Though there is a contingent of linguists who fight the fact, our language is always changing -- not only through slang, but sound, syntax, and words' meanings as well. Debunking the myth of "pure" standard English, tackling controversial positions, and eschewing politically correct arguments, linguist John McWhorter considers speech patterns and regional accents to demonstrate just how the changes do occur. Wielding reason and humor, McWhorter ultimately explains why we must embrace these changes, ultimately revealing our American English in all its variety, expressiveness, and power.

A "Bible" that talks today's language - gritty, earthy, witty - A "Bible" for those who've never read the Bible, and for those who've read it too much.

WHAT HAPPENS WHEN TWO SEMINARY PROFESSORS LEAVE their classrooms and spend time among the homeless people and teach on city streets? In this unique collection of essays and sermons, Stanley P Saunders and Charles L. Campbell reflect on their encounters with the homeless folks in Atlanta and seek to discern the way of Jesus on the streets of the city. These passionate, often moving writings demonstrate the power of Scripture to shape the way we see the world, and they explore the significance of social location for exegesis, ethics, worship, and preaching. From the perspective of the street, central Christian practices such as baptism, Eucharist, and preaching come to life in new ways. Scripture takes on fresh meaning too, while ancient insights into the principalities and powers, the practice of scapegoating, and the organization of households become contemporary and immediate. Even theological themes--grace and discipleship, sin and forgiveness, crucifixion and resurrection--look different when take to the street. Accented by six powerful artworks from Christina Bray's exhibit Street Prayers/Spiritual Journeys, this book also sheds light on the problem of homelessness in America and calls the church to action. Through their reflection on personal experiences and their interpretation of biblical texts, Saunders and Campbell provide meaningful theological categories for addressing pressing social issues in the urban context, making The Word on the Street a helpful resource on the realities of poverty, race, and injustice.

From the hard-boiled detective stories of Dashiell Hammett to the novels of Claude McKay, The Word on the Streets examines a group of writers whose experimentation with the vernacular argues for a rethinking of American modernism—one that cuts across traditional boundaries of class, race, and ethnicity. The dawn of the modernist era witnessed a transformation of popular writing that demonstrated an experimental practice rooted in the language of the streets. Emerging alongside more recognized strands of literary modernism, the vernacular modernism these writers exhibited lays bare the aesthetic experiments inherent in American working-class and ethnic language, forging an alternative pathway for American modernist practice. Brooks Hefner shows how writers across a variety of popular genres—from Gertrude Stein and William Faulkner to humorist Anita Loos and ethnic memoirist Anzia Yezierska—employed street slang to mount their own critique of genteel realism and its classist emphasis on dialect hierarchies, the result of which was a form of American experimental writing that resonated powerfully across the American cultural landscape of the 1910s and 1920s.

Just beyond Las Vegas’s neon and fantasy live thousands of homeless people, most of them men. To the millions of visitors who come to Las Vegas each year to enjoy its gambling and entertainment, the city’s homeless people are largely invisible, segregated from tourist areas because it’s “good business.” Now, through candid discussions with homeless men, analysis of news reports, and years of fieldwork, Kurt Borchard reveals the lives and desperation of men without shelter in Las Vegas. Borchard’s account offers a graphic, disturbing, and profoundly moving picture of life on Las Vegas’s streets, depicting the strategies that homeless men employ in order to survive, from the search for a safe place to sleep at night to the challenges of finding food, maintaining personal hygiene, and finding an acceptable place to rest during a long day on the street. That such misery and desperation exist in the midst of Las Vegas’s hedonistic tourist economy and booming urban development is a cruel irony, according to the author, and it threatens the city’s future as a prime tourist destination. The book will be of interest to social workers, sociologists, anthropologists, politicians, and all those concerned about changing the misery on the street.

In this new collection Paul Muldoon goes back to the essential meaning of the term 'lyric' -a short poem sung to the accompaniment of a musical instrument. These words are written for music, assuredly, with half an ear to Yeats's ballad-singing porter drinkers and half to Cole Porter-and indeed, many of them double as rock songs, performed by the Wayside Shrines, the Princeton-based music collective of which Muldoon is a member. Their themes are the classic themes of song: lost love, lost wars, Charlton Heston, barbed wire, pole dancers, cellulite, Hegel, elephants, Oedipus, more barbed wire, Buddy Holly, Jersey peaches, Julius Caesar, Trenton, cockatoos, and the Youngers (Bob and John and Jim and Cole). The Word on the Street is a lively addition to this Pulitzer Prize-winning poet's masterful body of work. It demonstrates, once again, that, as Richard Eder has written in the pages of the New York Times Book Review, 'Paul Muldoon is a shape-shifting Proteus to readers who try to pin him down . . . Those who interrogate Muldoon's poems find themselves changing shapes each time he does.'

Based on the popular Sesame Street segment What's the Word on the Street?, this fun board book offers die cuts, busy scenes, and a unique layered look to create an inviting way to learn new words while reinforcing words that kids already know. Full color.