research paper on two novels

How to Compare Two Novels in Comparative Essay

Sam Edwards/Getty Images

• Writing Essays
• Writing Research Papers
• English Grammar
• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

At some point in your literature studies, probably just about the time you get really good at finding the theme of a novel and coming up with a sound analysis of a single literary piece, you will be required to compare two novels.

Your first task in this assignment will be to develop a good profile of both novels. You can do this by making a few simple lists of traits that might be comparable. For each novel, identify a list of characters and their roles in the story or important characteristics, and any important struggles, time periods, or major symbols (like an element of nature).

You may also attempt to come up with book themes that could be comparable. Sample themes would include:

• Man versus nature (is each main character battling the elements?)
• Individual versus society (does each main character feel like an outsider?)
• Struggle between good and evil (are your characters involved in good v. evil scenarios?)
• Coming of age (do the main characters experience a tough lesson that makes them grow?)

Your assignment will most likely give you direction as to whether you should find specific characters, story characteristics, or overall themes to compare. If it is not that specific, don't worry! You actually have a little more leeway.

Comparing Two Novel Themes

The teacher's goal when assigning this paper is to encourage you to think and analyze. You no longer read for a surface understanding of what happens in a novel; you are reading to understand why things happen and what the deeper meaning behind a character is a setting or an event. In short, you are expected to come up with an interesting comparative analysis.

As an example of comparing novel themes, we will look at The Adventures of Huckleberry Finn and The Red Badge of Courage . Both of these novels contain a "coming of age" theme since both have characters who grow a new awareness through tough lessons. Some comparisons you could make:

• Both characters have to explore the notion of "civilized behavior" in the societies where they exist.
• Each main character has to question the behavior of his male role models and his male peers.
• Each main character leaves his childhood home and encounters challenges.

To craft an essay about these two novels and their similar themes, you would create your own list of similarities like those above, using a list, chart, or a Venn diagram .

Sum up your overall theory about how these themes are comparable to create your thesis statement . Here is an example:​ "Both characters, Huck Finn and Henry Fleming, embark on a journey of discovery, and each boy finds new understanding when it comes to traditional notions about honor and courage."

You will use your common characteristic list to guide you as you create body paragraphs .

Comparing Main Characters in Novels

If your assignment is to compare the characters of these novels, you would make a list or Venn diagram to make more comparisons:

• Both characters are young men
• Both question society's notion of honor
• Both witness behavior that makes them question their role models
• Both have a nurturing female influence
• Both question their former beliefs

Comparing two novels is not as difficult as it sounds at first. Once you generate a list of traits, you can easily see an outline emerging.

• Venn Diagrams to Plan Essays and More
• Graphic Organizers
• How to Find the Theme of a Book or Short Story
• Must-Read Books If You Like 'The Catcher in the Rye'
• 10 Common Themes in Literature
• Top Conservative Novels
• Preparing for Final Exams
• Write a Compare and Contrast Essay
• 10 Steps to Writing a Successful Book Report
• How to Study for a Test or Final
• How to Write a Great Book Report
• Use a Concept Map for Your Literature Midterms and Finals
• Beef Up Critical Thinking and Writing Skills: Comparison Essays
• How to Write a Character Analysis
• How to Summarize a Plot
• The Red Badge of Courage Book Summary

Comparing and Contrasting

What this handout is about.

This handout will help you first to determine whether a particular assignment is asking for comparison/contrast and then to generate a list of similarities and differences, decide which similarities and differences to focus on, and organize your paper so that it will be clear and effective. It will also explain how you can (and why you should) develop a thesis that goes beyond “Thing A and Thing B are similar in many ways but different in others.”

Introduction

In your career as a student, you’ll encounter many different kinds of writing assignments, each with its own requirements. One of the most common is the comparison/contrast essay, in which you focus on the ways in which certain things or ideas—usually two of them—are similar to (this is the comparison) and/or different from (this is the contrast) one another. By assigning such essays, your instructors are encouraging you to make connections between texts or ideas, engage in critical thinking, and go beyond mere description or summary to generate interesting analysis: when you reflect on similarities and differences, you gain a deeper understanding of the items you are comparing, their relationship to each other, and what is most important about them.

Recognizing comparison/contrast in assignments

Some assignments use words—like compare, contrast, similarities, and differences—that make it easy for you to see that they are asking you to compare and/or contrast. Here are a few hypothetical examples:

• Compare and contrast Frye’s and Bartky’s accounts of oppression.
• Compare WWI to WWII, identifying similarities in the causes, development, and outcomes of the wars.
• Contrast Wordsworth and Coleridge; what are the major differences in their poetry?

Notice that some topics ask only for comparison, others only for contrast, and others for both.

But it’s not always so easy to tell whether an assignment is asking you to include comparison/contrast. And in some cases, comparison/contrast is only part of the essay—you begin by comparing and/or contrasting two or more things and then use what you’ve learned to construct an argument or evaluation. Consider these examples, noticing the language that is used to ask for the comparison/contrast and whether the comparison/contrast is only one part of a larger assignment:

• Choose a particular idea or theme, such as romantic love, death, or nature, and consider how it is treated in two Romantic poems.
• How do the different authors we have studied so far define and describe oppression?
• Compare Frye’s and Bartky’s accounts of oppression. What does each imply about women’s collusion in their own oppression? Which is more accurate?
• In the texts we’ve studied, soldiers who served in different wars offer differing accounts of their experiences and feelings both during and after the fighting. What commonalities are there in these accounts? What factors do you think are responsible for their differences?

You may want to check out our handout on understanding assignments for additional tips.

Using comparison/contrast for all kinds of writing projects

Sometimes you may want to use comparison/contrast techniques in your own pre-writing work to get ideas that you can later use for an argument, even if comparison/contrast isn’t an official requirement for the paper you’re writing. For example, if you wanted to argue that Frye’s account of oppression is better than both de Beauvoir’s and Bartky’s, comparing and contrasting the main arguments of those three authors might help you construct your evaluation—even though the topic may not have asked for comparison/contrast and the lists of similarities and differences you generate may not appear anywhere in the final draft of your paper.

Discovering similarities and differences

Making a Venn diagram or a chart can help you quickly and efficiently compare and contrast two or more things or ideas. To make a Venn diagram, simply draw some overlapping circles, one circle for each item you’re considering. In the central area where they overlap, list the traits the two items have in common. Assign each one of the areas that doesn’t overlap; in those areas, you can list the traits that make the things different. Here’s a very simple example, using two pizza places:

To make a chart, figure out what criteria you want to focus on in comparing the items. Along the left side of the page, list each of the criteria. Across the top, list the names of the items. You should then have a box per item for each criterion; you can fill the boxes in and then survey what you’ve discovered.

Here’s an example, this time using three pizza places:

As you generate points of comparison, consider the purpose and content of the assignment and the focus of the class. What do you think the professor wants you to learn by doing this comparison/contrast? How does it fit with what you have been studying so far and with the other assignments in the course? Are there any clues about what to focus on in the assignment itself?

Here are some general questions about different types of things you might have to compare. These are by no means complete or definitive lists; they’re just here to give you some ideas—you can generate your own questions for these and other types of comparison. You may want to begin by using the questions reporters traditionally ask: Who? What? Where? When? Why? How? If you’re talking about objects, you might also consider general properties like size, shape, color, sound, weight, taste, texture, smell, number, duration, and location.

Two historical periods or events

• When did they occur—do you know the date(s) and duration? What happened or changed during each? Why are they significant?
• What kinds of work did people do? What kinds of relationships did they have? What did they value?
• What kinds of governments were there? Who were important people involved?
• What caused events in these periods, and what consequences did they have later on?

Two ideas or theories

• What are they about?
• Did they originate at some particular time?
• Who created them? Who uses or defends them?
• What is the central focus, claim, or goal of each? What conclusions do they offer?
• How are they applied to situations/people/things/etc.?
• Which seems more plausible to you, and why? How broad is their scope?
• What kind of evidence is usually offered for them?

Two pieces of writing or art

• What are their titles? What do they describe or depict?
• What is their tone or mood? What is their form?
• Who created them? When were they created? Why do you think they were created as they were? What themes do they address?
• Do you think one is of higher quality or greater merit than the other(s)—and if so, why?
• For writing: what plot, characterization, setting, theme, tone, and type of narration are used?
• Where are they from? How old are they? What is the gender, race, class, etc. of each?
• What, if anything, are they known for? Do they have any relationship to each other?
• What are they like? What did/do they do? What do they believe? Why are they interesting?
• What stands out most about each of them?

Deciding what to focus on

By now you have probably generated a huge list of similarities and differences—congratulations! Next you must decide which of them are interesting, important, and relevant enough to be included in your paper. Ask yourself these questions:

• What’s relevant to the assignment?
• What’s relevant to the course?
• What’s interesting and informative?
• What matters to the argument you are going to make?
• What’s basic or central (and needs to be mentioned even if obvious)?
• Overall, what’s more important—the similarities or the differences?

Suppose that you are writing a paper comparing two novels. For most literature classes, the fact that they both use Caslon type (a kind of typeface, like the fonts you may use in your writing) is not going to be relevant, nor is the fact that one of them has a few illustrations and the other has none; literature classes are more likely to focus on subjects like characterization, plot, setting, the writer’s style and intentions, language, central themes, and so forth. However, if you were writing a paper for a class on typesetting or on how illustrations are used to enhance novels, the typeface and presence or absence of illustrations might be absolutely critical to include in your final paper.

Sometimes a particular point of comparison or contrast might be relevant but not terribly revealing or interesting. For example, if you are writing a paper about Wordsworth’s “Tintern Abbey” and Coleridge’s “Frost at Midnight,” pointing out that they both have nature as a central theme is relevant (comparisons of poetry often talk about themes) but not terribly interesting; your class has probably already had many discussions about the Romantic poets’ fondness for nature. Talking about the different ways nature is depicted or the different aspects of nature that are emphasized might be more interesting and show a more sophisticated understanding of the poems.

Your thesis

The thesis of your comparison/contrast paper is very important: it can help you create a focused argument and give your reader a road map so they don’t get lost in the sea of points you are about to make. As in any paper, you will want to replace vague reports of your general topic (for example, “This paper will compare and contrast two pizza places,” or “Pepper’s and Amante are similar in some ways and different in others,” or “Pepper’s and Amante are similar in many ways, but they have one major difference”) with something more detailed and specific. For example, you might say, “Pepper’s and Amante have similar prices and ingredients, but their atmospheres and willingness to deliver set them apart.”

Be careful, though—although this thesis is fairly specific and does propose a simple argument (that atmosphere and delivery make the two pizza places different), your instructor will often be looking for a bit more analysis. In this case, the obvious question is “So what? Why should anyone care that Pepper’s and Amante are different in this way?” One might also wonder why the writer chose those two particular pizza places to compare—why not Papa John’s, Dominos, or Pizza Hut? Again, thinking about the context the class provides may help you answer such questions and make a stronger argument. Here’s a revision of the thesis mentioned earlier:

Pepper’s and Amante both offer a greater variety of ingredients than other Chapel Hill/Carrboro pizza places (and than any of the national chains), but the funky, lively atmosphere at Pepper’s makes it a better place to give visiting friends and family a taste of local culture.

You may find our handout on constructing thesis statements useful at this stage.

Organizing your paper

There are many different ways to organize a comparison/contrast essay. Here are two:

Subject-by-subject

Begin by saying everything you have to say about the first subject you are discussing, then move on and make all the points you want to make about the second subject (and after that, the third, and so on, if you’re comparing/contrasting more than two things). If the paper is short, you might be able to fit all of your points about each item into a single paragraph, but it’s more likely that you’d have several paragraphs per item. Using our pizza place comparison/contrast as an example, after the introduction, you might have a paragraph about the ingredients available at Pepper’s, a paragraph about its location, and a paragraph about its ambience. Then you’d have three similar paragraphs about Amante, followed by your conclusion.

The danger of this subject-by-subject organization is that your paper will simply be a list of points: a certain number of points (in my example, three) about one subject, then a certain number of points about another. This is usually not what college instructors are looking for in a paper—generally they want you to compare or contrast two or more things very directly, rather than just listing the traits the things have and leaving it up to the reader to reflect on how those traits are similar or different and why those similarities or differences matter. Thus, if you use the subject-by-subject form, you will probably want to have a very strong, analytical thesis and at least one body paragraph that ties all of your different points together.

