top 10 essays of 2021

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Nonfiction Books » Essays

The best essays: the 2021 pen/diamonstein-spielvogel award, recommended by adam gopnik.

WINNER OF the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay

Had I Known: Collected Essays by Barbara Ehrenreich

Every year, the judges of the PEN/Diamonstein-Spielvogel Award for the Art of the Essay search out the best book of essays written in the past year and draw attention to the author's entire body of work. Here, Adam Gopnik , writer, journalist and PEN essay prize judge, emphasizes the role of the essay in bearing witness and explains why the five collections that reached the 2021 shortlist are, in their different ways, so important.

Interview by Benedict King

Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick

Nature Matrix: New and Selected Essays by Robert Michael Pyle

Terroir: Love, Out of Place by Natasha Sajé

Maybe the People Would be the Times by Luc Sante

1 Had I Known: Collected Essays by Barbara Ehrenreich

2 unfinished business: notes of a chronic re-reader by vivian gornick, 3 nature matrix: new and selected essays by robert michael pyle, 4 terroir: love, out of place by natasha sajé, 5 maybe the people would be the times by luc sante.

W e’re talking about the books shortlisted for the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay . As an essayist yourself, or as a reader of essays, what are you looking for? What’s the key to a good essay ?

Let’s turn to the books that made the shortlist of the 2021 PEN Award for the Art of the Essay. The winning book was Had I Known: Collected Essays by Barbara Ehrenreich , whose books have been recommended a number of times on Five Books. Tell me more. 

One of the criteria for this particular prize is that it should be not just for a single book, but for a body of work. One of the things we wanted to honour about Barbara Ehrenreich is that she has produced a remarkable body of work. Although it’s offered in a more specifically political register than some essayists, or that a great many past prize winners have practised, the quiddity of her work is that it remains rooted in personal experience, in the act of bearing witness. She has a passionate political point to make, certainly, a series of them, many seeming all the more relevant now than when she began writing. Nonetheless, her writing still always depends on the intimacy of first-hand knowledge, what people in post-incarceration work call ‘lived experience’ (a term with a distinguished philosophical history). Her book Nickel and Dimed is the classic example of that. She never writes from a distance about working-class life in America. She bears witness to the nature and real texture of working-class life in America.

“One point of giving awards…is to keep passing the small torches of literary tradition”

Next up of the books on the 2021 PEN essay prize shortlist is Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick.

Vivian Gornick is a writer who’s been around for a very long time. Although longevity is not in itself a criterion for excellence—or for this prize, or in the writing life generally—persistence and perseverance are. Writers who keep coming back at us, again and again, with a consistent vision, are surely to be saluted. For her admirers, her appetite to re-read things already read is one of the most attractive parts of her oeuvre , if I can call it that; her appetite not just to read but to read deeply and personally. One of the things that people who love her work love about it is that her readings are never academic, or touched by scholarly hobbyhorsing. They’re readings that involve the fullness of her experience, then applied to literature. Although she reads as a critic, she reads as an essayist reads, rather than as a reviewer reads. And I think that was one of the things that was there to honour in her body of work, as well.

Is she a novelist or journalist, as well?

Let’s move on to the next book which made the 2021 PEN essay shortlist. This is Nature Matrix: New and Selected Essays by Robert Michael Pyle.

I have a special reason for liking this book in particular, and that is that it corresponds to one of the richest and oldest of American genres, now often overlooked, and that’s the naturalist essay. You can track it back to Henry David Thoreau , if not to Ralph Waldo Emerson , this American engagement with nature , the wilderness, not from a narrowly scientific point of view, nor from a purely ecological or environmental point of view—though those things are part of it—but again, from the point of view of lived experience, of personal testimony.

Let’s look at the next book on the shortlist of the 2021 PEN Awards, which is Terroir: Love, Out of Place by Natasha Sajé. Why did these essays appeal?

One of the things that was appealing about this book is that’s it very much about, in every sense, the issues of the day: the idea of place, of where we are, how we are located on any map as individuals by ethnic identity, class, gender—all of those things. But rather than being carried forward in a narrowly argumentative way, again, in the classic manner of the essay, Sajé’s work is ruminative. It walks around these issues from the point of view of someone who’s an expatriate, someone who’s an émigré, someone who’s a world citizen, but who’s also concerned with the idea of ‘terroir’, the one place in the world where we belong. And I think the dialogue in her work between a kind of cosmopolitanism that she has along with her self-critical examination of the problem of localism and where we sit on the world, was inspiring to us.

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Last of the books on the shortlist for the 2021 Pen essay award is Maybe the People Would Be the Times by Luc Sante.

Again, here’s a writer who’s had a distinguished generalised career, writing about lots of places and about lots of subjects. In the past, he’s made his special preoccupation what he calls ‘low life’, but I think more broadly can be called the marginalized or the repressed and abject. He’s also written acute introductions to the literature of ‘low life’, the works of Asbury and David Maurer, for instance.

But I think one of the things that was appealing about what he’s done is the sheer range of his enterprise. He writes about countless subjects. He can write about A-sides and B-sides of popular records—singles—then go on to write about Jacques Rivette’s cinema. He writes from a kind of private inspection of public experience. He has a lovely piece about tabloid headlines and their evolution. And I think that omnivorous range of enthusiasms and passions is a stirring reminder in a time of specialization and compartmentalization of the essayist’s freedom to roam. If Pyle is in the tradition of Thoreau, I suspect Luc Sante would be proud to be put in the tradition of Baudelaire—the flaneur who walks the streets, sees everything, broods on it all and writes about it well.

One point of giving awards, with all their built-in absurdity and inevitable injustice, is to keep alive, or at least to keep passing, the small torches of literary tradition. And just as much as we’re honoring the great tradition of the naturalist essay in the one case, I think we’re honoring the tradition of the Baudelairean flaneur in this one.

April 18, 2021

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Adam Gopnik

Adam Gopnik has been a staff writer at the New Yorker since 1986. His many books include A Thousand Small Sanities: The Moral Adventure of Liberalism . He is a three time winner of the National Magazine Award for Essays & Criticism, and in 2021 was made a chevalier of the Legion d'Honneur by the French Republic.

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10 Successful Harvard Application Essays | 2021

Our new 2022 version is up now.

Our 2022 edition is sponsored by HS2 Academy—a premier college counseling company that has helped thousands of students gain admission into Ivy League-level universities across the world. Learn more at www.hs2academy.com . Also made possible by The Art of Applying, College Confidential, Crimson Education, Dan Lichterman, Key Education, MR. MBA®, Potomac Admissions, Prep Expert, and Prepory.

AcceptU is the #1 rated college admissions consulting group. With a team composed entirely of former college admissions officers, AcceptU advises families on all aspects of the college planning process, from early profile-building to strategy and essay editing. More than 90% of our past students are admitted to at least one of their top three choices and AcceptU clients achieve 4x higher rates of admission to highly selective colleges. Learn more at www.AcceptU.com and schedule an introductory call with an AcceptU advisor today.

Successful Harvard Essay

I had never seen houses floating down a river. Minutes before there had not even been a river. An immense wall of water was destroying everything in its wake, picking up fishing boats to smash them against buildings. It was the morning of March 11, 2011. Seeing the images of destruction wrought by the earthquake and tsunami in Japan, I felt as if something within myself was also being shaken, for I had just spent two of the happiest summers of my life there.

In the summer of my freshman year, I received the Kikkoman National Scholarship, which allowed me to travel to Japan to stay with a host family in Tokyo for ten weeks. I arrived just as the swine flu panic gripped the world, so I was not allowed to attend high school with my host brother, Yamato. Instead, I took Japanese language, judo, and karate classes and explored the confusing sprawl of the largest city in the world. I spent time with the old men of my neighborhood in the onsen, or hot spring, questioning them about the Japan of their youth. They laughed and told me that if I wanted to see for myself, I should work on a farm.

The next summer I returned to Japan, deciding to heed the old men’s advice and volunteer on a farm in Japan’s northernmost island, Hokkaido. I spent two weeks working more than fourteen hours a day. I held thirty-pound bags of garlic with one hand while trying to tie them to a rope hanging from the ceiling with the other, but couldn’t hold the bags in the air long enough. Other days were spent pulling up endless rows of daikon, or Japanese radish, which left rashes on my arms that itched for weeks. Completely exhausted, I stumbled back to the farmhouse, only to be greeted by the family’s young children who were eager to play. I passed out every night in a room too small for me to straighten my legs. One day, I overslept a lunch break by two hours. I awoke mortified, and hurried to the father. After I apologized in the most polite form of Japanese, his face broke into a broad grin. He patted me on the back and said, “You are a good worker, Anthony. There is no need to apologize.” This single exchange revealed the true spirit of the Japanese farmer. The family had lived for years in conditions that thoroughly wore me out in only a few days. I had missed two hours of work, yet they were still perpetually thankful to me. In their life of unbelievable hardship, they still found room for compassion.

In their life of unbelievable hardship, they still found room for compassion.

When I had first gone to Tokyo, I had sought the soul of the nation among its skyscrapers and urban hot springs. The next summer I spurned the beaten track in an attempt to discover the true spirit of Japan. While lugging enormously heavy bags of garlic and picking daikon, I found that spirit. The farmers worked harder than anyone I have ever met, but they still made room in their hearts for me. So when the tsunami threatened the people to whom I owed so much, I had to act. Remembering the lesson of compassion I learned from the farm family, I started a fund-raiser in my community called “One Thousand Cranes for Japan.” Little more than two weeks later, we had raised over $8,000 and a flock of one thousand cranes was on its way to Japan.

Professional Review by AcceptU

This essay is very clean and straightforward. Anthony wisely uses imagery from a well-known historic event, the 2011 tsunami, to set the scene for his story. He visited Japan for two summers and provides depth about what he learned: In his first summer, he explored Tokyo and studied the language and culture; in his second summer, he lived in rural Japan and worked long hours on a farm.

We like to see how applicants learn, grow or change from the beginning to the end - and Anthony rightfully spends more time describing the hard work and lifestyle of farming and what he learned from this experience.

The beauty of the essay actually lies in its simplicity. Admittedly, it is not a groundbreaking or original essay in the way he tells his story; instead, Anthony comes across as someone who is very interesting, hardworking, intellectually curious, dedicated, humble and likable - all traits that admissions officers are seeking in applicants.

We like to see how applicants learn, grow or change from the beginning to the end - and Anthony rightfully spends more time describing the hard work and lifestyle of farming and what he learned from this experience. Anthony concludes with a reference to his opening paragraph about the tsunami, and impresses the reader with his fundraising to help victims.

It is not necessarily missing, but perhaps a sentence or two could have been added to explain why Anthony was in Japan in the first place. What was his connection to the country, language or culture? Does it tie into an academic interest? If so, that would make his already strong essay even stronger in the eyes of admissions officers.

Sponsored by Bridge to College, a data company that matches students to colleges that are an academic, financial, and social fit. We provide services to students, families, high schools, and colleges to support all of their admissions needs. Visit https://bit.ly/bridge-to-college-successful-essays for more information on the new platform, sign up for updates and consultations, and learn more about what we do.

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I entered the surprisingly cool car. Since when is Beijing Line 13 air-conditioned? I’ll take it. At four o’clock in the afternoon only about twenty people were in the subway car. “At least it’s not crowded,” one might have thought. Wrong. The pressure of their eyes on me filled the car and smothered me. “看看！她是外国人！”(Look, look! She’s a foreigner!) An old man very loudly whispered to a child curled up in his lap. “Foreigner,” he called me. I hate that word, “foreigner.” It only explains my exterior. If only they could look inside.…

I want to keep reading because there is something she is saying about her identity--be it performative or actual--that I am curious about.

They would know that I actually speak Chinese—not just speak, but love. They would know that this love was born from my first love of Latin—the language that fostered my admiration of all languages. Latin lives in the words we speak around the world today. And translating this ancient language is like watching a play and performing in it at the same time. Each word is an adventure, and on the journey through Virgil’s Aeneid I found that I am more like Aeneas than any living, dead, or fictional hero I know. We share the intrinsic value of loyalty to friends, family, and society. We stand true to our own word, and we uphold others to theirs. Like Aeneas’s trek to find a new settlement for his collapsed Troy, with similar perseverance I, too, wander the seas for my own place in the world. Language has helped me do that.

If these subway passengers understood me, they would know that the very reason I sat beside them was because of Latin. Even before Aeneas and his tale, I met Caecilius and Grumio, characters in my first Latin textbook. In translations I learned grammar alongside Rome’s rich history. I realized how learning another language could expose me to other worlds and other people—something that has always excited me. I also realized that if I wanted to know more about the world and the people in it, I would have to learn a spoken language. Spanish, despite the seven years of study prior to Latin, did not stick with me. And the throatiness of French was not appealing. But Chinese, more than these other traditional languages, intrigued me. The doors to new worlds it could open seemed endless. Thus I chose Chinese.

If these subway passengers looked inside me, they would find that my knowledge of both Latin and Chinese makes me feel whole. It feels like the world of the past is flowing through me alongside the world of the future. Thanks to Latin, Chinese sticks in my mind like the Velcro on the little boy’s shoes in front of me. If this little boy and his family and friends could look inside, they would understand that Latin laid the foundation for my lifelong commitment to languages. Without words, thoughts and actions would be lost in the space between our ears. To them, I am a foreigner, “外国人” literally translated as “out-of-country person.” I feel, however, more like an advena, the Latin word for “foreigner,” translated as “(one who) comes to (this place).” I came to this place, and I came to this country to stay. Unfortunately, they will not know this until I speak. Then once I speak, the doors will open.

Professional Review by Bridge to College

Your college essay should serve two purposes: allow the reader to gain insights about you that they are not able to do in other parts of your application and provide an example of your writing abilities. To the former, you are hoping to demonstrate five soft skills that most colleges are at least implicitly interested in gleaning, those that indicate your capacity to be a good student at their institution.

Alex arrives at both goals in an interesting way. Without seeing the rest of her application, I can only assume that she is possibly interested in pursuing a major in a language (if she is pursuing a major in an applied math, this essay would be extremely interesting) and she has likely participated in some kind of team sport to demonstrate the soft skill of teamwork. To be honest, as someone who speaks five languages myself and studied Latin in undergrad, I don’t necessarily agree with her assessment of the languages. BUT I’m interested. I want to keep reading. She isn’t supposed to get everything right in this essay; she’s supposed to demonstrate a capacity for learning. And she does that.

I want to keep reading because there is something she is saying about her identity--be it performative or actual--that I am curious about. With our work in college access and admissions, we’ve only worked in underserved communities, be they students of color or girls interested in STEM or first-generation college students or more. People make an assumption that we are exploiting these identities into sob stories that admissions readers will immediately hang on to. We’re not doing that. We are encouraging students to write about something similar to what Alex did—describe how your identity has created a learning opportunity or a moment of resilience or determination. Alex seems like someone who is well resourced: her access to certain text; language curricula and the amount of time she spent studying those languages; even her sentence structure, gives that away. But her openness to adapt with humility is a critical skill that is so necessary to be a great student, and unfortunately a skill that many students miss.

For the second goal, she does a tremendous job of demonstrating her writing abilities. Her sentence structures are varied and there aren’t egregious mistakes in grammar and spelling. The last two sentences of the second paragraph sold me on her skill-level and personhood. I also really appreciated that she wasn’t shying away from what she has been able to access as far as her schooling. Alex is smart, witty, and well-traveled, and you’re going to know it. I love that.

The essay works as an introduction to who she is and her soft skills, as well as a demonstration of her writing abilities.

CEO and Founder of Bridge to College

Elite Educational Institute has been helping students reach their academic goals through test preparation, tutoring, and college consulting services since 1987. Learn more at www.eliteprep.com .

When I was a child, I begged my parents for my very own Brother PT-1400 P-Touch Handheld Label Maker to fulfill all of my labeling needs. Other kids had Nintendos and would spend their free time with Mario and Luigi. While they pummeled their video game controllers furiously, the pads of their thumbs dancing across their joysticks, I would type out labels on my industrial-standard P-Touch with just as much zeal. I labeled everything imaginable, dividing hundreds of pens into Ziploc bags by color, then rubber-banding them by point size. The finishing touch, of course, was always a glossy, three-eighths-inch-wide tag, freshly churned out from my handheld labeler and decisively pasted upon the numerous plastic bags I had successfully compiled.

Labeling became therapeutic for me; organizing my surroundings into specific groups to be labeled provides me with a sense of stability. I may not physically need the shiny color-coded label verifying the contents of a plastic bag as BLUE HIGHLIGHTERS—FAT, to identify them as such, but seeing these classifications so plainly allows me to appreciate the reliability of my categorizations. There are no exceptions when I label the top ledge of my bookshelf as containing works from ACHEBE, CHINUA TO CONRAD, JOSEPH. Each book is either filtered into that category or placed definitively into another one. Yet, such consistency only exists in these inanimate objects.

Thus, the break in my role as a labeler comes when I interact with people. Their lives are too complicated, their personalities too intricate for me to resolutely summarize in a few words or even with the 26.2 feet of laminated adhesive tape compatible with my label maker. I have learned that a thin line exists between labeling and just being judgmental when evaluating individuals. I can hardly superficially characterize others as simply as I do my material possessions because people refuse to be so cleanly separated and compartmentalized. My sister Joyce jokes freely and talks with me for hours about everything from the disturbing popularity of vampires in pop culture to cubic watermelons, yet those who don’t know her well usually think of her as timid and introverted. My mother is sometimes my biggest supporter, spouting words of encouragement and, at other instances, my most unrelenting critic. The overlap becomes too indistinct, the contradictions too apparent, even as I attempt to classify those people in the world whom I know best.

For all my love of order when it comes to my room, I don't want myself, or the people with whom I interact, to fit squarely into any one category.

Neither would I want others to be predictable enough for me to label. The real joy in human interaction lies in the excitement of the unknown. Overturning expectations can be necessary to preserving the vitality of relationships. If I were never surprised by the behaviors of those around me, my biggest source of entertainment would vanish. For all my love of order when it comes to my room, I don’t want myself, or the people with whom I interact, to fit squarely into any one category. I meticulously follow directions to the millimeter in the chemistry lab but measure ingredients by pinches and dashes in the comfort of my kitchen. I’m a self-proclaimed grammar Nazi, but I’ll admit e. e. cummings’s irreverence does appeal. I’ll chart my television show schedule on Excel, but I would never dream of confronting my chores with as much organization. I even call myself a labeler, but not when it comes to people. As Walt Whitman might put it, “Do I contradict myself? / Very well, then I contradict myself, / (I am large, I contain multitudes.).”

I therefore refrain from the temptation to label—despite it being an act that makes me feel so fulfilled when applied to physical objects—when real people are the subjects. The consequences of premature labeling are too great, the risk of inaccuracy too high because, most of the time, not even the hundreds of alphanumeric digits and symbols available for entry on my P-Touch can effectively describe who an individual really is.

Professional Review by Elite Prep

Amusing yet insightful, perhaps the most outstanding quality of Justine’s personal statement lies in the balance she strikes between anecdotal flourish and honest introspection. By integrating occasional humour and witty commentary into an otherwise lyrical and earnest self-reflection, Justine masterfully conveys an unfettered, sincere wisdom and maturity coveted by prestigious universities.

Justine breaks the ice by recalling a moment in her childhood that captures her fervent passion for labelling. When applying to selective academic institutions, idiosyncrasies and peculiar personal habits, however trivial, are always appreciated as indicators of individuality. Justine veers safely away from the temptation of “playing it safe” by exploring her dedication towards organizing all her possessions, a dedication that has followed her into adolescence.

