School mclean va: The Langley School in Mclean near Tysons Corner, Virginia

The Langley School – Academics

Equipping all students to confidently fulfill their passion and purpose

We believe that the balance of academic rigor and a strong social-emotional learning program is necessary to ensure student success, and our curriculum nurtures both in equal measure. At every grade level, our teachers employ their expertise in child development to judiciously guide and challenge their students to reach the next level. We intentionally plan the curriculum as a rigorous, developmentally attuned progression from each grade and division to the next. By creating a deeply supportive, invigorating learning environment, our entire community encourages our students to take sensible yet meaningful risks, empowering them to grow from both success and failure.

Inquiry-Based Learning

Our inquiry-based curriculum reflects the latest research on how to engage students most effectively – inspiring them to explore multiple strategies and perspectives and express this deeper understanding in their own authentic voice. Rather than rote memorization and teacher lectures, our program emphasizes hands-on experiences that foster critical thinking, problem solving, collaboration, and creativity – skills our students will need to flourish in today’s changing world.

Social & Emotional Learning

Our custom social and emotional learning program, titled REACH (Raising Emotional Acuity, Cultural Competence, and Health Behaviors), works in tandem with the academic program and Langley’s core values to foster students’ emotional intelligence, multicultural responsiveness, and health and wellness. It focuses across cognitive, academic, social, and emotional domains to ensure that children develop the skills to be confident, empathic, sensitive adults who can self-advocate, stand up for what’s right, and successfully navigate the complexity of relationships.

Langley students grow into self-directed, confident, joyful learners who see themselves not just as students, but as scientists, mathematicians, artists, historians, inventors, and even world-changers. By the end of eighth grade, they are more than ready to take on the rigors of the nation’s top high schools.

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Our Philosophy

To us, childhood and early adolescence are periods of steep, complex, joyful learning.

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Our People

We’re proud and honored to introduce you to our passionate leadership team.

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Alumni Profiles

No matter what their profession, Langley alumni of all ages are using the foundational skills they learned here to make a difference. 

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School Divisions

 Preschool – Kindergarten

Grades 1-5

Grades 6-8

A Wonderful Workplace – McLean School

“I’ve worked in places where the expectations and support for students was 100 percent different from the expectations and support for teachers, which I found stressful. Here at McLean there’s consistent messaging and a growth mindset among administrators, teachers, and students alike.”

Assistant Head of Upper School for Operations

McLean School, a K-12 co-educational independent school in Potomac, Maryland, seeks applicants for an Assistant Head of Upper School for Operations to begin July 1. McLean School has for over sixty-five years been helping bright students realize their full potential by providing a comprehensive college preparatory program that emphasizes small classes and differentiated instruction. Through our Abilities Model®, we embrace both traditional learners and ones with mild to moderate learning challenges. We recognize and teach to individual strengths, responding to areas of challenge, but never defining students by them—all within a program that incorporates challenging academics, championship sports teams, theater and visual arts, robotics, service learning, and more.

Reaching all corners of the McLean experience, the School’s commitment to diversity and equity is an extension of its mission to make education accessible, stimulating, and meaningful to a broad range of learners. McLean embraces diversity and values the integrity of all individuals. This recognition enriches the community and encourages students to be better leaders and more responsible citizens.

The Assistant Head of Upper School for Operations is responsible for the day-to-day organizational functioning of the Upper School, has primary responsibility for scheduling events, and for proactive external coordination and communication pertaining thereto. In coordination with the Head of Upper School and Associate Head of Upper School, the Assistant Head of Upper School for Operations helps to establish a professional rapport with students, faculty, and staff. They will display the highest ethical and professional behavior and standards when working with students, parents, and school personnel.

The Assistant Head of Upper School for Operations will oversee the day-to-day operations of the Upper School by creating and sharing the yearly schedule, a weekly schedule (The Week Ahead), and specialized schedules such as the mid-term and final exam schedules, teacher observation schedules, and scheduling conferences with families about student progress. The Assistant Head of Upper School for Operations will maintain records and correspondence pertaining to these meetings, as well as documenting and communicating about issues relating to student discipline. They will also monitor and respond to any concerns related to attendance. With assistance from the Head and Associate Head of Upper School, they will oversee off-campus education, and support the Head and Associate Head of Upper School in scheduling and managing year-long Professional Development programs and curriculum. In collaboration with the registrar, they will organize and conduct the yearly course selection process. Finally, they will coordinate and track substitute coverage for teachers.

