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Best of 2023: Personal Essays

Ahead of Time

Kamran Javadizadeh | The Yale Review | June 12, 2023 | 3,285 words

Grief is unpredictable. Sometimes it stabs you, sometimes it suffocates you; when it isn’t making you weep or scream, it’s leaving you numb. Grief is also unfathomable: we cannot see, much less reach, the edges of the permanent absence of someone we love. “Grief may be the knowledge … that the future won’t be like the past,” Kamran Javadizadeh writes in this exquisite essay about the death of his sister, Bita. “Like water to the page, it spreads in all directions, it thins the surface, it touches what you cannot touch.” Javadizadeh reflects on his grief through the lens of poetry he encountered during the experience of losing Bita: a volume of Langston Hughes he located in their shared childhood bedroom; a copy of The Dead and the Living by Sharon Olds, filled with Bita’s notes from college; a Hafez verse that Bita texted to him one day. The best poetry is not unlike grief: it is vast, complex, elusive. And in reading verse, Javadizadeh shows, we can find lessons for mourning. I’ve thought about this essay countless times since I read it last summer, and I suspect I will reread it many times in the years to come. — SD

The Butchering

Jake Skeets | Emergence Magazine | June 22, 2023 | 3,901 words

Consider what it means to truly feel full—with a full stomach and a full heart—when your physical and spiritual hungers are satiated for a time. Diné poet Jake Skeets mulls these layers of resonance in his beautiful essay “The Butchering,” in which he prepares to kill a sheep for “the Kinaałda. . . .loosely translated as the Diné puberty ceremony.” For Skeets and members of his Indigenous community, story is wonderfully entangled with preparing the food that will nourish his family both physically and spiritually. Community members teach and learn interchangeably, switching roles naturally in a space of safety, free from shame. Skeets meditates on the open mindset needed to fully participate; sometimes he is a child, earning knowledge passed on from family and sometimes he is an uncle, offering an example for others. There’s a slowness to savor in Skeets’ writing, a gentle quickening you observe in the essay as he educates you on what it takes to sustain his community and their Indigenous way of life. “The next time I butcher I’ll have my own story to tell, my own memory to share, knowledge to offer. One more voice to add to the chorus on those nights when you’re out in the desert under the night sky, no sound for miles, just the moon and the ground beneath you, reminding you it’s all real. That and your full stomach. Generations heard through wind, the air, the stirring gleaming stars. All that knowledge, all that story, all that beauty,” he writes. Be sure to make time for this piece; it will ignite your sense of wonder and spark your curiosity, feeding you in a way that’s truly satisfying. — KS

We’re More Ghosts Than People

Hanif Abdurraqib | The Paris Review | October 16, 2023 | 3,922 words

Not long after I started at Longreads , I put together a reading list detailing some of my favorite pieces of video game writing over the previous decade. If people could enjoy reviews of movies they haven’t seen, I reasoned, then they could do the same with gaming criticism and journalism—even if they’d never held a controller. That conviction hasn’t wavered in the years since; however, this year brought a piece powerful enough to vault back through time and land on that list. Hanif Abdurraqib’s Paris Review essay (which also appears in the newly published collection Critical Hits ) is nominally about the experience of playing Red Dead Redemption 2 , Rockstar Games’ critically acclaimed title set in the American West in 1899. The word “nominally” carries more weight than usual, though. In Abdurraqib’s able hands, the game instead becomes a portal to grief and salvation, futility and loss. Some characters can’t be redeemed by virtue of their programming. Others can. The trajectory of the character of you is another story altogether. “If there is a place of judgment where I must stand and plead my case for a glorious and abundant afterlife, I hope that whoever hears me out is interested in nuances, but who’s to say,” Abdurraqib writes. “I don’t think about it, until I do.” As with the very best of arts writing, this meditation teases apart its medium’s limitations to find the universal truths and questions embedded within. No virtual revolver necessary. — PR

A Mother’s Exchange for Her Daughter’s Future

Jiayang Fan | The New Yorker | June 5, 2023 | 6,197 words

Jiayang Fan was 25 when her mother was diagnosed with ALS. She writes: “The child became the mother’s future, and the mother became the child’s present, taking up residence in her brain, blood, and bones.” This was the first personal piece Fan wrote after her mother’s death; it’s a devastating tale of the immigrant experience in America, of illness, of the intimate and complicated relationship between a mother and daughter. Fan’s descriptions of her bedridden mother range from exquisite to grim to satisfyingly peculiar. She is “shipwrecked in her own body,” with skin like “rice paper” that will inevitably tear. Even a line detailing how literal shit excretes out of her mother’s body—a “rivulet” down the “limp marble of her thigh”—manages to read beautifully. Fan writes with vulnerability about caring for an elderly loved one, love and sacrifice, the intertwining of two lives, and the story about them that’s ultimately written. I had to pause and collect myself a number of times as I thought about my own aging mother, and the decisions made over the course of our lives that have made us who we are. “One creature, disassembled into two bodies,” Fan writes of their shared life. This is extraordinary writing that hit me in a spot deep within. — CLR

How I Survived a Wedding in a Jungle That Tried to Eat Me Alive

Melissa Johnson | Outside | July 18, 2023 | 4,273 words

A key sentence in this essay goes as follows, “Behold my nightmare: a tick has bitten my vagina.” The incident—relayed with “the gravitas of Obi-Wan Kenobi describing the destruction of planet Alderaan”—occurs in 2017, while Melissa Johnson is enduring a five-day trek in northern Guatemala to attend the wedding of two ex-military women. (She reflects on how during the days of Trump America, the middle of the jungle felt a safer spot for such nuptials.) Johnson embarks on this quest fresh from harvesting her eggs. Single at the age of 39, she is not only wrestling ticks from her “holy garden” but with her fear of missing out on love and motherhood. Trudging along the soggy trails, Johnson dwells on her cloudy future with trepidation. But, by the time she is released from the jungle’s insect-infested innards, she has come to terms with the fact that she is an adventurer—someone comfortable with the unknown. This piece has many layers: an adventure story, a character study of people with names such as “Tent Dawg,” and a thoughtful take on aging and motherhood. It’s also just plain funny. I loved going through the jungle with Johnson, and I also loved the last sentence of her bio: She had a baby girl in March. — CW

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The Illusion of the First Person

November 3, 2022 issue

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Hauser & Wirth

Mark Wallinger: Self-Portrait (Freehand 41) , 2013

The essay form…bears some responsibility for the fact that bad essays tell stories about people instead of elucidating the matter at hand.

—Theodor Adorno

The personal essay is a genre that is difficult to define but easy to denounce. The offending element is rarely the essay as a form, but its content, “the personal,” “a permanent temptation for a form whose suspiciousness of false profundity does not protect it from turning into slick superficiality,” writes Adorno. A list of counterparts to the personal essay might include more admirable imaginary genres such as the structural essay, the communal essay, the public essay, the critical essay, and the impersonal essay. Or, as Adorno insinuates, the good essay, which prioritizes “elucidating the matter at hand” instead of telling “stories about people,” as “bad essays” do.

What makes essays that tell stories about people bad? For Adorno, as for Walter Benjamin, one of the essayists Adorno most admired, essays about people betray the true object of essayistic criticism: the private individual. The private individual is not a particular person with a particular story to tell, no matter how distinctive, original, or purely bizarre that story may be. The private individual is not a proper name—not “Virginia Woolf” or “Elizabeth Hardwick,” not “Joan Didion” or “Zadie Smith” or whoever it is you consider your favorite personal essayist to be. Rather, it is the idea that animates all these figures, the powerful, unobtrusive concept that gives the personal essay the appearance of ventriloquizing a singular and spontaneous subjectivity.

Most essayists and scholars who write about the personal essay agree that its “I” is, by necessity and choice, an artful construction. Watch, they say, as it flickers in and out of focus as a “simulacrum,” a “chameleon,” a “made-up self,” a series of “distorting representations” of the individual from whose consciousness it originates and whose being it registers. Yet having marveled at its aesthetic flexibility and freedom, few critics put this claim through its paces. What if individual subjectivity were as much a fiction as the “I” with which it so prettily speaks? What if stressing the artifice of the first person were, as Louis Althusser argued, a strategy for masking “the internal limitations on what its author can and cannot say”? What if the real limitation of the genre were its glittering veneer of expressive freedom, of speaking and writing as a self-determining subject? What if no performance of stylish confession or sly concealment could shake this ideology loose? What if these performances only intensified the enchantments of subjectivity?

To answer these questions about the personal essay, its mode of address, and the private individual that enlivens them requires a biography of sorts, though not a personal one. The biographer could be any of the twentieth-century theorists who have heralded the entrance of individual subjectivity into history, but it is Benjamin who emerges as the thinker most interested in its literary aesthetics. According to Benjamin, the private individual was conceived sometime between 1830 and 1848, during the reign of Louis Philippe, often known as the first “bourgeois monarch.” Under his rule, the European ruling class and the middle class came together to realize their defining goal: the separation of the public domain from the private, where, as Karl Marx observes, the bourgeoisie could rejoice in “Property, the Family, Religion, and Order.”

Once labor had been cordoned off from life, once the productive activity of work had been extricated from the supposedly unproductive experience of dwelling, the private individual was born. He was, quite naturally, blind to his own history as a derivative creature, an artifact of political and economic processes that he had little incentive to question. The domestic sphere was his incubator, his sanctuary from commercial and social considerations. There he could retreat, wide-eyed and mewling, to probe what he believed to be his thoughts, lodged in his self, his mind, his body, and his home. “The private individual, who in the office has to deal with reality, needs the domestic interior to sustain him in his illusions,” Benjamin wrote, explaining how the ownership of property mirrored the ownership of subjectivity. He continued, “From this arise the phantasmagorias of the interior—which, for the private man, represents the universe.”

For Benjamin, the best representative of the private individual was the collector of decorative objects, “the true resident of the interior” as an architectural and an existential space. For us, it might be the personal essay collection, which props up the same ideology. The personal essay’s historical and aesthetic function has been to persuade us not just that personhood is beautiful or good, but that it is primordial—that individual subjectivity and its expression exist prior to the social formations that gave rise to it. This is a lie, the lie that subtends bourgeois individualism and all its intrusions into language, art, and education, as Adorno explains. The personal essay appears as the purest, most unflinching aesthetic expression of the lie, for the simple reason that, for an essay to qualify as personal in the first place, the primacy of the private individual must be presupposed, “implicitly but by the same token with all the more complicity,” Adorno wrote.

By my account, the personal essay is a modern formation. It is a wholly different creature from the essay birthed by Montaigne in 1570 and nurtured through the seventeenth century by Sir Thomas Browne, Thomas Fuller, and Abraham Cowley. Each of these essayists is unwilling to disentangle the individual from the condition of man or nature, a commitment reflected by how their prose slides with graceful abandon through the various third-person singulars. The “I” with and of which the modern personal essay speaks proclaims its distinctiveness from the “we” that crowds the eighteenth-century periodical essays of Joseph Addison and Richard Steele, as well as the “they” that throngs the nineteenth-century metaphysical disquisitions of Leigh Hunt and William Hazlitt. It bears a distant family resemblance to Charles Lamb’s Essays of Elia , the “quintessence of the spirit of bourgeois intimacy,” according to Mario Praz. Though Lamb begets the lineage in the early nineteenth century, he takes care to thwart its autobiographical referentiality. Writing under the pseudonym Elia lets him throw a small but devastating wrench into the personal essay’s production of individual personhood—its demand for “a single subject whose identity is defined by the uncontested readability of his proper name,” as Paul de Man writes in his essay “Autobiography as De-facement.”

“No one has approached the essays of Elia,” writes Virginia Woolf in “The Decay of Essay-Writing.” Published nearly a quarter-century before Benjamin began his Arcades Project and a half-century before Adorno’s “The Essay as Form,” Woolf’s lament about the aesthetic decline of the personal essay grasps the problem of telling stories about people not head-on but obliquely. She opens not by offering a history of bourgeois individualism but by decrying its most obvious institutional manifestations: first, “the spread of education,” and second, the proliferation of print culture. The churn of both schools and presses results, ultimately, in the flattening of much written matter, Woolf complains, and in a feeling of oversaturation, of boredom on the part of the reader who bears the onslaught. But the reader’s boredom is not the boredom one feels when confronted with an apparently infinite, depersonalized expanse of writing—the boredom of slogging through tightly packed columns in a nineteenth-century periodical, for instance. Rather, it is the boredom of having to attend to “a very large number” of people, all of whom demand public recognition through the projection of a private interiority.

