Misused Words Have you ever said something and no sooner than it escapes your lips, you wonder—did I say that right? Did I use the right word? Chances are it was one of the 200 words covered in this book. I’m not saying it covers all the words, but it touches base with most of the more common culprits. Ever wonder if you should use ‘good’ or ‘well’? How about ‘lie’ or ‘lay’–that’s one that almost no one gets right. How about then and than, try to and try and, which and that, which and who. There are many that seem to stump people. Learn these words, and many more when you read this book. It’s designed to help you remember the proper word to use in each circumstance. And not just words, but sayings, odd punctuation, and even a few Latin expressions, such as e.g., ergo, etc., and i.e. (Did I just say ‘ergo’. If I do that again, smack me.) I know you think you are familiar with these, but despite their ubiquitousness (Smack me for that also.), there might be a few odd rules that pertain to using Latin expressions that you’re not familiar with. It’s worthwhile to learn them (especially if you intend to write). So, get your act together. Forget the coffee today and pick up a copy of Misused Words. You’ll be glad you did.

A Plethora of Dead Ends is a collection of short stories based in Trinidad and Tobago. The book draws its name from Samson Street which is a street with two dead ends. The main character on the street is Ethelbert G Sandiford who navigates through his dead-end life with a mixture of luck and ingenuity. His family also displays similar traits making for several comical scenarios.

Step-by-step instructions and 970 clear diagrams show beginning and experienced paperfolders how to create 27 amazing polyhedra from one sheet of paper. Graded according to difficulty, the projects range from a simple cube, tetrahedron and octahedron to a challenging rhombic dodecahedron, sunken icosahedron, and an antidiamond with pentagonal base.

"A Plethora of Roses" is a collection of poetry and prose meant for those still growing and finding the beauty within the struggle.The topics of this emotional creation range from love and family to pain, struggle, and heartbreak. These words are meant to showcase human strength, overcoming one adversity after another, and growing with more love and power than ever before.

This new collection investigates German literature in its international dimensions. While no single volume can deal comprehensively with such a vast topic, the nine contributors cover a wide historical range, with a variety of approaches and authors represented. Together, the essays begin to adumbrate the systematic nature of the relations between German national literature and world literature as these have developed through institutions, cultural networks, and individual authors. In the last two decades, discussions of world literature-literature that resonates beyond its original linguistic and cultural contexts-have come increasingly to the forefront of theoretical investigations of literature. One reason for the explosion of world literature theory, pedagogy and methodology is the difficulty of accomplishing either world literature criticism, or world literary history. The capaciousness, as well as the polylingual and multicultural features of world literature present formidable obstacles to its study, and call for a collaborative approach that conjoins a variety of expertise. To that end, this collection contributes to the critical study of world literature in its textual, institutional, and translatorial reality, while at the same time highlighting a question that has hitherto received insufficient scholarly attention: what is the relation between national and world literatures, or, more specifically, in what senses do national literatures systematically participate in (or resist) world literature?

The ranks of English women writers rose steeply in the late 19th and early 20th centuries, contributing to the era’s revolutionary social movements as well as to transforming literary genres in prose and poetry. The phenomena of ‘the new’ — ‘New Women’, ‘New Unionism’, ‘New Imperialism’, ‘New Ethics’, ‘New Critics’, ‘New Journalism’, ‘New Man’ — are this moment’s touchstones. This book tracks the period's new social phenomena and unfolds its distinctively modern modes of writing. It provides expert introductions amid new insights into women’s writing throughout the United Kingdom and around the globe.

This book is about mapping the future of eighteenth-century women’s writing and feminist literary history, in an academic culture that is not shy of declaring their obsolescence. It asks: what can or should unite us as scholars devoted to the recovery and study of women’s literary history in an era of big data, on the one hand, and ever more narrowly defined specialization, on the other? Leading scholars from the UK and US answer this question in thought-provoking, cross-disciplinary and often polemical essays. Contributors attend to the achievements of eighteenth-century women writers and the scholars who have devoted their lives to them, and map new directions for the advancement of research in the area. They collectively argue that eighteenth-century women’s literary history has a future, and that feminism was, and always should be, at its heart. Featuring a Preface by Isobel Grundy, and a Postscript by Cora Kaplan.

"Here is what I love about this book:€ It has gobs and gobs of student writing samples with smart and lively explanations of how to use each as the focus of a craft lesson to teach writing. The right models of student writing are the best mentor texts a teacher can find and with this book, you need look no further. ... Breathe, fellow writing teachers.€ Much needed and wanted help has arrived."--Ruth Culham, Author of Traits WritingSometimes a student's best teacher is another studentIf ever there were a book to respond to the pressure to increase students' test scores, this is it. You see,