Publishers Weekly
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Norris has spent more than 35 years in the New Yorker's legendary copy department, earning the nickname Comma Queen along the way. So it makes sense that her first book is a delightful discourse on the most common grammar, punctuation, and usage challenges faced by writers of all stripes. Not surprisingly, Norris writes well-with wit, sass, and smarts-and the book is part memoir, part manual. She recounts the history of Webster's Dictionary; explains when to use who vs. whom and that vs. which; distinguishes between the dash, colon, and the semicolon; delves into the comma and the hyphen; and weighs in on the use of profanity in writing. Norris also finds ways to reference the Lord's Prayer, the Simpsons, Moby-Dick, and, in a touching anecdote, her own sister. The New Yorker has an unconventional house style-for instance, the magazine uses diaeresis marks in words like coöperate, where the prefix (co-) ends in the same vowel used at the beginning of the stem (operate), to indicate that the vowels are pronounced differently-and, though Norris doesn't always agree with its strict style rules, readers may not agree with her ideas on language. But it's a sure bet that after reading this book, they'll think more about how and what they write. Agent: David Kuhn, Kuhn Projects. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

Choice
Copyright American Library Association, used with permission.

Popular grammar books such as Eats, Shoots & Leaves by Lynne Truss (2003) and Woe Is I by Patricia T. O'Conner (2003) intend both to educate and to entertain. Norris's new memoir goes one further. As a staff member for The New Yorker for over three decades and, since 1993, a query proofreader--an editorial position unique to that publication--Norris shares her insights into the magazine's unique style and its evolving influence on American letters (particularly in its lavish use of commas). Norris is an omnivorous reader with a generous sensibility, looking to all sources, from Nobel laureate novelists to road signs to tweets, for cogent examples. Writers aspiring to correctness might not find this a traditional reference source for assistance in specific matters of grammar and style, but lovers of language in all its quirks are certain to recognize a kindred spirit. Summing Up: Highly recommended. All libraries. All levels. --Laura R. Braunstein, Dartmouth College

Library Journal
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Starred Review. Part memoir and part writing guide, Norris's thoughtful and humorous narrative provides an irreverent account of her days as a New Yorker comma queen as well as an insightful look into the history of the English language. With examples ranging from Webster's to Moby-Dick to the proper way to sharpen a pencil, Norris considers the technical aspects of spelling, punctuation, and usage in a manner that is both engaging and entertaining. Her rules are easy to follow, and her writing fast paced and smart, making this a great read for anyone interested in a refresher course on the elements of style. This is not your grade school primer; expect wisecracks and pointed commentary on the many ways in which we embarrass ourselves while trying to sound grammatically superior. VERDICT Norris's handy guide is for writers of all levels. A great addition to public and academic library collections that support writing groups or programs.-Gricel Dominguez, Florida International Univ. Lib. (c) Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Book list
From Booklist, Copyright © American Library Association. Used with permission.

Per comma queen Norris who worked at the New Yorker for three decades people tend to think that a copy editor is a bit of a witch. In this lighthearted and sparkling guidebook-memoir of being just such a witch, Norris tells of her first great catch (finding an error), disputes fussiness over everyday word usage (which will make many readers breathe easier), and provides succinct information on how to express oneself more clearly and accurately. She delves into the copulative (yes, she does), who versus whom, her friends in the dash family, and much more; and her lively tone and sense of humor ease the pain of focusing on what might never sink in and what might wind up changing in the future, especially with talking (and texting) allowing more latitude than the published word. Many care passionately about their punctuation being placed to perfection, and fans of Lynne Truss' Eats, Shoots and Leaves (2004) and those in the biz will be grateful for Norris' graciously sharing her fiefdom.--Kinney, Eloise Copyright 2015 Booklist

Library Journal
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Cleveland native Norris has scrutinized punctuation, spelling, and grammar in The New Yorker's legendary copy department since 1978. Her laugh-out-loud narrative- part memoir, part usage guide-examines the toughest grammatical challenges faced by writers, including comma usage; gender-neutral pronouns; "that" vs. "which"; "who" vs. "whom"; the difference among dashes, colons, and semicolons; and the dreaded dangling participle. Grammar has never been so entertaining thanks to Norris's lively narration; accessible, often irreverent, prose; and colorful literary examples ranging from Moby-Dick (Who put that hyphen on the book's title page when it isn't used in Melville's text?) to The Simpsons (Mr. Burns's excellent grammar "marks him as a villain."). Equally entertaining are the biographical elements sprinkled artfully throughout the book (like commas from the "comma shaker" on Norris's New Yorker desk.) Recollections from Norris's early jobs (working in a costume shop, delivering milk, packaging cheese) and her tenure at The New Yorker, as well as fond and funny family reminiscences, make this work an excellent choice for memoir fans. Verdict This sassy, feel-good title will also make listeners feel smarter-a can't-miss choice for all collections.-Beth Farrell, Cleveland State Univ. Law Lib. © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly
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Norris is not a professional actor, and at times her performance betrays that lack of training. She breathes audibly and nasally before reading long passages, and she often punctuates the narration with long sighs. Sometimes these sighs are entirely appropriate, however, such as when she expresses her self-disgust about the time she erroneously addressed a transgender family member by the wrong pronoun, or when she relays her irritation at Charles Dickens's penchant for gratuitous commas. But since she's reading her own story-a memoir covering over three decades as a copy editor at the New Yorker-all of those feel like natural, conversational quirks, not problems. Norris's gravelly voice guides us through the many jobs she held before joining the literary magazine, the thrill she experienced when she first caught mistake, and her thoughts about the ways the English language is evolving. Throughout, her enthusiasm is clear as she recounts pilgrimages to Melville's study and a pencil museum, or dishes on some of the literary giants she's been privileged to edit. A Norton hardcover. (Apr.) © Copyright PWxyz, LLC. All rights reserved.

Kirkus
Copyright © Kirkus Reviews, used with permission.

A New Yorker editor since 1978, Norris provides an educational, entertaining narrative about grammar, spelling and punctuation.The author devotes chapters to commas (who knew a printer more or less invented comma usage in 1490?); apostrophes; hyphens; the difference between "that" and "which"; the proper usage of "who" and "whom" (would Ernest Hemingway have published For Who the Bell Tolls?); dealing with profanity in a national magazine (a chapter in which Norris demonstrates that not all copy editors are prudish); which dictionary (if any) to rely on; and, as a bonus, an ode to pencils with and without erasers. Raised in the Cleveland area, Norris had a vague notion growing up of being a writer. But after attending college, she did not know how to proceed toward that goal, so she worked jobs that included delivering milk to homes, packaging cheese in a factory for sale to supermarkets and washing dishes in a restaurant. The possibility of an editing job at the New Yorker arose only because Norris' brother knew an important person there. Once at the New Yorker, the author engaged in spirited debates with more senior copy editors about all manner of decisions about grammar, punctuation and spelling. Though she observed the rules, she also began to realize that sometimes she had to compromise due to the fact that accomplished writers for the magazine followed their own logic. Norris delivers a host of unforgettable anecdotes about such famed New Yorker writers as Philip Roth, Pauline Kael, John McPhee and George Saunders. In countless laugh-out-loud passages, Norris displays her admirable flexibility in bending rules when necessary. She even makes her serious quest to uncover the reason for the hyphen in the title of the classic novel Moby-Dick downright hilarious. A funny book for any serious reader. Copyright Kirkus Reviews, used with permission.