Writing an Independent Critique

What is a critique?
According to Merriam-Webster’s dictionary, a critique is a formal word that typically refers
to a careful judgement in which someone gives an opinion about something.
In this lesson, a critique is a genre of academic writing that briefly summarizes and critically
evaluates a work or concept. Critiques can be used to carefully analyze a variety of works such
as:

● Creative works – novels, exhibits, film, images, poetry

● Research – monographs, journal articles, systematic reviews, theories
● Media – news reports, feature articles
A critique uses a precise, academic writing style and has a clear framework, that is, an
introduction, body and conclusion. Nevertheless, the body of a critique includes a summary of
the work and a comprehensive assessment. The purpose of an assessment is to evaluate the
usefulness or impact of a work in a particular genre.

INDEPENDENT CRITIQUE
An independent critique of a book or short story is not primarily a summary; rather, it
comments on and evaluates the work in the light of specific issues and theoretical concerns in a
course.
Highlight that we give comments and evaluates the work through accepted criterion or
criteria. Talking about criteria, let us dive to the three major paragraphs in crafting your
independent critique paper.

THE INTRODUCTORY PARAGRAPH:

The introductory paragraph for the short story critique has 3 major elements: the
background, your opinion on the work as a whole, and the thesis. The background includes all
of the useful information (especially who, what, when, where, and why) leading up to the
thesis. The thesis includes the subject and opinion of the paper followed by the main points.
The most important element in writing a critique is a workable thesis statement, which shows
near the end of the introductory paragraph.

Below is a sample thesis statement:

SUBJECT: The Last Leaf
OPINION: shows Henry O’s skills as a writer
MAIN POINTS: because of the visual imagery, authentic characterization through text-to-self
connection and the impactful moral of the story.
(You may read the story found on the PDF attachment I sent on our groupchat)

THE DEVELOPMENT PARAGRAPHS:

These can differ in length and in number. If you state 3 main points in your thesis, you
should have 3 development paragraphs. For this task you should have from 3-5 main points.
Here are a few ideas to choose from:

1. Opening
Hooks - Is the story grabbing from the first line? Does it make you want to read on?
Introduction of Central Character - Is the Central character introduced early in the story.
Scene Setting - Can you picture the scene early enough in the story or have you already
imagined your own?
Problem Description - Can you tell what problem confronts the central character soon enough
or are you left wondering what the story is all about?

(Story: The Last Leaf by Henry O)

Take a look at the first paragraph of the story. It was mentioned there where the actual
scenario took place. Through this, you can state that the opening lines welcome us to the real
atmosphere of the story. It triggers our senses especially when we here the places such as New
York, bohemian village or even the feels when you hear the word “art.”

2. Characterization Central Character

-Does he/she appear in the first few lines?
-Is it clearly defined who the central character is?
-Do you have sympathy with the central character? (This does not mean likable).
Other characters –
-Are they easily definable or do they get confused with others?
-Do they seem authentic?
-Can you easily tell who they sympathize with?

(Story: The Last Leaf by Henry O)

From the story, we have Johnsy as the main character, and Sue as the subordinate. It is not
a confusion to identify if who is the main character since Johnsy was introduced as someone
who has in a battle of health crisis.

3. Dialogue
 Does the dialogue sound authentic? Is it all meaningful? Does it read well? (If when spoken
aloud the reader changes it, this might mean it needs some attention.)

(Story: The Last Leaf by Henry O)

The dialogues in the story are well quoted and characters’ names and pronouns are well
cited.

4. Setting
Does it seem the right place for the story? If it is a real place, has the author researched it
enough? If it is a fictitious place, has the author planned the setting(s) carefully, making it seem
alive and real.

(Story: The Last Leaf by Henry O)

Now try to imagine if you put all these words together: room, lay, bedclothes, window
What scene or ambiance can you picture out? Can you feel that the setting is authentic and can
be actually true or the setting requires a touch of magic or special effects?

5. Conflicts
Are the conflicts in the story realistic or do they seem artificial? Are the conflicts original?

Consider that conflicts can be internal conflict or external. What do we mean by internal
conflict? Do you have any idea?
------------
Internal conflict as the word “internal” implicates the inner struggle of one person. Depression,
anxiety, emotional pains and the likes are some of those. Meanwhile, external conflicts refer to
the conflicts between a person and external forces. When we say external, outside. It could be
the environment, peer pressure, hectic schedules or even work load.