She also writes from a place of raw honesty and emotion by offering the rationale behind her bizarre passion. Justine's reliance on labelling is underpinned by her yearning for a sense of stability and order in a messy world—an unaffected yearning that readers, to varying degrees, can sympathize with.

She also writes from a place of raw honesty and emotion by offering the rationale behind her bizarre passion. Justine’s reliance on labelling is underpinned by her yearning for a sense of stability and order in a messy world—an unaffected yearning that readers, to varying degrees, can sympathize with. She recognizes, however, it would be imprudent to navigate all facets of life with an unfaltering drive to compartmentalize everything and everyone she encounters.

In doing so, Justine seamlessly transitions to the latter, more pensive half of her personal statement. She extracts several insights by analyzing how, in staunch contrast with her neatly-organized pencil cases, the world is confusing, and rife with contradictions. Within each individual lies yet another world of complexity—as Justine reflects, people can’t be boiled down into “a few words,” and it’s impossible to capture their character, “even with the 26.2 feet of laminated adhesive tape compatible with [her] label maker.”

In concluding, Justine returns back to the premise that started it all, reminding the reader of her take on why compartmentalizing the world would be an ultimately unproductive effort. The most magical part of Justine’s personal statement? It reads easily, flows with imagery, and employs a simple concept—her labelling practices—to introduce a larger, thoughtful conversation.

The best compliment I ever received was from my little brother: “My science teacher’s unbelievably good at telling stories,” he announced. “Nearly as good as you.” I thought about that, how I savor a good story the way some people savor last-minute touchdowns.

I learned in biology that I’m composed of 7 × 10 27 atoms, but that number didn’t mean anything to me until I read Bill Bryson’s A Short History of Nearly Everything. One sentence stayed with me for weeks: “Every atom you possess has almost certainly passed through several stars and been part of millions of organisms on its way to becoming you.” It estimates that each human has about 2 billion atoms of Shakespeare hanging around inside—quite a comfort, as I try to write this essay. I thought about every one of my atoms, wondering where they had been and what miracles they had witnessed.

My physical body is a string of atoms, but what of my inner self, my soul, my essence? I've come to the realization that my life has been a string as well, a string of stories.

My physical body is a string of atoms, but what of my inner self, my soul, my essence? I’ve come to the realization that my life has been a string as well, a string of stories. Every one of us is made of star stuff, forged through fires, and emerging as nicked as the surface of the moon. It frustrated me no end that I couldn’t sit down with all the people I met, interrogating them about their lives, identifying every last story that made them who they are.

I remember how magical it was the first time I read a fiction book: Harry Potter and the Sorcerer’s Stone. I was duly impressed with Quidditch and the Invisibility Cloak, of course, but I was absolutely spellbound by how much I could learn about Harry. The kippers he had for breakfast, the supplies he bought for Potions—the details everyone skimmed over were remarkable to me. Fiction was a revelation. Here, at last, was a window into another person’s string of stories!

Over the years, I’ve thought long and hard about that immortal question: What superpower would you choose? I considered the usual suspects—invisibility, superhuman strength, flying—but threw them out immediately. My superhero alter ego would be Story Girl. She wouldn’t run marathons, but she could walk for miles and miles in other people’s shoes. She’d know that all it takes for empathy and understanding is the right story.

Imagine my astonishment when I discovered Radiolab on NPR. Here was my imaginary superpower, embodied in real life! I had been struggling with AP Biology, seeing it as a class full of complicated processes and alien vocabulary. That changed radically when I listened, enthralled, as Radiolab traced the effects of dopamine on love and gambling. This was science, sure, but it was science as I’d never heard it before. It contained conflict and emotion and a narrative; it made me anxious to learn more. It wasn’t that I was obtuse for biology; I just hadn’t found the stories in it before.

I’m convinced that you can learn anything in the form of a story. The layperson often writes off concepts—entropy, the Maginot Line, anapestic meter—as too foreign to comprehend. But with the right framing, the world suddenly becomes an open book, enticing and ripe for exploration. I want to become a writer to find those stories, much like Jad Abumrad and Robert Krulwich from Radiolab, making intimidating subjects become familiar and inviting for everyone. I want to become Story Girl.

By combining her previous interest with her newfound love for biology, Carrie is able to highlight how her past experiences have assisted her in overcoming novel challenges. This portrays her as a resilient and resourceful problem-solver: traits that colleges value heavily in their students.

Carrie begins her essay with a fondly-remembered compliment from her brother, introducing her most passionate endeavor: storytelling. By recalling anecdotes related to her love of stories, she establishes herself as a deeply inquisitive and creative person; someone whose greatest virtue is their unfettered thirst for knowledge. Curiosity is greatly prized by colleges, and Carrie’s inclusion of this particular value encourages admissions officers to keep reading.

Going on to explore the intersections between stories and science, Carrie reveals her past difficulties with AP biology; that is, until she learnt about the amazing stories hidden within the subject. By combining her previous interest with her newfound love for biology, Carrie is able to highlight how her past experiences have assisted her in overcoming novel challenges. This portrays her as a resilient and resourceful problem-solver: traits that colleges value heavily in their students.

Carrie ends her essay with her belief that through stories, everything is possible. She expounds on her future ambitions in regards to storytelling, as well as her desire to make learning both fun and accessible to everyone via the power of stories. By comparing her goals to that of a superhero, Carrie is able to emphasise her enthusiasm for contributing to social change. Most importantly, Carrie’s ambitions show how she can contribute to the Harvard community positively, making her a strong applicant.

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I have a fetish for writing.

I’m not talking about crafting prose or verses, or even sentences out of words. But simply constructing letters and characters from strokes of ink gives me immense satisfaction. It’s not quite calligraphy, as I don’t use calligraphic pens or Chinese writing brushes; I prefer it simple, spontaneous, and subconscious. I often find myself crafting characters in the margins of notebooks with a fifty-cent pencil, or tracing letters out of thin air with anything from chopsticks to fingertips.

"One's handwriting," said the ancient Chinese, "is a painting of one's mind." After all, when I practice my handwriting, I am crafting characters. My character.

The art of handwriting is a relic in the information era. Why write when one can type? Perhaps the Chinese had an answer before the advent of keyboards. “One’s handwriting,” said the ancient Chinese, “is a painting of one’s mind.” After all, when I practice my handwriting, I am crafting characters.

My character.

I particularly enjoy meticulously designing a character, stroke by stroke, and eventually building up, letter by letter, to a quote person­alized in my own voice. Every movement of the pen and every drop­let of ink all lead to something profound, as if the arches of every "m" are doorways to revelations. After all, characters are the build­ing blocks of language, and language is the only vehicle through which knowledge unfolds. Thus, in a way, these letters under my pen are themselves representations of knowledge, and the delicate beauty of every letter proves, visually, the intrinsic beauty of know­ing. I suppose handwriting reminds me of my conviction in this vi­sual manner: through learning answers are found, lives enriched, and societies bettered.

Moreover, perhaps this strange passion in polishing every single character of a word delineates my dedication to learning, testifies my zeal for my conviction, and sketches a crucial stroke of my character.

"We--must--know ... " the mathematician David Hilbert's voice echoes in resolute cursive at the tip of my pen, as he, addressing German scientists in 1930, propounds the goal of modern intellectu­als. My pen firmly nods in agreement with Hilbert, while my mind again fumbles for the path to knowledge.

The versatility of handwriting enthralls me. The Chinese devel­oped many styles -- called hands -- of writing. Fittingly, each hand seems to parallel one of my many academic interests. Characters of the Regular Hand (kai shu), a legible script, serve me well during many long hours when I scratch my head and try to prove a mathematical statement rigorously, as the legibility illuminates my logic on paper. Words of the Running Hand (xing shu), a semi-cursive script, are like the passionate words that I speak before a committee of Model United Nations delegates, propounding a decisive course of action: the words, both spoken and written, are swift and coherent but resolute and emphatic. And strokes of the Cursive Hand (cao shu) resemble those sudden artistic sparks when I deliver a line on stage: free spontaneous, but emphatic syllables travel through the lights like rivers of ink flowing on the page.

Yet the fact that the three distinctive hands cooperate so seamlessly, fusing together the glorious culture of writing, is perhaps a fable of learning, a testament that the many talents of the Renaissance Man could all be worthwhile for enriching human society. Such is my methodology: just like I organize my different hands into a neat personal style with my fetish for writing, I can unify my broad interests with my passion for learning.

“...We -- will -- know!” Hilbert finishes his adage, as I frantically slice an exclamation mark as the final stroke of this painting of my mind.

I must know: for knowing, like well-crafted letters, has an inherent beauty and an intrinsic value. I will know: for my versatile interests in academics will flow like my versatile styles of writing.

I must know and I will know: for my fetish for writing is a fetish for learning.

Professional Review by Dan Lichterman

We learn that he expresses his innermost self through an art that has become a relic within the information age. As we peer into his mind, we learn something essential about Jiafeng's character–that he is irrepressibly drawn to the intricate beauty of pure learning.

Jiafeng’s essay succeeds by using the metaphor of handwriting, and it’s immense physical satisfaction, to showcase the unbounded pleasure of pursuing knowledge. We can visualize spontaneously crafted letters filling his notebooks. We see him trace Chinese characters into air by chopstick and fingertip. We learn that he expresses his innermost self through an art that has become a relic within the information age. As we peer into his mind, we learn something essential about Jiafeng’s character–that he is irrepressibly drawn to the intricate beauty of pure learning.

Jiafeng goes on to reveal that his intellectual pursuit has been shaped by not one but three Chinese styles of handwriting, each reflecting a distinct element of his intellectual growth. We see Jiafeng’s logic when engaged in mathematical proof, rhetorical flair when speaking before Model United Nations, and improvisational spark when delivering lines on stage. He presents these polymath pursuits as united by writing, indicating to readers that his broad interests are all an expression of the same principle of discovery. By the time readers finish Jiafeng’s essay they have no doubts regarding the pleasure he derives from learning–they have experienced him enacting this celebration of thought throughout every line of this well-crafted personal statement.

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“Ella, what did you think of Douglass’s view on Christianity?” I gulped. Increasingly powerful palpitations throbbed in my heart as my eyes darted around the classroom – searching for a profound response to Dr. Franklin’s question. I took a deep breath while reaching the most genuine answer I could conjure.

“Professor, I don’t know.”

Dr. Franklin stared at me blankly as he attempted to interpret the thoughts I didn’t voice. My lack of familiarity with the assigned text wasn’t a consideration that crossed his mind because he was familiar with my past contributions to class discussions. I was a fervent critic of the corrupted culture behind Christianity of the Puritans in Hawthorne’s “Young Goodman Brown” and modern evangelicals involved in the puzzling divinity of Donald Trump. He arched his flummoxed brows as he began to open his mouth.

“Professor, what I mean is that I’m not sure whether or not I even have a say on Douglass’s statements on Christianity in his Narrative of the Life.”

In class, I often separated the culture of Christianity from the religion. To tie these immensely disparate concepts as one and coin it as Christianity would present fallacies that contradict with the Christianity I knew. Lack of tolerance and hostility were products of humans’ sinful nature – not the teachings of Christ. People were just using Christianity as an excuse to exalt themselves rather than the holy name of Jesus. These were the “facts.”

My greatest realization came when Douglass declared Christian slave-holders as the worst slave-holders he ever met because of their deceptive feign of piety and use of Christianity to justify the oppression of their slaves. I realized that I couldn’t bring myself to raise the same argument that I used to convince myself that my Christianity of love was the only true Christianity. To Douglass, Christianity was the opposite. I didn’t want to dismiss his story. People use this sacred religion to spread hatred, and to many, this is the only Christianity they know. Their experiences aren’t any bit falser than mine.

Christianity isn’t the only culture that harbors truth that transcends the “facts.” America’s less of a perfect amalgamation of different ethnic cultures and more of a society severed by tribal conflicts rooted in the long established political culture of the nation. Issues such as racism, white privilege, and gender disparity are highly salient topics of current political discussion. However, during a time when people can use online platforms with algorithms that provide content they want to see, we fail to acknowledge the truth in other people’s experiences and express empathy.

My protective nature drives my desire to connect with different people and build understanding. To do so, however, I step outside my Korean American Southern Baptist paradigm because my experiences do not constitute everyone else's.

As a Korean-American in the South, I am no stranger to intolerance. I remember the countless instances of people mocking my parents for their English pronunciation and my brother’s stutter. Because their words were less eloquent, people deemed their thoughts as less valuable as well. I protect my family and translate their words whenever they have a doctor’s appointment or need more ketchup at McDonald’s. My protective nature drives my desire to connect with different people and build understanding. To do so, however, I step outside my Korean American Southern Baptist paradigm because my experiences do not constitute everyone else’s.

Excluded from the Manichaean narrative of this country, I observe the turmoil in our nation through a separate lens - a blessing and a curse. Not only do I find myself awkwardly fixed in a black vs. white America, but I also fail to define my identity sandwiched between Korean and American. In the end, I find myself stuck amongst the conventional labels and binaries that divide America.

“You seem to work harder than most to understand other people’s points of view,” Dr. Franklin said after I shared these thoughts to the class.

“I find this easier because I spent my childhood assuming that my culture was always the exception,” I replied. As an anomaly, accepting different truths is second nature.

Professional Review by Crimson Education

At a time in which the Black Lives Matters movement was sweeping America and racial tension was at a high, Ella was able to offer a powerful and brave perspective: how she feels to be neither Black nor White. The true strength of this essay is its willingness to go where people rarely go in college essays: to race, to politics and to religion.

This is a trait that exists in a powerful independent thinker who could push all kinds of debates forwards - academic ones or otherwise.

Her dedication to her religion is evident - but so is her willingness to question the manipulation of the word ‘Christianty’ for less than genuine purposes. It requires intellectual bravery to ask the hard questions of your own religion as opposed to succumbing to cognitive dissonance. This is a trait that exists in a powerful independent thinker who could push all kinds of debates forwards - academic ones or otherwise.

Her word choice continues to emphasize bravery and strength. “I protect my family” inserts Ella as the shield between her family and the daily racism they experience in the south because of their accents and heritage. Her humorous quirks show the insidious racism. She even needs to shield her family from the humble request for some more Ketchup at McDonalds! Imagine if one is nervous to ask for some more Ketchup and even such a mundane activity becomes difficult through the friction of racial tension and misunderstanding. This is a powerful way to deliver a sobering commentary on the real state of society through Ellen’s lived experiences.

She demonstrates her intellectual prowess in her discussion of somewhat high-brow topics but also grounds herself in the descriptions of her daily acts of kindness.

She connects major societal debates (Trumpism for example) with daily experiences (her translations at the doctor’s office) with a gentle but powerful cadence. She demonstrates her intellectual prowess in her discussion of somewhat high-brow topics but also grounds herself in the descriptions of her daily acts of kindness.

Creatively Ella weaves numerous literary devices in and out of her story without them being overbearing. These include alliteration and the juxtaposition of longer sentences with shorter ones to make a point.

Her final dialogue is subtle but booming. “....my culture was the exception”. The reader is left genuinely sympathetic for her plight, challenges and bravery as she goes about her daily life.

Ella is a bold independent thinker with a clear social conscience and an ability to wade in the ambiguity and challenge of an imperfect world.

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"Paint this vase before you leave today," my teacher directed as she placed foreign brushes and paints in my hands. I looked at her blankly. Where were the charts of colors and books of techniques? Why was her smile so decidedly encouraging? The sudden expectations made no sense.

She smiled. "Don't worry, just paint."

In a daze, I assembled my supplies the way the older students did. I was scared. I knew everything but nothing. And even in those first blissful moments of experimentation, it hurt to realize that my painting was all wrong. The gleam of light. The distorted reflection. A thousand details taunted me with their refusal to melt into the glass. The vase was lifeless at best.

As the draining hours of work wore on, I began wearing reckless holes in my mixing plate. It was my fourth hour here. Why had I not received even a single piece of guidance?

At the peak of my frustration, she finally reentered the studio, yawning with excruciating casualness. I felt myself snap.

"I barely know how to hold a brush," I muttered almost aggressively, "how could I possibly have the technique to paint this?"

She looked at me with a shocked innocence that only heightened the feeling of abandonment. "What do you mean you don't have the technique?"

It was as though she failed to realize I was a complete beginner.

And then suddenly she broke into a pitch of urgent obviousness: "What are you doing! Don't you see those details?? There's orange from the wall and light brown from the floor. There's even dark green from that paint box over there. You have to look at the whole picture," she stole a glance at my face of bewilderment, and, sighing, grabbed my paint,stained hand. "Listen, it's not in here," she implored, shaking my captive limb. "It's here." The intensity with which she looked into my eyes was overwhelming.

I returned the gaze emptily. Never had I been so confused…

But over the years I did begin to see. The shades of red and blue in gray concrete, the tints of Phthalo in summer skies, and winter’s Currelean. It was beautiful and illogical. Black was darker with green and red, and white was never white.

I began to study animals. The proportions and fan brush techniques were certainly difficult, but they were the simple part. It was the strategic tints of light and bold color that created life. I would spend hours discovering the exact blue that would make a fish seem on the verge of tears and hours more shaping a deer’s ears to speak of serenity instead of danger.

As I run faster into the heart of art and my love for politics and law, I will learn to see the faces behind each page of cold policy text, the amazing innovation sketched in the tattered Constitution, and the progressiveness living in oak-paneled courts.

In return for probing into previously ignored details, my canvas and paints opened the world. I began to appreciate the pink kiss of ever-evolving sunsets and the even suppression of melancholy. When my father came home from a business trip, it was no longer a matter of simple happiness, but of fatigue and gladness' underlying shades. The personalities who had once seemed so annoyingly arrogant now turned soft with their complexities of doubt and inspiration. Each mundane scene is as deep and varied as the paint needed to capture it.

One day, I will learn to paint people. As I run faster into the heart of art and my love for politics and law, I will learn to see the faces behind each page of cold policy text, the amazing innovation sketched in the tattered Constitution, and the progressiveness living in oak-paneled courts.

It won’t be too far. I know that in a few years I will see a thousand more colors than I do today. Yet the most beautiful part about art is that there is no end. No matter how deep I penetrate its shimmering realms, the enigmatic caverns of wonder will stay.

Professional Review by College Confidential

My favorite college essays begin with one moment in time and end by tying that moment into a larger truth about the world. In this essay, Elizabeth uses this structure masterfully.

This essay is a great example of a create essay. It's real strength, however, lies in showing how the writer pursues her goal despite frustration and grapples with universal questions.

The essay opens with dialogue, placing the reader right in the middle of the action. She shares only the details that make the scene vivid, like the holes in her mixing plate and her teacher’s yawn. She skips backstory and explanations that can bore readers and bog down a short essay. The reader is left feeling as though we are sitting beside her, staring at an empty vase and a set of paints, with no idea how to begin.

The SPARC method of essay writing says that the best college essays show how a student can do one (or more) of these five things: Seize an opportunity, Pursue goals despite obstacles, Ask important questions, take smart Risks, or Create with limited resources. This essay is a great example of a “create” essay. It’s real strength, however, lies in showing how the writer pursues her goal despite frustration and grapples with universal questions.

As the essay transitions from the personal to the universal, her experience painting the vase becomes a metaphor for how she sees the world. Not only has painting helped her appreciate the subtle shades of color in the sunset, it has opened her up to understand that nothing in life is black and white. This parallel works especially well as a way to draw the connection between Elizabeth’s interest in political science and art.