The intimate connection between education, the bourgeois public sphere, and the specter of private individuality compels Woolf to judge the personal essay “a sign of the times.” It is the genre whose formal conventions—the “capital I” of “I think” or “I feel”—not only draw the individual into public view, but also insist upon the primacy of the individual. This insistence occurs regardless of the quality of the essayist’s prose. The personal essay’s significance “lies not so much in the fact that we have attained any brilliant success in essay-writing…but in the undoubted facility with which we write essays as though this were beyond all others our natural way of speaking,” with the “amiable garrulity of the tea-table,” Woolf writes. It is “primarily an expression of personal opinion,” with the stress falling on the “personal,” one’s “individual likes and dislikes,” rather than the strength or the stylishness of the opinion expressed. While these individual likes and dislikes certainly add up to a large “number,” a word that Woolf repeats with scornful amazement, they do not combine in any sensible way. They cannot be imagined as a mass, a totality, cannot be integrated and set to any collective social or political purpose.

Woolf did not hold the desire for recognition to be unethical or untoward, nor did she believe that collective representation is the only purpose to which the essay ought to be directed. Rather, the essay had to maintain the contradictions between individual desires and social demands, between personal being and impersonal experience, to grant the form its unique ability to capture the texture of life—not a particular life, but the impersonal activity of living. “The Decay of Essay-Writing” thus concludes with two visions of potential essays, the first permissible, according to Woolf, the second unacceptable. “To say simply ‘I have a garden, and I will tell you what plants do best in my garden’ possibly justified its egoism,” Woolf writes;

but to say “I have no sons, though I have six daughters, all unmarried, but I will tell you how I should have brought up my sons had I had any” is not interesting, cannot be useful, and is a specimen of the amazing and unclothed egoism for which first the art of penmanship and then the invention of essay-writing are responsible.

The tacit hope is that one day, the essay may be blocked from circulating stories about private, homebound people into the wider world.

“The Decay of Essay Writing” appeared in 1905, roughly when the descriptor “the personal essay” began to spread through the English lexicon. Before the twentieth century, the essay as a form was assumed to be personal but, as the writing of Montaigne and his contemporaries reveals, only in a deliberately circumlocutory manner. Reading across composition textbooks from 1900 to 1940 reveals that the personal was not conveyed through action; not “the simple words ‘I was born’” and a description of the events that followed. Rather, it was through style, a different form of excess from the excesses Woolf decried.

Style was marked by the excesses of language, by an author’s pace, punctuation, diction, and grammar; her distinctive deployment of adjectives, adverbs, and prepositions, which, as Jeff Dolven observes in Senses of Style (2017), “cannot be counted upon to shore up the first person as a verb does.” Consider, for instance, Woolf’s ecstatic tendency to set off adverbs in pairs (“simply and solemnly,” “finely and gaily”). Consider Hardwick’s love of trebling adjectives and sometimes hitching an adverb to the last one, so that her prose appears to increase in precision exponentially in the short span of a sentence. (“She is self-absorbed, haughty, destructive.” “They are defenseless, cast adrift, and yet of an obviously fine quality.”) Consider Didion’s habit of beginning with a missing antecedent to create the impression that writer and reader have arrived at a scene in medias res. (“It is an altogether curious structure…”) Framed by teachers of writing as “conversational” and “chatty,” characterized by its air of “spontaneity,” the essay suggested the author’s “personality” as a specular structure. Its refusal to subject the writer to direct observation was an integral part of its signature.

The essays from earlier centuries that are retroactively designated as “personal” today were commonly referred to as “familiar” essays in the early twentieth century. Their counterparts were “didactic,” “factual,” “informative,” or “instructive” essays. The familiar essay seldom treated the author as its object of interest. Rather, familiarity concerned the relationship triangulated between the essay’s writer and its reader—a relationship between friends. Always, this friendship was mediated by the presence of an object to which the writer had committed her powers of perception and analysis, and, through it, secured her reader’s interest: a novel or a painting, a historic figure such as Cato, a creature such as a moth. “One might put it thus,” writes Christopher Morley in the 1921 anthology Modern Essays : “that the perfection of the familiar essay is a conscious revelation of self done inadvertently.”

By contrast, the personal essay distinguished itself from the beginning by its failure to maintain the practice of triangulation between the essayist, her reader, and the object that shared their attention—its unwillingness to commit to inadvertency. It indulged the temptation to “fall into monologue,” Morley complained, allowing its language to curdle into disclosures that were “too ostentatiously quaint, too deliberately ‘whimsical’ (the word which, by loathsome repetition, has become emetic).”

As many of the composition textbooks from the early twentieth century recognized, direct address could not be avoided entirely: it was inherent in the use of the first person. Yet its influence on essay writing and reading could be minimized, made to harmonize with competing forms of address that were more depersonalized in the kind of friendship they imagined—indeed, that held impersonality to be a sign of the essay’s aesthetic and ethical success.

Any avowal of “impartial publicness” is, of course, never as impartial as it insists. Public styles are always marked by nationality, literacy, class, and race; there exists no such thing as a perfectly inclusive or universal language. Yet the claim to mediating friendship through style nevertheless reveals how, against the rising tide of individualism, the familiar essay demanded that its readers place the highest premium on the imaginative interactions of nonintimate selves. It is the friction between social and private modes of representation that the contemporary personal essay smooths away with increasing vigor in the twentieth and twenty-first centuries.

Why are people attracted to stories about individuals? The answer is as obvious as it is petty and perhaps cynical. The fiction of private individuality projected by the personal essay allows bourgeois subjects to accrue various economic, cultural, and social rewards. These rewards are dispersed by institutions that are both constituted by the fiction of the private individual and responsible for reproducing it. The most obvious institution of this kind is the school and, as Adorno observes, its elevation of “pedagogical necessity” into “a metaphysical virtue.” Once the production of personhood becomes bound to and administered by pedagogy, its illusions gain in intensity and reach, as does the personal essay.

A more specific genealogy for the genre—and an explanation of its distinctively American quality today—is the “personal statement” that high school students applying to US colleges and universities were asked to produce starting around 1920, and which has evolved into a cornerstone of the admissions process. Although it is difficult to pinpoint how many students per year write personal statements, more than 5.6 million applications were submitted in 2019–2020 through the Common App, a generic college admission application that requires the applicant to write at least one personal essay. Orbiting these millions of essays is a burgeoning industry of tutoring, prepping, and editing services, evinced by the popularity of books such as How to Write the Perfect Personal Statement , The Berkeley Book of College Essays , College Essays That Made a Difference , and How to Write a Winning Personal Statement . The personal narrative is the designated genre to reveal the writer’s “inner self,” an “opportunity to differentiate yourself from everyone else,” writes Alan Gelb in Conquering the College Admissions Essay in 10 Steps .

The first mention of the personal essay as an admissions requirement, according to Jerome Karabel’s The Chosen: The Hidden History of Admission Exclusion at Harvard, Yale, and Princeton (2005), came during Harvard’s drastic changes to its admissions practices in the 1920s. Since the turn of the century, selection based on exam scores had created what administrators called a “Jewish problem”: the admission of more Jewish applicants than the university deemed acceptable. “We can reduce the number of Jews by talking about other qualifications than those of admission examination,” wrote Harvard president Abbott Lawrence Lowell in 1922, advocating for a subjective set of criteria. The other qualifications he listed, “character” and “leadership,” were to be assessed through three new genres, as Karabel writes: “Demographic information, a personal essay, and a detailed description of extracurricular activities.” The assumption was that Jewish applicants would fall short of the school’s desired “character standard”—that their “centuries of oppression and degradation” meant that they were characterized not by a commitment to individual and personal self-assertion but by a “martyr air.”

To weed out Jewish applicants, universities mobilized the essay as an heir to the Catholic tradition of confession and the later Protestant tradition of narratives of “saving faith,” notes the historian Charles Petersen in his dissertation on meritocracy. No doubt the version of individualism championed by administrators drew on the moral culture of the Protestant bourgeoisie, what Max Weber described as its use of education to cultivate a rational, self-assertive personality. This type was marked by its ability to adhere to a consistent and subjective set of values in a disenchanted world. Forced to conceive the meaning of things, and even man’s relationship to reality, as an individual matter, Weber’s rational personality type formed intellectual arrangements to anoint himself the master and the arbiter of his own destiny, and eventually the destinies of those around him.

The premise of elite college admissions was that this relation could be cinched, and indeed enhanced, by reversing its terms: that the ability to demonstrate, through the genre of the essay, one’s commitment to an idealized model of private and rational individualism marked the applicant as someone well-suited to higher education. Whereas in previous centuries, higher education would have secured a career in the ministry, now it led to executive roles in industry and government. Beyond its discriminatory function, the personal essay sought to identify the students whom the university could transform into the political and economic leaders of the future. Learning how to “game the system” was only a sign of the system’s success at shaping applicants’ behavior.

The overtly discriminatory origins of the admissions essay have been superseded by more covert models of calibrating personhood by ethnicity, as in the recent case of Harvard University admissions officers accused of assigning Asian American applicants lower scores in subjective categories such as “positive personality.” Yet the value the admissions essay—and the college application process in general—places on the private individual as a self-reflective and self-governing subject, the rightful heir to the spoils of capitalism, remains as powerful as ever. Kathryn Murphy and Thomas Karshan, in On Essays: Montaigne to the Present (2020), write:

Applicants are encouraged to draw a moral out of a personal anecdote, often about struggle, and enriched by some element of their reading or studies: “failure,” an expert on the admissions essay tells us, “is essayistic gold.”

Far from signaling weakness, the proud narration of failure speaks of character in precisely the terms set by the educated bourgeoisie of the early twentieth century: character as the capacity to maintain one’s self-comportment in a moment of distress, to tell a tale of hardship lit by the glow of self-knowledge.

At the start of the last century what Petersen has described as the “Catholic tradition of confession,” with its ponderous moral and spiritual accent, its desire for masochistic public exposure and redemption, had yet to enter the scene of personal essay writing and did not do so until the mid-1960s. Almost all the guides mentioned earlier warn applicants away from striking a tone that is too testimonial or therapeutic, working hard to buffer the admissions essay from the sins and perils of what is commonly called confessional writing. Unlike the admissions essay, whose rules and stakes are firmly pegged to educational institutions, confessional writing speaks to a shift in the importance of the individual and the technologies used to conceptualize new notions of personhood. “Its development coincides with new cold war cultures of privacy and surveillance, with therapy/pop psychology culture, with the falling away of modernist and ‘New Critical’ approaches to art and literature, with the rise of the television talk show and the cult of the celebrity,” writes Jo Gill in Modern Confessional Writing (2006).

While one could trace the history of confessional writing back to Augustine, Rousseau, or Freud, as the scholar Christopher Grobe does in The Art of Confession , it was only during the mid-twentieth century that “the confessional” coalesced as a “reinstatement of two closely related literary conventions,” writes the critic Robert von Hallberg: that literature originates “in [their] subject matter” and that writers “mean, at least literally, what they say.” Hallberg was writing about confessional poetry, but one could apply the claim to literature more generally. Perceived by many critics as a rejoinder to New Critical ideologies of reading, the confessional generation appeared to turn away from the university, where the modernist idea that a work exists independently of its creator had been institutionalized. The confessional school, by contrast, squatted at the nexus of therapeutic culture, with its air of psychological self-seriousness; second-wave feminism, from which it drew its reputation as a genre of female complaint; and 1960s counterculture, which imagined literary production as a loose and spontaneous activity.

The rise of confessional writing authorized new groups to speak as individuals, amplifying the voice of the “voiceless” in testimonies to dispossession. Yet as Cheryl Butler argues in The Art of the Black Essay (2003), the essays of James Baldwin, Rebecca Walker, and, more recently, Ta-Nehisi Coates are only awkwardly aligned with the tradition of the personal essay. Even if personal experience is what authorizes the essay form, its function as “a weapon for the downtrodden and the desperate-to-be-heard” presumes that personhood was, from the outset, an unequally distributed resource. Nowhere is this more evident than in Baldwin’s “Stranger in the Village,” in which he examines himself from the self-estranged perspective of the white Swiss villagers who rub his skin and touch his hair, astounded by his blackness: “There was yet no suggestion that I was human: I was simply a living wonder.”

The uncanniness that Butler identifies in Baldwin’s moment of double-consciousness—the same uncanniness that marks “the Latino essay” and “the woman’s essay,” she claims—resides in the moment when the essayist recognizes “who I am.” Yet this recognition is also the moment when the question of the private individual is dissolved by the knowledge that the ability to write and to speak as an “I” is a restricted social and political phenomenon. “Haunted by sociopolitical dramas around issues of race, sex, and class, for example, the essay itself might arrive as a racy document with a radical politics left unveiled,” Butler writes. Had the personal essay followed in the footsteps of the racy documents of the 1960s, it might not exist anymore, having yielded entirely to the countercultural currents of the political essay.