While the primary responsibilities for the Assistant Head of Upper School for Operations will be to ensure consistent proactive communication and to carefully organize the day-to-day operations of the Upper School, they will also have the opportunity to learn about and have input in all programmatic, curricular, and professional development aspects of student and faculty life in the Upper School.

McLean School is an equal opportunity employer and considers all qualified applicants for employment without regard to race, color, religion, ancestry, national origin, age, sex, marital status, sexual orientation, gender identity, family responsibilities, disability, genetic status, or any other characteristic protected by applicable law. If you need a reasonable accommodation due to a disability during the recruitment process, please contact Executive Support Manager, Robin Speller.

Interested applicants should fill out an online Application, and upload their Cover Letter and Résumé.

McLean School Walks the Talk

Many schools talk about the warmth of their community, the collegiality, and the deep sense of caring and trust among and between students, faculty, staff, administration, and parents. At McLean, born from the mission of serving learners that span the range of racial, socio-economic, cultural, and learning strengths and challenges, that deep sense of caring for one another provides bedrock foundation. Many schools talk about their expanding ability to serve students who learn differently, but McLean has been built for that mission from the start. Through its Abilities Model®, McLean teaches to each student’s strengths, while providing support in areas of need, and McLean never defines students by what they cannot do.

McLean School in many ways looks like the framework of a typical, maybe even traditional college-prep school. But what happens within that framework is anything but traditional. The school has attracted deeply caring and trained educators whose passion is discovering and teaching to the unique abilities of each student in whatever innovative, personal, or progressive manner is best for the student. With close to 500 students in grades K-12, McLean School is delivering on the promise of giving students skills, confidence, tools, and knowledge to succeed in college and beyond.

6 Reasons Why You Should Be Part of our Faculty and Staff Community

It’s no surprise that McLean’s teachers and staff are as happy to be here as the students we teach: we all feel supported in our efforts to learn, stretch and grow. It’s a culture that can be hard to come by… which is one reason our faculty tends to stick around! Here are a few of the other reasons:

Reason #1
McLean “Magic”

There’s something about this place that’s hard to put into words, but you know it when you feel it. An energy, a culture, a certain type of confidence that comes from having a job you love and being surrounded by people who feel the same way.

Reason #2
Our Mentorship Program

You’re always encouraged to change and modify your approach based on what is best for each child. And you don’t have to figure that out all on your own. There’s a wealth of resources from mentor teachers who support you all the way.

Reason #3
Flexibility in What We Teach and How We Teach It

Teaching the way kids learn requires flexibility you won’t find in most school settings. And it’s one thing to say ‘hey, do what you need to do,’ but another to actually provide the structure and professional support to make that possible. And knowing I have the trust and confidence of my colleagues means everything to me.

Reason #4
Professional Perks

We work hard, but we get to have fun, too. We are fully encouraged to enjoy the weight room, yoga, fitness classes, mindfulness programs, our wonderful lunch offerings, and more. This is a place that supports us fully: mind, body, and soul!

Reason #5
Location

Our proximity to DC opens up experiential learning opportunities and is just a great place in general to live. From the Smithsonian to Congress, free cultural events, and parks, the Greater Washington area is packed with places and programs that enrich my professional and personal experiences.

Our Location

Reason #6
We Prioritize Professional Development

This is a culture of learning, and that includes the faculty. When it comes to professional development, McLean is generous and encouraging. It creates a sense of excitement, like we’re incubating new ideas all the time and making our best practices even better. As an educator, I couldn’t ask for more.

Commitment to Diversity and Equity

McLean School’s commitment to diversity/equity is an extension of our mission to make education accessible, stimulating, and meaningful to a broad range of learners. McLean embraces diversity and values the integrity of all individuals. We offer equitable opportunity to learn from the wealth that diversity renders to all community members in the recognition of differences of ethnicity, race, religion, socioeconomic status, culture, sexual orientation, or gender. This recognition enriches our community and encourages our students to be better leaders and more responsible citizens. We believe that our students will acquire an appreciative sensitivity to different people and cultures and that they will be more secure in themselves and better prepared to enjoy the richness and possibilities of the wonderfully diverse world they will inherit.

Toward this end, McLean School commits itself to:

• Continue to develop a school culture and curricula that will teach our students both the skills and the sensibilities necessary for living in a world of change and difference;

• Achieve an educationally enriching level of diversity in the student body, the faculty, staff, and the Board of Trustees; and

• Provide the resources and support needed to secure the self-esteem of every child.

