Original.

    In this charming volume, a narrative history written explicitly for a young audience, expert linguist David Crystal proves why the story of language deserves retelling.From the first words of an infant to the peculiar modern dialect of text messaging, A Little Book of Language ranges widely, revealing language’s myriad intricacies and quirks. In animated fashion, Crystal sheds light on the development of unique linguistic styles, the origins of obscure accents, and the search for the first written word. He discusses the plight of endangered languages, as well as successful cases of linguistic revitalization. Much more than a history, Crystal’s work looks forward to the future of language, exploring the effect of technology on our day-to-day reading, writing, and speech. Through enlightening tables, diagrams, and quizzes, as well as Crystal’s avuncular and entertaining style, A Little Book of Language will reveal the story of language to be a captivating tale for all ages.

    Roy Peter Clark, author of Writing Tools, aims to put the glamour back in grammar with this fun, engaging alternative to stuffy instructionals. In this practical guide, readers will learn everything from the different parts of speech to why effective writers prefer concrete nouns and active verbs. The Glamour of Grammar gives readers all the tools they need to"live inside the language" -- to take advantage of grammar to perfect their use of English, to instill meaning, and to charm through their writing. With this indispensable book, readers will come to see just how glamorous grammar can be.

    It discusses the structure and content of the human word-store or mental lexicon with particular reference to the spoken language of native English speakers.

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    instructional book for students or anyone who needs to learn business communications.

    Give yourself a Chinese name, see how to haggle in the shops and test yourself to see if you know the key characters.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    One man's funny war against loose talk!

    With more than twenty-five years of experience teaching creative writing between them, Anne Bernays and Pamela Painter offer more than seventy-five exercises for both beginners and more experienced writers. These exercises are designed to develop and refine two basic skills: writing like a writer and, just as important, thinking like a writer. They deal with such topics as discovering where to start and end a story; learning when to use dialogue and when to use indirect discourse; transforming real events into fiction; and finding language that both sings and communicates precisely. What If? will be an essential addition to every writer's library, a welcome and much-used companion, a book that gracefully borrows a whisper from the muse.

    This makes it especially suitable if you are a trainee teacher or a practising teacher working independently to develop your professional knowledge. It is written in a clear, readable style without unnecessary technical jargon - this has helped to make it a standard text for trainee teachers throughout the world.There are evaluations and case studies throughout the book so that you can see a practical context for the research ideas you are reading about. Many of these examples are taken directly from real first and second language classrooms. There are also a number of opportunities for you to practise some of the observation and analysis techniques which are used in the research described in the book.The book is organized into seven chapters:Chapter 1: 'Language Learning in early childhood' (Includes a new section on childhood bilingualism.)Chapter 2: 'Explaining second language learning' (Includes new material for the 3rd edition on skill learning, connectionism, and the 'noticing hypothesis'.)Chapter 3: 'Individual differences in second language learning' (Topics covered include: intelligence, aptitude, learning styles, personality, motivation and attitudes, identity and ethic group affiliation, and learner beliefs.)Chapter 4: 'Learner language' (Describes the features and sequence of language development and includes discussion of how second language learning is affected by the student's first language)Chapter 5: 'Observing learning and teaching in the second language' (Looks at different learning environments and then discusses ways of observing and reporting on them.)Chapter 6: 'Second language learning in the classroom' (Contains six practical proposals for classroom teaching based on research findings and insights.)Chapter 7: 'Popular ideas about language learning revisited' (The authors list and give their personal perspective on some commonly held beliefs about language learning.)There is a Glossary to explain new and technical terms used in the book. There is also a list of suggestions for further reading at the end of each chapter, as well as a full bibliography at the end of the book.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    There is one worksheet for each type of math problem including different digits with operations of addition, subtraction, multiplication and division. These varying level of mathematical ability activities help in improving adding, subtracting, multiplying and dividing operation skills of the student by frequent practicing of the worksheets provided.There is nothing more effective than a pencil and paper for practicing some math skills. These math worksheets are ideal for teachers, parents, students, and home schoolers. The companion ebook allows you to take print outs of these worksheets instantly or you can save them for later use. The learner can significantly improve math knowledge by developing a simple habit to daily practice the math drills.Tutors and homeschoolers use the maths worksheets to test and measure the child's mastery of basic math skills. These math drill sheets can save you precious planning time when homeschooling as you can use these work sheets to give extra practice of essential math skills. Parents use these mathematics worksheets for their kids homework practice too.Designed for after school study and self study, it is used by homeschooler, special needs and gifted kids to add to the learning experience in positive ways. You can also use the worksheets during the summer to get your children ready for the upcoming school term. It helps your child excel in school as well as in building good study habits. If a workbook or mathematic textbook is not allowing for much basic practise, these sheets give you the flexibility to follow the practice that your student needs for an education curriculum.These worksheets are not designed to be grade specific for students, rather depend on how much practice they've had at the skill in the past and how the curriculum in your school is organized. Kids work at their own level and their own pace through these activities. The learner can practice one worksheet a day, two worksheets a day, one every alternate day, one per week, two per week or can follow any consistent pattern. Make best use of your judgement.

    Practicing what you have learned is easy with the CD-ROM that contains more than 4,000 audio files, including recordings of speech from southern and northern U.S. cities, London, Edinburgh, Dublin, New Zealand, other forms of English, and scores of other languages.