A genuinely countercultural practice can only flourish for so long before being co-opted by the dominant culture. In this case, co-optation proceeded not through the university, but through the publishing industry, which, as one publisher’s report concluded in 1982, had realized that “giving the actual names of girl-friends involved with [one’s] sex ventures…further increased the curiosity of the general reader, and also promoted sales.” Running under this gleeful voyeurism were more depressing and commonplace changes in the conditions of publishing after the recession of the 1980s forced the industry to grow “leaner and meaner.” “Confession is a growth industry,” announced The Sydney Morning Herald , a claim that was echoed in Irina Dunn’s textbook The Writer’s Guide (1999).

On the production side, confession’s growth had been spurred by a proliferation in new media forms attractive to nonprofessional writers, particularly the rise of blogs and self-publishing, at the same time that professional editorial jobs were being made redundant and advances for nonfiction books were beginning to decrease. On the consumption side, it was marked by the erasure of meaningful aesthetic differences between “quality media and the tabloids.” These economic factors made individual experience more salable than ever, simply because it could be bought on the cheap and sold on the regular, especially when tethered to intimate, therapeutic disclosures about transgressive sexual activity, trauma, and family members in crisis.

While one could read individual essay collections to trace how the market emboldened the aesthetics of confession, parody presents a more fruitful opportunity for understanding the personal essay’s evolving commercial function through the 1990s and 2000s. “I am a Personal Essay and I was born with a port wine stain and beaten by my mother,” declares the Personal Essay who narrates Christy Vannoy’s “A Personal Essay by a Personal Essay,” published in McSweeney’s in 2010. “A brief affair with a second cousin produced my first and only developmentally disabled child.” Here, in close and crowded quarters, appear the most notable features of confessional writing, beginning with its audacious use of the first-person pronoun at birth—a wink at Woolf’s line in “The Decay of Essay-Writing”: “The simple words ‘I was born’ have somehow a charm beside which all the splendours of romance and fairy-tale turn to moonshine and tinsel.” Yet the charm of the Personal Essay wears off immediately in Vannoy’s delightful piece. It is sullied not by the port wine stain—there is magic to that punning detail—but by the rapid accretion of traumatic disclosures: the observation of physical deformity, the admission of family violence, the recollection of sexual transgression. In aggregate, they add up not to a story, but a sales pitch.

The Personal Essay speaks to us from “a clinic led by the Article’s Director and Editor for a national women’s magazine,” which will publish the most promising personal essay out of a crowded field of candidates. In attendance are “the Essay Without Arms,” the “Exercise Bulimia” essay, “Divorce Essays,” the “Alopecia” essay, and a pitiful, misfit essay who refuses to speak in the first person and talks only about “Tuesday.” “Not the Tuesday of an amputation, just a regular any old Tuesday,” the Personal Essay tells us, bewitched by this essay’s descriptive prowess and scandalized by its refusal to play by the rules. Doesn’t the Tuesday essay know what it takes to secure a social position in the contemporary literary field? she wonders. Our narrator prevails as the winner of this competition, as we know she will from her triumphantly abject beginning. “Anyway, come November I will be buying every copy of Marie Claire I can get my one good hand on!” she crows. “If you haven’t looked death straight in the eye or been sued by a sister wife, you won’t see yourself in my story.”

Whereas the narrator of a personal essay draws our attention to the experience of a single individual, the Personal Essay Vannoy ventriloquizes channels the genre’s conceptual production of personhood as a salable commodity. This production takes place through a competitive practice of disclosure, a game of one-upmanship that promises access to publishing’s networks of mentorship, distribution, and circulation. And the conventions of confession, the shocking clichés that the personal essays in the clinic must mobilize to perform their singular and embodied personhood, depend so much on their content that they short-circuit any consideration of individual style on the part of either reader or writer. We have no idea how these essays are written; we only know what they are about. We see this in the naming of the personal essays at the clinic—not by the readability of the proper name, but by subgenre, a categorical descriptor that could belong to any number of individuals. (Certainly, more than one essayist has written on divorce.) One could imagine the clinic filling up with an infinitely receding horizon of subgenres that, for all their startling combinations, never get any closer to grounding the essay in the peculiarities of prose. The tension between personality and impersonality, essential to early understanding of the familiar essay, has gone slack, bloated by traumatic content.

Under what conditions is content king? When the personal essay makes the production of personhood not only publicly legible but also monetizable. “Secretly…we each hoped to out-devastate the other and nail ourselves a freelance contract,” confesses Vannoy’s Personal Essay. Her confession is comic, cruel, and pathetic, revealing the mismatch between out-devastating another person through self-exposure and the rewards it yields. In a publishing industry that has largely done away with staff writers, an industry in which art and literature have dwindled into minor cultural forms and creative laborers must maintain appealing online personae to crowdfund their livelihoods, few things could be more coveted than a “freelance contract.” If there is something painfully anachronistic about buying every copy of Marie Claire , then there is something equally painful in the recognition that the Personal Essay’s performance of personhood only gives her access to exploitative labor conditions. But this is as good as it gets.

The Personal Essay’s appraisal of the economic situation reveals why the triangulation of reader, writer, and object secured by the familiar essay is no longer possible. Fewer places will pay for it; fewer people are trained to produce it. The confessional has proved a highly successful strategy for extracting literary production from an increasingly deskilled workforce that needs to do little more than share experiences. As Jia Tolentino, the New Yorker writer, has pointed out in “The Personal-Essay Boom Is Over,” low-budget websites pay young women a pittance for “ultra-confessional” essays that allow for the “negotiation of [their] vulnerability,” knowing that these essays will encourage voyeuristic traffic and, by extension, increase the advertising revenue on which these sites depend. The Personal Essay who narrates the conditions of her own existence is more matter-of-fact about what other essayists have failed to recognize, or, in Tolentino’s case, have helped to perpetuate: the precarious conditions under which creative labor is performed.

For Tolentino, the end of the personal essay boom is explained by the election of Donald Trump and the suspicion that, since his reign, the personal is no longer political. Yet its decline is explained more by the structural shift on the Internet toward a “self-branding social media influence economy,” as Sarah Brouillette has argued. In the last analysis, it is not a decline so much as the convergence of the genre with social media platforms that has rendered online venues devoted to personal essays redundant. Whereas personhood, as a collection of tastes, preferences, and experiences, was once bought and sold through long-form narrative, now it can be sold and bought in the form of views, shares, and followers—personal data managed not by editors and the publications they run but by corporations such as Facebook, Twitter, and Amazon. What we ought to mourn, then, is not the decline of the personal essay; its ethos and its aesthetics persist. Rather, it is the much longer, slower death of the conditions that gave rise to the essay’s unintimate friendship, a familiarity mediated not by a spectacular personhood but by the skillful cultivation of style.

November 3, 2022

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This essay will appear, in somewhat different form, as a chapter in The Cambridge Companion to the Essay , coedited by Kara Wittman and Evan Kindley, to be published by Cambridge University Press in November.

Merve Emre is the Shapiro-Silverberg Professor of Creative Writing and Criticism and the Director of the Shapiro Center at Wesleyan. She is the host of The Critic and Her Publics , a new podcast series produced in partnership with The New York Review and Lit Hub. (April 2024)

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80 Best Magazines & Websites That Publish Personal Essays

Wouldn’t it be great to find a whole list of magazines that publish personal essays, and even pay you for the privilege?

Well, you’re in luck because you’ve just found a list of magazines that accept essay submissions around pop culture, personal finance, personal stories, and many other topics. If you’re passionate about crafting personal essays and your work typically falls within a range of 600 to 10,000 words, consider submitting your essays to the organizations listed below. They generally offer compensation of $50-$250 for each accepted essay. After this guide, you may also want to check my list of the best essays of all time .

Here are the top magazines and publications that publish thought-provoking essays:

1. the new york times – modern love.

“Modern Love” accepts essay submissions via email at [email protected] with the essay subject or potential title as the email subject line. Submissions should be original, true stories between 1,500 and 1,700 words, sent both as an attached Microsoft Word-compatible document and pasted into the body of the email. The team collaborates with writers on editing, and authors are compensated for published work. Submission info .

2. The New York Times – Opinion Essays

To submit an essay to this publication, fill out the provided submission form with the essay and a brief explanation of your professional or personal connection to its argument or idea. The essay should include sources for key assertions (either as hyperlinks or parenthetical citations). Although all submissions are reviewed, the publication may not be able to respond individually due to the high volume of entries. If there’s no response within three business days, authors are free to submit their work elsewhere. Submission info .

3. Dame Magazine

DAME is a women’s magazine that prioritizes accessible and intersectional journalism that dives into context rather than breaking news. Their stories are unexpected, emotional, straightforward, illuminating, and focused on people rather than policy. They aim to reveal new or surprising information, provoke action or empathy, simplify complex issues, introduce fresh ideas, and foreground the people most affected by discussed topics. Submission info .

4. The New Yorker

The New Yorker welcomes letters to the editor sent to [email protected] and includes your postal address and phone number. For fiction submissions, send your work as a PDF to [email protected] or mail it to their New York address. They review all submissions within ninety days and will only contact you if they decide to publish your work. Submission info .

5. The Atlantic

The Atlantic is keen on high-quality nonfiction, fiction, and poetry. Familiarity with their past publications can guide your submission. All manuscripts should be submitted as a Word document or PDF. They only respond if they’re interested in discussing your submission further. Separate submission channels exist for fiction and poetry. Submission info .

6. The Globe and Mail

The Globe and Mail welcomes your original experiences, viewpoints, and unique perspectives for your daily first-person essay. A good essay should have an original voice, an unexpected view, humor, vivid details, and anecdotes that illuminate a wider theme. While a successful essay could be funny, surprising, touching, or enlightening, it should always be personal and truthful, rather than political or fictional. Submission info .

7. The Guardian

To contribute to this publication, you should identify the most relevant section and contact the commissioning editor with a brief outline of your idea. You may be invited to submit your work speculatively, meaning payment will only be provided if your contribution is published. It’s important to note that your contribution should be sent electronically and will be published under standard copyright terms with payment at normal rates unless agreed otherwise before publication. Submission info .

8. Los Angeles Times

The Los Angeles Times is open to opinion articles on any subject, with most published pieces being about 750 words long. Submissions must be exclusive to them and not published elsewhere, including personal blogs or social media. Full drafts of articles are required for consideration and should include the author’s name, the topic, the full text, a short author biography, and contact information. Submission info .

9. The Sun Magazine

The Sun publishes personal essays, short stories, and poems from both established and emerging writers globally, particularly encouraging submissions from underrepresented perspectives. Their contributors’ work often garners recognition in prestigious anthologies and prizes. The Sun seeks personal essays that are deeply reflective, celebrating hard-won victories or exploring big mistakes, aiming to make newsworthy events feel intimate and wrestle with complex questions. Submission info .

Slate invites pitches that are fresh, and original, and propose strong arguments. They appreciate ideas that challenge conventional wisdom and encourage you to clearly articulate the insights your reporting can uncover. A concise pitch is preferred, even if a full draft is already written. You should include a short bio and any relevant published work. They advise waiting a week before pitching to other publications, and if an editor passes, refrain from sending it to another editor at Slate. Submission info .

VICE is primarily interested in mid-length original reports, reported essays, narrative features, and service journalism related to contemporary living and interpersonal relationships. They welcome stories informed by personal experiences and insight but advise writers to consider what makes their story unique, why they’re the right person to tell it, and why it should be on VICE. While all stories don’t need to be tied to current events, a timely element can distinguish a pitch. They also accept quick-turnaround blogs and longer features. Submission info .

12. Vox Culture

Vox Culture seeks to provide readers with context and analysis for understanding current entertainment trends. They are interested in pitches that answer significant questions about major movies, TV shows, music artists, internet culture, fame, and women’s issues in the entertainment business. Notably, they are not interested in personal essays or celebrity interviews. Past successful stories have ranged from exploring Disney’s move away from traditional villains to analyzing historical inaccuracies in popular shows. They accept story pitches ranging between 1,000 and 2,500 words. Submission info .

Aeon, a unique digital magazine since 2012, is known for publishing profound and provocative ideas addressing big questions. Their signature format is the Essay, a deep dive into a topic, usually between 2,500-5,000 words, approached from a unique angle and written with clarity to engage curious and intelligent general readers. Aeon’s contributors are primarily academic experts, but they also welcome those with significant professional or practical expertise in various fields. Submission info .

