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Never Mind the Bollocks Plot of ‘The English.’ This Show Is All About the Acting

By Alan Sepinwall

Alan Sepinwall

In the final days of 2014, my wife and I both came down with a nasty case of the flu. Unable to do much but alternately shiver and sweat in bed together, we attempted to distract ourselves with a miniseries I had heard good things about earlier in the year: The Honourable Woman . Written and directed by Hugo Blick, the thriller starred Maggie Gyllenhaal as an Anglo-Jewish businesswoman caught up in a web of intrigue that involved, among other things, a kidnapping, Israeli intelligence officers, and, I think, fiber optic cables? To be honest, while we loved Gyllenhaal’s performance, along with the sense of mounting tension and the visual style, we had a lot of trouble following the plot, frequently pausing episodes to ask each other exactly what was happening. We just couldn’t tell if this was a side effect of our temporary delirium, or a flaw in Blick’s storytelling.

The experience of watching The English while healthy, though, proved roughly the same as bingeing The Honourable Woman from a sick bed. Blunt is fantastic, as are many of her co-stars. The whole thing looks gorgeous, and it has some thoughtful variations on Blick’s pet theme about what happens when people from one culture get mixed up in the affairs of another. But despite a seemingly straightforward revenge plot, its storytelling frequently turns too complicated for its own good.

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As the menacing Mr. Watts (Ciaran Hinds) — the first of many threats standing between Cornelia and her final target — puts it, she is “Not quite the woman I expected.”

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But this turns out to be a Trojan Horse situation where the horse winds up being more useful than the soldiers hiding inside it. Blunt and Spencer are just so charismatic, both together and in the stretches of the season when they are separated, that the show’s loftier ambitions begin to feel besides the point. Blick and cinematographer Arnau Valls Colomer also place their two leads into a series of gorgeous compositions. (Sometimes, it’s literally painterly, like making Cornelia appear to be in a watercolor as she arrives at Watts’ place, or turning Cornelia and Eli’s discussion of constellations into something very much meant to evoke Van Gogh’s Starry Night .) The whole thing is great to look at.

It is also, though, a great headache to follow much of the time. While many of the supporting players are colorfully drawn and well played by the likes of Guerrero or (as a frightening bandit queen with a very specific grudge against indigenous people) Nichola McAuliffe, it becomes challenging in a hurry to keep track of everyone’s true motivations — or, at times, even how Cornelia or Eli get from one point of the story to the next. While many streaming shows suffer from not having enough story to fill the allotted episodes, The English often plays as if Blick wrote 12 episodes, then had to squeeze everything into half that, not always gracefully.

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Blick remains a fascinating filmmaker. I would just like to see him try to make something that doesn’t require a Carrie Mathison conspiracy board to fully comprehend.

All six episodes of The English premiere Nov. 11 on Amazon Prime Video. I’ve seen the entire season.

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Emily Blunt’s Ultra-Violent Western ‘The English’ Tells How the West Was Lost

Ben travers.

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If many a Western captures the sweeping romance of America’s land rush — idealizing a time when seizing one’s future involved planting a literal flag — then “ The English ” serves as a bright red rebuttal; a revisionist take among the modern era’s various reconsiderations, this time emphasizing the tears, sweat, and oh-so-much-blood required to reach the dream awaiting colonizers somewhere west of the Mississippi.

Writer-director Hugo Blick (“The Honorable Woman”) still embraces traditional elements of the genre, centering his six-part Prime Video series around a rhapsodic love story and capturing plenty of vast prairies in picturesque, sun-kissed shots. But it’s the edge carved into every corner of “The English” that helps the limited series stand out. From the cutting dialogue to its jagged mystery, Blick’s latest story finds consistent success not by drawing pained parallels between past and present but by astutely acknowledging the ferocity ingrained in America’s identity all along.

The cast is also quite good. Emily Blunt produces and plays Lady Cornelia Locke, an aristocrat from England who arrives in America seeking revenge. Her son has died (under undisclosed circumstances), and she’s tracked those she deems responsible to these parts. Unfortunately, they’ve tracked her as well. Cornelia’s mettle is tested (and flaunted, as any action series featuring Blunt’s intimidating talents should) by a procession of colorful characters played by accomplished character actors, all happy to sink their teeth into spirited dialogue and mythic personalities.

Ciarán Hinds makes for a beguiling, tone-setting first opponent: “There are many who can welcome you to the real America,” Mr. Watts (Hinds) says, “but only one who can truly mean it.” His greeting includes a snazzy green vest, the signature piece of a formal three-piece suit (one of many striking ensembles made by costumer Phoebe De Gaye); a theatrical gesture toward the panoramic vistas in the distance (captured both in stark remove and lush detail by cinematographer Arnau Valls Colomer); and courteous responses to her curt inquiries… all until he knocks her out cold in an attempt to steal everything she’s carried over land and sea.

This marks a fitting introduction for Cornelia to America and audiences to the series, as Blick builds early episodes around the alluring, aforementioned formal elements and, more generally, alternating moments of debonair discussions and shocking violence. Cornelia and Watts’ dinner table dialogue crackles with wit. Each actor speaks with infectious confidence and curiosity, and you’ll be chuckling along with them until the next surprise smack reminds you what’s at stake — and who they really are. Toby Jones, Stephen Rea, and Tom Hughes each get their time to shine, but respect must be paid to Rafe Spall for his all-in heel turn. Sporting a helmet-like bowler and speaking in a beefed-up Cockney accent, the late-arriving “Trying” star steadily builds a towering presence that would be too big for nearly any other show. Here, though, he’s just right — a boss you love to hate and hate to love, blending brutish charm and unspeakable savagery into an anti-gentleman who’s still able to flourish in a country that rewards such behavior, so long as a white man embodies them.

But I’m getting ahead of myself. Back when Mr. Watts is welcoming Cornelia to the U.S. of A., just out of eyesight is an Indigenous American, tied up, beaten, and restrained. This is Eli Whipp (Chaske Spencer), a Pawnee-born ex-cavalry scout who only wants to claim the land that is rightfully his (twice over). Whipp, a man of few but purposeful words, served his time in the Civil War, even looking the other way when his fellow soldiers took out their frustrations, aggression, and fears on Indigenous people. Now, he’s traveling toward Wyoming, where he plans to lay claim to a few acres and build a new life. But if Mr. Watts’ assault doesn’t make this clear already, just about everyone Whipp comes across tells him the same thing: He’s not getting that land. And for the same reason he was attacked and tied up: “The color of his skin,” as Mr. Watts readily admits.

The English Amazon Prime Video Emily Blunt Chaske Spencer

Despite his early predicament, Whipp’s path soon intersects with Cornelia’s. She claims it’s magic — a kind of fate ushered in by necessity and a mutual understanding between two good souls in a nation filled with bad ones. How they’re pulled apart and pushed together again makes up the murky, mysterious middle of an otherwise straightforwardly entertaining six hours (less, since most episodes run close to 50 minutes). “The English” over-complicates its plot at times, which, combined with Blick’s enthralling yet extravagant dialogue, can trip up an otherwise thrilling chase. (I found myself regularly skipping back and forth just to make sense of things — an odd feeling for a show with an easily understood intro and themes so clear they border on overkill.)

But what it may lack in efficiency, it more than makes up for in spirit. Blunt and Spencer create genuine characters out of their archetypes. (He a noble gunslinger who’s hunted where a white war hero would be glorified, she a frilly-dressed homesteader hellbent on vengeance, yet preserving a heart of gold.) “The English,” like the land on which it’s set, is built on contradictions. To describe it as a rollicking good time wouldn’t be far off, even if such unchecked elation doesn’t quite prepare viewers for the heartrending twists and turns. Blick’s latest is far from the first revisionist Western to imply the Wild West wasn’t as clean and proper as genre classics first portrayed, nor is it saying anything particularly profound by outlining how deep the roots of violence go in a country built by fleeing immigrants (and persecuted natives).

And yet those ideas still pack a punch. During the last few years of pandemic denials and political divisions, of COVID body counts and regular school shootings, plenty of modern aristocrats have wondered where our savagery and selfishness stems from; why there’s a tacit acceptance of so many seemingly avoidable deaths in the land of the free. “The English” outlines at least one theory: Bloodshed is the American way, and so is believing we can put it behind us. Blick’s explanation is nestled somewhere within the connection between its graceful aesthetics and ruthless inclinations, its sweeping romance and star-crossed lovers, its white flags and red ones.

“The English” premieres Friday, November 11 on Amazon Prime Video .

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The English: Season 1 Reviews

I’m not being hyperbolic when I say I think about this show at least once a week.

Full Review | Dec 20, 2023

The English is a masterclass in the Western genre, that deserves to be experienced on the largest screen possible.

Full Review | May 20, 2023

Cornelia and Eli's journey transits the margins of the written truth, within the boundaries of what's accepted; their outlook on violence is conscious and full of pain, never cynical or resigned. [Full review in Spanish]

Full Review | Original Score: 4/5 | Jan 24, 2023

...If you can be patient and hang in, [The English] episodes three through six get really good and introduce some truly deviant villains that inject much-needed action and intensity.

Full Review | Original Score: 7/10 | Jan 14, 2023

There’s never been a Western on television quite like The English: a revisionist take on the American frontier that remains faithful to the landscape’s capacity to overwhelm, terrify, and most of all, captivate.

Full Review | Dec 8, 2022

Calling it solid-if-unspectacular feels like a disservice on one hand, but on the other, there are several noticeable intangibles missing from The English that would have comfortably elevated it to greatness.

Full Review | Original Score: 3/5 | Nov 23, 2022

Is The English a masterpiece? I’m not sure. But it’s certainly like nothing else I’ve ever seen, its script a perfect illustration of the maxim that an artist does not need to be credible if he is convincing.

Full Review | Nov 23, 2022

In spite of its toughness and sordidness, the script doesn't fall into gimmicks and instead, patiently places the pieces of the story. [Full review in Spanish]

Full Review | Original Score: 4.5/5 | Nov 21, 2022

Bloody and brutal but also immensely satisfying, The English is everything a modern Western epic should be.

Full Review | Original Score: 8.5/10 | Nov 21, 2022

The typical western is, to us today, a crock. Even a revision of the orthodoxy is tricky territory. This one is stunningly good, gorgeous to look at and wildly ambitious as a drama about revenge and barbarity.

Full Review | Nov 18, 2022

The English is one of the most beautifully shot TV shows I’ve seen in a long time, with its deliberate genre landscapes, dramatic close-ups, and dark silhouettes achieved with consistent excellence on the small screen.

Big names, all. Clearly, this is no ordinary production. Stylistically, The English is strikingly filmic too. The landscapes are huge, and the tale itself feels epic.

Pairing Emily Blunt with Chaske Spencer makes them fascinating to watch as well as this series.

Full Review | Original Score: 8/10 | Nov 18, 2022

This six-part Western from writer/director Hugo Blick often bites off more than it can swallow, and its narrative frequently becomes stranded in dead-end alleys. Yet there’s something about it that kept me coming back for more.

This is definitely a great showcase for Hugo Blick as a director as it is for all of the acting talent involved. The English is a great story in one of the most iconic genres of all time.

Since it’s Blunt, and the cast is so top drawer, some might be tempted to stick with it in the hope it becomes less art house cinema and more mainstream western. Count me out.

Full Review | Nov 17, 2022

Emily Blunt and Chaske Spencer star in British writer/director Hugo Blick's epic, elegiac revisionist Western, revealing the brutal consequences of Manifest Destiny.

Full Review | Original Score: 8/10 | Nov 16, 2022

Just as affecting in Mr. Blick’s rendering of his own screenplay is the consistent tone of nervous tension he generates in the moments between the “action,” and which the action sometimes relieves.

Full Review | Nov 16, 2022

For all its starkness and brutality, The English is actually a deliciously corny love letter to its forebears.

Full Review | Original Score: 4/5 | Nov 16, 2022

With The English, something truly wild happens because you can actually see the action unfold onscreen. It feels like an odd thing to praise, but man, it is nice not to struggle to watch a fine TV show and focus on the story.

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The English Review : An Introduction

In 1908, Ford Madox Ford (or Hueffer as he was known, until he changed his name by deed poll in 1919), seemed eminently well qualified to start a new cultural journal. He was extremely widely read, and he also knew intimately writers whose work spanned the last decades of the nineteenth century and the first decade of the twentieth. Through the household of his grandfather, Ford Madox Brown, for example, he met Turgenev and Christina Rossetti. His childhood friends were the Garnetts and young Rossettis and he met Thomas Hardy at a tea party while still in his teens. As a young man living in southern England, he was in regular contact with Joseph Conrad, H. G.Wells, Stephen Crane and Henry James. In the early years of the twentieth century, he was a regular attendee at Edward Garnett’s Tuesday lunches at the Mont Blanc restaurant in London’s Gerrard Street; other regulars included Hilaire Belloc, Joseph Conrad, Norman Douglas, John Galsworthy, W. H. Hudson, John Masefield, Stephen Reynolds, Edward Thomas and H. M. Tomlinson, all of whom became English Review contributors. It was also through Edward Garnett that Ford met W. B. Yeats and Edward’s wife Constance, who provided Ford with translations of the Russian works which appeared in the review.

Although he was certainly never a socialist, Ford joined the Fabian Society briefly in 1906 to help H. G. Wells in his unsuccessful campaign to oust some of the long established Fabians such as the Webbs and G. B. Shaw. This, and his friendship with H. G. Wells and A. R. Orage, the editor of The New Age , gave him contact with a number of Fabian thinkers and writers. Ford was also a member of the Square Club, founded in 1908 by Conol O’Riordan and G. K. Chesterton to honour Henry Fielding; other members included John Galsworthy, Perceval Gibbon, Walter de la Mare, John Masefield, Henry Nevison, and Edward Thomas. Other useful contacts came from his affair with Violet Hunt, who introduced Ford to a number of prominent women writers, such as May Sinclair and the young Rebecca West, which sustained his support for the suffragette movement. His friendship with C. F. G. Masterman, author of The Condition of England , together with his relationship with his Russian brother-in-law David Soskice, gave him access to Liberal political circles.

Ford was also increasingly successful as a published author; since 1900, he had published three volumes of poetry, a trilogy of historical novels about Katherine Howard, three books of art criticism, two novels in collaboration with Joseph Conrad and three novels of his own, as well as several volumes of topographical writing. His poetry and short stories had appeared steadily in a range of periodicals since 1891, and from 1906 he was making regular contributions to The Tribune and writing a series of “Literary Portraits” for the “Books Supplement” of The Daily Mail . Ford was, in fact, in an excellent position to understand the operations of cultural journalism, and together with his range of literary, social and political contacts, this seemed to place him in an ideal position to launch his own cultural journal to chart and articulate some of the uncertainties of the Edwardian age.

Quite why Ford should have wanted to edit a cultural journal is less clear. As so often with Ford, he offered a variety of possible reasons, many of them written with hindsight. He claimed, in 1931, that both S. S. McClure, the American publisher, and Lord Northcliff, the newspaper magnate, had asked him to run periodicals for them, but that he had turned them down because the kinds of projects they had in mind were too political, too “muckraking” and insufficiently cultural. It was, moreover, he thought, a good time to start a new project. “The old literary gang of the ‘Athenaeum–Spectator–Heavy Artillery’ order was slowly decaying. Younger lions were not only roaring but making carnage of their predecessors.” He imposed a retrospective order on his objectives, arguing if a “nucleus of writers could be got together, together with what of undiscovered talent the country might hold, a movement might be started” (Ford, 1931, 362-3), though it must be remembered that Ford was writing this after the foundation of a whole raft of literary and cultural journals which could powerfully claim to have established literary movements. Certainly, Ford had a life-long passion for literature, and he could claim with some justification that “the greater part of his conscious life had been spent in the effort to help the cause of one beautiful talent or another” (Ford, 1921, 16). But the actual circumstances of the Review’s founding were more mundane. Ford’s friend and backer, Arthur Marwood, apparently wanted to publish Hardy’s poem “A Sunday Morning Tragedy,” which had been turned down by The Cornhill Magazine , while Ford claimed the additional motive of trying “to find room for some of Conrad’s less marketable efforts” (Ford, 1931, 191). Douglas Goldring, the assistant editor of The English Review , felt convinced that much of Ford’s own editorial writing was “mainly devoted to erecting a pedestal on which to stand the possibly embarrassed figure of Henry James” (Goldring, 1948, 142). Whatever his real motivation, Ford, in 1908, had the reputation, the energy and enthusiasm, and at least, temporarily, the financial backing to start a new journal, and he welcomed the opportunities this gave him.