The School expects that all community members will support diversity/equity at McLean School, just as the School expects that all community members will benefit from that work.

Non-Discrimination

McLean School is an equal opportunity employer and makes all employment decisions, including those related to recruitment, hiring, training, retention and promotion on the basis of an individual’s ability and job-related qualifications and without regard to race, color, ethnicity, religion, age, national origin, disability, gender, gender identity, sexual orientation, or any other classification proscribed and protected under applicable federal, state, or local law.

This link leads to the machine-readable files that are made available in response to the federal Transparency in Coverage Rule and includes negotiated service rates and out-of-network allowed amounts between health plans and healthcare providers. The machine readable files are formatted to allow researchers, regulators, and application developers to more easily access and analyze data.

Britain’s most feared fighter Lenny McLean played himself in the movie “Lock, Stock, Two Smoking Barrels”

Komsomolskaya Pravda

SportSport: BOXING

Denis KORSAKOV

September 29, 2021 1:00

London, an exemplary family man and an excellent character actor

Director Guy Ritchie cast him in the comedy “Lock, Stock, Two Smoking Barrels” as Barry the Baptist. Photo: Shot from the film “Lock, Stock, Two Smoking Barrels”, 1998

In 1998, Guy Ritchie’s debut film was released – the crime comedy “Lock, Stock, Two Smoking Barrels”. Two athletes played their first roles in it: football player Vinnie Jones and member of the British Olympic diving team Jason Statham (both later became movie stars). Another athlete, boxer Lenny McLean, portrayed on the screen the formidable Barry the Baptist, henchman of a London gangster (he received the nickname Baptist for grabbing debtors and dipping their heads in a bucket of water until they agreed to give the money). nine0004

McLean was the most textured of the “Kart, Money …” artists, his role promised an excellent film career. But, alas, he did not even live to see the premiere of Richie’s film. On the set, it seemed to him that he had caught the flu, the doctors diagnosed him with pleurisy, and after looking more closely, he was diagnosed with lung cancer. Moreover, it turned out that he gave brain metastases and medicine can no longer help Lenny.

He was only 49 years old. He lived a crazy colorful life: he was called “the toughest man in the UK.” The list of his professions and occupations in the obituary was as follows: “Fighter, bouncer, criminal, prisoner, writer, businessman, bodyguard, weightlifter, TV presenter and actor.” But above all, he was a fighter. nine0004

“Bruises made us black”

“If you are wondering how a person can choose this path – to be involved in violence every day throughout his life – read my story and maybe you will understand” – these words can be found at the beginning of McLean’s autobiography, which he took up shortly before his death.

He was born in Hoxton, “the roughest, most unpleasant part of London.” However, Lenny’s early childhood was ideal. Loving mother and father, four brothers and sisters, a great apartment in a brand new building. The sudden death of his father was a huge shock for Lenny. The mother was also beside herself with grief, but she had five children to feed, and she brought a certain Jim Irwin into the house; he hated the children and beat them every day: “We were all blue and black, and the teachers at school asked: “What, got into a fight again, McLean?” When Lenny’s brother, four-year-old Raymond, peed himself, Irwin beat him to a pulp. Lenny tried to protect the child, but was hit in the face. At night, he ran away with his brother to his grandmother. And she turned to her brother Jimmy, who “had a reputation as a fighter.” Bursting into Irwin’s house, Jimmy beat him up and then grabbed a straight razor. His mother barely begged him to give her husband another chance. nine0004

Around the same age, Lenny himself beat a man for the first time for money. His brother Barry was getting cuffed by the neighborhood boy. Mother told Lenny to deal with him. He figured it out and Mom gave him three pennies. And the other boys looked at him with delight. The career was set.

Going to prison

It all started with hooliganism and minor offenses (for example, Lenny and his friends robbed garages, taking out all the money they found). Soon this path led him to prison. Boxing matches were specially organized there, where young convicts could let off steam. The turning point came later, when McLean’s car died one day. He went to an auto repair shop, and the seller suddenly offered him to take part in a duel with some gypsy, the prize of which was 500 pounds (today, adjusted for inflation, this would be almost 10,000 pounds). nine0004

Of course, Lenny’s opponent was picked up by a powerful one – tall and weighing 110 kilograms. But he himself was tall (191 cm) and heavy. “I just went ahead and hit him in the face with all my might and he went down. I could not believe it. That is, I knew that I would succeed, but so quickly?

