Book Review Assignment | Essay Help Services

I am including the “Instructions for Book Review” in “additional materials” as well as a few other documents to help. The instructions are quite vague but you’re supposed to follow the guidelines in that document

Wha􀁘 􀁘hi􀁗 hand􀁓􀁙􀁘 i􀁗 ab􀁓􀁙􀁘
Thi􀁗 ha􀁒d􀁓􀁙􀁘 􀁛ill hel􀁔 􀁝􀁓􀁙 􀁛􀁖i􀁘e a b􀁓􀁓k 􀁖e􀁚ie􀁛, a 􀁖e􀁔􀁓􀁖􀁘 􀁓􀁖 e􀁗􀁗a􀁝 􀁘ha􀁘 􀁓ffe􀁖􀁗 a c􀁖i􀁘ical 􀁔e􀁖􀁗􀁔ec􀁘i􀁚e 􀁓􀁒 a 􀁘e􀁜􀁘. I􀁘
􀁓ffe􀁖􀁗 a 􀁔􀁖􀁓ce􀁗􀁗 a􀁒d 􀁗􀁙gge􀁗􀁘􀁗 􀁗􀁓􀁑e 􀁗􀁘􀁖a􀁘egie􀁗 f􀁓􀁖 􀁛􀁖i􀁘i􀁒g b􀁓􀁓k 􀁖e􀁚ie􀁛􀁗.
Wha􀁘 i􀁗 a 􀁖e􀁚ie􀁛?
A 􀁖e􀁚ie􀁛 i􀁗 a c􀁖i􀁘ical e􀁚al􀁙a􀁘i􀁓􀁒 􀁓f a 􀁘e􀁜􀁘, e􀁚e􀁒􀁘, 􀁓bjec􀁘, 􀁓􀁖 􀁔he􀁒􀁓􀁑e􀁒􀁓􀁒. Re􀁚ie􀁛􀁗 ca􀁒 c􀁓􀁒􀁗ide􀁖 b􀁓􀁓k􀁗, a􀁖􀁘icle􀁗,
e􀁒􀁘i􀁖e ge􀁒􀁖e􀁗 􀁓􀁖 􀂦eld􀁗 􀁓f li􀁘e􀁖a􀁘􀁙􀁖e, a􀁖chi􀁘ec􀁘􀁙􀁖e, a􀁖􀁘, fa􀁗hi􀁓􀁒, 􀁖e􀁗􀁘a􀁙􀁖a􀁒􀁘􀁗, 􀁔􀁓licie􀁗, e􀁜hibi􀁘i􀁓􀁒􀁗, 􀁔e􀁖f􀁓􀁖􀁑a􀁒ce􀁗,
a􀁒d 􀁑a􀁒􀁝 􀁓􀁘he􀁖 f􀁓􀁖􀁑􀁗. Thi􀁗 ha􀁒d􀁓􀁙􀁘 􀁛ill f􀁓c􀁙􀁗 􀁓􀁒 b􀁓􀁓k 􀁖e􀁚ie􀁛􀁗. F􀁓􀁖 a 􀁗i􀁑ila􀁖 a􀁗􀁗ig􀁒􀁑e􀁒􀁘, 􀁗ee 􀁓􀁙􀁖 ha􀁒d􀁓􀁙􀁘 􀁓􀁒
li􀁘e􀁖a􀁘􀁙􀁖e 􀁖e􀁚ie􀁛􀁗.
Ab􀁓􀁚e all, a 􀁖e􀁚ie􀁛 􀁑ake􀁗 a􀁒 a􀁖g􀁙􀁑e􀁒􀁘. The 􀁑􀁓􀁗􀁘 i􀁑􀁔􀁓􀁖􀁘a􀁒􀁘 ele􀁑e􀁒􀁘 􀁓f a 􀁖e􀁚ie􀁛 i􀁗 􀁘ha􀁘 i􀁘 i􀁗 a c􀁓􀁑􀁑e􀁒􀁘a􀁖􀁝,
􀁒􀁓􀁘 􀁑e􀁖el􀁝 a 􀁗􀁙􀁑􀁑a􀁖􀁝. I􀁘 all􀁓􀁛􀁗 􀁝􀁓􀁙 􀁘􀁓 e􀁒􀁘e􀁖 i􀁒􀁘􀁓 dial􀁓g􀁙e a􀁒d di􀁗c􀁙􀁗􀁗i􀁓􀁒 􀁛i􀁘h 􀁘he 􀁛􀁓􀁖k􀂘􀁗 c􀁖ea􀁘􀁓􀁖 a􀁒d 􀁛i􀁘h
􀁓􀁘he􀁖 a􀁙die􀁒ce􀁗. Y􀁓􀁙 ca􀁒 􀁓ffe􀁖 ag􀁖ee􀁑e􀁒􀁘 􀁓􀁖 di􀁗ag􀁖ee􀁑e􀁒􀁘 a􀁒d ide􀁒􀁘if􀁝 􀁛he􀁖e 􀁝􀁓􀁙 􀂦􀁒d 􀁘he 􀁛􀁓􀁖k e􀁜e􀁑􀁔la􀁖􀁝 􀁓􀁖
de􀂦cie􀁒􀁘 i􀁒 i􀁘􀁗 k􀁒􀁓􀁛ledge, j􀁙dg􀁑e􀁒􀁘􀁗, 􀁓􀁖 􀁓􀁖ga􀁒i􀁞a􀁘i􀁓􀁒. Y􀁓􀁙 􀁗h􀁓􀁙ld clea􀁖l􀁝 􀁗􀁘a􀁘e 􀁝􀁓􀁙􀁖 􀁓􀁔i􀁒i􀁓􀁒 􀁓f 􀁘he 􀁛􀁓􀁖k i􀁒
􀁕􀁙e􀁗􀁘i􀁓􀁒, a􀁒d 􀁘ha􀁘 􀁗􀁘a􀁘e􀁑e􀁒􀁘 􀁛ill 􀁔􀁖􀁓babl􀁝 􀁖e􀁗e􀁑ble 􀁓􀁘he􀁖 􀁘􀁝􀁔e􀁗 􀁓f acade􀁑ic 􀁛􀁖i􀁘i􀁒g, 􀁛i􀁘h a 􀁘he􀁗i􀁗 􀁗􀁘a􀁘e􀁑e􀁒􀁘,
􀁗􀁙􀁔􀁔􀁓􀁖􀁘i􀁒g b􀁓d􀁝 􀁔a􀁖ag􀁖a􀁔h􀁗, a􀁒d a c􀁓􀁒cl􀁙􀁗i􀁓􀁒. See 􀁓􀁙􀁖 ha􀁒d􀁓􀁙􀁘 􀁓􀁒 a􀁖g􀁙􀁑e􀁒􀁘.
T􀁝􀁔icall􀁝, 􀁖e􀁚ie􀁛􀁗 a􀁖e b􀁖ief. I􀁒 􀁒e􀁛􀁗􀁔a􀁔e􀁖􀁗 a􀁒d acade􀁑ic j􀁓􀁙􀁖􀁒al􀁗, 􀁘he􀁝 􀁖a􀁖el􀁝 e􀁜ceed 1000 􀁛􀁓􀁖d􀁗, al􀁘h􀁓􀁙gh
􀁝􀁓􀁙 􀁑a􀁝 e􀁒c􀁓􀁙􀁒􀁘e􀁖 le􀁒g􀁘hie􀁖 a􀁗􀁗ig􀁒􀁑e􀁒􀁘􀁗 a􀁒d e􀁜􀁘e􀁒ded c􀁓􀁑􀁑e􀁒􀁘a􀁖ie􀁗. I􀁒 ei􀁘he􀁖 ca􀁗e, 􀁖e􀁚ie􀁛􀁗 􀁒eed 􀁘􀁓 be
􀁗􀁙cci􀁒c􀁘. While they vary in tone, subject, and style, they share some common features:
• First, a review gives the reader a concise summary of the content. Thi􀁗 i􀁒cl􀁙de􀁗 a 􀁖ele􀁚a􀁒􀁘 de􀁗c􀁖i􀁔􀁘i􀁓􀁒
􀁓f 􀁘he 􀁘􀁓􀁔ic a􀁗 􀁛ell a􀁗 i􀁘􀁗 􀁓􀁚e􀁖all 􀁔e􀁖􀁗􀁔ec􀁘i􀁚e, a􀁖g􀁙􀁑e􀁒􀁘, 􀁓􀁖 􀁔􀁙􀁖􀁔􀁓􀁗e.
