Rules of style and technique are covered, with examples of expert prose from the masters. An Appendix covers punctuation and grammar.

    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.

    Allen Carr’s innovative Easyway method—which he discovered after his own 100-cigarette-a-day habit nearly drove him to despair—has helped millions kick smoking without feeling anxious and deprived. That’s because he helps smokers discover the psychological reasons behind their dependency, explains in detail how to handle the withdrawal symptoms, shows them how to avoid situations when temptation might become too strong, and enables them to stay smoke-free. Carr discusses such issues as nicotine addiction; the social “brainwashing” that encourages smoking; the false belief that a cigarette relieves stress; the role boredom plays in sabotaging efforts to stop; and the main reasons for failure. With this proven program, smokers will be throwing away their packs for good.

    Indeed, logic goes to the very core of what we mean by human intelligence. In this concise, crisply readable book, distinguished professor D. Q. McInerny offers an indispensable guide to using logic to advantage in everyday life. Written explicitly for the layperson, McInerny’s Being Logical promises to take its place beside Strunk and White’s The Elements of Style as a classic of lucid, invaluable advice. As McInerny notes, logic is a deep, wide, and wonderfully varied field, with a bearing on every aspect of our intellectual life. A mastery of logic begins with an understanding of right reasoning–and encompasses a grasp of the close kinship between logical thought and logical expression, a knowledge of the basic terms of argument, and a familiarity with the pitfalls of illogical thinking. Accordingly, McInerny structures his book in a series of brief, penetrating chapters that build on one another to form a unified and coherent introduction to clear and effective reasoning.At the heart of the book is a brilliant consideration of argument–how an argument is founded and elaborated, how it differs from other forms of intellectual discourse, and how it critically embodies the elements of logic. McInerny teases out the subtleties and complexities of premises and conclusions, differentiates statements of fact from statements of value, and discusses the principles and uses of every major type of argument, from the syllogistic to the conditional. In addition, he provides an incisive look at illogical thinking and explains how to recognize and avoid the most common errors of logic.Elegant, pithy, and precise, Being Logical breaks logic down to its essentials through clear analysis, accessible examples, and focused insights. Whether you are a student or a teacher, a professional sharpening your career skills or an amateur devoted to the fine points of thought and expression, you are sure to find this brief guide to effecting reasoning both fascinating and illuminating.From the Hardcover edition.

    A supplemental reference provides an offbeat source of unusual, obscure, and very legitimate English language terms, clearly and whimsically defined for the benefit of those needing "just the right word."

    Whether you're writing a rags-to-riches tell-all memoir or literary journalism, telling true stories well is hard work. In You Can't Make This Stuff Up, Lee Gutkind, the go-to expert for all things creative nonfiction, offers his unvarnished wisdom to help you craft the best writing possible. Frank, to-the-point, and always entertaining, Gutkind describes and illustrates every aspect of the genre. Invaluable tools and exercises illuminate key steps, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding the genre, this practical guidebook will help you thoroughly expand and stylize your work.

    Lajos Egri's classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay. Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives - why people act the way that they do. Using examples from everything from William Shakespeare's Romeo and Juliet to Henrik Ibsen's A Doll's House, Egri shows how it is essential for the author to have a basic premise - a thesis, demonstrated in terms of human behavior - and to develop the dramatic conflict on the basis of that behavior.Using Egri's ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving truth in writing.

    American English Idioms, a whimsical collection of colloquialisms, is sure to delight you - and provide real insight into American idioms, customs, and humor.Harry Collis has arranged common everyday idioms into nine lighthearted sections - including: The Body Has Many Uses People Do the Strangest Things When Things Go Wrong When Things Go Well and more And he has turned them over to the expert hands of Mario Risso, whose wonderfully humorous cartoons illustrate what Americans say and what they really mean.Each idiom has a standard English "translation" and is placed in a real-life context, either in a natural dialogue or narrative. These facilitate understanding and make the idioms come alive!

