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Posted 22 Days ago · 0 Likes · 0 Comments
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Posted 4 Months ago · 2 Likes · 0 Comments

Writing a book review can be a blessing, and it can be a disaster. You may like a particular book extremely, but still make many mistakes in reviewing it. We, of course, can't oversee all the potential errors a student can make when dealing with this writing assignment, but here will cover ten most common mistakes to avoid.

Taking the Tone of a Professional Critic

You are writing a college or university book review, you are not a professional, highly esteemed Critic, and it is good to humble yourself and remember it. Your professor will be irritated if you don't do it. The fact that this book made it to your program means that it is worth something, so treat it with enough respect. Even if you address a professional writing service with your write my book review for me request, and it will surely be written by an expert, the tone still will be very moderate, calm, not a snob.

Repeating the Same Thoughts Numerous Times

You have some brilliant ideas, we get it. However, it is not good to repeat them again and again during the review. Even if something impressed you beyond belief it is better not to emphasize it more than twice in your text. You have read the whole book at least twice, you should have fresh ideas to put in your writing.

Retelling the Plot

When in high school, you had assignments which implied that you should retell the story the way you understood it. Your ability to remember and later retell what you have remembered in a concise way was checked. Writing a book review is entirely different. You don't have to explain plot lines, give many quotes, or elaborate on each important character before you actually get to the review part.  

Emotionally-Driven Uncalled for Arguments

Good books provoke emotions. It is good if you feel emotional while and after reading a book assigned in class, as it is often that students stay completely cold regarding things they need to read. However, you should be very careful not to make that book review of yours a blog post more suitable for Facebook discussion, not a class. It is accepted to express your sympathy to heroes in a correct manner, but you can't "hate," "love," "detest" heroes. You can, though, use phrases like "I suppose the author used these means to make readers sympathetic to this character."  

Excessive Length

When you just start writing, you feel like you will never be able to write that book review, that the needed number of pages is too much, and there is just nothing to say. However, soon you may notice that you've almost exhausted the allowed number of words and still didn't express yourself enough. Start editing. Don't hope that your professor will be impressed by two extra pages, he or she will just cross them away or won't accept your paper at all.

Too Many Extra References

You like to read, we got it. Still, it is not the best idea to put all the books you've written recently into your paper to boast and show off. Be humble, include only references and allusions which are truly relevant. You are also not supposed to include every book of the same author into comparison, that is too much.

Lack/Excessiveness of Originality

This one is good, and that one is bad, the narration is long, and the ending is sad. This is a short description of most of the reviews written by not enough diligent students. Such analysis is boring and predictable; you should do better than this.

Not Enough Criticism

Even if you like the book entirely, you should find something to criticize in a professional, well-thought-out way. Remember, criticism is not actually about saying mean or even harmful things. It is more about spotting some questionable places and elaborating on them.

Ignoring the Author or Focusing Only on Him/Her

Some students solely focus on the author; some overlook the author and only analyze the Plot. Both strategies will lead you to failure, as the book and its author are genuinely interconnected, but assessing this connection, you should not put the Plot and the artistic means behind.

Broken Logic

This mistake is inherent to texts written either in a hurry, or part by part with long pauses. For example, you received this assignment weeks ago, wrote third, later gave up and finished writing two hours before the submission, not even reading much what you have written before.


Writing a book review, don't neglect following rules for this task stated by your professor and in your handbook for this course. Step-by-step guides are truly useful in such situations.

