Brush Up Your Poetry! with this fascinating companion to the history of English Poetry as presented through a history of phrases known to us all, and the poems supplying their less widely known origins.

How many pieces of paper land on your desk each day, or emails in your inbox? Your readers – the people you communicate with at work – are no different. So how can you make your communication stand out from the pile and get the job done? Whether you’re crafting a short and sweet email or bidding for a crucial project, Business Writing For Dummies is the only guide you need. Inside you’ll find: The basic principles of how to write well How to avoid the common pitfalls that immediately turn a reader off Crucial tips for self-editing and revision techniques to heighten your impact Lots of practical advice and examples covering a range of different types of communication, including emails, letters, major business documents such as reports and proposals, promotional materials, web copy and blogs - even tweets The global touch - understand the key differences in written communication around the world, and how to tailor your writing for international audiences

A synopsis of classical myths and how they have lent their names and stories to our language.

Brush Up Your Japanese is self-described as "The book that gives the finishing touches to one's knowledge of Japanese."

A collection of over thirty poems by American poet Kimiko Hahn in which she explores her various identities.

A former United States Poet Laureate shares secrets about viewing the world from a poet's perspective, explaining how "jabberwalking" poets draw inspiration from everything they experience to express themselves in creative ways.

A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.