The Oxford Guide to Style (Hardcover)

by R. M. Ritter (Author) "A book is composed of three main segments: the preliminary matter (prelims or front matter), the text, and the endmatter..." (more)
Key Phrases: set full left, spaced small capitals, quotation marls, New York, British English, Library of Congress (more...)

Editorial Reviews

Product Description
A completely rewritten edition of Hart's Rules for Compositors and Readers, which is currently in its revised thirty-ninth edition, The Oxford Guide to Style has been expanded to encompass modern issues in preparing copy for publication. Hart's Rules is a classic text in printing and publishing houses, and this successor to it is sure to become a classic also. It consists of 16 topic-based chapters giving advice on how to present the written word. It incorporates the most recent changes in citing electronic media, and details on submission of material for publication electronically. The text is full of explanations, examples, and lists on, for example, mathematical symbols, abbreviations and capitalization, and there is exhaustive information for editors on foreign languages and how to present them on the page. There is also advice on how to treat quotations, notes and references, specialist subjects, and indexing. As well as giving advice on the traditional skills needed in the preparation of copy and proofs, there is further information for editors on issues such as copyright laws and legal references. This really is the ultimate guide for all printers, book, magazine, and Internet publishers on the preparation and presentation of the written word.

About the Author

Robert Ritter was an Editor for more than ten years in OUP's Academic Division; currently he is Publications Manager for the Oxford Centre for Islamic Studies. His wide-ranging editorial experience has been gained in a variety of publishing houses in both the UK and the USA. He is the editor of The Oxford Dictionary for Writers and Editors (2nd edition 2000), which is the companion volume to The Oxford Guide to Style; he has also been a consultant editor for the Concise Oxford Dictionary and consultant for OWLS (the Oxford English Dictionary Word and Language Service).

Product Details

• Hardcover: 642 pages
• Publisher: Oxford University Press, USA; illustrated edition edition (April 4, 2002)
• Language: English
• ISBN-10: 0198691750
• ISBN-13: 978-0198691754
• Product Dimensions: 9.6 x 6.5 x 1.5 inches
• Shipping Weight: 2.4 pounds
• Average Customer Review: 4.0 out of 5 stars See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #1,227,655 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Indispensable for All Who Write, August 24, 2004

By	Joischer (Scarborough, Maine, USA) - See all my reviews

Though some may believe that this guide is only for editors, publishers and writers, I insist that anyone who takes pen to paper (or fingers to keyboard) buy this book. Clear and helpful, "The Oxford Guide to Style" (I know that this should be italicized, but Amazon.com doesn't seem to process HTML) logically breaks down stylistic and grammatical information. The lengthy index adds to the book's ease-of-use. Every section is clearly titled and arranged in neat paragraphs.

The only problem that I found was in the foreign language section: the guide neglects to insert a space before colons, semicolons, question marks and exclamation marks in the French section.

This is interesting to read or skim, and I continue to use it as a reference.

4 of 5 people found the following review helpful:

3.0 out of 5 stars Poor typography, good content, January 7, 2005

By	Adam Twardoch (Frankfurt (Oder), Germany) - See all my reviews (REAL NAME)

The contents of this book is good. It really is a good companion to my Chicago Manual of Style, outlining the British way of doing things in text composition. The book has a reasonable structure which, however, in parts is confusing.

Chapter 11 (Languages) is organized in a rather confusing manner. The subsections list languages or language groups alphabetically, without a clear system. For example, each of the Germanic languages (English, Dutch, German) and of the Romance languages (French, Italian, Spanish) is listed separately, in the alphabetical sequence (Dutch under D, German under G, French under F etc.) The Scandinavian languages (Danish, Norwegian, Swedish, Icelandic) are grouped together, though, and listed undr S. Baltic and Slavonic languages are also grouped together. Catalan is listed under Spanish and Iberian languages (S), but has also its own section under C. Russian has a separate entry while all other Slavonic languages are grouped together. Also, a language such as Romanian (20 million speakers) is discussed on two pages while all Slavonic languages (Belorussian, Bulgarian, Czech, Macedonian, Polish, Serbian and Croatian, Slovak, Slovene, Sorbian and Ukrainian -- with a total community of some 120 million speakers) are given only four pages altogether. Altogether, the section on languages provides basic information regarding alphabets used, but for many languages, information on typographic conventions (hyphenation, quotation marks, dashes etc.) is badly missing, so the information gathered cannot be considered sufficient as a guideline for typesetting in a foreign language.

The typography of the book is a critical element that must be mentioned. My personal view is that a book about writing and composition should be particularly well-designed itself. The format is handy (better than Chicago Manual of Style) and the page layout is practical and elegant. However, the impression is ruined by the most awkward choice of typefaces: the excellent book and newspaper typeface Swift (designed by Gerard Unger) is paired with... Arial!

The title page, the headings, the captions and the examples are all typeset using on of the the dullest, ugliest sanserif typefaces ever designed. Arial lacks character and individuality, as it was conceived by its makers (the Monotype company) as a substitute for Helvetica (made by Monotype's competitor, Linotype). Arial was drawn to match Helvetica's character width but to have slightly altered letter appearance. The result is a set of letterforms that, indeed, look like imitation of something else. Since nowadays, Arial is included on practically all personal computers, one cannot imagine a choice for a typeface that would be less original. But it's not necessarily the lack of originality that disqualitfies Arial as a typeface suitable for this sort of book. Arial simply has poorly drawn letterforms, and the Black variant (used on the title page, section titles and in the running headers of each page) is simply ugly. Practically any other grotesque (sanserif) typeface would have been a better choice for this book.

The lack of imagination in the typesetting of the book is best evident on the title page. The starting "T" in the first line has been shifted left to optically align with the line below, the text below has not. The word "Guide" drifts too far to the right, the three lines below drift progressively to the left. Aligning the text neatly would have taken less than a minute of someone's time.

Overall, the book is a credible effort but not up to the standards that you might expect from a "standard work" from Oxford University Press.