14. BuzzFeed Reader

This platform welcomes freelance pitches on cultural criticism, focusing on current or timeless topics in various categories like books, technology, sports, etc. Essays should offer a unique perspective on how these subjects reflect our society. The content must be relevant, advance ongoing dialogues, and add value to the existing discourse. Submission info .

15. The Boston Globe

Boston Globe Ideas welcomes a variety of content including op-eds, reported stories, book excerpts, first-person essays, and Q&A features. Submissions should be sent directly, not as pitches. Please include your submission in the body of the email, not as an attachment. Briefly explain why you’re uniquely qualified to write this piece. Ensure your submission hasn’t been published or under review elsewhere. Submissions page .

16. The Bold Italic

This platform is actively seeking submissions in the genre of personal narrative essays. These pieces can encompass a broad range of experiences from the hilariously light-hearted to deeply poignant, encapsulating the vibrant and diverse experiences of living in your community. Submission info .

Before pitching to a Medium Publication, thoroughly understand its unique style by reviewing published content and submission guidelines. This ensures your work aligns with their preferences. With numerous Medium Publications available, persist in your submissions until you find a fitting outlet. Submission info .

18. Refinery29

Refinery29 Australia is committed to empowering women and underrepresented groups, with a particular focus on Australian women and trans and gender-diverse individuals, primarily Gen-Z and millennials. We publish a diverse array of content, from timely personal essays to reports on race, reproductive rights, and pop culture, all with a distinctly local perspective. They aim to shed light on the world around us, and highly value pieces that capture the unique Australian experience, be it in subject matter or authorial voice. Submission info .

ELLE’s annual talent competition is back for, seeking out the next superstar in writing. The winner will have their 500-word piece, inspired by the hashtag #RelationshipGoals and focusing on a significant relationship in their life. Submission info .

20. Cosmopolitan

Cosmopolitan is looking for first-person features that cover all aspects of beauty. This can include writing personal essays or narratives about your struggles with adult acne, your journey to an all-natural beauty routine, or other unique beauty experiences. We are also open to opinion pieces about beauty trends or movements that resonate with you. Submission info .

Bustle encourages freelance pitches across different verticals such as Lifestyle, Books, News and politics, Fashion and beauty, and Entertainment. We value pitches that are brief yet comprehensive, including a sample headline, a 2-3 sentence description of the piece, your plan for photos, sources you have access to, your clips if you haven’t written for us before, and your standard rate. Make sure to understand what we’re looking for and convey your story idea clearly and professionally. Submission info .

22. The Walrus

The Walrus seeks short essays (up to 1,200 words) that are timely, focused, and sourced from Canada and globally. These can be reported narratives, memoirs, or mini-features on specific topics. Each essay should exhibit a distinct argument, a strong writing voice, and present an original and significant viewpoint. Writers new to The Walrus or those without long-form journalism experience are particularly encouraged to contribute to this section. Submission info .

23. Autostraddle

Autostraddle welcomes pitches, works in progress, and completed submissions. Any issues with the submission form should be emailed to Laneia Jones with the subject line “SUBMISSION ERROR”. Questions about the submission process can be directed to Kayla Kumari Upadhyaya with “SUBMISSION PROCESS” in the subject line. Please note that pitches or submissions sent via email will not be accepted. Submission info .

24. Narratively

Narratively focuses on original and untold human stories, welcoming pitches and completed submissions from diverse voices. They use Submittable for managing submissions. To better understand what they’re looking for in new writers, contributors can review their guidelines, and the best pitches they’ve received, and ask questions to their editors about how to pitch. Submission info .

25. Catapult

Catapult offers a regularly updated list of submission and freelancing opportunities. Some current options include Black Fox Literary Magazine, open for fiction submissions; Carina Press, seeking romance manuscripts; Elegant Literature, welcoming submissions for its contest; Inkspell Publishing, looking for romance manuscripts; Interlude Press, seeking original novels featuring diverse casts; and Intrepid Times, accepting stories about romance while traveling. Submission info .

26. Jezebel

At Jezebel, the high volume of daily emails (over 500), including tips and questions from readers, makes it impossible to respond to all of them, even though they are all read and appreciated. Their primary job involves posting 60+ items a day, and due to workload constraints, they may not always be able to reply to your email. Submission info .

27. Bitch Media

Bitch Media seeks pitches offering feminist analysis of culture, covering a wide array of topics including social trends, politics, science, health, life aspects, and popular culture phenomena. They publish critical essays, reported features, interviews, reviews, and analyses. First-person essays should balance personal perspectives with larger themes. Both finished work and query letters are welcome. However, due to the volume of submissions, they cannot guarantee a response or that every pitch will be read. Submission info .

28. Broadview

Broadview magazine prefers pitches from professional writers for unique, audience-focused stories. While unsolicited articles may be accepted, the initial idea pitch is recommended. Responses to each pitch are not guaranteed due to high submission volumes. Submission info .

29. Briarpatch Magazine

Briarpatch Magazine accepts pitches on a variety of political and social issues, valuing stories from diverse voices. They seek well-researched, fact-backed pieces aimed at a non-specialist, progressive audience. They recommend writers to first pitch their ideas, including contact info, estimated word count, recent publications, and a short writing sample. The magazine aims to respond within one to two weeks after the pitch deadline for each issue. Submission info .

30. Maisonneuve

Maisonneuve Magazine welcomes non-fiction writing submissions in various forms (reporting, essays, memoirs, humor, reviews) and visual art (illustration, photography, comics). They do not accept fiction, poetry, or previously published work. They prefer well-developed, well-researched pitches, but also accept polished drafts if the writer is open to edits. To understand what the magazine is looking for, it’s recommended to read some recent issues or check their website. Submission info .

31. Room Magazine

Room Magazine seeks original fiction, poetry, creative non-fiction, and art from individuals of marginalized genders, including women (cisgender and transgender), transgender men, Two-Spirit, and nonbinary people. Simultaneous submissions are welcome, and submissions can be made through Submittable. Submission info .

32. Hazlitt

Hazlitt is currently not accepting submissions but it might reopen soon. They seek original journalism, investigative features, international reporting, profiles, essays, and humor pieces, but they are not considering unsolicited fiction. Pitches with proposed word counts are preferred, and they have a section called “Hazlitt Firsts” for reviews of experiencing mundane things for the first time as adults. Submission info .

33. This Magazine

This Magazine seeks pitches for their annual Culture Issue with a DIY theme, open to various topics related to DIY spirit. They publish Canadian residents only and prefer queries over already completed essays or manuscripts. They look for unique stories with a social justice angle, and pitches should include reasons for telling the story, relevant sources, and potential takeaways for readers. Submission info .

34. Geist Magazine

Geist magazine seeks submissions with a literary focus, including short non-fiction for the Notes & Dispatches section (around 800-1200 words) with a sense of place, historical narrative, humor, and personal essays on art, music, and culture. They encourage submissions from diverse writers and will pay writers $300-500 for accepted pieces. Submission info .

35. Discover Magazine

Discover magazine seeks pitches from freelance writers for science-related stories that enlighten and excite readers, with a conversational tone and high reader interest. Pitch one idea per email, mentioning the newness of the science and specific studies and researchers to be cited. Include your science-writing credentials and best clips in the pitch and send them to [email protected]. Payment starts at $1/word for print and typically $300/story for web, with rights purchased for both. Submission info .

36. Eater Voices

Eater Voices accepts personal essays from chefs, restaurateurs, writers, and industry insiders about the food world. To pitch, email a brief explanation of the topic and why you are the right person to write about it to [email protected]. Submission info .

37. The Temper

The Temper is an online publication focused on sobriety, addiction, and recovery, challenging drinking culture. They seek diverse and intersectional stories written through the lens of addiction, covering various topics like sex, food, relationships, and more. Submissions are currently closed, but they are especially interested in amplifying voices from marginalized and underrepresented groups. Submission info .

38. Chatelaine

Chatelaine is a prominent Canadian women’s magazine covering health, current events, food, social issues, decor, fashion, and beauty. To pitch, read the magazine first, and submit a one-page query letter explaining the idea’s fit for the magazine, section, and format. They prefer email submissions with at least two previously published writing samples, and response time may take six to eight weeks. Submission info .

39. Conde Nast Traveler

Condé Nast Traveler seeks pitches for reported and personal travel stories with inclusive coverage, including BIPOC, LGBTQ+, and disabled communities. Focus on stories and angles rather than destinations, check for previous coverage, and offer a fresh perspective. If pitching a personality, indicate exclusivity and access. Consider your expertise in telling stories, especially about marginalized communities, and disclose any sponsorships. Keep pitches brief, including a suggested headline, angle, sources, and why it’s timely. Responsible travel stories are prioritized during the pandemic. Submission info .

40. Boston Globe Ideas

Globe Ideas is dedicating an entire issue to young people’s voices and stories. Teens are invited to share their aspirations, concerns, and experiences about mental health, school, social media, and more, up to 700 words or through short notes, videos, or illustrations. This is a chance for teens to set the record straight and tell the world what matters most to them. Submission info .

41. Babbel Magazine

Babel welcomes submissions from all linguists, focusing on accessible and stimulating articles about language. Writers can submit feature articles or propose ideas for regular features, and guidelines for contributions are available for download. For those with ideas but not interested in writing, they can also suggest topics for articles through email. Submission info .

42. HuffPost Personal

HuffPost seeks to amplify voices from underrepresented communities, including BIPOC, LGBTQ, and people with disabilities. They accept freelance pitches on a wide range of topics, providing clear guidelines for submissions. They also encourage visual creatives to submit their work, and all published contributors are paid for their work. Please note that due to the volume of submissions, individual responses may not be possible. Submission info .

43. Adelaide Literary Magazine

Adelaide magazine accepts submissions in various categories, including fiction, poetry, creative nonfiction, translations, book reviews, interviews, and art/photography. Fiction and nonfiction submissions have a size limit of 5,000 words, while book reviews have a limit of 2,000 words. They do not accept previously published work or simultaneous submissions. Artists retain all rights to their work, and upon publication, rights revert to the author/artist. Submission info .

44. bioStories

BioStories welcomes nonfiction prose submissions of 500 to 7500 words, with the typical piece being around 2500 words. Submit via email to [email protected], pasting the submission in the email body with the subject line “biostories submission” and your last name. Simultaneous submissions are accepted, but immediate notification is required if accepted elsewhere. Multiple submissions are allowed at a one-month interval, and the work must be previously unpublished in print and online. Noncompliant submissions will not receive a response. Submission info .

45. Quarter After Eight

Quarter After Eight welcomes innovative writing submissions in any genre from both new and established writers. To withdraw work, use the “withdraw” option on Submittable for the entire submission or the “note” function to specify which pieces to withdraw; do not email about withdrawals. Submission info .

46. The Rappahannock Review

The Rappahannock Review accepts original and innovative writing in various genres, including fiction, nonfiction, poetry, and audio pieces. They encourage experimentation and creativity, seeking enthralling voices and compelling narratives. Additionally, the magazine showcases a variety of visual artists and welcomes submissions for consideration in each new issue. Submission info .

Allure is seeking writers to contribute pieces that explore beauty, style, self-expression, and liberation. They are looking for writers with relevant credentials and experience in the field, and they offer compensation of $350 for reported stories and $300 for personal essays. Submission info .

48. MLA Style Center

The Modern Language Association is inviting students to submit research papers written in MLA style for consideration in their online collection “Writing with MLA Style.” Essays should be 2,000 to 3,000 words in length and must be written in English. Works-cited-list entries do not count toward the word limit. Submission info .

49. Marie Claire

Marie Claire magazine is dedicated to highlighting the diversity and depth of women’s experiences. They offer award-winning features, essays, and op-eds, as well as coverage of sustainable fashion, celebrity news, fashion trends, and beauty recommendations. Submission info .

SELF magazine is actively seeking new writers, particularly from marginalized communities, to contribute to their health and wellness content. They are interested in pitches that offer helpful insights on topics related to health, fitness, food, beauty, love, and lifestyle. The focus should be on improving personal or public health clearly and straightforwardly. Submission info .

51. Her Story

HerStry is a platform that focuses on the experiences of women-identifying persons, including cisgender women, transgender women, non-binary persons, and more. They accept personal essays that are true stories about the author, with a length between 500 to 3,000 words. They pay $10 for each published personal essay here, but there is a $3 submission fee (with limited free submission periods). Stories are read blind, and explicit or offensive content is not accepted. Submission info .

