It also provides an absorbing account of how the dictionary was written, the personalities of the people working on it & the endless difficulties which nearly led to the whole enterprise being abandoned.

    Anyone looking to improve his or her vocabulary and anyone who loves words will be enthralled by this unique and impressive thesaurus that provides only the most unusual -- or is it recondite? --words for each entry.

    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

    certainly has, and after forty years of making a living using words in every medium, print or electronic, except greeting cards, he still can't get over his ABCs. In Alphabet Juice, he celebrates the electricity, the juju, the sonic and kinetic energies, of letters and their combinations. Blount does not prescribe proper English. The franchise he claims is "over the counter."Three and a half centuries ago, Thomas Blount produced Blount's Glossographia, the first dictionary to explore derivations of English words. This Blount's Glossographia takes that pursuit to other levels, from Proto-Indo-European roots to your epiglottis. It rejects the standard linguistic notion that the connection between words and their meanings is "arbitrary." Even the word arbitrary is shown to be no more arbitrary, at its root, than go-to guy or crackerjack. From sources as venerable as the OED (in which Blount finds an inconsistency, at whisk) and as fresh as Urbandictionary.com (to which Blount has contributed the number-one definition of alligator arm), and especially from the author's own wide-ranging experience, Alphabet Juice derives an organic take on language that is unlike, and more fun than, any other.

    Many of these students are extremely intelligent and hardworking, but even the best will, at some point, struggle with the demands of making the transition to advanced mathematics. Some have difficulty adjusting to independent study and to learning from lectures. Other struggles, however, are more fundamental: the mathematics shifts in focus from calculation to proof, so students are expected to interact with it in different ways. These changes need not be mysterious - mathematics education research has revealed many insights into the adjustments that are necessary - but they are not obvious and they do need explaining.This no-nonsense book translates these research-based insights into practical advice for a student audience. It covers every aspect of studying for a mathematics degree, from the most abstract intellectual challenges to the everyday business of interacting with lecturers and making good use of study time. Part 1 provides an in-depth discussion of advanced mathematical thinking, and explains how a student will need to adapt and extend their existing skills in order to develop a good understanding of undergraduate mathematics. Part 2 covers study skills as these relate to the demands of a mathematics degree. It suggests practical approaches to learning from lectures and to studying for examinations while also allowing time for a fulfilling all-round university experience.The first subject-specific guide for students, this friendly, practical text will be essential reading for anyone studying mathematics at university.

    Jobs in the geosciences are expected to increase over the next decade, which will increase geology-related jobs well above average projection for all occupations in the coming years."Geology For Dummies" is the most accessible book on the market for anyone who needs to get a handle on the subject, whether you?re looking to supplement classroom learning or are simply interested in earth sciences. Presented in a straightforward, trusted format, it features a thorough introduction to the study of the earth, its materials, and its processes.Tracks to a typical college-level introductory geology courseAn 8-page color insert includes photos of rocks, minerals, and geologic marvelsCovers geological processes; rock records and geologic times; matter, minerals, and rock; and more"Geology For Dummies" is an excellent classroom supplement for all students who enroll in introductory geology courses, from geology majors to those who choose earth science courses as electives.

    Sufficient information about General Phonetics has been included in the book, with a view to facilitating the reader's understanding of the Phonetics of English. Plenty of examples are given from English, Tamil, Hindi and Urdu/Arabic to illustrate the points made. There are a number of diagrams throughout the book,illustrating the articulation of the sounds of English. The book also includes some information about General Phonology and the Phonology of English. A few sentences, dialogues and a popular tale have been given at the end of the book, both in orthography and in simple phonemic transcription. The book covers the Phonetics/Phonology syllabus of most Indian universities and ELT institutes

    The effects of the 1980s films Beat Street, Wild Style, and StyleWars are examined, as is the influence graffiti experts on today's subculture through books, magazines, and the Internet.The practical elements of graffiti are considered in later chapters, which combine tips on handling a spray can, creating a unique tag, and getting work up safely and legally with step-by-step diagrams that show how to achieve effects such as bubblestyle, blockbusters, oneliners, and wildstyle. A teacher’s manual features sample plans for a single lesson as well as guidance on structuring a longer course.

