IELTS test scores are used as a measure of English language proficiency by educational institutions, government departments and agencies, and professional organizations. This revised and updated test preparation manual for ESL students covers all parts of the IELTS and all of its question types: multiple-choice, short answer, sentence completion, flowchart completion, graphs, tables, making notes, summarizing, labeling diagrams and maps, classification, matching, and selecting from a list. The manual also offers four practice tests that reflect the most recent actual tests. The book’s tests come with audio for all four tests, answers, and listening and reading modules with answer keys.

    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

    This is an essential book for everyone who wants to write clearly about any subject and use writing as a means of learning.

    A bestseller through six editions, Writing Fiction by novelists Janet Burroway and Elizabeth Stuckey-French explores the elements of fiction, providing practical writing techniques and concrete examples. Written in a tone that is personal and non-prescriptive, the text encourages students to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text also integrates diverse, contemporary short stories in every chapter in the belief that the reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.

    If its purpose is to entertain or to provoke thought, it makes readers want to come back for more.Revised and updated, this guide covers four essential aspects of good writing:Individual words - spelling variations, hyphenation, frequently confused homonyms, frequently misused words and phrases, irregular plurals and negatives, and uses of capitalization and type style to add special meaningsPunctuation - the role of each mark in achieving clarity and affecting tone, and demonstration of how misuses can lead to ambiguitySyntax and structure - agreement of subject and verb, parallel construction, modifiers, tenses, pronouns, active versus passive voice, and moreStyle - advice on the less hard-and-fast areas of clarity and tone, including sentence length and order, conciseness, simplification, reading level, jargon and cliches, and subtletyFilled with self-test exercises and whimsical literary quotations, "Grammatically Correct" steers clear of academic stuffiness, focusing instead on practical strategies and intuitive explanations.Discussions are designed to get to the heart of a concept and provide a sufficient sense of when and how to use it, along with examples that show what ambiguities or misinterpretations might result if the rules are not followed. In cases where there is more than one acceptable way to do something, the approach is not to prescribe one over another but simply to describe the options.Readers of this book will never break the rules of language again - unintentionally."

    Each title includes a photocopiable 'Task File' of training and reflection activities to reinforce the theories and practical ideas presented.

    More frolicsome than Fowler's Modern Usage, lighter than the Oxford English Dictionary, and brimming with the strong opinions and razor-sharp wit that made Amis so popular--and so controversial--The King's English is a must for fans and language purists.

    Many have written about the evolution of our grammar, pronunciation, and vocabulary, but only Lerer situates these developments in the larger history of English, America, and literature.Lerer begins in the seventh century with the poet Caedmon learning to sing what would become the earliest poem in English. He then looks at the medieval scribes and poets who gave shape to Middle English. He finds the traces of the Great Vowel Shift in the spelling choices of letter writers of the fifteenth century and explores the achievements of Samuel Johnson's Dictionary of 1755 and The Oxford English Dictionary of the late nineteenth and early twentieth centuries. He describes the differences between English and American usage and, through the example of Mark Twain, the link between regional dialect and race, class, and gender. Finally, he muses on the ways in which contact with foreign languages, popular culture, advertising, the Internet, and e-mail continue to shape English for future generations.Each concise chapter illuminates a moment of invention-a time when people discovered a new form of expression or changed the way they spoke or wrote. In conclusion, Lerer wonders whether globalization and technology have turned English into a world language and reflects on what has been preserved and what has been lost. A unique blend of historical and personal narrative, Inventing English is the surprising tale of a language that is as dynamic as the people to whom it belongs.