He may have been encouraged to start a new journalistic venture by Arnold Bennett’s savage attack on contemporary journalism in The New Age in April, 1908, in which he asserted that English periodicals were “on the whole the most stupid and infantile of any world power” and went on to claim that “it is notorious, of course, that from all the unpretending magazines ideas less than fifty years old are banned” (NA, Apr 25, 1908, 513). It is true that some of the extant nineteenth century quarterlies, such as The Quarterly Review and The Edinburgh Review , were lengthy and ponderous productions, with Ford himself complaining that “the majority of our journals are written by shop-boys for shop-girls . . . and directed by advertising managers for the benefit of shopkeepers” (Ford, 1911, 169). But all journals were not like this, as Ford certainly knew. Though he didn’t do any kind of market research, he was familiar with many impressive cultural journals which could have served him as possible models–he had, indeed, contributed to some of them–and on whose experience he could draw.

Ford should have been under no illusions about the practical difficulties of running a cultural journal, since there were enough examples, particularly in the years preceding the appearance of The English Review , to show him the organisational and financial hazards he might face; both The Monthly and The Albany Reviews , for instance, ceased publication for financial reasons in 1907. There were four possible production schedules he could follow–quarterly, monthly, weekly and occasional; and though his choice of a monthly cycle of publication was probably sensible, given Ford’s other writing commitments and his increasingly complicated private life, the decision seems to have been arbitrary rather than rational. Ford could also choose whether to follow the example of The Bookman , with its lavish illustrations, or of The Yellow Book and The Savoy , and provide beautifully produced, high quality art work. Instead, the few rather dreary illustrations in The English Review suggest that he had not considered the implications or the impact of an illustrated periodical, though he had the background and the contacts to do so. He could also choose editorial policies ranging from the general journals, which addressed contemporary issues with varying amounts of cultural coverage, to the purely cultural ventures. The most original journals were often the purely cultural ones, yet Ford, despite all his frequently expressed convictions about the primacy of culture, chose a hybrid kind of review. The English Review thus entered a market in which the Edwardian reader already had a wide choice of monthlies and weeklies that provided intelligent commentary on contemporary political events as well as social and cultural life.

The wide range of publications available to the Edwardian reading public is linked to a further point. Ford’s claim to greatness as an editor rests heavily on the opportunities he gave to young and unpublished writers, yet many contributors to The English Review were already actively writing for at least one other Edwardian periodical, and fourteen of them had contributed to The Yellow Book , which had begun more than a decade earlier. Thus English Review readers were not encountering a wide range of new voices and opinions, but were rather reading well known writers, engaging with well-aired ideas expressed in a familiar idiom. Indeed, it may even have been its familiarity, its sense of maintaining a tradition of cultural journalism, which made The English Review so attractive to its first readers. What is absolutely clear is that it did not arise out of some journalistic vacuum, nor did it fill a great hole in Edwardian cultural needs.

There is a shortage of reliable information about how The English Review came to be founded and how it was managed; its finances, in particular, are shrouded in uncertainty. Twenty five years later, Ford invented a politician who “was a virulent Tory of the new school, and wanted an organ of his own” (Ford, 1931, 364). This politician withdrew from the venture because of the demands of his constituency and an impending general election. This fictional figure is probably an amalgam of Arthur Marwood, and H.G.Wells, and their involvement with the review in its planning stages is endorsed by Violet Hunt, herself very closely involved, writing of “its promoters, Hueffer, Marwood, Conrad and Wells, busily collecting artists to write and men of goodwill to read what they had written” (Hunt, 18). Conrad’s own memory was of a deep involvement. “Do you care to be reminded” he wrote to Ford when The Transatlantic Review was being planned, “that the editing of the first number was finished in that farmhouse near Luton? You arrived one evening with your myrmidons and parcels of copy” (Aubry, II.323).

Whoever was involved in the initial planning, by the summer of 1908, the review was well under way, and there was a plaque proclaiming The English Review above the door of Ford’s flat at 84, Holland Park Avenue, and the young Douglas Goldring, who was then working for Country Life , was appointed as a part-time sub-editor. “My translation to Ford Madox Hueffer’s review was like a translation to heaven” (Goldring, 1920, 216). Stephen Reynolds, another aspiring young writer, was appointed with responsibility for the business and advertising of the review, and Miss Olive Thomas, “beautiful and austere, kind and cold,” was appointed as secretary, and according to Violet Hunt, imposed some order on very considerable chaos. Violet herself became a “reader, occasional sub-editor, contributor, but above all …a ‘society hand’ and touter for rich, influential subscribers” (Hunt, 22, 28). Duckworth’s were appointed as publishers for the review and it was printed by Ballantyne & Co. of Covent Garden. After extensive advertising in other journals and a great deal of lobbying by Ford and his friends, the first number of The English Review , with its distinctive blue cover and stylish black type, and priced at two shillings and sixpence, appeared at the end of November, 1908. With very few exceptions it was very well received. The initial success was very gratifying and meant that Ford was very much in demand, as Violet Hunt amusingly described. “After the English Review was well started in January, the editor’s courts were thronged socially…And the Review was ‘It’ as Mr. Wells had foretold. The editor gave parties…I lent my maid and my spoons, or he hired the ex-butler of Sir Frederick Leighton” (Hunt, 48-9).

The euphoria was, however, short lived. The review was soon in considerable financial and organisational difficulties. Conrad had anticipated the financial problems, claiming that there was “enough capital to go for four issues” and that “if the public does not respond to the new monthly magazine devoted to Arts Letters and Ideas – then publication will end by the fourth issue”(Karl & Davies, 4, 131). By March 1909, as Violet Hunt reported, the review was “costing its founder his life’s blood in the way of money. Already there had been talk of making it into a company” (Hunt, 51). By June, Ford was receiving extensive loans from his Russian brother-in-law, David Soskice, who was actively involved in trying to raise share capital to put the review’s finances on a sound footing. Some progress was made; by August, William Goode and David Soskice became the first directors of The English Review Company, £1000 was paid into The English Review account and a new publishing contract was negotiated with Chapman and Hall to start on September 1, 1909. But this was too little too late. On December 18, a liquidator was appointed for the review, which was sold to Sir Alfred Mond for a sum estimated by Ford to be a derisory £200. Violet Hunt had persuaded Mond to buy the review, hoping that Ford would be kept on as editor, but Mond ejected him from the editorial chair. Austin Harrison was appointed editor in Ford’s place, though Ford stayed on long enough to assemble the first two issues for 1910. Many years later Ford presented his loss of the review, giving it an alternative gloss. “The control of the English Review, which I had started mainly with the idea of giving a shove to Impressionism and its literary form, was really snatched from my hands by Mr. Pound and his explosive-mouthed gang of scarcely-breeched filibusters” (Ford, 1938, 281). The truth was rather different, much less dramatic and rather more squalid. Ford lost control of The English Review because of an inability to organize, an excessive tendency to quarrel with important contributors and supporters, and a monumental ineptness over money.

Ford could not control the paper work connected with the review. While he undoubtedly had a flair for assembling and selecting an impressive range of materials, claiming that he received an average of twenty manuscripts a day throughout his time as editor, (Ford, 1931, 390) it is in some ways surprising that the review ever reached the printers. Violet Hunt testified to the manuscripts “rammed in anyhow, bulging, sagging, sprouting out of the beautifully incrusted doors” of Ford’s cabinet and to the “priceless manuscripts” mingled with “empty packing cases and reams of discarded packing paper” in the backyard of Ford’s landlord, Mr Chandler. (Hunt, 22) Mizener refers to the fury of H.G.Wells and William Rossetti when manuscripts which they had given to Ford went astray, (Mizener, 166) and Conrad confirmed Ford’s carelessness with manuscripts, complaining to his agent Pinker, that Ford had mislaid a typed copy of Rescue (Karl & Davies, 4, 190). Douglas Goldring reported how Ford regularly instructed him to take a box in the stalls of the Shepherd’s Bush Empire, so that he and Ford could retreat from the pressure of contributors and Ford’s increasingly complicated private life, to select articles and correct proofs. (Goldring, 1943, 32) He was, according to Goldring, as a manager “more childishly incapable than any man I have ever met” (Ibid, 22), a view confirmed by Violet Hunt, who said that Ford “seemed like a babe unborn in the guiding of mere worldly matters…driving both printers and compositors wild” (Hunt, 45).

Ford’s quarrels with the review’s contributors and backers were probably exacerbated by the breakdown of his marriage and his affair with Violet Hunt. Although Ford accepted that H.G.Wells had withdrawn financial and editorial help from the review, he erupted when Wells suggested that the serialisation of Tono-Bungay was having a deleterious effect on the profits of the novel, which appeared in book form in February 1909, when the serialisation had another month to run. Ford had offered Wells a share of the profits as payment for the novel, though he was forced to admit that “the actual profits of the first four numbers will be non-existent” (Ludwig, 35). Throughout the quarrel, which rumbled on even after Ford had lost the review, he presented himself as the aggrieved party. Other contributors fell out with Ford over money. Wyndham Lewis believed that Ford had promised him regular work for the review. “ I hope Hueffer will keep to his promise of taking me on as a regular hand”. Instead, Ford delayed payment on the three articles which Lewis did make to the review, causing Lewis to refer to him as “a shit of the most dreary and uninteresting type” (Rose, 39-40). Stephen Reynolds who had resigned from the review in January 1909, on his own admission being unsuited to his job, also quarrelled with Ford over payment for the serialisation of his novel The Holy Mountain . Only the quarrel with Arnold Bennett over payment was resolved when Bennett called Ford’s bluff, by insisting on recognised commercial rates.

The row with Conrad was in some ways surprising since they had worked closely together on Conrad’s Some Reminiscences for the review, Ford even taking down the early pages to Conrad’s dictation. They ostensibly fell out over a note which Ford included in the July 1909 number, regretting “that owing to a serious illness of Mr. Joseph Conrad we are compelled to postpone the publication of the next instalment of his reminiscences” (ER, II, 824). Certainly Conrad’s health was not good during this period, and he was in any case a notorious hypochondriac, but he was infuriated by what he saw as Ford’s interference, and refused to provide further instalments. Underlying Conrad’s anger, however, were two further concerns. He understood the review’s financial difficulties, but as a Pole, could not stomach the idea of Russian money and influence supporting the review, and he was consistently hostile to David Soskice’s attempts to help Ford. What most alienated Conrad, however, was that he and Marwood became embroiled in the turmoil surrounding the breakdown of Ford’s marriage. Ford’s wife, Elsie, visited Conrad towards the end of April, 1909, and accused Marwood of making advances towards her. Conrad was appalled, but instantly sided with Marwood. It was, he wrote to John Galsworthy, “a beastly affair to be mixed up with even in the role of spectator-auditors. I have been and still am thoroughly upset” (Karl & Davies, 4, 224). By August the rift with Ford was complete, and Conrad’s letter to Pinker shows both his own anger and some of the pressure which Ford was under. “His conduct is impossible… He’s a megalomaniac who imagines he is managing the universe and that everyone treats him with the blackest ingratitude…In short he has quarrelled with every decent friend he had” (Ibid, 265-6). What all the bickerings during 1909 indicate is that Ford’s control of himself, his friends and colleagues, as well as the review itself, was increasingly tenuous.

The whole thing was exacerbated by financial difficulties. Ford’s original plan for financing the review seems to have been some kind of profit sharing scheme, as he explained to Edward Garnett, who warned him about the possible awkwardness of this. “I am an idealist and my ideal is to run the English Review as far as possible as a socialist undertaking” (Ludwig, 27-8). Some of Ford’s accounts of this profit sharing scheme are so complicated and bizarre as to be virtually incomprehensible, but all assume excess of income over expenditure. The original capital for the review came from Marwood and from Ford himself. “Of the £5000 that we spent on the review, he [Marwood] paid £2200 and I paid £2800, I being generally liable for the debts of the undertaking beyond that sum” (Ibid, 42). The Financial Times for March 8, 1909, lists Ford as the general partner and Marwood as the limited partner, each of them putting up £500. The much larger sums claimed by Ford seem possible in the light of what is known about the expenditure of the review, though it is impossible to discover whether all this capital was available at once, or indeed, where the large amount apparently spent by Ford actually came from.

It is difficult to establish accurate figures either for the income or the expenditure of the review since financial records for both publisher and printer were destroyed in the bombing of London during the Second World War; only two cash books and cheque stubs survive amongst the Soskice family papers. The review sold for two shillings and sixpence, and Ford estimated that the first two issues sold roughly 2000 copies, that is £250 for each month (Mizener, 160). This figure may well be an overestimate by Ford, and even if it is accurate, sales may not have continued at this level. Jessie Chambers noticed that when she and D.H.Lawrence visited Ford in November 1909; “in the flat there were piles of the English Review lying on the black polished floor and on the window seat” (Chambers, 169). This idea is supported by the fact that when the review went into liquidation in December 1909, no offers could be found for 15000 unsold copies of the review, Duckworth’s claiming a lien on these. (Snow Hill Papers, BH 2/4)

Income from sales seems to have been limited and other sources of income were unreliable. One was from backers, including the money of “cohorts of relations–-German Hueffers, Dutch Hueffers, Paris Hueffers,” (Hunt, 27) and later, of course, from David Soskice, whose bank pass book for 1909 shows numerous loans, both to Ford personally and to The English Review , beginning in May with the first of several £100 loans and one in July for £800. (Snow Hill Papers, DS 4/8) There was also money from the sale of shares when Soskice tried to form a company to save the review; Edward Browne, for example, wrote a cheque for £300 on August 10, but there is no information on other similar investors. The other source of income was from advertisements placed in the review. M.R.Rothwell was appointed as advertising manager in September 1909, but Ford estimated that advertising revenue was only about £30 a month. (Snow Hill Papers, BH 2/4)

Compared with the expenditure for the review, this kind of income was insignificant. The costs for printing, paper and distribution averaged, according to Ford, about £200 a month, which in itself wiped out the income from sales. (Mizener, 160) The review also advertised extensively in most contemporary journals, but such advertising did not come cheaply. For example, between November 14, 1908 and September 4, 1909, The Nation carried five full page, seven half page and three quarter page advertisements for the review, a full page costing £10. The cash book for October 1909 reveals a total expenditure on advertising of £72.5/-, more than double the previous month’s income from the review’s own advertising revenue. There were also salaries to be paid. There are no figures available for the earliest months of the review, but the earlier of the two extant cashbooks, from May to July, shows only a salary of £1, paid to M. Martindale; this is presumably Ford’s sister-in-law, who may have provided clerical assistance. The second cash book, from July to October, covers the period when Soskice was running the review’s finances, and shows Soskice receiving £6 a week as business manager, Rothwell £5 as advertising manager and Douglas Goldring £2.10/- as assistant editor. Ford himself appears to have been paid £6 a week, (Snow Hill Papers, BH, 2/4) although he later claimed that he had received no payment. (Ludwig, 42)

By far the biggest drain on resources, however, was payment to contributors. According to Violet Hunt, Ford’s policy was always to pay his contributors exactly what they asked. (Hunt, 29) He seems to have asked them “Will you take £2 a 1000 words, or will you take a sporting risk which might be estimated at two to one against you as a shareholder?” (Ludwig, 28). Clearly this was a system open to abuse and the arbitrary pricing of contributions for the review did not lend itself to accurate financial management. The amount paid to some contributors is known. Hardy received £20 for his poem “Sunday Morning Tragedy,” Henry James was paid 40 guineas, £30 and 36 guineas, for each of his short stories, (Anesko, 196) and Wyndham Lewis was paid five guineas for each of his contributions. (Meyers, 28) Conrad was paid £80 for the first four instalments of Some Reminiscences , although the cash book records a payment of £25 to Conrad in late June. If, as seems likely, this is an instalment payment, then Conrad received more than £160 for the seven instalments, almost the equivalent of the whole of one month’s income from sales. The same cash book entry records payments of £15 to Ella d’Arcy, probably for her long short story “Agatha Blount,” £3 each to Ezra Pound and Eden Philpotts for poems and £2 to Edward Thomas for a book review. (Snow Hill Papers, BH 2/4)

An advertisement in The New Age shows that the review was never really regarded as a commercial proposition. “In supporting the English Review…the reader will be not so much supporting a commercial undertaking as performing a duty, since he will be aiding in presenting to the world some of its most valuable thought” (NA, Mar 25, 1909, 445). In later life, Ford conceded that he had known “that the review could not be made to run on any sort of commercial lines” (Ford, 1931, 382). Cultural journals are not produced to make their editors rich, but Ford by his wilful inconsistency over payments and his lack of sound accounting practice, brought the review perilously close to extinction. Without full accounts, it is impossible to estimate the full extent of the losses made by the review under Ford, though they were, according to Douglas Goldring, such as “must have staggered even a Northcliffe” (Goldring, 1943, 30). The only thing that can be stated is that the review’s finances were in a mess and that for this Ford was largely responsible.

