Four-year-old Joshua challenges his father to a game: Can he come downstairs before Joshua writes the word to? Rachel, two and a half, makes a series of wavy lines on a piece of paper and calls it a “thank-you letter to Grandma.” In Early Literacy Joan McLane and Gillian McNamee explore the ways young children like Joshua and Rachel begin to learn about written language. Becoming literate requires mastering a complex set of skills, behaviors, and attitudes that makes it possible to receive and communicate meaning through the written word. McLane and McNamee provide a fresh examination of this process in light of recent research.

The authors look closely at what young children do with writing and reading. As children play with making marks on paper and listen to stories being read aloud, they begin to discover uses and purposes for written language. They learn that they can use writing to communicate with people they care about and that reading story books opens up new ideas and experiences. As children experiment with writing and reading in their talking, drawing, and pretend play, they can build “bridges to literacy.”

The authors emphasize the importance of children's relationships with significant adults and peers for growth in literacy. They also devote chapters to early literacy development at home and in the neighborhood, and in preschool and kindergarten settings. In one daycare center for inner-city children, for example, where a favorite activity is dictating and acting out stories, children become active participants in a community of readers and writers—a literate culture.

Through its clear and concise discussion of young children's growth toward literacy, and its examples of the contexts that encourage and enrich that growth, Early Literacy will serve as a valuable resource for parents, teachers, and others who work or play with young children.

In this inventive work on Emily Dickinson’s poetry, Cristanne Miller traces the roots of Dickinson’s unusual, compressed, ungrammatical, and richly ambiguous style, finding them in sources as different as the New Testament and the daily patterns of women’s speech. Dickinson writes as she does both because she is steeped in the great patriarchal texts of her culture, from the Bible and hymns to Herbert’s poetry and Emerson’s prose, and because she is conscious of writing as a woman in an age and culture that assume great and serious poets are male.

Miller observes that Dickinson’s language deviates from normal construction along definable and consistent lines; consequently it lends itself to the categorical analysis of an interpretive “grammar” such as the one she has constructed in this book. In order to facilitate the reading of Dickinson’s poems and to reveal the values and assumptions behind the poet’s manipulations of language, Miller examines in this grammar how specific elements of the poet’s style tend to function in various contexts. Because many, especially modernist, poets use some of the same techniques, the grammar throws light on the poetic syntax of other writers as well.

In the course of her analysis, Miller draws not only on traditional historical and linguistic sources but also on current sociolinguistic studies of gender and speech and on feminist descriptions of women’s writing. Dickinson’s language, she concludes, could almost have been designed as a model for twentieth-century theories of what a women’s language might be. As a critical examination of the relationship between linguistic style and literary identity in America’s greatest woman poet, Emily Dickinson: A Poet’s Grammar provides a significant addition to feminist literary studies.

For many years, Terri LeClercq's "Legal Writing" column in the Texas Bar Journal helped polish the prose of lawyers and law students, judges and clerks, paralegals, writing instructors, and legal secretaries. This book collects all the advice she has given in her columns into one authoritative guide for expert legal writing. LeClercq covers everything a legal writer needs to know, from the mechanics of grammar and punctuation to the finer points of style, organization, and clarity of meaning. With her practical, readable, and often humorous advice, those who prepare legal documents can rid their prose of mind-numbing "legalese" and write with the clarity and precision that characterize the very best legal writing.

When asked why people obey the law, legal scholars usually give two answers. Law deters illicit activities by specifying sanctions, and it possesses legitimate authority in the eyes of society. Richard McAdams shifts the prism on this familiar question to offer another compelling explanation of how the law creates compliance: through its expressive power to coordinate our behavior and inform our beliefs.

“McAdams’s account is useful, powerful, and—a rarity in legal theory—concrete…McAdams’s treatment reveals important insights into how rational agents reason and interact both with one another and with the law. The Expressive Powers of Law is a valuable contribution to our understanding of these interactions.”
—Harvard Law Review

“McAdams’s analysis widening the perspective of our understanding of why people comply with the law should be welcomed by those interested either in the nature of law, the function of law, or both…McAdams shows how law sometimes works by a power of suggestion. His varied examples are fascinating for their capacity both to demonstrate and to show the limits of law’s expressive power.”
—Patrick McKinley Brennan, Review of Metaphysics