Covering all areas of language which students at this level find difficult, this substantially revised and updated book retains the clarity, simplicity and accessibility of the first edition, adding to it new and redesigned units and appendices, modified right-hand page exercises and additional exercises. - Easy to use: 136 two-page units combine clear, accurate language presentation on left-hand pages with thorough, varied practice on facing pages. - New additional exercises offer further practice of grammar points from different groups of units. - Designed for self-study: learners choose and study problematic areas with the help of a new study guide. - Key section contains answers to all exercises and the study guide. - Appendices deal with irregular verbs, tense formation, modals, spelling, short forms and American English.

    Puchner introduces us to numerous visionaries as he explores sixteen foundational texts selected from more than four thousand years of world literature and reveals how writing has inspired the rise and fall of empires and nations, the spark of philosophical and political ideas, and the birth of religious beliefs. Indeed, literature has touched the lives of generations and changed the course of history.At the heart of this book are works, some long-lost and rediscovered, that have shaped civilization: the first written masterpiece, the Epic of Gilgamesh; Ezra’s Hebrew Bible, created as scripture; the teachings of Buddha, Confucius, Socrates, and Jesus; and the first great novel in world literature, The Tale of Genji, written by a Japanese woman known as Murasaki. Visiting Baghdad, Puchner tells of Scheherazade and the stories of One Thousand and One Nights, and in the Americas we watch the astonishing survival of the Maya epic Popol Vuh. Cervantes, who invented the modern novel, battles pirates both real (when he is taken prisoner) and literary (when a fake sequel to Don Quixote is published). We learn of Benjamin Franklin’s pioneering work as a media entrepreneur, watch Goethe discover world literature in Sicily, and follow the rise in influence of The Communist Manifesto. We visit Troy, Pergamum, and China, and we speak with Nobel laureates Derek Walcott in the Caribbean and Orhan Pamuk in Istanbul, as well as the wordsmiths of the oral epic Sunjata in West Africa.Throughout The Written World, Puchner’s delightful narrative also chronicles the inventions—writing technologies, the printing press, the book itself—that have shaped religion, politics, commerce, people, and history. In a book that Elaine Scarry has praised as “unique and spellbinding,” Puchner shows how literature turned our planet into a written world.

    The intriguing origins of hundreds of unusual words and expressions are here, organized in a handy alphabetical format. Useful for reference and fun just for browsing. Why Do We Say It? is also a great way to expand your vocabulary and enjoy doing it.

    The emphasis is on political, social and cultural forces that affect language. The fifth edition reflects the latest trends and statistics of the past 10 years in a revised and updated Chapter One, "English Present and Future." It also provides a new section on gender issues and linguistic change and includes a thorough revision of Chapter 11, "The English Language in America," including updated material on African American Vernacular English. Discusses Black English and varieties of English in both Africa and Asia, as well as varieties in the United States, Australia and Canada. Includes a map of American dialects. Provides examples of twentieth-century vocabulary. For multilingual readers or anyone who wishes to develop a well-rounded understanding of present-day English.

    You will see how a work takes form and shape once you grasp the principles of momentum, tension, and immediacy. "Tension," Stern says, "is the mother of fiction. When tension and immediacy combine, the story begins." Dialogue and action, beginnings and endings, the true meaning of "write what you know," and a memorable listing of don'ts for fiction writers are all covered. A special section features an Alphabet for Writers: entries range from Accuracy to Zigzag, with enlightening comments about such matters as Cliffhangers, Point of View, Irony, and Transitions.

    Learn terms for the sunlight that filters through the leaves of trees, for dancing awkwardly but with relish, and for the look shared by two people who each wish the other would speak first. Other-Wordly is an irresistible gift for lovers of words and those lost for words alike.