There is also some confusion about the editorial policy for the review. The first full statement appears in a circular which Ford wrote as publicity before the review was published.

The only qualification for admission to the pages of the Review will be…either distinction of individuality or force of conviction, either literary gifts or earnestness of purpose…the criterion of inclusion being the clarity of diction, the force of illuminative value of the views expressed… [It] will treat its readers not as spoiled children who must be amused by a variety of games, but with respectful consideration due to grown minds whose leisure can be interested by something else than the crispness and glitter of a popular statement. (Hunt, 26-7)

There is a certain amount of blandness about this declaration as well as some question begging about what might be meant by “distinction of individuality” or “force of illuminative views” but it is clear that Ford was aiming at an educated, intelligent readership, that he wanted the review to communicate clearly and that he wanted to avoid the superficial and popular. The declaration isn’t clear about the primacy of culture.

Some publicity, in fact, seems to emphasise the review’s political aspects. “The most able and distinguished writers of today will contribute to the Review: its editorial comments upon Topics of the Month will be without party bias, and will be supplemented by communications from well known Statesmen and Diplomatists” (NA, Nov 5, 1908, 33). The list of contents for each issue always included the names of political contributors, and there were special slips with red print, attached to the front cover of the May and June issues, to draw attention to President Taft’s article on the Panama Canal and Camille Pelleton’s “La Paix at la Guerre en Europe”. The English Review devoted about a third of its space to contemporary political and social issues, and to national and international affairs, though with hindsight Ford gave the impression that the political articles were there simply to fill out the space. In a foreword to The English Review Book of Short Stories , which appeared in 1932, he wrote, “Into any remaining cracks in the structure we dropped the weary imbecilities that pass for seriousness. We gave, that is to say, very infinitesimal space to the Dardanelles problem, Chinese egg problems, Alaskan boundaries, Turkish debts and all the lugubrious pomposities.”

It wasn’t simply that Ford accepted articles on non-cultural topics, though there were plenty of these – W.H.Hudson on “How it feels to be Unemployed”, G.K.Chesterton on “The Homelessness of Jones”, or Arthur Marwood’s “Complete Actuarial Scheme for Insuring John Doe against all the vicissitudes of Life”, for example. Ford himself wrote several powerfully worded political articles. In August 1909, for example, he provided a passionate defence of the suffragette movement, entitled “Militants Here on Earth”, which asserted that female suffrage was inevitable, attacking some of the arguments against it. His most forceful criticism of contemporary domestic politics came in the first two issues of 1910. By this time he had lost the editorship of the review, but was exercising a kind of caretaker editorial role; perhaps his imminent departure gave an extra edge to his writing. The January editorial is a fierce attack on the current state of party political strife and on the press associated with each party for exacerbating the “odious features of the contest” (ER, IV, 330). His final article, “Declaration of Faith”, which appeared under the pseudonym Didymus in February 1910, is less angry and more resigned in tone. Acknowledging that he was by temperament an obstinate, sentimental and old-fashioned Tory (Ibid, 544), Ford explained that he had not voted for the last twelve years and would not be voting in the forthcoming elections because neither party seemed to him to have the good of the nation at heart. Ford’s article is followed by a long and passionate defence of the democratic ideal by Arnold Bennett, in which he castigates both the self-interest of the wealthy and the apathy of the masses. The combined effect of the two articles in what was in effect Ford’s valedictory appearance as editor is to give the impression of a review which cared deeply about the quality of contemporary social and political life, and of a commitment which was rather more than the padding exercise which Ford later suggested it was.

If the political aspects of the review’s articles were concerned to examine the quality of the nation’s political and social life, then much of the cultural content was chosen to explore the nation’s cultural identity, and to articulate what Ford perceived as a state of cultural crisis and respond to it. The main tool for this was the editorial, several of which were later selected and published by Ford in 1911 as The Critical Attitude . The first series of cultural editorials ran from December 1908 to March 1909, that is during the period when Ford had unfettered control of the review. Appearing under the heading “The Function of the Arts in the Republic”, they offered a stark criticism of contemporary cultural awareness. “Indeed a person from another world seeking to estimate the level of intellectual appreciation in England today… would be overwhelmed by the fact that in this proud, wealthy and materially polished civilisation there was visible…no trace, no scintilla, no shadow of a trace of the desire to have any kind of thought awakened” (ER, I, 320). It was to awaken this thought that the review had been founded. “The Art of Letters in England has practically no social weight and practically no contact with the lives of the people. It is with the attempt to form such a meeting place that the English Review has set out upon its career” (Ibid, 797).

The same feelings are repeated in the later series of cultural editorials, which appeared under the heading, “The Critical Attitude”. The first of these, in September 1909, was “The Two Shilling Novel” in which Ford bewailed the impoverished state of the English writer, the general lack of appreciation of literature, and the effect of the falling price of the novel, which meant that for publishers, sales from a popular novel could no longer subsidise more imaginative fiction. In October, the review contained the first of a two part editorial on “English Literature Today” which aimed to distinguish between “the writer of the commercial book and the writer of the book which shall be the work of art” (ER, III, 482). This editorial summarises one of Ford’s central concepts for the function of literature, which was to enable the reader “to be brought really into contact with our fellow men, to become intimately acquainted with the lives of those around us” (Ibid, 488). The second part of this editorial in November tried to illustrate this general principle by discussion of individual writers. For example, Ford singled out three dramatists, Granville Barker, John Galsworthy, and G.B.Shaw because they attempted “to present us with really human figures caught in the toils of vicissitudes really human” (Ibid, 655). He also praised James, Conrad, Moore, Galsworthy, Kipling and Wells because they provided some evidence that “there exists any school of conscious literary Art in England today” (Ibid, 669).

The most powerful “Critical Attitude” is the last. In it, Ford restated the aims of the review, “chief among these being the furthering of a certain school of Literature and of a certain tone of thought” (ER, IV, 531). This had been “a splendid forlorn hope”, and the review had failed because it had been impossible to inculcate a critical attitude in the English.

Even when critics had appeared they have been listened to with dislike and a show of respect. Then they have been patted out of the way. If a slug should enter a bee-hive, these industrious insects…will cover him with wax. They pack the wax down, they smooth it over, they extinguish, in fact, that poor slug until he reposes beneath a fair monument, a respectable protuberance from which escapes neither groans nor foul odours. Now our islands are the bee-hive, and what is the critic in England…but just a slug. (Ibid, 532)

The powerful, almost obsessive imagery is a measure of Ford’s anger, both at the absence of critical attitude and at the failure of his review to generate it. His anger is not despairing, however, since this last cultural editorial contains a kind of declaration of faith in the function of the critic, acknowledging the difficulties to be faced, but also declaiming its rewards.

For nothing is more difficult, nothing is more terrible than to look things in the face. We have to be ready to recognize, and if we are strong enough, to acclaim, that things seeming hideous may embody a New Beauty. We have to watch modern life sweeping away the traditions that we love, the places that we deemed hallowed; we have to consider that it is blowing away ourselves as if we were no more than a little dust. And yet, if we have consciences, we must seek to perceive order in this disorder, beauty in what shocks us (Ibid, 534).

This reads almost like a Modernist manifesto, and is impressive both for its courage and its farsightedness; such a declaration places Ford in the vanguard of critical opinion prepared to respond to new forms of writing. The question remains about how far Ford’s choice of literary contributions was actually as advanced as his critical ideal.

The first item in the review was poetry. Ford’s criticism of a great deal of poetry was that it was too consciously literary, too much written in temples rather than on omnibuses, and that it did not bring its readers into contact with their fellow men. While some of the poetry which Ford chose for the review stays admirably clear of such criticisms, it has to be said that too much of it all too obviously had these failings. Most of the poetry was contemporary–Ford published two posthumous poems, one by D.G.Rossetti and the other by Francis Thompson–by established poets although there were gaps; Kipling, for example, was “omitted because we could not pay his prices” (Ford, 1921, 58). There were three poems by Hardy, whose “Sunday Morning Tragedy” opened the first issue, and three by W.B.Yeats, and of the seventeen contributors to the first volume of Georgian Poetry which appeared in 1912, nine were published by Ford in his review. Thus, some of the poetry by established writers is simple, uncomplicated and accessible; this is true of the poems by Galsworthy, which appeared in February, June and November, 1909. Some contributions show the variety of which a poet was capable, as with five poems by Walter de la Mare in February 1909, which reveal both turgid melancholy and a delightful sense of fun.

But much of the poetry is consciously literary, self-indulgent and full of a romantic melancholy. Ethel Clifford’s “The Dryad” (March 1909), T.Sturge Moore’s “Noon Vision” about Apollo in pursuit of a maiden, and Dollie Radford’s “Four Sonnets” about the darkness of the soul after loss of love and hope, (May 1909) are examples of the kind of poetry which Ford theoretically deplored. This suggests either that Ford was more in sympathy with contemporary poetic styles and subject matter than he was willing to admit, or that he had an astute sense of what was popular even though it wasn’t in tune with his own taste; the three poets referred to above were all well known at the time. Even in his choice of young poets for publication Ford had curious departures from his own ideals of poetry. In September, 1909, he published four poems by Rupert Brooke written during his last year at Cambridge. Brooke and Ford had Fabian contacts in common, but the poems are introspective, effete and self-indulgent, never attempting to engage with contemporary social problems.

There were, however, striking exceptions. It is often claimed that one of Ford’s achievements in The English Review was his recognition of new young talent, and certainly the careers of Ezra Pound and D.H.Lawrence were helped by the review’s publication of their poetry. The first Pound poems appeared in June 1909 and were free versions of some troubadour songs which were then enjoying something of a vogue. “Sestina; Altaforte”, with its modern idiom–“Damn it all! All this South stinks of peace”–celebration of violence and bloodshed–“Hell grant that we soon hear again the swords clash”–is futuristic in tone and attitude, despite its medieval form and mask. Three more poems by Pound appeared in October, and a further three in January 1910. Mizener records Ford’s horror at the artificiality of style and irrelevance of subject matter when Pound first read them to him, (Mizener, 216) but he published them, probably because he recognized that Pound’s energy and enthusiasm for literature were an antidote to the apathy which Ford felt was afflicting English writing.

D.H.Lawrence’s poetry first appeared in the review in November 1909. Written while Lawrence was a schoolmaster in Croydon, and to some extent drawing on his experience there, the poems contain a combination of relaxed conversational language and moments of dramatic intensity of feeling. “Dreams Old and Nascent” contrasts his present classroom environment with images of past and future. “Discipline” is a more sombre poem, recording the resistance of his pupils to his ideas, seeing this as a general indifference to new thinking. The two remaining poems, “Running Barefoot” and “Trailing Clouds” are descriptions of his landlady’s baby daughter, and are remarkable for their lucidity, lightness and vivid imagery. The rhythms are apparently casual yet carefully controlled, and the images drawn from the natural world – the baby’s feet “cool as syringea buds” and the baby clinging to the poet’s arm “as a drenched bee/ Hangs numb from the bending flower.” Lawrence’s poetry in the review shows a concern with contemporary life and culture and exemplifies the “clarity of diction” and “the distinction of individuality” outlined in the review’s prospectus, conveying the sense of a quiet intimate conversation which Ford felt was the ideal poetic voice. Lawrence, perhaps even more than Pound, offered the review’s readers a new kind of poetry.

Only two of Ford’s own poems appeared in the review, but not surprisingly he used the approach of these two younger poets, adopting the mask of one and the quiet conversational tone of the other; these he published under the pseudonym, F.M.Hurd, in February 1910. “The Exile” is in many ways like Pound’s early troubadour poetry; in it the poet assumes the mask of a medieval man whose fortunes have declined.

My father had many oxen Yet all are gone My father had many servants I sit alone

The tones, rhythms and language of this poem are lucid and conversational with the patterning skilfully disguised. Yet the poem is marked with an unmistakeable sense of personal tragedy: “with heavy tears on my eyelids and the weary sighs in my mouth” can be read as Ford’s own statement of personal crisis and longing for escape from professional and personal pressures. The second poem, “To Gertrude” can also be read as a poem of farewell, in which the poet acknowledges the pressures on him. Ostensibly a love poem addressed by an older poet to a much younger woman, it conveys a sense of melancholy at tasks not yet finished and unlikely now to be completed. Given the extent to which these two poems fulfil all Ford’s requirements for poetic writing, it is surprising that there isn’t more of it in the review. Their inclusion shows that despite publishing so much unoriginal poetry, Ford acknowledged the possibilities for a new kind of poetic writing.

Partly because it is a performance art, but also because of constraints of length, cultural journals published very little drama, and by and large, The English Review followed this trend. Ford made an exception, however, for Arnold Bennett’s four act play, What the Public Wants , which appeared in a special supplement to the July 1909 review. Like Reynolds’ The Holy Mountain , Bennett’s play is a very funny and scathing attack on the ruthlessness, barbarity and commercialism of newspaper barons. Given the intensity of Ford’s own dislike of commercialism and his anxiety about the lack of cultural standards, it is not surprising that he felt Bennett’s play deserved a special place in the review.

Serialisation of novels in reviews was a long established custom, though some newer journals such as The New Age and The Albany rarely, if ever, provided this extended presentation of fiction. Ford was, in retrospect, quite cynical about the policy of serialisation. “We jammed in an enormous slice of serial, not because we believed that anyone ever wanted to read a serial, but because we believed that the publicity might be useful to the novelist” (Shipp, vii). In practice, however, the four novels serialised in the review explore areas of contemporary life which deeply concerned Ford, illustrating the lack of culture and fragmentation of human existence, the increasing influence of commercialisation on literature and life and the struggle by women to assert their independence.

H.G.Wells’ Tono-Bungay , which ran in the first four issues, depicts an England in a state of slow but remorseless decay. The England of the stately home, represented by Bladesover, still has some power, but its influence has largely been replaced by “greedy trade, base profit seeking, bold advertisement” (Wells, 341). This commercialism, which Ford attacked repeatedly in his editorials, is symbolised in the novel, not only by the eponymous patent medicine, but also by the increasing suburban sprawl, and by the radio-active “quap”, “that creeps and lives as a disease lives by destroying; an elemental stirring and disarrangement, incalculably maleficent and strange.” Not only does it ruin the fortunes of the novelist’s protagonist, George Ponderevo, but it is also used by Wells to represent “the decay of our culture…in society, a loss of traditions and distinctions and assured reactions” (Ibid, 294). The form of the novel, too, reflects the fractured and fragmented structure of contemporary society. “I warn you this book is going to be something of an agglomeration…And it isn’t a constructed tale I have to tell, but unmanageable realities” (Ibid, 21-2).