Remember that we have four types of conflicts.

Man vs Man
Man vs Self
Man vs Society
Man vs Nature

(Story: The Last Leaf by Henry O)

In the story, Johnsy is losing hope as she feels weak suffering from pneumonia. She reflects
her survival from the falling leaves out of her window’s view.

6. Suspense Value
Do you want to know what is going to happen next? Does the story goes well from action to
action?

(Story: The Last Leaf by Henry O)

 The story is actually surprising that it doesn’t spoils the readers what will happen next. We
all assume that the leaf stays still and made the main character reflect from her realizations.
But at the end, the last leaf was a painting, a real masterpiece of the deceased Mr. Berhman.

7. Ending
Is the ending concise or does it ramble on? Does it need a lot of explanation? Is it clear what
has happened? Does it seem flat?

(Story: The Last Leaf by Henry O)

Always remember that the ending always leave a bang to the readers. The Last Leaf ended
with a very good realization after Johnsy knew that the leaf is a painting, not the real one she
holds onto.

8. Structure
Has the plot been developed well throughout the story? Are the characters described in time or
after you've imagined them for yourself? Are the actions well planned and run well in
sequence? Do flashbacks seem well placed and relevant? Is the time span suitable for the story
or should it take place over a longer or shorter period of time? Is the time span feasible? (Could
the events have taken place in the given time span?)

(Story: The Last Leaf by Henry O)

Each phase of the story was presented in a sequence, which can be understood by reading it
once.

9. Plot
Is it original? Does it sound authentic? Is it contrived?

(Story: The Last Leaf by Henry O)

Text-to-self connection is a big help when we do analysis or even critiquing. The story of the
Last Leaf is relatable as it left us a message about faith.

THE CLOSING PARAGRAPH:

Here you give your general concept of the story. Did you enjoy it? In general are the descriptions
clearly stated, over-emphasized or not clear enough. You should also briefly summarize all the issues
under discussions. Any further opinions on the subject would be suitable at this time as well as any final
conclusions.

