The Oxford English Dictionary is the internationally recognized authority on the evolution of the English language from 1150 to the present day. The Dictionary defines over 500,000 words and traces their usage through 2.5 million illustrative quotations from a wide range of literary and other sources. It is an unsurpassed guide to the meaning, pronunciation, and history of the English language. This new version of The Oxford English Dictionary (Second Edition) on CD-ROM thus offers unparalleled access to the world's most important reference work for the English language. The text of this version has been augmented with the inclusion of the Oxford English Dictionary Additions Series (Volumes 1-3), published in 1993 and 1997, the Bibliography to the Second Edition, and other ancillary material. New Features *The powerful Advanced search makes it possible to make use of the full potential of the OED. Complex search expressions can be built through the use of Boolean operators, case-sensitive searching, exact character searching, restricting searches to previous search results, searching in pronunciations, and an extended range of wildcard options *A new installation option makes it possible to run the Dictionary from the hard disk *The Automatic Look-up feature enables fast access to OED headwords from any Microsoft Office 97 or 2000 application. This feature can be used within the OED CD-ROM itself to look up words in the definition or quotation text System requirements: PC with minimum 200 MHz Pentium-class processor; 32 MB RAM (64 MB recommended); 16-speed CD-ROM drive (32-speed recommended); Windows 95, 98, Me, NT, 2000, or XP (Local administrator rights are required to install and open the OED for the first time on a PC running Windows NT 4 and to install and run the OED on Windows 2000 and XP); 1.1 GB hard disk space to run the OED from the CD-ROM and 1.7 GB to install the CD-ROM to the hard disk: SVGA monitor: 800 x 600 pixels: 16-bit (64k, high color) setting recommended.

    Then he focuses on crafting whole paragraphs—with attention to cadence, consistency of tone, sentence transitions, and paragraph length.In a fun, comprehensive guide, Yagoda lays out the simple steps we can all take to make our writing more effective, more interesting—and just plain better.

    This new handbook is an indispensable and affordable tool for all students who write.

    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

    Brimming with examples, quotes, and case studies that include an illuminating discussion of Max Perkins's editorial collaboration with F. Scott Fitzgerald on The Great Gatsby, this book proves how fundamental editing is to great writing. Bell also offers strategic tips and exercises for self-editing, and a series of remarkable interviews, that take us into the studios of established authors such as Michael Ondaatje, Tracy Kidder, and Ann Patchett to learn from their various approaches to shaping their work after its initial creation. Much more than a manual, The Artful Edit inspires readers to think about both the discipline and the creativity of editing and how editing can enhance their work. A vigorous investigation into the history and meaning of the edit, this book, like The Triggering Town and The Elements of Style, is a must-have companion for every writer.

    This classic reference work for writers, editors, and publishers was in print through 39 editions for nearly one hundred years. New Hart's Rules is a brand-new text that brings the principles of the old text into the 21st century, providing answers to questions of editorial style for a new generation of editorial professionals. Writers and editors of all kinds will find this handy guide an indispensable companion in their work. Twenty chapters give information on all aspects of writing and of preparing copy for publication, whether in print or electronically. New Hart's Rules covers a broad range of topics including publishing terms, layout and headings, how to present numbers and dates, how to treat illustrations, hyphenation, punctuation, UK and US usage, bibliographies and notes, and indexing. The chapters have been compiled by a team of experts and consultants, and the book draws on the unrivalled expertise of Oxford's Reference Department. It is also endorsed by the Society for Editors and Proofreaders. The text is designed and organized for maximum accessibility with clearly displayed examples throughout. Authoritative and comprehensive, New Hart's Rules is the essential desk guide for all writers and editors, and together with the New Oxford Spelling Dictionary and the New Oxford Dictionary forWriters and Editors forms the complete editorial reference set.

    Now more visual and even easier to use and understand, EasyWriter offers practical help with research and documentation and expanded coverage of academic writing for students in all disciplines.

    The result of sixteen years of research in Talmudic, gnostic, cabalistic, apocalyptic, patristic, and legendary texts, the classic reference work on angels is beautifully illustrated and its reissue coincides with the resurgence of belief in angels in America.

    No matter what type of information or help you need--guidelines, samples, rules, or friendly advice--you'll find it in this handbook.Writers INC is also a multipurpose reference book with full-color maps, useful tables and charts, computer and Internet terms, and a historical time line. Any student interest in writing and learning should have a copy of Writers INC.

    Now, for the first time ever, bestselling author and writing teacher, Jessica Brody, takes the beloved Save the Cat! plotting principals and applies them to the craft of novel writing in this exciting new “workshop style” guide, featuring over 20 full beat sheets from popular novels throughout time.Whether you’re writing your first novel or your seventeenth, Save the Cat! breaks down plot in an easy-to-follow, step-by-step method so you can write stories that resonate! This book can help you with any of the following:Outlining a new novelRevising an existing novelBreaking out of the dreaded “writer’s block”Fixing a “broken” novelReviewing a completed novelFleshing out/test driving a new idea to see if it “has legs”Implementing feedback from agents and/or editorsHelping give constructive feedback to other writersBut above all else, SAVE THE CAT! WRITES A NOVEL will help you better understand the fundamentals and mechanics of plot, character transformation, and what makes a story work!

