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.

    Now she brings her vast experience, good cheer, and finely sharpened pencils to help the rest of us in a boisterous language book as full of life as it is of practical advice.Between You & Me features Norris's laugh-out-loud descriptions of some of the most common and vexing problems in spelling, punctuation, and usage—comma faults, danglers, "who" vs. "whom," "that" vs. "which," compound words, gender-neutral language—and her clear explanations of how to handle them. Down-to-earth and always open-minded, she draws on examples from Charles Dickens, Emily Dickinson, Henry James, and the Lord's Prayer, as well as from The Honeymooners, The Simpsons, David Foster Wallace, and Gillian Flynn. She takes us to see a copy of Noah Webster's groundbreaking Blue-Back Speller, on a quest to find out who put the hyphen in Moby-Dick, on a pilgrimage to the world's only pencil-sharpener museum, and inside the hallowed halls of The New Yorker and her work with such celebrated writers as Pauline Kael, Philip Roth, and George Saunders.Readers—and writers—will find in Norris neither a scold nor a softie but a wise and witty new friend in love with language and alive to the glories of its use in America, even in the age of autocorrect and spell-check. As Norris writes, "The dictionary is a wonderful thing, but you can't let it push you around."

    This work serves as an introduction to basic composition skills through systematic integration of paragraph organization, rhetoric, grammar, sentence structure and the writing process.

    It combines explanations of English grammar with information on how, when and why we use different structures. It shows the differences between spoken and written grammar and includes frequency information of the most common forms.

    Since then, the ways we process written language have changed dramatically with many concerned about both their own changes and that of children. New research on the reading brain chronicles these changes in the brains of children and adults as they learn to read while immersed in a digitally dominated medium.Drawing deeply on this research, this book comprises a series of letters Wolf writes to us—her beloved readers—to describe her concerns and her hopes about what is happening to the reading brain as it unavoidably changes to adapt to digital mediums. Wolf raises difficult questions, including:Will children learn to incorporate the full range of "deep reading" processes that are at the core of the expert reading brain?Will the mix of a seemingly infinite set of distractions for children’s attention and their quick access to immediate, voluminous information alter their ability to think for themselves?With information at their fingertips, will the next generation learn to build their own storehouse of knowledge, which could impede the ability to make analogies and draw inferences from what they know?Will all these influences, in turn, change the formation in children and the use in adults of "slower" cognitive processes like critical thinking, personal reflection, imagination, and empathy that comprise deep reading and that influence both how we think and how we live our lives?Will the chain of digital influences ultimately influence the use of the critical analytical and empathic capacities necessary for a democratic society?How can we preserve deep reading processes in future iterations of the reading brain?Who are the "good readers" of every epoch?Concerns about attention span, critical reasoning, and over-reliance on technology are never just about children—Wolf herself has found that, though she is a reading expert, her ability to read deeply has been impacted as she has become, inevitably, increasingly dependent on screens.Wolf draws on neuroscience, literature, education, technology, and philosophy and blends historical, literary, and scientific facts with down-to-earth examples and warm anecdotes to illuminate complex ideas that culminate in a proposal for a biliterate reading brain. Provocative and intriguing, Reader, Come Home is a roadmap that provides a cautionary but hopeful perspective on the impact of technology on our brains and our most essential intellectual capacities—and what this could mean for our future.

    Peter Bowler will teach you the practical riches of saying it well with good words, neglected words, and precise words for vocabular exultation!

    The Lexicographer’s Dilemma offers the first narrative history of these endeavors, showing clearly that what we now regard as the only “correct” way to speak emerged out of specific historical and social conditions over the course of centuries.As literary historian Jack Lynch has discovered, every rule has a human history, and the characters peopling his narrative are as interesting for their obsession as for their erudition. The struggle between prescriptivists, who prescribe a correct approach, and descriptivists, who analyze how language works, is at the heart of Lynch’s story. From the sharp-tongued satirist Jonathan Swift, who called for a governmentsponsored academy to issue rulings on the language, and the polymath Samuel Johnson, who put dictionaries on a new footing, to John Horne Tooke, the crackpot linguist whose bizarre theories continue to baffle scholars; Joseph Priestley, whose political radicalism prompted riots; and the ever-crotchety Noah Webster, whose goal was to Americanize the English language—Lynch brings to life a varied cast as illuminating as it is entertaining.Grammatical “rules” or “laws” are not like the law of gravity, or laws against theft or murder—they’re more like rules of etiquette, made by fallible people and subject to change. Charting the evolution of English, Jack Lynch puts today’s debates—whether about Ebonics in the schools or split infinitives in the New York Times—in a rich historical context, and makes us appreciate anew the hard-won standards we now enjoy.

    This second edition contains updated references and new entries to the alphabetical reference guide.

