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50 Successful Harvard Application Essays: What Worked for Them Can Help You Get into the College of Your Choice Paperback – July 6, 2010
Where to Begin?
With an ever-growing pool of talented and diverse college applicants coming from the top high schools in the country and beyond, students everywhere are feeling the pressure to craft application essays that are clear, passionate, and, above all else, persuasive. No easy task.
Examples that Inspire
To help, this completely new edition of 50 Successful Harvard Application Essays showcases the exact approaches, both conventional and creative, that won over admissions officers at Harvard University, the nation’s top-ranked college. From chronicling personal achievements to detailing unique talents, the variety of topics covered within these essays opens applicants up to new possibilities and showcases the best techniques to help them tell their stories most effectively. Each essay in this collection was used by a Harvard student and is followed by analysis by the staff of T he Harvard Crimson . where the essay is taken apart and its strengths and weakness are detailed to show readers how they can write their own winning essay.
Most Helpful Customer Reviews
I'm not planning to apply to universities anymore (I'm a graduate student now), but I like to read well-written essays, and the title of this book caught my eye. You have to wonder, what kind of essays do successful applicants write?
The editors divided the essays into four different types:
1) The Survivor (about overcoming adversity)
2) One among Many (about how unique you are)
3) Storyteller (about your character)
4) Through Their Eyes (about others who have affected your development)
THE GOOD STUFF
To my eye, the essays varied considerably in quality. The solid essays were a pleasure to read. Even when I ran across a lackluster one, though, the commentaries written by the editors about the essays gave me something useful to take away from it. In fact, I would say that the insightful analyses make the book worth reading for just about anyone who does a lot of writing.
THE STUFF THAT COULD HAVE BEEN IMPROVED
It seems to me that some of these essays might not have worked in the applicant's favor (there is more to an application than the essay), and in these cases the editors usually (not always) treat these as quality essays just because the students ended up getting accepted. At times I wanted them to be more critical, especially if I imagine myself as a high-school graduate getting ready to write my own essay and looking for advice.
Related to this, what about essays by students who did NOT get accepted? Sometimes it can be more helpful to look at the essays that didn't work in order to highlight what did. Read more ›
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<title>The Top 10 Essays Since 1950</title>
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The Top 10 Essays Since 1950
Robert Atwan, the founder of The Best American Essays series, picks the 10 best essays of the postwar period. Links to the essays are provided when available.
Fortunately, when I worked with Joyce Carol Oates on The Best American Essays of the Century (that’s the last century, by the way), we weren’t restricted to ten selections. So to make my list of the top ten essays since 1950 less impossible, I decided to exclude all the great examples of New Journalism--Tom Wolfe, Gay Talese, Michael Herr, and many others can be reserved for another list. I also decided to include only American writers, so such outstanding English-language essayists as Chris Arthur and Tim Robinson are missing, though they have appeared in The Best American Essays series. And I selected essays . not essayists . A list of the top ten essayists since 1950 would feature some different writers.
To my mind, the best essays are deeply personal (that doesn’t necessarily mean autobiographical) and deeply engaged with issues and ideas. And the best essays show that the name of the genre is also a verb, so they demonstrate a mind in process--reflecting, trying-out, essaying.
James Baldwin, "Notes of a Native Son" (originally appeared in Harper’s . 1955)
“I had never thought of myself as an essayist,” wrote James Baldwin, who was finishing his novel Giovanni’s Room while he worked on what would become one of the great American essays. Against a violent historical background, Baldwin recalls his deeply troubled relationship with his father and explores his growing awareness of himself as a black American. Some today may question the relevance of the essay in our brave new “post-racial” world, though Baldwin considered the essay still relevant in 1984 and, had he lived to see it, the election of Barak Obama may not have changed his mind. However you view the racial politics, the prose is undeniably hypnotic, beautifully modulated and yet full of urgency. Langston Hughes nailed it when he described Baldwin’s “illuminating intensity.” The essay was collected in Notes of a Native Son courageously (at the time) published by Beacon Press in 1955.
Read the essay here .