In this part, it is more of your general impression of the story. It should answer if what was the story
all about, is it worthy to read, or is it referable? You can also state your ratings here.
The Story of Keesh
by Jack London
KEESH lived long ago on the rim of the polar sea, was head man of his village through
many and prosperous years, and died full of honors with his name on the lips of men. So long
ago did he live that only the old men remember his name, his name and the tale, which they
got from the old men before them, and which the old men to come will tell to their children
and their children's children down to the end of time. And the winter darkness, when the north
gales make their long sweep across the ice-pack, and the air is filled with flying white, and no
man may venture forth, is the chosen time for the telling of how Keesh, from the poorest
IGLOO in the village, rose to power and place over them all.
He was a bright boy, so the tale runs, healthy and strong, and he had seen thirteen suns,
in their way of reckoning time. For each winter the sun leaves the land in darkness, and the
next year a new sun returns so that they may be warm again and look upon one another's
faces. The father of Keesh had been a very brave man, but he had met his death in a time of
famine, when he sought to save the lives of his people by taking the life of a great polar bear. In
his eagerness he came to close grapples with the bear, and his bones were crushed; but the
bear had much meat on him and the people were saved. Keesh was his only son, and after that
Keesh lived alone with his mother. But the people are prone to forget, and they forgot the deed
of his father; and he being but a boy, and his mother only a woman, they, too, were swiftly
forgotten, and ere long came to live in the meanest of all the IGLOOS.
It was at a council, one night, in the big IGLOO of Klosh-Kwan, the chief, that Keesh
showed the blood that ran in his veins and the manhood that stiffened his back. With the
dignity of an elder, he rose to his feet, and waited for silence amid the babble of voices.
"It is true that meat be apportioned me and mine," he said. "But it is ofttimes old and
tough, this meat, and, moreover, it has an unusual quantity of bones."
The hunters, grizzled and gray, and lusty and young, were aghast. The like had never
been known before. A child, that talked like a grown man, and said harsh things to their very
faces!
But steadily and with seriousness, Keesh went on. "For that I know my father, Bok, was a
great hunter, I speak these words. It is said that Bok brought home more meat than any of the
two best hunters, that with his own hands he attended to the division of it, that with his own
eyes he saw to it that the least old woman and the last old man received fair share."
"Na! Na!" the men cried. "Put the child out!" "Send him off to bed!" "He is no man that
he should talk to men and graybeards!"
He waited calmly till the uproar died down.
"Thou hast a wife, Ugh-Gluk," he said, "and for her dost thou speak. And thou, too,
Massuk, a mother also, and for them dost thou speak. My mother has no one, save me;
wherefore I speak. As I say, though Bok be dead because he hunted over-keenly, it is just that I,
who am his son, and that Ikeega, who is my mother and was his wife, should have meat in
plenty so long as there be meat in plenty in the tribe. I, Keesh, the son of Bok, have spoken."
He sat down, his ears keenly alert to the flood of protest and indignation his words had
created.
"That a boy should speak in council!" old Ugh-Gluk was mumbling.
"Shall the babes in arms tell us men the things we shall do?" Massuk demanded in a
loud voice. "Am I a man that I should be made a mock by every child that cries for meat?"
The anger boiled a white heat. They ordered him to bed, threatened that he should
have no meat at all, and promised him sore beatings for his presumption. Keesh's eyes began to
flash, and the blood to pound darkly under his skin. In the midst of the abuse he sprang to his
feet.
"Hear me, ye men!" he cried. "Never shall I speak in the council again, never again till
the men come to me and say, 'It is well, Keesh, that thou shouldst speak, it is well and it is our
wish.' Take this now, ye men, for my last word. Bok, my father, was a great hunter. I, too, his
son, shall go and hunt the meat that I eat. And be it known, now, that the division of that which
I kill shall be fair. And no widow nor weak one shall cry in the night because there is no meat,
when the strong men are groaning in great pain for that they have eaten overmuch. And in the
days to come there shall be shame upon the strong men who have eaten overmuch. I, Keesh,
have said it!"
Jeers and scornful laughter followed him out of the IGLOO, but his jaw was set and he
went his way, looking neither to right nor left.
The next day he went forth along the shore-line where the ice and the land met
together. Those who saw him go noted that he carried his bow, with a goodly supply of bone-
barbed arrows, and that across his shoulder was his father's big hunting-spear. And there was
laughter, and much talk, at the event. It was an unprecedented occurrence. Never did boys of
his tender age go forth to hunt, much less to hunt alone. Also were there shaking of heads and
prophetic mutterings, and the women looked pityingly at Ikeega, and her face was grave and
sad.
"He will be back ere long," they said cheeringly.
"Let him go; it will teach him a lesson," the hunters said. "And he will come back shortly,
and he will be meek and soft of speech in the days to follow."