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Chinua Achebe, who died in Boston today at the age of eighty-two, was a few weeks shy of thirty years old when Nigeria was granted independence from the British Empire, on October 1, 1960, and he was already acclaimed, worldwide, as the preëminent novelist of black Africa. The British publisher Heinemann had brought out Achebe's first novel, Things Fall Apart, only two years earlier, and it had to have been the first African novel that many of his admirers on the continent and off had read. The sure tragedian's authority with which Achebe tells the story of Okonkwo, an Igbo elder of immense strength and pride, a figure of heroic qualities within the traditions of his culture, who is ill-served, brought low, and undone by those same qualities in his first violent encounters with colonial power, has ensured that still today, with more than ten million copies sold, Things Fall Apart remains the best-known work of African literature.
The great African novel? The book could as truly be called a great novel, period. Many writers would prefer to carry that badge of universality, but Achebe who has gone to his grave without ever receiving the Nobel Prize he deserved as much as any novelist of his era has said that to be called simply a writer, rather than an African writer, is a statement of defeat. Why? Because his project has always been to resist emphatically the notion that African identity must be erased as a prerequisite to being called civilized. Growing up as what he called a British-protected child in the colonial order, the young writer came to see that the Empire's claim that Africans had no history was a violent, if at times ignorant or unconscious, counter-factual effort to annihilate the history of his continent's peoples.
Achebe made his case in many forms essays and lectures, interviews and acts of protest, and as an ideologue and propagandist for the failed Igbo-nationalist secessionist state of Biafra but he made it most cogently on the final page of Things Fall Apart. With the reader in the full emotional grip of the many dimensions of Okonkwo's epic fate, the author boldly and deftly adds another, shifting to the perspective of a colonial governor who considers Okonkwo's story good material perhaps not a whole chapter but a reasonable paragraph for the book he is planning to write:  The Pacification of the Primitive Tribes of the Lower Niger.
Having, with his first effort, created a permanent place for the African novel in the world literary canon, Achebe continued to be a prolific imaginative writer, producing novels and stories that evoked, in a range of voices, the trials of Nigeria's pre-colonial and colonial history, and the traumas of its post-independence ordeals: from No Longer at Ease and A Man of the People in the sixties to Girls at War and Anthills of the Savannah in the aftermath of the Biafran war. But the fact that he must be remembered as not only the father but the godfather of modern African literature owes at least as much to the decades he spent as the editor of Heinemann's African Writers Series. In that capacity, Achebe served as the discoverer, mentor, patron, and presenter-to-the-world of so many of the now-classic African authors of the latter half of the twentieth century. The series's orange-spined, generously inexpensive paperbacks carried a stamp of excellence that drew readers everywhere to essential works by writers as varied as Kenneth Kaunda, Ngugi wa Thiong'o, Dennis Brutus, Tayeb Salih, Léopold Sédar Senghor, Ousmane Sembène, Wole Soyinka, and Nadine Gordimer, to name but a few: it is an extraordinary legacy.
As a storyteller, as a voice of his nation, as a cultural impresario, an intellectual combatant and provocateur, Achebe gained with age the status in Nigeria of a bard and a sage that the modern world rarely affords to writers. After suffering terrible injuries in a car crash, he spent much of his time in the last decades of his life in America, where he settled into long-term professorships at Bard College and Brown University. But when he returned to Nigeria he was received as a national hero. Crowds of thousands sometimes tens of thousands gathered to pay tribute to him. The adoration hardly softened him, though. He was, in his old age, as much a scold to his compatriots as he had ever been in his youth.
I met Achebe a few times in his wheelchair-bound American years. When he gave you his hand it was at once firm and soft and notably warm. He had a gentle presence a man fully capable of wit and mischief and open laughter, but whose default expression, at ease, was one of sympathetic melancholy. His voice was another matter: low-pitched and rich and adamant. When he spoke, it was with great command and unmistakable music. In Boston, in 1999, at a celebration of the centennial of Ernest Hemingway s birth, I had the honor of sitting on a panel with Achebe, on the subject of writing about Africa. He was as cogently withering about Hemingway's Africa a place he could not recognize because there were no speaking Africans there as he was, in one of his most famous essays, about Joseph Conrad s. At the end of the session, the floor was opened to questions. An evidently confused woman in the audience took the opportunity to ask In what sense are you writers about Africa? The other panelists Nadine Gordimer and Kwame Anthony Appiah were too baffled to respond. Not Achebe. He leaned into his microphone, and very slowly and melodically, with rolling Rs and drawn out Os, roared: Read. Our. Books. The woman said, But I'm asking you. And Achebe said, I'm telling you: Read. Our. Books. 
What better epitaph for the man, and what better way to remember him today: read his books.
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