52. Griffith Review

Griffith Review accepts submissions based on specific themes for each edition. They welcome new and creative ideas, allowing writers to express their voices in essays, creative and narrative nonfiction-fiction, and analytical pieces. Submissions should generally range from 2,000 to 5,000 words, with up to four poems allowed on theme. Submission info .

53. Literary Review of Canada

The Literary Review of Canada welcomes prospective writers, photographers, and illustrators to submit specific review proposals, essay pitches, or general queries. They prefer to receive unsolicited review topics and essay ideas rather than completed work and do not accept simultaneous submissions. Submission info .

54. Harper’s Magazine

For Harper’s Magazine, nonfiction writers should send queries accompanied by a self-addressed, stamped envelope. Ideas for the Readings section can be sent to [email protected], but individual acknowledgment is not guaranteed due to volume. All submissions and queries must be sent by mail to their New York address. Submission info .

55. Virginia Quarterly Review

VQR only considers unpublished work, submitted online via Submittable. One prose piece and four poems are allowed per reading period, but multiple submissions in the same genre will be declined unread. Simultaneous submissions are permitted, but if accepted elsewhere, notify them immediately via Submittable. Submission info .

56. The New England Review

New England Review is open for submissions in all genres during specific periods. They accept fiction, poetry, nonfiction, dramatic writing, and translations. The magazine only considers previously unpublished work, and simultaneous submissions are allowed. They welcome submissions from writers of all backgrounds and encourage diverse perspectives. Submission info .

57. One Story

One Story seeks literary fiction between 3,000 and 8,000 words, any style, and subject. They pay $500 and provide 25 contributor copies for First Serial North American rights. Only unpublished material is accepted, except for stories published in print outside North America. Simultaneous submissions allowed; prompt withdrawals upon acceptance elsewhere. Accepts DOC, DOCX, PDF, and RTF files via Submittable. No comments on individual stories. No revisions of previously rejected work. Translations are accepted with proper attribution. No emailed or paper submissions, except for incarcerated individuals. Submission info .

58. The Threepenny Review

The Threepenny Review accepts submissions for fiction, poetry, travel essays, and Table Talk pieces. They pay $400 per story/article and $200 per poem, granting first serial rights and copyright reversion to the author. Mailed manuscripts require a self-addressed stamped envelope, while online submissions should be in Word format with a single document for prose or poetry. Submission info .

59. Zoetrope: All-Story

Zoetrope: All-Story is currently not accepting general submissions. They will announce when submissions reopen and update the guidelines accordingly. Submission info .

60. American Short Fiction

American Short Fiction accepts regular submissions of short fiction from September to December. The magazine publishes both established and new authors , and submissions must be original and previously unpublished. Manuscripts should be typed, double-spaced, and accompanied by the author’s contact information. Simultaneous submissions are allowed, but authors must withdraw their work if accepted elsewhere. Payment is competitive and upon publication, with all rights reverting to the author. American Short Fiction does not accept poetry, plays, nonfiction, or reviews. Submission info .

61. The Southern Review

The Southern Review accepts work during its submission period. They only consider unpublished pieces in English and accept simultaneous submissions. If your work is accepted elsewhere, promptly notify them via email with the subject line “withdrawal.” Do not submit work via email, as it will be discarded. They do not consider submissions from anyone currently or recently affiliated with Louisiana State University within the past four years. It is recommended to familiarize yourself with the journal’s aesthetic by subscribing before submitting your work. Submission info .

62. Boulevard Magazine

Boulevard seeks to publish exceptional fiction, poetry, and non-fiction from both experienced and emerging writers. They accept works of up to 8,000 words for prose and up to five poems of up to 200 lines. They do not consider genres like science fiction, erotica, horror, romance, or children’s stories. Payment for prose ranges from $100 to $300, while payment for poetry ranges from $50 to $250. Natural Bridge Online publication offers a flat rate of $50. Submission info .

63. The Cincinnati Review

The Cincinnati Review accepts submissions for its print journal during specific periods: September, December, and May. miCRo submissions are open almost year-round, except during the Robert and Adele Schiff Awards and backlogs. They welcome submissions from writers at any stage, except current/former University of Cincinnati affiliates. Simultaneous submissions are allowed, and response time is around six months. Payment is $25/page for prose, $30/page for poetry in print, and $25 for miCRo posts/features. Submission info .

64. The Antioch Review

The Antioch Review seeks nonfiction essays that appeal to educated citizens, covering various social science and humanities topics of current importance. They aim for interpretive essays that draw on scholarly materials and revive literary journalism. The best way to understand their preferences is to read previous issues and get a sense of their treatment, lengths, and subjects used in the publication. Submission info .

AGNI’s online Submission Manager is open from September 1st to midnight December 15th, and again from February 15th to midnight May 31st. Manuscripts can also be submitted by mail between September 1st and May 31st. AGNI considers prose in various genres, including personal essays, short stories, prose poems, and more. They do not publish academic essays or genre romance, horror, mystery, or science fiction. Simultaneous submissions are welcome, and sending through the online portal incurs a $3 fee, but regular mail submissions can be made to avoid the fee. Submission info .

66. Barrelhouse

Barrelhouse accepts unsolicited submissions for book reviews through their Submittable online submissions manager. They pay $50 to each contributor and accept simultaneous submissions. There is no maximum length, but most published pieces are shorter than 8,000 words. They only accept Word or rich-text (.rtf) files and prefer poetry to be submitted as a single document. Submissions for their print and online issues are currently closed, but book reviews are open. Response time is approximately six months. Submission info .

67. Tin House Online

Tin House is a good company that offers a two-day submission period three times a year for writers without a current agent and no previous book publication (chapbooks accepted). They accept fiction, literary nonfiction, and poetry, both in English and in translation (with formal permission). Completed drafts are required. They are particularly interested in engaging with writers from historically underrepresented communities. Submission info .

68. One Teen Story

One Teen Story publishes 3 stories annually and welcomes submissions from teen writers aged 13-19. They seek original, unpublished fiction across genres, focusing on the teen experience. Great short stories with compelling teen characters, strong writing, and a well-structured narrative are encouraged for submission to their contest. Submission info .

69. Bennington Review

Bennington Review accepts unsolicited submissions through Submittable during their reading periods in fall, winter, and spring. They seek innovative and impactful fiction, creative nonfiction, poetry, film writing, and cross-genre work. Response times vary, but they aim to respond within five to eight months. Accepted contributors will receive payment ranging from $25 per poem to $250 for prose over six typeset pages, along with two copies of the published issue and a copy of the subsequent issue. Submission info .

70. Epoch Literary

Epoch Literary accepts poetry submissions of up to five poems, short fiction or essay submissions as a single piece or a suite of smaller pieces, and visual art and comics for the cover. They do not publish literary criticism or writing for children and young adults. Electronic submissions are open in August and January, with a $3 fee, part of which supports the Cornell Prison Education Program. Submission info .

71. The Gettysburg Review

The Gettysburg Review accepts poetry, fiction, essays, and essay reviews from September 1 to May 31, with a focus on quality writing. Full-color graphics submissions are accepted year-round. It’s recommended to read previous issues before submitting, and sample copies are available for purchase. The journal stays open during the summer for mailed submissions or those using Submittable and purchasing a subscription or the current issue. Submission info .

72. Alaska Quarterly Review

The publication accepts submissions of fiction, poetry, drama, literary nonfiction, and photo essays in traditional and experimental styles. Fiction can be short stories, novellas, or novel excerpts up to 70 pages, and poetry submissions can include up to 6 poems. They aim to respond within 4 to 12 weeks, but authors can inquire about their manuscript status after 4 weeks if needed. Submission info .

73. Colorado Review

Colorado Review only accepts submissions through its Submittable portal and no longer accepts paper submissions. They encourage writers to be familiar with their publication before submitting and provide sample copies and examples of recently published work on their website. They look for engaging stories with original characters, crisp language , and a provocative central problem or issue. Submission info .

74. The Georgia Review

The Georgia Review accepts submissions both online and by post, but not via email. Submissions are free for current subscribers. They do not consider unsolicited manuscripts between May 15 and August 15 and aim to respond within eight months. Previously published work will not be considered, and simultaneous submissions are allowed if noted in the cover letter. They offer different prizes for poetry and prose and accept submissions in fiction, poetry, essays, and book reviews. Submission info .

75. New Letters

New Letters accepts submissions year-round through Submittable, with a small fee waived for current subscribers. They welcome up to six poems, one chapbook, one piece of nonfiction, one short story (graphic or traditional), or one novella per submission. Simultaneous submissions are allowed if notified, and response time is approximately six months. They publish short stories up to 5,000 words, novellas up to 30,000 words, graphic short stories up to ten pages in color or black and white, and chapbooks up to 30 pages. Submission info .

76. Shenandoah

Submissions for comics will reopen soon. The Graybeal-Gowen Prize for Virginia Poets will be open for a limited time. Poetry submissions are considered in November and spring. Prose submissions will open soon. Short stories, creative nonfiction, and flash fiction are welcome. Editor Beth Staples looks for writing that challenges and offers diverse perspectives. Submission info .

77. TriQuarterly

TriQuarterly, the literary journal of Northwestern University, welcomes submissions in poetry, fiction, creative nonfiction, video essays, short drama, and hybrid work from both established and emerging writers. They are especially interested in work that engages with global cultural and societal conversations. Submissions are accepted through Submittable, and they charge a small reading fee. Submission windows vary by genre. Submission info .

78. E-International Relations

E-International Relations invites current and former undergraduate and Master’s students to submit their highest-graded essays and dissertations for publication. They seek work that is of academic utility to other students and demonstrates engagement with the subject, using pertinent case studies/examples and engaging with complex literature and ideas. Submissions must meet specific entry criteria, including word count, language standards, and full bibliographic references. Submission info .

79. Longreads

Longreads publishes the best long-form nonfiction storytelling and accepts pitches for original work. They pay competitive rates and prefer pitches via email to [email protected]. Fiction is not accepted, and submissions using generative AI tools will be rejected. You can also nominate published stories by tweeting with the #longreads hashtag. Submission info .

80. Education Week

EdWeek welcomes submissions from various perspectives within the K-12 education community, including teachers, students, administrators, policymakers, and parents. Submissions should be concise, relevant to a national audience, and have a clear point of view backed by factual evidence. We value solution-oriented and practical pieces that offer best practices, policy recommendations, personal reflections and calls to action. Essays longer than 1,000 words or shorter than 600 words will not be considered. Please submit in Word format via email. Submission info .

If you want to get your essays published in a print magazine or an online publication, it’s time to approach the appropriate section editor or send your work via a submissions page. Even in a world where so much content is produced by AI, publications are still interested in receiving great writing written in a conversational tone. Just make sure to follow the guidelines (especially those around word count) and show off your flamboyant writing style in a prestigious online magazine. Next up, you might want to check a list of the top sites that will pay you to write, or my extensive list of publishing companies .

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Hey there, welcome to my blog! I'm a full-time entrepreneur building two companies, a digital marketer, and a content creator with 10+ years of experience. I started RafalReyzer.com to provide you with great tools and strategies you can use to become a proficient digital marketer and achieve freedom through online creativity. My site is a one-stop shop for digital marketers, and content enthusiasts who want to be independent, earn more money, and create beautiful things. Explore my journey here , and don't miss out on my AI Marketing Mastery online course.

7 publications that pay well for personal narrative essays

Despite The New Yorker declaring that the personal essay boom was over in 2017, I’ve seen the opposite. Whenever I look on Twitter, I see callouts from editors for candid, revealing and thought-provoking first person pieces. For freelance writers, the advantage of writing a personal narrative essay is that you are drawing on your own experience, so there is very little need for external research or case studies. Many writers also say that writing down their own experience and sharing it with others feels validating, affirming and therapeutic.

Before I became a full time freelancer , I wrote quite a few personal narrative essays.

Why? Because personal narrative essays are one of the fastest and easiest ways to get published.

When I was writing my first-person pieces, I found numerous articles about how to sell personal essays in the age of over-sharing and how to write compelling first person pieces for major publications.

I quickly learnt that if you are willing to open up and share your own experience, you can be compensated well for it.

And if you’re interested to learn more about how to write a personal essay (and how to get paid for it!) I’ve created the ultimate guide to step you through the process.

It takes you through:

Choosing the perfect topic for a personal essay
How to start a personal essay (including what to do and not to do and examples of banging beginnings)
Common mistakes people make when writing first-person narratives
How to write a compelling personal essay that keeps people reading right to the end
Examples of great personal narrative essays
How to pitching your story to an editor
And lots more!

