John Lennard

Taking up where the author's book Of Modern Dragons (2007) left off, these essays continue Lennard's investigation of the praxis of serial reading and the best genre fiction of recent decades, including work by Bill James, Walter Mosley, Lois Mcmaster Bujold, and Ursula K. Le Guin. There are groundbreaking studies of contemporary paranormal romance, and of Hornblower's transition to space, while the final essay deals with the phenomenon and explosive growth of fanfiction, and with the increasingly empowered status of the reader in a digital world.

The book aims to introduce students (including those with little or no prior experience of the field) to the worlds of Shakespeare and his theatre revealed in Hamlet. It begins by 'Approaching Shakespeare' as utterly a man of the theatre, a professional actor before he was a playwright and a resident dramatist who knew intimately the actors for whom he wrote. It continues by 'Approaching Hamlet' in that light, and as a revenge tragedy deliberately overloaded with complications. The middle chapters look in detail at the 'Actors and Players' of the drama, starting with the Ghost and ending with 'the best actors in the world', and at Shakespeare's favourite 'Acts and Devices' as deployed within it. A final chapter considers Hamlet and Twelfth Night, written and premiered in close succession, as an unexpectedly resonant pair, a surprisingly funny revenge tragedy and a surprisingly bleak revenge comedy that for the first audiences would have complemented one another. The annotated Bibliography includes the current major editions of Hamlet, the major film-adaptations, and a selection of both the best criticism and the most useful websites.

These essays explore some of the best genre fiction of the last 40 years, including work by Reginald Hill, Thomas Harris, Dorothy L. Sayers, Nora Roberts, J. D. Robb (since 2000 the world's best-selling novelist) , J. R. R. Tolkien, Ursula Le Guin, Anne McCaffrey, Ian McDonald, Octavia E. Butler, and The Tortallan World of Tamora Pierce.

The Poetry Handbook is a lucid and entertaining guide to the poet's craft, and an invaluable introduction to practical criticism for students. Chapters on each element of poetry, from metre to gender, offer a wide-ranging general account, and end by looking at two or three poems from a small group (including works by Donne, Elizabeth Bishop, Geoffrey Hill, and Nobel Laureate Derek Walcott), to build up sustained analytical readings. Thorough and compact, with notes and quotations supplemented by detailed reference to the Norton Anthology of Poetry and a companion website with texts, links, and further discussion, The Poetry Handbook is indispensable for all school and undergraduate students of English. A final chapter addresses examinations of all kinds, and sample essays by undergraduates are posted on the website. Critical and scholarly terms are italicised and clearly explained, both in the text and in a complete glossary; the volume also includes suggestions for further reading. The first edition, widely praised by teachers and students, showed how the pleasures of poetry are heightened by rigorous understanding and made that understanding readily available. This second edition -- revised, expanded, updated, and supported by a new companion website - confirm The Poetry Handbook as the best guide to poetry available in English.

This book is a compact guide to reading plays, and to the art and techniques of drama. Ranging from classical Greece to modern Drama and performance, but with particular emphasis on the playwrights (including Shakespeare) who are most widely taught and performed, the Handbook covers the whole range of literary, aesthetic, and political questions attending drama, from theatre designs and acting styles to audience composition and editing printed texts. Looking closely at both text and performance, successive sections give clear and detailed information about the conventions of playtexts, the histories of genre, performance spaces, and theatre personnel, as well as current theatre practices. Each chapter also provides an appropriate technical and critical vocabulary, conveniently gathered in a full, indexed glossary. A final section, dealing with drama essays and exams, includes sample student essays, and the bibliography includes targeted further reading as well as extensive guides to playwrights in print and plays on film. Lucid, practical, and thorough, this book is an invaluable resource for anyone who reads plays.

Dr Johnson disapproved of parentheses and wouldn't use them; and for three centuries grammarians have argued that they are subordinate, additional, unnecessary, irrelevant, and damaging to the clarity of argument. But for Marlowe, Marvell, Swift, Coleridge, Byron, Browning, Eliot, Geoffrey Hill, and Derek Walcott (to name only poets) parentheses have been emphatic, original, necessary, relevant, and essential to the clarity of argument. They also intensify satire. Dr Lennard offers both a new history of the poetic use of lunulae (the marks of parenthesis) from their first appearance in England in 1494 to the present day, and detailed case-studies of individual poets who exploited lunulae. In combination the historical development of use and the individual's practice in a given period reveal the impact on literary composition of technological, philosophical, and political pressures, and the importance for the reader of regarding punctuation as a resource.