    Dangling modifiers, gerunds, punctuation marks--it's enough to make you want to drop out of high school. Swearing and sex on the other hand, well, these time-honored pastimes warm the cockles of our hearts. Now, The Elements of F*cking Style drags English grammar out of the ivory tower and into the gutter, injecting a dull subject with a much-needed dose of color.This book addresses everything from common questions ("What the hell is a pronoun?") to philosophical conundrums ("Does not using paragraphs or periods make my thesis read like it was written by a mental patient?"). Other valuable sections include:•All I've got in this world are my sentences and my balls, and I don't break 'em for nobody•A colon is more than an organ that gets cancer•Words your bound to f*ck upOne glance at your friend's blog should tell you everything you need to know about the sorry state of the English language. This book gives you the tools you need to stop looking like an idiot on message boards and in interoffice memos. Grammar has never before been so much f*cking fun.

    [It] was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother's shoulder, and said. 'Bird by bird, buddy. Just take it bird by bird.'"With this basic instruction always in mind, Anne Lamott returns to offer us a new gift: a step-by-step guide on how to write and on how to manage the writer's life. From "Getting Started,' with "Short Assignments," through "Shitty First Drafts," "Character," "Plot," "Dialogue." all the way from "False Starts" to "How Do You Know When You're Done?" Lamott encourages, instructs, and inspires. She discusses "Writers Block," "Writing Groups," and "Publication." Bracingly honest, she is also one of the funniest people alive.If you have ever wondered what it takes to be a writer, what it means to be a writer, what the contents of your school lunches said about what your parents were really like, this book is for you. From faith, love, and grace to pain, jealousy, and fear, Lamott insists that you keep your eyes open, and then shows you how to survive. And always, from the life of the artist she turns to the art of life.

    Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it.   Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.

    Recognised as the most practical and comprehensive text in the field of phonetics, this third edition of English Phonetics and Phonology includes revised transcriptions, a wider discussion of different varieties of English and an updated treatment of intonation.

    But too many writers--and writing guides--overlook this most important unit. The result? Manuscripts that will never be published and writing careers that will never begin. In this wickedly humorous manual, language columnist June Casagrande uses grammar and syntax to show exactly what makes some sentences great--and other sentences suck. With chapters on "Conjunctions That Kill" and "Words Gone Wild," this lighthearted guide is perfect for anyone who's dead serious about writing, from aspiring novelists to nonfiction writers, conscientious students to cheeky literati. So roll up your sleeves and prepare to craft one bold, effective sentence after another. Your readers will thank you. "From the Trade Paperback edition."

    L. Doctorow, and Frank Rich, into a useful guide not just for writers but for everyone who wants to put their best foot forward in writing prose. Dreyer offers lessons on the ins and outs of punctuation and grammar, including how to navigate the words he calls "the confusables," like tricky homophones; the myriad ways to use (and misuse) a comma; and how to recognize--though not necessarily do away with--the passive voice. (Hint: If you can plausibly add "by zombies" to the end of a sentence, it's passive.) People are sharing their writing more than ever--on blogs, on Twitter--and this book lays out, clearly and comprehensibly, everything writers can do to keep readers focused on the real reason writers write: to communicate their ideas clearly and effectively. Chock-full of advice, insider wisdom, and fun facts on the rules (and nonrules) of the English language, this book will prove invaluable to everyone who wants to shore up their writing skills, mandatory for people who spend their time editing and shaping other people's prose, and--perhaps best of all--an utter treat for anyone who simply revels in language.

    HEre, collected for the first itme, are some of the most fascinatin, funniest, and strangest pieces that first debuted in its pages.With reputable contributors such as Richard Lederer, Jesse Sheidlower, Joew Queenana, Frederic Cassidy, and Bryuan Garner, as well as language "experts" of dubious distinction, VERBATIM is a smart and sassy collection for anyone seeking the highly scholarly or the completely frivolous. From the roots of medieval words to teh componenets of a British soccer chant, VERBATIM will offere seomething for every language lover and word nerd to enjoy.

    Rarely is there a response from experts in the fields of language and language development. In this book Laurie Bauer and Peter Trudgill have invited nineteen respected linguists from all over the world to address these "language myths"--showing that they vary from the misconceived to the downright wrong. With essays ranging from "Women Talk Too Much" and "In the Appalachians They Speak Like Shakespeare" to "Italian Is Beautiful, German Is Ugly" and "They Speak Really Bad English Down South and in New York City," Language Myths is a collection that is wide-ranging, entertaining, and authoritative.

    Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face."In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things."Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors.Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.