This is how McLean entered the world of illegal fighting. More precisely, “unlicensed”. In Britain, any boxing was considered legal if the opponents were in the ring, wearing gloves and there was a referee nearby. But only fights that were held under the control of sports committees were considered real, serious sports. All boxers were checked at medical examinations, at the same time studying their past. “With a metal plate in the skull or with police charges for violence, you could forget about the license. ” Naturally, the people did not attach any importance to these trifles. Fights were organized right and left, bets were made on the fighters – crazy money was spinning there. nine0004

Soon the nickname Ten Men Len stuck to him (it means that if he attacked someone, it takes ten men to pull him away). His fame spread throughout London. In total, Lenny spent about 4,000 fights for money and won the vast majority of them. He wanted to challenge Mohammed Ali to fight, but for some reason he did not answer his request.

Powerful Lenny lived a short but bright life – he died at the age of 49 from cancer. Photo: Lenny McLean Tribute/YouTube

The Bouncer King

He was offered a job as a bouncer for £100 a night. In his memoirs, he tells how once a drunken company of 18 young people gathered in a club, who did not like the bill. They brought the waitress to tears, and when Lenny suggested that they go outside and sort things out, they went out, taking bottles and heavy ashtrays from the tables. Five minutes later, Lenny was standing in front of a crowd of brutal guys with roses in their hands. “I pulled out a lead club from my pocket and ran into their crowd with all my might. They fell like skittles.” And Lenny had nothing for it. The authorities considered it foolish to spend taxpayers’ money on the trial of a man who single-handedly emasculated 18 others – reports from the courtroom in the newspapers would have looked comical. nine0004

No wonder he was called “the king of bouncers.” But, in addition, he worked as a bodyguard – for example, for the singer Boy George or the actors from the East Enders series. And, of course, his career was closely connected with crime. He dealt with legendary criminals – for example, the Kray twins or Michael Peterson (all three were later played by Tom Hardy in the films “Legend” and “Bronson”). How close this communication was, we are unlikely to find out, but the rumors were not the most pleasant.

He wanted to hear thanks

But don’t get the impression that Lenny was a terrible person. At least, according to his memoirs, he lived strictly by the rules and did not pay anyone evil for good. On the contrary, he helped honest people as best he could. For example, once he defended a very young policewoman from a chantrap, she later thanked him. Or saw a group of drunks attack a car in which a woman with two small children was sitting (they pounded on the roof of the car, yelled “Show boobs”, Lenny bludgeoned them and was sentenced to a fine of 500 pounds and two years of probation. He was happily married, raised a son and a daughter.

By the early 1990s he was a living legend in London, and it’s not surprising that filmmakers were interested in him. He appeared in an episode of Luc Besson’s “The Fifth Element”, then there were “Cards, Money, Two Smoking Barrels”. And, of course, for this he did not need any acting schools. When asked if he had a dramatic education, he replied: “Listen, I was shot twice, stabbed a hundred times, and I took part in ten thousand fights. Do you think this is enough dramatic education? nine0004

A WAS ANOTHER CASE

Murder charge

In 1992, Lenny was charged with murder. He harshly kicked a man out of the club who behaved indecently: he molested women, urinated on the floor … This man (as it turned out later, mentally ill) died the same night. The body showed signs of beatings and strangulation. Later, however, it turned out that after Lenny he also talked with the policemen and strangulation, most likely, their work. Lenny himself claimed that the police wanted to set him up – they could not forgive him for his friendship with the Kray twins, “public enemies number one.” One way or another, he broke the jaw of this unfortunate man and was sentenced to a year and a half in prison. nine0004

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American researcher Leskova – Literature issues

H. McLean, Nikolai Leskov. The Man and his Art, Harvard University Press, 1978, 796 p.

The works of Pushkin, Dostoevsky, Tolstoy, Chekhov are the origins and milestones of not only Russian literature. Their heritage has long been the property of world literature. J. Galsworthy, B. Shaw, R. Rolland, T. Mann, T. Dreiser, G. James wrote more than once about the influence that Russian classics had on them. Foreign literary criticism pays great attention to the study of the work of Dostoevsky, Tolstoy and Chekhov; extensive philological material is devoted to Pushkin, Gogol, Turgenev. Monographs about these masters are not counted in units or even tens. nine0004