Written by Joy Bullen, Senior Editor at College Confidential

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When I failed math in my sophomore year of high school, a bitter dispute engulfed my household -- “Nicolas Yan vs. Mathematics.” I was the plaintiff, appearing pro se, while my father represented the defendant (inanimate as it was). My brother and sister constituted a rather understaffed jury, and my mother presided over the case as judge.

In a frightening departure from racial stereotype, I charged Mathematics with the capital offences of being “too difficult” and “irrelevant to my aspirations," citing my recent shortcomings in the subject as evi. dence. My father entered a not guilty plea on the defendant's behalf, for he had always harbored hopes that I would follow in his entrepreneurial footsteps -- and who ever heard of a businessman who wasn't an accomplished mathematician? He argued that because I had fallen sick before my examination and had been unable to sit one of the papers, it would be a travesty of justice to blame my "Ungraded” mark on his client. The judge nodded sagely.

With heartrending pathos, I recalled how I had studied A-Level Mathematics with calculus a year before the rest of my cohort, bravely grappling with such perverse concepts as the poisson distribution to no avail. I decried the subject's lack of real-life utility and lamented my inability to reconcile further effort with any plausible success; so that to persist with Mathematics would be a Sisyphean endeavor. Since I had no interest in becoming the entrepreneur that my father envisioned, I petitioned the court for academic refuge in the humanities. The members of the jury exchanged sympathetic glances and put their heads together to deliberate.

Over the next year, however, new evidence that threw the court's initial verdict into question surfaced. Languishing on death row, Mathematics exercised its right to appeal, and so our quasi-court reconvened in the living room.

In hushed tones, they weighed the particulars of the case. Then, my sister announced their unanimous decision with magisterial gravity: "Nicolas shouldn't have to do math if he doesn't want to!" I was ecstatic; my father distraught. With a bang of her metaphorical gavel, the judge sentenced the defendant to "Death by Omission"-- and so I chose my subjects for 11th Grade sans Mathematics. To my father's disappointment, a future in business for me now seemed implausible.

Over the next year, however, new evidence that threw the court's initial verdict into question surfaced. Languishing on death row, Mathematics exercised its right to appeal, and so our quasi-court reconvened in the living room.

My father reiterated his client's innocence, maintaining that Mathematics was neither "irrelevant" nor "too difficult." He proudly recounted how just two months earlier, when my friends had convinced me to join them in creating a business case competition for high school students (clerical note: the loftily-titled New Zealand Secondary Schools Case Competition), I stood in front of the Board of a company and successfully pitched them to sponsor us-- was this not evidence that l could succeed in business? I think I saw a tear roll down his cheek as he implored me to give Mathematics another chance.

I considered the truth of his words. While writing a real-world business case for NZSSCC, l had been struck by how mathematical processes actually made sense when deployed in a practical context, and how numbers could tell a story just as vividly as words can. By reviewing business models and comparing financial projections to actual returns, one can read a company's story and identify areas of potential growth; whether the company then took advantage of these opportunities determined its success. It wasn't that my role in organizing NZSSCC had magically taught me to embrace all things mathematical or commercial -- I was still the same person -- but I recognized that no intellectual constraints prevented me from succeeding in Mathematics; I needed only the courage to seize an opportunity for personal growth.

I stood up and addressed my family: “I’ll do it.” Then, without waiting for the court’s final verdict, I crossed the room to embrace my father: and the rest, as they (seldom) say, was Mathematics.

Professional Review by KEY Education

For some, math concepts such as limits, logarithms, and derivatives can bring about feelings of apprehension or intimidation. So, Nicolas’s college essay reflecting on his personal conflict coming to terms with Mathematics offers a relatable, down-to-earth look at how he eventually came to realize and appreciate the importance of this once-dreaded subject. Not only does Nicolas’s statement use a unique, engaging approach to hook the reader in, but also he draws various connections from Mathematics to his relationship with his family, to his maturation process, and to his extracurricular involvement. A number of factors helped Nicolas’s statement add color to his application file, giving further insight into the person he is.

Nicolas’s choice of Mathematics as the focusing lens is effective for a number of reasons. Firstly, it is genuine and approachable. It is not about some grandiose idea, event, or achievement. Rather, it is about a topic to which many students—and people for that matter—can relate. And from this central theme, Nicolas draws insightful linkages to various aspects of his life. At the outset of his essay, Mathematics is presented as the antagonist, or as Nicolas skillfully portrays, the “defendant”. However, by the end of his piece, and as a demonstration of his growth, Nicolas has come to a resolution with the former defendant.

Adding to the various connections, Nicolas presents his case, literally, in an engaging manner in the form of a court scene, with Nicolas as the plaintiff charging the defendant, Mathematics, with being too difficult and irrelevant to his life.

Through Nicolas’s conflict over Mathematics, we gain a deeper understanding of his relationship with his father and the tension that exists in Nicolas fulfilling his father’s wishes of following in his entrepreneurial footsteps. His father’s initial attempts at reasoning with him are rebuffed, however Nicolas later acknowledges that he “considered the truth of his words” and eventually embraces his father, signifying their coming to a resolution with their shared understanding of each other. Furthermore, Nicolas connects his evolved understanding of Mathematics to his important organizational role in creating the business-focused New Zealand Secondary Schools Case Competition, acknowledging how “mathematical processes actually made sense when deployed in a practical context, and how numbers could tell a story just as vividly as words can.” As he states, “I needed only the courage to seize an opportunity for personal growth,” which he ultimately realizes.

Adding to the various connections, Nicolas presents his case, literally, in an engaging manner in the form of a court scene, with Nicolas as the plaintiff charging the defendant, Mathematics, with being too difficult and irrelevant to his life. Bearing in mind word count limitations, what would have been interesting to explore would be deeper insights into each of the connections that Nicolas drew and how he applied these various lessons to other parts of his life.

Nicolas employs a number of characteristics essential for a successful essay: a theme that allows for deeper introspection, an engaging hook or approach, and a number of linkages between his theme and various aspects of his life, providing insight into who he is and how he thinks.

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Successful Harvard Essay by Abigail Mack

Abigail gained national attention after reading her application essay on TikTok earlier this year, with over 19.9 million views on the first video. Her essay helped her to recieve a rare likely letter in the most competitive Harvard application cycle in history with a less than 4 percent acceptance rate, and now she uses her platform to help other college hopefuls navigate the application process. Watch her read the beginning of her essay here and check out her other writing tips on her TikTok .

I hate the letter S. Of the 164,777 words with S, I only grapple with one.

I hate the letter “S”. Of the 164,777 words with “S”, I only grapple with one. To condemn an entire letter because of its use 0.0006% of the time sounds statistically absurd, but that one case changed 100% of my life. I used to have two parents, but now I have one, and the “S” in “parents” isn’t going anywhere.

“S” follows me. I can’t get through a day without being reminded that while my friends went out to dinner with their parents, I ate with my parent. As I write this essay, there is a blue line under the word “parent” telling me to check my grammar; even Grammarly assumes that I should have parents, but cancer doesn’t listen to edit suggestions. I won’t claim that my situation is as unique as 1 in 164,777, but it is still an exception to the rule - an outlier. The world isn’t meant for this special case.

The world wouldn’t abandon “S” because of me, so I tried to abandon “S”. I could get away from “S” if I stayed busy; you can’t have dinner with your “parent” (thanks again, Grammarly) if you’re too busy to have family dinner. Any spare time that I had, I filled. I became known as the “busy kid”- the one that everyone always asks, “How do you have time?” Morning meetings, classes, after school meetings, volleyball practice, dance class, rehearsal in Boston, homework, sleep, repeat. Though my specific schedule has changed over time, the busyness has not. I couldn’t fill the loss that “S” left in my life, but I could at least make sure I didn’t have to think about it. There were so many things in my life that I couldn’t control, so I controlled what I could- my schedule. I never succumbed to the stress of potentially over-committing. I thrived. It became a challenge to juggle it all, but I’d soon find a rhythm. But rhythm wasn’t what I wanted. Rhythm may not have an “S”, but “S” sure liked to come by when I was idle. So, I added another ball, and another, and another. Soon I noticed that the same “color” balls kept falling into my hands- theater, academics, politics. I began to want to come into contact with these more and more, so I further narrowed the scope of my color wheel and increased the shades of my primary colors.

Life became easier to juggle, but for the first time, I didn’t add another ball. I found my rhythm, and I embraced it. I stopped running away from a single “S” and began chasing a double “S”- passion. Passion has given me purpose. I was shackled to “S” as I tried to escape the confines of the traditional familial structure. No matter how far I ran, “S” stayed behind me because I kept looking back. I’ve finally learned to move forward instead of away, and it is liberating. “S” got me moving, but it hasn’t kept me going.

I wish I could end here, triumphant and basking in my new inspiration, but life is more convoluted. Motivation is a double edged sword; it keeps me facing forward, but it also keeps me from having to look back. I want to claim that I showed courage in being able to turn from “S”, but I cannot. Motivation is what keeps “S” at bay. I am not perfectly healed, but I am perfect at navigating the best way to heal me. I don’t seek out sadness, so “S” must stay on the sidelines, and until I am completely ready, motivation is more than enough for me.

Professional Review by HS2 Academy

There's an honesty here as she reveals to the reader her attempts at filling this void in her life by constantly keeping busy. It's further satisfying to see these attempts at committing to various activities evolve into what she terms a double

Abigail’s essay navigates one of the most delicate sorts of topics in college applications: dealing with personal or family tragedy. Perhaps the most common pitfall is to take a tragic event and effuse it with too much pathos and sense of loss that the narrative fails to reveal much about the author’s own personality other than the loss itself. In short, a “sob story.” However, Abigail’s essay adeptly skirts this by utilizing wit and a framing device using the letter “S” to share a profoundly personal journey in a manner that is engaging and thought-provoking.

Rather than focus purely on the loss of one of her parents to cancer, Abigail reflects on her life and the adjustments she has had to make. It is particularly poignant how she expresses the sense that her life with only one remaining parent seems somehow anomalous, that the constant reminders of the completeness in the familial structures of others haunts her.

What also makes this essay all the more intriguing is how we get a glimpse into her internal life as she learns to cope with the loss. There’s an honesty here as she reveals to the reader her attempts at filling this void in her life by constantly keeping busy. It’s further satisfying to see these attempts at committing to various activities evolve into what she terms a “double S,” or “passion,” as she discovers things that she has become passionate about. Perhaps this essay could have been strengthened further by giving the reader a sense of what those passions might be, as we’re left to speculate based on the activities she had mentioned.

Lastly, we see a sense of realism and maturity in Abigail's closing reflection. It’s easy to end an essay like this with a sense of narrative perfection, but she wisely concedes that “life is more convoluted.” This poignant revelation gives us a window into her continuing struggles, but we are nonetheless left impressed by her growth and candor in this essay.

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I learned the definition of cancer at the age of fourteen. I was taking my chapter 7 biology test when I came upon the last question, “What is cancer?”, to which I answered: “The abnormal, unrestricted growth of cells.” After handing in the test, I moved on to chapter 8, oblivious then to how earth-shattering such a disease could be.

I learned the meaning of cancer two years later. A girl named Kiersten came into my family by way of my oldest brother who had fallen in love with her. I distinctly recall her hair catching the sea breeze as she walked with us along the Jersey shore, a blonde wave in my surrounding family's sea of brunette. Physically, she may have been different, but she redefined what family meant to me. She attended my concerts, went to my award ceremonies, and helped me study for tests. Whenever I needed support, she was there. Little did I know that our roles would be reversed, forever changing my outlook on life.

Kiersten was diagnosed with Stage II Hodgkin's lymphoma at the age of 22. Tears and hair fell alike after each of her 20 rounds of chemotherapy as we feared the worst. It was an unbearable tragedy watching someone so vivacious skirt the line between life and death. Her cancer was later classified as refractory, or resistant to treatment. Frustration and despair flooded my mind as I heard this news. And so I prayed. In what universe did this dynamic make any sense? I prayed to God and to even her cancer itself to just leave her alone. Eventually, Kiersten was able to leave the hospital to stay for six weeks at my home.

But the beauty that resulted from sympathizing as opposed to analyzing and putting aside my own worries and troubles for someone else was an enormous epiphany for me. My problems dissipated into thin air the moment I came home and dropped my books and bags to talk with Kiersten. The more I talked, laughed, smiled, and shared memories with her, the more I began to realize all that she taught me.

My family and I transformed the house into an antimicrobial sanctuary, protecting Kiersten from any outside illness. I watched TV with her, baked cookies for her, and observed her persistence as she regained strength and achieved remission. We beat biology, time, and death, all at the same time, with cookies, TV, and friendship. Yet I was so concerned with helping Kiersten that I had not realized how she helped me during her battle with cancer.

I had been so used to solving my problems intellectually that when it came time to emotionally support someone, I was afraid. I could define cancer, but what do I say to someone with it? There were days where I did not think I could be optimistic in the face of such adversity. But the beauty that resulted from sympathizing as opposed to analyzing and putting aside my own worries and troubles for someone else was an enormous epiphany for me. My problems dissipated into thin air the moment I came home and dropped my books and bags to talk with Kiersten. The more I talked, laughed, smiled, and shared memories with her, the more I began to realize all that she taught me. She influenced me in the fact that she demonstrated the power of loyalty, companionship, and optimism in the face of desperate, life-threatening situations. She showed me the importance of loving to live and living to love. Most of all, she gave me the insight necessary to fully help others not just with intellect and preparation, but with solidarity and compassion. In this way, I became able to help myself and others with not only my brain, but with my heart. And that, in the words of Robert Frost, “has made all the difference.”

Professional Review by collegeMission

Nikolas is candid, writing about how he could solve problems intellectually, but struggled to cope emotionally during Kiersten's diagnosis and treatment. Ultimately, he finds his way and gains a deeper perspective on life, and thus shares a story of overcoming and of complex intellectual and emotional growth.

Nikolas uses an unexpected approach in this essay, sharing a story of someone else’s struggle, as he highlights change within himself. The emotions and connection that he felt for Kiersten, his older brother’s girlfriend, are quite powerful, as is his recognition of his own attempt to navigate his way through the experience. Nikolas is candid, writing about how he could solve problems intellectually, but struggled to cope emotionally during Kiersten’s diagnosis and treatment. Ultimately, he finds his way and gains a deeper perspective on life, and thus shares a story of overcoming and of complex intellectual and emotional growth.

Nikolas’ use of imagery is terrific. We first see it in the essay when he describes one of his first impressions of Kiersten, with her blonde hair flowing in the wind by the Jersey Shore and how that contrasted with the dark hair of his family. That description then flows as we read the next paragraph, where he talks about the impact of her cancer. “Tears and hair fell alike after each of her 20 rounds of chemotherapy as we feared the worst.” Instead of explicitly sharing everyone’s heartbreak, through details that heartbreak becomes so very evident.

One missing piece here is an explanation of why Kiersten stayed with Nikolas’ family rather than returning home to her own family. Maybe a quick explanation would have helped the reader make sense of her location, and create an even stronger linkage with Nikolas and his family. Additionally, Nikolas might have taken one more step toward the end of the essay to connect this newfound emotion to other parts of his life. The final paragraph feels slightly repetitive, and a compelling route could have been to show how he went on to embrace the idea of “loving to live and living to love.” Nonetheless, Nikolas reveals that he is capable of growing through adversity, a character trait that this admissions committee clearly appreciated.

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The Top Ten Most-Read Essays of 2021

In 2021, democracy’s fortunes were tested, and a tumultuous world became even more turbulent. Democratic setbacks arose in places as far flung as Burma, El Salvador, Tunisia, and Sudan, and a 20-year experiment in Afghanistan collapsed in days. The world’s democracies were beset by rising polarization, and people watched in shock as an insurrection took place in the United States. In a year marked by high political drama, economic unrest, and rising assaults on democracy, we at the  Journal of Democracy  sought to provide insight and analysis of the forces that imperil freedom. Here are our 10 most-read essays of 2021:

Manuel Meléndez-Sánchez Nayib Bukele has developed a blend of political tactics that combines populist appeals and classic autocratic behavior with a polished social-media brand. It poses a dire threat to the country’s democratic institutions.

Top Reads 2021 | Essays

With another year under our belts, here are ten of our most popular essays from 2021, on abandoned whaling communities in the Bering Strait to Joni Mitchell’s Blue  album.

Lice | AK Blakemore

‘I often had head  lice as a child . . . Mum would sit on the lip of the tub and comb and comb, pulling faces, flicking clots of Pantene freckled with their little bodies into the sink’.

AK Blakemore on lice.

A Bleed of Blue | Amy Key

‘I was trying simultaneously to numb the grief I felt and to burrow into that grief, so I could stand in it.’

On love, its absence and Joni Mitchell’s Blue album.

On Vulnerability | Katherine Angel

‘Being porous – being susceptible to the other’s needs and desires – is what makes one tender to the feelings of others, and what puts one at their mercy.’

Katherine Angel on vulnerability . 

Bleak Midwinter | Catherine Taylor

‘In a sense, we had been waiting for the Ripper to visit for months, even years.’

Catherine Taylor on growing up in Sheffield and Peter Sutcliffe.

Breast or Tooth? | Tishani Doshi

‘In the nineteenth century, a woman called Nangeli in Kerala sliced off her breasts and offered them to the tax collectors on a plaintain leaf as protest against having to pay the breast tax.’

Tishani Doshi on breasts and police violence in India.

Having and Being Had | Eula Biss

‘A white set designer and a white director work to create an authentic African American interior. The commercial, they tell us, is going to feature an African American grandmother serving a holiday turkey.’

Eula Biss on complicity and capitalism.

On Mistaking Whales | Bathsheba Demuth

‘Before a gray whale becomes a home, or a barrel of oil, or a metaphor, before she enters the realm of human meaning, she is a being complete in herself.’

Bathsheba Demuth visits the abandoned whaling communities of the Bering Strait.  

A Series of Rooms Occupied by Ghislaine Maxwell | Chris Dennis

‘What is the metaphor of the room? Of the house. Of the neighborhood.’

Chris Dennis on incarceration.

On Running | Larissa Pham

‘Maybe that’s why running has its adherents: there are those who are drawn to its simplicity, who find beauty in its pure, egalitarian punishment. Who even find joy in it.’

Larissa Pham on running.

Mr Brown, Mrs White and Ms Black | Kei Miller

‘Mr Brown only thinks these thoughts. He would never share them with anyone, because these are the kinds of thoughts that implicate him.’

Three stories of race in Jamaica, by Kei Miller.

Title photo courtesy of Amy Key.  

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Granta 166: Generations Online

Generation Gap

‘We meet at various points in the great swathes of the past that neither of us were alive to witness.’ Allen Bratton on a daytrip to a castle with his older boyfriend.

‘Listening to three white poets, whom I suspect are academics, talk about the state of poetry.’ Oluwaseun Olayiwola eavesdrops on an older generation.

‘I’d been dubious about his company at first.’ Sarah Moss on watching Shakespeare with her twelve-year-old son.

‘She didn’t trust us because, to her, tenants were like children.’ Kate Zambreno on negotiating with her older landlady.

‘A moment now swallowed in embarrassment, I asked a question only a young person might ask an older one.’ Lynne Tillman on trying to understand what makes a generation.

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The SSRC’s Top Ten Most-Read Essays of 2021

With the new year on the horizon, we’re looking back to some of the most popular writing we published in 2021. Over the past year, scholars explored pressing topics including disinformation and authenticity online , the rise of right-wing extremism in digital spaces , Covid-19 responses in East Asia , burial practices in contexts of migration and distance , and more. Grantees shared results from their SSRC-funded research on the wide-ranging impacts of Covid-19 , while our programs published new reports on human development and housing justice in California and trends in mobile journalism .

