The five-hundred-word limit is Hannah’s greatest foe. Her aim: to communicate a tale of bullying, to
explain the extra-bullying hardships she had to face, and to weave it all together to produce an
optimistic, press-on-regardless mind-set. It’s a feat to do
one
of those
effectively in five hundred
words, and this multitasking tale is strong and focused in spite of that barrier.
The present-tense opening establishes her alienated suffering. It
is
hard for her to ascertain exactly
what she should be conforming to other than a disdain of education, and she concludes that it is her
peers’ ignorance of her home life that preempts the bullying. As a study in form, the introductory
veneer of a knowledge-loving young girl behind a library book pitying her bullies for their
uncompassionate ways shows that the crux of the essay is not this love of education—a
seemingly
perfect desire for admission into Harvard—but the even more empathic love for fellow human
beings, most notably her family. And though Hannah does not have enough space to communicate
years of struggle, the crafting of her sentences lends the piece some urgent candor.
The end of the essay does have a rushed, vague feel. We don’t know what passions she has
developed and how she reached out and “became an active participant.” However, this seems more to
be the effect of a writer who thought what she
wrote before was too negative, and thus the positive
recompense must be illustrated in Technicolor. For the young woman who had an uneasy high school
career and internally created pressure to succeed for her family, she traces the ravine and the ascent
for the reader to follow. Her empathic capacities to make others identify with her plight are on
display, just as she claims she strives to do.
—Christine A. Hurd