Writing About Literature
When you write about a literary work, you are offering other readers our own interpretation.
Since a good piece of literature will lend itself to a number of possible coherent interpretations,
your particular reading offers yet another possibility in opening up work to further insight and
investigation by readers. The literary work actually invites readers to make sense of it, offering
readers the opportunity to acknowledge a specific perspective that they might not have
considered before.
I. The Argumentative Literary Essay
Goals of the Argumentative Literary Essay
An essay about literature can take many different forms (book reports, personal responses, etc.),
and the instructor will usually give specific directions for the kind of essay required. The aim of
the argumentative essay, however, is to persuade the reader of an idea or point of a particular
interpretation. Because most students are probably more familiar or comfortable with other
forms of essays about literature (such as those mentioned above), they often don’t understand
what sort of essay they are supposed to write and therefore focus primarily on character
exposition or plot summary.
For this reason, it is important that you understand that the argumentative essay tries to persuade
your readers that your ideas about the literary text are valid. Your writing, then, will use
evidence from the text and sometimes the opinions of others to support these ideas. Unlike the
book report or the personal response essay, the argumentative essay is driven by a definable,
focused thesis that ties together all the specific aims of the paper. The book report, for instance,
may be structured according to the plot of the text (what happens in the beginning, the middle,
and the end). The argumentative essay, on the other hand, subordinates plot and character to a
central idea about what the text “means” or how it functions culturally.
The Importance of a Central Thesis
How you summarize important events in the story or how you discuss what a certain character
represents depends entirely on a central thesis. For example, if I choose to argue that Joseph
Conrad’s Heart of Darkness is about humankind’s fear of its own primitive unconscious, then I
may wish to focus largely on the relationship between the narrator and Kurtz. As evidence of
this idea, I will draw on passages from the text in which these two figures play a part. On the
other hand, if my interest is in demonstrating how the story is a product of British colonialism, I
may wish to emphasize the racist language and images Conrad uses to describe Africa. What
evidence I bring from the text (how I discuss the book) depends on what argument I am making.
The Importance of Reading Carefully and Critically
Although it is good advice to read everything carefully, literature requires especially close
reading. To read a work of literature closely, you might begin by deliberately seeking out
puzzles in the text. Mark passages that confuse you or contradict what you previously believed
the text to be about. Don’t be afraid to recognize multiple interpretations of a particular passage
or the text as a whole. Although it may be true that interpretation of a text depends a great deal
on what the author intended, it is important to be aware of differing perspectives of just what this
intent is. No writer can control the diversity of effects of combinations of words and images,
especially as those useful to think of the writer of an argumentative literary essay as having a
much more active role as a reader.
II. Gathering Evidence for Your Argument
Careful reading should result in providing you with sufficient evidence to begin formulating an
opinion about the literary work. The evidence you gather to support your thesis may require you
to return again and again to the text to isolate passages that clarify your meaning. This is what is
meant by “textual evidence” and it is crucial to arguing anything where interpreting the words
and ideas of others is involved. This evidence can assume the form of dialogue, events,
descriptive details, key words, images, themes, and metaphors. Do not be afraid to scrutinize
evidence that possibly contradicts your present thesis. Although it can be frustrating, you can
view this conflicting evidence as an opportunity to help you not only refine and clarify your
work, but enrich your understanding of the complexity of a particular literary work. An
awareness of a literary work’s complexity is always encouraged in the literary essay. It is what
helps make the argumentative literary essay argumentative.
Tips for Gathering Evidence
There is no question that careful reading is crucial to gathering evidence for a literary essay.
Even if one has a firm grasp of the fundamental elements of a text (plot, theme, author’s voice,
etc.), this does not ensure that these elements will provide adequate support for any claim made
about the text. Not only are these elements sometimes unreliable, they are often subordinated to
other, less clear elements (such as language, imagery, or character dialogue). For example, at the
end of Shakespeare’s The Taming of the Shrew, the otherwise independent and ferocious Kate
finally marries Petruchio. Because of this, we might be led to ignore ambiguity in the dialogue
(double meaning, irony, wit, etc.) and choose instead to base our argument on ploy only (”Kate
is, like all women, ultimately submissive to her man”). This would be a shame, however, for it is
precisely the ambiguity which makes for interesting argumentation. This is not to say that things
such as plot and theme aren’t essential to argument—indeed, there is no reason to suggest that an
argument cannot be built and supported by these elements alone.