Our most popular essays grapple with the greatest challenges we faced in 2021 and offer social science insights on how we might move forward in the year to come. Read our top ten most popular essays of 2021:

“ When the Past Becomes Present: A Legacy of Anti-Asian Hate ” In the first contribution to our “ Covid-19 Fieldnotes from Our Grantees ” series, Jennifer Lee considers the structural dimensions of racism and the dehumanization of Asian Americans in the aftermath of the tragic March 2021 mass shooting in Atlanta.

“ Genocidal Rape? The Tigray Conflict and Women’s Bodies as a Battleground ” For Kujenga Amani , Sela Muyoka Musundi provides insight on sexual violence against women during the conflict in Tigray, Ethiopia, arguing that rape has become “a weapon of war against Tigrigna women and girls.”

“ Distorted Mirrors: Toward a Clear Gaze on Black Suffering ” Rebecca A. Wilcox writes on anti-Black violence, the meaning of “Black joy,” and community in the midst of suffering for The Immanent Frame ’s forum on “ Antiblackness as Religion: Black Living, Black Dying, and Covid-19 .”

“ ‘Public’: A Pandemic Diary of a Future Idea ” Meditating on the concept of the “public” during the pandemic, Mike Ananny argues that Covid-19 has both destabilized public life and revealed means of social connection and mobilization that could expand the scope of “what public life could be like.”

“ Covid-19 Could Strengthen Federalism in the United States ” As part of our annual “ Democratic Erosion ” undergraduate series, Andrea Gustafson discusses what the pandemic has revealed about federalism in the United States, drawing attention to reinvigorated democratic participation at the state level and its effect on democratic erosion.

“ The Cognitive Empire and Gladiatory Scholarship ” Next Generation Social Sciences in Africa advisory board member Sabelo J. Ndlovu-Gatsheni unpacks the colonial underpinnings of gladiatory scholarship and writes on the path towards a decolonization of knowledge and knowledge production.

“ Southeast Asia’s Disinformation Crisis: Where the State is the Biggest Bad Actor and Regulation is a Bad Word ” For our “ Disinformation, Democracy, and Conflict Prevention ” series, Jonathan Corpus Ong looks to Southeast Asia’s disinformation crisis and regulation strategies, drawing valuable lessons for better disinformation prevention practices based in the language of responsibility.

“ Behind South Korea’s Success in Containing Covid-19: Surveillance and Technology Infrastructures ” Investigating South Korea’s Covid-19-response, Myungi Yang traces the development of disease prevention infrastructures and raises questions on the implications of surveillance for individual privacy in an essay for our “ Covid-19 in East Asia ” forum.

“ A Theodicy of the Unliving, or Why I Won’t Teach My Black Lives Matter Class Anymore ” Biko Mandela Gray reflects on his personal decision to stop teaching a class on “#BlackLivesMatter and Religion” in the wake of anti-Black violence perpetrated during the Covid-19 pandemic.

“ Understanding Gender Complementarity in Igbo Society: The Role of Ụmụada and Ụmụnna in Peacebuilding ” Ngozi Ugo Emeka-Nwobia discusses the complementary nature of gender roles and relations in peacebuilding for the Igbo people of Southeastern Nigeria and illuminates misconceptions about social relationships in Igbo society.

Juni Ahari is the communications and editorial assistant at the SSRC. She graduated from Skidmore College in 2019 with a BA in English. Her previous experience includes internships at JSTOR and the Modern Language Association (MLA), where she assisted with social media and communications.

From the Heart to Higher Education: The 2021 College Essays on Money

Each year, we ask high school seniors to send us college application essays that touch on money, work or social class. Here are five from this year’s incoming college freshmen.

Credit... Robert Neubecker

Supported by

By Ron Lieber

• June 18, 2021

When the most selective — or, even better, rejective — schools in the United States are accepting under 10 percent of the people pleading for a spot in the next freshman class, it eventually becomes impossible to know why any one person receives an offer, or why a student chooses a particular school.

So in this particularly unpredictable season — as we publish a selection of application essays about money, work or social class for the ninth time — we’ve made one small but permanent change: We (and they) are going to tell you where the writers come from, but not where they are headed.

Our overarching point in publishing their essays isn’t to crack the code on writing one’s way into Yale or Michigan, as if that were even possible. Instead, it’s to celebrate how meaningful it can be to talk openly about money and write about it in a way that makes a reader stop and wonder about someone else’s life and, just maybe, offers a momentary bit of enlightenment and delight.

One writer this year helps her mother find a new way of bringing joy into the world, while another discovers the cost of merely showing up if you’re a female employee. A young man reflects on his own thrift, while a young woman accepts a gift of ice cream and pays a price for it. Finally, caregiving becomes a source of pride for someone young enough to need supervision herself.

Each of the writers will make you smile, eventually. And this year in particular, we — and they — deserve to.

“She began to cry and told me it was too late for her. I could not bear to watch her struggle between ambition and doubt.”

New York — Bronx High School of Science

My mom finds a baffling delight from drinking from glass, hotel-grade water dispensers. Even when three-day-old lemon rinds float in stale water, drinking from the dispenser remains luxurious. Last year for her birthday, I saved enough to buy a water dispenser for our kitchen counter. However, instead of water, I filled it with handwritten notes encouraging her to chase her dreams of a career.

As I grew older, I noticed that my mom yearned to pursue her passions and to make her own money. She spent years as a stay-at-home mom and limited our household chores as much as she could, taking the burden upon herself so that my brothers and I could focus on our education. However, I could tell from her curiosity of and attitudes toward working women that she envied their financial freedom and the self-esteem that must come with it. When I asked her about working again, she would tell me to focus on achieving the American dream that I knew she had once dreamed for herself.

For years, I watched her effortlessly light up conversations with both strangers and family. Her empathy and ability to understand the needs, wants and struggles of a diverse group of people empowered her to reach the hearts of every person at a dinner table, even when the story itself did not apply to them at all. She could make anyone laugh, and I wanted her to be paid for it. “Mom, have you ever thought about being a stand-up comedian?”

She laughed at the idea, but then she started wondering aloud about what she would joke about and how comedy shows were booked. As she began dreaming of a comedy career, the reality of her current life as a stay-at-home mom sank in. She began to cry and told me it was too late for her. I could not bear to watch her struggle between ambition and doubt.

Her birthday was coming up. Although I had already bought her a present, I realized what I actually wanted to give her was the strength to finally put herself first and to take a chance. I placed little notes of encouragement inside the water dispenser. I asked my family and her closest friends to do the same. These friends told her other friends, and eventually I had grown a network of supporters who emailed me their admiration for my mom. From these emails, I hand wrote 146 notes, crediting all of these supporters that also believed in my mom. Some provided me with sentences, others with five-paragraph-long essays. Yet, each note was an iteration of the same sentiment: “You are hilarious, full of life, and ready to take on the stage.”

On the day of her birthday, my mom unwrapped my oddly shaped present and saw the water dispenser I bought her. She was not surprised, as she had hinted at it for many years. But then as she kept unwrapping, she saw that inside the dispenser there were these little notes that filled the whole thing. As she kept picking out and reading the notes, I could tell she was starting to believe what they said. She started to weep with her hands full of notes. She could not believe the support was real, that everyone knew she had a special gift and believed in her.

Within two months, my mom performed her first set in a New York comedy club. Within a year, my mom booked a monthly headlining show at the nation’s premier comedy club.

I am not sure what happened to the water dispenser. But I have read the notes with my mom countless times. They are framed and line the walls of her new office space that she rented with the profits she made from working as a professional comedian . For many parents, their children’s careers are their greatest accomplishment, but for me my mom’s is mine.

Adrienne Coleman

“The intense Saturday night crucible of the restaurant, with all the unwanted phone numbers, catcalls and wandering hands, jolted me into an unavoidable reckoning with feminism in a professional world.”

Locust Valley, N.Y. — Friends Academy

“Pull down your mask, sweetheart, so I can see that pretty smile.”

I returned a well-practiced smile with just my eyes, as the eight guys started their sixth bottle of Brunello di Montalcino. Their carefree banter bordered on heckling. Ignoring their comments, I stacked dishes heavy with half-eaten rib-eye steaks and truffle risotto. As I brought their plates to the dish pit, I warned my female co-workers about the increasingly drunken rowdiness at Table 44.

This was not the first time I’d felt uncomfortable at work. When I initially presented my résumé to the restaurant manager, he scanned me up and down, barely glancing at the piece of paper. “Well, you’ve got no restaurant experience, but you know, you package well. When can you start?” I felt his eyes burn through me. That’s it? No pretense of a proper interview? “Great,” I said, thrilled at the prospect of earning good money. At the same time, reduced to the way I “package,” I felt degraded.

I thought back to my impassioned feminist speech that won the eighth-grade speech contest. I lingered on the moments that, as the leader of my high school’s F-Word Club, I had redefined feminism for my friends who initially rejected the word as radical. But in these instances, I realized how my notions of equality had been somewhat theoretical — a passion inspired by the words of Malala and R.B.G. — but not yet lived or compromised.

The restaurant has become my real-world classroom, the pecking order transparent and immutable. All the managers, the decision makers, are men. They set the schedules, determine the tip pool, hire pretty young women to serve and hostess, and brazenly berate those below them. The V.I.P. customers are overwhelmingly men, the high rollers who drop thousands of dollars on drinks, and feel entitled to palm me, a 17-year-old, their phone numbers rolled inside a wad of cash.

Angry customers, furious they had mistakenly received penne instead of pane, initially rattled me. I have since learned to assuage and soothe. I’ve developed the confidence to be firm with those who won’t wear a mask or are breathtakingly rude. I take pride in controlling my tables, working 13-hour shifts and earning my own money. At the same time, I’ve struggled to navigate the boundaries of what to accept and where to draw the line. When a staff member continued to inappropriately touch me, I had to summon the courage to address the issue with my male supervisor. Then, it took weeks for the harasser to get fired, only to return to his job a few days later.

When I received my first paycheck, accompanied by a stack of cash tips, I questioned the compromises I was making. In this physical and mental space, I searched for my identity. It was simple to explore gender roles in a classroom or through complex characters in a Kate Chopin novel. My heroes, trailblazing women such as Simone de Beauvoir and Gloria Steinem, had paved the road for me. In my textbooks, their crusading is history. But the intense Saturday night crucible of the restaurant, with all the unwanted phone numbers, catcalls and wandering hands, jolted me into an unavoidable reckoning with feminism in a professional world.

Often, I’ve felt shame; shame that I wasn’t as vocal as my heroes; shame that I feigned smiles and silently pocketed the cash handed to me. Yet, these experiences have been a catalyst for personal and intellectual growth. I am learning how to set boundaries and to use my professional skills as a means of empowerment.

Constantly re-evaluating my definition of feminism, I am inspired to dive deeply into gender studies and philosophy to better pursue social justice. I want to use politics as a forum for activism. Like my female icons, I want to stop the burden of sexism from falling on young women. In this way, I will smile fully — for myself.

Hoseong Nam

“I feel haunted, cursed by the compulsion to diligently subtract pennies from purchases hoping it will eventually pile up into a mere dollar.”

Hanoi, Vietnam — British Vietnamese International School

Despite the loud busking music, arcade lights and swarms of people, it was hard to be distracted from the corner street stall serving steaming cupfuls of tteokbokki — a medley of rice cake and fish cake covered in a concoction of hot sweet sauce. I gulped when I felt my friend tugging on the sleeve of my jacket, anticipating that he wanted to try it. After all, I promised to treat him out if he visited me in Korea over winter break.

The cups of tteokbokki, garnished with sesame leaves and tempura, was a high-end variant of the street food, nothing like the kind from my childhood. Its price of 3,500 Korean won was also nothing like I recalled, either, simply charged more for being sold on a busy street. If I denied the purchase, I could console my friend and brother by purchasing more substantial meals elsewhere. Or we could spend on overpriced food now to indulge in the immediate gratification of a convenient but ephemeral snack.

At every seemingly inconsequential expenditure, I weigh the pros and cons of possible purchases as if I held my entire fate in my hands. To be generously hospitable, but recklessly drain the travel allowance we needed to stretch across two weeks? Or to be budgetarily shrewd, but possibly risk being classified as stingy? That is the question, and a calculus I so dearly detest.

Unable to secure subsequent employment and saddled by alimony complications, there was no room in my dad’s household to be embarrassed by austerity or scraping for crumbs. Ever since I was taught to dilute shampoo with water, I’ve revised my formula to reduce irritation to the eye. Every visit to a fast-food chain included asking for a sheet of discount coupons — the parameters of all future menu choice — and a past receipt containing the code of a completed survey to redeem for a free cheeseburger. Exploiting combinations of multiple promotions to maximize savings at such establishments felt as thrilling as cracking war cryptography, critical for minimizing cash casualties.

However, while disciplined restriction of expenses may be virtuous in private, at outings, even those amongst friends, spending less — when it comes to status — paradoxically costs more. In Asian family-style eating customs, a dish ordered is typically available to everyone, and the total bill, regardless of what you did or did not consume, is divided evenly. Too ashamed to ask for myself to be excluded from paying for dishes I did not order or partake in, I’ve opted out of invitations to meals altogether. I am wary even of meals where the inviting host has offered to treat everyone, fearful that if I only attended “free meals” I would be pinned as a parasite.

Although I can now conduct t-tests to extract correlations between multiple variables, calculate marginal propensities to import and assess whether a developing country elsewhere in the world is at risk of becoming stuck in the middle-income trap, my day-to-day decisions still revolve around elementary arithmetic. I feel haunted, cursed by the compulsion to diligently subtract pennies from purchases hoping it will eventually pile up into a mere dollar, as if the slightest misjudgment in a single buy would tip my family’s balance sheet into irrecoverable poverty.

Will I ever stop stressing over overspending?

I’m not sure I ever will.

But I do know this. As I handed over 7,000 won in exchange for two cups of tteokbokki to share amongst the three of us — my friend, my brother and myself — I am reminded that even if we are not swimming in splendor, we can still uphold our dignity through the generosity of sharing. Restricting one’s conscience only around ruminating which roads will lead to riches risks blindness toward rarer wealth: friends and family who do not measure one’s worth based on their net worth. Maybe one day, such rigorous monitoring of financial activity won’t be necessary, but even if not, this is still enough.

Neeya Hamed

“In America, we possess all the tangible resources. Why is it, then, that we fruitlessly struggle to connect with one another?”

New York — Brooklyn Friends School

Sitting on monobloc chairs of various colors, the Tea Ladies offer healing. Henna-garnished hands deliver four cups of tea, each selling for no more than 10 cents. You may see them as refugees who fled the conflict in western Sudan, passionately working to make ends meet by selling tea. I see them as messengers bearing the secret ingredients necessary to truly welcome others.

On virtually every corner in Sudan, you can find these Tea Ladies. They greet you with open hearts and colorful traditional Sudanese robes while incense fills the air, singing songs of ancient ritual. Their dexterous ability to touch people’s lives starts with the ingredients behind the tea stand: homegrown cardamom, mint and cloves. As they skillfully prepare the best handmade tea in the world, I look around me. Melodies of spirited laughter embrace me, smiles as bright as the afternoon sun. They have a superpower. They create a naturally inviting space where boundless hospitality thrives.

These humble spaces are created by people who do not have much. Meanwhile, in America, we possess all the tangible resources. Why is it, then, that we fruitlessly struggle to connect with one another? On some corners of Mill Basin, Brooklyn, I discovered that some people don’t lead their lives as selflessly.

I never imagined that the monobloc chair in my very own neighborhood would be pulled out from under me. Behind this stand, the ingredients necessary to touch my life were none but one: a friendly encounter gone wrong. While waiting for ice cream, a neighbor offered to pay for me. This deeply offended the shop owner glaring behind the glass; he resented my neighbor’s compassion because his kindness is reserved for those who do not look like me. The encounter was potent enough to extract the resentment brewing within him and compelled him to project that onto me.

“I guess Black lives do matter then,” he snarked.

His unmistakably self-righteous smirk was enough to deny my place in my community. It was enough to turn a beautiful sentiment of kindness into a painfully retentive memory; a constant reminder of what is to come.

Six thousand three hundred and fifty-eight miles away, Sudan suddenly felt closer to me than the ice cream shop around the corner. As I walked home, completely shaken and wondering what I did to provoke him, I struggled to conceptualize the seemingly irrelevant comment. When I walk into spaces, be it my school, the bodega or an ice cream shop, I am conscious of the cardamom mint, and cloves that reside within me; the ingredients, traits and culmination of thoughts that make up who I am, not what I was reduced to by that man. I learned, however, that sometimes the color of my skin speaks before I can.

I realized that the connotations of ignorance in his words weren’t what solely bothered me. My confusion stemmed more from the complete lack of care toward others in his community, a notion completely detached from everything I believe in. For the Tea Ladies and the Sudanese people, it isn’t about whether or not people know their story. It isn’t about solidarity in uniformity, but rather seeing others for who they truly are.

Back in Khartoum, Sudan, I looked at the talents of the Tea Ladies in awe. They didn’t necessarily transform people with their tea, they did something better. Every cup was a silent nod to each person’s dignity.

To the left of me sat a husband and father, complaining about the ridiculous bread prices. To the right of me sat a younger worker who spent his days sweeping the quarters of the water company next door. Independent of who you were or what you knew before you got there, their tea was bridging the gap between lives and empowering true companionship, all within the setting of four chairs and a small plastic table.

Sometimes, that is all it takes.

“I was the memory keeper, privy to the smallest snippets that go forgotten in a lifetime.”

Lafayette, Calif. — Miramonte High School

I was the ultimate day care kid — I never left.

From before I could walk to the start of middle school, Kimmy’s day care was my second home. While my classmates at school went home with stay-at-home moms to swim team and Girl Scouts, I traveled to the town next door where the houses are smaller, the parched lawns crunchy under my feet from the drought.

At school, I stuck out. I was one of the few brown kids on campus. Both of my parents worked full time. We didn’t spend money on tutors when I got a poor test score. I’d never owned a pair of Lululemon leggings, and my mom was not versed in the art of Zumba, Jazzercise or goat yoga. At school, I was a blade of green grass in a California lawn, but at day care, I blended in.

The kids ranged from infants to toddlers. I was the oldest by a long shot, but I liked it that way. As an only child, this was my window into a sibling relationship — well, seven sibling relationships. I played with them till we dropped, held them when they cried, got annoyed when they took my things. And the kids did the same for me. They helped as I sat at the counter drawing, and starred in every play I put on. They watched enviously as I climbed to the top of the plum tree in the backyard.

Kimmy called herself “the substitute mother,” but she never gave herself enough credit. She listened while I gushed about my day, held me when I had a fever and came running when I fell out of the tree. From her, I learned to feed a baby a bottle, and recognize when a child was about to walk. I saw dozens of first steps, heard hundreds of first words, celebrated countless birthdays. Most importantly, I learned to let the bottle go when the baby could feed herself.

And I collected all the firsts, all the memories and stories of each kid, spinning elaborate tales to the parents who walked through the door at the end of the day. I was the memory keeper, privy to the smallest snippets that go forgotten in a lifetime.

I remember when Alyssa asked me to put plum tree flowers in her pigtails, and the time Arlo fell into the toilet. I remember the babies we bathed in the kitchen sink, and how Kimmy saved Gussie’s life with the Heimlich maneuver. I remember the tears at “graduation,” when children left for preschool, and each time our broken family mended itself when new kids arrived.

When I got home, I wrote everything down in my pink notebook. Jackson’s first words, the time Lolly fell off the couch belting “Let It Go.” Each page titled with a child’s name and the moments I was afraid they wouldn’t remember.

