By Franz Kafka. : Willa and Edwin Muir, Tania and James Stern

This is a 1971 collection of all Kafka’s finished works. It contains all the amazing, weird and wonderful unsettling stories from Metamorphisis to In the Penal Colony.From Wikipedia: “In 1912, Kafka wrote Die Verwandlung (The Metamorphosis, or The Transformation),[150] published in 1915 in Leipzig. The story begins with a travelling salesman waking to find himself transformed into an ungeheures Ungeziefer, a monstrous vermin, Ungezieferbeing a general term for unwanted and unclean pests, especially insects. Critics regard the work as one of the seminal works of fiction of the 20th century.[151][152][153] The story "In der Strafkolonie" ("In the Penal Colony"), dealing with an elaborate torture and execution device, was written in October 1914,[82] revised in 1918, and published in Leipzig during October 1919. The story "Ein Hungerkünstler" ("A Hunger Artist"), published in the periodical Die neue Rundschau in 1924, describes a victimized protagonist who experiences a decline in the appreciation of his strange craft of starving himself for extended periods.[154] His last story, "Josefine, die Sängerin oder Das Volk der Mäuse" ("Josephine the Singer, or the Mouse Folk"), also deals with the relationship between an artist and his audience.[155]

NY. Schoken. 1971. 487p. CONTAINS MARK-UP

By Kingsley Amis

From the cover: Throughout his notable career as a novelist, poet and literary critic, Kingsley Amis was often concerned — the less understanding some might say obsessed--with the use and abuse of the English language. Do we know what the words we employ really mean? Do we have the right to use them fi we don't? Should an "exciting" new program be allowed to "hit” your television screen? When is it acceptable to split an infinitive? And just when is one allowed to begin a sentence with "and"? The enemies of fine prose may dismiss such issues as tiresome and pedantic, but Kingsley Amis, like all great novelists, depended upon these very questions to separate the truth from the lie, both in literature and in life. A Parthian shot from one of the most important figures in postwar British fiction, this volume represents Amis's last word on the state of the language. More frolicsome than Fowler's Modern Usage, lighter than the Oxford English Dictionary, and replete with the strong opinions that have made Amis so popular- and so controversial….”

NY. St. Martin’s Press. 1997. 272p.

By Alexander Solzhenitsyn

Translated from the Russian by Michael Guybon. “*The First Circle asks to be compared to Dostoevsky. Solzhenitsyn is in the great story-telling tradition. When he introduces a character, he fills in the complete background. His portrait of a Soviet prosecutor and his family circle is unforgettable. So are chapters devoted to the brooding Stalin. A future generation of Russians will be able to come to terms with their history through books like Dr. Zhivago and The First Circle.'“ David Pryce-Jones, Financial Times.

London Collins. Fontana Books. 1970. 680P.

Prepared by the Editorial Staff of the University of Chicago Press.

For over seventy-live years the University of Chicago Press Manual of Style has been the standard reference tool for authors, editors, copywriters, and proofreaders. Updated many times since 1906, it now goes into its thirteenth edition—the first revision since 1969, and the first to introduce a change in title. Bowing to what has become nearly universal usage, we now call the Manual what everybody else calls it. The Chicago Manual of Style—or, for short, The Chicago Manual.

Two pervasive features characterize the present edition: it reflects the impact of the new technology on the entire editing and publishing process, and it spells out, in greater detail and with many more examples, the procedures with which it deals. It is, in short, much more a “how-to” book for authors and editors than was its predecessor. In chapter 2, on manuscript preparation and copyediting, for example, new sections have been added on how to mark a manuscript and how to mark type specifications on a script. Chapter 12 (“Tables”), completely rewritten, begins with advice on how to make a table from raw data. Chapters 15 through 17, on documentation, have been reorganized and greatly expanded, offering many more alternative methods of citation and a wealth of examples. In chapter 18 (“Indexes”), clear step-by-step
procedures for the mechanics of index making are set forth. The terminology and methodology of technological advances (in word processing, computerized electronic typesetting, and the like) are reflected most prominently in chapter 20, “Composition, Printing, and Binding” (new to this edition), and in the Glossary. Other notable features of the present edition are chapter 4 (“Rights and Permissions”), rewritten in light of the new copyright law, and chapter 9 (“Foreign Languages”), which includes a new table of diacritics, a pinyin (Chinese) conversion chart, and data on several more languages.

Throughout, The Chicago Manual aims to give clear and straightforward guidelines for preparing and editing copy—with the emphasis on the sensible, the practical, and the economical. As did its predecessors, the thirteenth edition of the Manual states the style preferences of the University of Chicago Press and reflects the current practices and requirements of the great majority of American publishers.

Chicago. University of Chicago Press. 1982. 718p.

By Christiana Gregoriou

This book explores the three aspects of deviance that contemporary crime fiction manipulates: linguistic, social, and generic. Gregoriou conducts case studies into crime series by James Patterson, Michael Connelly and Patricia Cornwell, and investigates the way in which these novelists correspondingly challenge those aforementioned conventions.

Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan, 2007. 189p.