Western criticism of Leskov paints a different picture. Until recently, the foreign reader was practically unfamiliar with the work of this great master, whom Gorky called “the magician of the word.” Such inattention is partly explained by the specifics of the writer’s language, which is rich in phraseological units and dialectisms and therefore difficult to translate. But even those few translations that appeared, most often did not reflect the specific, emotional world of the artist. The weakness of translations was also a serious obstacle to the development of critical thought: foreign works on Leskov, represented mainly by articles, were of a private nature. nine0004

Only after the Second World War, by the mid-1950s, in the West, mainly in England, America and the Federal Republic of Germany, did a foreign reader have the opportunity, with the help of already fully qualified translations, to judge the artistic merits of this writer’s legacy. The nature of the works about him has also changed. The articles that appeared during these years commented in detail on the work of Leskov, whose path, due to the inconsistency of his socio-political views, the originality of his artistic attitudes, was not easy even for the understanding of the Russian reader. Gradually, Western critics came to the conclusion that Leskov should also be classified among the writers who determined the literary process of the last third of the 19th century, such as Dostoevsky, Tolstoy, Turgenev, Chekhov. nine0004

In 1979, the Harvard University Press published a monograph by a specialist in Russian literature, Professor H. McLean, Nikolay Leskov: Man and Artist. This book, thanks to the scientific thoroughness with which the material is collected and processed in it, is the most complete foreign work on Leskov.

H. McLean traces in detail the entire life of the writer, drawing on a huge amount of biographical material, referring to numerous sources that he carefully read. There is practically no such aspect in the life and work of the writer, which would not receive detailed coverage in the work of H. MacLean. He refers not only to the well-known works of Leskov, but also to variants, diary entries, little-studied archival sources. In a certain sense, this monograph competes with the book by the son of the writer A. Leskov “The Life of Nikolai Leskov. According to his personal, family and non-family records and memories”, which is rightly considered one of the fundamental works on Leskov. nine0004

The biographical canvas (clothed in an entertaining, partly even fictionalized form) is of interest to the researcher both in itself and to the extent that it allows him to see how Leskov’s social and artistic views took shape. In complex family relationships, the personality of the artist was formed. Already in his early youth, Leskov’s character was determined by a persistent, passionate desire for truth, which in his mature years complicated the writer’s relations not only with relatives, but also with literary colleagues. This feature of Leskov’s character was expressed, on the one hand, in hatred of serfdom and in rejection of the extremes of nihilism, and on the other hand, it often bordered on outright rigorism; which, in turn, led to contradictions in the worldview, which remained inexhaustible until his death. Leskov did not accept any of the theoretical doctrines of the 60s: he did not believe in revolutionary transformations, but in essence he did not share the programs of conservatives, apologists for patriarchal Russia. In the difficult youth of the writer, when circumstances demanded from him the ability to constantly adapt to someone else’s will, in wanderings around the country – along the Oka and Volga during his commercial activity, H. MacLean sees the origins of Leskov’s unique knowledge of the depths of folk life. From the very beginning of his literary career, as the researcher writes, Leskov wanted to show “his” Russia, denying a priori, “untrue”, from the point of view of the writer, ideas about the people. nine0004

Of undoubted interest are those chapters in which H. MacLean analyzes the work of Leskov the journalist. The scientist convincingly shows the versatility of the personality of this artist, who wrote articles on political issues, theater, painting and even such a subject as collecting watches with the same enthusiasm. H. MacLean not only cites interesting facts, but draws on them in order to show what role journalism played in shaping Leskov’s creative image: his journalistic articles developed themes for future novels, novels, and short stories. nine0004

The undoubted merits of H. McLean’s book include the reconstruction in it of the wide socio-historical and actual literary background of the era. Leskov’s work, his ethical and artistic searches are constantly compared with the views of Dostoevsky, Goncharov, L. Tolstoy, Chernyshevsky, Pomyalovsky and other Russian writers. An analysis of the artist’s heritage in the context of the ideas of that time allowed H. MacLean to give a serious interpretation of one of the most difficult aspects of Leskov’s work – his works about the righteous. It is necessary to pay tribute to the researcher, who did not fall into a fairly common mistake, common to many Western critics. Considering the work of such writers as Gogol, Dostoevsky, Tolstoy, they mainly focus their attention on the embodiment of religious problems. Such an approach leads to an underestimation of the social and artistic significance of their works. In the case of Leskov, in whom religious issues are even thematic (for example, “The Sealed Angel”, “Little Things in the Bishop’s Life”, “The Unbaptized Priest”, “Pechersk Antiques”, “Righteous”, “Soboryane”) occupies a large place, such a mistake in the work of a Western researcher would, in a certain sense, even be justified. However, understanding the originality of Leskov’s worldview, the features of his social position allows H. MacLean to reveal the true direction of the writer’s work. Leskov H. McLean is by no means a “religious fanatic”, not a writer who perceives life only through the prism of religion. The author rightly emphasizes Leskov’s negative, intolerant attitude towards the official church and religious dogma. It is this position that explains why the lifetime, traditionally called the complete collected works, in fact, is not such: as you know, it did not include the writer’s anti-clerical works. H. McLean sees the pathos of Leskov’s creativity – and this seems to be an essential point – primarily in the search for and affirmation of the moral and ethical ideal. nine0004