Stephen Reynolds’ novel The Holy Mountain , which ran from April to June 1909, is essentially a fantasy in which a hill in Wiltshire is accidentally and miraculously translated to a London suburb, and, at the end of the novel, back again, but the novel provides a comic account of both provincial and commercial responses to this miracle. The criticism of individual greed, provincial narrow mindedness and the corruption and vulgarity of the popular press is savage and funny, but the novel also illustrates the tragedy of small lives caught in vast commercial undertakings, and represents, in fictional form, many of Ford’s concerns about the destructive force of commercial values. Ford’s own novel A Call , subtitled “A Tale of Two Passions”, ran from August to November, and explores some of the ideas which are handled more confidently in The Good Soldier –passion, personal unhappiness in unsuitable relationships and the strains imposed by the need to observe the conventions of polite society. It shows society in Edwardian London to be fractured and vulnerable; surface manners hide a deep unease. The novel eschews the omniscient narrator, and the events of the story are narrated as if access to the truth is limited and the ending uncertain. Violet Hunt’s Wife of Altamont , which ran from December 1909 until March 1910, after Ford had left the review, is an extraordinary mixture of concern for contemporary social issues and of melodrama. The novel explores and deplores the influence of the gutter press, the contrasts between industrial and polite society, and it engages with questions of women’s independence. The novel is frequently funny at the expense of social conventions, but much of its force is dissipated by the melodrama of the plot and by the contrived happy ending which sits uneasily on the novel’s social commentary.

The variety and quality of other fiction in the review is impressive. Ford chose a range of work, including nineteenth century Russian stories in translation, one story in French, the first published fiction by D.H.Lawrence and stories by most of the leading authors of the day. The opening number, for example, included, Henry James’ superbly crafted ghost story, “The Jolly Corner” which helped to establish the review’s reputation. The list of writers whose short stories were printed in the review reads like a kind of Edwardian “Who’s Who” of literature. Galsworthy had two stories, Ella D’Arcy three, while Granville Barker, Walter de la Mare, Arnold Bennett, E.M.Forster, H.M.Tomlinson, Olive Garnett, Edwin Pugh, Violet Hunt, and Ford and Conrad in collaboration, all had one story. Subjects, treatment and length vary enormously but certain key features emerge. Many of the stories deal with the lives of the poor, including Arnold Bennett’s “Matador of the Five Towns” (Apr 1909), and D.H.Lawrence’s “Goose Fair” (Feb 1910). Other stories engage with the needs and aspirations of women in a changing world, including Granville Barker’s “Georgiana” (Feb, Mar 1909) and Ella D’Arcy’s “Agatha Blount”. (Jun 1909) None of the stories selected by Ford is technically innovative or startlingly original in its subject matter, but the selection does show the range which the form can achieve.

Included in the same section of the review as the fiction and interspersed with it are the non-fiction articles, – autobiography, travel writing, and essays. Conrad’s Some Reminiscences are an account of his struggle to find himself and his vocation; the insight which they provide into how the mind of the artist works clearly accords with Ford’s concerns for the status of the writer and his interest in the creative process. Inclusion in the review can also be seen as part of Ford’s desire to provide Conrad with a wider audience; he was one of the writers whom Ford felt deserved greater recognition and success, and the lack of it was, for Ford, one of the symptoms of literary crisis. Ford had worked with and encouraged Conrad as a writer for several years, and the technique used in the reminiscences was that of progression d’effet , or cumulative tension, a fictional device used by both writers. Conrad reveals only so much of himself in a given episode and then withdraws; the result is the unsettling of narrative expectation, which is a feature of so much modernist writing.

There is some splendid travel writing in the review, including four articles by R.B.Cunninghame Graham, whose articles were widely published in other Edwardian journals. Ford was also an admirer of W.H.Hudson’s clear and economic prose, and it was no accident that Hudson’s account of sunrise at Stonehenge and his meditations on the harsh effects of modern living on the wildlife of Salisbury Plain, appeared in the first issue; it provided a kind of benchmark for measuring the literary standards which Ford sought to obtain in the review. Norman Douglas, encouraged by Conrad, submitted three essays on Mediterranean life and history, which are a very readable combination of topographical and anecdotal writing. All the essays are forceful, intelligent and original, and their publication in the review probably helped to established Douglas’ reputation as a writer. Wyndham Lewis is known, together with Pound and Lawrence, as one of Ford’s “discoveries” though there is little in Lewis’ account of Polish exiles and circus folk in Brittany to suggest the iconoclasm to come; the three articles, which appeared in April, May and August 1909, are perceptive, unsentimental and certainly original in subject matter. Ford did not hesitate to accept them for publication when Lewis visited him, perhaps attracted by their estranged and alienated characters, though how much he knew of Lewis’ art training and familiarity with the avant garde art world is uncertain.

Although the journal carried reviews of books, of plays performed in London and very occasionally, of opera and art exhibitions, these reviews were neither as numerous nor as lengthy as might be supposed. Ford was far more interested in creative writing and impatient with the critic’s role. Sometimes the reviewing was intended to bestow prestige on the review, the reviewer and the reviewed, as with Conrad’s discussion of Anatole France’s L’Ile des Pingouins in the first issue, or Edward Garnett’s review of The Collected Works of W.B.Yeats in April 1909. Sometimes the reviews were designed to promote one of Ford’s friends or protégés; this was the case with Ford’s review of Masterman’s The Condition of England in August 1909, and Edward Thomas on Pound’s Personae in June. Generally, however, the reviewing is unremarkable; reviews are seen as less important than original work, and though not explicitly stated, Ford’s dislike of scholasticism reveals itself in the review’s practice of allowing the work of the writer to speak for itself.

The major achievement of The English Review under Ford’s editorship was that it construed notions of contemporary cultural crisis and tried to respond to them. The review was not alone in trying to do this, but Ford articulated this crisis more forcefully and responded more vigorously than any other editor. Both in his editorials and through the accompanying articles and original works which Ford selected for inclusion in the review, he fought to raise awareness of cultural and literary matters and to draw attention to the dangers of trivialisation and commercialism. In this, as in so much of his other work, Ford advocated democratic rather than elitist notions of culture; the best should be more widely available and understood, though massive changes in attitude would be necessary to achieve this. The English Review as it was actually published was more populist than modernist.

Although Ford was forced to give up his review, he had little doubt that under his editorship, it had helped to change the cultural climate of the country. After listing some of the writers who had appeared in the review, he described their impact on him:

It was – truly – like an opening world. For if you have worried your poor dear old brain for at least a quarter of a century over the hopelessness of finding, in Anglo-Saxondom, any traces of a conscious art – it was amazing to find in these young creatures not only evolving theories of writing…but receiving in addition an immense amount of what is called “public support” (Ford, 1921, 136).

This was written in 1921, when Ford was being wise after the event; after for example, “The Imagist Manifesto” of 1913, after the appearance of Blast in 1914, and after the appearance of “Prufrock” in 1915 and Homage to Sextus Propertius in 1917. Certainly Ford provided an outlet for Ezra Pound, Wyndham Lewis and D.H.Lawrence, but Pound, at least, had enough energy to launch himself on the literary establishment unaided, while Lewis and Lawrence were assisted in their early careers by help from other quarters in addition to that given by Ford. The English Review was more of a main stream Edwardian journal, than an early modernist review, and despite Ford’s own belief “that things seeming hideous may embody a New Beauty,” (ER, IV, 534) the coming of literary modernism could barely have been predicted from a reading of those numbers edited by Ford.

Works Cited

Anesko, Michael, Friction with the Market: Henry James and the Profession of Authorship , New York: Oxford University Press, 1986.
Aubry,G.J., ed., Joseph Conrad: Life and Letters, Vol II , London: Heinemann, 1977
Chambers, Jessie, D.H.Lawrence: A Personal Record , London: Frank Cass, 1935.
Ford, Ford Madox, Ancient Lights and Certain New Reflections , London: Chapman and Hall, 1911.
———————, Thus to Revisit , London: Chapman and Hall, 1921.
———————, Return to Yesterday , London: Victor Gollancz, 1931.
———————, Mightier than the Sword; Memories and Criticisms , London: George Allen and Unwin, 1938.
Goldring, Douglas, Reputations , London: Chapman & Hall, 1920.
———————-, South Lodge , London: Constable, 1943.
———————-, The Last Pre-Raphaelite: A Record of the Life and Writings of Ford Madox Ford , London: Macdonald, 1948.
Hunt, Violet, The Flurried Years , London: Hurst and Blackett, 1926.
Karl, Frederick R. and Davies, Laurence, The Collected Letters of Joseph Conrad, Vol IV, 1908-1911 , Cambridge: Cambridge University Press, 1990.
Ludwig, R.M., ed., Letters of Ford Madox Ford , Princeton: University of Princeton Press, 1965.
Meyers, Jeffrey, The Enemy: A Biography of Wyndham Lewis , London: Routledge, 1980.
Mizener, Arthur, The Saddest Story: A Biography of Ford Madox Ford , London: Bodley Head, 1972.
Rose, W.K., ed., The Saddest Story: A Biography of Ford Madox Ford , London: Collins, 1990.
Shipp, Horace, ed., The English Review Book of Short Stories , London: Sampson Lowe, Marston, 1932.
Snow Hill Papers, London: House of Lords Record Office. Unpublished.
Wells, H.G., Tono-Bungay , London: Macmillan, 1909.

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‘the english’ review: emily blunt in amazon’s big, bold swing of a western.

Hugo Blick's six-part series pairs Blunt and Chaske Spencer as outsiders seeking revenge on the wide open prairie.

By Daniel Fienberg

Daniel Fienberg

Chief Television Critic

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‘The English’ Review: Emily Blunt in Amazon's Big Swing of a Western

As presented in Hugo Blick ‘s new Amazon limited series The English , the Old West was a dangerous place: a collection of breathtaking vistas connected by trauma from horrifying massacres, in which disease-ridden, testicle-eating outlaws sold their services to the highest bidder and the only currency more valuable than acreage was revenge. No place for a woman, but no place for a man either.

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How to write a review? | C1 Advanced (CAE)

The main purpose is to describe and express a personal opinion about something which the essay writer has experienced (e.g. a film, a holiday, a product, a website, etc.) and to give the reader a clear impression of what the item discussed is like.

Check our Writing Guide below – to see how to write a CAE review in detail.

C1 Advanced (CAE) Review: Structure

Name what you are going to be reviewing. Identify the book, restaurant or film

Describe the first thing mentioned in the task

Describe the second thing mentioned in the task

Contain your general impression and your verdict.

FCE, CAE, CPE

Practice, write & improve, c1 advanced (cae) review: writing guide.

We will use the example CAE review topic below:

You see the following announcement on a website, Great Lives:

Reviews wanted Send us a review of a book or film that focuses on somebody who has made an important contribution to society.

Did you learn anything new about the person’s life from the book or film? Did the book or film help you understand why this person made their important contribution?

Write your review (around 220 – 260 words)

Step 1: Briefly analyse your task…

The first thing is to find underline a description part , where we have to describe something like a film, book, restaurant or anything else. Next , find a discussion part where need to give opinion and or make a recommendation or suggestion.

On top of that, find the target reader who is always specified so you know exactly who you are writing for and who is going to read your review.

Reviews Wanted Send us a review of a book or film that focuses on somebody who has made an important contribution to society. (to describe)

Did you learn anything new about the person’s life from the book or film? Did the book or film help you understand why this person made their important contribution? (to answer/discuss)

Thanks to this, we have all the elements we need to write a great review below:

You need to describe: B o ok or film that focuses on somebody who has made an important contribution to society

You need to answer/discuss:

Why this person made an important contribution?
Did you learn anything new about the person’s life?

Who is the target reader: website, Great Lives

We know now that the target readers are the users of the website, so the writing style can be quite direct and informal (idioms, phrasal verbs).

Now we can start building our structure and writing a review.

Practice Tests Online

Step 2: title.

The review should start with the title, and there are several ways to write it:

imagine you’re reviewing a book you can write [Title] by [Author]
if you were reviewing a hotel you could write the [name of the hotel] – a review
or you can just write something catchy but it has to point to what you are going to review

Title (book): Green Lantern by Stephen King (by) Title (hotel): Ibiza Hotel in Barcelona – a review (a review) Title (restaurant): Taco Bell: U n forgettable experience (catchy)

we will use this title in our guide : TITLE : Mandela: Striving for Freedom — a review

Step 3: Introduction

The other function of your introduction is to engage the reader . There are certain tools we can use to achieve that for example, we can ask a rhetorical question.

It is a question that doesn’t really need an answer it is there as a stylistic feature that engages the reader and makes them interested in the topic

Make your introduction at least 2-3 sentences long.

INTRODUCTION: Have you ever been so passionate about something that you would sacrifice your very best years for it? In the film Mandela: Striving for Freedom we get not only a glimpse of Nelson Mandela’s life, but rather dive deep into who he was and how he changed a whole country . This autobiographical film, based on the book, and released in 2013, tells the amazing story of an even more extraordinary man.

– rhetorical question

– identification of reviewed item

TIP : Don’t waste your time looking for a real book or a real movie to match your review. Make it up or change the facts to suit the review, it doesn’t have to be real.

Step 4: The body paragraphs (main content)

Unlike essays, your paragraphs don’t have to be of the same length (however, should be longer than the introduction or conclusion).

Use idioms , phrasal verbs and colloquial language – informal language is appropriate for your target reader – users of the website, Great Lives

See the example below, in which we dedicate one paragraph to one point…

[Why this person made an important contribution?]

While the whole film captivated me throughout, there was one aspect that truly stood out to me. Nelson Mandela and his second wife Winnie had a one-of-a-kind relationship driving each other to continue and grow the anti-apartheid movement in South Africa even after Mr Mandela was captured and imprisoned. It is a testament to their dedication and partnership and something ‘that a lot of us can learn from.

[Did you learn anything new about the person’s life?]

Despite having a strong and driven partner in his wife, I still used to be astonished by the fact that someone would simply sacrifice themselves and give up a big part of their life to help others, but this biopic made me reconsider. Witnessing segregated society and all the racial abuse the black community had to endure during apartheid, there was no other option for Nelson Mandela than to stand up and fight for equality.

– topic-specific vocabulary

– engaging/interesting vocabulary

– relevant details

Step 5: Conclusion / Recommendations

It will contain your general impression and your verdict/recommendation .

Use this paragraph to make an objective assessment of the reviewed material. You may then recommend or dissuade your readers from seeing/attending it.

CONCLUSION: All in all, Mandela: Striving for Freedom gives some incredible insight into the life of one of the world’s most famous and influential personalities of the 20th century. It would be a shame not to watch it so I highly recommend that you check your favourite streaming service as soon as you can and I promise you won’t regret it. – recap, what you like about the film

– recommendation

See full review…

Full review.

Mandela: Striving for Freedom — a review

Have you ever been so passionate about something that you would sacrifice your very best years for it? In the film Mandela: Striving for Freedom we get not only a glimpse of Nelson Mandela’s life, but rather dive deep into who he was and how he changed a whole country. This autobiographical film, based on the book, and released in 2013, tells the amazing story of an even more extraordinary man.

All in all, Mandela: Striving for Freedom gives some incredible insight into the life of one of the world’s most famous and influential personalities of the 20th century. It would be a shame not to watch it so I highly recommend that you check your favourite streaming service as soon as you can and I promise you won’t regret it.

Check your (CAE) Review

Things to remember…

You’re writing for the public, not for your friends. Your are only interesting if you can , or make them entertaining.

People don’t read reviews in magazines in order to be bored, To be interesting, you should :

C1 Advanced (CAE) Review: Example reviews

Cae review sample 1.

You have seen this announcement on your favourite music website.

Have you ever been to an amazing concert venue?

Write a review of the best music venue in your local area and tell us about what makes it so special. Say who you would recommend it for a why?

The best entries will be published on our website.

Model answer:

The Apollo: The Theatre of Dreams

Never before have you seen such an amazing spectacle as you will see in the Apollo. It´s not only the facilities and personnel that make this venue so great, but also the amazing acoustics of such a large venue.

From the moment you enter the place there is an awe about it. All of the greatest acts of recent times have played here and you can feel the buzz as soon as you enter. The crowd are so close to the stage that they can literally feel the droplets of sweat coming off of the brows of their favourite artists, this creates an amazing connection between the musicians and the audience and I can tell you, the fans go wild!

I´d definitely recommend this venue to anyone, it has a great feel to it and the prices are at the lower end of what you would expect to pay in such a place. They also don’t go over the top on drinks prices, and through it sounds weird, it´s not all that difficult to get to the bathroom which is a plus. So, without a doubt, the next time your favourite group is playing, come on down to the Apollo, oh, and did I mention it is in London? It couldn´t get any better.

Get Your (CAE) Review Checked!

Cae review sample 2.

You see this announcement in an international magazine.