    Provides information on how evidence is measured, collected, identified, and analyzed, the timetable of activity at a crime scene, and technical terms and professional techniques used.

    Each contributor addresses key teaching challenges in their area of expertise.Practical English Language Teaching is divided into three sections: Exploring Skills, Exploring Language, and Supporting the Learning Process.FEATURES:Critical areas of language teaching are comprehensively addressed with a specific focus on practical techniques, strategies, and tips.World-class specialists like Neil Andersen, Kathleen M. Bailey, Mary Ann Christison, and David Nunan offer a variety of perspectives on language teaching and the learning process."Reflection" questions invite readers to think about critical issues in language teaching while "Action" tasks outline strategies for putting new techniques into practice.Thoughtful suggestions for books, articles, and Web sites offer resources for additional, up-to-date information.Expansive glossary offers short and straightforward definitions of core language teaching terms.

    Its second edition, published in 1986, has confirmed that vocabulary is best taught by root, not rote. The importance of learning classical word roots is already acknowledged by vocabulary texts that devote chapters to them. Why a whole book based on this approach? Ayers' text exposes students to a wider range of roots, introduces new English words in context sentences, and reinforces vocabulary through exercises. It promotes more practice with roots so that students learn to use them as tools in their everyday encounters with new words. English Words is written from the standpoint of English; it neither attempts to teach students Latin or Greek nor expects a knowledge of classical languages on the part of instructors. Its success has been demonstrated at both the secondary and college levels, and it can be used effectively with students in remedial or accelerated programs. An Instructor's Manual (gratis with adoption) and a Workbook are also available.

    From the deception strategies of international public figures, such as Adolf Hitler and Richard Nixon, to the deceitful behavior of private individuals, including adulterers and petty criminals, Ekman shows that a successful liar most often depends on a willfully innocent dupe. His study describes how lies vary in form and can differ from other types of misinformation, as well as how a person's body language, voice, and facial expressions can give away a lie but still escape the detection of professional lie hunters—judges, police officers, drug enforcement agents, Secret Service agents, and others.

    You can use it to talk about all sorts of things -- from your new labradoodle puppy to the expansive gardens at Versailles, from Roger Federer's backhand to things that don't exist at all, like flying pigs. And when you talk, your listener fills in lots of details you didn't mention -- the curliness of the dog's fur or the vast statuary on the grounds of the French palace. What's the trick behind this magic? How does meaning work?In Louder than Words, cognitive scientist Benjamin Bergen draws together a decade’s worth of research in psychology, linguistics, and neuroscience to offer a new theory of how our minds make meaning. When we hear words and sentences, Bergen contends, we engage the parts of our brain that we use for perception and action, repurposing these evolutionarily older networks to create simulations in our minds. These embodied simulations, as they're called, are what makes it possible for us to become better baseball players by merely visualizing a well-executed swing; what allows us to remember which cupboard the diapers are in without looking, and what makes it so hard to talk on a cell phone while we're driving on the highway. Meaning is more than just knowing definitions of words, as others have previously argued. In understanding language, our brains engage in a creative process of constructing rich mental worlds in which we see, hear, feel, and act.Through whimsical examples and ingenious experiments, Bergen leads us on a virtual tour of the new science of embodied cognition. A brilliant account of our human capacity to understand language, Louder than Words will profoundly change how you read, speak, and listen.

     Example sentences and brief explanatory comments provide a rich context to bring the words to life, and quizzes are provided to encourage reuse and recall of words and to reinforce memory of them. All of these features combine to make this a valuable tool for students preparing for standardized tests or simply seeking to expand their English vocabulary.

    It covers topics such as plurals and literary technique, distinctions among like words (homonyms and synonyms), and the use of foreign terms.This book is intended for general; students and teachers of English; anyone wanting guidance on the correct use of English.