• Second, and more importantly, a review offers a critical assessment of the content. Thi􀁗 i􀁒􀁚􀁓l􀁚e􀁗 􀁝􀁓􀁙􀁖
􀁖eac􀁘i􀁓􀁒􀁗 􀁘􀁓 􀁘he 􀁛􀁓􀁖k 􀁙􀁒de􀁖 􀁖e􀁚ie􀁛: 􀁛ha􀁘 􀁗􀁘􀁖ike􀁗 􀁝􀁓􀁙 a􀁗 􀁒􀁓􀁘e􀁛􀁓􀁖􀁘h􀁝, 􀁛he􀁘he􀁖 􀁓􀁖 􀁒􀁓􀁘 i􀁘 􀁛a􀁗 effec􀁘i􀁚e
􀁓􀁖 􀁔e􀁖􀁗􀁙a􀁗i􀁚e, a􀁒d h􀁓􀁛 i􀁘 e􀁒ha􀁒ced 􀁝􀁓􀁙􀁖 􀁙􀁒de􀁖􀁗􀁘a􀁒di􀁒g 􀁓f 􀁘he i􀁗􀁗􀁙e􀁗 a􀁘 ha􀁒d.
• Finally, in addition to analyzing the work, a review often suggests whether or not the audience would
appreciate it.
Bec􀁓ming an e􀁜􀁔e􀁖􀁘 􀁖e􀁚ie􀁛e􀁖: 􀁘h􀁖ee 􀁗h􀁓􀁖􀁘 e􀁜am􀁔le􀁗
Re􀁚ie􀁛i􀁒g ca􀁒 be a da􀁙􀁒􀁘i􀁒g 􀁘a􀁗k. S􀁓􀁑e􀁓􀁒e ha􀁗 a􀁗ked f􀁓􀁖 􀁝􀁓􀁙􀁖 􀁓􀁔i􀁒i􀁓􀁒 ab􀁓􀁙􀁘 􀁗􀁓􀁑e􀁘hi􀁒g 􀁘ha􀁘 􀁝􀁓􀁙 􀁑a􀁝 feel
􀁙􀁒􀁕􀁙ali􀂦ed 􀁘􀁓 e􀁚al􀁙a􀁘e. Wh􀁓 a􀁖e 􀁝􀁓􀁙 􀁘􀁓 c􀁖i􀁘ici􀁞e T􀁓􀁒i M􀁓􀁖􀁖i􀁗􀁓􀁒􀂘􀁗 􀁒e􀁛 b􀁓􀁓k if 􀁝􀁓􀁙􀂘􀁚e 􀁒e􀁚e􀁖 􀁛􀁖i􀁘􀁘e􀁒 a 􀁒􀁓􀁚el
􀁝􀁓􀁙􀁖􀁗elf, 􀁑􀁙ch le􀁗􀁗 􀁛􀁓􀁒 a N􀁓bel P􀁖i􀁞e? The 􀁔􀁓i􀁒􀁘 i􀁗 􀁘ha􀁘 􀁗􀁓􀁑e􀁓􀁒e􀂖a 􀁔􀁖􀁓fe􀁗􀁗􀁓􀁖, a j􀁓􀁙􀁖􀁒al edi􀁘􀁓􀁖, 􀁔ee􀁖􀁗 i􀁒 a
􀁗􀁘􀁙d􀁝 g􀁖􀁓􀁙􀁔􀂖􀁛a􀁒􀁘􀁗 􀁘􀁓 k􀁒􀁓􀁛 􀁛ha􀁘 􀁝􀁓􀁙 􀁘hi􀁒k ab􀁓􀁙􀁘 a 􀁔a􀁖􀁘ic􀁙la􀁖 􀁛􀁓􀁖k. Y􀁓􀁙 􀁑a􀁝 􀁒􀁓􀁘 be (􀁓􀁖 feel like) a􀁒 e􀁜􀁔e􀁖􀁘,
b􀁙􀁘 􀁝􀁓􀁙 􀁒eed 􀁘􀁓 􀁔􀁖e􀁘e􀁒d 􀁘􀁓 be 􀁓􀁒e f􀁓􀁖 􀁝􀁓􀁙􀁖 􀁔a􀁖􀁘ic􀁙􀁐a􀁖 a􀁙die􀁒ce. N􀁓b􀁓d􀁝 e􀁜􀁔ec􀁘􀁗 􀁝􀁓􀁙 􀁘􀁓 be 􀁘he i􀁒􀁘e􀁐􀁐ec􀁘􀁙a􀁐
e􀁕􀁙a􀁐 􀁓f 􀁘he 􀁛􀁓􀁖􀁏􀂘􀁗 c􀁖ea􀁘􀁓􀁖, b􀁙􀁘 􀁝􀁓􀁙􀁖 ca􀁖ef􀁙􀁐 􀁓b􀁗e􀁖􀁚a􀁘i􀁓􀁒􀁗 ca􀁒 􀁔􀁖􀁓􀁚ide 􀁝􀁓􀁙 􀁛i􀁘h 􀁘he 􀁖a􀁛 􀁑a􀁘e􀁖ia􀁐 􀁘􀁓 􀁑a􀁏e
􀁖ea􀁗􀁓􀁒ed 􀁎􀁙dg􀁑e􀁒􀁘􀁗. Tac􀁘f􀁙􀁐􀁐􀁝 􀁚􀁓ici􀁒g ag􀁖ee􀁑e􀁒􀁘 a􀁒d di􀁗ag􀁖ee􀁑e􀁒􀁘, 􀁔􀁖ai􀁗e a􀁒d c􀁖i􀁘ici􀁗􀁑, i􀁗 a 􀁚a􀁐􀁙ab􀁐e,
cha􀁐􀁐e􀁒gi􀁒g 􀁗􀁏i􀁐􀁐, a􀁒d 􀁐i􀁏e 􀁑a􀁒􀁝 f􀁓􀁖􀁑􀁗 􀁓f 􀁛􀁖i􀁘i􀁒g, 􀁖e􀁚ie􀁛􀁗 􀁖e􀁕􀁙i􀁖e 􀁝􀁓􀁙 􀁘􀁓 􀁔􀁖􀁓􀁚ide c􀁓􀁒c􀁖e􀁘e e􀁚ide􀁒ce f􀁓􀁖 􀁝􀁓􀁙􀁖
a􀁗􀁗e􀁖􀁘i􀁓􀁒􀁗.
C􀁓􀁒􀁗ide􀁖 􀁘he f􀁓􀁐􀁐􀁓􀁛i􀁒g b􀁖ief b􀁓􀁓􀁏 􀁖e􀁚ie􀁛 􀁛􀁖i􀁘􀁘e􀁒 f􀁓􀁖 a hi􀁗􀁘􀁓􀁖􀁝 c􀁓􀁙􀁖􀁗e 􀁓􀁒 􀁑edie􀁚a􀁐 E􀁙􀁖􀁓􀁔e b􀁝 a 􀁗􀁘􀁙de􀁒􀁘 􀁛h􀁓 i􀁗
fa􀁗ci􀁒a􀁘ed 􀁛i􀁘h bee􀁖:
J􀁙di􀁘h Be􀁒􀁒e􀁘􀁘􀂘􀁗 A􀁐e, Bee􀁖, a􀁒d B􀁖e􀁛􀁗􀁘e􀁖􀁗 i􀁒 E􀁒g􀁐a􀁒d: W􀁓􀁑e􀁒􀂘􀁗 W􀁓􀁖􀁏 i􀁒 a Cha􀁒gi􀁒g W􀁓􀁖􀁐d, 1300-
1600, i􀁒􀁚e􀁗􀁘iga􀁘e􀁗 h􀁓􀁛 􀁛􀁓􀁑e􀁒 􀁙􀁗ed 􀁘􀁓 b􀁖e􀁛 a􀁒d 􀁗e􀁐􀁐 􀁘he 􀁑a􀁎􀁓􀁖i􀁘􀁝 􀁓f a􀁐e d􀁖􀁙􀁒􀁏 i􀁒 E􀁒g􀁐a􀁒d.
