• About Farm School

    "There are obviously two educations. One should teach us how to make a living and the other how to live."
    James Adams, from his essay "To 'Be' or to 'Do': A Note on American Education", 1929

    We're a Canadian family of five, farming, home schooling, and building our own house. I'm nowhere near as regular a blogger as I used to be.

    The kids are 18/Grade 12, 16/Grade 11, and 14/Grade 10.

    Contact me at becky(dot)farmschool(at)gmail(dot)com

  • Notable Quotables

    "If you want a golden rule that will fit everybody, this is it: Have nothing in your houses that you do not know to be useful, or believe to be beautiful."
    William Morris, from his lecture "The Beauty of Life"

    "‘Never look at an ugly thing twice. It is fatally easy to get accustomed to corrupting influences."
    English architect CFA Voysey (1857-1941)

    "The world of books is the most remarkable creation of man. Nothing else that he builds ever lasts. Monuments fall, nations perish, civilizations grow old and die out; and, after an era of darkness, new races build others. But in the world of books are volumes that have seen this happen again and again, and yet live on, still young, still as fresh as the day they were written, still telling men’s hearts of the hearts of men centuries dead."
    Clarence Day

    "Anyone who has a library and a garden wants for nothing."
    Cicero

    "Histories make men wise; poets, witty; the mathematics, subtile; natural philosophy, deep; moral, grave; logic and rhetoric, able to contend."
    Sir Francis Bacon, "Essays"

    "The chief aim of education is to show you, after you make a livelihood, how to enjoy living; and you can live longest and best and most rewardingly by attaining and preserving the happiness of learning."
    Gilbert Highet, "The Immortal Profession: The Joys of Teaching and Learning"

    "Good judgment comes from experience. Experience comes from bad judgment."
    Walter Wriston

    "I'd like to give you a piece of my mind."
    "Oh, I couldn't take the last piece."
    Ginger Rogers to Frances Mercer in "Vivacious Lady" (1938)

    "No race can prosper till it learns that there is as much dignity in tilling a field as in writing a poem."
    Booker T. Washington

    "Please accept my resignation. I don’t care to belong to any club that will have me as a member."
    Attributed to Groucho Marx in "The Groucho Letters" by Arthur Sheekman

    "If you can't say something good about someone, sit right here by me."
    Alice Roosevelt Longworth

    "If we bring a little joy into your humdrum lives, we feel all our hard work ain't been in vain for nothin'."
    Jean Hagen as "Lina Lamont" in "Singin' in the Rain" (1952)
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  • Copyright © 2005-2016 Please do not use any of my words or my personal photographs without my express permission.

Poetry

Farm School poetry posts over the years:

National Poetry Month 2010

National Poetry Month 2009: Essential Pleasures and Happy National Poetry month!

Something different, a list of poetry books and other poetic resources

How I got my kids to like poetry and broccoli

Poetry sings

More poetry aloud, with PennSound

Poetry Is Life, and some Great Books too

A monthlong celebration of delight and glory and oddity and light (National Poetry Month 2008)

Adding even more poetry to your life, just in time for National Poetry Month (NPM 2006)

“Feed the lambs”: On the difference between poems for children and children’s poetry, Part 1 and Part 2

Thoughts on The Barefoot Book of Classic Poems and classic poetry

An appreciation of John Updike and light verse

Langston Hughes, the “social poet”

Eugene Field, “the children’s poet”, and his plea for the classics, for ambitious boys and girls

Robert Browning, with another plea and an explanation of how children learn best

You can also use the “category” clicker on the sidebar at left to find all of my Poetry and Poetry Friday posts

 

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Successful rhetoric, and a Godine garden of fresh possibilities and rediscoveries

Back in March, I wrote about a new book, Farnsworth’s Classical English Rhetoric by Ward Farnsworth, a professor at the Boston University School of Law, which had recently received a strong review in The Wall Street Journal.  As I wrote, “from everything I’ve read, it’s a very good and useful book indeed, especially for classical home schooling types who enjoy their grammar, logic, and rhetoric.”

Now comes a June 2 article from Publisher’s Weekly on the success of the book:

That a book on classical rhetoric could sell well enough to go into multiple printings even surprised its publisher, David Godine of the eponymous Boston-based [and independent] press, David R. Godine Publishers [which celebrated its 40th anniversary in 2010]. Initially, he doubted whether Farnsworth’s Classical English Rhetoric by Boston University School of Law professor Ward Farnsworth could sell out its first printing of 4,000 hardcovers. After all it’s filled with terms like litotes, avoiding making a claim directly; erotema, a question that doesn’t require an answer; and anaphora, repetition at the start. But since its late December release, the book has gone back to press twice for a total of 12,000 copies in print. It’s in the top 100 at Amazon for both Education and Reference, words and language.