The most UPLIFTING and the biggest DOWNER . It’s sometimes hard to choose a film that fits your mood purely on the basis of the poster or the description on the cover of the DVD. That’s why we want to publish reviews of the most uplifting and the most depressing films our readers have seen, so that others know what to watch and what to avoid. Send in a review which describes the most uplifting film you’ve ever seen and the one you found the biggest downer. Make sure you give reasons for your choices.

Write your review in 220-260 words in an appropriate style.

A tale of two films

If I were to present two of the most contrasting films about overcoming adversity it would be The Blind Side (2009) and Doctor Zhivago (1965). Whereas the former left me with a huge grin on my face, sadly, the latter left me feeling the weight of the world on my shoulders.

Doctor Zhivago , directed by five-time Oscar winner David Lean, is set in the Bolshevik revolution and follows the title character, who must adapt to the new order while pining for Lara, the beautiful wife of a political campaigner. The director succeeded in creating a film that is thoroughly engaging but full of gritty realism, cruelty and tragic irony. Take the tissues!

The Blind Side , which is based on a true story, is also a bit of a tearjerker, in a completely different way. Starring Sandra Bullock, who won an Academy Award for her portrayal of a rich white mother in Tennessee who takes a homeless black teenager under her roof. Understandably, the gentle giant thinks he isn’t good at anything but his new mother sees his potential to become a football star and part of the family. The plot is based on a true story, making it all the more touching.

I would strongly recommend The Blind Side . It will appeal to a range of people and is a great choice for a movie night. Although Doctor Zhivago is a classic, I think it has more of a niche audience and is best saved for when you want a dose of gloom!

C1 Advanced (CAE) Review: Example topics

Cae example topic 1.

You see the the following announcement on a website, Great Lives:

REVIEWS WANTED Send us a review of a book or a film focusses on somebody who has made an important contribution to society.

Write your review in 220-260 words

CAE Example topic 2

You see this announcement in an international magazine called Cinefilia.

THE MOST UPLIFTING AND THE BIGGEST DOWNER. It’s sometimes hard to choose a film that fits your mood purely on the basis of the poster or the description on the cover of the DVD. That’s why we want to publish reviews of the most uplifting and the most depressing films our readers have seen, so that others know what to watch and what to avoid. Send in a review which describes the most uplifting film you’ve ever seen and the one you found the biggest downer. Make sure you give reasons for your choices.

Write your review in 220-260 words in an appropriate style.

CAE Example topic 3

You see the following announcement in a magazine:

SEND US YOUR REVIEW

Have you read a book or seen a film that has a central character whose life is affected by an event or decision they make early in the story What did you learn about the person’s character? Did the book or flim help you to understand how the person was affected by this event or decision? Send us your review for our next issue

Write your review for the magazine readers. (220-260 words)

C1 Advanced (CAE) Review: Tips

Think about what you are trying to achieve and the structure of your review.
You should also start a new paragraph for every item/aspect you are addressing in your review.
Include a final recommendation or evaluation
Don’t forget! The target reader is specified in the question, so the candidate knows not only what register is appropriate, but also has an idea about the kind of information to include.

C1 Advanced (CAE) Review: Writing Checklist

After writing your text, you can check it yourself using the writing checklist below.

How to do that? Simply check your text/email by answering the questions one by one:

Have I covered all the key information required by the task?
Have I written only information which is relevant to the task?
Have I developed the basic points in the task with my own ideas?

Communicative Achievement

Have I achieved the main purpose(s) of the text (for example, explaining, persuading, suggesting, apologising, comparing, etc.)?
Have I used a suitable mix of fact and opinion?
Have I used a suitable style and register (formal or informal) for the task?

Organisation

Have I used paragraphs appropriately to organise my ideas?
Have I used other organisational features appropriately for the genre of the text (for example, titles, headings, openings, closings, etc.)?
Is the connection between my ideas clear and easy for the reader to follow? (For example, have I used appropriate linking words, pronouns, etc. to refer to different things within the text?)
Are the ideas balanced appropriately, with suitable attention and space given to each one?
Have I used a wide range of vocabulary?
Have I avoided repeating the same words and phrases?
Have I used a range of simple and more complex grammatical structures?
Have I correctly used any common phrases which are relevant to the specific task or topic?
Is my use of grammar accurate?
Is my spelling accurate?

C1 Advanced (CAE) Review: Grading

Try to include some sophisticated language in your review. But: you can think of some cool words and expressions before you go into the exam!

Keep control of your language – don’t forget simple things like the third person singular ‘s’.

However, don’t stick only to really simple forms. You need to show that you know higher level forms like past perfect and third conditional.

Start with a heading so you don’t forget to mention the name of the thing you’re reviewing.

Put each content point in a separate paragraph.

Finish with your recommendation.

Vary the length of your sentences – some short, some long – to make the Review more interesting.

Always think about the Target Reader.

Are they going to learn enough in your Review to make a decision about the book?

The Target Reader’s time is precious. Keep them entertained!

At a most basic level, does your Review look like one? Is it written like one?

You should be able to get all 5 content points. Make sure to cover everything in the rubric.

Remember, nothing that you write has to be real or honest. If it’s easier to make something up, do that.

Would you pass C1 Advanced (CAE)?

C1 advanced (cae) review: useful phrases.

We will finish it with some useful vocabulary mostly used to organize information. Although it is taking a shortcut, if you learn several expressions for each paragraph in each type of text that could be on your exam, you will certainly be able to create a very consistent and well-organized text.

What I liked

What I liked most was ….. The thing I liked most was …. I was pleasantly surprised by ….. ….. would appeal to ….. If you get a chance to ….

What I disliked

What I disliked most was ….. I was disappointed by …… I was disappointed with ….. I was very disappointed by ….. I was very disappointed with ….

Reviews of books:

main character is set in comedy science fiction thriller romance comedy: author written by chapter factual fiction unbelievable bestseller chapter ending

Reviews of films, tv programmes, plays:

lead role star role star star actor star actress starring secondary role He plays a ……. She plays a ……. written by …. is set in ….. based on a true story …. believable true to life not very believable far-fetched comedy romance science fiction ending

Reviews of hotels, restaurants, etc:

location service setting attractive setting disappointing setting owned by run by head chef (restaurant) waiters (restaurant) staff ……. staff at reception …….(hotel hotel facilities …. reasonable prices ….. good value for money ….. excellent value for money ….. expensive a bit expensive overpriced not worth the money poor value for money always fully booked book in advance

The script seemed rather conventional/predictable to me. The plot struck me as completely bizarre/absurd/incomprehensible The characters are appealing and true to life The dancers were quite brilliant/amateurish

Recommendations

I would strongly encourage you not to miss/not to waste your money on… I would definitely recommend seeing/visiting/reading/having a look at …

What is your level of English?

‘The English’ Loses a Compelling Emily Blunt and Chaske Spencer Two-Hander in Convoluted Web of Grievances: TV Review

Amazon Prime Video's new Western drama has plenty going for it, but ultimately loses its most interesting plot in too many others.

By Caroline Framke

Caroline Framke

Chief TV Critic

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Popular on Variety

And so for as much promise as “The English” has, and the consistently beautiful — if strangely pristine, given the brutality constantly at hand — Western landscapes bookending every scene, “frustrating” ends up the word most fitting to describe the series at large. Typically, I’m not one to recommend that a show drag its narratives out any more than necessary, but in this case, the overlapping stories end up too ambitious for the time Blick has to tell them. Sometimes, all you really need to tell a good story are the basics. With only six episodes to unpack everything, “The English” would have been better off significantly narrowing its focus to its greatest strengths: Blunt, Spencer and the unusual ties binding their characters’ quests for justice together.

“The English” premieres Friday, Nov. 11 on Amazon Prime Video.

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How To Write A Review: Cambridge B2 First

How to Write a Review - Cambridge B2 First | Oxford House Barcelona

Posted on 24/07/2019
Categories: Blog
Tags: B2 First , Cambridge Exams , FCE , First Certificate , Resources to learn English , Writing

Students who are taking their B2 First Certificate exam (FCE) will be asked to do two pieces of writing within an 80 minute time limit. Part 1 is always an essay . Part 2 is where you can get a bit more creative. You might, for example, be asked to write a letter, a report or a review, all of which have their own style and set guidelines.

When writing a review it can be difficult to know where to start. But don’t be afraid! We are here to help you every step of the way.

Remember a review could be for a book, a film, a magazine, a restaurant or even a product .

Three steps to writing a great review

Let’s start with something simple. Imagine. You turn over the page to your writing part 2 and you see this question:

Question taken from Cambridge Assessment English website . (Feb 2018)

Step One: Make a plan

The first thing to do is to make a plan, just like we did in our B2 First essay guidelines .

Think of a book you read in which the main character behaved in a surprising way. This could be surprising in a good way, where the character does something amazing and helps somebody. Or maybe there’s a twist at the end and the character does something really shocking. Either way take some time to really think about your choice.

E.g. I’m going to choose The Great Gatsby, because I had to read the book 3 times when I was at school and I’ve seen the film so I feel like I know it really well .

The structure

Next, think of the structure. Consider all the parts of the question and use that to help organise your review. Make notes about the following:

An interesting title
A catchy introduction
A summary of the plot
A surprising moment
Your recommendation

Remember you’re going to want to separate these with clear paragraphs that are going to help the examiner read to the end without getting a headache.

You also need to consider the tone and how the review should sound to the reader. Remember this is for a magazine. Think about all the magazines you like to read. You want to sound chatty and grab the reader’s attention, but not bore them to sleep. Think semi-formal but friendly!

Useful Vocabulary

Now brainstorm some useful vocabulary for your chosen book, including lots of adjectives. Avoid using boring adjectives like good or bad . It’s much more exciting to say ‘amazing’ and ‘disappointing’ or ‘ terrific ’ and ‘terrible’ .

Here’s some more useful vocabulary to get you started:

superficial / deceptive / fascinating / unbelievable / rich / lonely / kind / reserved/ to be set in / to be written by / prosperity / characters / jazz age / protagonist / atmosphere / author / chapter / ending / fictional towns / prohibition / novel / on the outskirts / sad story.

Your next step is to think of some linking phrases. These are going to help tie together your thoughts and bring your review to life!

Overall if you like…
I was pleasantly surprised by…
In fact…
What I disliked the most was…
The book contains…
As well as…
This well-written book…
Unbelievably…

Step Two: Write it

Once you have a solid plan, writing your review should be easy!

First start with an interesting title. E.g. The Unexpected Anti-Hero. It relates to both the book that’s being reviewed and the question. It’s also short and snappy .

Next write an engaging introduction. Maybe start with a rhetorical question, for example:

Are you a fan of the Jazz Age? Then this is the book for you!

Or a general statement about the book that will hook the reader:

The Great Gatsby is a classic, with many twists and turns.

You could also give some background information. Here we use the past simple:

The Great Gatsby was written by F.S.Fitzgerald and is set in prosperous Long Island in 1922.

The second paragraph should summarise the plot (note – we usually describe a story in present tense ):

Gatsby is a mysterious character, he has big extravagant parties, and we never know if we can trust him.

The third paragraph is where we introduce the surprising moment and reveal what the main character did and why it was surprising:

The most shocking part is when…
I couldn’t believe it when…
It was so surprising when…

In the fourth paragraph, give a recommendation! Here the examiner wants to hear your overall opinion. It can be something simple:

I strongly recommend..

Or something more inventive:

I wouldn’t read the novel again because…
Everyone should read this immediately!

But don’t forget to say why!

Step Three: Check it

Now you have your winning book review it’s time to check for all those little (and big) mistakes.

Make sure you check:

You’ve answered all parts of the question.
It is easy to read.
Your spelling is correct.
You’ve used the 3rd person(s).
You have used punctuation.
There’s a variety of nouns and adjectives.
Pick a book you know quite well! Whether it’s Harry Potter or The Hunger Games , make sure you have lots to say about it!
Don’t be afraid to give both negative and positive opinions!
Experiment with using first person and try addressing the reader with ‘you’.
Read lots of real authentic reviews online, anything from holidays to music concerts, exhibitions to video games!
Remember to put some of your own personality into your review. Have some fun with it and good luck!

Follow the links for some excellent phrases and vocabulary for other types of reviews.

Restaurant Reviews

Film Reviews

TV / Theatre Reviews

Exhibition & Concert Reviews

Here are some more sample questions for you to practice on your own:

How to write a review - Example I - Cambridge B2 First | Oxford House Barcelona

Choose one and post your reviews in the comments section.

Glossary for Language Learners

Find the following words in the article and then write down any new ones you didn’t know.

Twist (n): : a sudden change in a story that you do not expect..

Chatty (adj): having a friendly style.

Avoid doing something (v): to intentionally not do something.

Terrific (adj): excellent.

Snappy (adj): concise.

Hook (v): to catch.

adj = adjective

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8 Hidden Benefits of Being Bilingual

By: oxfordadmin
Posted on 17/07/2019

4 Past Tenses and When to Use Them

Posted on 31/07/2019

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How to Write a Book Review: A Comprehensive Tutorial With Examples

You don’t need to be a literary expert to craft captivating book reviews. With one in every three readers selecting books based on insightful reviews, your opinions can guide fellow bibliophiles toward their next literary adventure.

Learning how to write a book review will not only help you excel at your assigned tasks, but you’ll also contribute valuable insights to the book-loving community and turn your passion into a professional pursuit.

In this comprehensive guide, PaperPerk will walk you through a few simple steps to master the art of writing book reviews so you can confidently embark on this rewarding journey.

What is a Book Review?

A book review is a critical evaluation of a book, offering insights into its content, quality, and impact. It helps readers make informed decisions about whether to read the book.

Writing a book review as an assignment benefits students in multiple ways. Firstly, it teaches them how to write a book review by developing their analytical skills as they evaluate the content, themes, and writing style .

Secondly, it enhances their ability to express opinions and provide constructive criticism. Additionally, book review assignments expose students to various publications and genres, broadening their knowledge.

Furthermore, these tasks foster essential skills for academic success, like critical thinking and the ability to synthesize information. By now, we’re sure you want to learn how to write a book review, so let’s look at the book review template first.

Table of Contents

Book Review Template

How to Write a Book Review- A Step by Step Guide

Check out these 5 straightforward steps for composing the best book review.

Step 1: Planning Your Book Review – The Art of Getting Started

You’ve decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let’s take a step back and plan your approach. Since knowing how to write a book review that’s both informative and engaging is an art in itself.

Choosing Your Literature

First things first, pick the book you want to review. This might seem like a no-brainer, but selecting a book that genuinely interests you will make the review process more enjoyable and your insights more authentic.

Crafting the Master Plan

Next, create an outline that covers all the essential points you want to discuss in your review. This will serve as the roadmap for your writing journey.

The Devil is in the Details

As you read, note any information that stands out, whether it overwhelms, underwhelms, or simply intrigues you. Pay attention to:

The characters and their development
The plot and its intricacies
Any themes, symbols, or motifs you find noteworthy

Remember to reserve a body paragraph for each point you want to discuss.

The Key Questions to Ponder

When planning your book review, consider the following questions:

What’s the plot (if any)? Understanding the driving force behind the book will help you craft a more effective review.
Is the plot interesting? Did the book hold your attention and keep you turning the pages?
Are the writing techniques effective? Does the author’s style captivate you, making you want to read (or reread) the text?
Are the characters or the information believable? Do the characters/plot/information feel real, and can you relate to them?
Would you recommend the book to anyone? Consider if the book is worthy of being recommended, whether to impress someone or to support a point in a literature class.
What could improve? Always keep an eye out for areas that could be improved. Providing constructive criticism can enhance the quality of literature.

Step 2 – Crafting the Perfect Introduction to Write a Book Review

In this second step of “how to write a book review,” we’re focusing on the art of creating a powerful opening that will hook your audience and set the stage for your analysis.

Identify Your Book and Author

Begin by mentioning the book you’ve chosen, including its title and the author’s name. This informs your readers and establishes the subject of your review.

Ponder the Title

Next, discuss the mental images or emotions the book’s title evokes in your mind . This helps your readers understand your initial feelings and expectations before diving into the book.

Judge the Book by Its Cover (Just a Little)

Take a moment to talk about the book’s cover. Did it intrigue you? Did it hint at what to expect from the story or the author’s writing style? Sharing your thoughts on the cover can offer a unique perspective on how the book presents itself to potential readers.