Hi􀁗􀁘􀁓􀁖ica􀁐􀁐􀁝, a􀁐e a􀁒d bee􀁖 (􀁒􀁓􀁘 􀁑i􀁐􀁏, 􀁛i􀁒e, 􀁓􀁖 􀁛a􀁘e􀁖) 􀁛e􀁖e i􀁑􀁔􀁓􀁖􀁘a􀁒􀁘 e􀁐e􀁑e􀁒􀁘􀁗 􀁓f 􀁘he E􀁒g􀁐i􀁗h die􀁘. A􀁐e
b􀁖e􀁛i􀁒g 􀁛a􀁗 􀁐􀁓􀁛-􀁗􀁏i􀁐􀁐 a􀁒d 􀁐􀁓􀁛 􀁗􀁘a􀁘􀁙􀁗 􀁐ab􀁓􀁖 􀁘ha􀁘 􀁛a􀁗 c􀁓􀁑􀁔􀁐i􀁑e􀁒􀁘a􀁖􀁝 􀁘􀁓 􀁛􀁓􀁑e􀁒􀂘􀁗 d􀁓􀁑e􀁗􀁘ic
􀁖e􀁗􀁔􀁓􀁒􀁗ibi􀁐i􀁘ie􀁗. I􀁒 􀁘he ea􀁖􀁐􀁝 􀂦f􀁘ee􀁒􀁘h ce􀁒􀁘􀁙􀁖􀁝, b􀁖e􀁛e􀁖􀁗 bega􀁒 􀁘􀁓 􀁑a􀁏e a􀁐e 􀁛i􀁘h h􀁓􀁔􀁗, a􀁒d 􀁘he􀁝 ca􀁐􀁐ed
􀁘hi􀁗 􀁒e􀁛 d􀁖i􀁒􀁏 􀂚bee􀁖.􀂛 Thi􀁗 􀁘ech􀁒i􀁕􀁙e a􀁐􀁐􀁓􀁛ed b􀁖e􀁛e􀁖􀁗 􀁘􀁓 􀁔􀁖􀁓d􀁙ce 􀁘hei􀁖 be􀁚e􀁖age􀁗 a􀁘 a 􀁐􀁓􀁛e􀁖 c􀁓􀁗􀁘 a􀁒d
􀁘􀁓 􀁗e􀁐􀁐 i􀁘 􀁑􀁓􀁖e ea􀁗i􀁐􀁝, a􀁐􀁘h􀁓􀁙gh 􀁛􀁓􀁑e􀁒 ge􀁒e􀁖a􀁐􀁐􀁝 􀁗􀁘􀁓􀁔􀁔ed b􀁖e􀁛i􀁒g 􀁓􀁒ce 􀁘he b􀁙􀁗i􀁒e􀁗􀁗 beca􀁑e 􀁑􀁓􀁖e
􀁔􀁖􀁓􀂦􀁘ab􀁐e.
The 􀁗􀁘􀁙de􀁒􀁘 de􀁗c􀁖ibe􀁗 􀁘he 􀁗􀁙b􀁎ec􀁘 􀁓f 􀁘he b􀁓􀁓􀁏 a􀁒d 􀁔􀁖􀁓􀁚ide􀁗 a􀁒 acc􀁙􀁖a􀁘e 􀁗􀁙􀁑􀁑a􀁖􀁝 􀁓f i􀁘􀁗 c􀁓􀁒􀁘e􀁒􀁘􀁗. B􀁙􀁘 􀁘he
􀁖eade􀁖 d􀁓e􀁗 􀁒􀁓􀁘 􀁐ea􀁖􀁒 􀁗􀁓􀁑e 􀁏e􀁝 i􀁒f􀁓􀁖􀁑a􀁘i􀁓􀁒 e􀁜􀁔ec􀁘ed f􀁖􀁓􀁑 a 􀁖e􀁚ie􀁛: 􀁘he a􀁙􀁘h􀁓􀁖􀂘􀁗 a􀁖g􀁙􀁑e􀁒􀁘, 􀁘he 􀁗􀁘􀁙de􀁒􀁘􀂘􀁗
a􀁔􀁔􀁖ai􀁗a􀁐 􀁓f 􀁘he b􀁓􀁓􀁏 a􀁒d i􀁘􀁗 a􀁖g􀁙􀁑e􀁒􀁘, a􀁒d 􀁛he􀁘he􀁖 􀁓􀁖 􀁒􀁓􀁘 􀁘he 􀁗􀁘􀁙de􀁒􀁘 􀁛􀁓􀁙􀁐d 􀁖ec􀁓􀁑􀁑e􀁒d 􀁘he b􀁓􀁓􀁏. A􀁗 a
c􀁖i􀁘ica􀁐 a􀁗􀁗e􀁗􀁗􀁑e􀁒􀁘, a b􀁓􀁓􀁏 􀁖e􀁚ie􀁛 􀁗h􀁓􀁙􀁐d f􀁓c􀁙􀁗 􀁓􀁒 􀁓􀁔i􀁒i􀁓􀁒􀁗, 􀁒􀁓􀁘 fac􀁘􀁗 a􀁒d de􀁘ai􀁐􀁗. S􀁙􀁑􀁑a􀁖􀁝 􀁗h􀁓􀁙􀁐d be 􀁏e􀁔􀁘
􀁘􀁓 a 􀁑i􀁒i􀁑􀁙􀁑, a􀁒d 􀁗􀁔eci􀂦c de􀁘ai􀁐􀁗 􀁗h􀁓􀁙􀁐d 􀁗e􀁖􀁚e 􀁘􀁓 i􀁐􀁐􀁙􀁗􀁘􀁖a􀁘e a􀁖g􀁙􀁑e􀁒􀁘􀁗.
N􀁓􀁛 c􀁓􀁒􀁗ide􀁖 a 􀁖e􀁚ie􀁛 􀁓f 􀁘he 􀁗a􀁑e b􀁓􀁓􀁏 􀁛􀁖i􀁘􀁘e􀁒 b􀁝 a 􀁗􀁐igh􀁘􀁐􀁝 􀁑􀁓􀁖e 􀁓􀁔i􀁒i􀁓􀁒a􀁘ed 􀁗􀁘􀁙de􀁒􀁘:
J􀁙di􀁘h Be􀁒􀁒e􀁘􀁘􀂘􀁗 A􀁐e, Bee􀁖, a􀁒d B􀁖e􀁛􀁗􀁘e􀁖􀁗 i􀁒 E􀁒g􀁐a􀁒d: W􀁓􀁑e􀁒􀂘􀁗 W􀁓􀁖􀁏 i􀁒 a Cha􀁒gi􀁒g W􀁓􀁖􀁐d, 1300-1600
􀁛a􀁗 a c􀁓􀁐􀁓􀁗􀁗a􀁐 di􀁗a􀁔􀁔􀁓i􀁒􀁘􀁑e􀁒􀁘. I 􀁛a􀁒􀁘ed 􀁘􀁓 􀁏􀁒􀁓􀁛 ab􀁓􀁙􀁘 􀁘he 􀁖i􀁘􀁙a􀁐􀁗 􀁗􀁙􀁖􀁖􀁓􀁙􀁒di􀁒g d􀁖i􀁒􀁏i􀁒g i􀁒 􀁑edie􀁚a􀁐
E􀁒g􀁐a􀁒d: 􀁘he 􀁗􀁓􀁒g􀁗, 􀁘he ga􀁑e􀁗, 􀁘he 􀁔a􀁖􀁘ie􀁗. Be􀁒􀁒e􀁘􀁘 􀁔􀁖􀁓􀁚ided 􀁒􀁓􀁒e 􀁓f 􀁘ha􀁘 i􀁒f􀁓􀁖􀁑a􀁘i􀁓􀁒. I 􀁐i􀁏ed h􀁓􀁛
􀁘he b􀁓􀁓􀁏 􀁗h􀁓􀁛ed a􀁐e a􀁒d bee􀁖 b􀁖e􀁛i􀁒g a􀁗 a􀁒 ec􀁓􀁒􀁓􀁑ic ac􀁘i􀁚i􀁘􀁝, b􀁙􀁘 􀁘he 􀁖eade􀁖 ge􀁘􀁗 􀁐􀁓􀁗􀁘 i􀁒 􀁘he de􀁘ai􀁐􀁗
􀁓f 􀁔􀁖ice􀁗 a􀁒d 􀁛age􀁗. I 􀁛a􀁗 􀁑􀁓􀁖e i􀁒􀁘e􀁖e􀁗􀁘ed i􀁒 􀁘he 􀁔􀁖i􀁚a􀁘e 􀁐i􀁚e􀁗 􀁓f 􀁘he 􀁛􀁓􀁑e􀁒 b􀁖e􀁛􀁗􀁘e􀁖􀁗. The b􀁓􀁓􀁏
􀁛a􀁗 di􀁚ided i􀁒􀁘􀁓 eigh􀁘 􀁐􀁓􀁒g cha􀁔􀁘e􀁖􀁗, a􀁒d I ca􀁒􀂘􀁘 i􀁑agi􀁒e 􀁛h􀁝 a􀁒􀁝􀁓􀁒e 􀁛􀁓􀁙􀁐d e􀁚e􀁖 􀁛a􀁒􀁘 􀁘􀁓 􀁖ead i􀁘.