Just be aware that the richness of a good text is seemingly fathomless—the basic elements of
storytelling need not be your sole source of evidence.
III. Tips for Reading Carefully and Critically
These are simply good suggestions for ways of looking more closely at a passage and are by no
means exclusive. Each passage is different and, accordingly, different things will need to be
emphasized.
Literary Reading: This is simply designed to make sure that you understand on a literal level
what is going on in your passage. Try paraphrasing this passage:
Now mother St. Justine will be waiting for you. I have sent a girl who has been with us
for nearly a year. Her name is Louise—Louise de Plana. If you feel strange, she will
explain everything. (Wild Sargasso Sea)
In plain English, the nun tells Bertha that the mother superior is waiting for her, that a girl named
Louise de Plana will greet Bertha, and if Bertha has any questions that Bertha will know the
answers. But there is a tension between what the passage means on a literal level and what is
says. Why repeat the name “Louise” twice? Why does the nun say “if you feel strange” rather
than “if you have any questions?” Literal meaning is also important if you are analyzing
difference between characters.
Grammatical Structure: This includes looking at things like syntax, grammar, subordinate
clauses, parallel structure, punctuation, length and structure of the sentence, ambiguous
pronouns, word order and choice, the overabundance of nouns, verbs, adjectives, etc.
With the Gardiners, they were always on the most intimate terms. Darcy, as well as
Elizabeth, really loved them, and they were both sensible of the warmest gratitude
towards the persons who, by bringing her into Darbyshire, had been the means of uniting
them. (Pride and Prejudice)
First, normal sentence order (subject-verb-object) is being changed—the Gardiners are placed at
the beginning of the sentence; in the second sentence the verb is placed at the end: “uniting
them.” Second, both subordinate clauses (“as well as Elizabeth” and “by bringing them into
Darbyshire”) refer to Elizabeth, but the first puts Darcy in the subordinate position—i.e.,
“besides Elizabeth, Darcy felt this way as well.” This is not an argument, this is just a statement.
Third, note how the word “sensible”—which in normal modern usage is an adjective (“she is a
sensible person”)—is used in the verb tense “they were both sensible of the warmest gratitude.”
Figures of Speech: This category would include metaphors, similes, personification, ellipsis,
alliteration, chiasmus, zeugma, etc.
You are my sympathy—my better self—my good angel. I am bound to you with strong
attachment. I think you good, gifted and lovely: a fervent, a solemn passion conceived in
my heart, draws you to my center and spring of life, wraps my existence around you.
(Jane Eyre)
This passage opens with a metaphor (“you are my sympathy”) and then gives several alternative
metaphors (“my better self” and “my good angel”). This suggests either that the three are equal,
or that Rochester is being indecisive. Next, note the parallel construction of the first and third
sentences. The three are terms of the metaphor, and then “good, gifted and lovely” suggests that
these may perhaps be terms of the first metaphor. Finally, the author uses an extended figure of
speech in the third sentence: “solemn passion” is personified—it can “draw” Jane toward it.
Also: “existence” is likened to a cloak which the personified “passion” can “wrap” around Jane.
Images and Themes: Some words have more than one meaning (it’s good to look them up in
the dictionary). Moreover, words within the passage can evoke previous scenes, images, or ideas
that have occurred earlier in the text.