Present Your Thesis

Now it’s time to introduce your thesis. This statement should be a concise and insightful summary of your opinion of the book. For example:

“Normal People” by Sally Rooney is a captivating portrayal of the complexities of human relationships, exploring themes of love, class, and self-discovery with exceptional depth and authenticity.

Ensure that your thesis is relevant to the points or quotes you plan to discuss throughout your review.

Incorporating these elements into your introduction will create a strong foundation for your book review. Your readers will be eager to learn more about your thoughts and insights on the book, setting the stage for a compelling and thought-provoking analysis.

How to Write a Book Review: Step 3 – Building Brilliant Body Paragraphs

You’ve planned your review and written an attention-grabbing introduction. Now it’s time for the main event: crafting the body paragraphs of your book review. In this step of “how to write a book review,” we’ll explore the art of constructing engaging and insightful body paragraphs that will keep your readers hooked.

Summarize Without Spoilers

Begin by summarizing a specific section of the book, not revealing any major plot twists or spoilers. Your goal is to give your readers a taste of the story without ruining surprises.

Support Your Viewpoint with Quotes

Next, choose three quotes from the book that support your viewpoint or opinion. These quotes should be relevant to the section you’re summarizing and help illustrate your thoughts on the book.

Analyze the Quotes

Write a summary of each quote in your own words, explaining how it made you feel or what it led you to think about the book or the author’s writing. This analysis should provide insight into your perspective and demonstrate your understanding of the text.

Structure Your Body Paragraphs

Dedicate one body paragraph to each quote, ensuring your writing is well-connected, coherent, and easy to understand.

For example:

In Jane Eyre , Charlotte Brontë writes, “I am no bird; and no net ensnares me.” This powerful statement highlights Jane’s fierce independence and refusal to be trapped by societal expectations.
In Normal People , Sally Rooney explores the complexities of love and friendship when she writes, “It was culture as class performance, literature fetishized for its ability to take educated people on false emotional journeys.” This quote reveals the author’s astute observations on the role of culture and class in shaping personal relationships.
In Wuthering Heights , Emily Brontë captures the tumultuous nature of love with the quote, “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.” This poignant line emphasizes the deep, unbreakable bond between the story’s central characters.

By following these guidelines, you’ll create body paragraphs that are both captivating and insightful, enhancing your book review and providing your readers with a deeper understanding of the literary work.

How to Write a Book Review: Step 4 – Crafting a Captivating Conclusion

You’ve navigated through planning, introductions, and body paragraphs with finesse. Now it’s time to wrap up your book review with a conclusion that leaves a lasting impression . In this final step of “how to write a book review,” we’ll explore the art of writing a memorable and persuasive conclusion.

Summarize Your Analysis

Begin by summarizing the key points you’ve presented in the body paragraphs. This helps to remind your readers of the insights and arguments you’ve shared throughout your review.

Offer Your Final Conclusion

Next, provide a conclusion that reflects your overall feelings about the book. This is your chance to leave a lasting impression and persuade your readers to consider your perspective.

Address the Book’s Appeal

Now, answer the question: Is this book worth reading? Be clear about who would enjoy the book and who might not. Discuss the taste preferences and circumstances that make the book more appealing to some readers than others.

For example: The Alchemist is a book that can enchant a young teen, but those who are already well-versed in classic literature might find it less engaging.

Be Subtle and Balanced

Avoid simply stating whether you “liked” or “disliked” the book. Instead, use nuanced language to convey your message. Highlight the pros and cons of reading the type of literature you’ve reviewed, offering a balanced perspective.

Bringing It All Together

By following these guidelines, you’ll craft a conclusion that leaves your readers with a clear understanding of your thoughts and opinions on the book. Your review will be a valuable resource for those considering whether to pick up the book, and your witty and insightful analysis will make your review a pleasure to read. So conquer the world of book reviews, one captivating conclusion at a time!

How to Write a Book Review: Step 5 – Rating the Book (Optional)

You’ve masterfully crafted your book review, from the introduction to the conclusion. But wait, there’s one more step you might consider before calling it a day: rating the book. In this optional step of “how to write a book review,” we’ll explore the benefits and methods of assigning a rating to the book you’ve reviewed.

Why Rate the Book?

Sometimes, when writing a professional book review, it may not be appropriate to state whether you liked or disliked the book. In such cases, assigning a rating can be an effective way to get your message across without explicitly sharing your personal opinion.

How to Rate the Book

There are various rating systems you can use to evaluate the book, such as:

A star rating (e.g., 1 to 5 stars)
A numerical score (e.g., 1 to 10)
A letter grade (e.g., A+ to F)

Choose a rating system that best suits your style and the format of your review. Be consistent in your rating criteria, considering writing quality, character development, plot, and overall enjoyment.

Tips for Rating the Book

Here are some tips for rating the book effectively:

Be honest: Your rating should reflect your true feelings about the book. Don’t inflate or deflate your rating based on external factors, such as the book’s popularity or the author’s reputation.
Be fair:Consider the book’s merits and shortcomings when rating. Even if you didn’t enjoy the book, recognize its strengths and acknowledge them in your rating.
Be clear: Explain the rationale behind your rating so your readers understand the factors that influenced your evaluation.

Wrapping Up

By including a rating in your book review, you provide your readers with an additional insight into your thoughts on the book. While this step is optional, it can be a valuable tool for conveying your message subtly yet effectively. So, rate those books confidently, adding a touch of wit and wisdom to your book reviews.

Additional Tips on How to Write a Book Review: A Guide

In this segment, we’ll explore additional tips on how to write a book review. Get ready to captivate your readers and make your review a memorable one!

Hook ’em with an Intriguing Introduction

Keep your introduction precise and to the point. Readers have the attention span of a goldfish these days, so don’t let them swim away in boredom. Start with a bang and keep them hooked!

Embrace the World of Fiction

When learning how to write a book review, remember that reviewing fiction is often more engaging and effective. If your professor hasn’t assigned you a specific book, dive into the realm of fiction and select a novel that piques your interest.

Opinionated with Gusto

Don’t shy away from adding your own opinion to your review. A good book review always features the writer’s viewpoint and constructive criticism. After all, your readers want to know what you think!

Express Your Love (or Lack Thereof)

If you adored the book, let your readers know! Use phrases like “I’ll definitely return to this book again” to convey your enthusiasm. Conversely, be honest but respectful even if the book wasn’t your cup of tea.

Templates and Examples and Expert Help: Your Trusty Sidekicks

Feeling lost? You can always get help from formats, book review examples or online college paper writing service platforms. These trusty sidekicks will help you navigate the world of book reviews with ease.

Be a Champion for New Writers and Literature

Remember to uplift new writers and pieces of literature. If you want to suggest improvements, do so kindly and constructively. There’s no need to be mean about anyone’s books – we’re all in this literary adventure together!

Criticize with Clarity, Not Cruelty

When adding criticism to your review, be clear but not mean. Remember, there’s a fine line between constructive criticism and cruelty. Tread lightly and keep your reader’s feelings in mind.

Avoid the Comparison Trap

Resist the urge to compare one writer’s book with another. Every book holds its worth, and comparing them will only confuse your reader. Stick to discussing the book at hand, and let it shine in its own light.

Top 7 Mistakes and How to Avoid Them

Writing a book review can be a delightful and rewarding experience, especially when you balance analysis, wit, and personal insights. However, some common mistakes can kill the brilliance of your review.

In this section of “how to write a book review,” we’ll explore the top 7 blunders writers commit and how to steer clear of them, with a dash of modernist literature examples and tips for students writing book reviews as assignments.

Succumbing to the Lure of Plot Summaries

Mistake: Diving headfirst into a plot summary instead of dissecting the book’s themes, characters, and writing style.

Example: “The Bell Jar chronicles the life of a young woman who experiences a mental breakdown.”

How to Avoid: Delve into the book’s deeper aspects, such as its portrayal of mental health, societal expectations, and the author’s distinctive narrative voice. Offer thoughtful insights and reflections, making your review a treasure trove of analysis.

Unleashing the Spoiler Kraken

Mistake: Spilling major plot twists or the ending without providing a spoiler warning, effectively ruining the reading experience for potential readers.

Example: “In Metamorphosis, the protagonist’s transformation into a monstrous insect leads to…”

How to Avoid: Tread carefully when discussing significant plot developments, and consider using spoiler warnings. Focus on the impact of these plot points on the overall narrative, character growth, or thematic resonance.

Riding the Personal Bias Express

Mistake: Allowing personal bias to hijack the review without providing sufficient evidence or reasoning to support opinions.

Example: “I detest books about existential crises, so The Sun Also Rises was a snoozefest.”

How to Avoid: While personal opinions are valid, it’s crucial to back them up with specific examples from the book. Discuss aspects like writing style, character development, or pacing to support your evaluation and provide a more balanced perspective.

Wielding the Vague Language Saber

Mistake: Resorting to generic, vague language that fails to capture the nuances of the book and can come across as clichéd.

Example: “This book was mind-blowing. It’s a must-read for everyone.”

How to Avoid: Use precise and descriptive language to express your thoughts. Employ specific examples and quotations to highlight memorable scenes, the author’s unique writing style, or the impact of the book’s themes on readers.

Ignoring the Contextualization Compass

Mistake: Neglecting to provide context about the author, genre, or cultural relevance of the book, leaving readers without a proper frame of reference.

Example: “This book is dull and unoriginal.”

How to Avoid: Offer readers a broader understanding by discussing the author’s background, the genre conventions the book adheres to or subverts, and any societal or historical contexts that inform the narrative. This helps readers appreciate the book’s uniqueness and relevance.

Overindulging in Personal Preferences

Mistake: Letting personal preferences overshadow an objective assessment of the book’s merits.

Example: “I don’t like stream-of-consciousness writing, so this book is automatically bad.”

How to Avoid: Acknowledge personal preferences but strive to evaluate the book objectively. Focus on the book’s strengths and weaknesses, considering how well it achieves its goals within its genre or intended audience.

Forgetting the Target Audience Telescope

Mistake: Failing to mention the book’s target audience or who might enjoy it, leading to confusion for potential readers.

Example: “This book is great for everyone.”

How to Avoid: Contemplate the book’s intended audience, genre, and themes. Mention who might particularly enjoy the book based on these factors, whether it’s fans of a specific genre, readers interested in character-driven stories, or those seeking thought-provoking narratives.

By dodging these common pitfalls, writers can craft insightful, balanced, and engaging book reviews that help readers make informed decisions about their reading choices.

These tips are particularly beneficial for students writing book reviews as assignments, as they ensure a well-rounded and thoughtful analysis.!

Many students requested us to cover how to write a book review. This thorough guide is sure to help you. At Paperperk, professionals are dedicated to helping students find their balance. We understand the importance of good grades, so we offer the finest writing service , ensuring students stay ahead of the curve. So seek expert help because only Paperperk is your perfect solution!

What is the difference between a book review and a report?

Who is the target audience for book reviews and book reports, how do book reviews and reports differ in length and content, can i write professional book reviews, what are the key aspects of writing professional book reviews, how can i enhance my book-reviewing skills to write professional reviews, what should be included in a good book review.

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How to Write a Literature Review | Guide, Examples, & Templates

How to Write a Literature Review | Guide, Examples, & Templates

Published on January 2, 2023 by Shona McCombes . Revised on September 11, 2023.

What is a literature review? A literature review is a survey of scholarly sources on a specific topic. It provides an overview of current knowledge, allowing you to identify relevant theories, methods, and gaps in the existing research that you can later apply to your paper, thesis, or dissertation topic .

There are five key steps to writing a literature review:

Search for relevant literature
Evaluate sources
Identify themes, debates, and gaps
Outline the structure
Write your literature review

A good literature review doesn’t just summarize sources—it analyzes, synthesizes , and critically evaluates to give a clear picture of the state of knowledge on the subject.

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What is the purpose of a literature review, examples of literature reviews, step 1 – search for relevant literature, step 2 – evaluate and select sources, step 3 – identify themes, debates, and gaps, step 4 – outline your literature review’s structure, step 5 – write your literature review, free lecture slides, other interesting articles, frequently asked questions, introduction.

Quick Run-through
Step 1 & 2

When you write a thesis , dissertation , or research paper , you will likely have to conduct a literature review to situate your research within existing knowledge. The literature review gives you a chance to:

Demonstrate your familiarity with the topic and its scholarly context
Develop a theoretical framework and methodology for your research
Position your work in relation to other researchers and theorists
Show how your research addresses a gap or contributes to a debate
Evaluate the current state of research and demonstrate your knowledge of the scholarly debates around your topic.

Writing literature reviews is a particularly important skill if you want to apply for graduate school or pursue a career in research. We’ve written a step-by-step guide that you can follow below.

Receive feedback on language, structure, and formatting

Professional editors proofread and edit your paper by focusing on:

Academic style
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See an example

Writing literature reviews can be quite challenging! A good starting point could be to look at some examples, depending on what kind of literature review you’d like to write.

Example literature review #1: “Why Do People Migrate? A Review of the Theoretical Literature” ( Theoretical literature review about the development of economic migration theory from the 1950s to today.)
Example literature review #2: “Literature review as a research methodology: An overview and guidelines” ( Methodological literature review about interdisciplinary knowledge acquisition and production.)
Example literature review #3: “The Use of Technology in English Language Learning: A Literature Review” ( Thematic literature review about the effects of technology on language acquisition.)
Example literature review #4: “Learners’ Listening Comprehension Difficulties in English Language Learning: A Literature Review” ( Chronological literature review about how the concept of listening skills has changed over time.)

You can also check out our templates with literature review examples and sample outlines at the links below.

Download Word doc Download Google doc

Before you begin searching for literature, you need a clearly defined topic .

If you are writing the literature review section of a dissertation or research paper, you will search for literature related to your research problem and questions .

Make a list of keywords

Start by creating a list of keywords related to your research question. Include each of the key concepts or variables you’re interested in, and list any synonyms and related terms. You can add to this list as you discover new keywords in the process of your literature search.

Social media, Facebook, Instagram, Twitter, Snapchat, TikTok
Body image, self-perception, self-esteem, mental health
Generation Z, teenagers, adolescents, youth

Search for relevant sources

Use your keywords to begin searching for sources. Some useful databases to search for journals and articles include:

Your university’s library catalogue
Google Scholar
Project Muse (humanities and social sciences)
Medline (life sciences and biomedicine)
EconLit (economics)
Inspec (physics, engineering and computer science)

You can also use boolean operators to help narrow down your search.

Make sure to read the abstract to find out whether an article is relevant to your question. When you find a useful book or article, you can check the bibliography to find other relevant sources.

You likely won’t be able to read absolutely everything that has been written on your topic, so it will be necessary to evaluate which sources are most relevant to your research question.

For each publication, ask yourself:

What question or problem is the author addressing?
What are the key concepts and how are they defined?
What are the key theories, models, and methods?
Does the research use established frameworks or take an innovative approach?
What are the results and conclusions of the study?
How does the publication relate to other literature in the field? Does it confirm, add to, or challenge established knowledge?
What are the strengths and weaknesses of the research?

Make sure the sources you use are credible , and make sure you read any landmark studies and major theories in your field of research.

You can use our template to summarize and evaluate sources you’re thinking about using. Click on either button below to download.

Take notes and cite your sources

As you read, you should also begin the writing process. Take notes that you can later incorporate into the text of your literature review.

It is important to keep track of your sources with citations to avoid plagiarism . It can be helpful to make an annotated bibliography , where you compile full citation information and write a paragraph of summary and analysis for each source. This helps you remember what you read and saves time later in the process.

To begin organizing your literature review’s argument and structure, be sure you understand the connections and relationships between the sources you’ve read. Based on your reading and notes, you can look for:

Trends and patterns (in theory, method or results): do certain approaches become more or less popular over time?
Themes: what questions or concepts recur across the literature?
Debates, conflicts and contradictions: where do sources disagree?
Pivotal publications: are there any influential theories or studies that changed the direction of the field?
Gaps: what is missing from the literature? Are there weaknesses that need to be addressed?

This step will help you work out the structure of your literature review and (if applicable) show how your own research will contribute to existing knowledge.