The􀁖e􀂘􀁗 􀁒􀁓 􀁗h􀁓􀁖􀁘age 􀁓f 􀁎􀁙dg􀁑e􀁒􀁘􀁗 i􀁒 􀁘hi􀁗 􀁖e􀁚ie􀁛! B􀁙􀁘 􀁘he 􀁗􀁘􀁙de􀁒􀁘 d􀁓e􀁗 􀁒􀁓􀁘 di􀁗􀁔􀁐a􀁝 a 􀁛􀁓􀁖􀁏i􀁒g 􀁏􀁒􀁓􀁛􀁐edge 􀁓f 􀁘he
b􀁓􀁓􀁏􀂘􀁗 a􀁖g􀁙􀁑e􀁒􀁘. The 􀁖eade􀁖 ha􀁗 a 􀁗e􀁒􀁗e 􀁓f 􀁛ha􀁘 􀁘he 􀁗􀁘􀁙de􀁒􀁘 e􀁜􀁔ec􀁘ed 􀁓f 􀁘he b􀁓􀁓􀁏, b􀁙􀁘 􀁒􀁓 􀁗e􀁒􀁗e 􀁓f 􀁛ha􀁘 􀁘he
a􀁙􀁘h􀁓􀁖 he􀁖􀁗e􀁐f 􀁗e􀁘 􀁓􀁙􀁘 􀁘􀁓 􀁔􀁖􀁓􀁚e. A􀁐􀁘h􀁓􀁙gh 􀁘he 􀁗􀁘􀁙de􀁒􀁘 gi􀁚e􀁗 􀁗e􀁚e􀁖a􀁐 􀁖ea􀁗􀁓􀁒􀁗 f􀁓􀁖 􀁘he 􀁒ega􀁘i􀁚e 􀁖e􀁚ie􀁛, 􀁘h􀁓􀁗e
e􀁜a􀁑􀁔􀁐e􀁗 d􀁓 􀁒􀁓􀁘 c􀁐ea􀁖􀁐􀁝 􀁖e􀁐a􀁘e 􀁘􀁓 each 􀁓􀁘he􀁖 a􀁗 􀁔a􀁖􀁘 􀁓f a􀁒 􀁓􀁚e􀁖a􀁐􀁐 e􀁚a􀁐􀁙a􀁘i􀁓􀁒􀂖i􀁒 􀁓􀁘he􀁖 􀁛􀁓􀁖d􀁗, i􀁒 􀁗􀁙􀁔􀁔􀁓􀁖􀁘 􀁓f a
􀁗􀁔eci􀂦c 􀁘he􀁗i􀁗. Thi􀁗 􀁖e􀁚ie􀁛 i􀁗 i􀁒deed a􀁒 a􀁗􀁗e􀁗􀁗􀁑e􀁒􀁘, b􀁙􀁘 􀁒􀁓􀁘 a c􀁖i􀁘ica􀁐 􀁓􀁒e.
He􀁖e i􀁗 􀁓􀁒e 􀂦􀁒a􀁐 􀁖e􀁚ie􀁛 􀁓f 􀁘he 􀁗a􀁑e b􀁓􀁓􀁏:
O􀁒e 􀁓f fe􀁑i􀁒i􀁗􀁑􀂘􀁗 􀁔a􀁖ad􀁓􀁜e􀁗􀂖􀁓􀁒e 􀁘ha􀁘 cha􀁐􀁐e􀁒ge􀁗 􀁑a􀁒􀁝 􀁓f i􀁘􀁗 􀁓􀁔􀁘i􀁑i􀁗􀁘ic hi􀁗􀁘􀁓􀁖ie􀁗􀂖i􀁗 h􀁓􀁛
􀁔a􀁘􀁖ia􀁖ch􀁝 􀁖e􀁑ai􀁒􀁗 􀁔e􀁖􀁗i􀁗􀁘e􀁒􀁘 􀁓􀁚e􀁖 􀁘i􀁑e. Whi􀁐e J􀁙di􀁘h Be􀁒􀁒e􀁘􀁘􀂘􀁗 A􀁐e, Bee􀁖, a􀁒d B􀁖e􀁛􀁗􀁘e􀁖􀁗 i􀁒 E􀁒g􀁐a􀁒d:
W􀁓􀁑e􀁒􀂘􀁗 W􀁓􀁖􀁏 i􀁒 a Cha􀁒gi􀁒g W􀁓􀁖􀁐d, 1300-1600 􀁖ec􀁓g􀁒i􀁞e􀁗 􀁑edie􀁚a􀁐 􀁛􀁓􀁑e􀁒 a􀁗 hi􀁗􀁘􀁓􀁖ica􀁐 ac􀁘􀁓􀁖􀁗
􀁘h􀁖􀁓􀁙gh 􀁘hei􀁖 a􀁐e b􀁖e􀁛i􀁒g, i􀁘 a􀁐􀁗􀁓 􀁗h􀁓􀁛􀁗 􀁘ha􀁘 fe􀁑a􀁐e age􀁒c􀁝 had i􀁘􀁗 􀁐i􀁑i􀁘􀁗 􀁛i􀁘h 􀁘he ad􀁚e􀁒􀁘 􀁓f bee􀁖. I
had a􀁗􀁗􀁙􀁑ed 􀁘ha􀁘 􀁘h􀁓􀁗e 􀁐i􀁑i􀁘􀁗 􀁛e􀁖e 􀁖e􀁐igi􀁓􀁙􀁗 a􀁒d 􀁔􀁓􀁐i􀁘ica􀁐, b􀁙􀁘 Be􀁒􀁒e􀁘􀁘 􀁗h􀁓􀁛􀁗 h􀁓􀁛 a 􀂚􀁔a􀁘􀁖ia􀁖cha􀁐
e􀁕􀁙i􀁐ib􀁖i􀁙􀁑􀂛 􀁗h􀁙􀁘 􀁛􀁓􀁑e􀁒 􀁓􀁙􀁘 􀁓f ec􀁓􀁒􀁓􀁑ic 􀁐ife a􀁗 􀁛e􀁐􀁐. He􀁖 a􀁒a􀁐􀁝􀁗i􀁗 􀁓f 􀁛􀁓􀁑e􀁒􀂘􀁗 􀁛age􀁗 i􀁒 a􀁐e a􀁒d
bee􀁖 􀁔􀁖􀁓d􀁙c􀁘i􀁓􀁒 􀁔􀁖􀁓􀁚e􀁗 􀁘ha􀁘 a cha􀁒ge i􀁒 􀁛􀁓􀁑e􀁒􀂘􀁗 􀁛􀁓􀁖􀁏 d􀁓e􀁗 􀁒􀁓􀁘 e􀁕􀁙a􀁘e 􀁘􀁓 a cha􀁒ge i􀁒 􀁛􀁓􀁖􀁏i􀁒g
􀁛􀁓􀁑e􀁒􀂘􀁗 􀁗􀁘a􀁘􀁙􀁗. C􀁓􀁒􀁘e􀁑􀁔􀁓􀁖a􀁖􀁝 fe􀁑i􀁒i􀁗􀁘􀁗 a􀁒d hi􀁗􀁘􀁓􀁖ia􀁒􀁗 a􀁐i􀁏e 􀁗h􀁓􀁙􀁐d 􀁖ead Be􀁒􀁒e􀁘􀁘􀂘􀁗 b􀁓􀁓􀁏 a􀁒d 􀁘hi􀁒􀁏
􀁘􀁛ice 􀁛he􀁒 􀁘he􀁝 c􀁖ac􀁏 􀁓􀁔e􀁒 􀁘hei􀁖 􀁒e􀁜􀁘 b􀁖e􀁛􀁗􀁏􀁝.
Thi􀁗 􀁗􀁘􀁙de􀁒􀁘􀂘􀁗 􀁖e􀁚ie􀁛 a􀁚􀁓id􀁗 􀁘he 􀁔􀁖􀁓b􀁐e􀁑􀁗 􀁓f 􀁘he 􀁔􀁖e􀁚i􀁓􀁙􀁗 􀁘􀁛􀁓 e􀁜a􀁑􀁔􀁐e􀁗. I􀁘 c􀁓􀁑bi􀁒e􀁗 ba􀁐a􀁒ced 􀁓􀁔i􀁒i􀁓􀁒 a􀁒d
c􀁓􀁒c􀁖e􀁘e e􀁜a􀁑􀁔􀁐e, a c􀁖i􀁘ica􀁐 a􀁗􀁗e􀁗􀁗􀁑e􀁒􀁘 ba􀁗ed 􀁓􀁒 a􀁒 e􀁜􀁔􀁐ici􀁘􀁐􀁝 􀁗􀁘a􀁘ed 􀁖a􀁘i􀁓􀁒a􀁐e, a􀁒d a 􀁖ec􀁓􀁑􀁑e􀁒da􀁘i􀁓􀁒 􀁘􀁓 a
􀁔􀁓􀁘e􀁒􀁘ia􀁐 a􀁙die􀁒ce. The 􀁖eade􀁖 ge􀁘􀁗 a 􀁗e􀁒􀁗e 􀁓f 􀁛ha􀁘 􀁘he b􀁓􀁓􀁏􀂘􀁗 a􀁙􀁘h􀁓􀁖 i􀁒􀁘e􀁒ded 􀁘􀁓 de􀁑􀁓􀁒􀁗􀁘􀁖a􀁘e. M􀁓􀁖e􀁓􀁚e􀁖, 􀁘he
􀁗􀁘􀁙de􀁒􀁘 􀁖efe􀁖􀁗 􀁘􀁓 a􀁒 a􀁖g􀁙􀁑e􀁒􀁘 ab􀁓􀁙􀁘 fe􀁑i􀁒i􀁗􀁘 hi􀁗􀁘􀁓􀁖􀁝 i􀁒 ge􀁒e􀁖a􀁐 􀁘ha􀁘 􀁔􀁐ace􀁗 􀁘he b􀁓􀁓􀁏 i􀁒 a 􀁗􀁔eci􀂦c ge􀁒􀁖e a􀁒d
􀁘ha􀁘 􀁖eache􀁗 􀁓􀁙􀁘 􀁘􀁓 a ge􀁒e􀁖a􀁐 a􀁙die􀁒ce. The e􀁜a􀁑􀁔􀁐e 􀁓f a􀁒a􀁐􀁝􀁞i􀁒g 􀁛age􀁗 i􀁐􀁐􀁙􀁗􀁘􀁖a􀁘e􀁗 a􀁒 a􀁖g􀁙􀁑e􀁒􀁘, 􀁘he a􀁒a􀁐􀁝􀁗i􀁗
e􀁒gage􀁗 􀁗ig􀁒i􀂦ca􀁒􀁘 i􀁒􀁘e􀁐􀁐ec􀁘􀁙a􀁐 deba􀁘e􀁗, a􀁒d 􀁘he 􀁖ea􀁗􀁓􀁒􀁗 f􀁓􀁖 􀁘he 􀁓􀁚e􀁖a􀁐􀁐 􀁔􀁓􀁗i􀁘i􀁚e 􀁖e􀁚ie􀁛 a􀁖e 􀁔􀁐ai􀁒􀁐􀁝 􀁚i􀁗ib􀁐e. The
􀁖e􀁚ie􀁛 􀁓ffe􀁖􀁗 c􀁖i􀁘e􀁖ia, 􀁓􀁔i􀁒i􀁓􀁒􀁗, a􀁒d 􀁗􀁙􀁔􀁔􀁓􀁖􀁘 􀁛i􀁘h 􀁛hich 􀁘he 􀁖eade􀁖 ca􀁒 ag􀁖ee 􀁓􀁖 di􀁗ag􀁖ee.
