This book, the first systematic exploration of the third person in English, German, and French, takes a fresh look at person reference within the realm of political discourse. By focusing on the newly refined speech role of the target, attention is given to the continuity between second and third grammatical persons as a system. The role played by third-person forms in creating and maintaining interpersonal relationships in discourse has been surprisingly overlooked. Until now, third-person forms have overwhelmingly been considered as referring to the absent, i.e. to someone outside the communication situation, other than the speaker or the hearer: the “nonperson”. By broadening the scope and finally integrating the third person, we come to understand The Politics of Person Reference fully, and to see the strategic, argumentative, and dialogical nature of the act of referring to other discourse participants, understood as the act of creating new referents.

In an alternate frontier America, Eff must travel beyond the Great Barrier and come to terms with her magic abilities--and those of her twin brother--to stop the newest threat encroaching on the settlers.

How and why did grammatical gender, found in Old English and in other Germanic languages, gradually disappear from English and get replaced by a system where the gender of nouns and the use of personal pronouns depend on the natural gender of the referent? How is this shift related to 'irregular agreement' (such as she for ships) and 'sexist' language use (such as generic he) in Modern English, and how is the language continuing to evolve in these respects? Anne Curzan's accessibly written and carefully researched study is based on extensive corpus data, and will make a major contribution by providing a historical perspective on these often controversial questions. It will be of interest to researchers and students in history of English, historical linguistics, corpus linguistics, language and gender, and medieval studies.

This volume, a case study on the grammar of third person references in two genres of spoken Ecuadorian Spanish, examines from a discourse-analytic perspective how genre affects linguistic patterns and how researchers can look for and interpret genre effects. This marks a timely contribution to corpus linguistics, as many linguists are choosing to work with empirical data. Corpus based approaches have many advantages and are useful in the comparison of different languages as well as varieties of the same language, but what is often overlooked in such comparisons is the genre of language under examination. As this case study shows, genre is an important factor in interpreting patterns and distributions of forms. The book also contributes toward theories of anaphora, referentiality and Preferred Argument Structure. It is relevant for scholars who work with referentiality, genre differences, third person references, and interactional linguistics, as well as those interested in Spanish morphosyntax.

A couple’s future hangs in the balance as they wait for a train in a Spanish café in this short story by a Nobel and Pulitzer Prize–winning author. At a small café in rural Spain, a man and woman have a conversation while they wait for their train to Madrid. The subtle, casual nature of their talk masks a more complicated situation that could endanger the future of their relationship. First published in the 1927 collection Men Without Women, “Hills Like White Elephants” exemplifies Ernest Hemingway’s style of spare, tight prose that continues to win readers over to this day.

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY San Francisco Chronicle • Newsweek/The Daily Beast • The Seattle Times • The Economist • Kansas City Star • BookPage On February 14, 1989, Valentine’s Day, Salman Rushdie was telephoned by a BBC journalist and told that he had been “sentenced to death” by the Ayatollah Khomeini. For the first time he heard the word fatwa. His crime? To have written a novel called The Satanic Verses, which was accused of being “against Islam, the Prophet and the Quran.” So begins the extraordinary story of how a writer was forced underground, moving from house to house, with the constant presence of an armed police protection team. He was asked to choose an alias that the police could call him by. He thought of writers he loved and combinations of their names; then it came to him: Conrad and Chekhov—Joseph Anton. How do a writer and his family live with the threat of murder for more than nine years? How does he go on working? How does he fall in and out of love? How does despair shape his thoughts and actions, how and why does he stumble, how does he learn to fight back? In this remarkable memoir Rushdie tells that story for the first time; the story of one of the crucial battles, in our time, for freedom of speech. He talks about the sometimes grim, sometimes comic realities of living with armed policemen, and of the close bonds he formed with his protectors; of his struggle for support and understanding from governments, intelligence chiefs, publishers, journalists, and fellow writers; and of how he regained his freedom. It is a book of exceptional frankness and honesty, compelling, provocative, moving, and of vital importance. Because what happened to Salman Rushdie was the first act of a drama that is still unfolding somewhere in the world every day. Praise for Joseph Anton “A harrowing, deeply felt and revealing document: an autobiographical mirror of the big, philosophical preoccupations that have animated Mr. Rushdie’s work throughout his career.”—Michiko Kakutani, The New York Times “A splendid book, the finest . . . memoir to cross my desk in many a year.”—Jonathan Yardley, The Washington Post “Thoughtful and astute . . . an important book.”—USA Today “Compelling, affecting . . . demonstrates Mr. Rushdie’s ability as a stylist and storytelle. . . . [He] reacted with great bravery and even heroism.”—The Wall Street Journal “Gripping, moving and entertaining . . . nothing like it has ever been written.”—The Independent (UK) “A thriller, an epic, a political essay, a love story, an ode to liberty.”—Le Point (France) “Action-packed . . . in a literary class by itself . . . Like Isherwood, Rushdie’s eye is a camera lens —firmly placed in one perspective and never out of focus.”—Los Angeles Review of Books “Unflinchingly honest . . . an engrossing, exciting, revealing and often shocking book.”—de Volkskrant (The Netherlands) “One of the best memoirs you may ever read.”—DNA (India) “Extraordinary . . . Joseph Anton beautifully modulates between . . . moments of accidental hilarity, and the higher purpose Rushdie saw in opposing—at all costs—any curtailment on a writer’s freedom.”—The Boston Globe

The road to rejection is paved with bad beginnings. Agents and editors agree: Improper story beginnings are the single biggest barrier to publication. Why? If a novel or short story has a bad beginning, then no one will keep reading. It's just that simple. In Hooked, author Les Edgerton draws on his experience as a successful fiction writer and teacher to help you overcome the weak openings that lead to instant rejection by showing you how to successfully use the ten core components inherent to any great beginning. You'll find: • Detailed instruction on how to develop your inciting incident • Keys for creating a cohesive story-worthy problem • Tips on how to avoid common opening gaffes like overusing backstory • A rundown on basics such as opening scene length and transitions • A comprehensive analysis of more than twenty great opening lines from novels and short stories Plus, you'll discover exclusive insider advice from agents and acquiring editors on what they look for in a strong opening. With Hooked, you'll have all the information you need to craft a compelling beginning that lays the foundation for an irresistible story!