Mignon Fogarty, whose popular podcasts have been downloaded over twenty million times and whose first book, Grammar Girl's Quick and Dirty Tips for Better Writing,was a New York Times bestseller.  For beginners to more advanced students, this guide covers it all: the parts of speech, sentences, and punctuation are all explained clearly and concisely with the warmth, wit, and accessibility Grammar Girl is known for.  Pop quizzes are scattered throughout to reinforce the explanations, as well as Grammar Girl's trademark Quick and Dirty Tips--easy and fun memory tricks to help with those challenging rules.  Complete with a writing style chapter and a guide to the different kinds of writing--everything from school papers to letter writing to e-mails--this guide is sure to become the one-stop, essential book on every student's desk.

    Language is not pure. Language is not only words. Language is not divided into real languages and "dialects". Language is not what we write on a page. So what, then, is a language? John McWhorter asks us to do a simple thing: to look at language the way a linguist does. And once we make that leap, we see a whole new world of human communication, celebrating everything from ancient Persian to the Navajo language to "baby mama". What Language Is argues that any language, left untouched, becomes more ingrown over time. Only adults attempting to learn a language (and constructively butchering it) can strip it down. Diving into the astounding complexities of Navajo, McWhorter outlines how a language can become downright disheveled, with more exceptions than rules. Looking at an African language called Twi, McWhorter elucidates how even tongues that sound primitive to the untrained ear enfold immense intricacies, and how what sounds like "improper" language actually constitute new and exciting grammar. McWhorter then examines the difference between written and oral language, and explains that, to a linguist, the notion that the written word is somehow elevated over the spoken in downright bizarre, especially because only two hundred of the world's six thousand languages are written. McWhorter also looks at the way languages cross-pollinate each other and occasionally become entirely new creatures via the example of Saramaccan, a wonderful languages that combines African languages with English, Dutch, and Portuguese.

    THE GRAMMAR BOOK, Second Edition helps teachers and future teachers grasp the linguistic system and details of English grammar, providing more information on how structures are used at the discourse level.

    As Elster points out, there is no sewer in connoisseur, no dip in diphthong, and no pronoun in pronunciation. The culmination of twenty years of observation and study, The Big Book of Beastly Mispronunciations is more than just a pronunciation guide. Elster discusses past and present usage, alternatives, analogies, and tendencies and offers plenty of advice, none of it objective. Whether you are adamant or ambivalent about the spoken word, Elster arms you with the information you need to decide what is acceptable for you.The Big Book of Beastly Mispronunciations has now been expanded and revised and features nearly 200 new words, including:al-Qaeda bruschetta commensurate coup de grâce curriculum vita exacerbate gigabyte hara-kiri machismo Muslim Niger Pinochet Pulitzer sorbet tinnitus w (as in www-dot)and many, many more.Charles Harrington Elster is the pronunciation editor of Black’s Law Dictionary and the author of various books about language, including Verbal Advantage, There’s a Word for It, and What in the Word? He has been a guest columnist on language for the Boston Globe and the New York Times Magazine and a commentator on NPR and hundreds of radio shows around the country.

    Although the structure of the parent volume has been preserved so that reference to it can easily be made, this grammar has been especially written to take into account the needs of advanced students of grammar in colleges and universities.

    Not since School House Rock have adjectives, adverbs, articles, conjunctions, interjections, nouns, prepositions, pronouns, and verbs been explored with such infectious exuberance. Read If You Catch an Adjective, Kill It and: Learn how to write better with classic advice from writers such as Mark Twain (“If you catch an adjective, kill it”), Stephen King (“I believe the road to hell is paved with adverbs”), and Gertrude Stein (“Nouns . . . are completely not interesting”). Marvel at how a single word can shift from adverb (“I did okay”), to adjective (“It was an okay movie”), to interjection (“Okay!”), to noun (“I gave my okay”), to verb (“Who okayed this?”), depending on its use. Avoid the pretentious preposition at, a favorite of real estate developers (e.g., “The Shoppes at White Plains”). Laugh when Yagoda says he “shall call anyone a dork to the end of his days” who insists on maintaining the distinction between shall and will. Read, and discover a book whose pop culture references, humorous asides, and bracing doses of discernment and common sense convey Yagoda’s unique sense of the “beauty, the joy, the artistry, and the fun of language.”