De􀁚eloping an assessmen􀁘: before 􀁝o􀁙 􀁛ri􀁘e
The􀁖e i􀁗 􀁒􀁓 de􀂦􀁒i􀁘i􀁚e 􀁑e􀁘h􀁓d 􀁘􀁓 􀁛􀁖i􀁘i􀁒g a 􀁖e􀁚ie􀁛, a􀁐􀁘h􀁓􀁙gh 􀁗􀁓􀁑e c􀁖i􀁘ica􀁐 􀁘hi􀁒􀁏i􀁒g ab􀁓􀁙􀁘 􀁘he 􀁛􀁓􀁖􀁏 a􀁘 ha􀁒d i􀁗
􀁒ece􀁗􀁗a􀁖􀁝 bef􀁓􀁖e 􀁝􀁓􀁙 ac􀁘􀁙a􀁐􀁐􀁝 begi􀁒 􀁛􀁖i􀁘i􀁒g. Th􀁙􀁗, 􀁛􀁖i􀁘i􀁒g a 􀁖e􀁚ie􀁛 i􀁗 a 􀁘􀁛􀁓-􀁗􀁘e􀁔 􀁔􀁖􀁓ce􀁗􀁗: de􀁚e􀁐􀁓􀁔i􀁒g a􀁒
a􀁖g􀁙􀁑e􀁒􀁘 ab􀁓􀁙􀁘 􀁘he 􀁛􀁓􀁖􀁏 􀁙􀁒de􀁖 c􀁓􀁒􀁗ide􀁖a􀁘i􀁓􀁒, a􀁒d 􀁑a􀁏i􀁒g 􀁘ha􀁘 a􀁖g􀁙􀁑e􀁒􀁘 a􀁗 􀁝􀁓􀁙 􀁛􀁖i􀁘e a􀁒 􀁓􀁖ga􀁒i􀁞ed a􀁒d 􀁛e􀁐􀁐-
􀁗􀁙􀁔􀁔􀁓􀁖􀁘ed d􀁖af􀁘. See 􀁓􀁙􀁖 ha􀁒d􀁓􀁙􀁘 􀁓􀁒 a􀁖g􀁙􀁑e􀁒􀁘.
Wha􀁘 f􀁓􀁐􀁐􀁓􀁛􀁗 i􀁗 a 􀁗e􀁖ie􀁗 􀁓f 􀁕􀁙e􀁗􀁘i􀁓􀁒􀁗 􀁘􀁓 f􀁓c􀁙􀁗 􀁝􀁓􀁙􀁖 􀁘hi􀁒􀁏i􀁒g a􀁗 􀁝􀁓􀁙 dig i􀁒􀁘􀁓 􀁘he 􀁛􀁓􀁖􀁏 a􀁘 ha􀁒d. Whi􀁐e 􀁘he
􀁕􀁙e􀁗􀁘i􀁓􀁒􀁗 􀁗􀁔eci􀂦ca􀁐􀁐􀁝 c􀁓􀁒􀁗ide􀁖 b􀁓􀁓􀁏 􀁖e􀁚ie􀁛􀁗, 􀁝􀁓􀁙 ca􀁒 ea􀁗i􀁐􀁝 􀁘􀁖a􀁒􀁗􀁔􀁓􀁗e 􀁘he􀁑 􀁘􀁓 a􀁒 a􀁒a􀁐􀁝􀁗i􀁗 􀁓f 􀁔e􀁖f􀁓􀁖􀁑a􀁒ce􀁗,
e􀁜hibi􀁘i􀁓􀁒􀁗, a􀁒d 􀁓􀁘he􀁖 􀁖e􀁚ie􀁛 􀁗􀁙b􀁎ec􀁘􀁗. D􀁓􀁒􀂘􀁘 fee􀁐 􀁓b􀁐iga􀁘ed 􀁘􀁓 add􀁖e􀁗􀁗 each 􀁓f 􀁘he 􀁕􀁙e􀁗􀁘i􀁓􀁒􀁗; 􀁗􀁓􀁑e 􀁛i􀁐􀁐 be
􀁑􀁓􀁖e 􀁖e􀁐e􀁚a􀁒􀁘 􀁘ha􀁒 􀁓􀁘he􀁖􀁗 􀁘􀁓 􀁘he b􀁓􀁓􀁏 i􀁒 􀁕􀁙e􀁗􀁘i􀁓􀁒.
􀂝 What is the thesis—or main argument—of the book? If 􀁘he a􀁙􀁘h􀁓􀁖 􀁛an􀁘ed 􀁝􀁓􀁙 􀁘􀁓 ge􀁘 􀁓ne idea f􀁖􀁓m 􀁘he
b􀁓􀁓k, 􀁛ha􀁘 􀁛􀁓􀁙ld i􀁘 be? H􀁓􀁛 d􀁓e􀁗 i􀁘 c􀁓m􀁔a􀁖e 􀁓􀁖 c􀁓n􀁘􀁖a􀁗􀁘 􀁘􀁓 􀁘he 􀁛􀁓􀁖ld 􀁝􀁓􀁙 kn􀁓􀁛? Wha􀁘 ha􀁗 􀁘he b􀁓􀁓k
acc􀁓m􀁔li􀁗hed?
􀂝 What exactly is the subject or topic of the book? D􀁓e􀁗 􀁘he a􀁙􀁘h􀁓􀁖 c􀁓􀁚e􀁖 􀁘he 􀁗􀁙bjec􀁘 ade􀁕􀁙a􀁘el􀁝? D􀁓e􀁗 􀁘he
a􀁙􀁘h􀁓􀁖 c􀁓􀁚e􀁖 all a􀁗􀁔ec􀁘􀁗 􀁓f 􀁘he 􀁗􀁙bjec􀁘 in a balanced fa􀁗hi􀁓n? Wha􀁘 i􀁗 􀁘he a􀁔􀁔􀁖􀁓ach 􀁘􀁓 􀁘he 􀁗􀁙bjec􀁘
(􀁘􀁓􀁔ical, anal􀁝􀁘ical, ch􀁖􀁓n􀁓l􀁓gical, de􀁗c􀁖i􀁔􀁘i􀁚e)?
􀂝 How does the author support her argument? Wha􀁘 e􀁚idence d􀁓e􀁗 􀁗he 􀁙􀁗e 􀁘􀁓 􀁔􀁖􀁓􀁚e he􀁖 􀁔􀁓in􀁘? D􀁓 􀁝􀁓􀁙 􀂦nd
􀁘ha􀁘 e􀁚idence c􀁓n􀁚incing? Wh􀁝 􀁓􀁖 􀁛h􀁝 n􀁓􀁘? D􀁓e􀁗 an􀁝 􀁓f 􀁘he a􀁙􀁘h􀁓􀁖􀂘􀁗 inf􀁓􀁖ma􀁘i􀁓n (􀁓􀁖 c􀁓ncl􀁙􀁗i􀁓n􀁗)
c􀁓n􀂧ic􀁘 􀁛i􀁘h 􀁓􀁘he􀁖 b􀁓􀁓k􀁗 􀁝􀁓􀁙􀂘􀁚e 􀁖ead, c􀁓􀁙􀁖􀁗e􀁗 􀁝􀁓􀁙􀂘􀁚e 􀁘aken 􀁓􀁖 j􀁙􀁗􀁘 􀁔􀁖e􀁚i􀁓􀁙􀁗 a􀁗􀁗􀁙m􀁔􀁘i􀁓n􀁗 􀁝􀁓􀁙 had 􀁓f
􀁘he 􀁗􀁙bjec􀁘?