Norman Mailer, "The White Negro" (originally appeared in Dissent . 1957)
An essay that packed an enormous wallop at the time may make some of us cringe today with its hyperbolic dialectics and hyperventilated metaphysics. But Mailer’s attempt to define the “hipster”–in what reads in part like a prose version of Ginsberg’s “Howl”–is suddenly relevant again, as new essays keep appearing with a similar definitional purpose, though no one would mistake Mailer’s hipster (“a philosophical psychopath”) for the ones we now find in Mailer’s old Brooklyn neighborhoods. Odd, how terms can bounce back into life with an entirely different set of connotations. What might Mailer call the new hipsters? Squares?
Read the essay here .
Susan Sontag, "Notes on 'Camp'" (originally appeared in Partisan Review . 1964)
Like Mailer’s “White Negro,” Sontag’s groundbreaking essay was an ambitious attempt to define a modern sensibility, in this case “camp,” a word that was then almost exclusively associated with the gay world. I was familiar with it as an undergraduate, hearing it used often by a set of friends, department store window decorators in Manhattan. Before I heard Sontag—thirty-one, glamorous, dressed entirely in black-- read the essay on publication at a Partisan Review gathering, I had simply interpreted “campy” as an exaggerated style or over-the-top behavior. But after Sontag unpacked the concept, with the help of Oscar Wilde, I began to see the cultural world in a different light. “The whole point of camp,” she writes, “is to dethrone the serious.” Her essay, collected in Against Interpretation (1966), is not in itself an example of camp.
Read the essay here .
John McPhee, "The Search for Marvin Gardens" (originally appeared in The New Yorker . 1972)
“Go. I roll the dice—a six and a two. Through the air I move my token, the flatiron, to Vermont Avenue, where dog packs range.” And so we move, in this brilliantly conceived essay, from a series of Monopoly games to a decaying Atlantic City, the once renowned resort town that inspired America’s most popular board game. As the games progress and as properties are rapidly snapped up, McPhee juxtaposes the well-known sites on the board—Atlantic Avenue, Park Place—with actual visits to their crumbling locations. He goes to jail, not just in the game but in fact, portraying what life has now become in a city that in better days was a Boardwalk Empire. At essay’s end, he finds the elusive Marvin Gardens. The essay was collected in Pieces of the Frame (1975).
Read the essay here (subscription required).
Joan Didion, "The White Album" (originally appeared in New West . 1979)
Huey Newton, Eldridge Cleaver, and the Black Panthers, a recording session with Jim Morrison and the Doors, the San Francisco State riots, the Manson murders—all of these, and much more, figure prominently in Didion’s brilliant mosaic distillation (or phantasmagoric album) of California life in the late 1960s. Yet despite a cast of characters larger than most Hollywood epics, “The White Album” is a highly personal essay, right down to Didion’s report of her psychiatric tests as an outpatient in a Santa Monica hospital in the summer of 1968. “We tell ourselves stories in order to live,” the essay famously begins, and as it progresses nervously through cuts and flashes of reportage, with transcripts, interviews, and testimonies, we realize that all of our stories are questionable, “the imposition of a narrative line upon disparate images.” Portions of the essay appeared in installments in 1968-69 but it wasn’t until 1979 that Didion published the complete essay in New West magazine; it then became the lead essay of her book, The White Album (1979).
Annie Dillard, "Total Eclipse" (originally appeared in Antaeus . 1982)
In her introduction to The Best American Essays 1988 . Annie Dillard claims that “The essay can do everything a poem can do, and everything a short story can do—everything but fake it.” Her essay “Total Eclipse” easily makes her case for the imaginative power of a genre that is still undervalued as a branch of imaginative literature. “Total Eclipse” has it all—the climactic intensity of short fiction, the interwoven imagery of poetry, and the meditative dynamics of the personal essay: “This was the universe about which we have read so much and never before felt: the universe as a clockwork of loose spheres flung at stupefying, unauthorized speeds.” The essay, which first appeared in Antaeus in 1982 was collected in Teaching a Stone to Talk (1982), a slim volume that ranks among the best essay collections of the past fifty years.
