Whether you are teaching homonyms, figures of speech, or idioms, this book will offer humours background information and sets of word games for all.

"This book akes the 50 most relevant Word functions and provides detailed step-by-step instructions on how to develop the skill of using each function"--Cover.

For more than twenty years, Richard Kostelanetz has been a consistent iconoclast and advocate of the avant-garde in American poetry. His visual (or "concrete") poems, his numerical, audio and video poems, as well as the more recent holographic poems, challenge the audience to expand traditional boundaries of time, space, language and genre, to ask more the "how" than the "what."

Poetry. African & African American Studies. Women's Studies. JoAnne McFarland asks, if we are our bodies, what do we do when they betray us? When the life leaves them? When we cannot convince them to reach for what we want to become? Says Leslie McGrath, "Duality runs through the collection; the poems read as conversations between the conscious and unconscious, the personal versus the public. JoAnne McFarland offers the body in thrall, in love, the body etched by ritual, by shame, the Black body, the female body, the body fully human. This collection is a revelation." Janet Kaplan calls this book "a moving picture--text in cinematographic jump cut, close up, and chiaroscuro--of a Black woman as she embodies herself and those she loves and mourns--lives cut down way too soon, stricken, murdered, silenced. For McFarland, identifying the body also means identifying the soul that longs for release and the passions that yearn for fulfillment right here: love and justice embodied, in full measure."

Poetry. Winner of the 2020 Tenth Gate Prize for Poetry. "Carolyn Guinzio's A VERTIGO BOOK reads like a condensed novel in three parts. We have 'V' a woman alone at the end of a life, her 'light skeleton' nearly lifting 'right up off the earth.' V's loneliness is our loneliness, yet Guinzio describes her with such care, we find ourselves mesmerized, keeping intimate company with the details of her almost-not life: snow, deer, apple, mirror, lake. It 'hurts us to see,' but we want to see, to find out how it is there at the very edge of being. When we leave her, it's to draw even closer to Guinzio's impeccably observant eye. She enters the natural world with all the passionate attention of a lover, and we follow. In a final staccato section, we find Jenny Mentink, a settler somewhere in America's prairie. How is Jenny's story also V's? How might their lostness be America's lostness? 'What ground is this?' they ask, we ask, as we enter the long American story of un-belonging to this land that holds us only briefly."--Julie Carr

Poetry. Translated by Andrea Jurjević. DEAD LETTER OFFICE is, in the words of its translator, Andrea Jurjević, "sharp-witted with a kind of punk-rock sensibility." Pogačar reminds us that god(s) don't exist, that we have to find our individual paths in life, and take responsibility for it. His poems tell us to declare a war on those in power who act like god(s), to uproot from the plague of patriotism, nationalism, and opportunism. He also tells us to learn how to accept mortality, our own and that of others, and to try to love, in all possible and impossible ways. "Pogačar's incisive poetry finds new life in Jurjević's dexterously colloquial translations. At times witty, at times ironic, at times remarkably moving, this collection is a welcome introduction to one of Croatian literature's brightest stars."--Kareem James Abu-Zeid "'What used to be borders is now you,' writes Marko Pogačar in this beautiful, inimitable collection of poems, giving us a world of post-war Yugoslavia where 'TV shows start with familiar scenes.' What is the poet to do in this world? The poet demands the 'green skull of an apple.' It is a world where eggs chirp, newspapers rustle, and the dead are near. What is it, this syntax of seeing one's country with full honesty, without any lyric filters? How does it become so dazzlingly lyrical, nevertheless? 'I dislike walking on a person's left side,' the poet admits. 'I shove the night into an evil e-mail / and send it to the entire nation.' And behind him we see the world, 'beautiful, like a burning guillotine.' It is blessed, this strangeness of abandon, after all is lost. And yet, not all is lost. What is happening here? Real poetry is happening. Lyric fire. I know it when instead of writing a comment on the book, I just want to keep quoting. For poetry is a mystery that is communicated before it is understood. Marko Pogačar is the real thing, and I am especially grateful to Andrea Jurjević for these crisp, beautiful translations."--Ilya Kaminsky "Marko Pogačar's poems dig in their heels on their way to us through Andrea Jurjević--there's something tenacious about them. Gutsy. Physical. Furious. Ethereal. Laughing. Desperate and joyous. Small moves. Reading these lines is like eating roasted chestnuts from a newspaper cone on a street in a red and white country: messy and gorgeous."--Ellen Elias-Bursac