Search results for ""author victoria"

'Animal lovers will delight' Ann Granger'A real treat . . . I loved it. Cats, dogs, murder and a credible and relatable heroine' Barbara NadelDriving home from a ceramics evening class, Clarice Beech reflects on the absence of one of her students, Colin Compton-Smythe. Later, Emily, Colin's daughter, telephones to say her father has died during routine surgery. Distraught, Emily opens up to Clarice about his wretched childhood and the day five-year-old Colin returned home to discover Avril, his mother, gone. Colin never believed she would have left without him and had been trying to find out more about Avril's disappearance all those years ago.Clarice readily agrees to accompany Emily to Colin's funeral. On arriving at the stunning Victorian Gothic manor house, with Bellatrix, the majestic stone Siamese cat reposing at its entrance, Clarice soon becomes drawn into the fractious world of the Compton-Smythe family: Colin's argumentative father Ralph and his equally combative partner Tessa, their daughter, Dawn, being stalked by an ex-lover and, most unsettling of all, Ernestine, Ralph's emotionally unpredictable sister. And then there's Johnson, Ralph's menacing manservant.Clarice discovers the nearer she gets to the truth, the greater she is in danger as somebody is intent that the mystery of the missing wife should never be resolved.

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Argues that the legacies of Victorian public health in England and Wales were not just better health and cleaner cities but also new ideas of property, liability, and community. This book argues that the legacies of nineteenth-century public health in England and Wales were not just better health and cleaner cities but also new ideas of property and people. Between 1815 and 1872, the work of public healthactivists led to multiple redefinitions of both, shifting the boundaries between public and private nuisances, public and private services, taxable and nontaxable property, cities and suburbs, the state and the individual, and, finally, between different kinds of individuals. These boundary-making processes were themselves inflected by different material, political, and ideological developments in the areas of disease, demography, democracy, and domesticity. The changes in boundaries manifested themselves in the creation of new nuisance laws and in the minute control by the state of private domestic arrangements. Most important, these changes also promoted a radical shiftin ideas on who should bear financial responsibility for the health of others, stimulating in the process a controversy on the nature of community. Public health thus served as an important, if contradictory, site in the creationof communities, enhancing the right to health for some while simultaneously restricting in the name of health the privacy rights of others. Relying on underused legal sources, this book presents a fresh view of the local originsand legal and political significance of the public health movement of the nineteenth century. James G. Hanley is associate professor of history at the University of Winnipeg.

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Imagined Homelands chronicles the emerging cultures of nineteenth-century British settler colonialism, focusing on poetry as a genre especially equipped to reflect colonial experience. Jason Rudy argues that the poetry of Victorian-era Australia, New Zealand, South Africa, and Canada-often disparaged as derivative and uncouth-should instead be seen as vitally engaged in the social and political work of settlement. The book illuminates cultural pressures that accompanied the unprecedented growth of British emigration across the nineteenth century. It also explores the role of poetry as a mediator between familiar British ideals and new colonial paradigms within emerging literary markets from Sydney and Melbourne to Cape Town and Halifax. Rudy focuses on the work of poets both canonical-including Tennyson, Browning, Longfellow, and Hemans-and relatively obscure, from Adam Lindsay Gordon, Susanna Moodie, and Thomas Pringle to Henry Kendall and Alexander McLachlan. He examines in particular the nostalgic relations between home and abroad, core and periphery, whereby British emigrants used both original compositions and canonical British works to imagine connections between their colonial experiences and the lives they left behind in Europe. Drawing on archival work from four continents, Imagined Homelands insists on a wider geographic frame for nineteenth-century British literature. From lyrics printed in newspapers aboard emigrant ships heading to Australia and South Africa, to ballads circulating in New Zealand and Canadian colonial journals, poetry was a vibrant component of emigrant life. In tracing the histories of these poems and the poets who wrote them, this book provides an alternate account of nineteenth-century British poetry and, more broadly, of settler colonial culture.

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Buddhism is indisputably gaining prominence in the West, as is evidenced by the growth of Buddhist practice within many traditions and keen interest in meditation and mindfulness. In The Lotus and the Lion, J. Jeffrey Franklin traces the historical and cultural origins of Western Buddhism, showing that the British Empire was a primary engine for curiosity about and then engagement with the Buddhisms that the British encountered in India and elsewhere in Asia. As a result, Victorian and Edwardian England witnessed the emergence of comparative religious scholarship with a focus on Buddhism, the appearance of Buddhist characters and concepts in literary works, the publication of hundreds of articles on Buddhism in popular and intellectual periodicals, and the dawning of syncretic religions that incorporated elements derived from Buddhism. In this fascinating book, Franklin analyzes responses to and constructions of Buddhism by popular novelists and poets, early scholars of religion, inventors of new religions, social theorists and philosophers, and a host of social and religious commentators. Examining the work of figures ranging from Rudyard Kipling and D. H. Lawrence to H. P. Blavatsky, Thomas Henry Huxley, and F. Max Müller, Franklin provides insight into cultural upheavals that continue to reverberate into our own time. Those include the violent intermixing of cultures brought about by imperialism and colonial occupation, the trauma and self-reflection that occur when a Christian culture comes face-to-face with another religion, and the debate between spiritualism and materialism. The Lotus and the Lion demonstrates that the nineteenth-century encounter with Buddhism subtly but profoundly changed Western civilization forever.