I don’t go to day care anymore. Children don’t hide under the table, keeping me company while I do homework. Nursing a baby to sleep is no longer part of my everyday routine, and running feet don’t greet me when I return from school. But day care is infused in me. I can clean a room in five minutes, and whip up lunch for seven. I remain calm in the midst of chaos. After taming countless temper tantrums, I can work with anyone. I continue to be a storyteller.

When I look back, I remember peering down from the top of the plum tree. I see a tiny backyard with patches of dead grass. But I also see Kimmy and my seven “siblings.” I see the beginnings of lives, and a place that quietly shapes the children who run across the lawn below. The baby stares curiously up at me from the patio, bouncing in her seat. She will be walking soon, Kimmy says. As will I.

Ron Lieber has been the Your Money columnist since 2008 and has written five books, most recently “The Price You Pay for College.” More about Ron Lieber

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On Wallen, Shamblin Lara and Trump: 2021's top 10 opinion essays in The Tennessean | Plazas

The topics varied from senator blackburn and hagerty's words and actions on jan. 6 to parental alienation to fourth amendment rights..

• David Plazas is the director of opinion and engagement for the USA TODAY Network Tennessee.

As we near the end of 2021, The Tennessean looks back today on the top-read opinion columns of the year.

They range from a critique of Tennessee's new critical race theory ban in K-12 schools to a defense of country music singer Morgan Wallen and from addressing the impact of the late Weigh Down Workshop preacher Gwen Shamblin Lara to the second impeachment of former President Donald Trump.

The rankings are based upon digital metrics of page views.

We include some excerpts below and you can also go to Tennessean.com to re-read them in their entirety or click on the hyperlinks below.

So, here starts the countdown.

No. 10: Southern Baptist Convention leadership

"Former Southern Baptist Convention President Paige Patterson has controversial past church must reckon with," by Rev. Brian Kaylor, June 15.

Kaylor is a Baptist minister with a Ph.D. in political communication, president of Word&Way and author of four books.

"Patterson helped make SBC what it is today and then sat atop his fiefdom until it all came crashing down when he was fired by Southwestern Baptist Theological Seminary in 2018 for mishandling student sexual assaults."

No. 9: Appeal to conservatives on vaccine hesitancy

"Why we need more conservatives to spread the benefits of COVID-19 vaccines," by David Plazas, Aug. 6.

This was my top-read personal column of the year. I wrote more about COVID-19 than I ever wanted to. The political divisions on vaccines and safety rules had a real and hard impact on cases, hospitalizations and deaths in Tennessee.

"Politicians from Gov. Bill Lee to the state senators have emphasized that getting vaccinated is a personal choice and have gone out of their way to assuage the fears of people who want to be exempt from inoculation, whether for religious or medical reasons. They ought to increase the level of urgency of their rhetoric, that while it is a personal choice, there is something to be said about being responsible and accountable to your community."

No. 8: In defense of Morgan Wallen

"Morgan Wallen billboards patron: 'We’re not bowing down to the mob'," by Darleen Ingram, June 10.

Ingram of Empire, Alabama paid for the billboards around Nashville in support of country music artist Morgan Wallen.

"The music industry jumped so fast, without taking time to hear his side of the story or to evaluate who his friends are. How many in the industry are guilty? When Morgan asked for forgiveness and he meant it, it should have been over."

Hear more Tennessee Voices: Get the weekly opinion newsletter for insightful and thought provoking columns.

No. 7: The mental toll on parents over the last few years

"Mental health practitioners confront a crisis in families: Parental alienation," by Alan D. Blotcky and William Bernet, Dec. 18.

Blotcky, Ph.D., is a clinical and forensic psychologist in private practice in Birmingham, Alabama. Bernet, M.D., is professor emeritus for the Department of Psychiatry at Vanderbilt University School of Medicine.

"The phenomenon of parental alienation is well-known to some mental health professionals but has received very little attention in the mainstream media. The public is largely unaware of this problem and its harmful effects on children and parents."

No. 6: Scathing critique of Senators Blackburn and Hagerty over Jan. 6 insurrection

"Marsha Blackburn and Bill Hagerty are complicit in the insurrection," by The Tennessean editorial board, Jan. 7.

I wrote this editorial on behalf of The Tennessean Editorial Board, which comprises Editor Michael A. Anastasi, Executive Editor Maria De Varenne, Planner Mealand Ragland-Hudgins and me.

"Tennessee’s senators played games with democracy and perpetuated false allegations of mass voter fraud, a cover-up by tech companies and the press, and a stolen election – all to fit President Donald Trump’s narrative that he was cheated out of a second term."

No. 5: Readers question church policies of Greg Locke regarding COVID safety

"Why is Pastor Greg Locke shunning mask-wearing congregants? | Featured letters" by readers of The Tennessean, July 29.

This article featured letters from people in Tennessee and beyond who read about  how Greg Locke, pastor at Global Vision Bible Church in Mt. Juliet, banned congregants from wearing masks when worshipping in person.

"To his congregation, I appeal: Would you please, if you are interested in staying alive, respond by not going to church at all? That should get his attention.  God doesn’t shun you if you are praying at home." — excerpt from a letter by Harriet Stanton-Leaffer.

Sign up for Latino Tennessee Voices newsletter:   Read compelling stories for and with the Latino community in Tennessee. 

No. 4: The chilling effect of Tennessee's critical race theory ban 

"How critical race theory law makes it illegal to teach Black history in Tennessee," by David Barber, Oct. 5.

Barber is a professor of history at University of Tennessee at Martin.

"While we should be glad that Tennessee is finally outlawing the teaching of racial superiority in any form, our legislature should have passed this part of its legislation 60 years ago, when it would have counted for something."

No. 3: Gwen Shamblin Lara's impact on her community

"Brentwood can thank Gwen Shamblin Lara for making it the city it is today," by Bill Alexander, July 27.

Brentwood attorney Bill Alexander practiced law in Saudi Arabia for almost 10 years and serves as an arbitrator.

"Gwen Shamblin Lara, who died May 29 in a plane crash, was an author and founder of the Christian diet program the Weigh Down Workshop and founder of the Remnant Fellowship Church. She was also a kind, respectful person who quietly helped in an unheralded way to preserve the Brentwood we know today."

Editor's note: While this guest essay first published in July, readers consumed it more in September, around the time when the HBO Max documentary about Shamblin Lara "The Way Down" premiered. 

Sign up for Black Tennessee Voices newsletter:   Read compelling columns by Black writers from across Tennessee. 

No. 2: Fighting the State of Tennessee's encroachment on private property

"When the government hides spy cameras on your land, fight back in court," by Robert Frommer and Daryl James, Dec. 13.

Frommer is a senior attorney and James is a writer at the Institute for Justice in Arlington, Va.

"Although the case is proceeding in state court under the authority of the Tennessee Constitution, the central claims point to a nationwide problem. Starting about 100 years ago, federal courts began chipping away at the Fourth Amendment to the U.S. Constitution, which guarantees “the right of the people to be secure in their persons, houses, papers, and effects.” 

Before we go to No. 1, here are the top-read essays of our regular columnists LeBron Hill, Keel Hunt, Cameron Smith and Kyra Watts.

• "Will Nashville finally learn to reckon with racism after Morgan Wallen's slur?" by LeBron Hill, February 3. Hill, a Lipscomb University graduate, is a staff columnist and editor for The Tennessean and he curates the Black Tennessee Voices newsletter and Facebook group.
• "Blackburn, Hagerty, and the clown car that went badly off the rails," by Keel Hunt, Jan. 6. Hunt writes a monthly column. He is a former reporter and aide to ex Gov. Lamar Alexander.
• "Dave Chappelle offends his audience in 'The Closer,' but he also makes us think," by Cameron Smith, Oct. 20. Smith writes a biweekly column and is a former political attorney who previously worked for Sen. Jeff Sessions, with congressional Republican leadership and on Gov. Bill Lee's transition team.
• "The return of HBCU homecomings excites alumni after so many COVID cancellations," by Kyra Watts, Oct. 21. Watts, a Florida A&M University graduate, is a staff columnist and editor for The Tennessean.

No. 1:  How Tennesseans reacted to Trump's second impeachment and trial

"Readers respond to second impeachment of President Donald Trump," by letters to editor writers, Jan. 15.

We published seven featured letters to the editor from readers across Middle Tennessee after the U.S. House of Representatives voted to impeach Trump — for the second time, something that has happened to no other president in U.S. history.

Budge Blevins of Nashville wrote: "Some Republican members of the Tennessee congressional delegation said that they did not want to further divide the country by voting to impeach President Trump for inciting a mob assault on the Capitol Building while Congress was in session. That’s a laudable sentiment, but one that was absent when they voted the previous week to overturn the certified election results of certain states favoring Joe Biden. Or did they believe that challenging the will of the voters in those states would unify the nation?"

But Calvin Johnson of Franklin felt it was overblown.

"Why have you not reported as much on the Antifa demonstrations in New York City, Portland and San Diego. They were destructive, but I heard no condemnation or response from the media or the Democrats. You only criticize what Trump supporters do."

As we enter 2022, please consider writing and submitting guest essays and letters to  [email protected] . Thank you for your readership.

David Plazas is the director of opinion and engagement for the USA TODAY Network Tennessee. He is an editorial board member of The Tennessean. He hosts the Tennessee Voices videocast  and curates the Tennessee Voices and Latino Tennessee Voices newsletters.. Call him at (615) 259-8063, email him at  [email protected]  or tweet to him at  @davidplazas .

Most Read in 2021

Year-End Lists!

We don’t publish a lot of lists. But this year, having launched this new website with nearly complete access to 30 years of magazine archives, we thought it seemed like a good time to look back at the stories that resonated with our readers. 

In that spirit, we’ve compiled the most-read pieces published on our website in 2021, as well as the most-read work from our archives. 

And for good measure, we’ve pulled together a few pieces worth an honorable mention; our favorite Sunday Short Reads ; CNF content that was republished elsewhere; and the best advice, inspiration, and think pieces from some of our favorite publications.

Finally, if you enjoy what follows, please know there’s plenty more! We have a soft paywall on our site, which allows for three free reads a month. To get unlimited access for as little as $4/month, simply subscribe today.

Top 10 Published in 2021

• Almost Behind Us A dental emergency interrupts a meaningful anniversary // JENNIFER BOWERING DELISLE
• El Valle, 1991 An early lesson in strength and fragility // AURELIA KESSLER
• Stay at Home All those hours alone with a new baby can be rough // JARED HANKS
• The Desert Was His Home There are many things we don’t know about Mr. Otomatsu Wada, and a few things we do // ERIC L. MULLER
• Just a Big Cat The dramatic boredom of jury duty // ERICA GOSS
• What Will We Do for Fun Now? Her parents survived World War II and the Blitz just fine … didn’t they? // JANE RATCLIFFE
• Harriet Two brothers and a turtle // TYLER McANDREW
• Rango Getting existential at a funeral for a lizard   // JARRETT G. ZIEMER
• Mouse Lessons from a hamster emergency // BEVERLY PETRAVICIUS
• Roxy & the Worm Box Trying to recapture a childhood love of dirt // ANJOLI ROY

Top 5 from the Archive

• Picturing the Personal Essay A visual guide // TIM BASCOM
• The 5 Rs of Creative Nonfiction The essayist at work   // LEE GUTKIND
• The Line Between Fact & Fiction Do not add, and do not deceive // ROY PETER CLARK
• The Braided Essay as Social Justice Action The braided essay may be the most effective form for our times // NICOLE WALKER
• On Fame, Success, and Writing Like a Mother#^@%*& An interview with Cheryl Strayed   // ELISSA BASSIST

Honorable Mention ( ICYMI Essays)

• Latinx Heritage Month Who do you complain to when it’s HR you have a problem with? // MELISSA LUJAN MESKU
• Women’s Work Sometimes, freedom means choosing your obligations // EILEEN GARVIN
• Bloodlines and Bitter Syrup Avoiding prison in Huntsville, Texas, is nearly impossible // WILL BRIDGES
• Stealth A nontraditional couple struggles with keeping part of their life together private while undertaking the public act of filing for marriage // HEATHER OSTERMAN-DAVIS
• Something Like Vertigo An environmental writer sees parallels between her father’s declining equilibrium and a world turned upside down   // ELIZABETH RUSH

Our favorite Sunday Short Reads from our partners 

from BREVITY

• What Joy Looks Like SSR #128  // DORIAN FOX
• How to Do Nothing SSR #156 // ABIGAIL THOMAS

from DIAGRAM

• At 86, My Grandmother Regrets Two Things SSR #134 // DIANA XIN
• The Seedy Corner SSR #140 // KIMBERLY GARZA

from RIVER TEETH

• Waste Not SSR #131 // DESIREE COOPER
• This Is Orange SSR #141 // JILL KOLONGOWSKI

from SWEET LITERARY

• The Pilgrim’s Prescription SSR #122  // CAROLYN ALESSIO
• Leaves in the Hall SSR #160 // ANNE GUDGER

Our favorite stories from around the internet. 

Advice & Inspiration

• In Praise of the Meander Rebecca Solnit on letting nonfiction narrative find its own way (via Lit Hub )
• What’s Missing Here? A Fragmentary, Lyric Essay About Fragmentary, Lyric Essays Julie Marie Wade on the mode that never quite feels finished (via Lit Hub )
• Getting Honest about Om A brief essay on audience (via Brevity )
• Using the Personal to Write the Global Intimate details, personal exploration and respect for facts (via Nieman Storyboard )
• Fix Your Scene Shapes And quickly improve your manuscript (via Jane Friedman’s blog)

The State of Nonfiction

• What the NYT ‘Guest Essay’ Means for the Future of Creative Nonfiction Description (via Brevity )
• How the Role of Personal Expression and Experience Is Changing Journalism On the future of the newsroom (via Poynter )
• 50 Shades of Nuance in a Polarized World An essayist ponders when to write black-and-white polemics that attract clicks, and when to be more considered (via Nieman Storyboard )
• These Literary Memoirs Take a Different Tack Description (via NY Times )
• The Politics of Gatekeeping On reconsidering the ethics of blind submissions (via Poets & Writers )

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The Best American Essays 2021

A collection of the year’s best essays, selected by award-winning journalist and  New Yorker  staff writer Kathryn Schulz

“The world is abundant even in bad times,”guest editor Kathryn Schulz writes in her introduction, “it is lush with interestingness,and always, somewhere, offering up consolation or beauty or humor or happiness, or at least the hope of future happiness.”

The essays Schulz selected are a powerful time capsule of 2020, showcasing that even if our lives as we knew them stopped, the beauty to be found in them flourished. From an intimate account of nursing a loved one in the early days of the pandemic, to a masterful portrait of grieving the loss of a husband as the country grieved the loss of George Floyd, this collection brilliantly shapes the grief, hardship, and hope of a singular year.

The Best American Essays 2021 includes ELIZABETH ALEXANDER • HILTON ALS • GABRIELLE HAMILTON • RUCHIR JOSHI • PATRICIA LOCKWOOD• CLAIRE MESSUD • WESLEY MORRIS • BETH NGUYEN • JESMYN WARD and others

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50 MBA Essays That Got Applicants Admitted To Harvard & Stanford

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What Matters? and What More? is a collection of 50 application essays written by successful MBA candidates to Harvard Business School and Stanford Graduate School of Business

I sat alone one Saturday night in a boardroom in Eastern Oregon, miles from home, my laptop lighting the room. I was painstakingly reviewing a complex spreadsheet of household energy consumption data, cell by cell. ‘Why am I doing this to myself? For remote transmission lines?’…I felt dejected. I’d felt that way before, during my summer at JP Morgan, standing alone in the printing room at 3 a.m., binding decks for a paper mill merger that wouldn’t affect my life in the least.

That’s how an analyst at an MBB firm started his MBA application essay to Stanford Graduate School of Business. His point: In a well-crafted essay, he confronts the challenge of finding meaning in his work and a place where he can make a meaningful difference. That is what really matters most to him, and his answer to Stanford’s iconic MBA application essay helped get him defy the formidable odds of acceptance and gain an admit to the school.

Getting into the prestigious MBA programs at either Stanford Graduate School of Business or Harvard Business School are among the most difficult journeys any young professional can make.

NEARLY 17,000 CANDIDATES APPLIED TO HARVARD & STANFORD LAST YEAR. 1,500 GOT IN

This collection of 50 successful HBS and GSB essays, with smart commentary, can be downloaded for $60

They are two of the most selective schools, routinely rejecting nine or more out of every ten applicants. Last year alone, 16,628 candidates applied to both schools; just 1,520 gained an acceptance, a mere 9.1% admit rate.

Business school admissions are holistic, meaning that while standardized test scores and undergraduate transcripts are a critical part of the admissions process, they aren’t the whole story. In fact, the stories that applicants tell the schools in the form of essays can be a critical component of a successful application.

So what kinds of stories are successful applicants to Harvard and Stanford telling their admission officers? For the first time ever, a newly published collection of 50 of these essays from current MBA students at these two schools has been published. In ten cases, applicants share the essays they wrote in applying to both schools so you can see whether they merely did a cut-and-paste job or approached the task anew. The 188-page book, What Matters? and What More?, gains its title from the two iconic essay prompts at Harvard and Stanford.

THOUGHTFUL CRITIQUES OF THE ESSAYS

Stanford can easily boast having the most difficult question posed to MBA applicants in any given year: In 650 words or less, candidates must tell the school what matters most to them and why. Harvard gives applicants ample room to hang themselves, providing no word limit at all, “What more would you like us to know as we consider your candidacy?”

One makes this unusual collection of essays powerful are the thoughtful critiques by the founders of two MBA admissions consulting firms, Jeremy Shinewald of mbaMission and Liza Weale of Gatehouse Admissions. They write overviews of each essay in the book and then tear apart portions by paragraphs to either underline a point or address a weakness. The book became available to download for $60 a pop.

As I note in a foreword to the collection, published in partnership with Poets&Quants, the essay portion of an application is where a person can give voice to who they are, what they have achieved so far, and what they imagine their future to be. Yet crafting a powerful and introspective essay can be incredibly daunting as you stare at a blank computer screen.

APPLICANTS OPEN UP WITH INTIMATE STORIES THAT SHOW VULNERABILITY

One successful applicant to Harvard Business School begins his essay by conveying a deeply personal story: The time his father was told that he had three months to live, with his only hope being a double lung transplant. had to undergo a lung transplant. His opening line: “Despite all we had been through in recent years, I wasn’t quite sure what to expect when I asked my mother one summer evening in Singapore, ‘What role did I play during those tough times?’”

For this candidate to Stanford Graduate School of Business, the essay provided a chance to creatively engage admission readers about what matters most to him–equality-by cleverly using zip codes as a hook.

60605, 60606, 60607.

These zip codes are just one digit apart, but the difference that digit makes in someone’s life is unfathomable. I realized this on my first day as a high school senior. Leafing through my out-of- date, stained, calculus textbook, I kept picturing the new books that my friend from a neighboring (more affluent) district had. As college acceptances came in, I saw educational inequality’s more lasting effects—my friends from affluent districts that better funded education were headed to prestigious universities, while most of my classmates were only accepted by the local junior college. I was unsettled that this divergence wasn’t the students’ doing, but rather institutionalized by the state’s education system. Since this experience, I realized that the fight for education equality will be won through equal opportunity. Overcoming inequality, to ensure that everyone has a fair shake at success, is what matters most to me.

HOW AN APPLICANT TO BOTH SCHOOLS ALTERED HIS ESSAYS

Yet another candidate, who applied to both Harvard and Stanford, writes about being at but not fully present at his friend’s wedding.