     While most of us might take dictionaries for granted, the process of writing them is in fact as lively and dynamic as language itself. With sharp wit and irreverence, Kory Stamper cracks open the complex, obsessive world of lexicography--from the agonizing decisions about what and how to define, to the knotty questions of usage in an ever-changing language. She explains why small words are the most difficult to define (have you ever tried to define is ?), how it can take nine months to define a single word, and how our biases about language and pronunciation can have tremendous social influence. Throughout, Stamper brings to life the hallowed halls (and highly idiosyncratic cubicles) of Merriam-Webster, a world inhabited by quirky, erudite individuals who quietly shape the way we communicate. A sure delight for all lovers of words, Word by Word might also quietly improve readers grasp and use of the English language."

    Any writer should read it' Bee Wilson'Thoughtful, engaging, and lively ... when you've read it, you realise you've changed your attitude to writing (and reading)' John Simpson, formerly Chief Editor of the OED and author of The Word DetectiveThe sentence is the common ground where every writer walks. A poet writes in sentences, but so does the unsung author who came up with Items trapped in doors cause delays. A good sentence can be written (and read) by anyone if we simply give it the gift of our time, and it is as close as most of us will get to making something truly beautiful.Enter acclaimed author Professor Joe Moran. Using minimal technical terms, First You Write a Sentence is his unpedantic but authoritative explanation of how the most ordinary words can be turned into verbal constellations of extraordinary grace. Using sources ranging from the Bible and Shakespeare to George Orwell and Maggie Nelson, and scientific studies of what can best fire the reader's mind, he shows how we can all write in a way that is clear, compelling and alive.Whether dealing with finding the ideal word, building a sentence or constructing a paragraph, First You Write a Sentence informs by light example: much richer than a style guide, it can be read not just for instruction but for pleasure and delight. And along the way it shows how good writing can help us notice the world, make ourselves known to others and live more meaningful lives. It's an elegant gem in praise of the English sentence.'Moran is a past master at producing fine, accessible non-fiction' Helen Davies, Sunday Times'Joe Moran has a genius for turning the prosaic poetic' Peter Hennessy

     The time-tested secrets this book discloses include Cicero’s three-step strategy for moving an audience to action—as well as Honest Abe’s Shameless Trick of lowering an audience’s expectations by pretending to be unpolished. But it’s also replete with contemporary techniques such as politicians’ use of “code” language to appeal to specific groups and an eye-opening assortment of popular-culture dodges—including The Yoda Technique, The Belushi Paradigm, and The Eddie Haskell Ploy. Whether you’re an inveterate lover of language books or just want to win a lot more anger-free arguments on the page, at the podium, or over a beer, Thank You for Arguing is for you. Written by one of today’s most popular language mavens, it’s warm, witty, erudite, and truly enlightening. It not only teaches you how to recognize a paralipsis and a chiasmus when you hear them, but also how to wield such handy and persuasive weapons the next time you really, really want to get your own way.

    We spin fantasies. We devour novels, films, and plays. Even sporting events and criminal trials unfold as narratives. Yet the world of story has long remained an undiscovered and unmapped country. It’s easy to say that humans are “wired” for story, but why?In this delightful and original book, Jonathan Gottschall offers the first unified theory of storytelling. He argues that stories help us navigate life’s complex social problems—just as flight simulators prepare pilots for difficult situations. Storytelling has evolved, like other behaviors, to ensure our survival.Drawing on the latest research in neuroscience, psychology, and evolutionary biology, Gottschall tells us what it means to be a storytelling animal. Did you know that the more absorbed you are in a story, the more it changes your behavior? That all children act out the same kinds of stories, whether they grow up in a slum or a suburb? That people who read more fiction are more empathetic?Of course, our story instinct has a darker side. It makes us vulnerable to conspiracy theories, advertisements, and narratives about ourselves that are more “truthy” than true. National myths can also be terribly dangerous: Hitler’s ambitions were partly fueled by a story.But as Gottschall shows in this remarkable book, stories can also change the world for the better. Most successful stories are moral—they teach us how to live, whether explicitly or implicitly, and bind us together around common values. We know we are master shapers of story. The Storytelling Animal finally reveals how stories shape us.

    Yet, as Oliver Kamm cleverly demonstrates in this new book, many of the purists' prohibitions are bogus and can be cheerfully disregarded. Accidence Will Happen is an authoritative and deeply reassuring guide to grammar, style, and the linguistic conundrums we all face.

    An indispensable store of information on the English language, written by some of the best-known grammarians in the world.

    As author James Cochrane explains, he does not take issue with the so-called "educated or uneducated" uses of the English language. Between You and I is more concerned with the particular form of English debasement we now have, which might be called the "half-educated" uses of language. Readers may be surprised to find that much of what they thought was "bad" English is in fact perfectly good and that what they have learned to think of as "good" English is sometimes ignorant, dishonest, or just plain stupid.