Rarely is there a response from experts in the fields of language and language development. In this book Laurie Bauer and Peter Trudgill have invited nineteen respected linguists from all over the world to address these "language myths"--showing that they vary from the misconceived to the downright wrong. With essays ranging from "Women Talk Too Much" and "In the Appalachians They Speak Like Shakespeare" to "Italian Is Beautiful, German Is Ugly" and "They Speak Really Bad English Down South and in New York City," Language Myths is a collection that is wide-ranging, entertaining, and authoritative.

    What is required, in fact, is a radical reinterpretation of what language is. Steven Roger Fischer begins his book with an examination of the modes of communication used by dolphins, birds and primates as the first contexts in which the concept of "language" might be applied. As he charts the history of language from the times of Homo erectus, Neanderthal humans and Homo sapiens through to the nineteenth century, when the science of linguistics was developed, Fischer analyses the emergence of language as a science and its development as a written form. He considers the rise of pidgin, creole, jargon and slang, as well as the effects radio and television, propaganda, advertising and the media are having on language today. Looking to the future, he shows how electronic media will continue to reshape and re-invent the ways in which we communicate."[a] delightful and unexpectedly accessible book ... a virtuoso tour of the linguistic world."—The Economist"... few who read this remarkable study will regard language in quite the same way again."—The Good Book Guide

    We are only just discovering the reality of our avian adversaries, with their reptilian brains, their appetites for mayhem and the fact that they fly mostly to spite us. To ignore the information found within this volume may be at the peril of your very life.

    [It] was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother's shoulder, and said. 'Bird by bird, buddy. Just take it bird by bird.'"With this basic instruction always in mind, Anne Lamott returns to offer us a new gift: a step-by-step guide on how to write and on how to manage the writer's life. From "Getting Started,' with "Short Assignments," through "Shitty First Drafts," "Character," "Plot," "Dialogue." all the way from "False Starts" to "How Do You Know When You're Done?" Lamott encourages, instructs, and inspires. She discusses "Writers Block," "Writing Groups," and "Publication." Bracingly honest, she is also one of the funniest people alive.If you have ever wondered what it takes to be a writer, what it means to be a writer, what the contents of your school lunches said about what your parents were really like, this book is for you. From faith, love, and grace to pain, jealousy, and fear, Lamott insists that you keep your eyes open, and then shows you how to survive. And always, from the life of the artist she turns to the art of life.

    An exhaustive index references key words and concepts, allowing readers to easily find quotes on any subject of interest. Also included are many photographs of Lewis and his close circle of friends.Quick summary: More than 1,500 quotes from Lewis's writings. Sixteen pages of photographs. Extensive index and numbering system.

    In this, his most comprehensive and accessible study of influence, Bloom leads us through the labyrinthine paths which link the writers and critics who have informed and inspired him for so many years. The result is "a critical self-portrait," a sustained meditation on a life lived with and through the great works of the Western canon: Why has influence been my lifelong obsessive concern? Why have certain writers found me and not others? What is the end of a literary life?Featuring extended analyses of Bloom's most cherished poets—Shakespeare, Whitman, and Crane—as well as inspired appreciations of Emerson, Tennyson, Browning, Yeats, Ashbery, and others, The Anatomy of Influence adapts Bloom's classic work The Anxiety of Influence to show us what great literature is, how it comes to be, and why it matters. Each chapter maps startling new literary connections that suddenly seem inevitable once Bloom has shown us how to listen and to read. A fierce and intimate appreciation of the art of literature on a scale that the author will not again attempt, The Anatomy of Influence follows the sublime works it studies, inspiring the reader with a sense of something ever more about to be.

    But incorporating historical events and figures into a shapely narrative is no simple task. The acclaimed novelist Christopher Bram examines how writers as disparate as Gabriel García Márquez, David McCullough, Toni Morrison, Leo Tolstoy, and many others have employed history in their work.Unique among the "Art Of" series, The Art of History engages with both fiction and narrative nonfiction to reveal varied strategies of incorporating and dramatizing historical detail. Bram challenges popular notions about historical narratives as he examines both successful and flawed passages to illustrate how authors from different genres treat subjects that loom large in American history, such as slavery and the Civil War. And he delves deep into the reasons why War and Peace endures as a classic of historical fiction. Bram's keen insight and close reading of a wide array of authors make The Art of History an essential volume for any lover of historical narrative.

    Following on the success of Quadrivium and Sciencia, Trivium gathers six Wooden Books titles together into a beautiful six-color package that presents ancient wisdom in an accessible way. Trivium includes the books Euphonics, Grammar, Logic, Rhetoric,, Poetic Meter and Form, and Ethics.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    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.

    The end point of a story determines its meaning, and one of the main tasks a writer faces is to define the duration of a plot. Silber uses wide-ranging examples from F. Scott Fitzgerald, Chinua Achebe, and Arundhati Roy, among others, to illustrate five key ways in which time unfolds in fiction. In clear-eyed prose, Silber elucidates a tricky but vital aspect of the art of fiction.

    From advertisements to e-mail, from materialism to remote controls, there's a witty answer for every situation. “You have been waiting patiently for a dictionary like this to come along. And now it is here,” recognizes Napoli. “Not that you give a crap.”

    Created by poets for poets, this calendar of exercises offers inspiration and a place to begin. Whether you are a novice or well-established author, The Daily Poet is an essential resource for poets, teachers, professors, or anyone who wants to jumpstart their writing practice. The Daily Poet is portable, coffeeshop tested, and offers quick warm-ups for any writing group or classroom. An excellent guide for students, The Daily Poet is also a handy reference for poets looking for fresh ideas to share in their writing workshops.

     Did you know that people in Bolivia have a word that means "I was rather too drunk last night and it's all their fault"? That there's no Italian equivalent for the word "blue"? That the Dutch word for skimming stones is "plimpplamppletteren"? This delightful book, which draws on the collective wisdom of more than 254 languages, includes not only those words for which there is no direct counterpart in English ("pana po'o" in Hawaiian means to scratch your head in order to remember something important), but also a frank discussion of exactly how many Eskimo words there are for snow and the longest known palindrome in any language ("saippuakivikauppias"--Finland). And all right, what in fact is "tingo"? In the Pascuense language of Easter Island, it's to take all the objects one desires from the house of a friend, one at a time, by asking to borrow them. Well, of course it is. Enhanced by its ingenious and irresistible little Schott's Miscellany/Eats Shoots and Leaves package and piquant black-and-white illustrations throughout, The Meaning of Tingo is a heady feast for word lovers of all persuasions. Viva Tingo!

    How can students with widely varied levels of literary experience learn to write poetry, fiction, creative nonfiction, and drama — over the course of only one semester? In Creative Writing: Four Genres in Brief, David Starkey offers some solutions to the challenges of teaching the introductory creative writing course: (1) concise, accessible instruction in literary basics; (2) short models of literature to analyze, admire and emulate; (3) inventive and imaginative assignments that inspire and motivate.