The morning after serving as my friend’s best man, I was waiting for my Uber to the airport and—as usual—scrolling through my phone,” he wrote. “I had taken seemingly hundreds of photos of the event, posting in real time to social media, but had not really looked through them. With growing unease, I noticed people and things that had not registered with me the night before and realized I had been so preoccupied with capturing the occasion on my phone that I had essentially missed the whole thing. I never learned the name of the woman beside me at the reception. I could not recall the wedding cake flavor. I never introduced myself to my friend’s grandfather from Edmonton. I was so mortified that before checking into my flight, I turned my phone off and stuffed it into my carry-on.

The Stanford version of his essay is more compact. In truth, it’s more succinctly written and more satisfying because it is to the point. By stripping away all but the most critical pieces of his narrative, the candidate focuses his essay entirely on his central point: the battle of man versus technology.

Even if you’re not applying to business school, the essays are entertaining and fun to read. Sure, precious few are New Yorker worthy. In fact, many are fairly straightforward tales, simply told. What the successful essays clearly show is that there is no cookie-cutter formula or paint-by-the-numbers approach. Some start bluntly and straightforwardly, without a compelling or even interesting opening. Some meander through different themes. Some betray real personality and passion. Others are frankly boring. If a pattern of any kind could be discerned, it is how genuine the essays read.

The greatest benefit of reading them? For obsessive applicants to two of the very best business schools, they’ll take a lot of pressure off of you because they are quite imperfect.

GET YOUR COPY OF WHAT MATTERS? AND WHAT MORE? NOW

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The best video essays of 2021

An escape from the most popular to the most captivating

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As coronavirus cloistered the world, the genre of video essays continued to augment in popularity on Youtube. Despite the homogeny of the creator space being apparent from a cursory glance, 2021 saw POC video essayists gaining momentum on the platform. From behemoths like D’Angelo Wallace to humble creators like myself, there is a gradient of experiences that are finally being represented thanks to YouTube’s algorithm “apparently” being an equalizer. That being said, this article hopes to shed light on some of gems you may have missed.

Beyond the players, the format of video essays has also evolved. Gone are the days when a midwestern man could aggregate thousands of views on a video about why water is wet. (OK, jk, that still happens.) But most of today’s video essays now amalgamate several genres of YouTube videos. Whether it’s the commentary crossovers à la Tara Mooknee , or the stand-up comedy stylings of Chill Goblin , there is a variety of variations to find. Here are a few that surprised us in the last year. —Ransford James, aka Foreign

[ Ed. note: This list is ordered chronologically rather than ranked by preference, meaning everything is worth checking out. And if you need more to watch, check out last year’s list .]

“Your Island is a Commune pt. 1,” Nowhere Grotesk

I first discovered this touching series on Animal Crossing: New Horizons via the social posts on F. D. Signifier’s YouTube channel — more on him later, but credit where credit’s due. Nowhere Grotesk’s bio on social media reads, “We’re two visual artists that create and examine art through a utopian leftist lens,” and that feeling permeates this series.

Discussing Animal Crossing: New Horizons through the lens of communal living and pastoral nostalgia, Nowhere Grotesk pushes back on the easy joke that Tom Nook is a greedy capitalist. Instead, this series shows how Animal Crossing: New Horizons conveys the concept of community as directly in conflict with urbanization and capitalism, thriving only when everyone’s needs are met without the turmoil of work. Even the addition of the Happy Home Paradise DLC , which gives players the option to work for additional outcomes, doesn’t nullify the anticapitalist argument here; working is a choice you can but don’t have to make. The island even meets more of the players’ needs by providing free healthcare. Animal Crossing isn’t the apolitical fluff many seem to think; instead, it’s a lovely, immersive argument for anarcho-communism, mutual aid, and rooting our politics in community. —Wil Williams

“The Market of Humiliating Black Women,” Tee Noir

This offering is far from obscure, but by the off chance that Tee Noir has evaded your eyes and eluded your ears, consider my favorite video from her so far: “ The Market of Humiliating Black Women .” Without spoiling this masterpiece, Tee breaks down what is such an innocuous experience that not many people even notice: How quotidian Black women’s pain is in popular media. From high-budget Tyler Perry movies to grainy WorldstarHipHop videos, the parodying of pain that Black women face on the daily is rewarded with thousands of millions of views and thousands of shares.

This is an experience that is far from second-hand with regard to Tee Noir, as she faces scrutiny that men don’t, simply by virtue of being a Black woman on this platform — let alone her queerness. —RJ

“The Day Rue ‘Became’ Black,” Yhara Zayd

After hitting shelves in 2008, Suzanne Collins’ The Hunger Games was praised for the way it conveyed real-life modern class struggles in a strange, borderline fantastical world. The Hunger Games was clear about what it was saying and referencing, but apparently, some readers didn’t get the memo — or perhaps they refused to.

In this video, Zayd pulls on the Hunger Games fandom’s history to dissect what made some readers so shocked when Amandla Stenberg, a young Black actress, was cast as Rue, a young girl who is ... canonically Black. This isn’t just about people reading a book wrong, though; it’s about why audiences felt less protective of Rue the moment she “became” Black “in casting.” It’s also about why most of those comments have since been scrubbed from the internet.

Yhara Zayd’s work has been featured on all of my video essay lists , and for good reason. Her sharp, concise, passionate analysis is scored by a low-key (but not necessarily relaxed) aesthetic and narration style. Her occasional breaks to make a joke or loosen up her script emphasize what’s so important about the topic at hand: the humanity. —WW

“Infantilization and the Body Hair Debate,” Shanspeare

Unironic ASMR, charismatic candor, and witty humor are but a few of Shanspeare’s calling cards. Despite the myriad of channels dedicated to analyzing pop culture, none do it quite like Shanspeare. “ Infantilization and the Body Hair Debate ” is one of the most eye-opening videos that I have encountered, and it has provoked me — a cishet Afro-Caribbean man — into thoroughly addressing my own contributions to the subject matter. This deep dive into how the world incentivizes childlike behavior from women is as unnerving as it is necessary to watch. From the way I speak to women, to my subconscious preference of nicely shaven legs, Shanspeare details how all of that is essentially the product of a purposeful inculcation that was underway far before I was even a thought. I cannot emphasize to you enough that you should watch this masterpiece and all of her other ones as well. —RJ

“Bo Burnham vs. Jeff Bezos,” CJ the X

Thanks to my specific symptoms of ADHD, it can be really hard for me to devote time to watch video essays that are over an hour long, and even harder for me to really fall in love with them. I hope this will help convey the gravity with which I am saying that I watched this two-and-a-half-hour video more times than any other video on YouTube this year. What starts as an analysis of Bo Burnham’s Inside slowly morphs into something else, then something else, then something else . This video transitions so gracefully between discussions of posthumanism, the internet, online fame, and what makes something funny, all while being punctuated with CJ the X’s hallmark near-absurdist blink-and-you’ll-miss-it humor. What makes this video an instant classic of the medium, though, is how it lands: a deep, sincere, vulnerable love letter to empathy and human connection, wound up in a personal anecdote that makes the thesis feel even more real.

I struggled to have basic hope or faith in humanity this year. I struggled to tell myself that everything is worth it. No piece of media helped me more with those struggles than this video. I wrote a piece on my read of Inside before seeing this video, and after watching it, my read on Inside has changed. And I’m so grateful. — WW

“The Reign of the Slim Thick Influencer,” Khadija Mbowe

I hope that this creator needs no introduction, because I feel woefully unequipped to introduce them myself. Khadija Mbowe walks the walk, and the walk is an onerous one. Being a feminine-presenting nonbinary creator of an obsidian hue, they brazenly break down some of the most nuanced topics with empathy and levity. Moreover, they pay it forward by promoting creators that the algorithm may have missed — much like myself, and in the same way Tee Noir promoted them a year ago.

“ The Reign of the Slim-Thick Influencer ” is arguably my favorite Khadija Mbowe video this year. It’s a discussion of the trend of Brazilian butt lifts , how influencers like Kim Kardashian perpetuate unrealistic beauty standards, and the awful origins of commodifying the Black woman’s body. This is a must-see for everybody who consumes social media, which is … everybody. — RJ

“make more characters bi, you cowards: why (not) romance?,” voice memos for the void

An installment of Voice Memos for the Void’s Romance in Media series, “make more characters bi, you cowards: why (not) romance?” does what it says on the tin. This video analyzes the strange state of bisexual characters in media, pointing out how rarely bisexual characters get to fall in love. Not have sex, but fall in love. Voice Memos for the Void effortlessly combats rebuttals to this idea that we hear every time we ask for more representation and romance: “Why do they need to be queer?” “Why do they need to be in love?” It also dives into different depictions of masculinity, a history of Byronic heroes, and the troubling tropes that follow bisexual characters around in media, like that of the Magical and/or Hedonistic Bisexual . Forgive the glitchy camera in this video; equipment is expensive, and the commentary more than makes up for the video fidelity. We can thank F. D. Signifier’s feed for putting this video on my radar, too. — WW

“The Black Right Wing,” Anansi’s Library

While Tee Noir enjoys (?) a visibility that many POC creators don’t, Anansi boasts a dedicated 15,000 subscriber count but is deserving of far more. They stay closer to the format that many video essays have in the past of concealing their face in their videos, relying more on the merit of their musings than the luster of their looks. Many of us simply create and comment on the actions of others, but Anansi, for lack of a better term, is really in the field. They are deeply entrenched in American activism, which makes their videos simply an accompaniment to a much larger concerted effort.

This video on The Black Right Wing is redolent of the very fight that they have fought on many occasions. It details this unique subset of Black Americans that embraces the Trumpian conservatism that still plagues the United States to this very day. If you are fascinated by the neurosis necessary to align oneself with a party that is antipodal to your existence, then this is the video for you! — RJ

“On Leftist Disunity,” St. Andrewism

By now you must see the peaks and valleys that this list is riding, from creators who have passed the 100,000 mark to those who are still in the 10,000s. The themes that combine in all of them are apparent: their marginalized status, the video essay format, and most of all, the quality. Over the last year, the Trinibagan St. Andrewism has amassed over 50,000 subscribers, and his video On Leftist Disunity is a highlight. This video is the quintessential love letter to the leftist community that encourages the embrace of the many differences it has within it. Instead of approaching this with the pessimism that many people do, St. Andrew seems gleefully optimistic that this diversity of thought will end up saving not only the United States but the world. —RJ

“Break Bread,” F. D. Signifier

OK, now we can talk about F. D. Signifier in earnest. In my video essay list for our Masterpieces of Streaming series, I gave a brief history of video essays through the lens of educational videos. In “Breaking Bread,” F. D. Signifier offers an uncomfortably accurate parallel history: the rise of video essays from rant reviewers like The Nostalgia Critic. The trend of debate bros and, in F. D. Signifier’s words, every LeftTuber making a video about Ben Shapiro, isn’t just rooted in the medium’s history, though; it’s also rooted in whiteness. That lens and style of video stays prominent thanks to the YouTube algorithm, and while the homogeneity of video essays has been critiqued many times, “Break Bread” breaks down the issue with an astounding level of complexity, research, and guests from all over the video essay ecosystem. How much of a video essayist’s success comes down to talent? How much comes down to luck? And how much comes down to the algorithm knowing that what keeps people watching is simply who looks familiar? — WW

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The Year of Endurance

Hope and uncertainty amid a pandemic that wouldn’t end.

In 2021, the pandemic forced us all to think hard about who we do and don’t trust

Introduction by david rowell.

As a nation, we are supposed to be built around trust. Look at the back of the bills in your wallet. “In God We Trust.”

Trust the system.

Trust yourself.

Trust but verify.

Trust your instincts.

Love may be the emotion we like to think ultimately propels us, but it’s trust that informs how we go about our daily lives. And yet. Our level of trust, our very foundation, has been crumbling for a long time now. Scandals, abuse and corruption in the major pillars of our society — religious institutions, education, business, military, government, health care, law enforcement, even the sports world — have made us a wary people.

When the pandemic came, first as murmurs that were easy to tune out, then as an unbounded crisis we couldn’t tune into enough, our relationship to trust was newly infected with something we didn’t fully understand. And before long, who and what we trusted — or didn’t — in the form of elected leaders, scientists and doctors became one more cause of death here and all over the world. In this way, distrust was a kind of pandemic itself: widely contagious and passed by the mouth.

As the first American casualties of covid-19 were announced, President Trump kept insisting it would disappear “with the heat” or “at the end of the month” or “without a vaccine.” Like a disgraced, fringe science teacher, he entertained this idea at one coronavirus news conference: “I see the disinfectant that knocks it out in a minute, one minute. And is there a way we can do something like that by injection inside, or almost a cleaning?” With leadership like this, the country was receiving an injection — of chaos.

The pandemic ripped through the rest of 2020, and America was not only more splintered than ever, but also a dangerous place to be. Some politicians declared to the public, “I trust the science,” as if that were an unprecedented and heroic stance.

As we navigated our way into 2021, questions about what to believe led — painfully and predictably — to doubts about the most reliable way we had to stay safe: wearing masks. With the return to schools looming, the debate about masks and children — masks as protectors, or masks as educational folly — played out like a plague of rants. No one seemed to trust others to do the right thing anymore, whatever that was. By summer’s end, trust felt like the latest variant to avoid.

Trust takes lots of forms, but can we actually see it in a photograph the way we can identify a cloud or a wave, or an overt moment of joy or sadness? The photo essays that follow capture a full tableau of human responses in year two of the pandemic — trepidation, but also a sense of renewal; celebration, but caution as well. And despite rancor and confusion still being in as steady supply as the vaccine itself, the permutations of trust have their own presence here, too, if we’re open enough to seeing them.

When Jay Wescott went on tour with rock band Candlebox, he was documenting one of the many performing acts that returned to the road this summer, after the long hiatus. On tour there’s a lot variables you can control, and just as many, if not more, that you can’t — and in the time of covid, control and trust form their own essential but perilous interplay. The picture of the band’s drummer, Robin Diaz, who is vaccinated but unmasked, setting up his kit in such proximity to road manager Carlos Novais, vaccinated and masked, not only captures that still-odd dynamic that goes into making any live performance happen right now; it is also a welcome contrast to all the images of masked and unmasked protesters screaming at each other about what and whom to trust. On tour with Candlebox, Westcott observed how trust is carrying the band forward, creating harmonies on and off the stage.

Much farther away, in Michael Robinson Chavez’s pictures from Sicily, we bear witness to religious celebrations as part of saint’s days, which were canceled last year because of the pandemic. The celebrations resumed, though stripped down, this September, with vaccines readily available, but then, as Chavez notes, the people of Sicily were vaccinated at lower numbers than those in other regions of the country. In one image, we see a tuba player, his mask down below his chin as he blows his notes out into the world. Behind him are masked adults and maskless children. And, perhaps all through the festival, a trust in God to watch over them.

Lucía Vázquez trained her lens on the eager crowds of young women who descended upon Miami, a city known for its own style of carnival-type celebrations, though decidedly less holy ones. These women have left masks out of their outfits and are trusting something not quite scientific and not quite political, but more personal: their guts. Such a calculation comes down to a conviction that either you won’t get the coronavirus, or, if you do, you’ll survive. It means placing a lot of trust in yourself.

As a visual meditation, the pictures in this issue offer a portrait of a historical moment in which trust and distrust have defined us. Ultimately, the photographs that follow, reflecting various realities of the pandemic, are tinted with hope that we can reclaim our lives. Not exactly as they were in the past, but in a way that still resembles how we had once imagined them for the future. These images remind us that even in our fractured, confused and suffering world, it remains possible that where we can find trust again, we can be healed.

Ready to Rock

Unmasked fans and mayflies: on tour with the band candlebox, text and photographs by jay westcott.

I n February 2020, after a dear friend passed away (not from covid), all I could think about was getting on the road with a band so I could lose myself in the work and create something that would bring joy to people. The world had other plans, though.

Sixteen months later, I headed out on tour with Candlebox. Almost 30 years has passed since the Seattle hard-rock group released its debut album and saw it sell more than 4 million copies. Frontman Kevin Martin and his current lineup invited me along to document the first part of their tour. I packed up my gear, drove west, and met the band at Soundcheck, a rehearsal and gear storage facility in Nashville, as they prepared for the tour.

Whenever people learn that I photograph musicians, inevitably they ask me what it’s like on a tour bus. I tell people it’s like camping with your co-workers from the office where you all sleep in the same tent. For weeks on end. That sours their midlife fantasies about digging out that guitar from the garage and hitting the road to become a rock star.

The people who do tour and play music, build the sets, mix the sound, sell the merch and lug the gear night after night are some of the hardest-working people I’ve ever met. They are a special breed of artists, deep thinkers, poets, masters of their instruments. Music has the ability to make you move and stop you in your tracks, to change your mood, make you smile, cry, think. The goal is the same: Put on a great show. Every night. Play like it could be your last show.

It’s easy to sit back and armchair quarterback on social media about the risks of holding festivals and rock concerts amid the pandemic, but this is what people do for a living. Few people buy albums or CDs or even download music anymore. It’s all about streaming and grabbing viewers on social media now. Touring and merch sales are about the only way musicians have to make money these days. Music is meant to be performed in front of people, a shared experience. With everybody on the bus vaccinated and ready to go, we headed to Louisville for the first of a 49-show run.

The crowd of mostly older millennials and GenXers were ready for a rock show. They knew all the words to the hits in the set — especially Candlebox’s mega-hit from the ’90s, “Far Behind” — and were into the band’s new songs too. It felt good. Then came the mayflies, in massive swarms.

The next stop on the tour was a festival along the Mississippi River in Iowa. I was up early, and as soon as we pulled in you could see mayflies dancing in the air all around us. As the day wore on, the flies intensified, and by nightfall any kind of light revealed hundreds upon hundreds of them, dancing in their own way like the crowd of unmasked fans below them. Also there were Confederate flags everywhere. Boats tied together on the river flew Trump flags in the warm summer breeze.

I was asleep when we crossed the river and made our way to St. Louis, the third stop on the tour and my last with the band. A great crowd: Close your eyes and you can easily picture yourself at Woodstock ’94. But it’s 2021 and Kevin Martin and company are still here.

Jay Westcott is a photographer in Arlington.

‘He Gave Me Life’

A cuban single mother reflects on isolation with her son, text and photographs by natalia favre.

S ingle mother Ara Santana Romero, 30, and her 11-year-old son, Camilo, have spent the past year and a half practically isolated in their Havana apartment. Just before the pandemic started, Camilo had achieved his biggest dream, getting accepted into music school. Two weeks after classes began, the schools closed and his classes were only televised. A return to the classroom was expected for mid-November, at which point all the children were scheduled to be vaccinated. According to a UNICEF analysis, since the beginning of the pandemic, 139 million children around the world have lived under compulsory home confinement for at least nine months.

Before the pandemic, Ara had undertaken several projects organizing literary events for students. After Havana went into quarantine and Camilo had to stay home, her days consisted mainly of getting food, looking after her son and doing housework. As a single mother with no help, she has put aside her wishes and aspirations. But Ara told me she never regretted having her son: “He gave me life.”

Natalia Favre is a photographer based in Havana.

Life After War in Gaza

A healing period of picnics, weddings and vaccinations, text and photographs by salwan georges.

A s I went from Israel into the Gaza Strip, I realized I was the only person crossing the border checkpoint that day. But I immediately saw that streets were vibrant with people shopping and wending through heavy traffic. There are hardly any working traffic lights in Gaza City, so drivers wave their hands out their windows to alert others to let them pass.