Most research has focused on young women.
There is an increasing interest in the visual aspects of social media.
But there is still a lack of robust research on highly visual platforms like Instagram and Snapchat—this is a gap that you could address in your own research.

There are various approaches to organizing the body of a literature review. Depending on the length of your literature review, you can combine several of these strategies (for example, your overall structure might be thematic, but each theme is discussed chronologically).

Chronological

The simplest approach is to trace the development of the topic over time. However, if you choose this strategy, be careful to avoid simply listing and summarizing sources in order.

Try to analyze patterns, turning points and key debates that have shaped the direction of the field. Give your interpretation of how and why certain developments occurred.

If you have found some recurring central themes, you can organize your literature review into subsections that address different aspects of the topic.

For example, if you are reviewing literature about inequalities in migrant health outcomes, key themes might include healthcare policy, language barriers, cultural attitudes, legal status, and economic access.

Methodological

If you draw your sources from different disciplines or fields that use a variety of research methods , you might want to compare the results and conclusions that emerge from different approaches. For example:

Look at what results have emerged in qualitative versus quantitative research
Discuss how the topic has been approached by empirical versus theoretical scholarship
Divide the literature into sociological, historical, and cultural sources

Theoretical

A literature review is often the foundation for a theoretical framework . You can use it to discuss various theories, models, and definitions of key concepts.

You might argue for the relevance of a specific theoretical approach, or combine various theoretical concepts to create a framework for your research.

Like any other academic text , your literature review should have an introduction , a main body, and a conclusion . What you include in each depends on the objective of your literature review.

The introduction should clearly establish the focus and purpose of the literature review.

Depending on the length of your literature review, you might want to divide the body into subsections. You can use a subheading for each theme, time period, or methodological approach.

As you write, you can follow these tips:

Summarize and synthesize: give an overview of the main points of each source and combine them into a coherent whole
Analyze and interpret: don’t just paraphrase other researchers — add your own interpretations where possible, discussing the significance of findings in relation to the literature as a whole
Critically evaluate: mention the strengths and weaknesses of your sources
Write in well-structured paragraphs: use transition words and topic sentences to draw connections, comparisons and contrasts

In the conclusion, you should summarize the key findings you have taken from the literature and emphasize their significance.

When you’ve finished writing and revising your literature review, don’t forget to proofread thoroughly before submitting. Not a language expert? Check out Scribbr’s professional proofreading services !

This article has been adapted into lecture slides that you can use to teach your students about writing a literature review.

Scribbr slides are free to use, customize, and distribute for educational purposes.

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If you want to know more about the research process , methodology , research bias , or statistics , make sure to check out some of our other articles with explanations and examples.

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A literature review is a survey of scholarly sources (such as books, journal articles, and theses) related to a specific topic or research question .

It is often written as part of a thesis, dissertation , or research paper , in order to situate your work in relation to existing knowledge.

There are several reasons to conduct a literature review at the beginning of a research project:

To familiarize yourself with the current state of knowledge on your topic
To ensure that you’re not just repeating what others have already done
To identify gaps in knowledge and unresolved problems that your research can address
To develop your theoretical framework and methodology
To provide an overview of the key findings and debates on the topic

Writing the literature review shows your reader how your work relates to existing research and what new insights it will contribute.

The literature review usually comes near the beginning of your thesis or dissertation . After the introduction , it grounds your research in a scholarly field and leads directly to your theoretical framework or methodology .

A literature review is a survey of credible sources on a topic, often used in dissertations , theses, and research papers . Literature reviews give an overview of knowledge on a subject, helping you identify relevant theories and methods, as well as gaps in existing research. Literature reviews are set up similarly to other academic texts , with an introduction , a main body, and a conclusion .

An annotated bibliography is a list of source references that has a short description (called an annotation ) for each of the sources. It is often assigned as part of the research process for a paper .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

McCombes, S. (2023, September 11). How to Write a Literature Review | Guide, Examples, & Templates. Scribbr. Retrieved June 9, 2024, from https://www.scribbr.com/dissertation/literature-review/

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A Very English Scandal review: funny and confident – like Jeremy Thorpe

Hugh Grant has the time of his life as the former Liberal leader who faced trial for conspiracy to murder

“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever.”

Ah, the perils of taking a younger lover. So malleable in some ways (“Hop on to all fours, there’s a good chap. That always works best, don’t you think?”) and so thoroughly wayward in others.

Most times, both parties manage to extricate themselves and walk away unharmed. Things are trickier, alas, if you are the new Liberal leader, set fair to transform your party from cranky, faddist, po-faced no-mark into legitimate power player, and tear asunder the duopoly enjoyed by the Tories and Labour for half a century by a blessed concatenation of political circumstances and the sheer force of your wickedly clever, devilishly funny, perennially media-ready personality.

Such is the problem facing Jeremy Thorpe by the end of the opening episode of Russell T Davies’s frankly brilliant A Very English Scandal – a three-part dramatisation of events leading up to Thorpe’s infamous 1979 trial for conspiracy to murder his troubled and increasingly troublesome young boyfriend, Norman Scott.

Hugh Grant plays Thorpe and – clearly having the time of his actorly life – is revelatory. Charming, sly, duplicitous, forthright, manipulative, sometimes by turns, sometimes all at once, he is never less than wholly convincing and compelling. Everything (bar the stutter) that made him a romcom star is still there, but now there is everything else too. He handles the comic scenes and moments, which are sprinkled liberally throughout, with the deftness you’d expect, but never loses sight of the underlying nervousness, fear and venality underlying the politician’s moves. Discussing with best friend Peter Bessell (Alex Jennings, brilliant as a devotee with a shadow on his soul) his need to marry in order to progress in politics (“You’ll need to find a girl who’s led … a sheltered life”), he is part shark – always moving forward lest he founder and die – and part snake, shedding old skins and growing new ones as the moment dictates, and always so wry and rogueish with it that you find yourself thinking that whoever she turns out to be, she could do worse. You might not have a lot of sex, but you would have an endlessly good time.

Poor, unstable, neurotic Norman – born Josiffe, renamed Scott when he relocates to Dublin and a modelling career seems to be taking off – is played with his customary delicate depth by Ben Whishaw. (There is no sign of Benedict Cumberbatch, but the smart money says he cameos at some point as Rinka the great dane, killed – to the public’s horror – as the conspirators’ net closes around Scott).

Scott is, at first, as Thorpe notes, “a very heaven”. Scott idolises Thorpe, who gives him a flat, money and a nickname – Bunny – that will one day be known, as nicknames between lovers never should, nationwide. Scott becomes resentful of the time Thorpe spends away from him and fixates on his refusal to get him a new insurance card so he can claim benefits and secure his prescription medications. When their relationship disintegrates past the point of no return, Scott tells the police Thorpe made him “a victim of his lusts” and provides private letters as evidence. “Bunnies can and will go to Paris!” says one that encloses tickets to France. “That’s proof enough, isn’t it?” says Scott, who is quite as astute as Thorpe in his own way. It is passed from the Met to Scotland Yard to Special Branch and finally to MI5, where a wise man places it silently in a safe and waits for its time to come.

By the end of the first episode, it nearly has. Thorpe’s political star is rising – via several pro-European, pro-immigration and other progressive speeches that chime with the likely viewer’s likely sympathies and complicate our reactions as his mood darkens towards his ex-lover, whose proclamations are increasingly insistent, and one hellish solution to the now unheavenly body that torments him presents itself.

It is a drama as brutally funny, endlessly clever, justifiably confident as its protagonist; an immaculately-scripted hour that entwines two decades of salient political history with a finely-worked portrait of the English establishment, shaping and being shaped by a certain kind of man protected by certain privileges and labouring under a particular kind of fear. The era’s moves to legalise homosexuality and the European and immigration concerns playing out in the background give the broader moment resonance, but it is the superlative work from Jennings, Whishaw and above all Grant’s tour de force that holds it together, humanises and makes sense of it all. Bravo et encore. Bunnies can and will go to the Baftas, I’m sure.

A Very English Scandal
Stephen Frears
Russell T Davies

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, a very english scandal is one of the best things you’ll watch this year.

Oscar-nominated director Stephen Frears (“ Dangerous Liaisons ,” “The Queen”) does his best work in over a decade, but it’s not for a film opening in theaters today. It’s in his directorial work on the three-part, roughly three-hour mini-series “A Very English Scandal,” debuting in its entirety today, June 29 th , on Amazon Prime. Frears has long been a great actor for directors, drawing some of the career-best work from performers like Michelle Pfeiffer , Helen Mirren , Annette Bening , Chiwetel Ejiofor , Daniel Day-Lewis , and John Cusack , among many others. Here, he brings the absolute best out of Hugh Grant and Ben Whishaw , who give riveting performances in the telling of one of the U.K.’s most shocking political scandals. This is a must-see.

Grant plays Jeremy Thorpe, a powerful MP who also happened to be a closeted homosexual. In the mid-‘60s, he developed a relationship with Norman Scott (Whishaw), someone very much at the other end of the socioeconomic ladder. At least as it’s captured here, Norman was something of an acquisition for Jeremy, someone he could protect and predict. Tired of the danger of illegal one-night stands with men, Norman was something he could control. Until he couldn’t. After the two split, Norman became the secret for Jeremy that wouldn’t go away. And so he tried to have him murdered.

A character in the phenomenal third episode (the series starts strongly and only gets better) says that “This is the story of a liar meeting a fantasist.” Norman was the kind of young man who partied constantly and told stories to try and impress people around him. Whishaw perfectly portrays this man’s fascinating combination of vulnerability and strength. He gets that Norman honestly loved Jeremy, and that plays into why he refuses to be considered a fling. The look in his eyes when one of Jeremy’s colleagues who knows about the relationship verbally recognizes the honest emotion of it is poignant. Norman is a man who has been dismissed by everyone and was then seen by one of the most powerful men in the country. He refuses to let that go. In some ways, it's all he has.

On the other side of this remarkable acting achievement is the work of Hugh Grant, having one hell of a year with this and “ Paddington 2 ” (he should work with Whishaw, the voice of Paddington, all the time). Here, Grant is not only perfectly cast—his movie star looks conveying the powerful social position of his character—but he seems to fully understand the push and pull within Jeremy. Nothing is more important than his reputation and his political career, and it’s when his illegal love (homosexuality was illegal when they started dating) threatens his career that he lashes out. He would rather be dead than outed. Norman becomes a situation that he thought he completely controlled that ends up controlling him, and Grant captures that aspect of this fascinating story with remarkable subtlety. This could have been an exaggerated caricature of an awful man overrun with power, but Grant finds a way to make Jeremy engaging instead of merely a villain. And yet he never goes for sentimentality either. We come not to like Jeremy but to at least understand part of what he did, and that’s quite an accomplishment. It may be Grant’s best performance.

Frears and writer Russell T. Davies (“Doctor Who”) also refuse to overplay their hand when it comes to the salaciousness of it all. This is a scandal during which the sexuality of the defendant became more controversial than the allegation that he tried to have someone killed . Think about that. The skewed priority that values public perception over human life is there under the surface of all three hours of “A Very English Scandal,” and Frears and Davies fully understand that this is what created Jeremy Thorpe and made him into such a monster.

Davies and Frears work together to refine a perfect balance of tone. “A Very English Scandal” can be very humorous, especially as the attempted murder unfolds in such a dumb manner that it almost makes the criminals in “ I, Tonya ” look intelligent. And yet when it reaches its emotional peak in episode three, I found myself incredibly moved. And perhaps most refreshingly of all, “A Very English Scandal” zips by. In an era when almost every TV season is just too long, this is a quick-paced, jaunty three hours of your life. You won’t regret it.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Theatre, Drama
Kiln Theatre, Kilburn
10 Jun 29 Jun 2024
4 out of 5 stars
Recommended

Time Out says

Sanaz Toossi’s Pulitzer winner is a bittersweet, multilayered drama about a quartet of Iranians struggling to learn English

As an aspirant bilingual person myself I loved Iranian-American playwright Sanaz Toossi’s Pulitzer-winning play about a quartet of Iranian students learning English as a foreign language, each of them for very specific personal reasons. It’s a multilayered piece of writing. But at its heart the play is about the experience of translating yourself into a second language, and the frustration of not feeling like the same person as in your mother tongue.

Somewhere in provincial Iran, Marjan (Nadia Albina) is teaching a class to a group of four adults: Elham (Serena Manteghi), a biologist who needs an English diploma to work abroad; Goli (Sara Hazemi), who is young and seems to be learning English out of curiosity; Omid (Nojan Khazi), who appears to be a total natural and is applying for a US Green Card; and Roya (Lanna Joffrey), who is under the impression that she will be moving to Canada to go and live with her son and his family. Then there’s Majan herself: insistent on her class speaking English at all times, she lived in Manchester for nine years and it doesn’t seem immediately apparent why she returned - she has a slightly ghostlike quality, like she’s not meant to be here.

I wonder how this played out in the original US production, but here the characters adopt posh English accents when speaking in their native Farsi, but in halting accented English when speaking English (which is most of the play). These latter sections are necessarily tweaked for clarity, but Toossi is on the whole excellent at portraying the eccentric rhythms and slightly frenzied quality of people clutching at words they semi-understand in order to fulfil the requirements of a language class.

She’s really excellent at the duality of self that can occur when learning a foreign language with totally different rules and grammar: young and polite, Goli’s English self isn’t hugely different to her Iranian one; older, opinionated and with a furious wit, Elham’s personality is totally neutered by English and she resents it tremendously. It’s a particularly excellent performance from Manteghi, portraying a frustrated and brilliant woman who almost has to pretend to be somebody else.

It is also a play about English speaking as a form of privilege. Most of these people yearn for something in this world that requires them to speak English to a high standard, for essentially administrative or legal reasons. Elham is clearly enormously clever, but has failed her English diploma five times. Omid is just some affable dude with no great ambition, but he just appears to be really good at languages.

Receiving its UK premiere in Diyan Zora’s no-frills-but-effective RSC co-production, ‘English’ is an elegant and aching play about dual selves and the cultural stranglehold of English. And if you’ve taken language lessons as an adult it is amusingly perceptive about them, especially the way that (mild spoilers) people have a tendency to drop out of them as the weeks roll by.

The production got mixed reviews when it premiered at Stratford-upon-Avon last month and I do strongly suspect that it’ll mean vastly more to you if you’ve ever made a concerted effort to learn a second language than if you haven’t. But I found it beautiful, an elegantly existential rationalisation of the soul searching that comes with trying to translate yourself into a new form.

Dates and times

Mon, 10 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Tue, 11 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Wed, 12 Jun 2024 14:30 Kiln Theatre £15-£40. Runs 1hr 30min

Wed, 12 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Thu, 13 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Fri, 14 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Sat, 15 Jun 2024 14:30 Kiln Theatre £15-£40. Runs 1hr 30min

Sat, 15 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Mon, 17 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

Tue, 18 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min

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Smoke and Ashes: Opium's Hidden Histories

Rating:	★ ★ ★ ★ ☆
Title:	Smoke and Ashes: Opium's Hidden Histories
Author:	Amitav Ghosh
Audience:	General Public
Difficulty:	Easy
Publisher:	Farrar, Straus and Giroux
Published:	2024
Pages:	416

"Smoke and Ashes: Opium’s Hidden Histories" is a sweeping and jarring work of how opium became an insidious capitalistic tool to generate wealth for the British Empire and other Western powers at the expense of an epidemic of addiction in China and the impoverishment of millions of farmers in India. The legacy of this “criminal enterprise,” as the author puts it, left lasting influences that reverberate across cultures and societies even today.

Written in engaging language, Smoke and Ashes is a scholarly follow-up to the author’s famous Ibis trilogy, a collection of fiction that uses the opium trade as its backdrop. In Smoke and Ashes , the author draws on his years-long research into opium supplemented by his family history, personal travels, cross-cultural experience, and expertise in works of historical verisimilitude. Composed over 18 chapters, the author delves into a diverse set of primary and secondary data, including Chinese sources. He also brings a multidimensional angle to the study by highlighting the opium trade's legacy in diverse areas such as art, architecture , horticulture, printmaking, and calligraphy. 23 pictorial illustrations serve as powerful eyewitness accounts to the discourse.