A subject-by-subject structure can be a logical choice if you are writing what is sometimes called a “lens” comparison, in which you use one subject or item (which isn’t really your main topic) to better understand another item (which is). For example, you might be asked to compare a poem you’ve already covered thoroughly in class with one you are reading on your own. It might make sense to give a brief summary of your main ideas about the first poem (this would be your first subject, the “lens”), and then spend most of your paper discussing how those points are similar to or different from your ideas about the second.

Point-by-point

Rather than addressing things one subject at a time, you may wish to talk about one point of comparison at a time. There are two main ways this might play out, depending on how much you have to say about each of the things you are comparing. If you have just a little, you might, in a single paragraph, discuss how a certain point of comparison/contrast relates to all the items you are discussing. For example, I might describe, in one paragraph, what the prices are like at both Pepper’s and Amante; in the next paragraph, I might compare the ingredients available; in a third, I might contrast the atmospheres of the two restaurants.

If I had a bit more to say about the items I was comparing/contrasting, I might devote a whole paragraph to how each point relates to each item. For example, I might have a whole paragraph about the clientele at Pepper’s, followed by a whole paragraph about the clientele at Amante; then I would move on and do two more paragraphs discussing my next point of comparison/contrast—like the ingredients available at each restaurant.

There are no hard and fast rules about organizing a comparison/contrast paper, of course. Just be sure that your reader can easily tell what’s going on! Be aware, too, of the placement of your different points. If you are writing a comparison/contrast in service of an argument, keep in mind that the last point you make is the one you are leaving your reader with. For example, if I am trying to argue that Amante is better than Pepper’s, I should end with a contrast that leaves Amante sounding good, rather than with a point of comparison that I have to admit makes Pepper’s look better. If you’ve decided that the differences between the items you’re comparing/contrasting are most important, you’ll want to end with the differences—and vice versa, if the similarities seem most important to you.

Our handout on organization can help you write good topic sentences and transitions and make sure that you have a good overall structure in place for your paper.

Cue words and other tips

To help your reader keep track of where you are in the comparison/contrast, you’ll want to be sure that your transitions and topic sentences are especially strong. Your thesis should already have given the reader an idea of the points you’ll be making and the organization you’ll be using, but you can help them out with some extra cues. The following words may be helpful to you in signaling your intentions:

• like, similar to, also, unlike, similarly, in the same way, likewise, again, compared to, in contrast, in like manner, contrasted with, on the contrary, however, although, yet, even though, still, but, nevertheless, conversely, at the same time, regardless, despite, while, on the one hand … on the other hand.

For example, you might have a topic sentence like one of these:

• Compared to Pepper’s, Amante is quiet.
• Like Amante, Pepper’s offers fresh garlic as a topping.
• Despite their different locations (downtown Chapel Hill and downtown Carrboro), Pepper’s and Amante are both fairly easy to get to.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

Organizing Academic Research Papers: Multiple Book Review Essay

• Purpose of Guide
• Design Flaws to Avoid
• Glossary of Research Terms
• Narrowing a Topic Idea
• Broadening a Topic Idea
• Extending the Timeliness of a Topic Idea
• Academic Writing Style
• Choosing a Title
• Making an Outline
• Paragraph Development
• Executive Summary
• Background Information
• The Research Problem/Question
• Theoretical Framework
• Citation Tracking
• Content Alert Services
• Evaluating Sources
• Primary Sources
• Secondary Sources
• Tertiary Sources
• What Is Scholarly vs. Popular?
• Qualitative Methods
• Quantitative Methods
• Using Non-Textual Elements
• Limitations of the Study
• Common Grammar Mistakes
• Avoiding Plagiarism
• Footnotes or Endnotes?
• Further Readings
• Annotated Bibliography
• Dealing with Nervousness
• Using Visual Aids
• Grading Someone Else's Paper
• How to Manage Group Projects
• Multiple Book Review Essay
• Reviewing Collected Essays
• About Informed Consent
• Writing Field Notes
• Writing a Policy Memo
• Writing a Research Proposal
• Acknowledgements

A multiple book essay involves writing a review of two or generally no more than six books that cover the same overall subject area [e.g., analysis of European debt crisis] or that are related to each other in a particular way [e.g., applying grounded theory methods to study student access to education]. The reviews are written in the form of a short scholarly paper [essay] rather than as a descriptive review of the books. The purpose is to compare and contrast the works under review, identifying key themes and critical issues and assessing each writer's contributions to understanding the general topics discussed in each book. Professors assign reviews of multiple books to help students gain experience in evaluating the ways in which different researchers examine and interpret issues related to a specific research problem.

How to Approach Writing Your Review

Developing an Assessment Strategy

As with reviewing a work of collected essays, you must think critically about the research problem under study by multiple authors before you begin writing. The challenge is to develop an argument about each book you are reviewing and then clearly compare, contrast, and ultimately sythesize the themes into an well organized and well supported essay.

Think of a multiple book review essay as a type of compare and contrast paper similar to what you may have written for a general issue-oriented composition class . As you read through each book, write down the following questions and answer them as you read [remember to note the page numbers and from which book you got the information from so you can refer back it later!]. Which questions are most useful will depend upon the type of books you are reviewing and how they are related to each other.

Here are a series of questions to focus your thinking:

• What is the thesis—or main argument—of each book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of each book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? Can you detect any biases? What is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author of each book support his or her argument? What evidence does each author use to prove his or her point? Do you find that evidence convincing? Why or why not? Does any of the author's information [or conclusions] conflict with other books you've read, courses you've taken, or just previous assumptions you had about the research problem under study?
• How does the author structure his or her argument? What are the parts that make up the whole? Does the argument make sense to you? Does it persuade you? Why or why not?
• How has each book helped you understand the subject? Would you recommend the book to others? Why or why not?

Beyond the content of the book, you may also consider some information about the author and the circumstances of the text's production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the author is affiliated with a particular organization? What difference would it make if the author participated in the events he or she writes about? What other topics has the author written about? Does this work build on prior research or does it seem to represent a new area of research?
• What is the book's genre? Out of what discipline does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or other contextual standard upon which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know this. Keep in mind, though, that declarative statements about being the “first,” the "best," or the "only" book of its kind can be a risky unless you're absolutely certain because your professor [presumably] has a much better understanding of the overall research literature.

Bazerman, Charles.  Comparing and Synthesizing Sources . The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting . The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Walk, Kerry. How to Write a Compare-and-Contrast Paper. Writing Center. Princeton Writing Program; Rhetorical Strategies: Comparison and Contrast . The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick; Writing a Compare/Contrast Essay. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay . CLRC Writing Center. Santa Barbara City College.

Structure and Writing Style

I. Bibliographic Information

Provide the essential information about each book using the writing style asked for by your professor [e.g., APA, MLA, Chicago, etc.]. Depending on how your professor wants you to organize your review, the bibliographic information represents the heading of your review. In general, they would be arranged alphabetically by title and look like this:

Racing the Storm: Racial Implications and Lessons Learned from Hurricane Katrina .  Hillary Potter, ed. (Lanham, MD: Lexington Books, 2007. 320 pp) The Sociology of Katrina: Perspectives on a Modern Catastrophe . David L. Brunsma, David Overfelt, and J. Steven Picou, eds. (Lanham, MD: Rowman and Littlefield, 2007. 288 pp.) Through the Eye of Katrina: Social Justice in the United States . Kristin A. Bates and Richelle S. Swan, eds. (Durham, NC: Carolina Academic Press, 2007. 440 pp.) Reviewed by [your name]

II. Thesis Statement

The thesis statement of an essay that compares and contrasts multiple works should contain an idea or claim that unites a discussion of the texts under review . It should include the argument that will be advanced in support of the claims that is being made. To begin, ask yourself: "What is the overarching subject or issue that ties together all of the books?" Why is it important?" In most scholarly works, the author(s) will state the purpose of their book in the preface or in an introductory chapter.

If you cannot find an adequate statement in the author's own words or if you find that the thesis statement is not well-developed, then you will have to compose your own introductory thesis statement that does cover all the material. For a book review essay, this thesis statement will vary in length depending on the number and complxity of books. Regardless of length, it must be succinct, accurate, unbiased, and clear.

If you find it difficult to discern the overall aims and objectives of the book [and, be sure to point this out in your review if you believe it to be a deficiency], you may arrive at an understanding of the purpose by asking yourself a the following questions:

• Why did the author write on this subject rather than on some other subject?
• From what point of view is the work written?
• Was the author trying to give information, to explain something technical, or to convince the reader of a belief’s validity by dramatizing it in action?
• What is the general field or genre, and how does the book fit into it? Review related literature from other books and journal articles to familiarize yourself with the field, if necessary.
• Who is the intended audience?
• What is the author's style? Is it formal or informal? You can evaluate the quality of the writing style by noting some of the following standards: coherence, clarity, originality, forcefulness, correct use of technical words, conciseness, fullness of development, and fluidity.
• Scan the Table of Contents because it can help you understand how the book is organized and will aid in determining the author's main ideas and how they are developed [e.g., chronologically, topically, etc.]
• How did the book affect you? Were any prior assumptions you had on the subject changed, abandoned, or reinforced due to this book? How is the book related to your own course or personal agenda? What personal experiences have you had that relate to the subject?
• How well has the book achieved its goal(s)?
• Would you recommend this book to others? Why or why not?

NOTE : Be sure that your thesis statement includes the rationale behind why your choice of what points to compare and contrast were deliberate and meaningful and not random!

III. Methods of Organization

Organization is critical to writing an essay that compares and contrasts multiple works because you will most likely be discussing a variety of evidence and you must be certain that the logic and narrative flow of your paper can be understood by the reader. Here are some general guidelines to consider:

• If your professor asks you to choose the books to review, identify works that are closely related in some way so they can be easily compared or contrasted.
• Compare according to a single organized idea.
• Choose a method of development [see below] that works well with your organizing idea.
• Use specific and relevant examples to support your analysis.
• Use transitional words or phrases to help the reader understand the similarities and differences in your subject.
• Conclude your paper by restating your thesis, summarizing the main points, and give the reader the final "so what" of the major similarities and/or differences that you discussed. Why are they important?

There are two general methods of organizing your book review essay. If you believe one work extends another, you'll probably use a block method; if you find that two or more works are essentially engaged in a debate, a point-by-point method will help draw attention to the conflict. However, the point-by-point method can come off as a rhetorical ping-pong match. You can avoid this effect by grouping more than one point together, thereby cutting down on the number of times you alternate from one work to another. No matter which method you choose, you do not need to give equal time to similarities and differences. In fact, your paper will be more interesting if you state your main argument(s) as quickly as possible. For example, a book review essay evaluating three research studies that examine different interpretations of conflict resolution among nations in the Middl East might have as few as two or three sentences in the introduction regarding similarities and only a paragraph or two to set up the contrast between the author’s positions. The rest of the essay, whether organized by block method or point-by-point, will be your analysis of the key differences among the books.

The Block Method Present all the information about A, and then present parallel information about B. This pattern tends to work better for shorter book review essays, and those with few sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce the significance of the overall subject matter     B. Thesis Statement         --First supporting point         --Second supporting point         --Third supporting point II. First book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point III. Second book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point IV. Third book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point V. Conclusion     A. Restate thesis     B. Summarize how you proved your argument The Point-by-Point Method Present one point about A, and then go to the parallel point about B. Move to the next point, and do the same thing. This pattern tends to work better for long book review essays and those with many sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce significance of overall subject matter     B. Thesis statement II. Brief explanation of first book III. Brief explanation of second book IV. First comparative point     A. Relation of point to first book     B. Relation of point to second book V. Second comparative point     A. Relation of point to first book     B. Relation of point to second book VI. Third comparative point     A. Relation of point to first book     B. Relation of point to second book VII. Conclusion     A. Restate thesis     B. Summarize how your proved your argument

IV.  Critically Evaluate the Contents

Regardless of whether you choose the block method or the point-by-point method, critical comments should form the bulk of your book review essay . State whether or not you feel the author's treatment of the subject matter is appropriate for the intended audience. Ask yourself:

• Has the purpose of the book been achieved?
• What contribution does the book make to the field?
• Is the treatment of the subject matter objective?
• Are there facts and evidence that have been omitted?
• What kinds of data, if any, are used to support the author's thesis statement?
• Can the same data be interpreted to alternate ends?
• Is the writing style clear and effective?
• Does the book raise important or provocative issues or topics for discussion and further research?
• What has been left out?

Support your evaluation with evidence from each text and, when possible, in relation to other sources. If relevant, make note of each book's format, such as, layout, binding, typography, etc. Are there maps, illustrations? Do they aid in understanding the research problem? This is particular important in books that contain a lot of non-textual elements, such as tables, charts, and illustrations.