    Previously known as Gone Fishin', this book has brought Jay Rubin more feedback than any of his literary translations or scholarly tomes, "even if," he says, "you discount the hate mail from spin-casters and the stray gill-netter."To convey his conviction that "the Japanese language is not vague," Rubin has dared to explain how some of the most challenging Japanese grammatical forms work in terms of everyday English. Reached recently at a recuperative center in the hills north of Kyoto, Rubin declared, "I'm still pretty sure that Japanese is not vague. Or at least, it's not as vague as it used to be. Probably."The notorious "subjectless sentence" of Japanese comes under close scrutiny in Part One. A sentence can't be a sentence without a subject, so even in cases where the subject seems to be lost or hiding, the author provides the tools to help you find it. Some attention is paid as well to the rest of the sentence, known technically to grammarians as "the rest of the sentence."Part Two tackles a number of expressions that have baffled students of Japanese over the decades, and concludes with Rubin's patented technique of analyzing upside-down Japanese sentences right-side up, which, he claims, is "far more restful" than the traditional way, inside-out."The scholar," according to the great Japanese novelist Soseki Natsume, is "one who specializes in making the comprehensible incomprehensible." Despite his best scholarly efforts, Rubin seems to have done just the opposite.Previously published in the Power Japanese series under the same title and originally as Gone Fishin' in the same series.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Abundant examples and exercises allow students to focus on how to do historical linguistics. The book is distinctive for its integration of the standard topics with others now considered important to the field, including syntactic change, grammaticalization, sociolinguistic contributions to linguistic change, distant genetic relationships, areal linguistics, and linguistic prehistory. It also offers a defense of the family tree model, a response to recent claims on lexical diffusion/frequency, and a section on why languages diversify and spread. Examples are taken from a broad range of languages; those from the more familiar English, French, German, and Spanish make the topics more accessible, while those from non-Indo-European languages show the depth and range of the concepts they illustrate.

    Lewis is a full-time "language hacker," someone who devotes all of his time to finding better, faster, and more efficient ways to learn languages. Fluent in 3 Months: How Anyone at Any Age Can Learn to Speak Any Language from Anywhere in the World is a new blueprint for fast language learning. Lewis argues that you don't need a great memory or "the language gene" to learn a language quickly, and debunks a number of long-held beliefs, such as adults not being as good of language learners as children.

    You can describe what you're thinking but you don't know the name for it. Flip Dictionary solves this common problem! Best-selling author Barbara Ann Kipfer has created a huge reference that offers cues and clue words to lead writers to the exact phrase or specific term they need. It goes beyond the standard reverse dictionary format to offer dozens of charts and tables, listing groups by subject (such as automobiles, clothing types, plants, tools, etc.) Flip Dictionary is an excellent resource for everyone. Writers of fiction and non-fiction will use it to find that elusive word they need, and word lovers will find it an entertaining book to simply sit and browse through. Crossword puzzlers will also find it invaluable. An indispensable desk reference, as necessary as a dictionary or thesaurus, but a whole lot more fun.

    But, Alex Bellos says, "math can be inspiring and brilliantly creative. Mathematical thought is one of the great achievements of the human race, and arguably the foundation of all human progress. The world of mathematics is a remarkable place."Bellos has traveled all around the globe and has plunged into history to uncover fascinating stories of mathematical achievement, from the breakthroughs of Euclid, the greatest mathematician of all time, to the creations of the Zen master of origami, one of the hottest areas of mathematical work today. Taking us into the wilds of the Amazon, he tells the story of a tribe there who can count only to five and reports on the latest findings about the math instinct--including the revelation that ants can actually count how many steps they've taken. Journeying to the Bay of Bengal, he interviews a Hindu sage about the brilliant mathematical insights of the Buddha, while in Japan he visits the godfather of Sudoku and introduces the brainteasing delights of mathematical games.Exploring the mysteries of randomness, he explains why it is impossible for our iPods to truly randomly select songs. In probing the many intrigues of that most beloved of numbers, pi, he visits with two brothers so obsessed with the elusive number that they built a supercomputer in their Manhattan apartment to study it. Throughout, the journey is enhanced with a wealth of intriguing illustrations, such as of the clever puzzles known as tangrams and the crochet creation of an American math professor who suddenly realized one day that she could knit a representation of higher dimensional space that no one had been able to visualize. Whether writing about how algebra solved Swedish traffic problems, visiting the Mental Calculation World Cup to disclose the secrets of lightning calculation, or exploring the links between pineapples and beautiful teeth, Bellos is a wonderfully engaging guide who never fails to delight even as he edifies. "Here's Looking at Euclid "is a rare gem that brings the beauty of math to life.

    The Student's Book contains an introduction to the different modules of the exam together with an explanation of the different IELTS question types and how to approach them. The inclusion of annotated keys and tapescripts for each test makes the book ideal for students working partly or entirely on their own. The Audio CDs contain listening material carefully chosen to reflect the reality of the exam in terms of timing, format and the types of speaker and accent used.