“When I signed this thing I thought I was doing this guy a favor. And it turns out he’s doing me a favor,” says Godine, who was approached by Farnsworth to publish the book. Since then the press had one of its biggest sales days in its 41-year history for a single title for Farnsworth’s Classical English Rhetoric when Michael Dirda’s review ran in the Washington Post. “Should you buy Farnsworth’s Classical English Rhetoric?,” Dirda asked, unrhetorically. “If you’re at all interested in the techniques of writing, yes.”

Farnsworth, who became interested in rhetoric as a Latin student, has continued to study and teach rhetoric as part of his work as a law professor. The book is structured around repetition of words and phrases, structural matters, and dramatic devices. Each rhetorical terms within those areas is illustrated with examples from Shakespeare, Dickens, Paine, Churchill, Lincoln, and other writers and speakers. “We live in a time when most books about writing are largely about how to make prose simpler,” says Farnsworth. “I agree that simplicity is probably the most important virtue in a writer. But when you read speech and writing that has stood the test of time, you realize that its authors understood much more about their craft than the typical modern book on writing ever explains.”

While reviews continue to come in six months after its release, sales for Farnsworth’s Classical English Rhetoric got a kick start when the Wall Street Journal jumped pub date by a couple months and ran a review three days before Christmas. “The most immediate pleasure of this book is that it heightens one’s appreciation of the craft of great writers and speakers. . . . But more than anything Mr. Farnsworth wants to restore the reputation of rhetorical artistry per se, and the result is a handsome work of reference.” In addition, Farnsworth has appeared on several radio shows, including “The Hugh Hewitt Show” in Los Angeles. Godine hopes to keep sales rolling through father’s day for the dad who never got the classical education he wanted.

The Dirda review from last month’s WaPo is here.

*  *  *

Some other gems, new and old, from the David Godine catalogue:

:: For Canadians and northerners at heart, a very good and useful book for nature studies, Bright Stars, Dark Trees, Clear Water: Nature Writing from North of the Border, edited by Wayne Grady; featuring the words of John James Audubon, Henry Beston, John Burroughs, Gretel Ehrlich, Florence Page Jaques, Barry Lopez, Peter Matthiessen, Farley Mowat, John Muir, Grey Owl, Roger Tory Peterson, Ernest Thompson Seton, Henry David Thoreau, Catharine Par Traill, Walt Whitman.

:: DRG’s gorgeous children’s and young adult titles, including

Daniel Carter Beard’s books

The new Miss Etta and Dr. Claribel: Bringing Matisse to America by Susan Fillion

David Weitzman’s books: Rama and Sita: A Tale from Ancient Java, Superpower: The Making of a Steam LocomotiveThrashin’ Time: Harvest Days in the Dakotas  

Not to mention family favorites Mary Azarian, Edward Ardizzone, Ring of Bright WaterStudy Is Hard Work, and Swallows & Amazons

:: For adults and older readers:

The Superior Person’s Field Guide: to Deceitful, Deceptive & Downright Dangerous Language by Peter Bowler, illustrated by Leslie Cabarga; and other Bowler books

Noel Perrin, Noel Perrin, Noel Perrin

Henry Beston, Henry Beston, Henry Beston, Henry Beston

Will Cuppy

A Year with Emerson: A Daybook, selected & edited by Richard Grossman, with wood engravings by Barry Moser (psst — a steal of a deal in paperback for $10)

:: For foodies:

Elizabeth David

Bemelmans (beyond Madeline…)

The Kitchen Book & The Cook Book by Nicolas Freeling (beyond the murder mysteries…)

:: For music lovers:

Easy to Remember: The Great American Songwriters and Their Songs for Broadway Shows and Hollywood Musicals by William Zinsser

:: For gardeners and naturalists:

The Once & Future Gardener: Garden Writing from the Golden Age of Magazines, 1900-1940, edited by Virginia Tuttle Clayton