    Normally, the learner must memorize numerous compounds as unrelated units. A unique feature of this dictionary that overcomes this difficulty is the core meaning, a concise keyword that defines the dominant sense of each character, followed by detailed character meanings and numerous compounds that clearly show how thousands of building blocks are combined to form countless compound words.Another unique feature is the System of Kanji Indexing by Patterns (SKIP), an indexing system that enables the user to locate characters as quickly and as accurately as in alphabetical dictionaries.Modern linguistic theory has been effectively integrated with sophisticated information technology to produce the most useful kanji learner's dictionary ever compiled. For the first time, learners have at their fingertips a wealth of information that is linguistically accurate, easy to use, and carefully adapted to their practical needs.FEATURESo 2,230 entry characters, including all the kanji in the Joyo and Jinmei Kanji listso 41,000 senses for 31,300 words and word elements show how each character contributes to the meanings of compounds o 1,200 homophones with core meanings explain differences between closely related characters o 386 variant forms used in prewar literature and in names o 1,945 stroke order diagrams show you how to write each kanji stroke by stroke o 7,200 character readings, including name readings o Over 2,000 cross-references and five appendixes give instant access to a mass of useful reference data

    Even so, many writers are stymied in getting their books published, never mind gaining significant attention for their ideas—and substantial sales. This is the book editors have been recommending to would-be authors. Filled with trade secrets, Thinking Like Your Editor explains:• why every proposal should ask and answer five key questions;• how to tailor academic writing to a general reader, without losing ideas or dumbing down your work;• how to write a proposal that editors cannot ignore;• why the most important chapter is your introduction;• why "simple structure, complex ideas" is the mantra for creating serious nonfiction;• why smart nonfiction editors regularly reject great writing but find new arguments irresistible.Whatever the topic, from history to business, science to philosophy, law, or gender studies, this book is vital to every serious nonfiction writer.

    With this essential guide in hand, any writer can learn to communicate with the clarity and professionalism for which the Associated Press is famous. Fully revised and updated, this edition contains over 5,000 A to Z entries--including more than 50 new ones--laying out the AP's rules on grammar, spelling, punctuation, capitalization, abbreviation, and word and numeral usage. Comprehensive and easy to use, The AP Stylebook provides the facts and references necessary to write accurately about the world today: correct names of countries and organizations, Internet language and search techniques, language to avoid, common trademarks, and the unique guidelines for business and sports reporting. The final word on media law, The AP Stylebook also includes an invaluable section dedicated to crucial advice on how writers can guard against libel and copyright infringement. The veritable "journalist's bible," this is the one reference that working writers cannot afford to be without.With more than 50 new entries plus updates of more than 100 others, The AP Stylebook includes such features as: An A to Z listing of guides to capitalization, abbreviation, spelling, numerals, and usage* Internet guidelines* Sports guidelines and style* Business guidelines and style* A guide to punctuation* Supreme Court decisions regarding libel law* Summary of First Amendment rules* The right of privacy* Copyright guidelines* Proofreaders' marks

    For over a quarter of a century, as creator and proprietor of the National Grammar Hot Line, he helped thousands of callers from every corner of the globe tackle the thorniest issues of English grammar. Now, in The Grammar Bible, he has created an eminently useful guide to better speaking and writing. Unlike other grammar manuals, The Grammar Bible is driven by the actual questions Professor Strumpf encountered during his years of teaching and fielding phone calls from anxious writers, conscientious students, and perplexed editors, including such perennial quandaries aso Where do I put this comma?o What case should this pronoun be in?o How do I form the possessive of Dickens? Professor Strumpf explains these and other language issues with wit and wisdom, showing how to speak more clearly and write more impressively by avoiding common errors and following the principles of good grammar. Whether you need a comprehensive review of the subjunctive mood or simply want to know which form of a verb to use, The Grammar Bible is a practical guide that will enlighten, educate, and entertain.

    About The Author: Henry Gray, F.R.S., Fellow of the royal college of Surgeons: Lecturer on anatomy at St. George?s Hospital Medical School. Table Of Contents: Descriptive and Surgical Anatomy The Articulations Muscles and Fasclae The Blood-vascular system The Lymphatics The Nervous system The Organs of special sense The Organs of Digestion The Organs of voice and respiration The urinary organs The Male Organs of Generation The Female Organs of Generation The Surgical Anatomy of Hernia Surgical Anatomy of the Perinaeum General Anatomy or Histology Embryology