NOTE : It is important to carefully distinguish your views from those of the authors, so that you don’t confuse your reader.

V.  Examine the Front Matter and Back Matter

Back matter refers to any information included after the final chapter of the book. Front matter refers to anything before the first chapter. Front matter is most often numbered separately from the rest of the text in lower case Roman numerals [i.e. i-xi ]. Critical commentary about front or back matter is generally only necessary if you believe there is something that diminishes the overall quality of the work or there is something that is particularly helpful in understanding the book's contents.

The following back matter may be included in a book and should be considered for evaluation when reviewing the overall quality of the book:

• Table of contents --is it clear? Does it reflect the true contents of the book?
• Author biography --also found as back matter, the biography of author(s) can be useful in determining the authority of the writer and whether the book builds on prior research or represents new research. In scholarly reviews, noting the author's affiliation can be a factor in helping the reader determine the overall validity of work [i.e., are they associated with a research center devoted to studying the research problem under investigation].
• Foreword --in a scholarly books, a foreword may be written by the author or an expert on the subject of the book. The purpose of a foreword is to introduce the reader to the author as well as the book itself, and attempt to establish credibility for both. A foreword does not contribute any additional information about the book's subject matter, but it serves as a means of validating the book's existence. Later editions of a book sometimes have a new foreword prepended [appearing before an older foreword if there was one], which might explain in what respects that edition differs from previous ones.
• Preface --generally describes the genesis, purpose, limitations, and scope of the book and may include acknowledgments of indebtedness to people who have helped the author complerte the study. Is the preface helpful in understanding the study? Does it effectively provide a framework for what's to follow?
• Chronology --also found as back matter, a chronology is generally included to highlight key events related to the subject of the book. Does it contribute to the overall work? Is it detailed or very general?
• List of non-textual elements --if a book contains a lot of charts, photographs, maps, etc., they will often be listed in the front.
• Afterword --this is a short, reflective piece written by the author that takes the form of a concluding section, final commentary, or closing statement. It is worth mentioning in a review if it contributes information about the purpose of the book, gives a call to action, or asks the reader to consider key points made in the book.
• Appendix --is the supplementary material in the appendix or appendices well organized? Do they relate to the contents or appear superfluous? Does it contain any essential information that would have been more appropriately integrated into the text?
• Index --is the index thorough and accurate? Are there elements such as bold text, to help identify specific parts of the book?
• Glossary --are the definitions clearly written? Is the glossary comprehensive or are key terms missing?
• Endotes/Footnotes --check any end notes or footnotes as you read from chapter to chapter. Do they provide important additional information? Do they clarify or extend points made in the body of the text?
• Bibliography/Further Readings --review any bibliography or further readings the author may have included. What kinds of sources [e.g., primary or secondary, recent or old, scholarly or popular, etc.] appear in the bibliography? How does the author make use of them? Make note of important omissions.

NOTE :  In reviewing multiple works, compare and contrast the quality of the back and front matter. Be sure to highlight works where the front or back matter is particularly well-organized or effective in supplementing the main content.

VI.  Summarize and Comment

Your conclusion should synthesize the key similarities and differences among the books. Avoid stating restating your assessment word for word; your goal is to provide a sense of closure and to leave the reader with a final perspective about the overall subject under review and whether you believe each book has effectively contributed to the overall research literature on the subject. Do not introduce new information or ideas in the conclusion.

Bazerman, Charles. Comparing and Synthesizing Sources . The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting . The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Rhetorical Strategies: Comparison and Contrast . The Reading/Writing Center. Hunter College; Hooker, Fran and Kate James. Apples to Oranges: Writing a Compare and Contrast Paper. The Writing Center. Webster University; Visvis, Vikki and Jerry Plotnick. The Comparative Essay . The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay . CLRC Writing Center. Santa Barbara City College.

• << Previous: Writing a Book Review
• Next: Reviewing Collected Essays >>
• Last Updated: Jul 18, 2023 11:58 AM
• URL: https://library.sacredheart.edu/c.php?g=29803
• QuickSearch
• Library Catalog
• Databases A-Z
• Publication Finder
• Course Reserves
• Citation Linker
• Digital Commons
• Our Website

Research Support

• Ask a Librarian
• Appointments
• Interlibrary Loan (ILL)
• Research Guides
• Databases by Subject
• Citation Help

Using the Library

• Reserve a Group Study Room
• Renew Books
• Honors Study Rooms
• Off-Campus Access
• Library Policies
• Library Technology

User Information

• Grad Students
• Online Students
• COVID-19 Updates
• Staff Directory
• News & Announcements
• Library Newsletter

My Accounts

• Interlibrary Loan
• Staff Site Login

FIND US ON  

Thank you for visiting nature.com. You are using a browser version with limited support for CSS. To obtain the best experience, we recommend you use a more up to date browser (or turn off compatibility mode in Internet Explorer). In the meantime, to ensure continued support, we are displaying the site without styles and JavaScript.

• View all journals
• My Account Login
• Explore content
• About the journal
• Publish with us
• Sign up for alerts
• Open access
• Published: 03 November 2021

The role of literary fiction in facilitating social science research

• Bryan Yazell   ORCID: orcid.org/0000-0002-2263-3488 1 , 2 ,
• Klaus Petersen 2 , 3 ,
• Paul Marx 3 , 4 , 5 &
• Patrick Fessenbecker 6 , 7  

Humanities and Social Sciences Communications volume  8 , Article number:  261 ( 2021 ) Cite this article

6924 Accesses

2 Citations

15 Altmetric

Metrics details

Scholars in literature departments and the social sciences share a broadly similar interest in understanding human development, societal norms, and political institutions. However, although literature scholars are likely to reference sources or concepts from the social sciences in their published work, the line of influence is much less likely to appear the other way around. This unequal engagement provides the occasion for this paper, which seeks to clarify the ways social scientists might draw influence from literary fiction in the development of their own work as academics: selecting research topics, teaching, and drawing inspiration for projects. A qualitative survey sent to 13,784 social science researchers at 25 different universities asked participants to describe the influence, if any, reading works of literary fiction plays in their academic work or development. The 875 responses to this survey provide numerous insights into the nature of interdisciplinary engagement between these disciplines. First, the survey reveals a skepticism among early-career researchers regarding literature’s social insights compared to their more senior colleagues. Second, a significant number of respondents recognized literary fiction as playing some part in shaping their research interests and expanding their comprehension of subjects relevant to their academic scholarship. Finally, the survey generated a list of literary fiction authors and texts that respondents acknowledged as especially useful for understanding topics relevant to the study of the social sciences. Taken together, the results of the survey provide a fuller account of how researchers engage with literary fiction than can be found in the pages of academic journals, where strict disciplinary conventions might discourage out-of-the-field engagement.

Similar content being viewed by others

Conceptualizing science diplomacy in the practitioner-driven literature: a critical review

Pierre-Bruno Ruffini

Lifting the smokescreen of science diplomacy: comparing the political instrumentation of science and innovation centres

Elisabeth Epping

A bibliometric analysis of cultural heritage research in the humanities: The Web of Science as a tool of knowledge management

Ionela Vlase & Tuuli Lähdesmäki

Introduction

Interdisciplinary research has become the buzzword of university managers and funding agencies. It is said that researchers need to think out of the box, be innovative and agile, and—last but not least—be curious about other disciplines in order to solve the complex challenges of the modern world. The tension inevitably generated by calls for more interdisciplinary work between university administrators on the one side and researchers on the other risks obscuring a fundamental question: what exactly is new about interdisciplinary research in the first place? For all the handwringing about interdisciplinarity, there is no clear consensus about what the boundaries of a given discipline are in the first place. Debates have waged over the last several decades about the divisions between the sciences and the humanities, their origins, and possible methods for rectifying them. Perhaps most famously, British scientist and novelist C.P. Snow identified “two cultures” in the academy separated by “a gulf of mutual incomprehension” ( 1961 , p. 4). According to Snow, “literary intellectuals” and “physical scientists” not only distrusted each other’s pronouncements, but fundamentally saw the world differently ( 1961 , p.4, 6). Although this assessment has been influential in framing these respective disciplines for decades, its presentation of a binary division between the hard sciences and the arts does not account for the fields of study with overlapping interests and, at times, borrowed methodological tools: the social sciences and literature departments.

The social sciences and literary studies share an indelible link by virtue of their twinned emergence as academic disciplines in the early twentieth century. Both disciplines in the broadest sense share a keen interest in understanding and describing human behavior and social relationships. However despite—or perhaps owing to—these similarities, the disciplines have historically identified themselves in terms of opposition. On one side, Émile Durkheim’s Rules of Sociological Method, published in 1895, defined the discipline in terms of positivism and quantitative study. On the other side, foundational literature scholars such as Matthew Arnold and F.R. Leavis understood literary study as a crucial component to the project of invigorating the national culture: to identify among the mass of popular culture the most elite examples of art. Critics in this early school of literary study therefore understood literature less as a mirror of society and more as a way to access what is best about cultural ideals or humanistic achievement (Arnold, 1873 ; Leavis, 2011 ). In this early context, social scientists were more interested in making society itself the object of study. While the features of each respective field have undoubtedly changed dramatically over the past century, this underlying division regarding the “science” in the social science persists. If the social scientist and literature scholar can speak with some degree of shared comprehension, they nonetheless are beset by disciplinary boundaries that make the task of mutual exchange harder than it might otherwise appear.

The decision to better document the uses of literature within the social sciences was born from an overarching drive to understand literature’s impact on researchers that often escape notice. After all, literary scholars are in general familiar with (if not thoroughly informed by) the works of sociologists, economists, and political scientists. Moreover, they are likely to be comfortable both with using the toolset of the social sciences in their own work and, more to the point, citing sociologists such as Émile Durkheim, Erving Goffman, and Bruno Latour. Over the last decade, for instance, several prominent literary scholars have advocated for a descriptive model for analyzing literary texts modeled on the social sciences (e.g., Love 2010 ; Marcus and Love, 2016 ). This relatively recent turn to the social sciences does not begin to consider, of course, the much longer history of literary scholars drawing critical concepts from the Frankfurt School (such as Theodor Adorno or Jürgen Habermas) or, more significantly, the works of Karl Marx. All of which is to say, one can easily expect references to sources broadly associated with the social sciences when reading a literary studies monograph.

However, if it is clear that literary scholars are familiar with prominent works by social scientists, it is much less apparent if the reverse is true. In an essay in World Politics, the political scientist Cathie Jo Martin outlines the profound insight literary sources can offer the field. Novels and other literary fiction provide “a site for imagining policy”, help define shared group interests, and create narratives that legitimize systems of governance (Martin, 2019 , p. 432). Elsewhere, Nobel prize-winning economist Robert J. Shiller calls for greater engagement with literature and fiction in Narrative Economics (2019). However, as we show below, cases of social scientists explicitly acknowledging literary sources are few and far in between. Rather than articulate yet another call for better dialog between the disciplines, we instead seek greater insight into the way social scientists are already referring to, engaging with, or simply using literature in their field as researchers and teachers. As explained in detail below, this task is not as straightforward as it may seem.

Our project proceeded in two steps. The first was a qualitative study of social science articles that included references to literary authors drawn from the collection of social science journals cataloged on the JSTOR digital library. The evaluation of literary references captured in our study (outlined below) made it possible to track the proliferation of literary sources across social science research and to create a loose typology of these uses. For the second step, we developed a survey for social science researchers to elaborate on how, if at all, their work engages with works of literary fiction. Before going into the field, the survey was tested and discussed with a small number of academics to ensure that the items capture the concepts of interest. The survey was then sent electronically to 13,784 researchers at all stages (from PhD students to full professors) from the top 25 social science departments as ranked in 2019 by Times Higher Education (World University Rankings).

If academic departments are guardians of their disciplines, then this sample of prominent departments might reflect the international standard for their respective fields. In other words, researchers attached to these institutions may be more inclined to protect conventions than to go against the grain. In contrast, we can imagine that scholars at smaller schools, colleges, or cross-disciplinary research centers might be more inclined to engage with other disciplines. Focusing on the former institutions rather than the later, our survey finds hard test cases for our questions about the use of literary references in social sciences. Finally, by calling attention to the different forms of influence literature may (or may not) assume, the survey made it possible to dwell in more detail on how social scientists esteem literary fiction as a tool for understanding social concepts.

