world. There’s something in that,” he said. Then he surprised me. “I think the key thing for the Conservatives now is to be more conservative,” he said. We were sitting in a bay window, overlooking the Thames. A waiter poured tea. Hayes seemed to relish the coming election. It was as if, after almost fourteen years of tortuous experiment, real conservatism might finally be at hand. “Outside metropolitan Britain and the university towns, it’s all up for grabs,” Hayes assured me. “Toryism must have its day again.” ♦

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By Gideon Lewis-Kraus

By Adam Gopnik

By Joshua Yaffa

By John Cassidy

I saw Beyoncé get booed at the CMAs. I’ve been waiting for 'Cowboy Carter.'

To that inevitable icebreaker question, “What was your first concert?” my heart always beats with excitement at the chance to share that in 2000, when I was 8, I was lucky enough to see the group that’s now known as The Chicks . But almost every time I give that answer, I get confused looks, blank stares and sometimes laughs. Women in country music were all I was ever interested in when I was growing up, and many of the kids at school made fun of me for that. It wasn’t the cool thing to do, especially for a Black kid. But not even seeing my favorite group when I was 8 compared to the November 2016 CMA Awards when The Chicks were joined by an unannounced Black artist whose love of country music has also been questioned .

Women in country music were all I was ever interested in when I was growing up, and many of the kids at school made fun of me for that.

As soon as I heard those horns begin playing and heard Beyoncé say the word “Texas,” I knew that we at the CMAs were in for the treat of her performing her then-hit “Daddy Lessons.” Even better, she was performing it with The Chicks, the group I grew up thinking was everything. And then I heard a woman in the row ahead of me yell, “Get that Black b---- off the stage!”

In a March 19 Instagram post promoting “ Act II: Cowboy Carter ,” her album that was released today, Beyoncé wrote, “This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed… and it was very clear that I wasn’t . But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”

Beyoncé did not say exactly which experience had left her feeling unwelcome, but the hostile, often racist, responses she got on social media after performing at the 2016 CMAs and the CMAs taking down a post promoting her and The Chicks were big news ( a spokesperson for the award show said the post hadn’t been approved by Beyoncé).

The day after their performance with Beyoncé, The Chicks posted a link to “Daddy Lessons” on social media and wrote, “ If we all turn this up really loud, together we can drown out the hate .”

The woman in front of me yelling at Beyoncé had so much rage in her voice. Months later, I was still replaying that moment in my head. I’d ask myself: Do people feel this way about me when I enter the country music space?

Five years later, while listening to Rissi Palmer’s “Color Me Country” radio show on Apple Music, I crossed paths with Holly G, the founder of the Black Opry , a home for Black artists, fans and industry professionals working in country, Americana, blues and folk music. I accepted her invitation to the 2021 CMAs, the first time I’d been there since I saw Beyoncé disrespected. This time, because I’d found my community, the environment felt different. I felt supported.

“My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” Beyoncé  said in that March 19 Instagram post.

A common experience among Black country artists and fans is feeling unwelcome. Many of us were told that country music wasn’t meant for us. I think for a majority of us Black country music fans, we waited until we were a little older and less concerned with fitting in to be open about being fans of the music. That is, we became more open about or love for the music when we became more interested in finding the joy in standing out and being authentically ourselves. With the release of “Cowboy Carter,” we find solidarity with Beyoncé, who’s been open about feeling unwelcome in the country music space. Our hope is that with so many eyes on Beyoncé and Black country artists, there will be greater appreciation for Black people’s history in country music and Black country artists across the board will be in higher demand.

A common experience among Black country artists and fans is feeling unwelcome.

Beyoncé made history when her song “ Texas Hold ‘Em ” reached No. 1 on Billboard’s Hot Country Songs chart. According to Billboard.com, “Prior to the triumph for ‘Texas Hold ‘Em,’ no Black woman, or female known to be biracial , had previously topped Hot Country Songs .” That feat is worth celebrating, but it’s not at all surprising to learn that Beyoncé has a song at the top of the charts. The more pressing question is what are country radio programmers going to do for Brittney Spencer , Camille Parker , Chapel Hart, Roberta Lea , Julie Williams , The Kentucky Gentlemen and so many other Black artists who have been knocking on country music’s doors for years? How are the people coming to the genre because of Beyoncé going to respond to those artists?

During the flood of adoration for Queen Bey’s new accomplishments, there’s a whole community of Black country fans who are hopeful that the visibility she brings to the music quickly turns to financial and substantial long-term support for lesser known Black artists in country music.

Tanner Davenport is a Nashville native who has been a fan of country music ever since he was a kid. He is a co-director of the Black Opry — a home for Black artists, fans and industry professionals working in country, Americana, blues, folk and roots music — and an artist manager in Nashville.