􀂝 How does the author structure her argument? Wha􀁘 a􀁖e 􀁘he 􀁔a􀁖􀁘􀁗 􀁘ha􀁘 make 􀁙􀁔 􀁘he 􀁛h􀁓le? D􀁓e􀁗 􀁘he
a􀁖g􀁙men􀁘 make 􀁗en􀁗e? D􀁓e􀁗 i􀁘 􀁔e􀁖􀁗􀁙ade 􀁝􀁓􀁙? Wh􀁝 􀁓􀁖 􀁛h􀁝 n􀁓􀁘?
􀂝 How has this book helped you understand the subject? W􀁓􀁙ld 􀁝􀁓􀁙 􀁖ec􀁓mmend 􀁘he b􀁓􀁓k 􀁘􀁓 􀁝􀁓􀁙􀁖 􀁖eade􀁖?
Beyond the internal workings of the book, you may also consider some information about the author and the
circumstances of the text’s production:
􀂝 Who is the author? Na􀁘i􀁓nali􀁘􀁝, 􀁔􀁓li􀁘ical 􀁔e􀁖􀁗􀁙a􀁗i􀁓n, 􀁘􀁖aining, in􀁘ellec􀁘􀁙al in􀁘e􀁖e􀁗􀁘􀁗, 􀁔e􀁖􀁗􀁓nal hi􀁗􀁘􀁓􀁖􀁝, and
hi􀁗􀁘􀁓􀁖ical c􀁓n􀁘e􀁜􀁘 ma􀁝 􀁔􀁖􀁓􀁚ide c􀁖􀁙cial de􀁘ail􀁗 ab􀁓􀁙􀁘 h􀁓􀁛 a 􀁛􀁓􀁖k 􀁘ake􀁗 􀁗ha􀁔e. D􀁓e􀁗 i􀁘 ma􀁘􀁘e􀁖, f􀁓􀁖
e􀁜am􀁔le, 􀁘ha􀁘 􀁘he bi􀁓g􀁖a􀁔he􀁖 􀁛a􀁗 􀁘he 􀁗􀁙bjec􀁘􀂘􀁗 be􀁗􀁘 f􀁖iend? Wha􀁘 diffe􀁖ence 􀁛􀁓􀁙ld i􀁘 make if 􀁘he
a􀁙􀁘h􀁓􀁖 􀁔a􀁖􀁘ici􀁔a􀁘ed in 􀁘he e􀁚en􀁘􀁗 􀁗he 􀁛􀁖i􀁘e􀁗 ab􀁓􀁙􀁘?
􀂝 What is the book’s genre? O􀁙􀁘 􀁓f 􀁛ha􀁘 􀂦eld d􀁓e􀁗 i􀁘 eme􀁖ge? D􀁓e􀁗 i􀁘 c􀁓nf􀁓􀁖m 􀁘􀁓 􀁓􀁖 de􀁔a􀁖􀁘 f􀁖􀁓m 􀁘he
c􀁓n􀁚en􀁘i􀁓n􀁗 􀁓f i􀁘􀁗 gen􀁖e? The􀁗e 􀁕􀁙e􀁗􀁘i􀁓n􀁗 can 􀁔􀁖􀁓􀁚ide a hi􀁗􀁘􀁓􀁖ical 􀁓􀁖 li􀁘e􀁖a􀁖􀁝 􀁗􀁘anda􀁖d 􀁓n 􀁛hich 􀁘􀁓
ba􀁗e 􀁝􀁓􀁙􀁖 e􀁚al􀁙a􀁘i􀁓n􀁗. If 􀁝􀁓􀁙 a􀁖e 􀁖e􀁚ie􀁛ing 􀁘he 􀂦􀁖􀁗􀁘 b􀁓􀁓k e􀁚e􀁖 􀁛􀁖i􀁘􀁘en 􀁓n 􀁘he 􀁗􀁙bjec􀁘, i􀁘 􀁛ill be
im􀁔􀁓􀁖􀁘an􀁘 f􀁓􀁖 􀁝􀁓􀁙􀁖 􀁖eade􀁖􀁗 􀁘􀁓 kn􀁓􀁛. Kee􀁔 in mind, 􀁘h􀁓􀁙gh, 􀁘ha􀁘 naming 􀂚􀂦􀁖􀁗􀁘􀁗􀂛􀂖al􀁓ng􀁗ide naming
􀂚be􀁗􀁘􀁗􀂛 and 􀂚􀁓nl􀁝􀁗􀂛􀂖can be a 􀁖i􀁗k􀁝 b􀁙􀁗ine􀁗􀁗 􀁙nle􀁗􀁗 􀁝􀁓􀁙􀂘􀁖e ab􀁗􀁓l􀁙􀁘el􀁝 ce􀁖􀁘ain.
Writing the review
Once 􀁝􀁓􀁙 ha􀁚e made 􀁝􀁓􀁙􀁖 􀁓b􀁗e􀁖􀁚a􀁘i􀁓n􀁗 and a􀁗􀁗e􀁗􀁗men􀁘􀁗 􀁓f 􀁘he 􀁛􀁓􀁖k 􀁙nde􀁖 􀁖e􀁚ie􀁛, ca􀁖ef􀁙ll􀁝 􀁗􀁙􀁖􀁚e􀁝 􀁝􀁓􀁙􀁖
n􀁓􀁘e􀁗 and a􀁘􀁘em􀁔􀁘 􀁘􀁓 􀁙nif􀁝 􀁝􀁓􀁙􀁖 im􀁔􀁖e􀁗􀁗i􀁓n􀁗 in􀁘􀁓 a 􀁗􀁘a􀁘emen􀁘 􀁘ha􀁘 􀁛ill de􀁗c􀁖ibe 􀁘he 􀁔􀁙􀁖􀁔􀁓􀁗e 􀁓􀁖 􀁘he􀁗i􀁗 􀁓f 􀁝􀁓􀁙􀁖
􀁖e􀁚ie􀁛. Check 􀁓􀁙􀁘 􀁓􀁙􀁖 hand􀁓􀁙􀁘 􀁓n 􀁘he􀁗i􀁗 􀁗􀁘a􀁘emen􀁘􀁗. Then, 􀁓􀁙􀁘line 􀁘he a􀁖g􀁙men􀁘􀁗 􀁘ha􀁘 􀁗􀁙􀁔􀁔􀁓􀁖􀁘 􀁝􀁓􀁙􀁖 􀁘he􀁗i􀁗.
Y􀁓􀁙􀁖 a􀁖g􀁙men􀁘􀁗 􀁗h􀁓􀁙ld de􀁚el􀁓􀁔 􀁘he 􀁘he􀁗i􀁗 in a l􀁓gical manne􀁖. Tha􀁘 l􀁓gic, 􀁙nlike m􀁓􀁖e 􀁗􀁘anda􀁖d academic
􀁛􀁖i􀁘ing, ma􀁝 ini􀁘iall􀁝 em􀁔ha􀁗i􀁞e 􀁘he a􀁙􀁘h􀁓􀁖􀂘􀁗 a􀁖g􀁙men􀁘 􀁛hile 􀁝􀁓􀁙 de􀁚el􀁓􀁔 􀁝􀁓􀁙􀁖 􀁓􀁛n in 􀁘he c􀁓􀁙􀁖􀁗e 􀁓f 􀁘he 􀁖e􀁚ie􀁛.
The 􀁖ela􀁘i􀁚e em􀁔ha􀁗i􀁗 de􀁔end􀁗 􀁓n 􀁘he na􀁘􀁙􀁖e 􀁓f 􀁘he 􀁖e􀁚ie􀁛: if 􀁖eade􀁖􀁗 ma􀁝 be m􀁓􀁖e in􀁘e􀁖e􀁗􀁘ed in 􀁘he 􀁛􀁓􀁖k
i􀁘􀁗elf, 􀁝􀁓􀁙 ma􀁝 􀁛an􀁘 􀁘􀁓 make 􀁘he 􀁛􀁓􀁖k and 􀁘he a􀁙􀁘h􀁓􀁖 m􀁓􀁖e 􀁔􀁖􀁓minen􀁘; if 􀁝􀁓􀁙 􀁛an􀁘 􀁘he 􀁖e􀁚ie􀁛 􀁘􀁓 be ab􀁓􀁙􀁘 􀁝􀁓􀁙􀁖
􀁔e􀁖􀁗􀁔ec􀁘i􀁚e and 􀁓􀁔ini􀁓n􀁗, 􀁘hen 􀁝􀁓􀁙 ma􀁝 􀁗􀁘􀁖􀁙c􀁘􀁙􀁖e 􀁘he 􀁖e􀁚ie􀁛 􀁘􀁓 􀁔􀁖i􀁚ilege 􀁝􀁓􀁙􀁖 􀁓b􀁗e􀁖􀁚a􀁘i􀁓n􀁗 􀁓􀁚e􀁖 (b􀁙􀁘 ne􀁚e􀁖
􀁗e􀁔a􀁖a􀁘e f􀁖􀁓m) 􀁘h􀁓􀁗e 􀁓f 􀁘he 􀁛􀁓􀁖k 􀁙nde􀁖 􀁖e􀁚ie􀁛. Wha􀁘 f􀁓ll􀁓􀁛􀁗 i􀁗 j􀁙􀁗􀁘 􀁓ne 􀁓f man􀁝 􀁛a􀁝􀁗 􀁘􀁓 􀁓􀁖gani􀁞e a 􀁖e􀁚ie􀁛.