But a day passed, and a second, and on the third a wild gale blew, and there was no
Keesh. Ikeega tore her hair and put soot of the seal-oil on her face in token of her grief; and the
women assailed the men with bitter words in that they had mistreated the boy and sent him to
his death; and the men made no answer, preparing to go in search of the body when the storm
abated.
 Early next morning, however, Keesh strode into the village. But he came not
shamefacedly. Across his shoulders he bore a burden of fresh-killed meat. And there was
importance in his step and arrogance in his speech.
"Go, ye men, with the dogs and sledges, and take my trail for the better part of a day's
travel," he said. "There is much meat on the ice - a she-bear and two half-grown cubs."
Ikeega was overcome with joy, but he received her demonstrations in manlike fashion,
saying: "Come, Ikeega, let us eat. And after that I shall sleep, for I am weary."
And he passed into their IGLOO and ate profoundly, and after that slept for twenty
running hours.
There was much doubt at first, much doubt and discussion. The killing of a polar bear is
very dangerous, but thrice dangerous is it, and three times thrice, to kill a mother bear with her
cubs. The men could not bring themselves to believe that the boy Keesh, single-handed, had
accomplished so great a marvel. But the women spoke of the fresh-killed meat he had brought
on his back, and this was an overwhelming argument against their unbelief. So they finally
departed, grumbling greatly that in all probability, if the thing were so, he had neglected to cut
up the carcasses. Now in the north it is very necessary that this should be done as soon as a kill
is made. If not, the meat freezes so solidly as to turn the edge of the sharpest knife, and a
three-hundred-pound bear, frozen stiff, is no easy thing to put upon a sled and haul over the
rough ice. But arrived at the spot, they found not only the kill, which they had doubted, but that
Keesh had quartered the beasts in true hunter fashion, and removed the entrails.
Thus began the mystery of Keesh, a mystery that deepened and deepened with the
passing of the days. His very next trip he killed a young bear, nearly full-grown, and on the trip
following, a large male bear and his mate. He was ordinarily gone from three to four days,
though it was nothing unusual for him to stay away a week at a time on the ice-field. Always he
declined company on these expeditions, and the people marvelled. "How does he do it?" they
demanded of one another. "Never does he take a dog with him, and dogs are of such great
help, too."
"Why dost thou hunt only bear?" Klosh-Kwan once ventured to ask him.
And Keesh made fitting answer. "It is well known that there is more meat on the bear,"
he said.
But there was also talk of witchcraft in the village. "He hunts with evil spirits," some of
the people contended, "wherefore his hunting is rewarded. How else can it be, save that he
hunts with evil spirits?"
"Mayhap they be not evil, but good, these spirits," others said. "It is known that his
father was a mighty hunter. May not his father hunt with him so that he may attain excellence
and patience and understanding? Who knows?"
None the less, his success continued, and the less skilful hunters were often kept busy
hauling in his meat. And in the division of it he was just. As his father had done before him, he
saw to it that the least old woman and the last old man received a fair portion, keeping no
more for himself than his needs required. And because of this, and of his merit as a hunter, he
was looked upon with respect, and even awe; and there was talk of making him chief after old
Klosh-Kwan. Because of the things he had done, they looked for him to appear again in the
council, but he never came, and they were ashamed to ask.
"I am minded to build me an IGLOO," he said one day to Klosh-Kwan and a number of
the hunters. "It shall be a large IGLOO, wherein Ikeega and I can dwell in comfort."

"Ay," they nodded gravely.

"But I have no time. My business is hunting, and it takes all my time. So it is but just that
the men and women of the village who eat my meat should build me my IGLOO."
And the IGLOO was built accordingly, on a generous scale which exceeded even the
dwelling of Klosh-Kwan. Keesh and his mother moved into it, and it was the first prosperity she
had enjoyed since the death of Bok. Nor was material prosperity alone hers, for, because of her
wonderful son and the position he had given her, she came to he looked upon as the first
woman in all the village; and the women were given to visiting her, to asking her advice, and to
quoting her wisdom when arguments arose among themselves or with the men.
But it was the mystery of Keesh's marvellous hunting that took chief place in all their
minds. And one day Ugh-Gluk taxed him with witchcraft to his face.
"It is charged," Ugh-Gluk said ominously, "that thou dealest with evil spirits, wherefore
thy hunting is rewarded."
"Is not the meat good?" Keesh made answer. "Has one in the village yet to fall sick from
the eating of it? How dost thou know that witchcraft be concerned? Or dost thou guess, in the
dark, merely because of the envy that consumes thee?"
And Ugh-Gluk withdrew discomfited, the women laughing at him as he walked away.
But in the council one night, after long deliberation, it was determined to put spies on his track
when he went forth to hunt, so that his methods might be learned. So, on his next trip, Bim and
Bawn, two young men, and of hunters the craftiest, followed after him, taking care not to be
seen. After five days they returned, their eyes bulging and their tongues a- tremble to tell what
they had seen. The council was hastily called in Klosh-Kwan's dwelling, and Bim took up the
tale.
"Brothers! As commanded, we journeyed on the trail of Keesh, and cunningly we
journeyed, so that he might not know. And midway of the first day he picked up with a great
he-bear. It was a very great bear."
"None greater," Bawn corroborated, and went on himself. "Yet was the bear not
inclined to fight, for he turned away and made off slowly over the ice. This we saw from the
rocks of the shore, and the bear came toward us, and after him came Keesh, very much
unafraid. And he shouted harsh words after the bear, and waved his arms about, and made
much noise. Then did the bear grow angry, and rise up on his hind legs, and growl. But Keesh
walked right up to the bear."
"Ay," Bim continued the story. "Right up to the bear Keesh walked. And the bear took
after him, and Keesh ran away. But as he ran he dropped a little round ball on the ice. And the
bear stopped and smelled of it, then swallowed it up. And Keesh continued to run away and
drop little round balls, and the bear continued to swallow them up."
Exclamations and cries of doubt were being made, and Ugh-Gluk expressed open
unbelief.
"With our own eyes we saw it," Bim affirmed.
And Bawn - "Ay, with our own eyes. And this continued until the bear stood suddenly
upright and cried aloud in pain, and thrashed his fore paws madly about. And Keesh continued
to make off over the ice to a safe distance. But the bear gave him no notice, being occupied
with the misfortune the little round balls had wrought within him."
"Ay, within him," Bim interrupted. "For he did claw at himself, and leap about over the
ice like a playful puppy, save from the way he growled and squealed it was plain it was not play
but pain. Never did I see such a sight!"