Oh Garden of Fresh Possibilities!: Notes from a Gloucester Garden by Kim Smith

Songs to Birds by Jake Page, illustrated by Wesley Bates. From DRG’s description: “Jake Page is one of those rare and refreshing naturalists with a palpable gift for writing. Here he concentrates, more or less, on his favorite subjects: birds. And in these essays, they are presented in every stripe, the swaggering starlings, the querulous gulls, kingbirds, blackbirds, and crows. But birds only provide the skeletons upon which Page hangs the real meat of the pieces: how animals behave with each other, with us, and with the world at large. His real story is how life evolves and interacts, how ponds gradually support an ecosystem, how birds migrate, how animals communicate (even how toads copulate).  Page asks questions and gives answers with a marvelous wit and the curiosity of a humanist and the insight of a scientist. It is this combination of his scientific curiosity and his ability to express himself so stylishly that makes him a writer of such charming felicity. His is a mind of uncontrolled inquiry, one attuned to the natural (and often unnatural) world around him, a sensiblity that delights us with is intelligence and insight.”

:: For typography types 

And last but not least, the Words & Humor category, perhaps my favorite.

That should keep you busy.  I can’t mention, or even read, all the books, but maybe between us we can give it a good try!

The gift of gab

Go into any part of the country, North, East, South or West, and you will find multitudes of his brothers, car conductors in Philadelphia, immigrants of the second generation in the East Side of New York, iron-workers in the Pittsburgh region, corner grocers in St. Louis, holders of petty political jobs in Atlanta and New Orleans, small farmers in Kansas or Kentucky, house carpenters in Ohio, tinners and plumbers in Chicago — genuine Americans all, bawling patriots, hot for the home team, marchers in parades, readers of the yellow newspapers, fathers of families, sheep on election day, undistinguished norms of the Homo Americanus. Such typical Americans, after a fashion, know English. They read it — all save the “hard” words, i. e., all save about 90 per cent of the words of Greek and Latin origin. They can understand perhaps two-thirds of it as it comes from the lips of a political orator or clerygman. They have a feeling that it is, in some recondite sense, superior to the common speech of their kind. They recognize a fluent command of it as the salient mark of a “smart” and “educated” man, one with “the gift of gab.” But they themselves never speak it or try to speak it, nor do they look with approbation on efforts in that direction by their fellows.

In no other way, indeed, is the failure of popular education made more vividly manifest.

H.L. Mencken, “The American Language”, 1921

*  *  *

Are you still here after all that?

I just noticed that the Barnes & Noble Review has a mention of Farnsworth’s Classical English Rhetoric by Ward Farnsworth, a professor at the Boston University School of Law.  And from everything I’ve read, it’s a very good and useful book indeed, especially for classical home schooling types who enjoy their grammar, logic, and rhetoric.

In his Wall Street Journal review, author Henry Hitchings wrote,

The most immediate pleasure of this book is that it heightens one’s appreciation of the craft of great writers and speakers. Mr. Farnsworth includes numerous examples from Shakespeare and Dickens, Thoreau and Emerson, Winston Churchill and Abraham Lincoln. He also seems keen to rehabilitate writers and speakers whose rhetorical artistry is undervalued; besides his liking for Chesterton, he shows deep admiration for the Irish statesman Henry Grattan (1746-1820), whose studied repetition of a word (“No lawyer can say so; because no lawyer could say so without forfeiting his character as a lawyer”) is an instance, we are told, of conduplicatio. But more than anything Mr. Farnsworth wants to restore the reputation of rhetorical artistry per se, and the result is a handsome work of reference.

(Mr. Hitchings should know, since he is author of the new The Language Wars: A History of Proper English, which, as The Guardian‘s Deborah Cameron writes, “takes the reader on a Cook’s tour of complaints about English past and present in a bid to show that the obsessions of the complainers are (a) as old as the hills, (b) based on no linguistic logic, and (c) ultimately futile, since no one can stop language from varying and changing.”  Good stuff.)

Getting back to rhetoric, Carlin Romano, writing in The Chronicle of Higher Education, calls the book “Farnsworth’s feast”:

“Everyone speaks and writes in patterns,” Farnsworth begins, arguing that our choices among patterns still make a powerful difference in whether words work for us or not. Such rhetorical figures “tend to show up often in utterances that are long remembered” he notes—the Rev. Martin Luther King’s eightfold “I have a dream” repetition was pure anaphora, and JFK’s “Ask not… ” a case of pure chiasmus—so it’s worth identifying them.

At the same time, Farnsworth recognizes that rhetorical figures often fail because, in the hands of politicians, they‘re “strained efforts to make dull claims sound snappy,” or they don’t sound “spontaneous,” or a speaker simply overdoes it.