The guide also includes 15+ paying markets for personal narrative essays, but I know that it can be tricky to find publications that accept freelance submissions.

The good news is that there are plenty of online and print publications looking for personal essays.

So if you have a personal story you want to share, where can you pitch it?

If you’re a writer who has had a book published, it’s definitely worth pitching to Allure (a magazine predominantly for women about beauty) as they pay up to $3,000 for personal essays up to 2000 words.

For those mere mortals among us who haven’t written a book, the rate for personal essays seems to be more like $250 – $500.

Glamour is another women’s magazine that heavily focuses on beauty, fashion and entertainment stories. Personal essays published by Glamour are reported to fetch around $2/word.

3. The Guardian

You have to love an editor who puts what she wants from writers out there and Jessica Reed from The Guardian certainly delivers. For beautifully written personal essays, The Guardian reportedly pays 60c/word.

4. Marie Claire

If you’ve got something compelling, insightful, intimate, funny, relatable or awkward to say about your love or sex life, then a personal essay directed to Marie Claire might be just the ticket. Writers report that Marie Claire pays $2/word.

Are you spotting a theme here? Women’s magazines love personal essays. If you want to write first hand experience about fitness, food, health or culture, it’s worth pitching to SELF magazine, who pay up to $700 for 2000 words.

A dynamic site covering world affairs, pop culture, science, business, politics and more, Vox pay around $500 for personal narrative essays. What’s even better is their clear pitching guidelines for their First Person section .

7. News.com.au

If you feel like a sharing a real life story like this one , you can pitch to the lifestyle vertical on the Australian website news.com.au. Writers are reportedly paid around $500 for a post.

Great examples of personal essays

You could spend years reading all the personal narrative essays that get published, but here are my picks for some of the best:

My washing line is heavy with the weight of our ash-ridden tent hung out to air. I wonder if the smell of smoke will ever be gone. I have no recollection of the tent being packed away – I was focused on the children, keeping them calm. All I know is that we’d never packed up a campsite so damn quickly. But then, we’d never fled a bushfire. You can read the rest of the article here.

“I love you so much.” Those whispered words make everything better – and when my soul mate and husband died, five years ago, I truly believed I would never hear them again. You can read the rest of the article here.

My epiphany came, like many of them do, while I was taking a dump. Specifically, it came while I was trying to take a dump in the woods after three years of struggling with gastrointestinal issues. It went something like this: you don’t need to be gluten-free anymore. You just need to relax. You can read the rest of the article here.

The rules for pitching a personal essay are much the same as when you query an editor for any other kind of writing assignment.

You just need a strong hook and engaging writing style.

The writers I know who create personal narrative essays love it.

They feel free and are absolutely thrilled when readers respond to their articles with “me too!”

After all, isn’t the point of writing to reach and connect with others? Personal essays tend to do that in a very special way.

Do you write personal narrative essays? Have you found other well-paying markets?

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The New York Times

The learning network | getting personal: writing college essays for the common application.

Getting Personal: Writing College Essays for the Common Application

<a href="//www.nytimes.com/2012/01/22/education/edlife/common-app-4-0.html">Go to related 2012 article on the Common Application <strong></strong></a><strong><a href="//learning.blogs.nytimes.com/category/american-history/">»</a></strong>

Language Arts

Teaching ideas based on New York Times content.

See all in Language Arts »
See all lesson plans »

Overview | How can reading The New York Times help students practice for the new college essay prompts on the Common Application? What tips on college-essay writing can they learn from The Choice blog? In this lesson, students will explore the open-ended topics for the 2013-14 Common Application essays through writing and discussion. Then, they will identify and examine Times pieces that might serve as “mentor texts” for their own application essays. Finally, they will craft their own college admissions essay in response to one of the new prompts, using advice from Learning Network and The Choice Blog.

Materials | Student journals

Warm-Up | Prior to class, post these prompts at the front of the room, or prepare to project them. Do not tell students that they are the new prompts for the Common Application essay.

<a href="//www.nytimes.com/2011/01/09/education/09guidance-t.html">Go to related article on the college essay »</a>

When students arrive, ask them to form two concentric circles, facing one another. During the activity, the students forming the inside circle remain still, which the students in the outside circle will travel to their left when given the signal. Explain to students that you are going to do a “speed-dating” activity.

Project or unveil the first prompt and tell students that they will talk about the topic with the person across from them for five minutes. Within that time, each student should play the role of speaker and listener. Set a timer for five minutes and signal that they should begin. Once time is up the outer circle rotates left. Unveil a new topic and begin the process again until students have discussed each topic, rotating to new discussion partners with each prompt. Then, ask students to return to their seats.

Alternatively, depending on the nature of your class, you could post the topics up around the room and ask students to take their journals and form small groups by each topic. Then, conduct a free-writing marathon. Have students free-write using the topic they are standing in front of as a starting point. Tell them they have five minutes and set a timer. At the conclusion of the time period, ask students to rotate to the next topic and begin free-writing. Repeat this process until students reach their starting point. Then, ask them to return to their seats.

Open discussion by asking the following questions:

Which of these topics did you find the easiest to discuss? Why?
Which of these did you find difficult? Why?
Which of these prompts did you want to continue talking (or writing) about?

Then, invite students to share a story or a favorite free-write effort with the whole group.

Finally, share with students that these are the new essay topics for the common application essay and ask them what they think. Are these good topics? Is there something here for everyone? Do some help colleges get to know students better than others? Do they fuel or lessen anxiety about the college application process? You might use some of the comments in response to The Choice post to spark discussion.

Related | In Common Application Releases New Essay Prompts , Tanya Abrams unveils the new Common App essay topics for the 2013-14 admissions season.

The new Common Application — which received some criticism a few months ago for removing the “topic of your choice” essay prompt — has released five new essay prompts for the 2013-14 admissions season, Inside Higher Ed reports. Students who plan to use the Common App, a form that allows students to apply to multiple colleges and universities simultaneously, are advised to keep these essay prompts in mind. Savvy juniors, and regular readers of this blog, know that the earlier a college applicant starts drafting his or her essay, the more prepared they are. Here are the new essay prompts: Some students have a background or story that is so central to their identity that they believe their application would be incomplete without it. If this sounds like you, then please share your story. Recount an incident or time when you experienced failure. How did it affect you, and what lessons did you learn? Reflect on a time when you challenged a belief or idea. What prompted you to act? Would you make the same decision again? Describe a place or environment where you are perfectly content. What do you do or experience there, and why is it meaningful to you? Discuss an accomplishment or event, formal or informal, that marked your transition from childhood to adulthood within your culture, community, or family.

Questions | For discussion and reading comprehension:

Why did the Common Application receive criticism several months ago for its essay prompts?
Do you miss the “topic of your choice” option? Why or why not?
Why would The Choice publish these topics now?
What do the new topics have in common??
How do you feel about the new word count?

RELATED RESOURCES

From the learning network.

Lesson | Going Beyond Cliché: How to Write a Great College Essay
Student Opinion | What Mundane Moments in Your Life Might Make Great Essay Material?
Lesson | Getting Personal: Creating Your Own College Essay Prompts

From NYTimes.com

Common Application is Removing a Surprising Essay Topic
Juniors: In the Quiet of Summer, Start Your Essays
Your Admissions Essay, Live on Stage

Around the Web

Juniors and Common App Essays: Wait to Write Them
TeenInk College Guide: Today’s Best College Essays
>MIT Admissions: How to Write a College Essay

Activity | Tell students that they will have the opportunity to expand on the ideas they discussed at the beginning of class by drafting an essay in response to one of the prompts, but first, they are going to comb The New York Times for models of each topic and look closely at them to see how others have told their stories and what they might learn about how to effectively tell their own. ( Note: Many of the pieces we’ve chosen as “mentor texts” below, are either by or about young people, but some are not. Please use the choices as suggestions only: there are many, many pieces in The Times weekly that fit the Common App prompts well.)

Assign pairs or groups of students each one of the new Common App essay topics and ask them to search the Times (and elsewhere) for essays that might serves as models. Give each group the following articles, essays, or columns to use as starting points. Each group member should find at least one additional model and bring in the clipping or Web site to class for analysis and discussion.

It’s O.K. to Put Yourself First : An essay in which a writer meditates on the impact of a serious illness on her life and family.
My Son and the City : A woman moves to New York City with her son, who has serious medical challenges and developmental disabilities–and, she writes, “in a place famous for its anonymous crowds, [he] has been learning about people.”

Recount an incident or time when you experienced failure. How did it affect you, and what lessons did you learn?

A Rat’s Tale : A writer discusses her failure to be the sister her brother wanted and what she learned.
Pancake Chronicles : An entertaining account of a disastrous first job.
A Heartbroken Temp at Brides.com : After a groom changes his mind, his would-be bride, with “no money, no apartment, no job” takes a position at a wedding Web site.

Reflect on a time when you challenged a belief or idea. What prompted you to act? Would you make the same decision again?

From Tehran to the B Train : A young woman stands up to a mugger on the subway.
Winning Essay: Win a Trip Contest : An essay about fighting injustice all around the world.
I Found My Biological Parents, and Wish I Hadn’t : “I’d expected to find more common ground,” writes the author of this essay.

Describe a place or environment where you are perfectly content. What do you do or experience there, and why is it meaningful to you?

Yes, I’m in a Clique : A Student from Columbine High School discusses the comfort of a clique.
My Manhattan; A Lifetime of Memories and Magic : A meditation on Central Park
My Home in Africa : An American feels at home in the Republic of Benin.

Discuss an accomplishment or event, formal or informal, that marked your transition from childhood to adulthood within your culture, community, or family.

A Life Plan for Two, Followed by One : An essay about young love and loss of innocence.
Forbidden Nofruit : A reflection on junk food, family, and rebellion.
Bitter Sweets : A young man who has “a hard time” with his Chinese-American identity looks for an apartment with his white girlfriend.

Generally speaking, the following Times sections offer good models for personal essays:

Lives Columns
Modern Love Columns
The Townies series

In addition, the following Learning Network features pull together high interest pieces that make good models for student writing.

Great Read-Alouds From The New York Times
Teenagers in the Times
Using Opening Lines From the Magazine’s ‘Lives’ Column as Writing Prompts
10 Personal Writing Ideas

When students identify the models, ask them to analyze them as models for writing, using the following questions:

How does the writer begin the piece? Is it effective? Why or why not? What advice would you give an essay writer based on how this model begins?
Where do you see the writer demonstrating what he or she is saying? In other words, where is he or she showing, rather than telling?
What words does the writer use that really make his or her voice come alive for you?
How does the piece end? Is this an effective technique? Why or why not?
Finally, try “reverse outlining” the piece to see how the writer organized and developed his or her ideas.

Help students explore more Times models and advice for writing well with this lesson . For expository essay models that go beyond the personal, try this one .

Going Further |

<a href="//www.nytimes.com/2012/10/15/booming/returning-favors-with-neighborly-advice.html">Go to related essay about helping others to write the college essay <strong></strong></a><strong><a href="//learning.blogs.nytimes.com/category/lesson-plans">»</a></strong>

After exploring Times models, students are now ready to craft their own essays. Ask students to choose a topic that intrigued them during the warm-up and draft an essay, using Times Resources to help them.

They might start with the three articles we’ve pulled drawings from to illustrate this lesson plan:

Common App 4.0
The Almighty Essay
Returning Favors With Neighborly Advice

Then move on to specific advice offered by The Choice blog:

On College Essay, Write About Something That Made You ‘Feel Deeply’”
A Plea From the Admissions Office to Go for the ‘Dangerous’ Essay
What the New Dean at Pomona Looks for in an Essay 
Hearing the Voice of a 51-Year-Old Man in the Essay of a 17-Year-Old Girl
Treating a College Admissions Essay Like a First Date
Crafting an Application Essay that ‘Pops’
Tip Sheet: An Admissions Dean Offers Advice on Writing a College Essay
Advice on Whittling Your Admissions Essay

Students who are having trouble coming up with ideas might browse the responses to our Student Opinion question What Mundane Moments in Your Life Might Make Great Essay Material? or this tip sheet from The Choice blog.

Teachers wishing to develop this lesson into a more complete unit on the college essay might focus more on crafting the essay itself using this lesson on Going Beyond Cliché: How to Write a Great College Essay” coupled with the resources from this 2009 lesson . Students might also find this advice useful.

Once students have completed their drafts, ask that they use the College Essay Checklist (PDF) to evaluate their essays either individually or in pairs.