Before conducting our survey, we first developed a typology of what we term uses of literature within the social sciences. This typology is the result of an ongoing project seeking to understand how literature might already play a role in the social sciences, no matter how small this role might appear at first glance. Our investigations were further motivated by the distinct lack of sources on the subject. While there are a number of prominent cases that call for social scientists to incorporate the insights of literature into their research (e.g., Shiller, 2019 ) and teaching (e.g., Morson and Schapiro, 2017 ), there are hardly any that demonstrate how (and where) they might already be doing so. For those of us who wish to expound on the value of not only literature per se but the study of literature specifically, a thorough account of how experts in an adjacent field like social science might already incorporate literary objects in their scholarship is a critical starting point. The absence of a generalized account of the field therefore required us to generate our own.

To do so, we first devised a plan to comb through the entire catalog of published social science articles on JSTOR, which spans nearly a century’s worth of material. Our goal at this point was to identify and categorize where and how social scientists refer to literary fiction in their published work. As will become clear, this approach’s limitations—namely, its reliance on a pre-determined list of searchable terms—set the groundwork for our survey, which was designed to account for surprising or unexpected responses. Nevertheless, the survey provided valuable insight into the more fleeting references to literary fiction in published social science research.

A brief account of this JSTOR project is useful for contextualizing the results of our social science survey. First, it was necessary to generate a delimited archive of social science articles that use, in some shape or another, literary sources. For the sake of producing an adequate number of sources, we composed a list of search terms that consisted of 30 prominent Anglophone authors, along with two famous literary characters, Robinson Crusoe, and Sherlock Holmes (Fig. 1 ). To determine these search terms, we cross-referenced popular online media articles (including blogs, short essays, and user forums) that offered broad rankings of, for example, the most important authors of all time. To best address the historical breadth of the JSTOR catalog, the names were edited down further to focus on authors who published before the middle of the twentieth century. It goes without saying that this initial list was far from exhaustive. Instead, it was intended to produce a large enough body of results in order for us to further generate a working typology of literary references as they appeared in the articles. Footnote 1 Second, we conducted a qualitative analysis of these articles alongside the rough typology of uses Michael Watts, Professor of Economics at Purdue, outlines in his study of economics and literature—the only workable typology we found.

Chart displays search terms (author name or fictional character name) and their corresponding total number of appearances across all social science articles on JSTOR. Figure shows 19 most popular results from the compiled search term list.

According to Watts, economists who engage with literature to any degree tend to do so according to four different categories: 1. eloquent description of human behavior; 2. historical evidence conveying the context of a particular time or place; 3. Alternative accounts of rational behavior that complement or challenge economic theory; 4. Evidence of an antimarket/antibusiness orientation in esthetic works. ( 2002 , p. 377)

When viewed alongside the JSTOR articles, however, the limitations to Watts’s typology were apparent. Most immediately, the emphasis on what one might call deep or sustained engagements with literature means that his typology will not capture those more fleeting uses of literature that make up the vast majority of literary references in the social science archive. Once one recognizes these limits, it becomes clear that any categorization or typology of literature in social science must be sufficiently flexible enough to capture the many and often surprising ways that the disciplinary fields might intersect. Of course, this latter point is underscored by the fact that Watt’s original typology is concerned with economics only. By expanding our search to include the social sciences in general, we allow for a wider scale for evaluating literature’s usefulness as seen by, for instance, political scientists, social theorists, and behavioral economists. After reviewing the JSTOR set of articles, we expanded on Watt’s initial typology to produce a more encompassing categorization of literary uses that better accommodated the range of literary references as they appeared in the archive. Ultimately, we determined that an expanded typology of uses of literature as they appear in published social science articles must include several more categories, never mind the four in Watts’s initial outline:

Literature as argument

Causal Argument/Historical data: marks studies that see literature as an agent of historical change along the lines of something a historian of the period can recognize.

Alternate Explanation: notes studies that see literary writers as rival social theorists whose arguments warrant proper countering.

Philosophical Position: refers to studies that associate an author with an argument that is developed or sustained across that author’s body of work.

Literature as context

Historical Context: designates studies that use information from literary texts as a way of characterizing a particular historical period, without claiming that the work was an agent of change in the period.

Biography: refers to studies that cite biographical details of an author or literary source as a way of situating concurrent historical events.

Literature as metonym

Cultural Standard: names studies that refer to literary texts as a cultural metonym, for example using Shakespeare as a way of referring to Renaissance England or to Western Culture as a whole.

Parable: designates studies that refer to a literary object that has lost its original literary contextualization and now stands in for something else entirely (e.g., Robinson Crusoe as a parable for homo economicus).

Literature as decoration

Literary effects/style: accounts for those literary texts that are evoked subtly via an author’s style or phrasing.

Decoration: names instances when the references to a literary text appear merely decorative and play no significant role in the argument.

Nonfiction quote: denotes direction quotations attributed to authors outside their published works.

Literature as Inspiration: marks moments in which a literary text plays no direct role in the argument but inspired the scholar’s thinking.

Literature as Teaching Tool: acknowledges instances where scholars use literary texts within the classroom or to help explain a concept.

As this expanded typology suggests, our initial assessment of the JSTOR articles highlights literature’s wide range of applications within the social sciences (Fig. 2 ). Moreover, it jumpstarts a dialog on what, exactly, constitutes a use of literature within this field. After all, it seems significant that a great portion of literary references as captured in the JSTOR survey are essentially non-critical uses—pithy quotations from authors or famous literary epigrams—when viewed from the perspective of literary studies. Nonetheless, to account for these references to literature is to acknowledge something of the role literary fiction per se plays, if not in the entire field of social science research, then in the academic conventions of social science publishing.

Chart shows the proportion of literary typographies across JSTOR’s social science catalog from among our compiled search term list. The presented types originate from our expanded typography based on Watts’s categorisations.

At the same time, our attempts to expand this typology ran into several hurdles of its own. First and foremost, our ability to generate search results from the JSTOR archive was limited by the terms we used: because any search for “literature” or “fiction” produces too many non-applicable and generalized results, one must enter specific search terms (e.g., William Shakespeare; Virginia Woolf) to produce relevant results. Along similar lines, our typology can only take shape in view of these limited sources; it is after all possible that an author or literary text that did not appear on our initial list has been received by social scientists in ways that confound expectations beyond even our expanded typology.

Finally, our reliance on both pre-conceived search terms and archived research articles prevents us from evaluating the newest trends in both literature as well as social science research. As our survey results below demonstrate, there is ample evidence that literature produced within the last twenty years has an outsized impact on those social scientists who acknowledge literary fiction as an influence in their work. The conventions of academic publishing in non-literary fields, however, might prevent researchers from likewise acknowledging these contemporary examples in their published material in favor of more familiar, canonical examples. In view of the affordances and limitations to our initial JSTOR study, we decided to approach the subject of literature and social science from another direction: by going directly to the source.

If publications are the end products of academic work, the product does not always reflect all details of the research process. Nobody leaves the scaffolding standing when the house is completed; likewise, the notes, readings, and other sources of inspiration that lay the foundation for an article or academic monograph often go unacknowledged. To be sure, simply searching for references to literary fiction in the published text of these sources is likely to return some results—for instance, the frequent conflation of the homo economicus model with the protagonist of Robinson Crusoe, albeit in a manner that elides any reference to Daniel Defoe, the author (Watson, 2017 ). As the example of Crusoe suggests, the small pool of literary sources that appear in the text of social science articles cannot adequately account for the wide range of influences literature might have at all stages of research. To better capture these invisible or unacknowledged uses of literature in the social science, we decided to simply ask social scientists themselves. The survey asked a few simple questions on their use (or not) of fictional literature in any stage of their academic work. The survey questions are included in the supplementary material as supplementary note . We received 875 responses at a response rate of 7 percent, a number which we deemed acceptable for allowing us to detect some overall patterns. Given the use of THE rankings, the sample is dominated by North American and European social science departments. The sample includes all career stages: Ph.D students (35 pct.), postdocs and assistant professors (20 pct.), and tenured staff (42 pct.). It includes the four major social science disciplines: economics (20 pct.), sociology (31 pct.), political science (26 pct.), psychology (19 pct.), whereas a small group (4 pct.) identified with other disciplines. A full demographic breakdown (Table S.1) is included in the supplementary material .

Discussion: what do social scientists say?

To be clear, not all social scientists use literature in a manner conforming with our typology above or even consider literature a factor in their work life. In the survey, we focused on the non-explicit uses of literature and the considerations behind their uses. In other words, the survey is meant to supplement our findings from the study of social science journals from the JSTOR digital library. The survey should not be taken as a test of the above-mentioned categories developed from the empirical study of academic publications. Still, it is possible to glean some points of overlap between the two approaches. Several of these categories can be easily applied to responses from the survey, especially the categories relating to literature’s inspirational value or its usefulness as a teaching tool. At the same time, other categories that feature heavily in the published articles—especially “literature as decoration” and “literature as metonym”—were hardly mentioned at all in the survey responses. The gap between what social scientists say about literature and what appears in social science articles reiterates the value of the survey, which captures some of the underlying motivations for using literature (or not) that otherwise would not come across in view of published academic work.

Even considering the general self-selection bias—i.e., respondents who react positively to the idea of using literature are also more likely to participate in the survey—93 percent agreed that “Literature often contains important insights into the nature of society and social life”, while only 2 percent disagreed. However, it is one thing to acknowledge that literature offers general insights into life and quite another to affirm that literature plays a role in individual research biographies. To address this issue, we posed the question if “Reading literature played a role in the formation of your research questions or the development of your research projects.”

We were somewhat surprised to learn that this was the case for almost half of the respondents (46 precent agree or totally agree), and only a third (34 percent) rejected this premise (Table 1 ). Looking at the comments in the open sections shed light on this. For some researchers there was a very clear link. For example, one respondent explained: “Toni Morrison and other women of color (Ana Castillo, for example) greatly enriched my understanding of the role of gender in society (I am a man).”

Raising the bar even higher, we then asked about publications. Publications are arguably the most delicate matter in our survey. After all, publications can make or break careers inasmuch as they factor into promotions and tenure reviews. In response to our publishing question (“How often do you quote or in other ways use a work of fiction in your publications”), 25 percent recorded occasionally using literary fiction in some form and an additional 13 percent affirmed doing so often or very often. In other words, almost 40 percent of the respondents acknowledge using literary sources in their publications (Table 2 ).

However, it must be stressed that these uses vary in form and substance. Based on our qualitative assessment of a subset of social science sources (outlined above), we found that explicit engagements range from the superficial (e.g., brief quotations of famous quips or observations from literary sources), the decontextualized (e.g., Robinson Crusoe functions only as a model of economic behavior), to more sustained engagements with the arguments or ideas presented in literature (e.g., Thomas Piketty’s references to Jane Austen and Balzac in Capital in the Twenty-First Century). In other words, a great many of these applications of literature do not resemble the type of work one finds in literature departments. Moreover, the depth or method for engagement is rather unsystematic.

Of course, publications and research only constitute part of the work academics do at the university. Our survey also asked about teaching in order to capture other literary uses that published papers are unlikely to acknowledge. As noted above, Robinson Crusoe appears in textbooks on microeconomics in the figure of the homo economicus. Elsewhere, there are several examples of sources who call for incorporating literary fiction in the teaching of the social sciences in order to benefit from the imaginative social logics embedded in, for instance, science fiction novels (e.g., Rodgers et al., 2007 ; Hirschman et al., 2018 ). As our survey demonstrates, most of the respondents use or have used literary sources as pedagogical tools: less than a third (30 percent) never do so, most do so at least sometimes, and a few (12 percent) frequently use literature in their teaching (Table 3 ).

If we had expanded the category from literature to art in a wide sense (including, for example, movies, television series, paintings, and music) we suspect the numbers would have been significantly higher.

Finally, our survey provides some insight into what characterizes social scientists who use literature in their work. We generally find only small differences between disciplines within the field of social science, with economists marginally more skeptical of literature’s usefulness in the classroom than researchers in sociology, political science, and psychology (Table 3 ). This confirms earlier findings. A survey from 2006 showed that 57 percent of economist disagreed with the proposition that “In general, interdisciplinary knowledge is better than knowledge obtained by a single discipline.” For psychology, political science, and sociology the numbers were 9, 25 and 28 percent respectively (Fourcade et al., 2015 ).

Larger contrasts appear when considering the career stage of the researchers. We find a very clear general pattern of early-career, non-tenured researchers expressing more skepticism regarding literature’s insights compared to tenured and more senior researchers (Table 4 ). This pattern is most apparent when the respondents consider the use of literature in their own publications. A striking 75 percent of PhD students and 78 percent of postdocs have never quoted literature in their publications, compared to 48 percent in the senior professor group.

