Defining Literary Interpretation

In many ways, writing a literary interpretation will feel like the other essays you compose in this course. You will use the same close reading skills, the same kinds of critical thinking, and the same investigative approaches to ideas that interest you. Literary interpretation employs multiple modes of critical thought and writing, including summary, description, and analysis. In writing your literary interpretation essay, you will need to do the following:

Summarize: What happens in this literary work?

Describe: What are the components and details of this literary work?

Analyze: What does this literary work mean?

However, literary interpretation requires a bit more than the basic components of summary, description, and analysis. Literary interpretation requires a process of inquiry and a methodology. To make sure you interpret rather than summarize, don’t just ask “what” questions, but also ask “how” and “why” questions.

Adding these sort of “why” and “how” questions—as well as adding another level of complexity to the standard “what” questions—will help you to come up with an interpretive argument rather than just a summary, description, personal response, opinion, or evaluation.

To sum up: In many ways, a literary interpretation paper will feel like the other writing assignments you complete in this course. You will use the same close reading skills, the same kinds of critical thinking, and the same investigative approaches to ideas that interest you. However, because literary interpretation focuses on an inventive work, a work of fiction, drama, poetry, or creative non-fiction, it will require special attention to how literary texts work in different ways—and set out to achieve different purposes—than the non-fiction essays addressed in other assignments. To make sure you interpret rather than summarize, don’t just ask “what happened?” but also ask “why did that happen?” or “why did that matter?”

Multiple Interpretations, Discovery, and the Importance of Your Perspective

Most works of literature are open to more than one interpretation. We have discussed the importance of reading through various interpretive lenses by applying established methodologies, but the most important perspective is yours. Ultimately, you will be the one to come up with your overall interpretive argument about the literature. Your goal from the beginning, then, is to read closely on your path to discovery. Discovery often involves looking at something from a different perspective.

To illustrate this point, consider this excerpt from the essay by scholar Walter Benjamin entitled “Unpacking My Library: A Talk about Book Collecting.” In this essay, Benjamin recounts how unpacking his books after having moved inspired him to look at his books differently. Once he looks at his books from a different perspective, Benjamin has a moment of discovery:

I am unpacking my library. Yes, I am. The books are not yet on the shelves, not yet touched by the mild boredom of order. I cannot march up and down their ranks to pass them in review before a friendly audience. You need not fear any of that. In­stead, I must ask you to join me in the disorder of crates that have been wrenched open, the air saturated with the dust of wood, the floor covered with torn paper, to join me among piles of volumes that are seeing daylight again after two years of darkness, so that you may be ready to share with me a bit of the mood—it is certainly not an elegiac mood but, rather, one of an­ticipation which these books arouse in a genuine collector. For such a man is speaking to you, and on closer scrutiny he proves to be speaking only about himself. Would it not be presumptuous of me if, in order to appear convincingly objective and down-to-­earth, I enumerated for you the main sections or prize pieces of a library, if I presented you with their history or even their usefulness to a writer? I, for one, have in mind something less ob­scure, something more palpable than that; what I am really con­cerned with is giving you some insight into the relationship of a book collector to his possessions, into collecting rather than a collection. If I do this by elaborating on the various ways of ac­quiring books, this is something entirely arbitrary. This or any other procedure is merely a dam against the spring tide of mem­ories which surges toward any collector as he contemplates his possessions. Every passion borders on the chaotic, but the collec­tor’s passion borders on the chaos of memories. More than that: the chance, the fate, that suffuse the past before my eyes are conspicuously present in the accustomed confusion of these books. For what else is this collection but a disorder to which habit has accommodated itself to such an extent that it can appear as order? You have all heard of people whom the loss of their books has turned into invalids, or of those who in order to ac­quire them became criminals. These are the very areas in which any order is a balancing act of extreme precariousness. “The only exact knowledge there is,” said Anatole France, “is the knowl­edge of the date of publication and the format of books.” And indeed, if there is a counterpart to the confusion of a library, it is the order of its catalogue.[1]

Note Benjamin’s theorizing about his library, even in the chaotic state that accompanies unpacking. Even to Benjamin, owner of the books, they seem different to him in these new circumstances. The same is true with interpretation. The act of interpretation asks us to pull apart a text, to think of it as disorderly parts without the connections of a narrative thread. Interpretation allows us a more arbitrary approach.

Take for instance, the main character of a novel, who may be introduced on one page, fall in love a few chapters later, and have a child closer to the end of the story. Character analysis allows you to pull these discrete elements into an essay without paying any attention to the intervening events. Just as Benjamin sees his collection as more than the sum of the individual books, so does the author of a character analysis see the protagonist as a complex, even flawed, character who represents some facet of human behavior.

If Benjamin had never written his essay, we wouldn’t think of his collection in precisely this way. Similarly, your interpretation will make a similar contribution to the existing bank of knowledge—providing insights available only from your unique perspective.

One important takeaway from this discussion is: you do not have to be an English major to write a great literary interpretation essay. In fact, when students approach the literary work through their varied majors, career goals, or personal interests, it often results in a fascinating, new perspective on the literature. For instance,

• In English 161, a Culinary Arts major wrote about the food as symbolic of the character’s cultural identities in Josefina Lopez’s play Real Women Have Curves.
• In English 162, an Engineering/Game Design major wrote about how Suzanne Collins incorporates video gaming techniques into the characterization and plot of The Hunger Games throughout the entire novel.
• In English 161, a student who was studying to take the state license exam in Real Estate interpreted Lorainne Hansberry’s A Raisin in the Sun through the perspective of the historical changes in his chosen profession, outlawing realtors from committing discriminatory actions such as blockbusting, redlining, and steering.

As you think about the best approach to take when reading and interpreting literature, add another question to your list. You are asking not just “What happens in this literary work?”—and also not just “why does that matter?”—but also “why does this literary work matter to me?”

The Literary Interpretation Essay

A good literary interpretation essay includes:

1. A strong thesis statement that makes an interpretive argument,
2. Your main points (sometimes called topic sentences or claims) that lead each paragraph or section of the essay,
3. Your ample and thorough collection of relevant evidence from the literary work—including examples, passages, scenes, details, and quotations, and
4. Your detailed analyses of that textual evidence, showing how the evidence relates to the main points of the interpretation as well as the overall thesis statement.

In the following sections, we will discuss these four components in the order that you will probably present them in your essay, but of course that is not the order in which they occur in the overall process of composing the essay. It’s not as though anyone begins reading a play, or writing an essay about a novel, with an interpretive thesis statement already formed. Before you get to the stage in the process where you are ready to write your interpretive thesis statement, you will probably go through an initial reading of the literary work and a second, closer reading in which you have a topic or two in mind. Your instructor may have your class read the literary work through a specific interpretive lens from the very beginning, or you may be introduced to multiple methodologies and asked to choose which one you will apply. Remember that interpretation is a journey to discovery that involves seeing things from a different perspective. However, the path that you take along the journey—the order in which you take the steps needed to write a strong interpretation essay—will depend upon your instructor’s guidance and your own sense of the process that works best for you.

Notes