"Nay, never was such a sight seen," Bawn took up the strain. "And furthermore, it was
such a large bear."
"Witchcraft," Ugh-Gluk suggested.
"I know not," Bawn replied. "I tell only of what my eyes beheld. And after a while the
bear grew weak and tired, for he was very heavy and he had jumped about with exceeding
violence, and he went off along the shore-ice, shaking his head slowly from side to side and
sitting down ever and again to squeal and cry. And Keesh followed after the bear, and we
followed after Keesh, and for that day and three days more we followed. The bear grew weak,
and never ceased crying from his pain."
"It was a charm!" Ugh-Gluk exclaimed. "Surely it was a charm!"
"It may well be."
And Bim relieved Bawn. "The bear wandered, now this way and now that, doubling back
and forth and crossing his trail in circles, so that at the end he was near where Keesh had first
come upon him. By this time he was quite sick, the bear, and could crawl no farther, so Keesh
came up close and speared him to death."
"And then?" Klosh-Kwan demanded.
"Then we left Keesh skinning the bear, and came running that the news of the killing
might be told."
 And in the afternoon of that day the women hauled in the meat of the bear while the
men sat in council assembled. When Keesh arrived a messenger was sent to him, bidding him
come to the council. But he sent reply, saying that he was hungry and tired; also that his IGLOO
was large and comfortable and could hold many men.
And curiosity was so strong on the men that the whole council, Klosh-Kwan to the fore,
rose up and went to the IGLOO of Keesh. He was eating, but he received them with respect and
seated them according to their rank. Ikeega was proud and embarrassed by turns, but Keesh
was quite composed.
Klosh-Kwan recited the information brought by Bim and Bawn, and at its close said in a
stern voice: "So explanation is wanted, O Keesh, of thy manner of hunting. Is there witchcraft in
it?"
Keesh looked up and smiled. "Nay, O Klosh-Kwan. It is not for a boy to know aught of
witches, and of witches I know nothing. I have but devised a means whereby I may kill the ice-
bear with ease, that is all. It be headcraft, not witchcraft."
"And may any man?"
"Any man."
There was a long silence. The men looked in one another's faces, and Keesh went on
eating.
"And . . . and . . . and wilt thou tell us, O Keesh?" Klosh-Kwan finally asked in a tremulous
voice.
"Yea, I will tell thee." Keesh finished sucking a marrow-bone and rose to his feet. "It is
quite simple. Behold!"
He picked up a thin strip of whalebone and showed it to them. The ends were sharp as
needle-points. The strip he coiled carefully, till it disappeared in his hand. Then, suddenly
releasing it, it sprang straight again. He picked up a piece of blubber.
"So," he said, "one takes a small chunk of blubber, thus, and thus makes it hollow. Then
into the hollow goes the whalebone, so, tightly coiled, and another piece of blubber is fitted
over the whale-bone. After that it is put outside where it freezes into a little round ball. The
bear swallows the little round ball, the blubber melts, the whalebone with its sharp ends stands
out straight, the bear gets sick, and when the bear is very sick, why, you kill him with a spear. It
is quite simple."
And Ugh-Gluk said "Oh!" and Klosh-Kwan said "Ah!" And each said something after his
own manner, and all understood.
And this is the story of Keesh, who lived long ago on the rim of the polar sea. Because he
exercised headcraft and not witchcraft, he rose from the meanest IGLOO to be head man of his
village, and through all the years that he lived, it is related, his tribe was prosperous, and
neither widow nor weak one cried aloud in the night because there was no meat.