Phillip Lopate, "Against Joie de Vivre" (originally appeared in Ploughshares . 1986)
This is an essay that made me glad I’d started The Best American Essays the year before. I’d been looking for essays that grew out of a vibrant Montaignean spirit—personal essays that were witty, conversational, reflective, confessional, and yet always about something worth discussing. And here was exactly what I’d been looking for. I might have found such writing several decades earlier but in the 80s it was relatively rare; Lopate had found a creative way to insert the old familiar essay into the contemporary world: “Over the years,” Lopate begins, “I have developed a distaste for the spectacle of joie de vivre . the knack of knowing how to live.” He goes on to dissect in comic yet astute detail the rituals of the modern dinner party. The essay was selected by Gay Talese for The Best American Essays 1987 and collected in Against Joie de Vivre in 1989 .
Read the essay here .
Edward Hoagland, "Heaven and Nature" (originally appeared in Harper’s, 1988)
“The best essayist of my generation,” is how John Updike described Edward Hoagland, who must be one of the most prolific essayists of our time as well. “Essays,” Hoagland wrote, “are how we speak to one another in print—caroming thoughts not merely in order to convey a certain packet of information, but with a special edge or bounce of personal character in a kind of public letter.” I could easily have selected many other Hoagland essays for this list (such as “The Courage of Turtles”), but I’m especially fond of “Heaven and Nature,” which shows Hoagland at his best, balancing the public and private, the well-crafted general observation with the clinching vivid example. The essay, selected by Geoffrey Wolff for The Best American Essays 1989 and collected in Heart’s Desire (1988), is an unforgettable meditation not so much on suicide as on how we remarkably manage to stay alive.
Jo Ann Beard, "The Fourth State of Matter" (originally appeared in The New Yorker . 1996)
A question for nonfiction writing students: When writing a true story based on actual events, how does the narrator create dramatic tension when most readers can be expected to know what happens in the end? To see how skillfully this can be done turn to Jo Ann Beard’s astonishing personal story about a graduate student’s murderous rampage on the University of Iowa campus in 1991. “Plasma is the fourth state of matter,” writes Beard, who worked in the U of I’s physics department at the time of the incident, “You’ve got your solid, your liquid, your gas, and there’s your plasma. In outer space there’s the plasmasphere and the plasmapause.” Besides plasma, in this emotion-packed essay you will find entangled in all the tension a lovable, dying collie, invasive squirrels, an estranged husband, the seriously disturbed gunman, and his victims, one of them among the author’s dearest friends. Selected by Ian Frazier for The Best American Essays 1997 . the essay was collected in Beard’s award-winning volume, The Boys of My Youth (1998).
Read the essay here .
David Foster Wallace, "Consider the Lobster" (originally appeared in Gourmet . 2004)
They may at first look like magazine articles—those factually-driven, expansive pieces on the Illinois State Fair, a luxury cruise ship, the adult video awards, or John McCain’s 2000 presidential campaign—but once you uncover the disguise and get inside them you are in the midst of essayistic genius. One of David Foster Wallace’s shortest and most essayistic is his “coverage” of the annual Maine Lobster Festival, “Consider the Lobster.” The Festival becomes much more than an occasion to observe “the World’s Largest Lobster Cooker” in action as Wallace poses an uncomfortable question to readers of the upscale food magazine: “Is it all right to boil a sentient creature alive just for our gustatory pleasure?” Don’t gloss over the footnotes. Susan Orlean selected the essay for The Best American Essays 2004 and Wallace collected it in Consider the Lobster and Other Essays (2005).
Read the essay here. (Note: the electronic version from Gourmet magazine’s archives differs from the essay that appears in The Best American Essays and in his book, Consider the Lobster. )
I wish I could include twenty more essays but these ten in themselves comprise a wonderful and wide-ranging mini-anthology, one that showcases some of the most outstanding literary voices of our time. Readers who’d like to see more of the best essays since 1950 should take a look at The Best American Essays of the Century (2000).
