An obsessive word lover's account of reading the entire Oxford English Dictionary, hailed as "the Super Size Me of lexicography." "I'm reading the OED so you don't have to," says Ammon Shea on his slightly masochistic journey to scale the word lover's Mount Everest: the Oxford English Dictionary. In 26 chapters filled with sharp wit, sheer delight, and a documentarian's keen eye, Shea shares his year inside the OED, delivering a hair-pulling, eye-crossing account of reading every word.

An obsessive word lover provides an account of the year he spent reading the Oxford English Dictionary cover to cover, offering a selection of obscure and offbeat vocabulary gems he discovered along the way.

'If you are interested in vocabulary that is both spectacularly useful and beautifully useless, read on. I have read the OED so you don't have to...' Weighing in at 137 pounds, the Oxford English Dictionary is the word lover's Everest and the world's most exhaustive and exhausting dictionary - for instance, there are over 60,000 words on the various meanings of set and un- goes on for 451 pages. Like a lexicographical Edmund Hillary, Ammon Shea set out to boldly read, where no reader has gone before - from cover to cover.Reading the OED gives a very funny account of his coffee-fuelled twelve months lost inside its 20 volumes. Divided into 26 chapters, one per letter of the alphabet, this book is part personal narrative (exploring everything from love to glasses to the superiority of books over computers) and part a collection of Shea's favourite discoveries. These span from the oddly useful (parabore - a defence against bores) to the downright bizarre (natiform - shaped like buttocks) and takes in Nashe's eight different kinds of drunkenness and all kinds of other strangely memorable information along the way. Filled with curiosities, delights and surprises, Reading the OED is a feast for language obsessives, from a man who loves words (perhaps a little too much).

A pathbreaking introduction to eighteenth-century metaphors of the mind that recasts the grand narrative of the Enlightenment in terms of its tropes and figures. An encyclopedic dictionary along the lines of Voltaire’s classic Dictionnaire Philosophique, Metaphors of Mind provides an in-depth look at the myriad ways in which Enlightenment writers used figures of speech to characterize the mind. Drawn from Brad Pasanek’s massive online archive, http://metaphorized.net, this volume constitutes a veritable treasury of mental metaphorics. Dividing the book into eleven broad metaphorical categories—Animals, Coinage, Court, Empire, Fetters, Impressions, Inhabitants, Metal, Mirror, Rooms, and Writing—Pasanek maps out constellations of metaphors. He frames his collection of literary excerpts in each section with a more descriptive and theoretical discussion of what he calls “desultory reading,” a form of unsystematic perusal of writing frequently employed by Enlightenment thinkers. By surveying the printed past alongside the digital present, the book treats eighteenth-century writing as its topic while essentially exemplifying its rhetorical approach. More than an exercise in quotation, this intellectual history offers illuminating readings of fragmentary literary works and confrontations with neoclassical and contemporary theories of metaphor. The book’s entries complicate received ideas about Locke’s blank slate, question M. H. Abrams’ claims about mirrors and lamps, and chart changing frequencies of metal metaphors in a moment of industrial revolution. The book also responds to current anxieties about reading and the mass digitization of literature, touching on recent discussions of “distant reading,” “shallow reading,” and “surface reading.” Promoting critical and creative anachronism, Metaphors of Mind redefines the notion of an archive in the age of Amazon and Google Books.

The author of Reading the OED presents an eye-opening look at language “mistakes” and how they came to be accepted as correct—or not. English is a glorious mess of a language, cobbled together from a wide variety of sources and syntaxes, and changing over time with popular usage. Many of the words and usages we embrace as standard and correct today were at first considered slang, impolite, or just plain wrong. Whether you consider yourself a stickler, a nitpicker, or a rule-breaker in the know, Bad English is sure to enlighten, enrage, and perhaps even inspire. Filled with historic and contemporary examples, the book chronicles the long and entertaining history of language mistakes, and features some of our most common words and phrases, including: Decimate Hopefully Enormity That/which Enervate/energize Bemuse/amuse Literally/figuratively Ain’t Irregardless Socialist OMG Stupider Lively, surprising, funny, and delightfully readable, this is a book that will settle arguments among word lovers—and it’s sure to start a few, too.

Joseph Conrad, Jean Rhys, and Pramoedya Ananta Toer are writers renowned for crafting narratives of great technical skill that resonate with potent truths on the colonial condition. Yet given the generational and geographical boundaries that separated them, they are seldom considered in conjunction with one another. The Passage of Literature unites the three in a bracing comparative study that breaks away from traditional conceptions of modernism, going beyond temporal periodization and the entrenched Anglo-American framework that undergirds current scholarship. This study nimbly traces a trio of distinct yet interrelated modernist genealogies. English modernism as exemplified by Conrad's Malay trilogy is productively paired with the hallmark work of Indonesian modernism, Pramoedya's Buru quartet. The two novel sequences, penned years apart, narrate overlapping histories of imperialism in the Dutch East Indies, and both make opera central for understanding the cultural dynamic of colonial power. Creole modernism--defined not only by the linguistic diversity of the Caribbean but also by an alternative vision of literary history--provides a transnational context for reading Rhys's Good Morning, Midnight and Wide Sargasso Sea, each novel mapped in relation to the colonial English and postcolonial Indonesian coordinates of Conrad's The Shadow-Line and Pramoedya's This Earth of Mankind. All three modernisms-English, Creole, and Indonesian-converge in a discussion of the Indonesian figure of the nyai, a concubine or house servant, who represents the traumatic core of transnational modernism. Throughout the study, Pramoedya's extraordinary effort to reconstruct the lost record of Indonesia's emergence as a nation provides a model for reading each fragmentary passage of literature as part of an ongoing process of decolonizing tradition. Drawing on translated and un-translated works of fiction and nonfiction, GoGwilt effectively reexamines the roots of Anglophone modernist studies, thereby laying out the imperatives of a new postcolonial philology even as he resituates European modernism within the literary, linguistic, and historical context of decolonization.