Despite the liveliness, recent trauma lingered in the air: In May, Israeli airstrikes destroyed several buildings and at least 264 Palestinians died. The fighting came after thousands of rockets were fired from Gaza into Israel, where at least 16 people died. Workers were still cleaning up when I visited in late August, some of them recycling rubble — such as metal from foundations — to use for rebuilding.

I visited the city of Beit Hanoun, which was heavily damaged. I met Ibrahim, whose apartment was nearly destroyed, and as I looked out from a hole in his living room, I saw children gathered to play a game. Nearby there is a sports complex next to a school. Young people were playing soccer.

Back in Gaza City, families come every night to Union Soldier Park to eat, shop and play. Children and their parents were awaiting their turn to pay for a ride on an electric bike decorated with LED lights. In another part of town, not too far away, the bazaar and the markets were filled ahead of the weekend.

The beach in Gaza City is the most popular destination for locals, particularly because the Israeli government, which occupies the territory, generally does not allow them to leave Gaza. Families picnicked in the late afternoon and then stayed to watch their kids swim until after sunset. One of the local traditions when someone gets married is to parade down the middle of a beachfront road so the groom can dance with relatives and friends.

Amid the activities, I noticed that many people were not wearing face coverings, and I learned that the coronavirus vaccination rate is low. The health department started placing posters around the city to urge vaccination and set up a weekly lottery to award money to those who get immunized.

I also attended the funeral of a boy named Omar Abu al-Nil, who was wounded by the Israeli army — probably by a bullet — during one of the frequent protests at the border. He later died at the hospital from his wounds. More than 100 people attended, mainly men. They carried Omar to the cemetery and buried him as his father watched.

Salwan Georges is a Washington Post staff photographer.

Beyond the Numbers

At home, i constructed a photo diary to show the pandemic’s human toll, text and photographs by beth galton.

I n March 2020, while the coronavirus began its universal spread, my world in New York City became my apartment. I knew that to keep safe I wouldn’t be able to access my studio, so I brought my camera home and constructed a small studio next to a window.

I began my days looking at the New York Times and The Washington Post online, hoping to find a glimmer of positive news. What I found and became obsessed with were the maps, charts and headlines, all of which were tracking the coronavirus’s spread. I printed them out to see how the disease had multiplied and moved, soon realizing that each of these little visual changes affected millions of people. With time, photographs of people who had died began to appear in the news. Grids of faces filled the screen; many died alone, without family or friends beside them.

This series reflects my emotions and thoughts through the past year and a half. By photographing data and images, combined with botanicals, my intent was to speak to the humanity of those affected by this pandemic. I used motion in the images to help convey the chaos and apprehensions we were all experiencing. I now see that this assemblage is a visual diary of my life during the pandemic.

Beth Galton is a photographer in New York.

Finding Hope in Seclusion

A self-described sickle cell warrior must stay home to keep safe, text and photographs by endia beal.

O nyekachukwu Onochie, who goes by Onyeka, is a 28-year-old African American woman born with sickle cell anemia. She describes herself as a sickle cell warrior who lives each day like it’s her last. “When I was younger,” she told me, “I thought I would live until my mid-20s because I knew other people with sickle cell that died in their 20s.”

The Centers for Disease Control and Prevention describes sickle cell anemia as an inherited red blood cell disorder that causes those cells to become hard and sticky, and appear C-shaped. Healthy red blood cells are round and move through small blood vessels to carry oxygen, whereas sickle cells die earlier and transport less oxygen. The disorder can cause debilitating pain and organ failure.

In June 2020, Onyeka began preparing her body for a stem cell transplant — a new treatment — and underwent the procedure in April. She is now home in Winston-Salem, N.C., recovering from the transplant. Despite the positive results thus far, Onyeka’s immune system is compromised and she is at greater risk of severe illness or death from viruses.

I asked about her life during the pandemic. She told me: “My new normal includes video chat lunch dates. I have more energy now than ever before, but I have to stay indoors to protect myself from airborne viruses, among other things.” Onyeka believes she has been given a new life with endless possibilities — even though she is temporarily homebound.

Endia Beal is an artist based in Winston-Salem, N.C.

Baker’s Choice

A fun-loving, self-taught baker decides to open her shop despite the pandemic, text and photographs by marvin joseph.

T iffany Lightfoot is the owner and founder of My Cake Theory, where she merges her love of fashion with her gifts as a baker. Undaunted by the pandemic, she opened her first brick-and-mortar shop on Capitol Hill last year. Lightfoot, 41, combined the skills she learned as a student at the Fashion Institute of Technology with dozens of hours watching the Food Network and YouTube videos — and spun her self-taught baking into a business. With these photographs I wanted to show how much fun she has baking — while building a career she clearly loves.

Marvin Joseph is a Washington Post staff photographer.

Leap of Faith

Despite low vaccination rates, sicilians resume religious parades, text and photographs by michael robinson chavez.

T he island of Sicily has been overrun and conquered by numerous empires and civilizations. The year 2020 brought a new and deadly conqueror, the coronavirus. The lockdown was absolute — even church doors were shut tight. But in 2021, Sicilians brought life and traditions back to their streets.

Saint’s days, or festas, are important events on the Sicilian calendar. Last year, for the first time in more than a century, some towns canceled their festas. The arrival of vaccines this year seemed to offer hope that the processions would once again march down the ancient streets. However, a surge in summer tourism, while helping the local economy, also boosted the coronavirus infection rate.

Sicily has the lowest vaccination rate in Italy. Nevertheless, scaled-down celebrations have reappeared in the island’s streets. In the capital city of Palermo, residents gathered for the festa honoring the Maria della Mercede (Madonna of Mercy), which dates to the 16th century. Children were hoisted aloft to be blessed by the Virgin as a marching band played in a small piazza fronting the church that bears her name. Local bishops did not permit the normal procession because of the pandemic, so local children had their own, carrying a cardboard re-creation of the Virgin through the labyrinth of the famous Il Capo district’s narrow streets.

As the fireworks blossomed overhead and the marching band played on, it was easy to see that Sicilians were embracing a centuries-old tradition that seems certain to last for many more to come.

Michael Robinson Chavez is a Washington Post staff photographer.

Defiant Glamour

After long months of covid confinement, a fearless return to 2019 in miami beach, text and photographs by lucía vázquez.

O n Miami Beach’s Ocean Drive I’ve seen drunk girls hitting other drunk girls, and I’ve seen men high on whatever they could afford, zombie-walking with their mouths and eyes wide open amid the tourists. I’ve seen partyers sprawled on the pavement just a few feet from the Villa Casa Casuarina, the former Versace mansion.

I’ve seen groups of women wearing fake eyelashes as long and thick as a broom, and flashing miniature bras, and smoking marijuana by a palm tree in the park, next to families going to the beach. I’ve seen five girls standing on the back of a white open-air Jeep twerking in their underwear toward the street.

My photographs, taken in August, capture South Beach immersed in this untamed party mood with the menace of the delta variant as backdrop. They document young women enjoying the summer after more than a year of confinement. Traveling from around the country, they made the most of their return to social life by showing off their style and skin, wearing their boldest party attire. I was drawn to the fearlessness of their outfits and their confidence; I wanted to show how these women identify themselves and wish to be perceived, a year and a half after covid-19 changed the world.

Lucía Vázquez is a journalist and photographer based in New York and Buenos Aires.

A Giving Spirit

‘this pandemic has taught me to be even closer to my family and friends’, text and photographs by octavio jones.

M arlise Tolbert-Jones, who works part time for an air conditioning company in Tampa, spends most of her time caring for her 91-year-old father, Rudolph Tolbert, and her aunt Frances Pascoe, who is 89. Marlise visits them daily to make sure they’re eating a good breakfast and taking their medications. In addition to being a caregiver, Marlise, 57, volunteers for a local nonprofit food pantry, where she helps distribute groceries for families. Also, she volunteers at her church’s food pantry, where food is distributed every Saturday morning.

“I’m doing this because of my [late] mother, who would want me to be there for the family and the community,” she told me. “I’ve had my struggles. I’ve been down before, but God has just kept me stable and given me the strength to keep going. This pandemic has taught me to be even closer to my family and friends.”

Octavio Jones is an independent photojournalist based in Tampa.

First, people paused. Then they took stock. Then they persevered.

Text and photographs by anastassia whitty.

W e all know the pandemic has challenged people and altered daily routines. I created this photo essay to highlight the perspectives and experiences of everyday people, specifically African Americans: What does their “new normal” look like? I also wanted to demonstrate how they were able to persevere. One such person is Maria J. Hackett, 30, a Brooklyn photographer, dancer and mother of a daughter, NiNi. Both are featured on the cover.

I asked Maria her thoughts on what the pandemic has meant for her. “Quarantine opened up an opportunity to live in a way that was more healthy while taking on much-needed deep healing,” she told me. “It was my mental and emotional health that began breaking me down physically. ... I put things to a stop as my health began to deteriorate. I decided I will no longer chase money — but stay true to my art, plan and trust that things will come together in a healthier way for us. I focused more on letting my daughter guide us and on her remaining happy with her activities and social life.”

“Enrolling her in camps and classes like dance and gymnastics led me to develop a schedule and routine,” Maria explained, “opening room for me to complete my first dance residency in my return to exploration of movement. I made time to share what I know with her and what she knows with me.”

Jasmine Hamilton of Long Island, 32, talked in similiar terms. She too became more focused on mental health and fitness. She told me: “The pandemic has demonstrated that life is short and valuable, so I’m more open to creating new experiences.”

Anastassia Whitty is a photographer based in New York.

About this story

Photo editing by Dudley M. Brooks and Chloe Coleman. Design and development by Audrey Valbuena. Design editing by Suzette Moyer and Christian Font. Editing by Rich Leiby. Copy editing by Jennifer Abella and Angie Wu.

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The Best Reviewed Nonfiction of 2021

Featuring george saunders, joan didion, michelle zauner, tom stoppard, tove ditlevsen, and more.

Well, friends, another grim and grueling plague year is drawing to a close, and that can mean only one thing: it’s time to put on our Book Marks stats hats and tabulate the best reviewed books of the past twelve months.

Yes, using reviews drawn from more than 150 publications, over the next two weeks we’ll be revealing the most critically-acclaimed books of 2021, in the categories of (deep breath): Memoir and Biography ; Sci-Fi, Fantasy, and Horror ; Short Story Collections ; Essay Collections ; Poetry ; Mystery and Crime ; Graphic Literature; Literature in Translation; General Fiction ; and General Nonfiction.

Today’s installment: Nonfiction .

Brought to you by Book Marks , Lit Hub’s “Rotten Tomatoes for books.”

1. Crying in H Mart by Michelle Zauner (Knopf)

24 Rave • 6 Positive

“… powerfully maps a complicated mother-daughter relationship cut much too short … Zauner’s food descriptions transport us to the table alongside her … a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength …Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis … It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.”

–Kristen Martin ( NPR )

2. The Copenhagen Trilogy by Tove Ditlevsen, trans. by Tiina Nullally and Michael Favala Goldman (FSG)

23 Rave • 4 Positive Read an excerpt from The Copenhagen Trilogy here

“… beautiful and fearless … Ditlevsen’s memoirs…form a particular kind of masterpiece, one that helps fill a particular kind of void. The trilogy arrives like something found deep in an ancestor’s bureau drawer, a secret stashed away amid the socks and sachets and photos of dead lovers. The surprise isn’t just its ink-damp immediacy and vitality—the chapters have the quality of just-written diary entries, fluidly translated by Tiina Nunnally and Michael Favala Goldman—but that it exists at all. It’s a bit like discovering that Lila and Lenú, the fictional heroines of Elena Ferrante’s Neapolitan quartet, were real … A half-century later, all of it—her extraordinary clarity and imperfect femininity, her unstinting account of the struggle to reconcile art and life—still lands. The construct of memoir (and its stylish young cousin, autofiction) involves the organizing filter of retrospection, lending the impression that life is a continuous narrative reel of action and consequence, of meanings to be universalized … Ditlevsen’s voice, diffident and funny, dead-on about her own mistakes, is a welcome addition to that canon of women who showed us their secret faces so that we might wear our own.”

–Megan O’Grady ( The New York Times Book Review )

3. Tom Stoppard: A Life by Hermione Lee (Knopf)

13 Rave • 19 Positive • 3 Mixed Read an excerpt from Tom Stoppard: A Life here

“Lee…builds an ever richer, circular understanding of his abiding themes and concerns, of his personal and artistic life, and of his many other passionate engagements … Lee’s biography is unusual in that it was commissioned, and published while its subject is still alive. Lee is a highly acclaimed biographer whose rigor and integrity make her decision to write under such conditions surprising … Lee is frank and thoughtful about the challenges of writing about a living subject. She is aware, as the reader will be, that her interview subjects do not want to speak ill of a friend and colleague who is still among them. In addition to the almost unrelievedly positive portrayal of Stoppard, the seven-hundred-fifty-plus pages of this volume might have been somewhat condensed, were its subject no longer living, thereby rendering the biography easier to wield and to read. In spite of these quibbles, this is an extraordinary record of a vital and evolving artistic life, replete with textured illuminations of the plays and their performances, and shaped by the arc of Stoppard’s exhilarating engagement with the world around him, and of his eventual awakening to his own past.”

–Claire Messud ( Harper’s )

4. A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life by George Saunders (Random House)

20 Rave • 9 Positive • 3 Mixed • 2 Pan Listen to an interview with George Saunders here

“This book is a delight, and it’s about delight too. How necessary, at our particular moment … I love the warmth with which he writes about this teaching … This kind of reading (one of the best kinds, I’m convinced) tracks the author’s intentions—and missed intentions, and intuitions, and instinctive recoil from what’s banal or obvious—so closely and intimately, at every step, through every sentence … All this makes Saunders’s book very different from just another ‘how to’ creative writing manual, or just another critical essay. In enjoyably throwaway fashion, he assembles along his way a few rules for writing … reading…with this rich, close attention will mulch down into any would-be writer’s experience, and repay them by fertilising their own work eventually … One of the pleasures of this book is feeling his own thinking move backwards and forwards, between the writer dissecting practice and the reader entering in through the spell of the words, to dwell inside the story.”

–Tessa Hadley ( The Guardian )

5. Real Estate by Deborah Levy (Bloomsbury)

18 Rave • 9 Positive Read an excerpt from Real Estate here

“[A] wonderful new book … Levy, whose prose is at once declarative and concrete and touched with an almost oracular pithiness, has a gift for imbuing ordinary observations with the magic of metaphor … The new volume, which follows the death of one version of the self, describes the uncertain birth of another … She herself is not always a purely likable, or reliable, narrator of her own experience, and her book is the richer for it.”

–Alexandra Schwartz ( The New Yorker )

6. Mike Nichols: A Life by Mark Harris (Penguin)

18 Rave • 8 Positive • 2 Mixed

“Mark Harris’s portrait of director Mike Nichols is a pleasure to read and a model biography: appreciative yet critical, unfailingly intelligent and elegantly written. Granted, Harris has a hyper-articulate, self-analytical subject who left a trail of press coverage behind him, but Nichols used his dazzling conversational gifts to obfuscate and beguile as much as to confide … Harris, a savvy journalist and the author of two excellent cultural histories, makes judicious use of abundant sources in Mike Nichols: A Life to craft a shrewd, in-depth reckoning of the elusive man behind the polished facade … Harris gently covers those declining years with respect for the achievements that preceded them. His marvelous book makes palpable in artful detail the extraordinary scope and brilliance of those achievements.”

–Wendy Smith ( The Washington Post )

7. These Precious Days by Ann Patchett (Harper)

21 Rave • 3 Positive • 1 Mixed Read Ann Patchett on creating the work space you need, here

“… excellent … Patchett has a talent for friendship and celebrates many of those friends here. She writes with pure love for her mother, and with humor and some good-natured exasperation at Karl, who is such a great character he warrants a book of his own. Patchett’s account of his feigned offer to buy a woman’s newly adopted baby when she expresses unwarranted doubts is priceless … The days that Patchett refers to are precious indeed, but her writing is anything but. She describes deftly, with a line or a look, and I considered the absence of paragraphs freighted with adjectives to be a mercy. I don’t care about the hue of the sky or the shade of the couch. That’s not writing; it’s decorating. Or hiding. Patchett’s heart, smarts and 40 years of craft create an economy that delivers her perfectly understated stories emotionally whole. Her writing style is most gloriously her own.”

–Alex Witchel ( The New York Times Book Review )

8. Let Me Tell You What I Mean by Joan Didion (Knopf)

14 Rave • 12 Positive • 6 Mixed Read an excerpt from Let Me Tell You What I Mean here

“In five decades’ worth of essays, reportage and criticism, Didion has documented the charade implicit in how things are, in a first-person, observational style that is not sacrosanct but common-sensical. Seeing as a way of extrapolating hypocrisy, disingenuousness and doubt, she’ll notice the hydrangeas are plastic and mention it once, in passing, sorting the scene. Her gaze, like a sentry on the page, permanently trained on what is being disguised … The essays in Let Me Tell You What I Mean are at once funny and touching, roving and no-nonsense. They are about humiliation and about notions of rightness … Didion’s pen is like a periscope onto the creative mind—and, as this collection demonstrates, it always has been. These essays offer a direct line to what’s in the offing.”

–Durga Chew-Bose ( The New York Times Book Review )

9. Orwell’s Roses by Rebecca Solnit (Viking)

12 Rave • 13 Positive • 1 Mixed Read an excerpt from Orwell’s Roses here

“… on its simplest level, a tribute by one fine essayist of the political left to another of an earlier generation. But as with any of Solnit’s books, such a description would be reductive: the great pleasure of reading her is spending time with her mind, its digressions and juxtapositions, its unexpected connections. Only a few contemporary writers have the ability to start almost anywhere and lead the reader on paths that, while apparently meandering, compel unfailingly and feel, by the end, cosmically connected … Somehow, Solnit’s references to Ross Gay, Michael Pollan, Ursula K. Le Guin, and Peter Coyote (to name but a few) feel perfectly at home in the narrative; just as later chapters about an eighteenth-century portrait by Sir Joshua Reynolds and a visit to the heart of the Colombian rose-growing industry seem inevitable and indispensable … The book provides a captivating account of Orwell as gardener, lover, parent, and endlessly curious thinker … And, movingly, she takes the time to find the traces of Orwell the gardener and lover of beauty in his political novels, and in his insistence on the value and pleasure of things .”

10. A Ghost in the Throat by Doireann Ní Ghríofa (Biblioasis)

17 Rave • 4 Positive Read an excerpt from A Ghost in the Throat here

“… ardent, shape-shifting … The book is all undergrowth, exuberant, tangled passage. It recalls Nathalie Léger’s brilliant and original Suite for Barbara Loden : a biography of the actress and director that becomes a tally of the obstacles in writing such a book, and an admission of the near-impossibility of biography itself … The story that uncoils is stranger, more difficult to tell, than those valiant accounts of rescuing a ‘forgotten’ woman writer from history’s erasures or of the challenges faced by the woman artist … What is this ecstasy of self-abnegation, what are its costs? She documents this tendency without shame or fear but with curiosity, even amusement. She will retrain her hungers. ‘I could donate my days to finding hers,’ she tells herself, embarking on Ni Chonaill’s story. ‘I could do that, and I will.’ Or so she says. The real woman Ni Ghriofa summons forth is herself.”