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    Instead of pausing to look up every word, you’ll absorb new vocabulary from the context of the story, and have the satisfaction of that moment when you say: “I totally understood that sentence!” Carefully written Spanish, using straightforward grammar that is comprehensible for beginner and intermediate level learners, so that you can enjoy reading and learn new grammatical structures without the feeling of overwhelm and frustration that you get from other books. Plenty of natural dialogues in each story, so that you can learn conversational Spanish whilst you read, and improve your speaking ability at the same time! Regular plot summaries, comprehension questions and word reference lists, so that help is always on hand when you need it. You’ll be able to focus on enjoying reading and having fun, rather than fumbling around with dictionaries and struggling through dense text with no support. A five-step plan for reading the stories in this book the smart way. This detailed introductory chapter gives you specific, step-by-step instructions for effective reading in Spanish, so that you know exactly how to make the most out of the book and maximise your learning! Spanish Short Stories for Beginners Volume 2 is written especially for students from beginner to intermediate level (A1-B1 on the Common European Framework of Reference). The eight captivating stories are designed to give you a sense of achievement and a feeling of progress when reading. You’ll finally be able to enjoy reading in Spanish, grow your vocabulary in a natural way, and improve your comprehension at the same time. Based on extensive research into how people most enjoy and benefit from reading in a new language, this book eliminates all the frustrations you have experienced when trying to read in Spanish: Dull topics that are no fun to read Books so long you never reach the end Endless chapters that make you want to give up Impenetrable grammar that frustrates you at every turn Complex vocabulary that leaves you with your head buried in the dictionary Instead, you can just concentrate on what you came for in the first place - enjoying reading and having fun! If you’re learning Spanish and enjoy reading, this is the book you need to rekind

    "There was waking, and there was sleeping. And then there were books," she writes, "a kind of parallel universe in which anything might happen and frequently did, a universe in which I might be a newcomer but never really a stranger. My real, true world." Later, she quotes editor Hazel Rochman: "Reading makes immigrants of us all. It takes us away from home, but, most important, it finds homes for us everywhere." Indeed, Quindlen's essays are full of the names of "friends," real or fictional—Anne of Green Gables and Heidi; Anthony Trollope and Jane Austen, to name just a few—who have comforted, inspired, educated, and delighted her throughout her life. In four short essays Quindlen shares her thoughts on the act of reading itself ("It is like the rubbing of two sticks together to make a fire, the act of reading, an improbable pedestrian task that leads to heat and light"); analyzes the difference between how men and women read ("there are very few books in which male characters, much less boys, are portrayed as devoted readers"); and cheerfully defends middlebrow literature:Most of those so-called middlebrow readers would have readily admitted that the Iliad set a standard that could not be matched by What Makes Sammy Run? or Exodus. But any reader with common sense would also understand intuitively, immediately, that such comparisons are false, that the uses of reading are vast and variegated and that some of them are not addressed by Homer.

    A Slip of the Keyboard brings together for the first time the finest examples of Pratchett's non fiction writing, both serious and surreal: from musings on mushrooms to what it means to be a writer (and why banana daiquiris are so important); from memories of Granny Pratchett to speculation about Gandalf's love life, and passionate defences of the causes dear to him.With all the humour and humanity that have made his novels so enduringly popular, this collection brings Pratchett out from behind the scenes of the Discworld to speak for himself - man and boy, bibliophile and computer geek, champion of hats, orang-utans and Dignity in Dying.

    They wanted to know why McCain appealed so much to so many Americans, and particularly why he appealed to the "Young Voters" of America who generally show nothing but apathy. The "Director's Cut" (three times longer than the RS article) is an incisive, funny, thoughtful piece about life on "Bullshit One" -- the nickname for the press bus that followed McCain's Straight Talk Express. This piece becomes ever more relevant, as we discuss what we know, don't know, and don't want to know about the way our political campaigns work.