This book should interest students and scholars seeking historical analysis based on facts on the ground instead of colonial narratives. Readers will also find answers to how opium continues to play an outsize role in modern-day conflicts, addictions, corporate behavior, and globalism.

Amitav Ghosh’s research convincingly points out that while opium had always been used for recreational purposes across cultures, it was the Western powers such as the British, Portuguese, the Spaniards, and the Dutch that discovered its significant potential as a trading vehicle. Ghosh adds that colonial rulers, especially the British, often rationalized their actions by arguing that the Asian population was naturally predisposed to narcotics. However, it was British India that bested others in virtually monopolizing the market for the highly addictive Indian opium in China . Used as a currency to redress the East India Company (EIC)’s trade deficit with China, the opium trade by the 1890s generated about five million sterling a year for Britain . Meanwhile, as many as 40 million Chinese became addicted to opium. As the Chinese tried to control or prohibit opium's entry into the country, Britain waged two wars against it, forcing China not only to accept opium but also to cede control of Hong Kong and part of Shanghai.

Eastern India became the epicenter of British opium production. Workers in opium factories in Patna and Benares toiled under severe conditions, often earning less than the cost of production while their British managers lived in luxury. Ghosh asserts that opium farming permanently impoverished a region that was an economic powerhouse before the British arrived. Ghosh’s work echoes developmental economists such as Jonathan Lehne, who has documented opium-growing communities' lower literacy and economic progress compared to their neighbors.

Ghosh states that after Britain, “the country that benefited most from the opium trade” with China, was the United States. American traders skirted the British opium monopoly by sourcing from Turkey and Malwa in Western India. By 1818, American traders were smuggling about one-third of all the opium consumed in China. Many powerful families like the Astors, Coolidges, Forbes, Irvings, and Roosevelts built their fortunes from the opium trade. Much of this opium money, Ghosh shows, also financed banking, railroads, and Ivy League institutions. While Ghosh mentions that many of these families developed a huge collection of Chinese art , he could have also discussed that some of their holdings were most probably part of millions of Chinese cultural icons plundered by colonialists.

Ghosh ends the book by discussing how the EIC's predatory behaviors have been replicated by modern corporations, like Purdue Pharma, that are responsible for the opium-derived OxyContin addiction. He adds that fossil fuel companies such as BP have also reaped enormous profits at the expense of consumer health or environmental damage.

Perhaps one omission in this book is that the author does not hold Indian opium traders from Malwa, such as the Marwaris, Parsis, and Jews, under the same ethical scrutiny as he does to the British and the Americans. While various other works have covered the British Empire 's involvement in the opium trade, most readers would find Ghosh's narrative of American involvement to be eye-opening. Likewise, his linkage of present-day eastern India's economic backwardness to opium is both revealing and insightful.

Winner of India's highest literary award Jnanpith and nominated author for the Man Booker Prize, Amitav Ghosh's works concern colonialism, identity, migration, environmentalism, and climate change. In this book, he provides an invaluable lesson for political and business leaders that abdication of ethics and social responsibility has lasting consequences impacting us all.

Buy This Book

About the reviewer.

Egyptian Gods - The Complete List

Trade Goods of the East India Company

The English and Dutch East India Companies' Invasions of India

Cite this work.

Chaudhuri, S. (2024, June 03). Smoke and Ashes: Opium's Hidden Histories . World History Encyclopedia . Retrieved from https://www.worldhistory.org/review/454/smoke-and-ashes-opiums-hidden-histories/

Chicago Style

Chaudhuri, Shankar. " Smoke and Ashes: Opium's Hidden Histories ." World History Encyclopedia . Last modified June 03, 2024. https://www.worldhistory.org/review/454/smoke-and-ashes-opiums-hidden-histories/.

Chaudhuri, Shankar. " Smoke and Ashes: Opium's Hidden Histories ." World History Encyclopedia . World History Encyclopedia, 03 Jun 2024. Web. 09 Jun 2024.

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What is peer review?

Reviewers play a pivotal role in scholarly publishing. The peer review system exists to validate academic work, helps to improve the quality of published research, and increases networking possibilities within research communities. Despite criticisms, peer review is still the only widely accepted method for research validation and has continued successfully with relatively minor changes for some 350 years.

Elsevier relies on the peer review process to uphold the quality and validity of individual articles and the journals that publish them.

Peer review has been a formal part of scientific communication since the first scientific journals appeared more than 300 years ago. The Philosophical Transactions opens in new tab/window of the Royal Society is thought to be the first journal to formalize the peer review process opens in new tab/window under the editorship of Henry Oldenburg (1618- 1677).

Despite many criticisms about the integrity of peer review, the majority of the research community still believes peer review is the best form of scientific evaluation. This opinion was endorsed by the outcome of a survey Elsevier and Sense About Science conducted in 2009 opens in new tab/window and has since been further confirmed by other publisher and scholarly organization surveys. Furthermore, a 2015 survey by the Publishing Research Consortium opens in new tab/window , saw 82% of researchers agreeing that “without peer review there is no control in scientific communication.”

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The peer review process

Types of peer review.

Peer review comes in different flavours. Each model has its own advantages and disadvantages, and often one type of review will be preferred by a subject community. Before submitting or reviewing a paper, you must therefore check which type is employed by the journal so you are aware of the respective rules. In case of questions regarding the peer review model employed by the journal for which you have been invited to review, consult the journal’s homepage or contact the editorial office directly.

Single anonymized review

In this type of review, the names of the reviewers are hidden from the author. This is the traditional method of reviewing and is the most common type by far. Points to consider regarding single anonymized review include:

Reviewer anonymity allows for impartial decisions , as the reviewers will not be influenced by potential criticism from the authors.

Authors may be concerned that reviewers in their field could delay publication, giving the reviewers a chance to publish first.

Reviewers may use their anonymity as justification for being unnecessarily critical or harsh when commenting on the authors’ work.

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Author anonymity limits reviewer bias, such as on author's gender, country of origin, academic status, or previous publication history.

Articles written by prestigious or renowned authors are considered based on the content of their papers, rather than their reputation.

But bear in mind that despite the above, reviewers can often identify the author through their writing style, subject matter, or self-citation – it is exceedingly difficult to guarantee total author anonymity. More information for authors can be found in our double-anonymized peer review guidelines .

Triple anonymized review

With triple anonymized review, reviewers are anonymous to the author, and the author's identity is unknown to both the reviewers and the editor. Articles are anonymized at the submission stage and are handled in a way to minimize any potential bias towards the authors. However, it should be noted that:

The complexities involved with anonymizing articles/authors to this level are considerable.

As with double anonymized review, there is still a possibility for the editor and/or reviewers to correctly identify the author(s) from their writing style, subject matter, citation patterns, or other methodologies.

Open review

Open peer review is an umbrella term for many different models aiming at greater transparency during and after the peer review process. The most common definition of open review is when both the reviewer and author are known to each other during the peer review process. Other types of open peer review consist of:

Publication of reviewers’ names on the article page

Publication of peer review reports alongside the article, either signed or anonymous

Publication of peer review reports (signed or anonymous) with authors’ and editors’ responses alongside the article

Publication of the paper after pre-checks and opening a discussion forum to the community who can then comment (named or anonymous) on the article

Many believe this is the best way to prevent malicious comments, stop plagiarism, prevent reviewers from following their own agenda, and encourage open, honest reviewing. Others see open review as a less honest process, in which politeness or fear of retribution may cause a reviewer to withhold or tone down criticism. For three years, five Elsevier journals experimented with publication of peer review reports (signed or anonymous) as articles alongside the accepted paper on ScienceDirect ( example opens in new tab/window ).

More transparent peer review

Transparency is the key to trust in peer review and as such there is an increasing call towards more  transparency around the peer review process . In an effort to promote transparency in the peer review process, many Elsevier journals therefore publish the name of the handling editor of the published paper on ScienceDirect. Some journals also provide details about the number of reviewers who reviewed the article before acceptance. Furthermore, in order to provide updates and feedback to reviewers, most Elsevier journals inform reviewers about the editor’s decision and their peers’ recommendations.

Article transfer service: sharing reviewer comments

Elsevier authors may be invited to  transfer  their article submission from one journal to another for free if their initial submission was not successful.

As a referee, your review report (including all comments to the author and editor) will be transferred to the destination journal, along with the manuscript. The main benefit is that reviewers are not asked to review the same manuscript several times for different journals.

Tools and resources

Interesting reads.

Chapter 2 of Academic and Professional Publishing, 2012, by Irene Hames in 2012 opens in new tab/window

"Is Peer Review in Crisis?" Perspectives in Publishing No 2, August 2004, by Adrian Mulligan opens in new tab/window

“The history of the peer-review process” Trends in Biotechnology, 2002, by Ray Spier opens in new tab/window

Reviewers’ Update articles

Peer review using today’s technology

Lifting the lid on publishing peer review reports: an interview with Bahar Mehmani and Flaminio Squazzoni

How face-to-face peer review can benefit authors and journals alike

Innovation in peer review: introducing “volunpeers”

Results masked review: peer review without publication bias

Elsevier Researcher Academy modules

The certified peer reviewer course opens in new tab/window

Transparency in peer review opens in new tab/window

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COMMENTS

The English movie review & film summary (2022)
This is a drama about lands shaped by violence and eroded by vengeance, a genre exercise with fantastic performances and film-caliber technical elements. Western fans definitely won't want to miss it. After a prologue that details the tumultuous state of existence in middle America in 1890, "The English" thrusts its two protagonists ...
'The English' Review: Emily Blunt Rules the Wild West
The plot is nonsense, but writer-director Hugo Blick lets Blunt and her co-stars shine in this tale of an English noblewoman on a revenge mission in 1890s America. Alan Sepinwall's review
'The English' Review: Amazon Series with Emily Blunt Hits a Bullseye
Chaske Spencer and Emily Blunt in "The English" Diego Lopez Calvin / Prime Video. Despite his early predicament, Whipp's path soon intersects with Cornelia's. She claims it's magic — a ...
How to write a review?
Step 1: Briefly analyse the given topic…. The first thing you need to do is to underline a description part -in other words, just find what needs to be described. Secondly, find a discussion part - in other words, try to find the specific points you need to comment on in your text.
English Review
About English Review. Find out more about how English Review can give your students the edge they need to achieve their best grades with subject expertise, with information on the editorial board and the magazine content. English Review magazine for A-level students includes in-depth analysis of key texts, contextual background, and articles ...
The English: Season 1
Nov 23, 2022 Full Review John Doyle Globe and Mail The typical western is, to us today, a crock. Even a revision of the orthodoxy is tricky territory. ... Movies The English is a masterclass in ...
The English: Season 1
The English is a masterclass in the Western genre, that deserves to be experienced on the largest screen possible. Full Review | May 20, 2023 Paula Vázquez Prieto La Nación (Argentina)
English Review Magazine: Hodder Education
The English Review Magazine Volume 35, 2024/25. ISBN: 9781036009786. Full Subscription. £ 40.00. Additional Student Copies. £ 15.00. Only available with an institution subscription. Qty.
Modernist Journals
The English Review: An Introduction. In 1908, Ford Madox Ford (or Hueffer as he was known, until he changed his name by deed poll in 1919), seemed eminently well qualified to start a new cultural journal. He was extremely widely read, and he also knew intimately writers whose work spanned the last decades of the nineteenth century and the first ...
'The English' Review: Emily Blunt in Amazon's Big Swing of a Western
'The English' Review: Emily Blunt in Amazon's Big, Bold Swing of a Western. Hugo Blick's six-part series pairs Blunt and Chaske Spencer as outsiders seeking revenge on the wide open prairie.
News, sport and opinion from the Guardian's US edition
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The English Review
The English Review was an English-language literary magazine published in London from 1908 to 1937. At its peak, the journal published some of the leading writers of its day. History
How to write a review?
A review is usually written for an English-language magazine, newspaper or website. The main purpose is to describe and express a personal opinion about something which the writer has experienced (e.g. a film, a holiday, a product, a website, etc.) and to give the reader a clear impression of what the item discussed is like.
The English Review: Emily Blunt Amazon Western Drama Gets ...
'The English' Loses a Compelling Emily Blunt and Chaske Spencer Two-Hander in Convoluted Web of Grievances: TV Review Amazon Prime Video's new Western drama has plenty going for it, but ...
How To Write A Review: Cambridge B2 First
Step One: Make a plan. The first thing to do is to make a plan, just like we did in our B2 First essay guidelines. Think of a book you read in which the main character behaved in a surprising way. This could be surprising in a good way, where the character does something amazing and helps somebody. Or maybe there's a twist at the end and the ...
Review: Learning 'English,' When Your Accent Is a 'War Crime'
In a rich new play by Sanaz Toossi, four Iranians and their language teacher find second selves in a second tongue. From left, Tala Ashe, Hadi Tabbal, Pooya Mohseni, Marjan Neshat and Ava ...
New English Review
New English Review Press is a priceless cultural institution. — Bruce Bawer. Subscribe to New English Review. Order here or wherever books are sold. The perfect gift for the history lover in your life. Order on Amazon US, Amazon UK or wherever ...
How to write a book review: format guide, & examples
Step 1: Planning Your Book Review - The Art of Getting Started. You've decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let's take a step back and plan your approach.
How to Write a Literature Review
Example literature review #4: "Learners' Listening Comprehension Difficulties in English Language Learning: A Literature Review" (Chronological literature review about how the concept of listening skills has changed over time.) You can also check out our templates with literature review examples and sample outlines at the links below.
A Very English Scandal review: funny and confident
TV review A Very English Scandal. This article is more than ... is the problem facing Jeremy Thorpe by the end of the opening episode of Russell T Davies's frankly brilliant A Very English ...
A Very English Scandal is One of the Best Things You'll ...
It's in his directorial work on the three-part, roughly three-hour mini-series "A Very English Scandal," debuting in its entirety today, June 29 th, on Amazon Prime. Frears has long been a great actor for directors, drawing some of the career-best work from performers like Michelle Pfeiffer, Helen Mirren, Annette Bening, Chiwetel Ejiofor ...
English, Kiln review: Pulitzer winning comedy about a quartet of
Sat, 15 Jun 2024 19:30 Kiln Theatre £15-£40. Runs 1hr 30min. Buy. Show more. Sanaaz Toosi's Pulitzer winner is a bittersweet, multilayered drama about a quartet of Iranians struggling to learn ...
The Top Books to Read From 2000-2023
Keila Shaheen's self-published best seller book, "The Shadow Work Journal," shows how radically book sales and marketing have been changed by TikTok. John S. Jacobs was a fugitive, an ...
'The Great River' Review: Taming the Mighty Mississippi
Its broad alluvial plain boasts some of the richest farmland on the planet but has a destructive tendency to flood. Though engineers have responded to these challenges with ingenuity, the results ...
'American Diva' Review: Performance and Personality
Buy Book. Deborah Paredez's "American Diva: Extraordinary, Unruly, Fabulous" adopts this approach to pay tribute to black and brown women performers, and to synchronize stories about the ...
'The Watchers' Review: All Eyes on Ishana Shyamalan
Produced by M. Night Shyamalan, his daughter's debut feature struggles to steer its intriguingly supernatural premise to a satisfying end. If one Night Shyamalan wasn't enough for moviegoers ...
Smoke and Ashes by Amitav Ghosh (Book Review)
Written in engaging language, Smoke and Ashes is a scholarly follow-up to the author's famous Ibis trilogy, a collection of fiction that uses the opium trade as its backdrop. In Smoke and Ashes, the author draws on his years-long research into opium supplemented by his family history, personal travels, cross-cultural experience, and expertise ...
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Reviewers play a pivotal role in scholarly publishing. The peer review system exists to validate academic work, helps to improve the quality of published research, and increases networking possibilities within research communities. Despite criticisms, peer review is still the only widely accepted method for research validation and has continued ...
'Playing From the Rough' Review: A Grand Tour of Golf
Buy Book. It is likely that no one ever met the challenge of (legal) course-crashing better than Jimmie James, a retired oil executive and the author of "Playing From the Rough: A Personal ...
Kaiju No. 8 (English Dub)
E8 - Welcome to the Defense Force. 14Sub | Dub. Released on Jun 1, 2024. 49. 0. After transforming into a Kaiju to rescue Reno and Iharu, Kafka is found by Hoshina, who immediately attacks him.