How, he wisely asks, “does one study techniques that succeed only when they seem unstudied?”

His answer: by piling on examples until any idiot can separate the spellbinding from the spectacularly flat.

I’ll need to get a copy of the book if only to determine how much of the snappy Mr. Mencken is included.  More Mencken, from his Creed, a masterpiece of conduplicatio:

I believe that religion, generally speaking, has been a curse to mankind — that its modest and greatly overestimated services on the ethical side have been more than overcome by the damage it has done to clear and honest thinking.

I believe that no discovery of fact, however trivial, can be wholly useless to the race, and that no trumpeting of falsehood, however virtuous in intent, can be anything but vicious.

I believe that all government is evil, in that all government must necessarily make war upon liberty…

I believe that the evidence for immortality is no better than the evidence of witches, and deserves no more respect.

I believe in the complete freedom of thought and speech…

I believe in the capacity of man to conquer his world, and to find out what it is made of, and how it is run.

I believe in the reality of progress.

I — But the whole thing, after all, may be put very simply. I believe that it is better to tell the truth than to lie. I believe that it is better to be free than to be a slave. And I believe that it is better to know than be ignorant.

How to write a sentence

I rather feel as if I’m waking up from a long nap.  I’ve been so distracted, and away from home, for months that I wasn’t paying attention to much outside my own life.  For example, I had had no idea that Blake Edwards had died while we were in the West Indies preparing to return home via NYC, which I learned only from the Oscars’ annual memorial montage.

I also had no idea until yesterday that Stanley Fish has a new book, How to Write a Sentence, and How to Read One (Harper, January 25, 2011). I don’t think it’s specifically meant for anyone but adults looking to improve their composition skills, but it seems ideal for high school students, especially those schooling at home.  I’ve long been a fan of Professor Fish’s aptly-named and well-written “Opinionator” blog for The New York Times, which I heartily recommend to you and which is the easiest way for you to decide whether Prof. Fish can write a sentence and whether he’s the one to teach you, or your child, to write one.  For extra added benefit, he does a good job of teaching one to think, too.

From NPR’s recent book review, shades of the progymnasmata (imitative writing), and which contains a healthy excerpt at the end,

Fish is something of a sentence connoisseur, and he says writing a fine sentence is a delicate process — but it’s a process that can be learned. He laments that many educators approach teaching the craft the wrong way — by relying on rules rather than examples.

Analyzing great sentences “will tell you more about … what you can possibly hope to imitate than a set of sterile rules that seem often impossibly abstract,” Fish tells NPR’s Neal Conan.

A good sentence may be easy to pick out, but learning to understand what makes it great, says Fish, will help a student become a stronger writer and a “better reader of sentences.”

Just as a student of art must learn how to describe the merits of a painting, aspiring writers must be able to articulate what constitutes a well-crafted sentence.

“If you can begin to understand an accomplishment in detail, and be able to talk about what makes it work, you will begin to know why your sentences work or don’t work,” Fish explains.

I much prefer my “how to write” books by those who can write.  It’s one of the reasons I’ve long treasured my father’s old copy of Strunk and White’s Elements of Style, because William Strunk and especially E.B. White could write stylish circles around anyone else. Having read Susan Wise Bauer’s “Story of the World” history series, I appreciate the job she did making history come alive for younger children, but much of the time the language is clunky and falls flat.  It’s one of the reasons I gave Writing with Ease a pass.  I’ll be picking up a copy of Prof. Fish’s new book is because his sentences sparkle and crackle with life and meaning. The contrariness, a bonus, keeps you alert.  I’ll leave you with an example from an old blog post, “I Am, Therefore I Pollute”,

Some years ago, I beat back an attempt to eliminate paper towels altogether and replace them with re-washable rags. But there are too many battles to be fought and I find that I am losing most of them. I did retain the right to have a small supply of paper napkins in an out-of-the-way cupboard. (I hate cloth napkins; you always have to worry about soiling them; paper napkins you just throw away, which is of course the problem.) But my house is now full of environmentally approved lightbulbs. They are dim, ugly and expensive, but I am told that they will last beyond my lifetime. (That’s supposed to be reassuring?) A neighbor told me today that he is planning to stockpile incandescent bulbs in the face of a prediction that they will be phased out by 2012.

Your own private writing seminar

with John McPhee, via the Spring issue (now online, thank goodness) of The Paris Review.

