Laurence Lerner – författare

English studies have become the scene of the intense controversy with Marxism, feminism, deconstruction and the many varieties of structuralism all claiming to offer new insights into literature. In this book eight critics (John Holloway, Gabriel Josipovici, Cedric Watts, Wayne Booth, Robert Pattison, Anthony Thorlby, Roger Scruton, and Laurence Lerner) respond to the new movements, united by a refusal to abandon their trust in reason, the possibility of meaning and the need for value judgments. The result is a lively and humane book which offers new insights into literary theory and into particular works. The contributors, while taking the new schools of criticism seriously, often disagree with them, offering serious discussion on the value of structuralism and the merits of many of its practitioners.

Do you see yourself as a linguistic diehard or a trendy radical? Are you more afraid of being mocked for ignorance or of being laughed at for pedantry? How far should we worry about offending people by our choice of words? In this book, the author takes the reader on an enlightening and often amusing journey. Unlike other books on English usage, which simply tell you whats right and whats wrong, You Cant Say That! discusses the issues and so puts you in a position to make your own informed decision. Laurence Lerner, retired professor, novelist and poet, surveys topics as diverse as language change, Standard English, grammar, register, euphemism, political correctness and the consequences of English becoming a world language.

Philip Larkin is one of the finest English poets of our time. His poetic personality – nostalgic, wry, melancholy, ironic, witty and haunting – has appealed to a far wideraudience than that of literary specialists, while also winning the respect of leading critics and fellow poets. Lerner’s study relates poetry to Larkin’s life, and to the literary and social environment of post-war Britain; discusses the Larkin persona, and Larkin’s relation to literary criticism; and above all seeks to guide readers to a full appreciation of the power and subtlety of Larkin’s best poems.

What is the difference between public and private feeling, and how far can we deduce past feelings from the words that have been left us? Why do child deaths figure so often and so prominently in the literature of the nineteenth century, and how was the theme of the death of a child used to elicit such poignant responses in the readers of that era? In this fascinating new book, Laurence Lerner vividly contrasts the contempt with which twentieth- century criticism so often dismisses such works as mere sentimentality with the enthusiasm and tears of nineteenth-century contemporaries.Drawing examples from both real and literary deaths, Lerner delves into the writings of well-known authors such as Dickens, Coleridge, Shelley, Flaubert, Mann, Huxley, and Hesse, as well as lesser known writers like Felicia Hemans and Lydia Sigourney. In the process, he synthesizes fresh ideas about the thorny subjects of sentimentality, aesthetic judgment, and the function of religion in literature.Lerner's forthright and evocative prose style is enjoyable reading, and he excels in teasing out the moral implications and the psychosocial entanglements of his chosen narrative and lyrical texts. This is a book that will illuminate an important aspect of the history of private life. It should have wide application for those interested in the history, sociology, and literature of the nineteenth century.

First published in 1978, The Victorians presents a survey of the Victorian era, exploring the relationship between literature and society through three distinct sections. The first delineates the literary history in two chapters on the Victorian novel and Victorian poetry respectively. In the second and largest section of a series of essays discuss various fundamental aspects of Victorian society: the economic and social framework, government and institutions, the sense of the past, painting and illustration, religion and the role of women. The third section offers two essays which explicitly relate a particular work to the society: one on Dicken’s Dombey and Son and the other on Tennyson’s The Princess. By turning to each essay after the rounded picture of Victorian society given in the previous section, the reader will not only find her appreciation enhanced but will also be enabled to argue back on equal terms in a way that is never possible with the survey of literature alone. This book is a must read for scholars and researchers of English literature.

Until quite recently, anthologies of English poetry contained very few poems by women, and histories of English poetry gave little space to women poets. How should poetry lovers respond? The book begins by suggesting four possible responses: the conservative, which claims that women have not written many good poems; individual recuperation, which salvages some fine poems by women but without altering the general view of English poetry; alternative canon, which claims that women do not write the same kind of poetry as men, so that their work should be judged by different standards; and cultural recuperation, which claims that women's poetry is a significant cultural phenomenon, and should be read and studied without subjecting it to any tests. All these positions can be defended, and this book has elements of them all. As the title indicates, this book is about reading women's poems, rather than forming theories about them: it explores the experience of reading Aphra Behn, Elizabeth Browning, Christina Rossetti, Emily Dickinson and many others. Beginning with Katherine Philips, the first Englishwoman to achieve fame as a poet, it covers three centuries to the work of Marianne Moore and Stevie Smith, but does not include the many living women poets who deserve a volume to themselves. In order to discuss adequately the work of those included, it was necessary to omit many other women poets: the selection has been made on merit, and to readers who miss some of their favourite poets the only answer can be that the book does nothing to discourage reading other poets. Indeed, it is hoped that the form of discussion of the selected poems will be helpful in engaging further with women poets of all calibres. Do women write differently from men? The author assumes no predetermined answer but is very willing to ask the question; and in order to do so he frequently compares poems by women with poems by men, not so much to ask who writes better as to explore similarities and differences: thus Lady Mary Wortley Montagu is discussed along with Alexander Pope, Emily Dickinson along with Gerard Manly Hopkins and Elizabeth Browning along with her husband. Poems by women should be read, enjoyed, and argued about. They can be related to the time they were written and first admired, or to our views on women's history, or to our expectations of what poetry can offer -- but above all they should be enjoyed. And that is the faith in which this book is written.