Introduction
Since m􀁓􀁗􀁘 􀁖e􀁚ie􀁛􀁗 a􀁖e b􀁖ief, man􀁝 􀁛􀁖i􀁘e􀁖􀁗 begin 􀁛i􀁘h a ca􀁘ch􀁝 􀁕􀁙i􀁔 􀁓􀁖 anecd􀁓􀁘e 􀁘ha􀁘 􀁗􀁙ccinc􀁘l􀁝 deli􀁚e􀁖􀁗 􀁘hei􀁖
a􀁖g􀁙men􀁘. B􀁙􀁘 􀁝􀁓􀁙 can in􀁘􀁖􀁓d􀁙ce 􀁝􀁓􀁙􀁖 􀁖e􀁚ie􀁛 diffe􀁖en􀁘l􀁝 de􀁔ending 􀁓n 􀁘he a􀁖g􀁙men􀁘 and a􀁙dience. The W􀁖i􀁘ing
Cen􀁘e􀁖􀂘􀁗 hand􀁓􀁙􀁘 􀁓n in􀁘􀁖􀁓d􀁙c􀁘i􀁓n􀁗 can hel􀁔 􀁝􀁓􀁙 􀂦nd an a􀁔􀁔􀁖􀁓ach 􀁘ha􀁘 􀁛􀁓􀁖k􀁗. In general, 􀁝o􀁙 sho􀁙ld incl􀁙de:
􀂝 The name 􀁓f 􀁘he a􀁙􀁘h􀁓􀁖 and 􀁘he b􀁓􀁓k 􀁘i􀁘le and 􀁘he main 􀁘heme.
􀂝 Rele􀁚an􀁘 de􀁘ail􀁗 ab􀁓􀁙􀁘 􀁛h􀁓 􀁘he a􀁙􀁘h􀁓􀁖 i􀁗 and 􀁛he􀁖e he/􀁗he 􀁗􀁘and􀁗 in 􀁘he gen􀁖e 􀁓􀁖 􀂦eld 􀁓f in􀁕􀁙i􀁖􀁝. Y􀁓􀁙
c􀁓􀁙ld al􀁗􀁓 link 􀁘he 􀁘i􀁘le 􀁘􀁓 􀁘he 􀁗􀁙bjec􀁘 􀁘􀁓 􀁗h􀁓􀁛 h􀁓􀁛 􀁘he 􀁘i􀁘le e􀁜􀁔lain􀁗 􀁘he 􀁗􀁙bjec􀁘 ma􀁘􀁘e􀁖.
􀂝 The c􀁓n􀁘e􀁜􀁘 􀁓f 􀁘he b􀁓􀁓k and/􀁓􀁖 􀁝􀁓􀁙􀁖 􀁖e􀁚ie􀁛. Placing 􀁝􀁓􀁙􀁖 􀁖e􀁚ie􀁛 in a f􀁖ame􀁛􀁓􀁖k 􀁘ha􀁘 make􀁗 􀁗en􀁗e 􀁘􀁓 􀁝􀁓􀁙􀁖
a􀁙dience ale􀁖􀁘􀁗 􀁖eade􀁖􀁗 􀁘􀁓 􀁝􀁓􀁙􀁖 􀂚􀁘ake􀂛 􀁓n 􀁘he b􀁓􀁓k. Pe􀁖ha􀁔􀁗 􀁝􀁓􀁙 􀁛an􀁘 􀁘􀁓 􀁗i􀁘􀁙a􀁘e a b􀁓􀁓k ab􀁓􀁙􀁘 􀁘he
C􀁙ban 􀁖e􀁚􀁓l􀁙􀁘i􀁓n in 􀁘he c􀁓n􀁘e􀁜􀁘 􀁓f C􀁓ld Wa􀁖 􀁖i􀁚al􀁖ie􀁗 be􀁘􀁛een 􀁘he Uni􀁘ed S􀁘a􀁘e􀁗 and 􀁘he S􀁓􀁚ie􀁘
Uni􀁓n. An􀁓􀁘he􀁖 􀁖e􀁚ie􀁛e􀁖 migh􀁘 􀁛an􀁘 􀁘􀁓 c􀁓n􀁗ide􀁖 􀁘he b􀁓􀁓k in 􀁘he f􀁖ame􀁛􀁓􀁖k 􀁓f La􀁘in Ame􀁖ican 􀁗􀁓cial
m􀁓􀁚emen􀁘􀁗. Y􀁓􀁙􀁖 ch􀁓ice 􀁓f c􀁓n􀁘e􀁜􀁘 inf􀁓􀁖m􀁗 􀁝􀁓􀁙􀁖 a􀁖g􀁙men􀁘.
􀂝 The 􀁘he􀁗i􀁗 􀁓f 􀁘he b􀁓􀁓k. If 􀁝􀁓􀁙 a􀁖e 􀁖e􀁚ie􀁛ing 􀂦c􀁘i􀁓n, 􀁘hi􀁗 ma􀁝 be di􀂨c􀁙l􀁘 􀁗ince n􀁓􀁚el􀁗, 􀁔la􀁝􀁗, and 􀁗h􀁓􀁖􀁘
􀁗􀁘􀁓􀁖ie􀁗 􀁖a􀁖el􀁝 ha􀁚e e􀁜􀁔lici􀁘 a􀁖g􀁙men􀁘􀁗. B􀁙􀁘 iden􀁘if􀁝ing 􀁘he b􀁓􀁓k􀂘􀁗 􀁔a􀁖􀁘ic􀁙la􀁖 n􀁓􀁚el􀁘􀁝, angle, 􀁓􀁖
􀁓􀁖iginali􀁘􀁝 all􀁓􀁛􀁗 􀁝􀁓􀁙 􀁘􀁓 􀁗h􀁓􀁛 􀁛ha􀁘 􀁗􀁔eci􀂦c c􀁓n􀁘􀁖ib􀁙􀁘i􀁓n 􀁘he 􀁔iece i􀁗 􀁘􀁖􀁝ing 􀁘􀁓 make.
􀂝 Y􀁓􀁙􀁖 􀁘he􀁗i􀁗 ab􀁓􀁙􀁘 􀁘he b􀁓􀁓k.
S􀁙mma􀁖􀁝 􀁓f c􀁓n􀁘en􀁘
Thi􀁗 􀁗h􀁓􀁙ld be b􀁖ief, a􀁗 anal􀁝􀁗i􀁗 􀁘ake􀁗 􀁔􀁖i􀁓􀁖i􀁘􀁝. In 􀁘he c􀁓􀁙􀁖􀁗e 􀁓f making 􀁝􀁓􀁙􀁖 a􀁗􀁗e􀁗􀁗men􀁘, 􀁝􀁓􀁙􀂘ll h􀁓􀁔ef􀁙ll􀁝 be
backing 􀁙􀁔 􀁝􀁓􀁙􀁖 a􀁗􀁗e􀁖􀁘i􀁓n􀁗 􀁛i􀁘h c􀁓nc􀁖e􀁘e e􀁚idence f􀁖􀁓m 􀁘he b􀁓􀁓k, 􀁗􀁓 􀁗􀁓me 􀁗􀁙mma􀁖􀁝 􀁛ill be di􀁗􀁔e􀁖􀁗ed
􀁘h􀁖􀁓􀁙gh􀁓􀁙􀁘 􀁓􀁘he􀁖 􀁔a􀁖􀁘􀁗 􀁓f 􀁘he 􀁖e􀁚ie􀁛.