Arguably, this gap might simply reflect the much larger publication portfolio expected of senior professors in relation to early-career scholars, but the same pattern holds when we asked more general questions on the importance of literature.

This last point casts into relief some of the internal and generational gaps existing between senior researchers and junior and early-career researchers facing an increasingly precarious academic workplace. For early-career researchers, there is little immediate benefit to working outside established borders when recognition and professional assessment (such as promotions and tenure) still largely derive from work within disciplinary camps (Lyall, 2019 , p. 2). At the same time, stepping into uncharted territory requires one to navigate disciplinary traditions, departmental gatekeeping, and new methodologies. These professional limitations are what observers have in mind when they call interdisciplinary research risky at best (e.g., Callard and Fitzgerald, 2015 ) and “career suicide” at worst (Bothwell, 2016 ).

Rather than ascribing literary interests to some form of academic maturity, then, we suspect this gap between early and later-stage researchers partly reflects how disciplines work. In general terms, it is easy to imagine how the institutional pressures on early-career researchers can translate to a stricter adherence to disciplinary guidelines. Facing an unstable job market and competing for a limited pool of external funding, these scholars are highly dependent on the recognition of their peers and will tend to be more risk-adverse with respect to publications. As noted above, explicit signals of inter- or cross-disciplinary interests may sound appealing in the abstract (and may be promoted by international funding agencies) but they face much more skepticism within academic departments and hiring committees. As a result, using literature in academic publications—and perhaps explicitly cross-disciplinary research in general—is a luxury that only the more professionally-secure researchers can afford.

This explanation might account for the lack of explicit references to literary fiction in social science research, but not the absence of more indirect literature-research relationships. For example, 39 percent of PhD students “totally agree” that one can “learn a lot about what humans are like from literature” as opposed to 60 percent of associate professors and over half of professors. While outside the bounds of our current project, this generational gap may also be evidence of the diminishing presence of literature departments on university campuses after successive years of administrative funding cuts and public pressure against humanities-oriented education in general (Meranze, 2015 ). Fewer literature classes may result in as scenario where even advanced degree holders in an adjacent field like social science may be less studied in literature than their more senior colleagues.

What is the social scientist reading list?

There is no shortage of arguments for those in the social sciences to read literary fiction. As noted in the introduction above, there are a handful of social scientists in fields like sociology and economics who emphasize not only the general value of reading literature but also the profound insights literature can offer their research. However, beyond acknowledging the need to read in general, the question remains: which books to open, and which pages to turn? As is perhaps unsurprising canonical examples of realist fiction, with their aspiration to represent the breadth of the social world, are often the first to come to mind. Critics interested in bridging the gap between literature and economics, for instance, tend to hold up nineteenth-century novels as key examples of the relevant insight fiction might offer (Fessenbecker and Yazell, 2021 ). This preference for major classics was also confirmed by the participants in our survey, who cited such canonical novelists as George Orwell and Leo Tolstoy with high frequency (Table 5 ). The full list of literary recommendations for “understanding society better” includes novels and authors and spans different national literary canons, with authors associated with novels far eclipsing other forms of literature.

The above list of frequently referenced authors comes with few surprises. Anglophone—and especially US—literature and writers dominate, which reflects of the high number of US and UK universities on our list of top departments in the field of social science. All authors except Homer, Shakespeare, Dostoyevsky, Austen, Eliot, and Twain belong to the twentieth century. The most contemporary authors are women—Adichie and Atwood the only living authors within the top twenty—in contrast to the heavily-canonized, uniformly male authors in the top five positions. These more recent authors to different degrees push back against the conventions of the realist novel. Atwood’s speculative fiction and the fantasy and utopian fiction of LeGuin thus demonstrate the range of novelistic genres cited in the survey responses.

The list also suggests something of the formative power of the standardized literature curriculum. Books typically assigned in US high schools are heavily represented on the list of recommended texts below, which includes The Grapes of Wrath and To Kill a Mockingbird (Table 6 ). The uncontested most recommended read for social scientists is the British novelist and essayist George Orwell. The specific recommendations include his most best-selling books, 1984 and Animal Farm, which together form the two most recommended titles according to the survey respondents.

Conclusion: the uses of trivia

To briefly summarize, we set out to study the way social scientists use literature in two broad ways. First, we compiled a dataset comprising a century’s worth of scholarship in the social sciences. Second, we conducted a survey of a large number of contemporary working social scientists. A qualitative review of the dataset revealed a number of different ways social scientists have used literature; these uses were categorizable into six broad categories, several of which contained discernible sub-categories. The survey reinforced parts of this analysis while diverging in intriguing ways. Almost all the surveyed social scientists agreed on the cognitive value of literature, and almost half (46%) reported that literary works had played important roles in their own intellectual biographies. Yet some common uses of literature in the dataset received virtually no mention in the self-reports and the survey revealed suggestive evidence of the impact of institutional structures on whether and how scholars use literature. Ultimately the analysis points towards the value of further research. Both the list of uses compiled from the dataset and the list of works compiled from the survey are necessarily limited in scope and would benefit from a more comprehensive consideration of social scientists and their research.

But by way of conclusion, it is worth responding to the worry that much of the data collected here is somewhat less than consequential—the collection of an offhand reference here, a novel read in grad school there—and to that extent cannot answer our opening question about the nature of interdisciplinarity. Or, perhaps more soberly, it does answer the question, but simply in the negative. There is in fact not much of a meaningful use for literature in the conduct of the social sciences, and one of the pieces of evidence for the argument is the limited use such scholars have made of it thus far. Such an objection is wrong in two ways, one rather boring and one relatively more interesting. The boring objection is simply the observation that the history of a discipline does not predict its future: it would not be at all surprising to see a discipline change as a new archive of material or a new method of analysis became available to it. Indeed, this is often precisely what leads disciplines forward. The more interesting objection is the implicit premise that interdisciplinary scholarship must make its interdisciplinarity overt and extensive, and that a new interdisciplinary connection must be innovative.

We reject both halves of this second premise. The kind of interdisciplinarity we have traced here is light and casual, using a quotation here or there, and there is little that is new about it: it has been with the social sciences for much of their history. However, interdisciplinarity need not be utterly novel to be worth explicating, theorizing, and defending. Against the model of interdisciplinary development that considers the key question to be the difficulty and complexity of bringing two disciplines together, we want to highlight how easy it really is. If it were to become ordinary practice to read a novel and a piece of literary criticism that addressed whatever issue a given social scientist happened to be working on, this would for many social scientists simply normalize and bring to awareness the way they already work. Moreover, rather than shaming social scientists for not using literature more, we submit a better way to evoke greater respect for and greater use of literature and criticism is to highlight the ways in which they already do. Carrots, as they say, rather than sticks.

Data availability

The data that support the findings of this study are available from the corresponding author upon reasonable request.

The JSTOR search terms did not include John Steinbeck, who is heavily cited by the respondents in our later survey. The omission, while regrettable, underscores the usefulness of the survey’s open-ended questions. Further research might well consider additional authors beyond this improvised list.

Arnold M (1873) Literature and dogma. Smith, Elder, and Co., London

Google Scholar  

Bothwell E (2016) Multidisciplinary research ‘career suicide’ for junior academics. Times Higher Education, May 3

Callard F, Fitzgerald D (2015) Rethinking interdisciplinarity across the social sciences and neurosciences. Palgrave Macmillan, London

Book   Google Scholar  

Fessenbecker P, Yazell B (2021) Literature, economics, and a turn to content. The Minnesota review 96:69–81

Fourcade M, Ollion E, Algan Y (2015) The superiority of economists. J Econ Perspect 29(1):89–114

Article   Google Scholar  

Hirschman D, Schwadel P, Searle R, Deadman E, Naqvi I (2018) Why sociology needs science fiction. Contexts 17(3):12–21

Leavis FR (2011) The great tradition: George Eliot, Henry James, Joseph Conrad. Faber and Faber, New York, NY

Love H (2010) Close but not deep: literary ethics and the descriptive turn. New Lit Hist 41(2):371–391

Lyall C (2019) Being an interdisciplinary academic how institutions shape university careers. Palgrave Macmillan, London

Marcus S, Love H (2016) and Stephen Best. Building a better description. Representations 135(1):1–21

Martin CJ (2019) Imagine all the people: literature, society, and cross-national variation in education systems. World Polit 70(3):398–442

Meranze M (2015) Humanities out of joint. Am Hist Rev 120(4):1311–1326

Morson GS, Schapiro M (2017) Cents and sensibility: what economics can learn from the humanities. Princeton University Press, Princeton

Rodgers YV, Hawthorne S, Wheeler RC (2007) Teaching economics through children’s literature in the primary grades. Read Teach 61:46–55. https://doi.org/10.1598/RT.61.1.5

Shiller RJ (2019) Narrative economics: how stories go viral and drive major economic events. Princeton University Press, Princeton

Snow CP (1961) The two cultures and the scientific revolution. Cambridge University Press, Cambridge, UK

Watson M (2017) Rousseau’s Crusoe myth: the unlikely provenance of the neoclassical homo economicus. J Cult Econ 10(1):81–96

Watts M (2002) How economists use literature and drama. J Econ Educ 33(4):377–86

World University Rankings 2019 by subject: social sciences. (2019) Times Higher Education https://www.timeshighereducation.com/world-university-rankings/2019/subject-ranking/social-sciences#!/page/0/length/25/sort_by/rank/sort_order/asc/cols/stats

Download references

Acknowledgements

The authors wish to thank Rita Felski, Anne-Marie Mai, and Pieter Vanhuysse for their helpful feedback during the design of the survey. Thanks are also due to JSTOR for making available their digital archive and to the nearly 1000 colleagues who responded to the survey and, in some cases, provided additional comments by email. Research in this article received funding by the Danish National Research Foundation (DNRF127) and the Danish Institute for Advanced Study (internal funds).

Author information

Authors and affiliations.

Department for the Study of Culture, University of Southern Denmark, Odense M, Denmark

Bryan Yazell

Danish Institute for Advanced Study, Odense M, Denmark

Bryan Yazell & Klaus Petersen

Danish Centre for Welfare Studies, University of Southern Denmark, Odense M, Denmark

Klaus Petersen & Paul Marx

Institute for Socio-Economics, Universität Duisburg-Essen, Essen, Germany

Institute of Labor Economics (IZA), Bonn, Germany

Program for Cultures, Civilizations, and Ideas, Bilkent University, Ankara, Turkey

Patrick Fessenbecker

Engineering Communication Program, University of Wisconsin-Madison, Madison, WI, USA

You can also search for this author in PubMed   Google Scholar

Corresponding author

Correspondence to Bryan Yazell .

Ethics declarations

Competing interests.

The authors declare no competing interests.

Ethical approval

The project design was approved by SDU-RIO (ref: 10.646). As the project does not involve human biological material, approval by the Research Ethics Committee SDU is not applicable.

Informed consent

Data collection for this study and the use of data for research were approved by SDU-RIO (ref: 10.646) following Danish Data Protection Law [databeskyttelsesforordningen] §10.

Additional information

Publisher’s note Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Supplementary information

Supplementary material, rights and permissions.

Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ .

Reprints and permissions

About this article

Cite this article.

Yazell, B., Petersen, K., Marx, P. et al. The role of literary fiction in facilitating social science research. Humanit Soc Sci Commun 8 , 261 (2021). https://doi.org/10.1057/s41599-021-00939-y

Download citation

Received : 20 July 2021

Accepted : 12 October 2021

Published : 03 November 2021

DOI : https://doi.org/10.1057/s41599-021-00939-y

Share this article

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

Quick links

• Explore articles by subject
• Guide to authors
• Editorial policies

Organizing Your Social Sciences Research Assignments

• Annotated Bibliography
• Analyzing a Scholarly Journal Article
• Group Presentations
• Dealing with Nervousness
• Using Visual Aids
• Grading Someone Else's Paper
• Types of Structured Group Activities
• Group Project Survival Skills
• Leading a Class Discussion
• Multiple Book Review Essay
• Reviewing Collected Works
• Writing a Case Analysis Paper
• Writing a Case Study
• About Informed Consent
• Writing Field Notes
• Writing a Policy Memo
• Writing a Reflective Paper
• Writing a Research Proposal
• Generative AI and Writing
• Acknowledgments

A multiple book review essay involves assessing the quality of two or more books that cover the same overall subject area [e.g., analysis of the European debt crisis] or that are related to each other in a particular way [e.g., applying grounded theory methods to study student access to education]. The review is written in the form of a short scholarly paper [essay] rather than as a descriptive book review. The purpose is to compare and contrast the works under review, to identify key themes and critical issues, and to evaluate each writer's contributions to understanding the overarching topics common to each book. Professors assign reviews of multiple books to help students gain experience critically evaluating the ways in which different researchers examine and interpret issues related to a specific research problem.