For example, the importance of using an outline, from the interview with Mr. McPhee by Peter Hessler, “The Art of Nonfiction No. 3”:

INTERVIEWER
Where did this method come from?

MCPHEE
It goes back to Olive McKee at Princeton High School, and the structural outline that we had to have before doing any piece of writing. It came up again when I worked at Time. My first cover story just floored me. It was five thousand words, and I really struggled with the mass of material. I was pretty unhappy. It was just a mess—a mess of paper, I didn’t know where anything was. So I went back to Olive McKee and the outline, sorting through this matrix of material, separating it into components and dealing with one component at a time.

INTERVIEWER
Is there ever a risk of it becoming too mechanical?

MCPHEE
It sounds very mechanical, but the effect is the exact opposite. What it does is free you to write. It liberates you to write. You’ve got all the notes there; you come in in the morning and you read through what you’re going to try to write, and there’s not that much to read. You’re not worried about the other ninety-five percent, it’s off in a folder somewhere. It’s you and the keyboard. You get away from the mechanics through this mechanical means. The spontaneity comes in the writing, the phraseology, the telling of the story—after you’ve put all this stuff aside. You can read through those relevant notes in a relatively short period of time, and you know that’s what you want to be covering.

Read the rest of the interview here.

Also in the Spring issue, Ray Bradbury interviewed on the Art of Fiction, by Sam Weller, from which,

INTERVIEWER
You’re self-educated, aren’t you?

BRADBURY
Yes, I am. I’m completely library educated. I’ve never been to college. I went down to the library when I was in grade school in Waukegan, and in high school in Los Angeles, and spent long days every summer in the library. I used to steal magazines from a store on Genesee Street, in Waukegan, and read them and then steal them back on the racks again. That way I took the print off with my eyeballs and stayed honest. I didn’t want to be a permanent thief, and I was very careful to wash my hands before I read them. But with the library, it’s like catnip, I suppose: you begin to run in circles because there’s so much to look at and read. And it’s far more fun than going to school, simply because you make up your own list and you don’t have to listen to anyone. When I would see some of the books my kids were forced to bring home and read by some of their teachers, and were graded on—well, what if you don’t like those books?

I am a librarian. I discovered me in the library. I went to find me in the library. Before I fell in love with libraries, I was just a six-year-old boy. The library fueled all of my curiosities, from dinosaurs to ancient Egypt. When I graduated from high school in 1938, I began going to the library three nights a week. I did this every week for almost ten years and finally, in 1947, around the time I got married, I figured I was done. So I graduated from the library when I was twenty-seven. I discovered that the library is the real school.

INTERVIEWER
You have said that you don’t believe in going to college to learn to write. Why is that?

BRADBURY
You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do—and they don’t. They have prejudices. They may like Henry James, but what if you don’t want to write like Henry James? They may like John Irving, for instance, who’s the bore of all time. A lot of the people whose work they’ve taught in the schools for the last thirty years, I can’t understand why people read them and why they are taught. The library, on the other hand, has no biases. The information is all there for you to interpret. You don’t have someone telling you what to think. You discover it for yourself.

Read the rest of Mr. Bradbury’s interview, especially on why he refused to write the screenplay for War and Peace, here. (I wrote about Mr. Bradbury and libraries last year here.)

And don’t miss the Review’s interview index, with gems from 1953 to the present.

*  *  *

Books by John McPhee, wonderful wonderful stuff and the perfect living books to include in your home school studies with older children, especially for science.  If you have to choose only one, make it Annals of the Former World, Mr. McPhee’s Pulitzer Prize-winning collection of four books on the geological history of North America, published in a single volume in 1998.

Filched

The one thing that jumped out at me from the recent AP article by William Kates on the 50th anniversary of Strunk and White’s Elements of Style was the following sentence,

Strunk’s “Elements of Style” probably would have vanished for good had not someone stolen one of the two copies in the Cornell library in 1957 and sent it to White.

“Someone” was in fact Andy White’s old friend and Cornell classmate H.A. Stevenson (class of ’19), editor of the Cornell Alumni News in 1957 when he sent White (class of ’21) the little book. As for “stolen”, well, as White wrote to Stevenson in thanks, he preferred a different word,

25 West 43
2 April 1957

Dear Steve:

I was overwhelmed to get the little book, filched from the library, and I hope I deserve it.  Last night I went through it, seeing Will in every word and phrase and line — in Charles’s friend, in Burns’s poems, in the comma after each term except the last.  What a book, what a man!  Will so loved the clear, the brief, the bold — and his book is clear, brief, bold.