Common Core ELA Anchor Standards, 6-12

Reading 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. 5. Analyze the structure of texts, including how specific sentences, paragraphs and larger parts of the text (for example, a section, chapter, scene or stanza) relate to each other and the whole. 6. Assess how point of view or purpose shapes the content and style of a text. 10. Read and comprehend complex literary and informational texts independently and proficiently.

Writing 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences. 4. Produce clear and coherent writing in which the development, organization and style are appropriate to task, purpose and audience. 5. Develop and strengthen writing as needed by planning, revising, editing, rewriting or trying a new approach.

Speaking and Listening 1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. 3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Comments are no longer being accepted.

What a great resource you are, and to think that until last week I had no idea you even existed! Thanks to your post, I just followed up on The Choice’s suggestion to add additional helpful essay-starting exercises of my own. “What’s in your room?” has long been the prompt I use to get things rolling – even before the Common App posted its new questions. And look: Question 4 readily lends itself to that train of thought.

Your suggestions have also been a good way for me to refine an area where I don’t quite agree. I’ve never found it useful to have students look at model essays written by other people, in the same way I don’t (usually) find it a good idea when students begin their essays with someone else’s lofty quotation. I’d much rather give them the strategies to look deeper within themselves to provide both the text and, more importantly, the subtext. In fact, I don’t feel that even the Common Core heeds the omnipresence of a deeper intuitive logic within the writing process. In the college essay I believe the chief goal should be to get students to realize they are the only authority they may need when it comes to making, then sharing, the amazing, unique connections they have arrived at based on experiences they alone are qualified to speak of. =)

Thanks so much for letting us know, Maxene! (And consider inviting your students to do our Summer Reading Contest , too!) –Katherine

This chart is very use fol for students

This is one of the most extensive and helpful posts I’ve read on how to write college admissions essays. My feeling is that most English teachers know their great literature, but are not as versed on teaching writing–especially narrative style pieces. I agree that the best place to get ideas for unique topics, as well as learn how to structure these more informal essays, is by reading what others have written. You have collected a wonderful assortment of sample essays. Reading excellent writing, especially the New York Times, is also very helpful, especially feature-style articles that use creative writing techniques, such as anecdotal leads and descriptive details. I try to share similar writing advice on my blog, Essay Hell.

Excellent resource, thank you.

I am in the process of writing my common application essay, and this is served as inspiration.

It was very useful for me.

Is the essay you write just as important as your SAT scores?

This will help me immensely when I begin writing my college essay prompt.

Some students have a background or story that is so central to their identity that they believe their application would be incomplete without it. If this sounds like you, then please share your story. //www.essayhelpcollege.blogspot.com //writingcenter.unc.edu/handouts/application-essays/

Common Application will retain the current set of first-year essay prompts for 2014-15, without any edits or additions. //dartmouth.edu/writing-speech/ wwwbuyessay.co.uk

I saw some sources about relationship. Is it okay to write about your love and how in has influenced you to become a better person?

Hi, these tips are really helpful to write my personal statement for law school. I was feeling overwhelmed to compose my personal statement.

Found your blog very useful & informative. Thanks for such a nice post.

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What Raisi’s Death Means for the Future of Iran

By Robin Wright

People carrying images of late Iranian President Ebrahim Raisi.

I last interviewed Ebrahim Raisi, the ultra-hard-line President of Iran, during his début appearance at the United Nations, in 2022. He spoke belligerently and with such speed that the interpreter struggled to keep up. He was the same on the U.N. dais, where he furiously waved a photo of General Qassem Soleimani and demanded that Donald Trump be tried for ordering his assassination—a “savage, illegal, immoral crime”—in a U.S. drone strike, in 2020. Back home, Iran was in turmoil after nationwide protests erupted in response to the death, in police custody, of a twenty-two-year-old named Mahsa Amini. She had been arrested for improper hijab; too much hair was showing. Raisi’s government ordered a brutal crackdown; security forces eventually killed more than five hundred protesters and arrested nearly twenty thousand. During an interview with a handful of journalists, conducted in the chandeliered ballroom of a New York hotel, Raisi was asked about the protests. “We’re all professionals,” he said, and insisted that we focus on the dispute over Iran’s nuclear program “rather than diverting to other issues.”

Raisi, who had a manicured white beard and wore a black turban signifying his descent from the Prophet Muhammad, offered no hint of diplomatic compromises over the growing tensions with the West, as three of his predecessors had done during their U.N. visits. He instead boasted of a shifting world order that mobilized America’s rivals. After his election, in 2021, Raisi oversaw Tehran’s expanding military coöperation with Russia, which included the transfer of hundreds of drones for its war in Ukraine. He tightened ties with China, which is now the main importer of Iranian oil, thus bailing Iran out of the sanctions noose created by Washington. At home, however, Raisi was “derided for incompetence” and often the butt of relentless Persian humor, Vali Nasr, the former dean of the Johns Hopkins School for Advanced International Studies, told me. Raisi invoked tougher enforcement of the hijab and restricted personal freedoms, which in turn sparked the widest protests against the regime since the 1979 Revolution. He was arguably Iran’s most unpopular President. “Whoever succeeds him could be construed by the public as an improvement,” Nasr added. Raisi was also the first President to be personally sanctioned by the U.S.

Raisi died in a helicopter crash on Sunday. He was flying back from the country’s border with Azerbaijan, in the northwest, where he had celebrated the opening of a new dam with his Azerbaijani counterpart—a symbol of Iran’s strengthening relations with nations in the Caucasus. He flew in a convoy of three helicopters. Two landed safely after navigating thick fog over remote and rugged mountains. Raisi flew in a vintage U.S.-manufactured Bell helicopter, a model purchased during the monarchy in the nineteen-seventies. (Bell stopped producing it more than twenty-five years ago.) Iran has struggled to maintain its aging aircraft, and U.S. sanctions have complicated access to spare parts. Despite early conspiracy theories about deliberate sabotage of Raisi’s helicopter, which spread feverishly across social media, Iran attributed the crash to a “technical failure” after the charred wreckage was finally found early on Monday in a dense mountain forest. Eight others, including Iran’s foreign minister, Hossein Amir-Abdollahian, were also killed.

Raisi died at a precarious time for a revolutionary regime that is ever more xenophobic, paranoid, and rigid. His legacy is “a sharp deterioration of Iran’s relations with the West, owing to the failed efforts to negotiate a return to the 2015 nuclear agreement, increasingly close military ties with Russia, and the perilous tit for tat with Israel,” Ali Vaez, an Iran expert at the International Crisis Group, told me. His successor will have to deal with “deep social and economic discontent, regional instability and tension, and, over the longer horizon, the fate of the Islamic Republic.”

The theocracy in Tehran is in deep trouble on every front. “The divide between the population and leadership has only increased—as evidenced by public apathy” at parliamentary elections held in March, Sanam Vakil, an Iran expert at Chatham House, told me. Only forty-one per cent of eligible voters cast ballots—the lowest percentage since the revolution. The reason for public disillusionment is partly economic. Inflation hovered at thirty-five per cent in February; the Iranian rial plummeted to an all-time low last year. Under Raisi, the government cut back on food and fuel subsidies and did little to sustain support for health, education, and welfare. The average Iranian feels trapped in economic purgatory. And, in April, the regime, which has the largest missile arsenal in the region, was humiliated militarily. It fired more than three hundred ballistic missiles and drones at Israel in retaliation for Israel’s attack on an Iranian diplomatic facility in Syria, which killed three top generals. Iran’s weaponry either failed, was shot down, or was intercepted by Israeli, U.S., and Jordanian forces, among unnamed others. The U.S. called Iran’s brazen operation “embarrassing” and a “spectacular” failure.

Raisi’s demise also comes at a time when the regime is down to a small core. Like other revolutions, Iran’s has eaten its own. Past Presidents of widely diverse views—including Hassan Rouhani, Mahmoud Ahmadinejad, Mohammad Khatami, and Hashemi Rafsanjani—have been viciously sidelined, officially silenced, denied foreign travel, or prevented from running for office again. The first President, Abolhassan Bani-Sadr, shaved his trademark mustache and secretly fled the country wearing a skirt. Vice-Presidents have been imprisoned. A former Prime Minister and a speaker of parliament have been under house arrest since 2011. The list of acceptable political candidates—who are tightly vetted by a twelve-man Guardian Council of Islamic clerics and jurists—is tiny. “Raisi was not a beloved or charismatic figure,” Vakil told me. He was best known among Iranians as a ruthless justice minister and earlier for his role on a “death commission” that dispatched some five thousand dissidents to the hangman over a matter of weeks in 1988. “He was a loyal apparatchik,” Vakil added. But “the circle of obvious functionary leaders continues to shrink, and it will be hard to find one person to tick the Presidential, ideological, and succession boxes that Raisi seemed to fit.”

Iran’s policies—both foreign and domestic—are unlikely to budge even a bit. But the nation is deeply shaken about the future. For the regime’s supporters and dissidents alike, Raisi’s death has spawned an existential question: Who will lead Iran, especially with the looming death of Ayatollah Khamenei? The Supreme Leader, who has been the ultimate power in the Islamic Republic since 1989, turns eighty-six in July; he has suffered from prostate cancer. Raisi, who was a Khamenei acolyte from Mashhad, the holiest city in Iran and a pilgrimage site visited by millions of Shiites every year, was widely expected to oversee the transition. (He was due to run for reëlection next year and, if successful, would have held power until 2029.) Raisi had even been floated as a potential successor to Khamenei. “Raisi’s death disrupts the plans the hard right has had all along to consolidate power,” Nasr said. Vaez noted, “His death introduces a major element of uncertainty” and “heightens the already significant stakes for his successor.”

The succession race is now “wide open,” Nasr added. The other name that has long been floated is Mojtaba Khamenei, the Supreme Leader’s fifty-five-year-old son and closest adviser. But choosing him would create a clerical dynasty, and the revolution was all about ending one family’s control of all levers of power. A big question is who else can emerge as a viable candidate for President—a new election has been set for June 28th—who also has the credentials to be a potential successor to the Supreme Leader. Khamenei himself was President when he was elevated to the role of Supreme Leader after the death of Ruhollah Khomeini, who led the revolution. There have been no other transitions. “All viable candidates with name recognition, capable of winning without controversy, are from the more middle-of-the-road conservative camp or moderates of the Rouhani type,” Nasr told me. Insisting on a hard-right candidate who “no one believes is credible” is risky, he said. The regime needs turnout now more than ever to prove that the Islamic Republic can endure. If Tehran rehabilitates more moderate candidates, Vakil said, “it will point to the importance of building stronger domestic consensus at the élite and popular level.” The transition is already likely to be chaotic behind the scenes.

The stakes are not just about one man at the top, however. Since the revolution, the central dispute has been whether the Islamic Republic of Iran is foremost Islamic or a republic. In other words, should it adhere rigidly to God’s law outlined in the Quran and bestow political supremacy on clerics? Or does it embrace man’s law, based on a modern constitution, and invest the most power in elected representatives of the people, with the clerics as advisers? Centrists like Rouhani (Raisi’s predecessor) and reformers like Khatami (three Presidents ago) wanted to nudge a revolutionary regime in the direction of a normal state that assured more personal freedoms and engaged with the world, including the U.S. This fundamental debate within the regime has resonated in all major policy decisions. In recent years, the absolutist ideologues have quashed all others.

After Raisi went missing, Khamenei, the Supreme Leader, quickly took to social media—including in English, on Twitter, which is otherwise banned in Iran—to reassure the nation. He pledged stability during the transition of power. “The nation doesn’t need to be worried or anxious as the administration of the country will not be disrupted at all,” he wrote . Mohammad Mokhber, the most senior of Iran’s twelve Vice-Presidents, will serve as acting President until a new election is held, within fifty days, as mandated by the constitution. Mokhber fought with the Revolutionary Guards during the Iran-Iraq War, in the nineteen-eighties, then worked in the Mostazafan Foundation that oversaw benefits to the “oppressed” and families of the fallen. (The wealthy foundation and its fifty subsidiaries were sanctioned by the U.S. in 2020.) Mokhber also worked at Sina Bank. (It was sanctioned by the U.S. in 2018 for providing financial support to a paramilitary group that “recruits and trains child soldiers.”) He then joined Setad, a vast financial network controlled by the Supreme Leader. (It, too, has been sanctioned by the U.S.) But Mokhber may only be a placeholder, as Vice-Presidents have historically not been considered successors to the head of government. Ali Bagheri Kani, the lead Iranian negotiator in talks revived by the Biden Administration on Iran’s nuclear program, will become interim foreign minister. (In the end, Iran balked at the terms, and the initiative collapsed.)