Erwin, R. W. “Reviewing Books for Scholarly Journals.” In Writing and Publishing for Academic Authors . Joseph M. Moxley and Todd Taylor. 2 nd edition. (Lanham, MD: Roman and Littlefield, 1997), pp. 83-90.

How to Approach Writing Your Review

Developing an Assessment Strategy

An important first step in approaching how to write a review of two or more books is to identify and think critically about the research problem that ties each of the books together. This information is usually summarized in the preface or introductory chapter of each book. The challenge is to develop an argument about each book you are reviewing and then clearly compare, contrast, and ultimately synthesize your analysis into an well organized and well supported essay.

Think of a multiple book review essay as a type of compare and contrast paper similar to what you may have written for a general issue-oriented composition class . As you read through each book, write down questions concerning what you want to know about each book and answer them as you read [remember to note the page numbers from the book you got the information from so you can refer back it later!]. Which questions to ask yourself will depend upon the type of books you are reviewing and how the books are related to each other.

Here are a series of questions to focus your thinking:

• What is the thesis—or main argument—of each book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of each book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? Can you detect any biases? What is the approach to the subject [topical, historical, analytical, chronological, descriptive]?
• How does the author of each book support his or her argument? What evidence [i.e., sources cited and data collection] does each author use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author's information [or conclusions] conflict with other books you've read, courses you've taken, or just previous assumptions you had about the research problem under study?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense to you? Does it persuade you? Why or why not? Were there any questions left unanswered? Were limitations to the study effectively addressed?
• How has each book helped you understand the subject? Would you recommend the books to others? Why or why not? In what ways have the books collectively expanded your understanding of the research problem?

Beyond the content of the book, you may also consider some information about each author and the circumstances of the text's production:

• Who is the author? Nationality, political persuasion, education, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the author is affiliated with a particular organization? What difference would it make if the author participated in the events he or she writes about? What other topics has the author written about? Does this work build on prior research or does it seem to represent a new area of research?
• What is each book's genre? Out of what discipline do they emerge? Do they conform to or depart from the conventions of its genre? These questions can provide a historical or other contextual standard upon which to base your evaluations. If you are reviewing a book described as the first book ever written on the subject, it will be important for your readers to know this. Keep in mind, though, that declarative statements about being the “first,” the "best," or the "only" book of its kind can be a risky unless you're absolutely certain because your professor [presumably] has a much better understanding of the overall research literature.

Bazerman, Charles. Comparing and Synthesizing Sources. The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting. The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Hartley, James. “Reading and Writing Book Reviews Across the Disciplines.” Journal of the American Society for Information Science and Technology 57 (July 2006): 1194-1207; Walk, Kerry. How to Write a Compare-and-Contrast Paper. Writing Center. Princeton Writing Program; Rhetorical Strategies: Comparison and Contrast. The Reading/Writing Center. Hunter College; Visvis, Vikki and Jerry Plotnick; Writing a Compare/Contrast Essay. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay. CLRC Writing Center. Santa Barbara City College.

Structure and Writing Style

I.  Bibliographic Information

Provide the essential information about each book using the writing style asked for by your professor [e.g., APA, MLA, Chicago, etc.]. Depending on how your professor wants you to organize your review, the bibliographic information represents the heading of your review. In general, they would be arranged alphabetically by title and look like this:

Racing the Storm: Racial Implications and Lessons Learned from Hurricane Katrina . Hillary Potter, ed. (Lanham, MD: Lexington Books, 2007. 320 pp) The Sociology of Katrina: Perspectives on a Modern Catastrophe . David L. Brunsma, David Overfelt, and J. Steven Picou, eds. (Lanham, MD: Rowman and Littlefield, 2007. 288 pp.) Through the Eye of Katrina: Social Justice in the United States . Kristin A. Bates and Richelle S. Swan, eds. (Durham, NC: Carolina Academic Press, 2007. 440 pp.) Reviewed by [your full name]

II.  Thesis Statement

The thesis statement of an essay that compares and contrasts multiple works should contain an idea or claim that unites the discussion of each text under review . It should include the argument that will be advanced in support of the claims being made. To begin, ask yourself: What is the overarching subject or issue that ties together all of the books? Why is it important? In most scholarly works, the author(s) will state the purpose of their book in the preface or in an introductory chapter. Look for common themes or points of divergence among the books.

If you cannot find an adequate statement in the author's own words or if you find that the thesis statement is not well-developed, then you will have to compose your own introductory thesis statement that does cover all the material. The comparative thesis statement will vary in length depending on the number and complexity of the books under review. Regardless of length, it must be succinct, accurate, unbiased, and clear.

If you find it difficult to discern the overall aims and objectives of each book [and, be sure to point this out in your review if you believe it to be a deficiency], you may arrive at an understanding of the purpose by asking yourself a the following questions:

• Scan the table of contents because it can help you understand how the book is organized and will aid in determining the author's main ideas and how they are developed [e.g., chronologically, topically, historically, etc.].
• Why did the authors write on this subject rather than on some other subject?
• From what point of view is each work written?
• Were the authors trying to provide information, to explain something technical, or to convince the reader of a belief’s validity by dramatizing it in action?
• What is the general field or genre, and how does each book fit into it? If necessary, review related literature from other books and journal articles to familiarize yourself with the field.
• Who is the intended audience for each book? Is it the same or are the books intended for difference sets of readers?
• What is each author's style? Is it formal or informal? You can evaluate the quality of the writing style by noting some of the following standards: coherence, clarity, originality, forcefulness, accurate use of technical words, conciseness, fullness of development, and fluidity.
• How did the books affect you? Were any prior assumptions you had on the subject that were changed, abandoned, or reinforced after reading the books? How are the books related to your own personal beliefs or assumptions? What personal experiences have you had that relate to the subject?
• How well has each book achieved the goal(s) set forth in the preface, introduction, and/or foreword?
• Would you recommend this book to others? Why or why not?

A useful strategy to help organize your thoughts is to create a table with a column for each book and rows for each question. Enter your answer to each book in the chart. When completed, you'll have an easy guide to how each author has addressed the questions.

NOTE:   Your thesis statement underpins the purpose of your review and helps the reader understand how the books are related. However, while a book review essay should evaluate books about the same topic [e.g., hurricane Katrina recovery], there may not be an overarching issue that ties the books together. If this is the case, then the thesis could, for example, center around the diversity of issues scholars have chosen to examine a topic or the fractured nature of scholarship on the subject.

ANOTHER NOTE :   Your thesis statement should include the rationale for why the key points you highlight or compare and contrast among the books being reviewed were deliberate and meaningful and not random. Explain their significance.

III.  Methods of Organizing the Essay

Organization is critical to writing an essay that compares and contrasts multiple works because you will most likely be discussing a variety of evidence and you must be certain that the logic and narrative flow of your paper can be understood by the reader. Here are some general guidelines to consider:

• If your professor asks you to choose the books to review, identify works that are closely related in some way so they can be easily compared or contrasted.
• Compare according to a single organizing idea [e.g., analysis of how each author assessed the effectiveness of post-Katrina recovery efforts].
• Choose a method of development [see below] that works well with your organizing idea.
• Use specific and relevant examples to support your analysis.
• Use transitional words or phrases to help the reader understand the similarities and differences in your subject.
• Conclude your paper by restating your thesis, summarizing the main points, and giving the reader a final "so what" answer to the major similarities and/or differences that you discussed [i.e., why are they important?

There are two general methods of organizing your multiple book review essay. If you believe one work extends another, you'll probably use the block method; if you find that two or more works are essentially engaged in a debate or examine a topic from different perspectives, the point-by-point method will help draw attention to the conflict. However, the point-by-point method can come off as a rhetorical ping-pong match. You can avoid this effect by grouping more than one point together, thereby cutting down on the number of times you alternate from one work to another. No matter which method you choose, you do not need to give equal time to similarities and differences. In fact, your paper will be more interesting if you state your main argument(s) as quickly as possible. For example, a book review essay evaluating three research studies that examine different interpretations of conflict resolution among nations in the Middle East might have as few as two or three sentences in the introduction regarding similarities and only a paragraph or two to set up the contrast between the author’s positions. The rest of the essay, whether organized by block method or point-by-point, will be your analysis of the key differences among the books.

The Block Method Present all the information about A, and then present parallel information about B. This pattern tends to work better for shorter book review essays, and those with few sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce the significance of the overall subject matter     B. Thesis Statement         --First supporting point         --Second supporting point         --Third supporting point II. First book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point III. Second book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point IV. Third book     A. Summary of book         --Relationship of work to first point         --Relationship of work to second point         --Relationship of work to third point V. Conclusion     A. Restate thesis     B. Briefly summarize how you proved your argument The Point-by-Point Method Present one point about A, and then go to the parallel point about B. Move to the next point, and do the same thing. This pattern tends to work better for long book review essays and those with many sub-topics. The method looks like this:

I. Introduction     A. Briefly introduce significance of overall subject matter     B. Thesis statement II. Brief explanation of first book III. Brief explanation of second book IV. First comparative point     A. Relation of point to first book     B. Relation of point to second book V. Second comparative point     A. Relation of point to first book     B. Relation of point to second book VI. Third comparative point     A. Relation of point to first book     B. Relation of point to second book VII. Conclusion     A. Restate thesis     B. Briefly summarize how your proved your argument

IV.  Critically Evaluate the Contents

Regardless of whether you choose the block method or the point-by-point method, critical comments should form the bulk of your book review essay . State whether or not you feel the author's treatment of the subject matter is appropriate for the intended audience. Ask yourself:

• Has the objectives of each author(s) been achieved?
• What contribution do the books make to the field of study or discipline?
• Is the treatment of the subject matter objective?
• Are there facts and evidence that have been omitted, either in one of the books or collectively?
• What kinds of data, if any, are used to support each author's thesis statement?
• Can the same data be interpreted to alternate ends?
• Is the writing style clear and effective?
• Do the books raise important or provocative issues or topics for discussion and further research?
• What has been left out?

Support your evaluation with evidence from the text of each book and, when possible, in relation to other sources. If relevant, make note of each book's format, such as, layout, binding, typography, etc. Are there maps, illustrations? Do they aid in understanding the research problem? This is particular important in books that contain a lot of non-textual elements, such as tables, charts, pictures, and illustrations.

NOTE:   It is important to carefully distinguish your views from those of the authors, so that you don’t confuse your reader.

V.  Examine the Front Matter and Back Matter

Front matter refers to anything before the first chapter of the book. Back matter refers to any information included after the final chapter of the book . Front matter is most often numbered separately from the rest of the text in lower case Roman numerals [i.e. i-xi ]. Critical commentary about front or back matter is generally only necessary if you believe there is something that diminishes the overall quality of the work [e.g., the indexing is poor] or there is something that is particularly helpful in understanding the book's contents [e.g., foreword places the book in an important context].

The following front matter may be included in a book and may be considered for evaluation when reviewing its overall quality:

• Table of contents -- is it clear? Is it detailed or general? Does it reflect the true contents of the book?
• Author biography -- also found as back matter, the biography of author(s) can be useful in determining the authority of the writer and whether the book builds on prior research or represents new research. In scholarly reviews, noting the author's affiliation can be a factor in helping the reader determine the overall validity of the work [i.e., are they associated with a research center devoted to studying the research problem under investigation].
• Foreword -- the purpose of a foreword is to introduce the reader to the author as well as the book itself, and to help establish credibility for both. A foreword may not contribute any additional information about the book's subject matter, but it serves as a means of validating the book's existence. Later editions of a book sometimes have a new foreword prepended [appearing before an older foreword, if there was one], which may be included to explain in how the latest edition differs from previous ones.
• Acknowledgements -- scholarly studies in the social sciences often take many years to write, so authors frequently acknowledge the help and support of others in getting their research published. This can be as innocuous as acknowledging the author's family or the publisher. However, an author may acknowledge prominent scholars or subject experts, staff at key research centers, or people who curate important archival collections. In these particular cases, it may be worth noting these sources of support in your review.
• Preface -- generally describes the genesis, purpose, limitations, and scope of the book and may include acknowledgments of indebtedness to people who have helped the author complete the study. Is the preface helpful in understanding the study? Does it provide an effective framework for understanding what's to follow?
• Chronology -- also may be found as back matter, a chronology is generally included to highlight key events related to the subject of the book. Do the entries contribute to the overall work? Is it detailed or very general?
• List of non-textual elements -- a book that contains a lot of charts, photographs, maps, etc. will often list these items after the table of contents in order that they appear in the text. Is it useful?