–Parul Sehgal ( The New York Times )

Our System:

RAVE = 5 points • POSITIVE = 3 points • MIXED = 1 point • PAN = -5 points

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Recent Essay Collections

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W hat I like about essays is their sheer unpredictability and exuberance, their limitless range of subject matter, the way in which, within short compass, they give access to all kinds of perspectives. Their independence—often combined with eccentricity—adds to their appeal. Essays shrug off definition and constraint and go their own way, to wherever that happens to take them, in whatever manner is deemed appropriate by their authors. I like the fact that this is such an open form. Though the specialist expertise of essayists can be impressive, formal scholarship is not a prerequisite for writing in this way. As Graham Good puts it (in The Observing Self: Rediscovering the Essay ): “Anyone who can look attentively, think freely, and write clearly can be an essayist; no other qualifications are needed.” Of course attentive looking, free thinking, and clear writing are not as easy to put into practice as to state, but these are the core qualities of a good essay. They are found in abundance in the three collections I’ve selected.

What Cannot Be Undone: True Stories of a Life in Medicine

University of New Mexico Press

One of the types sometimes identified within the broad category of “essay” is “the medical essay,” exemplified by writers like Lewis Thomas, Richard Selzer, and Oliver Sacks. Walter Robinson’s collection is a brilliant addition to this area. He takes readers with him as he tends to patients, laying out details of their afflictions, how they are coping, and the ethical issues that are raised by their treatment. These unflinchingly honest and compassionate explorations of the challenges faced by medics and their charges are often harrowing, sometimes amusing, but always fascinating. With engaging modesty, Robinson takes us close enough to the heart of difficult experiences for us to feel the pulse of the dilemmas they pose.

Kilclief and Other Essays

Irish Pages

Kilclief and Other Essays presents over fifty of Patricia Craig’s book reviews. The author is one of Ireland’s foremost critics—and clearly a reader extraordinaire. Although many Irish writers are touched on, Craig’s interests are by no means confined to her native country. She is as illuminating writing about Alice Munro’s short stories, Victorian photography, or the eccentricities of British spymaster Maxwell Knight as she is about contemporary Irish fiction and poetry. The presentation of her reviews as “essays” feels right, an illustration of how much common ground these types of writing share—at least in the hands of as adept a reviewer as Craig repeatedly shows herself to be.

The Best American Essays 2021

Ed. Kathryn Schulz

Mariner Books

The Best American Essays is an annual treat for essay readers. Established in 1986 by Robert Atwan, who remains series editor, these anthologies present what each year’s editor reckons are the best essays to have appeared in literary journals in the US over the preceding twelve months. Since Elizabeth Hardwick acted as editor for the first edition, this position has been filled by an impressive roster of literary talent—Susan Sontag in 1992, Mary Oliver in 2009, and Rebecca Solnit in 2019, to give just three examples. The illuminating introductions, where the different editors reflect on their assignment, add to the series’ interest. Cumulatively, The Best American Essays represents a gold mine of first-rate essay writing. The 2021 volume continues this tradition of excellence. Among its many fine essays is “Love in a Time of Terror,” by Barry Lopez. Reading it is a bittersweet experience. Lopez died in December 2020. It seems fitting that one of the last pieces to be written by this outstanding essayist should find a place in this volume.

Chris Arthur ’s most recent essay collection is Hidden Cargoes (2022). He lives in St Andrews, Scotland. Details of his books can be found at www.chrisarthur.org.

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Escaping Indoors

Reading Life by Chris Arthur

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Irish Books to Move Us, by Ethel Rohan

Palestinian Women’s Voices in Translation, by Mai Al-Nakib

Challenged and Banned, by tanita s. davis

Retranslations, by C. Luke Soucy

Illness and Disability

Indigenous Horror, by Heather Hall

What to Read Now: New Ways of Being in Contemporary Eco-Lit, by A. E. Copenhaver

What to Read Now: Historical Biographical Fiction, by Rilla Askew

What to Read Now: On War and Borders, Italian and Beyond, by Enrica Maria Ferrara

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September 2022

The cover feature of  World Literature Today’ s September issue assembles more than a dozen writers, artists, photographers, and translators reflecting on the theme  Bearing Witness: Confronting Injustice through Art . Additional highlights include creative nonfiction, essays, poetry, and what to read lists from all over the world + more than two dozen book reviews and additional booklists.

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The Top 10 Muse Essays of 2021

Guest essays from the industry are a big part of our content, bringing fresh and interesting perspectives every day. Below, check out the most-read essays from 2021. Thanks to everyone who took the time to write this year. And as always, shoot me a note if you've got an idea for a piece.

Also, check out our other Year in Review stories here:

• The Year in Creativity, 2021
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The Biggest Sport You've Barely Heard Of

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More From Forbes

The 10 best new movies on netflix in may 2024.

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Chloë Grace Moretz stars in the action film 'Shadow in the Cloud.'

On the first day of each month, Netflix Netflix never fails—we are guaranteed a wealth of cinematic material that’ll keep us wondering what to watch next for hours. This has certainly been the case over the first few days of May, as the streaming service has gifted us with all sorts of great options. From dark indie dramas about addiction and familiar love to sci-fi reboots that reignite storied romances to a surprise documentary from A24 about conservation, there’s sure to be an option for any kind of movie lover. So...where do you start?

Hopefully I can help. Below, you’ll find my picks for the ten best new movies added to Netflix so far in May 2024. Past that, you’ll find a comprehensive list of every single new film available to subscribers. I’m guessing that you’ll find your next movie night flick in this bunch.

The Matrix: Resurrections (2021)

It’s the reboot we never thought would happen. Twenty-two years after the original film’s groundbreaking introduction , The Matrix: Resurrections picks up right where the story left off, thrusting viewers back into the perplexing virtual reality that captivated a generation. In this latest iteration, Keanu Reeves reprises his role as Neo, now living under the guise of an ordinary software developer, haunted by fractured memories of his past life. Lana Wachowski helms this ambitious sequel (this time without sister Lilly), spinning a tale of illusion and reality as Neo's dormant world begins to crack. Of course Carrie-Anne Moss returns as Trinity, with she and Neo’s chemistry reigniting forgotten passions and pivotal revolutions. Together, they navigate this rejuvenated matrix, challenging viewers to discern truth from illusion in a world that defies the boundaries of human understanding.

Wells Fargo Championship 2024 Golf Betting Preview, Odds And PGA Picks

2 obvious signs of ‘workplace gaslighting,’ from a psychologist, the minnesota timberwolves are suffocating everyone defensively, lola (2024).

Directed by Nicola Peltz Beckham, the daughter of a billionaire businessman, Lola was destined to have its haters. But behind the showbiz kid veneer is a deep, honest story that deserves more respect. Co-directed by Bria Vinaite, this dark drama navigates the precarious existence of its titular character, played with raw vulnerability by Peltz Beckham. Struggling to extricate her younger brother from their deleterious home environment, Lola’s life is irrevocably altered by a single night's tragedy. Beckham's directorial debut showcases a deep empathy for her characters, skillfully peeling back the layers of addiction and familial love, while delivering a compelling exploration of resilience and redemption. Supported by standout performances from Raven Goodwin and Richie Merritt, this film not only marks Beckham as a formidable force in front of and behind the camera but also delivers a powerful story about the bonds that sustain us through our darkest moments.

Hellboy (2019)

Back in 2004, Guillermo del Toro delivered what many people (including myself) considered to be a confident recreation of the Hellboy comic world while also elevating the superhero formula into a higher form of entertainment. In the 2019 reboot of Hellboy , director Neil Marshall, who gave us horror flicks like The Descent and Dog Soldiers, goes a decidedly different direction tonally, yet delivers a successful, modernized version of the wry superhero’s universe. This time, David Harbour dons the iconic red skin and horns, emerging as a conflicted hero wrestling with his demonic destiny while battling ancient forces bent on Earth's destruction. Under Marshall's direction, the film strides into darker territories, blending visceral combat with gothic horror. With Milla Jovovich as his nemesis and Ian McShane as his guide, the narrative arcs into the tumultuous life of Hellboy, exploring his struggle between preordained destruction and the fierce desire to forge his own path.

My Mercury (2024)

The documentary 'My Mercury' follows Yves Chesselet as a conservationist who transforms an island ... [+] into a sanctuary for endangered seabirds.

A surprise documentary is one thing—a surprise documentary from A24, however? That’ll get your attention. A brand new doc from the hottest production company in Hollywood, My Mercury immerses viewers in the passion and perils of Yves Chesselet, a 28-year-old conservationist who abandons the comforts of urban life to make a new home on the remote Mercury Island off Namibia's coast. Under his watch, the island transforms into a sanctuary for endangered seabirds, necessitating the removal of 15,000 seals. Directed by Yves’s sister Joelle Chesselet and co-directed by Pippa Ehrlich, who brought the Oscar-winning My Octopus Teacher , this documentary blends intimate diary entries and extensive video footage, capturing Yves' profound connection with nature against a backdrop of personal and ecological narratives. His journey not only underscores the harsh realities of conservation but also paints a stark portrait of the sacrifices required to reclaim nature's balance in our Anthropocene era.

You can find the trailer for My Mercury on Netflix.

Mortal Kombat (2021)

The original Mortal Kombat from Paul W.S. Anderson has always been a bit of a guilty pleasure of mine. But for anybody who desired a much more polished blockbuster, the 2021 reboot may have been a welcome surprise. Under Simon McQuoid's direction, the new Mortal Kombat resurrects the legendary tournament by introducing Cole Young, portrayed by Lewis Tan, a fighter marked by destiny yet ignorant of his powerful lineage. As he's thrust into a brutal battle that spans realms, the film unleashes a flurry of martial arts mastery and fantastical fatalities that the franchise is known for. Iconic warriors like Sub-Zero and Scorpion return, executing their signature moves in a high-stakes war between Earth and the Outerworld. Starring super watchable all-stars like Tan, Jessica McNamee, and Josh Lawson, this reboot delivers a visceral journey into the heart of combat, where every fight is a dance with death.

Unfrosted (2024)

Jerry Seinfeld has accomplished a great deal during his career. But prior to this moment, he had never directed a movie. But Netflix changed all that with Unfrosted , which catapults us back to the swinging '60s where we delve into the madcap origin story of the Pop-Tart. In Battle Creek, Michigan, a frantic race between Kellogg's and Post unfolds—and not for space exploration, but for breakfast supremacy. From the looks of the trailer, Seinfeld injects his trademark humor into this film in which he also stars, celebrating the absurdity of corporate America's quest to invent a new breakfast classic. The cast, including Jim Gaffigan in a humorously tight suit, along with Melissa McCarthy, Hugh Grant, and Amy Schumer, this comedy aims to deliver a delightful romp that embodies the quirky spirit of the era.

The Best Man Holiday (2013)

Every year, we like to highlight the best Christmas movies, as well as the most underrated ones—and The Best Man Holiday always makes its way onto my personal list. This sequel reunites viewers with the cherished circle of friends from the original film after nearly 15 years, discovering how time and circumstance have shaped their lives. Directed by Malcolm D. Lee, the ensemble cast led by Morris Chestnut, Taye Diggs, and Nia Long reconvenes over a festive Christmas gathering, where old rivalries and romances reignite amid the joy and camaraderie of the holiday season. The film beautifully balances humor with heartfelt honesty, weaving through themes of forgiveness, growth, and the enduring power of friendship. Every character is rewarded with a compelling story that’s balanced by the electric energy surrounding them. If you’ve never seen the Best Man movies, get on it.

Dark Waters (2019)

Todd Haynes has delivered a number of highly dramatic classics over the years, from his 1990s output of Safe Safe and Velvet Goldmine to his recent work with Carol and May December. But one that went criminally overlooked was the 2021 legal thriller Dark Waters , which delves into the chilling depths of corporate greed and environmental desecration through the relentless pursuit of truth by a dogged attorney, portrayed compellingly by Mark Ruffalo. This Haynes film unfolds a real-life saga of an unassuming lawyer who stumbles upon a chemical leviathan poisoning a small town. Supported by Anne Hathaway and Tim Robbins, Ruffalo's character peels back layers of deceit to reveal a haunting environmental catastrophe. This journey is not just a pursuit for justice but a revelation of how the human spirit can stand firm against a colossal tide of industrial malfeasance.

Shadow in the Cloud (2020)

Each year, we are gifted with all kinds of Oscar-worthy films that capture our hearts with their riveting characters. But...we also get to watch films that aim for something different—something lower ...yet also something transcendent? Any way you shake it, I would argue how-did-this-get-made movies like Shadow in the Cloud , which look and feel like nothing else, deserve our attention. Directed by Roseanne Liang, this ridiculous movie pairs high-altitude thrills with supernatural chills, starring Chloë Grace Moretz as a fearless WWII pilot named Maude on a classified mission. Isolated in the belly of a bomber, she not only faces off against an aerial onslaught but also a sinister presence lurking within the aircraft. The film uses its claustrophobic setting to create a pressure-cooker scenario that forces our protagonist to maneuver through this double threat in delightfully entertaining fashion.

Rather (2023)

Dan Rather is the focus of the 2023 documentary 'Rather.'

Not many people expected Frank Marshall, the director of film like Arachnophbia, Congo, and Eight Below , to become a compelling documentary director. But that’s been the case ever since 2020, as Marshall has delivered several musical explorations, like Jazz Fest: A New Orleans Story and The Bee Gees: How Can You Mend a Broken Heart . Marshall takes a decidedly different direction with Rather, a reverent documentary that chronicles the storied career of Dan Rather, an emblematic figure in American journalism. Through interviews and historical footage, Marshall paints a portrait of a man whose reporting from global hotspots like Vietnam and the Berlin Wall has defined moments of historical heft. Now, at 92, Rather reflects on his enduring commitment to truth and democracy. This film serves not only as a biography but as a mirror reflecting the transformative power of journalism in shaping public consciousness.

You can find the trailer for Rather here.

Every New Movie on Netflix in May 2024

• May 1 : Airport (1970); Airport 1975 (1974); Airport ’77 (1977); Blended (2014); Blue Mountain State: The Rise of Thadland (2016); Dark Waters (2019); Deaw Special: Super Soft Power (2024); Down the Rabbit Hole (2024); Eat Pray Love (2010); Girls Trip (2017); Heeramandi: The Diamond Bazaar (2024); Hellboy (2019); Hulk (2003); Jerry Lee Lewis: Trouble in Mind (2022); Jumanji (1995); Liar Liar (1997); Madagascar: Escape 2 Africa (2008); Mortal Kombat (2021); Mr. & Mrs. Smith (2005); My Mercury (2024); One More Shot (2024); Patriots Day (2016); Public Enemies (2009); Rather (2023); Ride Along (2014); Shrek (2001); Shrek Forever After (2010); Starship Troopers (1997); The Best Man Holiday (2013); The Edge of Seventeen (2016); The Equalizer (2014); The Gentlemen (2019); The Great Wall (2019); The Matrix: Resurrections (2021); The Nutty Professor (1996); The Nutty Professor II: The Klumps (2000); The Wedding Planner (2001); The Young Victoria (2009); Traffic (2000); White House Down (2013); Woody Woodpecker (2018)
• May 2 : Beautiful Rebel (2024); Lola (2024); Secrets of the Neanderthals (2024); Shadow in the Cloud (2020)
• May 3 : 2 Hearts (2020); Unfrosted (2024)
• May 5 : Larva in Mars (2024); The Peanut Butter Falcon (2019)

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9 of 10 wrongful death suits over astroworld concert crowd surge have been settled: lawyer.

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HOUSTON (AP) — Nine of the 10 wrongful death lawsuits filed after a deadly crowd surge at the 2021 Astroworld music festival  have been settled, including one that was set to go to trial this week, an attorney said Wednesday.

Jury selection had been set to begin Tuesday in the wrongful death suit filed the family of Madison Dubiski, a 23-year-old Houston resident who was one of 10 people killed during the crowd crush at the Nov. 5, 2021, concert by rap superstar Travis Scott.

But Neal Manne, an attorney for Live Nation, the festival’s promoter and one of those being sued along with Scott, said during a court hearing Wednesday that only one wrongful death lawsuit remained pending and the other nine have been settled, including the one filed by Dubiski’s family.

Noah Wexler, an attorney for Dubiski’s family, confirmed during the court hearing that their case “is resolved in its entirety.”

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Terms of the settlements were confidential and attorneys declined to comment after the court hearing because of a gag order in the case.

The one wrongful death lawsuit that remains pending was filed by the family of 9-year-old Ezra Blount, the youngest person killed during the concert. Attorneys in the litigation were set to meet next week to discuss when the lawsuit filed by Blount’s family could be set for trial.

“This case is ready for trial,” Scott West, an attorney for Blount’s family, said in court.

But Manne said he and the lawyers for other defendants being sued were not ready.

State District Judge Kristen Hawkins said she planned to discuss the Blount case at next week’s hearing along with potential trials related to the injury cases filed after the deadly concert.

Hawkins said that if the Blount family’s lawsuit is not settled, she is inclined to schedule that as the next trial instead of an injury case.

More than 4,000 plaintiffs filed hundreds of lawsuits after the concert. Manne said about 2,400 injury cases remain pending.

The announcement that nearly all of the wrongful death lawsuits have been settled came after the trial in Dubiski’s case was put on hold last week. Apple Inc., which livestreamed Scott’s concert and was one of the more than 20 defendants being sued by Dubiski’s family, had appealed a court ruling that denied its request to be dismissed from the case. An appeals court granted Apple a stay in the case.

In the days after the trial stay, attorneys for Dubiski’s family settled their lawsuit with all the defendants in the case, including Apple, Scott and Live Nation, the world’s largest live entertainment company.

At least four wrongful death lawsuits had previously been settled and announced in court records. But Wednesday was the first time that lawyers in the litigation had given an update that nine of the 10 wrongful death lawsuits had been resolved.

Lawyers for Dubiski’s family as well as attorneys representing the various other plaintiffs have alleged in court filings that the deaths and hundreds of injuries at the concert were caused by negligent planning and a lack of concern over capacity and safety at the event.

Those killed, who ranged in age from 9 to 27, died from compression asphyxia, which an expert likened to being crushed by a car.

Scott, Live Nation and the others who’ve been sued have denied these claims, saying safety was their No. 1 concern. They said what happened could not have been foreseen.

After a police investigation, a grand jury last year declined to indict Scott, along with five others connected to the festival.

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Kentucky Derby 2024: Results and payouts as Mystik Dan wins 150th Run for the Roses

M ystik Dan has captured the 150th running of the Kentucky Derby with stunning victory that gave a star-studded crowd of 156,710 plenty to cheer about in a three-way photo finish.

Fierceness jumped out to an early lead with Just Steel and Track Phantom right behind, jockeying for position around the first turn where Track Phantom took control. But as always the race didn't truly begin until the final stretch, where Sierra Leone (9-2) came from 14 lengths back to make a charge up front and Mystik Dan (18-1) surged along the rail as Forever Young (7-1) budged into the pack. It took until a few moments after the race ended before anyone truly knew for sure who captured the win.

It's the first win for trainer Kenny McPeek, who won the Kentucky Oaks on Friday at Churchill Downs with jockey Brian Hernandez, Jr.

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2024 Kentucky Derby Payouts

• Mystik Dan ($39.22, $16.22, $10.00)
• Sierra Leone (N/A, $6.54, $4.64)
•  Forever Young (N/A, N/A, $5.58)

(Based on $2 bet)

$2.00 Exacta: $258.56

$1.00 Trifecta: $1,113.84

$1.00 Superfecta: $8,254.00

Purse Payouts

• Mystik Dan $3,100,000
• Sierra Leone $1,000,000
• Forever Young $500,000
• Catching Freedom $250,000
• T O Password $150,000

This article originally appeared on For The Win: Kentucky Derby 2024: Results and payouts as Mystik Dan wins 150th Run for the Roses