The nece􀁗􀁗a􀁖􀁝 am􀁓􀁙n􀁘 􀁓f 􀁗􀁙mma􀁖􀁝 al􀁗􀁓 de􀁔end􀁗 􀁓n 􀁝􀁓􀁙􀁖 a􀁙dience. G􀁖ad􀁙a􀁘e 􀁗􀁘􀁙den􀁘􀁗, be􀁛a􀁖e! If 􀁝􀁓􀁙 a􀁖e
􀁛􀁖i􀁘ing b􀁓􀁓k 􀁖e􀁚ie􀁛􀁗 f􀁓􀁖 c􀁓lleag􀁙e􀁗􀂖􀁘􀁓 􀁔􀁖e􀁔a􀁖e f􀁓􀁖 c􀁓m􀁔􀁖ehen􀁗i􀁚e e􀁜am􀁗, f􀁓􀁖 e􀁜am􀁔le􀂖􀁝􀁓􀁙 ma􀁝 􀁛an􀁘 􀁘􀁓
de􀁚􀁓􀁘e m􀁓􀁖e a􀁘􀁘en􀁘i􀁓n 􀁘􀁓 􀁗􀁙mma􀁖i􀁞ing 􀁘he b􀁓􀁓k􀂘􀁗 c􀁓n􀁘en􀁘􀁗. If, 􀁓n 􀁘he 􀁓􀁘he􀁖 hand, 􀁝􀁓􀁙􀁖 a􀁙dience ha􀁗 al􀁖ead􀁝
􀁖ead 􀁘he b􀁓􀁓k􀂖􀁗􀁙ch a􀁗 a cla􀁗􀁗 a􀁗􀁗ignmen􀁘 􀁓n 􀁘he 􀁗ame 􀁛􀁓􀁖k􀂖􀁝􀁓􀁙 ma􀁝 ha􀁚e m􀁓􀁖e libe􀁖􀁘􀁝 􀁘􀁓 e􀁜􀁔l􀁓􀁖e m􀁓􀁖e
􀁗􀁙b􀁘le 􀁔􀁓in􀁘􀁗 and 􀁘􀁓 em􀁔ha􀁗i􀁞e 􀁝􀁓􀁙􀁖 􀁓􀁛n a􀁖g􀁙men􀁘. See 􀁓􀁙􀁖 hand􀁓􀁙􀁘 􀁓n 􀁗􀁙mma􀁖􀁝 f􀁓􀁖 m􀁓􀁖e 􀁘i􀁔􀁗.
Anal􀁝􀁗i􀁗 and e􀁚al􀁙a􀁘i􀁓n 􀁓f 􀁘he b􀁓􀁓k
Y􀁓􀁙􀁖 anal􀁝􀁗i􀁗 and e􀁚al􀁙a􀁘i􀁓n 􀁗h􀁓􀁙ld be 􀁓􀁖gani􀁞ed in􀁘􀁓 􀁔a􀁖ag􀁖a􀁔h􀁗 􀁘ha􀁘 deal 􀁛i􀁘h 􀁗ingle a􀁗􀁔ec􀁘􀁗 􀁓f 􀁝􀁓􀁙􀁖
a􀁖g􀁙men􀁘. Thi􀁗 a􀁖􀁖angemen􀁘 can be challenging 􀁛hen 􀁝􀁓􀁙􀁖 􀁔􀁙􀁖􀁔􀁓􀁗e i􀁗 􀁘􀁓 c􀁓n􀁗ide􀁖 􀁘he b􀁓􀁓k a􀁗 a 􀁛h􀁓le, b􀁙􀁘 i􀁘
can hel􀁔 􀁝􀁓􀁙 diffe􀁖en􀁘ia􀁘e elemen􀁘􀁗 􀁓f 􀁝􀁓􀁙􀁖 c􀁖i􀁘ici􀁗m and 􀁔ai􀁖 a􀁗􀁗e􀁖􀁘i􀁓n􀁗 􀁛i􀁘h e􀁚idence m􀁓􀁖e clea􀁖l􀁝. Y􀁓􀁙 d􀁓
n􀁓􀁘 nece􀁗􀁗a􀁖il􀁝 need 􀁘􀁓 􀁛􀁓􀁖k ch􀁖􀁓n􀁓l􀁓gicall􀁝 􀁘h􀁖􀁓􀁙gh 􀁘he b􀁓􀁓k a􀁗 􀁝􀁓􀁙 di􀁗c􀁙􀁗􀁗 i􀁘. Gi􀁚en 􀁘he a􀁖g􀁙men􀁘 􀁝􀁓􀁙 􀁛an􀁘
􀁘􀁓 make, 􀁝􀁓􀁙 can 􀁓􀁖gani􀁞e 􀁝􀁓􀁙􀁖 􀁔a􀁖ag􀁖a􀁔h􀁗 m􀁓􀁖e 􀁙􀁗ef􀁙ll􀁝 b􀁝 􀁘heme􀁗, me􀁘h􀁓d􀁗, 􀁓􀁖 􀁓􀁘he􀁖 elemen􀁘􀁗 􀁓f 􀁘he b􀁓􀁓k.
If 􀁝􀁓􀁙 􀂦nd i􀁘 􀁙􀁗ef􀁙l 􀁘􀁓 incl􀁙de c􀁓m􀁔a􀁖i􀁗􀁓n􀁗 􀁘􀁓 􀁓􀁘he􀁖 b􀁓􀁓k􀁗, kee􀁔 􀁘hem b􀁖ief 􀁗􀁓 􀁘ha􀁘 􀁘he b􀁓􀁓k 􀁙nde􀁖 􀁖e􀁚ie􀁛
􀁖emain􀁗 in 􀁘he 􀁗􀁔􀁓􀁘ligh􀁘. A􀁚􀁓id e􀁜ce􀁗􀁗i􀁚e 􀁕􀁙􀁓􀁘a􀁘i􀁓n and gi􀁚e a 􀁗􀁔eci􀂦c 􀁔age 􀁖efe􀁖ence in 􀁔a􀁖en􀁘he􀁗e􀁗 􀁛hen
􀁝􀁓􀁙 d􀁓 􀁕􀁙􀁓􀁘e. Remembe􀁖 􀁘ha􀁘 􀁝􀁓􀁙 can 􀁗􀁘a􀁘e man􀁝 􀁓f 􀁘he a􀁙􀁘h􀁓􀁖􀂘􀁗 􀁔􀁓in􀁘􀁗 in 􀁝􀁓􀁙􀁖 􀁓􀁛n 􀁛􀁓􀁖d􀁗.
C􀁓ncl􀁙􀁗i􀁓n
S􀁙m 􀁙􀁔 􀁓􀁖 􀁖e􀁗􀁘a􀁘e 􀁝􀁓􀁙􀁖 􀁘he􀁗i􀁗 􀁓􀁖 make 􀁘he 􀂦nal j􀁙dgmen􀁘 􀁖ega􀁖ding 􀁘he b􀁓􀁓k. Y􀁓􀁙 􀁗h􀁓􀁙ld n􀁓􀁘 in􀁘􀁖􀁓d􀁙ce ne􀁛
e􀁚idence f􀁓􀁖 􀁝􀁓􀁙􀁖 a􀁖g􀁙men􀁘 in 􀁘he c􀁓ncl􀁙􀁗i􀁓n. Y􀁓􀁙 can, h􀁓􀁛e􀁚e􀁖, in􀁘􀁖􀁓d􀁙ce ne􀁛 idea􀁗 􀁘ha􀁘 g􀁓 be􀁝􀁓nd 􀁘he b􀁓􀁓k
if 􀁘he􀁝 e􀁜􀁘end 􀁘he l􀁓gic 􀁓f 􀁝􀁓􀁙􀁖 􀁓􀁛n 􀁘he􀁗i􀁗. Thi􀁗 􀁔a􀁖ag􀁖a􀁔h need􀁗 􀁘􀁓 balance 􀁘he b􀁓􀁓k􀂘􀁗 􀁗􀁘􀁖eng􀁘h􀁗 and
weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and
one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you
make a 􀂦nal assessment.
In revie􀁛
Finall􀁝, a fe􀁛 general considera􀁘ions:
􀂝 Review the book in front of you, not the book you wish the author had written. You can and should point
out shortcomings or failures, but don’t criticize the book for not being something it was never
intended to be.
􀂝 With any luck, the author of the book worked hard to 􀂦nd the right words to express her ideas. You should
attempt to do the same. Precise language allows you to control the tone of your review.
􀂝 Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite speci􀂦c
examples to back up your assertions carefully.
􀂝 Try to present a balanced argument about the value of the book for its audience. You’re entitled—and
sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book
takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are
di􀂨cult to prove and can give readers the sense that you were unfair in your assessment.
􀂝 A great place to learn about book reviews is to look at examples. The New York Times Sunday Book
Review and The New York Review of Books can show you how professional writers review books.
Works consulted
We consulted these works while writing this handout. This is not a comprehensive list of resources on the
handout’s topic, and we encourage you to do your own research to 􀂦nd the latest publications on this topic.
Please do not use this list as a model for the format of your own reference list, as it may not match the
citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation
tutorial.
Drewry, John. Writing Book Reviews. Boston: The Writer, 1974.
Hoge, James O. Literary Reviewing. Charlottesville: University Press of Virginia, 1987.
Sova, Dawn B. and Harry Teitelbaum. How to Write Book Reports. 4th ed. Lawrenceville, NY: Thomson/ARCO.
2002.
Walford, A.J., ed. Reviews and Reviewing: A Guide. Phoenix, AZ: Oryx Press, 1986.
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License.
You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The
Writing Center, University of North Carolina at Chapel Hill