It may be that I’ll try to do a piece on “The Elements of Style” for The New Yorker.  Perhaps you can fill me in on a few matters on which I am vague or uninformed (My memory is poor and needs jolting.) …

If you can answer, and feel like answering, any of these tedious questions, I would be delighted to hear from you.  Hell, I would be delighted to hear from you anyway. …

Thanks again, Steve, for this gift.  This is a late day (I almost said a “very” late day, but Will hated “very”) for me to meet up with “The Elements of Style” by William Strunk, Jr.  I shall treasure the book as long as there are any elements of life in my bones.  Hope you and Mildred will get to Maine again.  If you do, you will get fed, not merely ginned; and I will put you in my 18-foot sloop and whirl you round and round. (“Place the emphatic words of a sentence at the end.”)

Yrs gratefully,

Andy

As White closed his July 1957 essay in The New Yorker (the book’s inspiration) on Prof. Strunk’s pamphlet,

“The little book” has long since passed into disuse.  Will died in 1946, and he had retired from teaching several years before that. Longer, lower textbooks are in use in English classes nowadays, I daresay — books with upswept tail fins and automatic verbs. I hope some of them manage to compress as much wisdom into as mall a space, manage to come to the point as quickly and illuminate it as amusingly.  I think, though, that if I suddenly found myself in the, to me, unthinkable position of facing a class in English usage and style, I would simply lean far out over the desk, clutch my lapels, blink my eyes, and say, “Get the little book! Get the little book! Get the little book!”

Many thanks to Mr. Stevenson from Farm School for rescuing the little book and passing it on to Andy White.  You can, by the way, have your Strunk without White, but to me that’s like getting ginned without the tonic.

(The Cornell Chronicle notes the anniversary, also The Cornell Daily Sun where Andy was editor from Spring 1920-Spring 1921, though neither notes Cornellian H.A. Stevenson’s role)

Mark your calendar

From PRWeb:

The official 50th anniversary of The Elements of Style is April 16, 2009, and an event to celebrate the occasion will be held in New York City with a panel of writers and journalists discussing the power of the “little book,” featuring acclaimed writers Roger Rosenblatt, Roy Blount Jr. and Barbara Wallraff, columnist for The Atlantic. In addition, the Division of Rare and Manuscript Collections at Cornell University, keepers of the papers of E.B. White, will host an exhibit in Olin Library to coincide with the anniversary. Materials include White’s typewriter, handwritten notes, photographs and more. …

The best-known and best-selling book about writing ever published, more than 10 million copies of The Elements of Style have been sold since its first publication in 1959. The original Boston Globe review, quoted in the front of the commemorative edition, still holds true today: “No book in shorter space, with fewer words, will help any writer more than this persistent little volume.”

In 1957, E.B. White rediscovered the brief guide to clear English writing style that had been self-published by William Strunk, Jr., a favorite writing teacher during White’s undergraduate years at Cornell University. White, an acclaimed editorialist and essayist at the New Yorker and the author of Charlotte’s Web and Stuart Little, expressed his admiration in a New Yorker article. When an editor at Macmillan persuaded White to revise and expand Professor Strunk’s 43-page book, that essay served as its introduction, and the book often known as “Strunk and White” was born. White later revised the book twice, in 1972 and 1979, and a fourth edition appeared in 2000 with a foreword by White’s stepson, writer Roger Angell.

The Elements of Style by William Strunk, Jr. and E.B. White, fourth edition

Call me cranky, but I don’t feel the need for a 50th anniversary edition, even if it is black leather-bound and gold-embossed and includes ” ‘fifty years of acclaim’ from leading literary figures past and present”, or even for an illustrated edition.  I would, though, suggest hardcover over paperback, to hold up to repeated readings. And I like the idea of an exhibit with Andy White’s typewriter, though I suppose Prof. Strunk’s typewriter or pencil is too much to hope for.

I’ll also admit to some curiosity about Mark Garvey‘s Stylized: A Slightly Obsessive History of Strunk and White’s The Elements of Style, coming out in October from Simon & Schuster.
* * *
Associated links:

Strunk without White, the 1918 edition

Andy White ’21 at Cornell

“Romeo and Juliet” starring Leslie Howard and Norma Shearer, and directed by George Cukor, the 1936 MGM version for which William Strunk served as literary consultant