    In addition to explaining the basic moves, this book provides writing templates that show students explicitly how to make these moves in their own writing.

    Writing with marvelous brio, Winchester first serves up a lightning history of the English language--"so vast, so sprawling, so wonderfully unwieldy"--and pays homage to the great dictionary makers, from "the irredeemably famous" Samuel Johnson to the "short, pale, smug and boastful" schoolmaster from New Hartford, Noah Webster. He then turns his unmatched talent for story-telling to the making of this most venerable of dictionaries. In this fast-paced narrative, the reader will discover lively portraits of such key figures as the brilliant but tubercular first editor Herbert Coleridge (grandson of the poet), the colorful, boisterous Frederick Furnivall (who left the project in a shambles), and James Augustus Henry Murray, who spent a half-century bringing the project to fruition. Winchester lovingly describes the nuts-and-bolts of dictionary making--how unexpectedly tricky the dictionary entry for marzipan was, or how fraternity turned out so much longer and monkey so much more ancient than anticipated--and how bondmaid was left out completely, its slips found lurking under a pile of books long after the B-volume had gone to press. We visit the ugly corrugated iron structure that Murray grandly dubbed the Scriptorium--the Scrippy or the Shed, as locals called it--and meet some of the legion of volunteers, from Fitzedward Hall, a bitter hermit obsessively devoted to the OED, to W.C. Minor, whose story is one of dangerous madness, ineluctable sadness, and ultimate redemption. The Meaning of Everything is a scintillating account of the creation of the greatest monument ever erected to a living language. Simon Winchester's supple, vigorous prose illuminates this dauntingly ambitious project--a seventy-year odyssey to create the grandfather of all word-books, the world's unrivalled uber-dictionary.

    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.

    In Righting the Mother Tongue, the author of A Left-Hand Turn Around the World brings us the tangled story of English Spelling, from Olde English to email. Utterly captivating, deliciously edifying, and extremely witty, Righting the Mother Tongue is a treat for the language lover—a book that belongs in every personal library, right next to Eats, Shoots, and Leaves, and the works of Bill Bryson and Simon Winchester.

    With wit and good humor, this handy little book not only saves us from sticky linguistic situations but also provides fascinating cocktail-party-ready anecdotes. Entries reveal how to pronounce boatswain like an old salt on the deck of a ship, trompe l'oeil like a bona fide art expert, and haricot vert like a foodie, while arming us with the knowledge of why certain words are correctly pronounced the "slangy" way (they came about before dictionaries), what stalks of grain have to do with pronunciation, and more. With bonus sidebars like "How to Sound like a Seasoned Traveler" and "How to Sound Cultured," readers will be able to speak about foreign foods and places, fashion, philosophy, and literature with authority.

    Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart - to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue and to Flannery O'Connor for the cunning use of the telling detail. And, most important, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted.

    It is perhaps the liveliest and most entertaining reference work for writers of our time—delighting while it instructs and amusing even as it scolds and cajoles the reader into skillful, persuasive, and vivid writing. The Careful Writer, Mr. Bernstein’s major work on usage, is an indispensible desk reference, and a perennial source of continuing reading pleasure.

    For any devoted philomath (a lover of learning), this anthology of entertaining etymology is an ideal way to have fun with language.

    11th Edition hardcover book features a geographical section including 12,000 names, a biographical section with 6,000 names and a handbook of style. This essential resource merges print, electronic and online formats to deliver unprecedented accessibility as well as flexibility.