The following back matter may be included in a book and may be considered for evaluation when reviewing the overall quality of the book:

• Afterword -- this is a short, reflective piece written by the author that takes the form of a concluding section, final commentary, or closing statement. It is worth mentioning in a review if it contributes information about the purpose of the book, gives a call to action, or asks the reader to consider key points made in the book.
• Appendix -- is the supplementary material in the appendix or appendices well organized? Do they relate to the contents or appear superfluous? Does it contain any essential information that would have been more appropriately integrated into the text?
• Index -- is the index thorough and accurate? Are elements used, such as, bold or italic fonts to help identify specific places in the book?
• Glossary of Terms -- are the definitions clearly written? Is the glossary comprehensive or are key terms missing? Are any terms or concepts mentioned in the text not included?
• Footnotes/Endnotes -- examine any footnotes or endnotes as you read from chapter to chapter. Do they provide important additional information? Do they clarify or extend points made in the body of the text?
• Bibliography/References/Further Readings -- review any bibliography, list of references to sources, and/or further readings the author may have included. What kinds of sources appear [e.g., primary or secondary, recent or old, scholarly or popular, etc.]? How does the author make use of them? Be sure to note important omissions of sources that you believe should have been utilized.

NOTE:   Typically, multiple book review essays do not compare and contrast the quality of the back and front matter unless the books share a common deficiency [e.g., poor indexing], the front or back matter is particularly important in supplementing the primary content of the books, or one book stands out in regards to the quality of information presented in the front or back matter.

VI.  Summarize and Comment

Your conclusion should synthesize the key similarities and differences among the books and their collective contributions to understanding of the research problem. Avoid re-stating your assessment word for word; your goal is to provide a sense of closure and to leave the reader with a final perspective about the overall topic under review and whether you believe each book has effectively contributed to the overall research literature on the subject. Do not introduce new information in the conclusion. If you've compared the books to any other studies or used other sources in writing the review, be sure to cite them at the end of your book review essay.

Bazerman, Charles. Comparing and Synthesizing Sources. The Informed Writer: Using Sources in the Disciplines. Writing@CSU. Colorado State University; Comparing and Contrasting. The Writing Center. University of North Carolina; Comparison and Contrast Essays. Writing Support Centre. University of Western Ontario; Rhetorical Strategies: Comparison and Contrast. The Reading/Writing Center. Hunter College; Hartley, James. “Reading and Writing Book Reviews Across the Disciplines.” Journal of the American Society for Information Science and Technology 57 (July 2006): 1194-1207; Hooker, Fran and Kate James. Apples to Oranges: Writing a Compare and Contrast Paper. The Writing Center. Webster University; Oinas, Päivi and Samuli Leppälä. “Views on Book Reviews.” Regional Studies 47 (2013): 1785-1789; Visvis, Vikki and Jerry Plotnick. The Comparative Essay. The Lab Report. University College Writing Centre. University of Toronto; Writing a Compare/Contrast Essay. CLRC Writing Center. Santa Barbara City College.

• << Previous: Writing a Book Review
• Next: Reviewing Collected Works >>
• Last Updated: Mar 6, 2024 1:00 PM
• URL: https://libguides.usc.edu/writingguide/assignments

How to Compare and Contrast Two Books

Debbie mccarson.

Compare-contrast essays require students to analyze texts and draw conclusions based on similarities and differences between elements within the texts. This type of analysis is challenging, because it requires multiple levels of thinking. However, by comparing literary works, students will uncover universal themes in surprising places.

Explore this article

• Choose Your Books and Develop Your Purpose
• Gather Facts. Use Graphic Organizers
• Choose a Structure: Point by Point
• Choose a Structure: Subject by Subject

1 Choose Your Books and Develop Your Purpose

For a compare and contrast essay, you will need to find elements within the books that have some type of similarity, such as the characters or themes. For example, you could compare Mary Shelley’s Victor Frankenstein with Robert Louis Stevenson’s Mr. Hyde or Oscar Wilde’s Dorian Grey. All these “monsters” in some way represent the conflict of good and evil within man. A close analysis of the similarities and differences of the “monsters” will suggest causes of this conflict. The ideas you uncover will help you form your thesis. Does man have inherent good and evil tendencies? Do we misbehave because of conflicting societal messages? How much are we influenced by external forces? Does each author seem to lean one way or another?

2 Gather Facts. Use Graphic Organizers

Once you have chosen your books and your elements for analysis, you will need to closely study the texts, particularly the elements you will be comparing. Use graphic organizers to organize your thoughts, listing things the elements have in common and things that are different. A Venn diagram works well for this as it offers a quick visual display of similarities and differences. As you begin to separate the similarities and differences in the work, you will begin to see patterns forming on which you can draw conclusions. For instance, Dorian Gray and Victor Frankenstein both have secrets. What is similar about their secrecy? What is different? What are they hiding and why? The answers to these questions will help support your thesis.

3 Choose a Structure: Point by Point

A compare-contrast essay can be organized in two ways: You can compare subjects point by point or subject by subject. In the point-by-point method, discuss the different points as they are presented by each character. For instance, on the issue of secrecy, discuss Gray’s hidden portrait and Frankenstein’s hidden monster. You could then discuss the transformation of character in both stories. Both Frankenstein and Dorian Gray transform from innocence to culpability. How and why? You could discuss the idea of grotesque appearance in both stories. What does it symbolize in each work?

4 Choose a Structure: Subject by Subject

If you were to structure your essay to compare elements subject by subject, you would list all the relevant details of one subject first. For instance, in the Frankenstein-Mr. Hyde comparison, make all the points you wish to about Frankenstein and then make all the points you wish to about Mr. Hyde. If you choose a subject-by-subject approach, include a paragraph that ties the ideas together. The compare-contrast paper is analytical, and should not simply sound like a list of points.

• 1 The University of North Carolina and Chapel Hill: The Writing Center

About the Author

Debbie McCarson is a former English teacher and school business administrator. Her articles have appeared in "School Librarians’ Journal" and "The Encyclopedia of New Jersey." A South Jersey native, she is a regular contributor to "South Jersey MOM" magazine.

Related Articles

How to Write Specific Aims for a Thesis

How to Write a Literary Analysis Essay

How to Write a Response to Literature Essay

How to Write an Insight Paper

How to Write a Critical Analysis of a Short Story

How to Write a Literary Analysis Paper

How to Write a Comparison Essay on Two Different Stories

What Does "Apples and Oranges" Mean?

Ideas for Literary Analysis Research Papers

How to Develop Analytical Skills

How to Write a Five-Paragraph Essay About a Story

How to Write an Essay About a Piece of Literature

How to Write a College Book Analysis

How to Write a Comparison Essay for Beginners

What Writing Techniques Do Writers Use to Create Humor...

How to Write an Outline for a Comparison Paper in Literature

Fiction Explication Vs. Analysis

How to Write a Motif Essay on "The Great Gatsby"

What Is Operational Framework in a Thesis?

How to Write an Explication of a Short Story

Regardless of how old we are, we never stop learning. Classroom is the educational resource for people of all ages. Whether you’re studying times tables or applying to college, Classroom has the answers.

• Accessibility
• Terms of Use
• Privacy Policy
• Copyright Policy
• Manage Preferences

© 2020 Leaf Group Ltd. / Leaf Group Media, All Rights Reserved. Based on the Word Net lexical database for the English Language. See disclaimer .

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Perceptions of Cultural Hybridity and Multiculturalism in Vikram Seth's Novels

2022, RABINDRA BHARATI JOURNAL OF PHILOSOPHY

The objective of my paper is to find the facets of multiculturalism and hybridity in the novel by Vikram Seth. He was one of the Indo-Anglian poets. Here we have taken into consideration the two novels by Vikram Seth, Golden Gate and Suitable Boy. He presented his entire novel in front of society with distinguishing features. Hybridity and multiculturalism are relevant in his novel. He was written as Golden Gate in the verse form and Suitable Boy in the descriptive form. Though the vikram seth has proven to be a genius in a variety of fields such as religion, administration, culture, and sexual pleasure. This paper is an attempt to find the theme of multiculturalism and hybridity in his novel.

Related Papers

International Journal on Studies in English Language and Literature

BEULAH RANI

IJAR Indexing

A major theme of the Indian English novel in the twenty-first century revolves around this cultural instability. In this research paper I propose to discuss the impact of multiculturalism on the marginalised as observed in the fictional world Siddhartha Deb\'s The Point of Return (2003) and Kiran Desai\'s The Inheritance of Loss (2006) . Siddharth Deb, hails from a second generation peasant family taking refugee in North East India during the partition. Deb in his first novel The Point of Return(2003) writes about the much neglected North East Indian states, the region nearest to the border of China. The Inheritance of Loss (2006) by Kiran Desai, is a story of two generations -those who have lived in colonial India and the other who are struggling to establish a new India. The novels of the twenty-first century are a dictum on the relevance of a strong cultural bond in the world that is torn by religious disparities and ethnic violence.

Vedita Cowaloosur

India as a vast and richest country in the world, has a glorious and very colourful past from the very beginning, of civilizations, of heritages and of cultural diversity also. The Indian culture, often labelled as an amalgamation of various cultures of many religions, faiths and spans across the Indian subcontinent and has been credited with shaping much of Indian philosophy, literature, architecture, art and music. Amongst the different aspects of Indian cultures, Indian literature has a recognisable heritage, mainly in epics (mahakavyam), poetry (kavyam) and dramas (natyam). Through literature which is truly diverse in nature, only we could present any subjects of literary traditions in India which is one of the richest in the world, combining as it does the diverse linguistic and cultural traditions which coexist within the Indian subcontinent. Indian writing in English, still considered an elite and esoteric brand of literature even after more than two hundred years of its existence because it has a collective well-equipped and prominent prolific writers like Mulk Raj Anand,

K Damodar Rao

The anthology presents the idea of India from multiple perspectives. 'What constitutes Indianness' has attracted the attention of scholars, thinkers and leaders over the years. In the light of Indian Fiction scene an attempt is made to approach multiple cultures and conflicting ideologies that co-existed in India through dialogic mode. The inclusion of bhasha fiction implies that Regional Fiction in English that focussed on micro issues is complementary to Indian English Fiction that dealt with macro issues.

Seda Pekşen

This thesis analyzes the westernization of Indians as portrayed through the juxtaposition of the power relations between the Western and Third world cultures, and the power relations between the characters of the novel. Indians had become so &#39;Anglicized&#39; that some of them took the place of the British rulers after Independence. In the novel the relations between parents and children, elders and youngsters, employers and employees are seen to be quite similar to the power relations that exist between the colonizer and the colonized. In the thesis these relations will be analyzed as the result and mimicry of British colonialism.Bu çalışma romanda, roman karakterleri arasındaki güç ilişkileriyle Batı ve Üçüncü Dünya ülkeleri arasındaki güç ilişkilerinin yansıtılması yoluyla Hintlilerin batılılaşmasının işlenmesini incelemektedir. Hintliler öyle &#39;İnglizleşmişlerdir&#39; ki içlerinden bazıları bağımsızlığın ardından İngiliz yöneticilerin yerini almışlardır. Romanda ebeveynler...

Indian Fiction and Multiculturalism: Review

Christopher Rollason

This essay appeared in Vikram Seth&#39;s &quot;A Suitable Boy&quot;: An Anthology of Recent Criticism, ed. Murari Prasad, New Delhi: Pencraft International, 2005, 62-88. It is a revised and updated version of an article first published in The Atlantic Literary Review (Delhi), Vol. 3, No. 3, July-September 2002, 69-95, and also on-line at: &lt;http://www.doononline.net/pages/info_features/features_spotlights/spotlights/seth/sethpaper.pdf&gt;. A slightly different version appeared in Indias Abroad: the Diaspora Writes Back, ed. Rajendra Chetty and Pier Paolo Piciucco, Johannesburg (South Africa): STE Publishers 2004, 170-186.