The initial U.S. reaction to Raisi’s death was low-key. The State Department expressed “official condolences.” In a statement, it said, “As Iran selects a new president, we reaffirm our support for the Iranian people and their struggle for human rights and fundamental freedoms.” It confirmed that Tehran reached out to the U.S. for assistance after the crash and that the U.S. agreed, as it would do “in response to any request by a foreign government in this sort of situation,” the spokesman Matthew Miller told reporters. (Ultimately, the U.S. was not able to provide that assistance because of logistical issues.) The White House was tougher. John Kirby, the strategic coördinator for the National Security Council, told a small group of reporters on Monday that Raisi was responsible for “atrocious” acts of repression and had a major role in aiding proxies in ways that contributed to the Hamas attack on Israel on October 7th. “This was a man who had a lot of blood on his hands,” he said. Tehran charged that the U.S. was partly responsible for the crash, since U.S. sanctions had hampered Iran’s ability to get spare parts to maintain the aging American aircraft. “Utterly baseless,” Kirby said. “But it’s not surprising that the Iranian regime would once again try to find a way to blame the United States for problems of its own making.” ♦

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Frank Bruni

How to buy yourself a longer life.

By Frank Bruni

Mr. Bruni is a contributing Opinion writer who was on the staff of The Times for more than 25 years.

The fitness chain Equinox recently announced a new peak of pampering, a higher altitude of indulgence. It’s a deluxe membership called Optimize by Equinox, it costs about $40,000 a year and it comes with a sleep coach.

I know what tennis coaches do. They bark corrections at players whose serves stink. I know what football coaches do. They scream at referees about pass-interference calls.

But a sleep coach? I picture a bedside bully with a stopwatch and Sominex, demanding a sprint into R.E.M.: “You can do it! Breathe! Dream! ”

According to a recent article about Optimize on CNBC.com, the sleep coach is actually more of a sleep consultant, conducting two private, half-hour sessions a month on snoozing like a pro, and belongs to a crew of coddlers including a twice-monthly nutrition coach and a thrice-weekly personal trainer. Their goal isn’t simply fitness or even wellness. It’s longevity. And that, apparently, takes a village. As well as a fortune.

More than a decade ago, I wrote about how “the places and ways in which Americans are economically segregated and stratified have multiplied, with microclimates of exclusivity popping up everywhere.” I mentioned special passes that sped big spenders to the front of amusement-park lines. About Uber echelons. And about Equinox, where, at that point, there were tiers of trainers with escalating hourly rates, and where eye-scanning technology determined who had paid for admission to special sanctums.

Could we possibly give people even more extravagant and obvious ways to advertise and, well, optimize their affluence? Equinox has answered that with a resounding yes and in a manner that reflects an intensifying obsession among the economic elite: eternal, or at least extended, youth.

It has long been the case that the rich live longer . They have access to better food, better medical care and other ingredients of, and inducements to, better health. But now, as an article in Axios this week explained, there’s a burgeoning longevity industry with “a growing gap between what’s available to wealthy consumers and everyone else.”

The wealthiest consumers of all have hatched or latched on to elaborate, exorbitant immortality schemes. The billionaire tech C.E.O. Bryan Johnson, 46, reportedly spends about $2 million a year on treatments intended to burnish his health and prolong his life; at one point, in the hope of reversing the aging process and in consultation with some 30 doctors, he received a series of plasma transfusions from young donors, including his teenage son. He stopped after not detecting any evidence that they were doing any good.

While income disparities in the United States have been unusually pronounced over recent decades, they’re nothing new. Nor is the awareness of Americans on the lower rungs of the economic ladder that the higher rungs can be fantastically cushy, posh perches.

But the present versions of cushiness and poshness are distinctive in number, variety and specificity: There’s no corner of American life that cannot be gilded, no minor inconvenience or major frustration at which heaps of money cannot be thrown, no service that cannot be tweaked or refined in myriad fashions to suit and flatter the privileged.

That’s fertile soil for envy, for resentment, for an ill will that helps explain the sharpness of our political divisions and the nastiness of our political discourse. That’s the problem with it. It leaves more and more people feeling cheated in more and more ways. It’s a kind of flaunting, even if it’s not intended that way. It can come across as a taunt.

And is there any bigger taunt than the idea that with the right array of expensive gadgets, with the right retinue of exclusive gurus and with time-consuming, cash-dependent procedures and routines, you can keep the Grim Reaper off your doorstep? Death is sometimes spoken of as the great equalizer, but if your personal trainer, your nutrition coach and your sleep coach have any say in the matter, it arrives with unequal haste.

For the Love of Sentences

Following the death this month of Alice Munro, a Nobel-recognized master of the short story, The Times resurfaced an appraisal of her work by Ben Dolnick that was published in January. It included this astute observation about the genre in which she glittered: “There’s something reassuring about novels — you know where you stand with them. Even if all you’ve read is ‘Moby-Dick,’ you can say with a straight face that you’ve read Melville, just as a visitor to Paris can say she’s been to France. Short story writers, though, don’t have capital cities. You can wander and wander through their collected works and still feel as if you’re missing the main attractions. You never know quite when you’ve earned a passport stamp.” (Thanks to Peter Bernstein of White Plains, N.Y., and Margaret Velarde of Denver, among others, for spotlighting Ben’s article.)

In a tribute to Munro on Literary Hub, Jonny Diamond observed : “She wrote for everyone who has let the sharp edge of regret dull into a daily ache, who has been surprised by love, by need, by the desire for more, who has hesitated and lost, who has kept going, kept wondering, kept feeling, so deeply and so quietly, through all the endless days that take us from one end of life to the other.” (Barb Tiddens, Metuchen, N.J.)

Sticking with books: Ron Charles in The Washington Post had a tiny quibble with the novel “All Fours,” by Miranda July, whose protagonist turns her temporary lodging into an arena of erotic self-discovery. “This motel oasis, designed for her comfort, feels to her like a revelation and a revolution,” he wrote. “But it’s essentially Virginia Woolf’s ‘A Room of One’s Own’ with K-Y Jelly. And that’s not the only thing slippery about it. Yes, ‘All Fours’ is much funnier and infinitely sexier than Woolf’s essay, but the novel’s financial naïveté feels almost willful. The narrator imagines that her newfound freedom is predicated on having more confidence and better orgasms, but it’s actually predicated on having better child care and health insurance.” (Melissa Guensler, Fredericksburg, Texas)

Also in The Post, Matt Bai sought to trace J.D. Vance’s boundless sycophancy, including his appearance last week at Donald Trump’s trial: “I can’t say from experience how you’re supposed to know when you’ve officially become part of an organized crime family, but if you feel it necessary for your professional advancement to show up at a courthouse and pay respect to a patriarch charged with fraudulent payments to a porn star, chances are you check all the boxes.” (Stacia Lewandowski, Santa Fe, N.M., and Daniel Heckman, Decatur, Ill., among others)

In The Atlantic, Tom Nichols marveled at all the suck-ups surrounding Trump: “This G.O.P. embrace of Trump’s nihilism is not some standard-issue, ‘my guy, right or wrong’ defense of the party leader. What Republicans are doing now is a deeper and more stomach-churning abandonment of dignity, a rejection of moral agency in the name of ambition.” (Danny Boyson, Collegeville, Pa.)

In USA Today, Rex Huppke examined the folly and failure of Marjorie Taylor Greene’s unsuccessful attempt to oust House Speaker Mike Johnson: “Like a dull-witted Icarus, she has now flown too close to the dumb.” (Carl Baker, Redlands, Calif.)

In The Times, Bret Stephens previewed the first planned presidential debate next month: “If President Biden gets through the debate without committing a gaffe, he’ll surpass expectations. If Donald Trump gets through it without committing a felony, he’ll surpass expectations.” (Stephen Buckley, Durham, N.C.)

In Film Comment, Jonathan Romney bemoaned what he deemed to be the indulgences and excesses of “Megalopolis,” the director Francis Ford Coppola’s long-awaited new movie: “It’s as if Ed Wood had risen from the grave to remake ‘The Fountainhead’ on an infinite budget.” (John Braunstein, Lancaster, Pa.)

And in The Dispatch, Christopher J. Scalia celebrated the 40th anniversary of the song “ Heaven Knows I’m Miserable Now ” by the band The Smiths, who included the lead singer Morrissey and the guitarist Johnny Marr: “When Morrissey begins the second verse, Marr and producer John Porter add a track of delicate, arpeggiated chords, heavy on the reverb and delay, to deepen the texture. You’ve heard of Phil Spector’s Wall of Sound? This is Johnny Marr’s Bead Curtain of Jangle.” (Peter Kiley, Washington, D.C.)

To nominate favorite bits of recent writing from The Times or other publications to be mentioned in “For the Love of Sentences,” please email me here and include your name and place of residence.

What I’m Reading, Doing and Watching

I’ve been having a good time listening to the audio version of the new novel “You Should Be So Lucky,” a gay romantic comedy of sorts by Cat Sebastian that Olivia Waite recently praised in The Times. It’s about a washed-up journalist who’s all studied aloofness and a messed-up baseball player who’s all raw need. (“Their romance is like watching a Labrador puppy fall in love with a pampered Persian cat, all eager impulse on one side and arch contrariness on the other,” Olivia deftly wrote.) The pleasures of “You Should Be So Lucky” put me somewhat in mind of Stephen McCauley’s fiction, with sprinklings of the sublimely witty trio of novels by Joe Keenan featuring the odd-couple gay friends Gilbert Selwyn and Philip Cavanaugh.

I just added a new event to my schedule of talks about my new book, “ The Age of Grievance ,” and I’m especially excited about it because it pairs me with my Times colleague and friend Bret Stephens. We’ll be together onstage at the 92nd Street Y in Manhattan on Thursday, June 13; registration details are here .

I’m not loving the third season of the HBO series “Hacks” the way I did the first two, but I’ll stick with it and am glad for it because, well, Jean Smart. Her performance as the stand-up comic Deborah Vance is still superb, and the good will that “Hacks” has built up is reflected in fun recent guest appearances by Helen Hunt and Tony Goldwyn.

On a Personal Note

“She grew up in a loving home that promoted academic success and intellectual curiosity. He showed an early passion for storytelling and writing.”

Both of those sentences are about me. They appear sequentially like that. And, no, they’re not a commentary on gender fluidity, not a peek into some belief of mine from childhood or later on that I straddled two genders. They are a glimpse into what a mess — and curiosity — the “Biography of Frank Bruni,” an ostensible book that was briefly available for $12.99 on Amazon, is.

I say “ostensible” because it’s more of a pamphlet, all of 40 pages if you count the title page, the table of contents and the five “workbook questions” at the end. Many pages have fewer than 75 words. A typical chapter is four pages long and comprises the kind of basic résumé details that a chatbot could harvest in seconds.

I know this because, after happening upon the “Biography of Frank Bruni” last Thursday, I ordered it and it promptly arrived. But when I went looking for it on Amazon’s site a few days ago, it had disappeared — replaced by other ostensible biographies of me.

One was also titled “Biography of Frank Bruni” but, according to the product description, had a different length (57 pages). It also named a different author. Another, “Frank Bruni: The Biography,” was 30 pages long, with a cover photo of a man who was not me (there was a vague resemblance) and its own promotional copy, which began this way: “Once upon a time, in the crisp autumn of 1964, a young boy named Frank Anthony Bruni came into the world.” A third title, “Frank Bruni Biography: Navigating the World of Food, Politics, and Culture,” was 90 pages and came in multiple editions, including Kindle.

All four of the above titles cited a publication date of three to four weeks ago, which coincided with the release of “The Age of Grievance.” That’s no accident. Often these days, when an established author publishes a new book that may get some attention, there’s a sudden emergence of “spammy clone biographies,” as Will Oremus in The Washington Post called a rash of titles about the journalist Kara Swisher that popped up in February, about the same time that her memoir, “Burn Book: A Tech Love Story,” did. (The Swisher boom — or boon? — was first reported by Emanuel Maiberg in the tech blog 404 Media.)

I guess that she and I should be flattered? I am, sort of. I never imagined I’d be the subject of any biography, so a pamphlet of pablum exceeds my dreams! But I’m also unsettled, and not by the realization that my life, or at least life story, doesn’t belong to me, but by the idea that we are masses of bytes at the mercy of bots. In this scenario, emblematic of our digital age, I’m neither “he” nor “she.” I’m really more “it.”

Frank Bruni is a professor of journalism and public policy at Duke University, the author of the book "The Age of Grievance" and a contributing Opinion writer. He writes a weekly email newsletter . Instagram Threads @ FrankBruni • Facebook

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