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Should you split infinitives? Can you end sentences with prepositions? Does the Queen speak the Queen's English? This is practical and fun, to improve your writing for professional purposes or simply enjoy exploring the highways and byways of English usage
This is a guide to English usage for readers and writers, professional and amateur, established and aspiring, formal trainees and those trying to break in; students of English, both language and literature, and their teachers. In Quite Literally, Wynford Hicks answers questions like: What's an alibi, a bete noire, a celibate, a dilemma? Should underway be two words? Is the word 'meretricious' worth using at all? How do you spell realise - with an s or a z - and should bete be bête? Should you split infinitives, end sentences with prepositions, start them with conjunctions? What about four-letter words, euphemisms, foreign words, Americanizms, clichés, slang, jargon? And does the Queen speak the Queen's English? The advice given can be applied to both formal speech - what is carefully considered, broadcast, presented, scripted or prepared for delivery to a public audience - and will even enhance your everyday languange too! Practical and fun, whether to improve your writing for professional purposes or simply enjoy exploring the highways and byways of English usage, readers from all walks of life will find this book both invaluable and enjoyable.
From the author of Dreamology comes a young adult love story that blurs the line between reality and fiction… Annabelle’s life has always been Perfect with a capital P. Then bestselling young adult author Lucy Keating announces that she’s writing a new novel—and Annabelle is the heroine. It turns out that Annabelle is a character that Lucy Keating created. And Lucy has a plan for her. But Annabelle doesn’t want to live a life where everything she does is already plotted out. Will she find a way to write her own story—or will Lucy Keating have the last word? The real Lucy Keating’s delightful contemporary romance is the perfect follow-up for readers who loved her debut novel, which School Library Journal called “a sweet, quirky romance with appealing characters.”
What if you found out your life has been threaded with secrets — ones that rocked you to your core? An affecting page-turner written in a brave, memorable language all its own. Some words are hard to get out of your mouth. Because they spell out secrets that are too huge to be spoken out loud. But if you bottle them up, you might burst. So here's my story. Told the only way I dare tell it. Sophie Nieuwenleven is sort of English and sort of Belgian. She and her family came to live in Belgium when she was only four or five, but she's fourteen now and has never been sure why they left England in the first place. She loves her international school, adores her friend Comet, and is protective of her little brother, Hercule. But it’s hard to feel carefree when her mom never leaves the apartment — ordering groceries online and blasting music in her room — and her dad has a dead-end job as a car mechanic. Then one day Sophie makes a startling discovery, a discovery that unlocks the mystery of who she really is. This is a novel about identity and confusion and about feeling so utterly freaked out that you can't put it into words. But it's also about hope. And trust. And the belief that, somehow, everything will be OK. Sophie Someone is a tale of good intentions, bad choices, and betrayal — and ultimately, a compelling story of forgiveness.
A brave, intimate, beautifully crafted memoir by a survivor of the tsunami that struck the Sri Lankan coast in 2004 and took her entire family. On December 26, Boxing Day, Sonali Deraniyagala, her English husband, her parents, her two young sons, and a close friend were ending Christmas vacation at the seaside resort of Yala on the south coast of Sri Lanka when a wave suddenly overtook them. She was only to learn later that this was a tsunami that devastated coastlines through Southeast Asia. When the water began to encroach closer to their hotel, they began to run, but in an instant, water engulfed them, Sonali was separated from her family, and all was lost. Sonali Deraniyagala has written an extraordinarily honest, utterly engrossing account of the surreal tragedy of a devastating event that all at once ended her life as she knew it and her journey since in search of understanding and redemption. It is also a remarkable portrait of a young family's life and what came before, with all the small moments and larger dreams that suddenly and irrevocably ended.
Quintus Aurelius has gone by many aliases over the passing centuries. Originating from ancient Rome now to over 2100 years later he's found home in a sleepy little beach town in New Zealand. It's 1986 and the world has changed a lot, being born totally deaf the road has been a hard one to live in with little communication with people over the passing centuries. Being totally estranged from his twin brother for the past millennium he has to cope with accidentally exposing himself as the vampire he is to a human, not just any human an employee that has been working for him for the last six years. With the immortals being a constant threat to vampires and their way of life, what happens when an immortal shows up who Quintus believed was dead from a time when he was still mortal. This book is written in New Zealand English and it is written more to the way New Zealanders speak, if you have never heard a kiwi speak the lingo in this book might not make sense to you. All of my books are written like this and I like to keep with my kiwi roots, in a sense it gives the characters each a character to them that they wouldn't have if they were American. I've based it at Kaiteriteri which is my most favourite beach in the world, it has a golden coarse sand that you don't see anywhere else with the clearest blue sea.
In his controversial new book, Andrew Vincent sets out to analyse and challenge the established nostrums of contemporary political theory. The nature of Political Theory offers three major contributions to current scholarship. It offers, first, a comprehensive, synoptic, and comparative analysis of the major conceptions of political theory, predominantly during the twentieth century. This analysis incorporates systematic critiques of both Anglo-American and continental contributions. The 'nature' of theory is seen as intrinsically pluralistic and internally divided. Secondly, the idea of foundationalism is employed in the book to bring some coherence to this internally complex and fragmented practice. The book consequently focuses on the various foundational concerns embedded within conceptions of political theory. Thirdly, the book argues for an adjustment to the way we think about the discipline. Political theory is reconceived as a theoretically-based, indeterminate subject, which should be more attuned to practice and history. Andrew Vincent makes a case for a more ecumenical and tolerant approach to the discipline, suggesting that there are different, but equally legitimate, answers to the question, 'what is political theory?'. Acceptance of this view would involve a supplementation of the standard substantive approaches to contemporary political theory. The Nature of Political Theory offers a unique and idiosyncratic perspective on our current understanding of political theory, making it an indispensable resource for all scholars and students of the discipline.
Although Isak Dinesen has been widely acclaimed as a popular writer, her work has received little sustained critical attention. In this revisionist study, Susan Hardy Aiken takes up the complex relations of gender, sexuality, and representation in Dinesen's narratives. Drawing on feminist, psychoanalytic, and post-structuralist theories, Aiken shows how the form and meaning of Dinesen's texts are affected by her doubled situations as a Dane who wrote in English, a European who lived for many years in Africa, and a woman who wrote under a male pseudonym within a male-centered literary tradition. In a series of readings that range across Dinesen's career, Aiken demonstrates that Dinesen persistently asserted the inseparability of gender and the engendering of narrative. She argues that Dinesen's texts anticipate in remarkable ways some of the most radical insights of contemporary literary theories, particularly those of French feminist criticism. Aiken also offers a major rereading of Out of Africa that both addresses its distinctiveness as a colonialist text and places it within Dinesen's larger oeuvre. In Aiken's account, Dinesen's work emerges as a compelling inquiry into sexual difference and the ways it informs culture, subjectivity, and the language that is their medium. This important book will at last give Isak Dinesen's work the prominence it deserves in literary studies.
Remarque's 1929 novel is among the finest antiwar literature written after the First World War.