Journal of Critical Reviews

sameena banu

There are various approaches to the study of literature. We can study literature from autobiographical, sociological, psychological, historical and textusal perspectives. Moreover we can also study in the light of Structuralism, Post-Structuralism, De-Construction, Post-Modernism, Feminism Post-Colonial Criticism, Narratology and Stylistics. These perspectives can be broadly classified into two major approaches-thematic and linguistic. The aim is to demonstrate the application of stylistics to the study of literature Stylistics uses the methods of findings of linguistics to analyse literary texts. It advances hard data to support intuitions about literary works. It suggests new interpretations of literary texts on the basis of linguistic evidence. It explains how literary meanings are made. Stylistics plays a very significant role in the interpretation and appreciation of literature. The present article is an exercise in Style and Stylistics analysis of Vikram Seth"s novels which will be of great help to the teachers, researchers and students of Indian English fiction in general and to those interested in the author in particular. It will also be helpful as far as the area of expanding and appreciating the creative use of language in the literary discourse. Today the novel is the most important aspect of literary forms which has acquired a prestigious position in the Indian English literature. Mention must be made of Bankin Chandra Chatterjee who wrote the first novel in English Raj Mohan's Wife (1864). Since then Indian English novel has grown in bulk, variety and maturity. But the literary scene in the beginning of the 20 th century was bleak. However efforts were made by the writers like Raja Ram Mohan Roy, Ranade, Aurobindo, Vivekananda, Tilak, Gokhale and Rabindranath Tagore. They have made a significant contribution to Indian English literature and can be considered as the writers of the first generation of Indian writing in English.

Dimitrie Cantemir Christian University

Dhananjay Tripathi

This article examines a particular body of fiction classified as Raj novels whose narratives draw extensively on the social, political and historical contexts of the British Raj in India. The present article analyses three select novels; The Jewel in the Crown (1966) by Paul Scott, Heat and Dust (1975) by Ruth Prawer Jhabvala and The Tailor’s Needle (2009) by Lakshmi Raj Sharma, in the light of multiculturalism propagated by the major female characters in the novels. The article postulates how the Raj novels, generally categorized as historical fiction and studied in the context of colonial and postcolonial studies, could also be studied in the context of multiculturalism. Furthermore, it examines the role of the major female characters in these Raj novels and assesses how they acted as a harbinger of multicultural values at the time of high imperialism when the era itself was perceived as a masculine enterprise endowed with conflict, rebellion, hostility and antagonism.

RELATED PAPERS

Revista Arete

Alexandra Campo Granados

Adriano Bruni

Pirro Prifti

Muhamad Abduh

Olubanjo Adetunji

Serbian Journal of Anesthesia and Intensive Therapy

Miomir Jovic

Emilia Szymańska

Salud Publica De Mexico

José de Jesús Coria Lorenzo

Journal of Tropical Pediatrics

Alfred Musekiwa

Perspectivas

Fina Viegas Guillem

Gestão & Produção

Eugenio Benito Jr

Atiqoh Asnil

Revista Thésis

Andrey Rosenthal Schlee

Julio Neves Pereira

Journal of Difference Equations and Applications

César Silva

syukron amin

Journal of the Japan Epilepsy Society

Mitsutoshi Yamamoto

Journal of Clinical Child &amp; Adolescent Psychology

Gustavo Nogueira Dias

Miguel Aguilar

Journal of Virology

Anjali Singh

Comparative Biochemistry and Physiology Part A: Physiology

Teksty Drugie

Adam Dziadek

Catarina Lobão

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Your browser is ancient! Upgrade to a different browser or install Google Chrome Frame to experience this site.

Enjoy tips on academic writing and free sample research papers, essays, speeches, book reviews and much more than that. All tips are prepared by the seasoned academic writers, and you can always count on their reliability and practical efficiency. Our well-thought-out sample papers can be used as illustrative examples for your own academic writing. No matter which type of academic assistance you need right now, you can always rely on our professionalism and experience.

Comparison Essay on Two Books

The last two books I chose to read were: “One Hundred Years of Solitude” by Gabriel Garcia Marquez and “Miss Brill” by Katherine Mansfield. These are certainly two different books, but the some main themes are close in a way.

The book “One Hundred Years of Solitude” seemed to me rather unusual, the whole style of the author and the plot itself, and it was rather hard to remember all the names of the heroes.

This book is about 100 years of life of one family – Buendia. They live in an unnamed African country in jungles. It is called even a tale by some of the readers, as this novel is full of supernatural events and unusual characters. I would call it also a kind of a fairy tale, not a novel. Many layers of fantasy are mixed up in the lives of the main heroes of several generations of Buendia family. The story seems to have no plot, it is more like a collection of fantastic stories of each of the members of the family. All of them have their own obsessions, problems and insanity. When you start reading the book you might feel that all the events taking place are absolutely stupid and all the heroes are simply sick, but later on, the novel made me think more deeply about my life and about my relations with other people and even with members of my family. Probably everybody could find something interesting and new in this book.

It is also connected with the unique reality of Latin America – it was between modernity and the stage of pre- industrialization, after a civil war and attacked by imperialism. Thus this was a strategy used by several authors of those times – magic going through ordinary lives, mixing up the reality and fiction.

From the title already the main theme of the novel can be determined – solitude, which applies to every character in a unique way. Here it is not compared with loneliness, more with the obsession by seclusion or even madness. The characters fail to build a communication with each other and pay attention to the problems of others. I am sure all people face loneliness in their lives, it doesn’t matter if they have a lot of friends and happy family, all people feel lack of understanding and lack of support from the surrounding society from time to time, this is the main reason why this book was interesting to me.

Many critics debate whether there is a political message in this novel. Political significance in the story is seen for example when Aureliano learns about two political parties: Conservatives and Liberals and when a war broke out in Macondo. The theme of Latin American political violence is rather important in the whole novel. But it is less connected with human feelings and emotions and was of minor interest for me.

The second book – “Miss Brill” is a story about a woman, about her internal condition, about hurting feeling of loneliness and deep desire to be important, about estrangement. It is a natural desire for every human being to feel a part of the society, to be important and recognized at least for and by the members of his family and friends and colleagues – these all are the important concepts of the narration.

The whole story is an interior monologue of a woman.

It is difficult to find the conflict of the story while reading the first pages, when you are made to feel the spirit of the Sunday day, park with people walking and band playing, when you see everything “through” the mind and feelings of Miss Brill.

At the beginning of the story she seems to live in an illusionary world of “theatre” as she calls it for herself:” They were all on stage. They weren’t only the audience, no only looking on; they were acting.” She doesn’t want to look at herself as some old bench sitter, she prefers to see her as an actress, whose absence in this play everybody would notice. This is a way to escape from gloomy feeling of non-importance to the society and loneliness. Her “little dark room” is a bright contrast to the park, she comes to.

There’s hardly a reader, who could feel indifferent to the emotions of the main heroin. After reading the story one would feel so sorry that she had heard that conversation of the young couple, which spoilt her day and her mood, brightened in a little naive way. Miss Brill seems a kind of a person, who is never able to do any kind of harm to others, who wouldn’t expect to be hurt by others either, who is ready to pay a lot of attention to the problems of other people, as she doesn’t want to live only in her small world of a dark room. But unfortunately, her attempt to leave it and move closer to others brings joy only for some short period of time and then turns into even more painful situation.

It is usually captivating for me to read a book discovering person’s inner world, feelings and emotional experience, that is why this one was also of a great interest to me. This book could probably teach to develop the feelings of sympathy and forbearance towards other people, who might even seem to be strange.

Sources: “One Hundred Years of Solitude” by Gabriel Garcia Marquez “Miss Brill” by Katherine Mansfield

• Free Samples
• Writing Tips

• Skip to main content
• Keyboard shortcuts for audio player

NPR's Book of the Day

• LISTEN & FOLLOW
• Apple Podcasts
• Google Podcasts
• Amazon Music

Your support helps make our show possible and unlocks access to our sponsor-free feed.

Amor Towles revisits an old protagonist in 'Table for Two'

In Amor Towles' story collection Table for Two , the writer revisits a character from his very first book – Rules of Civility . Towles talks to NPR's Mary Louise Kelly about checking into the Beverly Hills Hotel for research purposes, and why he avoids technology in his stories.

To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookoftheday

Author Interviews

Amor towles checked in to the beverly hills hotel to edit new novella.

Help | Advanced Search

Computer Science > Computation and Language

Title: jamba: a hybrid transformer-mamba language model.

Abstract: We present Jamba, a new base large language model based on a novel hybrid Transformer-Mamba mixture-of-experts (MoE) architecture. Specifically, Jamba interleaves blocks of Transformer and Mamba layers, enjoying the benefits of both model families. MoE is added in some of these layers to increase model capacity while keeping active parameter usage manageable. This flexible architecture allows resource- and objective-specific configurations. In the particular configuration we have implemented, we end up with a powerful model that fits in a single 80GB GPU. Built at large scale, Jamba provides high throughput and small memory footprint compared to vanilla Transformers, and at the same time state-of-the-art performance on standard language model benchmarks and long-context evaluations. Remarkably, the model presents strong results for up to 256K tokens context length. We study various architectural decisions, such as how to combine Transformer and Mamba layers, and how to mix experts, and show that some of them are crucial in large scale modeling. We also describe several interesting properties of these architectures which the training and evaluation of Jamba have revealed, and plan to release checkpoints from various ablation runs, to encourage further exploration of this novel architecture. We make the weights of our implementation of Jamba publicly available under a permissive license.

Submission history

Access paper:.

• HTML (experimental)
• Other Formats

References & Citations

• Google Scholar
• Semantic Scholar

BibTeX formatted citation

Bibliographic and Citation Tools

Code, data and media associated with this article, recommenders and search tools.

• Institution

arXivLabs: experimental projects with community collaborators

arXivLabs is a framework that allows collaborators to develop and share new arXiv features directly on our website.

Both individuals and organizations that work with arXivLabs have embraced and accepted our values of openness, community, excellence, and user data privacy. arXiv is committed to these values and only works with partners that adhere to them.

Have an idea for a project that will add value for arXiv's community? Learn more about arXivLabs .

Read our research on: Gun Policy | International Conflict | Election 2024

Regions & Countries

1. the partisanship and ideology of american voters.

The partisan identification of registered voters is now evenly split between the two major parties: 49% of registered voters are Democrats or lean to the Democratic Party, and a nearly identical share – 48% – are Republicans or lean to the Republican Party.

The partisan balance has tightened in recent years following a clear edge in Democratic Party affiliation during the last administration.

• Four years ago, in the run-up to the 2020 election, Democrats had a 5 percentage point advantage over the GOP (51% vs. 46%).

The share of voters who are in the Democratic coalition reached 55% in 2008. For much of the last three decades of Pew Research Center surveys, the partisan composition of registered voters has been more closely divided.

Partisans and partisan leaners in the U.S. electorate

About two-thirds of registered voters identify as a partisan, and they are roughly evenly split between those who say they are Republicans (32% of voters) and those who say they are Democrats (33%). Roughly a third instead say they are independents or something else (35%), with most of these voters leaning toward one of the parties. Partisan leaners often share the same political views and behaviors as those who directly identify with the party they favor.

The share of voters who identify as independent or something else is somewhat higher than in the late 1990s and early 2000s. As a result, there are more “leaners” today than in the past. Currently, 15% of voters lean toward the Republican Party and 16% lean toward the Democratic Party. By comparison, in 1994, 27% of voters leaned toward either the GOP (15%) or the Democratic Party (12%).

Party identification and ideology

While the electorate overall is nearly equally divided between those who align with the Republican and Democratic parties, a greater share of registered voters say they are both ideologically conservative and associate with the Republican Party (33%) than say they are liberal and align with the Democratic Party (23%).

A quarter of voters associate with the Democratic Party and describe their views as either conservative or moderate, and 14% identify as moderates or liberals and are Republicans or Republican leaners.

The partisan and ideological composition of voters is relatively unchanged over the last five years.

(As a result of significant mode differences in measures of ideology between telephone and online surveys, there is not directly comparable data on ideology prior to 2019.)

Add Pew Research Center to your Alexa

Say “Alexa, enable the Pew Research Center flash briefing”

Report Materials

Table of contents, behind biden’s 2020 victory, a voter data resource: detailed demographic tables about verified voters in 2016, 2018, what the 2020 electorate looks like by party, race and ethnicity, age, education and religion, interactive map: the changing racial and ethnic makeup of the u.s. electorate, in changing u.s. electorate, race and education remain stark dividing lines, most popular.

About Pew Research Center Pew Research Center is a nonpartisan fact tank that informs the public about the issues, attitudes and trends shaping the world. It conducts public opinion polling, demographic research, media content analysis and other empirical social science research. Pew Research Center does not take policy positions. It is a subsidiary of The Pew Charitable Trusts .