With intelligence and precision, Ellen Bryant Voigt parses out the deft and alluring shape of poetic language in The Art of Syntax. Through brilliant readings of poems by Bishop, Frost, Kunitz, Lawrence, and others, Voigt examines the signature musical scoring writers deploy to orchestrate meaning. "This structure—this architecture—is the essential drama of the poem's composition," she argues. The Art of Syntax is an indispensable book on the writer's craft by one of America's best and most influential poets and teachers.

"In Artful Sentences: Syntax as Style, Virginia Tufte shows how standard sentence patterns and forms contribute to meaning and art in more than a thousand wonderful sentences from the twentieth and twenty-first centuries. The book has special interest for aspiring writers, students of literature and language, and anyone who finds joy in reading and writing."--Publisher's description.

Total Syntax is not "literary criticism" in the habitual, apolitical sense of discovering patterns in writing or deal­ing with author's emotions or overlaying a work's themes onto a preexisting socio­logical grid. Instead, literature is seen not as an institution but as an act, one in which writing of necessity must remold itself at all points--from syntax between words to the kinds of interactive changes that take place between writer and audi­ence and society. In Watten's view, there is no frame of reference for writing that writing cannot reach, reevaluate, and transform. The meaning of a sentence, a poem, a literary career, or an entire movement is seen as ceaselessly reinventing itself. Total Synta­x is an insistent attempt to place the act of writing in as wide a context as pos­sible. Throughout the book, a wide range of materials is dealt with, not to make a world out of writing, but to address a larger issue: the transformation of the writer's role in the actual world.

Essays from twenty-seven leading book editors: “Honest and unflinching accounts from publishing insiders . . . a valuable primer on the field.” —Publishers Weekly Editing is an invisible art in which the very best work goes undetected. Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. What Editors Do gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere. Ironically for an industry built on words, there has been a scarcity of written guidance on how to approach the work of editing. Serving as a compendium of professional advice and a portrait of what goes on behind the scenes, this book sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text. This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing—and shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever. “Authoritative, entertaining, and informative.” —Copyediting

The present volume contains a selection of papers presented at the 23rd and 24th Comparative Germanic Syntax Workshop held at the University of Edinburgh and the Hogeschool-Universiteit Brussels. The contributions provide new perspectives on several topics of current interest for syntactic theory on the basis of comparative data from a wide range of Germanic languages. Among the theoretical and empirical issues explored are various ellipsis phenomena, the internal structure of the DP, the syntax-morphology interface, the syntax-semantics interface, Binding Theory, various diachronic developments, and ‘do-support’-type phenomena. This book is of interest to syntacticians with an interest in theoretical, comparative and/or diachronic work, as well as to morphologists and semanticists interested in the connections their fields have with syntax. It will also be of interest to graduate and advanced undergraduate students in linguistic disciplines.

Today’s writers need more spunk than Strunk: whether it's the Great American e-mail, Madison Avenue advertising, or Grammy Award-winning rap lyrics, memorable writing must jump off the page. Copy veteran Constance Hale is on a mission to make creative communication, both the lyrical and the unlawful, an option for everyone. With its crisp, witty tone, Sin and Syntax covers grammar’s ground rules while revealing countless unconventional syntax secrets (such as how to use—Gasp!—interjections or when to pepper your prose with slang) that make for sinfully good writing. Discover how to: *Distinguish between words that are “pearls” and words that are “potatoes” * Avoid “couch potato thinking” and “commitment phobia” when choosing verbs * Use literary devices such as onomatopoeia, alliteration, and metaphor (and understand what you're doing) Everyone needs to know how to write stylish prose—students, professionals, and seasoned writers alike. Whether you’re writing to sell, shock, or just sing, Sin and Syntax is the guide you need to improve your command of the English language.