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<description>There were innumerable notable essays written between 1961 and today. However, even though it's a crazy idea to attempt to make a top ten list of the pieces that shaped the era, that's what we do at Flavorpill â€” so go with it, and tell us what we left out in the comments section below.</description>
What Are the 10 Best Nonfiction Essays of the Past 50 Years?
There were innumerable notable essays written between 1961 and today. However, even though it’s a crazy idea to attempt to make a top ten list of the pieces that shaped the era, that’s what we do at Flavorpill â€” so go with it, and tell us what we left out in the comments section below. This post was inspired by the University of Iowa’s nonfiction Essay Prize, which is “given each year to the work that best exemplifies the art of essaying â€” inquiry, experimentation, discovery, and change.” Get more details on the 2011 nominees here .
Farber defends the unpolished, B-grade, underground films and directors that make what he deems “termite art” great. The author is sick of the overwrought attempts at creating and sustaining masterpieces, instead calling for art to devour its own boundaries. Let’s shake it up already!
This was an incredible essay, not only because of the insane amount of reporting involved, but because of the fact that Talese overcame the blow of not being able to access his subject by interviewing every single person possibility affiliated with Sinatra. Through this prismatic lens, we get a clearer view of Ol’ Blue Eyes than we ever could have with him stealing the show. He writes, “They are wise to remember, however, one thing. He is Sinatra. The boss. Il Padrone.”
3. “Slouching Toward Bethlehem ” by Joan Didion – The Saturday Evening Post . 1967
On the hunt for a hippie named “Deadeye,” Didion takes us to the nexus of counterculture: San Francisco. It’s an astute analysis of American society, but also one that is ultimately empathetic; the author attempts to understand what others would merely disregard or shun.
4. “The Long-Winded Lady ” by Maeve Brennan – The New Yorker . January 10, 1970
It’s as if Brennan is simply writing her weekly letters to a good friend; there’s an intimacy to her work as she details the perfect moments of living in a city. In this particular essay, Brennan explains a night out on the town and an encounter with a woman who was absolutely blotto on the corner of 45th and Broadway.
5. “Fascinating Fascism ” by Susan Sontag – The New York Review of Books . February 6, 1975
Sontag dissects the jacket copy in The Last of the Nuba by Leni Riefenstahl line by line in order to take down the lauded filmmaker by reminding us of her Nazi past. It’s a convincing tack by the master of the polemic.
6. “Dark Icons ” by Gary Indiana – Random House’s Boldtype column, 1997
ď»żChristopher Fowler writes in the Independent . “Indiana is as detested as he is adored.” In “Dark Icons,” he profiles the criminal superstar, Charles Sobhraj. He writes, “We have made these people stars because their implacable nature is somehow unbelievable, and utterly fascinating in a nauseating sort of way.”
7. “Consider the Lobster ” by David Foster Wallace – Gourmet . August 2004
DFW attends the 56th Annual Maine Lobster Festival and investigates how and why we indulge in consuming this aquatic arthropod with such gusto. (Yes, there are footnotes.)
Rakoff’s sardonic take on Paris Fashion Week makes this one of his most memorable essays. Here’s what he has to say about Mssr. Karl Lagerfeld: “Seated on a tiny velvet chair, with his large doughy rump dominating the miniature piece of furniture like a loose, flabby, ass-flavored muffin overrisen from its pan, he resembles a Daumier caricature of some corpulent, inhuman oligarch drawn sitting on a commode, stuffing his greedy throat with the corpses of dead children, while from his other end he shits out huge, malodorous piles of tainted money.”
9. “Getting In ” by Malcolm Gladwell – The New Yorker . October 10th, 2005
A Canadian outsider looks into the Ivy League college phenomenon in the US and analyzes the social logic involved in the process. It’s a fascinating rumination on the history of the admissions process.
10. Carl Wilson, “Let’s Talk About Love ” – The 33 1/3 series collection, December 2007
In this essay (which is really a novella), Wilson attempts to understand the appeal of the award-winning Quebecois chanteuse, while also acknowledging his previously held disdain for Dion’s music and personality. It is a masterful “journey to the end of taste,” and by the end we’re all thumping our chests and rooting for CĂ©line Marie Claudette Dion.
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