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.

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.

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

It is standardly assumed that Universal Grammar (UG) allows a given hierarchical representation to be associated with more than one linear order. This book proposes a restrictive theory of word order and phrase structure that denies this assumption. According to this theory, phrase structure always completely determines linear order, so that if two phrases differ in linear order, they must also differ in hierarchical structure. It is standardly assumed that Universal Grammar (UG) allows a given hierarchical representation to be associated with more than one linear order. For example, English and Japanese phrases consisting of a verb and its complement are thought of as symmetrical to one another, differing only in linear order. The Antisymmetry of Syntax proposes a restrictive theory of word order and phrase structure that denies this assumption. According to this theory, phrase structure always completely determines linear order, so that if two phrases differ in linear order, they must also differ in hierarchical structure. More specifically, Richard Kayne shows that asymmetric c-command invariably maps into linear precedence. From this follows, with few further hypotheses, a highly specific theory of word order in UG: that complement positions must always follow their associated head, and that specifiers and adjoined elements must always precede the phrase that they are sister to. A further result is that standard X-bar theory is not a primitive component of UG. Rather, X-bar theory expresses a set of antisymmetric properties of phrase structure. This antisymmetry is inherited from the more basic antisymmetry of linear order. Linguistic Inquiry Monograph No. 25