H. MacLean gives not only a literary and biographical portrait of Leskov, but also analyzes various theoretical problems that inevitably arise when considering his work. Interesting are the researcher’s considerations about the function and complex relationship of the author, narrator, narrator in Leskov’s works, his observations on the features of the narration forms that are so widely and fruitfully used by the writer. Noteworthy is the definition of a tale given by H. McLean: “A tale is an oral narrative within a narrative, told by a character whose speech is distinctly stylistically colored.” The role of the narrator in Leskov, as H. McLean rightly believes, is most often frame-forming. His image reflects the ethological content of the whole story, which allows the writer to preserve the stylistic coloring. In Western literary criticism, especially in the works of representatives of the “new criticism” school, who specialize in the so-called detailed, “careful reading” of the text, the study of Leskov’s tale forms of narration with their complicated relationships between the narrator and the narrator is carried out mainly at the formal level. H. McLean does not see this approach as correct. nine0004

He thoroughly analyzes the narrative structures in Leskov’s works, but at the same time he insistently emphasizes their ultimate relationship with the ideological level (“The Robber”, “The Warrior”).

H. McLean constantly refers to the works of Soviet researchers of Leskov’s work: B. Eikhenbaum, L. Grossman, B. Drugov, M. Goryachkina, I. Viduetskaya, V. Troitsky and others. some of their considerations, he enters into controversy. Thus, H. McLean believes that L. Grossman, whose works on Leskov seem to him the most interesting, does not sufficiently take into account the importance of the skaz form of narration, especially in the writer’s mature works. nine0004

When perceiving a tale, according to H. McLean, a clearer separation of the positions of the author and the narrator is necessary. Otherwise, as happens when L. Grossman analyzes the story “The Hare Remise”, it is impossible to say which side the author is on. If we do not take into account these features of Leskov’s narrative structure, it is easy to miss the subtle, but extremely important in the ideological sense, the writer’s irony in relation to the “little” heroes. According to H. McLean, M. Goryachkin does not see it, because he does not take into account the author’s detached position, for example, in the story “Lefty”. nine0004

However, despite the fairness of private criticisms of Leskov’s Soviet researchers, H. MacLean generally underestimates their overall contribution to the study of the writer’s legacy. This is evidenced by his obviously tendentious remarks about the allegedly simplified “Soviet” approach to Leskov. Meanwhile, of course, without reliance on Soviet works, H. MacLean’s detailed book would hardly have been possible today. The tendentiousness of the American researcher is also manifested in the overly repeated and inappropriate statement that the Soviet reader does not have the opportunity to fully get acquainted with Leskov’s legacy. Of course, the publication of a complete collection of works is a matter of the future. But it is hardly fair to assume that the Soviet reader does not know Leskov’s work. At 1956 – 1958, an eleven-volume collected works were published, in the USSR one- and two-volume works of Leskov’s works are constantly published. The last time his “Favorites” was published in 1979 in the series “The Classical Library of Sovremennik”.

Among the shortcomings of the monograph, along with the biased assessment, is the Freudian interpretation of the writer’s work. Often, at least to such an extent that it is perceived as a pattern, H. MacLean explains some points in Leskov’s work, for example, the originality of female characters in his works (Lekanida Petrovna in the essay “The Warrior”), with purely personal, sometimes almost intimate reasons : the imperious nature of the writer’s mother, according to H. MacLean, which influenced the formation of the personality of his son, failures in marriage. It is difficult to deny the importance of these moments in shaping the character of any person, and even more so of a writer. However, the annoying repetition of such facts leads to unfortunate distortions and to the distortion of Leskov’s biography and work. nine0004

It is curious that even Anglo-American critics, who most often take the Freudian interpretation of the writer’s work for granted, as a matter of course, opposed him in this case: the personality and legacy of the artist Leskov do not fit into this Procrustean bed.