There was a terrible cutting truth in Tom’s words—that hard rind of truth which is
discerned by unimaginative, unsympathetic minds. Maggie always writhed under this
judgment of Tom’s: she rebelled and was humiliated at the same time. (The Mill on the
Floss)
Notice that there is more than one kind of truth presented in the passage—regular truth and
“terrible truth.” An argument could be made that these two kinds of truth are presented in the
novel as a whole. Next, the image of “cutting” is used many times in the novel (it is related to
Tom’s threatening Maggie with the scimitar, to the “cutting” remarks characteristic of his
relationship with Maggie, and to Maggie’s own “cutting” of her hair when she is criticized). The
idea of “judgment” certainly relates to the sense of judgment and justice that the novel presents.
Context: When you are analyzing a passage, you are taking it out of context. Make sure that
you put it back in its context. Remember that you experience a novel cumulatively, and that
your feelings and impressions of the characters, themes, etc. change. For example, if you’re
looking at a passage where Jane Eyre rebels against John Reed, you need to consider that this is
early in the novel and that other aspects of Jane’s character are developed as the novel
progresses. This does not mean that you would have to discuss all the other aspects of Jane’s
character, but you should acknowledge the limitations of doing a close reading of a single
passage.
Putting it All Together: After you have looked at the literal meaning, grammatical structure,
figures of speech, themes and ideas, and context, you need to decide what all these say about
your passage. Sometimes there won’t be clear distinctions. That is to say, the use of metaphor
in a sentence might be dependent upon the sentence’s syntax, for example. Some arguments that
could be made from the examples given are:
In this passage from Wide Sargassa Sea we see the nun treating Bertha as if she has some
mental deficiency. She repeats Louise’s name twice, as if Bertha had hearing problems,
and she seems to assume that Bertha might feel “strange.”
Rochester’s choice of words in this passage from Jane Eyre suggest either that he cannot
find specific words to express his feelings, or that he sees a similarity between the terms
“my sympathy,” “my better self,” and “my good angel.” “My sympathy” implies a
somewhat condescending attitude towards Jane (that is, she is the object of his
sympathy), but “my good angel” suggests, paradoxically, that Rochester is the one to be
pitied (Jane, as the “good angel,” is an object of pious reverence). At the same time, “my
better self” implies a splitting of the self into two halves (into an inferior self and a
superior self that is also, in essence, Jane’s double).
IV. Tips for Developing a Clear and Compelling Thesis
When evaluating an early draft of your essay, examine the thesis statement to determine whether
it makes a point.
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Is the argument worth making?
Would the statement provoke reactions?
Can someone legitimately disagree with it?
Read your thesis aloud and then ask yourself whether an intelligent member of the audience
would respond to your point with “So what?” or “Big deal!” If they can, look for a more
significant idea, present a more interesting facet of your original thought, or modify it to say
something that sparks interest or raises expectation.
Tyranny is spreading like the plague! England’s unjust taxes, quartering acts, deprivation
of trial by jury, and the cease of trade with all parts of the world is smothering the life out
of the colonies. Thomas Paine, through his clear and organized fashion employs the laws
of “nature” and vivid imagery in his pamphlet Common Sense to build his ethos and
persuade the people that revolt is the only solution. Henry David Thoreau, however, also
uses metaphors and imagery in his essay “Resistance to Civil Government” to express his
“reality” of the government.
You may already know that Paine and Thoreau use figurative language (metaphors, imagery) in
their writing. This information is not particularly compelling. In fact, it is what we would
expect of writers surveyed in a literature course. Thus a reader would not likely disagree with or
be otherwise stimulated by the opening. How could it be revised so that it might provoke some
kind of reaction? In its current form, the thesis simply makes a statement that the two authors
have different writing styles, a statement which is not much of an argument. To turn these
statements in to an argument, you might argue that Paine’s writing is much more interesting and
lively than Thoreau’s. A Thoreau fan would probably take issue with this kind of statement.
The task of the paper would then be to prove that Paine’s writing is superior. As the writer of
this thesis, you would have to ask yourself: what is it about Paine that makes him more
interesting than Thoreau?
