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Review

“An essential (and delightful!) grammar guide . . . interwoven with cultural history and lively self-revelation, this bracing manual will up your game even if all you’re writing is emails.”—People (Book of the Week)   “Playful, smart, self-conscious, and personal . . . One encounters wisdom and good sense on nearly every page of Dreyer’s English.”—The Wall Street Journal   “Destined to become a classic.”—The Millions   “Dreyer can help you . . . with tips on punctuation and spelling. . . . Even better: He’ll entertain you while he’s at it.”—Newsday (What to Read This Week)“An utterly delightful book to read, Dreyer’s English will stand among the classics on how to use the English language properly.”—Elizabeth Strout “A mind-blower—sure to jumpstart any writing project, just by exposing you, the writer, to Dreyer’s astonishing level of sentence-awareness.”—George Saunders “Farewell, Strunk and White. Benjamin Dreyer’s brilliant, pithy, incandescently intelligent book is to contemporary writing what Geoffrey Chaucer’s poetry was to medieval English: a gift that broadens and deepens the art and the science of literature by illustrating that convention should not stand in the way of creativity, so long as that creativity is expressed with clarity and with conviction.”—Jon Meacham “It is Benjamin Dreyer’s intense love for the English language and his passion for the subject that make the experience of reading Dreyer’s English such a pleasure, almost regardless of the invaluable and practical purpose his book serves in such dark and confusing times for grammar and meaning.”—Ayelet Waldman & Michael Chabon “If Oscar Wilde had wanted to be helpful as well as brilliant, if E. B. White and Noël Coward had had a wonderful little boy who grew up to cherish and model clarity, the result would be Benjamin Dreyer and his frankly perfect book. Anyone who writes anything should have a copy by their computer, and perhaps another on the nightstand, just for pleasure.”—Amy Bloom “Dreyer’s English is essential to anyone who cares about language. It’s as smart and funny as Dreyer is himself. He makes you smile and makes you smarter at the same time.”—Lyle Lovett “Like Dreyer himself, this book reassures as it teaches. The reader never feels spoken down to, as in so many other style guides, but is instead lifted up, inspired to communicate with more clarity and zing. I’ll be buying this for friends.”—Brian Koppelman, co-creator and showrunner of Billions “This work is that rare writing handbook that writers might actually want to read straight through, rather than simply consult.”—Publishers Weekly (starred review)

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About the Author

Benjamin Dreyer is vice president, executive managing editor and copy chief, of Random House. He began his publishing career as a freelance proofreader and copy editor. In 1993, he became a production editor at Random House, overseeing books by writers including Michael Chabon, Edmund Morris, Suzan-Lori Parks, Michael Pollan, Peter Straub, and Calvin Trillin. He has copyedited books by authors including E. L. Doctorow, David Ebershoff, Frank Rich, and Elizabeth Strout, as well as Let Me Tell You, a volume of previously uncollected work by Shirley Jackson. A graduate of Northwestern University, he lives in New York City.

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Product details

Hardcover: 320 pages

Publisher: Random House (January 29, 2019)

Language: English

ISBN-10: 0812995708

ISBN-13: 978-0812995701

Product Dimensions:

5.7 x 1 x 8.5 inches

Shipping Weight: 15.2 ounces (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

65 customer reviews

Amazon Best Sellers Rank:

#42 in Books (See Top 100 in Books)

For those who do editing, this book offers useful guidance, covering topics in a clever, snarky way. I finally know when to capitalize (or not capitalize) an entry after a colon: Use a capital if the entry is a complete sentence; otherwise, not (e.g., lists). And curious items on the use of B.C. and A.D.; or when or when not to write out numbers.Oddly, the text is often clunky or irritating because the author too often tries to be amusing. I'm on chapter 7 and have already found some copy-editing errors (odd, since the author claims to be so attentive, and his list of thanks at the end of the book goes on for 8 pages--with this many interested parties, one would think someone would have spotted the blunders). The most annoying feature of the book relates to the footnotes: First, there are many too many and their font size is much too small; second, many of the footnotes are smart aleck and unnecessary; third, the symbols for the footnotes are tiny, tiny asterisks, crossbars, and double crossbars that are difficult to see as one is reading, with the result that, getting to the bottom of a page, one realizes there are yet more notes not read because the reader hasn't seen the minuscule symbol to which the note refers. Highly annoying and out of sync with the author's emphasis on verbal clarity and visual appropriateness.Just read chapter 7, "The Realities of Fiction," and am becoming irritated: If we trust what's said here, most writers are oblivious and dumb. Odd that a copy editor is making such claims. One begins to realize why most copy editors never make it as writers. If you want a better recent book on writing and editing, I recommend Mary Norris's BETWEEN YOU AND ME (Norton, 2015)--clearer, more graceful, and more enticing.

Others have noted that this book is useful and entertaining. So it is. I might have given it five stars if I owned it in paper, but I don't. I have the Kindle version, in which the footnotes are maddening. You can't easily get to them one by one and collectively they just read like extensions of each section's text. Their content should have been incorporated into the chapters. I don't see a reason for single footnote in the whole frustrating thing. What were they thinking? Dunno.

And great fun to read.Mr. Dreyer is a copy editor, and clearly loves the English language, American flavored.I was an English major in college, went on to law school, and devoured books on clear writing. I hope that my Reviews show a bit of evidence that those efforts were not in vain.I returned time after time to Fowler and for legal matters the Harvard Blue Book.Dreyer's book belongs in that pantheon. Consider his essay on "unique". As a stamp collector, I've cringed time after time when one of my fellow collectors used and overused that word to describe one of their treasures in their exhibits.Here is Dreyer's take:VERY UNIQUE In the 1906 edition of The King’s English, H. W. Fowler declared—and he was neither the first nor the last person to so declare—“A thing is unique, or not unique; there are no degrees of uniqueness; nothing is ever somewhat or rather unique, though many things are almost or in some respects unique.”I will allow that something can be virtually unique, though many things are almost or in some respects unique.” I will allow that something can be virtually unique but can’t be more than—not very, not especially, not really—unique. You might as well hang a KICK ME sign on your writing.*12My editor wants me to tell you here never to use the words “yummy,” “panties,” or “guac.” Mission accomplished.Dreyer, Benjamin. Dreyer's English (p. 165). Random House Publishing Group. Kindle Edition.***Great point. Great writing. This is a book to treasure, and I find a book that I enjoy reading on my iPhone -- dip in for a page or two and it always cheers me up to do so.Robert C. RossJanuary 2019

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