While you do this, you may also be forced to ask how the interesting elements of Paine’s writing
relate to one another and work together in an effective way. In other words, it is not very
compelling to simply list series of observations you have made about his essay. Let us, for
instance, return to the book Jane Eyre. Earlier, we recognized how the author’s figure of speech
raised interesting questions about the character of Rochester. Can an argument about the book as
a whole be made from them? You might want to gather together some more evidence in order to
determine just how much you can develop initial reflections about a specific passage into a larger
argument. For example, in the novel Jane Eyre, it was suggested that the character of Rochester
seemed unstable. The use of metaphors (“you are my sympathy—my better self—my good
angel”) allows us, as readers, to see how Rochester’s love for Jane Eyre is paradoxical. He both
sympathizes with her (“you are my sympathy”) and worships her (“my good angel”); he stands
both above her and beneath her. In between this paradoxical split is yet another split (“my good
angel”). Does the idea of love as split seem like an idea that can be explored in greater depth? Is
it an idea that occurs repeatedly? Is it an idea that can be argued?
Finally, here is an opening paragraph that includes a clearly stated thesis:
American culture has traditionally greeted the liberated role of women with hostility. In
the aftermath of the 1960’s, the concept of the women’s movement referred primarily to
ideas of gender equality. It is now the 2010’s and the ideas of female inferiority continue
to permeate our society. The perceived role of women and the marketing of sex and
romance resembles the destructive image of women since, and prior to, the 1920’s. In
Nathaniel West’s The Day of the Locust and F. Scott Fitzgerald’s The Great Gatsby,
women are depicted in the traditional role. The authors affirm the belief that women’s
aspirations are limited to being beautiful, famous, or marrying rich. Both novels reinvent
the belief that women are a prize to be won, hence, competing with one another for the
greatest catch. Beauty and sexuality will win them a ticket on a journey in pursuit of the
glamorous, extravagant lifestyle of their dreams. Upon failing, they are trapped in an
embattled paradise with shattered dreams.
The idea that the female characters in these novels (Faye Greener, Daisy Buchanan, and Myrtle
Wilson) all enact the traditional roles assigned to women by American culture is not necessarily
a foregone conclusion. Neither is the claim that adhering to this role will only lead to “shattered
dreams.” The writer has inserted his or her informed opinion (as a critical and careful reader) in
this opening paragraph and for the rest of the paper will have ample support to defend it.
V. Tips for Using Quotations
Address All Pertinent Issues
When you quote an author, be sure to address all the pertinent issues (i.e., thematics, language)
raised by the quote. Here’s an instance in which the writer doesn’t explore on of the key aspects
of the quote provided.
In The Day of the Locust, Faye is described by Tod, who says, “…she was very much a
lady. It was her favorite role and she assumed it whenever she met a new man, especially
if he were someone whose affluence was obvious” (161). She also prostitutes herself for
a while in order to get money. She uses her sexual power to earn money.
Instead of milking the quote for all its worth, the writer talks about Faye’s more literal
prostitution. Not that this quote is wrong—it certainly makes sense in the context of the paper.
The passage is even quoted in accordance with MLA (Modern Language Association) guidelines
for citing within a text. But the writer doesn’t mention that Faye, as indicated in the quoted
passage, is an actor/role player. This information, accompanied by some analysis, would give
more depth to the writer’s argument, which is about how female characters in The Great Gatsby
and The Day of the Locust survive in a male-dominated society.
Include Analysis
What does it mean to analyze a quotation? Isn’t the quote itself sufficient enough to support
whatever point you need to make about the text? Obviously not. As a general rule, you might
remember that the commentary you make about a specific quote or passage should, invariably,
be substantially longer than the quote itself. For instance, Roland Barthes, a French literary
critic, wrote an entire book entitled S/Z about a single short story. In this book, the analysis
Barthes makes is considerably longer than the short story itself, which is included in its entirety.
Of course, the lesson here is not to be as ambitious as Barthes. Rather, it is to take your time
with the text. Get your hands dirty. Wrestle with individual words and confusing phrases. Not
only will this make your essay more interesting, but it will also challenge you to interact with the
text more, and to come up with your own analysis, instead of falling into the trap of dealing with
a text on too general a level, or by simply repeating what your professor has said.