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In the public imagination, Silicon Valley embodies the newest of the new—the cutting edge, the forefront of our social networks and our globally interconnected lives. But the pressures exerted on many of today’s communications tech workers mirror those of a much earlier generation of laborers in a very different space: the London workforce that helped launch and shape the massive telecommunications systems operating at the turn of the twentieth century. As the Victorian age ended, affluent Britons came to rely on information exchanged along telegraph and telephone wires for seamless communication: an efficient and impersonal mode of sharing thoughts, demands, and desires. This embrace of seemingly unmediated communication obscured the labor involved in the smooth operation of the network, much as our reliance on social media and app interfaces does today.Serving a Wired World is a history of information service work embedded in the daily maintenance of liberal Britain and the status quo in the early years of the twentieth century. As Katie Hindmarch-Watson shows, the administrators and engineers who crafted these telecommunications systems created networks according to conventional gender perceptions and social hierarchies, modeling the operation of the networks on the dynamic between master and servant. Despite attempts to render telegraphists and telephone operators invisible, these workers were quite aware of their crucial role in modern life, and they posed creative challenges to their marginalized status—from organizing labor strikes to participating in deviant sexual exchanges. In unexpected ways, these workers turned a flatly neutral telecommunications network into a revolutionary one, challenging the status quo in ways familiar today.

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Shaker Fancy Goods tells the story of the Shaker Sisters of the nineteenth and early twentieth century who responded to the economic perils of the Industrial Revolution by inventing a lucrative industry of their own—Fancy Goods, a Victorian term for small adorned household objects made by women for women. Thanks to their work ethic, business savvy, and creativity, the tireless Shaker Sisters turned a seemingly modest trade into the economic engine that sustained their communal way of life, just as the men were abandoning the sect for worldly employment. Relying on journals and church family records that give voice to the plainspoken accounts of the sisters themselves, the book traces the work they did to establish their principal revenue streams, from designing the products, to producing them by hand (and later by machine, when they could do so without compromising quality) to bringing their handcrafts to market. Photographs, painstakingly gathered over years of research from museums and private collections, present the best examples of these fancy goods. Fancy goods include the most modest and domestic of items, like the pen wipes that the Sisters shaped into objects such as dolls, mittens, and flowers; or the emeries, pincushions, and needle books lovingly made back in an era when more than a minimal competency in sewing was expected in women; to more substantial purchases like the Dorothy cloaks that were in demand among fashionable women of the world; or the heavy rib-knitted sweaters, cardigans, and pullovers that became popular items among college boys and adventurous women.

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A comprehensive presentation of the provocative, modernist graphic works of Britain’s creator of Art Nouveau This is the first book to bring together the recorded works of the English artist Aubrey Beardsley. Despite his early death from tuberculosis in 1898, at the age of 25, these amount to nearly 1100 completed works of art (plus many related sketches) as well as more than 100 sketches in his letters and the books he owned, and this book includes over 50 that have never previously been published. In his brief career Beardsley made a defining contribution to Art Nouveau in Britain and abroad. He also influenced the early history of modern art, attracting the attention of the young Picasso, for example. His distinctive and innovatory graphic style, combined with highly provocative, often sexual subject matter, outraged critics and led to a period of intense notoriety. Beardsley's drawings span the grotesque, the delicately beautiful, the subtly erotic, and the frankly bawdy, and challenged the moral norms of Victorian society. They enthralled artists and art lovers the world over and continue to enthral today. Linda Gertner Zatlin's text presents Beardsley's drawings with a full record of their making, provenance, exhibition history and references in the art historical literature. This material record is accompanied by often extensive discussions of their themes, motifs and symbolism, as well as their critical reception. Unprecedented in its scope and thoroughness, this study presents Beardsley's work and explores its meanings more comprehensively than any previous work on him; it is likely to remain definitive. This superbly illustrated two volume catalogue, beautifully presented as a boxed set, is both an essential reference for specialists and an accessible and enchanting delight for Beardsley enthusiasts.Published for the Paul Mellon Centre for Studies in British Art

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The eighth action-packed Victorian military adventure featuring hero Jack Lark: soldier, leader, imposter. Expect hard fighting, dangerous bandoleros and double-crossing aplenty as Jack arrives in Mexico. A must-read military adventure for fans of Bernard Cornwell and Simon Scarrow. Dusty deserts, showdowns under the blistering sun, bloodthirsty bandoleros, rough whisky and rougher men. Bullets fly, emotions run high and treachery abounds in The Lost Outlaw. This is classic Jack Lark in a classic western...an exceptionally entertaining historical action adventure' In the midst of civil war, America stands divided. Jack Lark has faced both armies first hand, but will no longer fight for a cause that isn't his. 1863, Louisiana. Jack may have left the battlefield behind, but his gun is never far from reach, especially on the long and lonely road to nowhere. Soon, his skill lands him a job, and a new purpose.Navy Colt in hand, Jack embarks on the dangerous task of escorting a valuable wagon train of cotton down through Texas to Mexico. Working for another man, let alone a man like the volatile Brannigan, isn't going to be easy. With the cargo under constant attack, and the Deep South's most infamous outlaws hot on their trail, Jack knows he is living on borrowed time. And, as they cross the border, Jack soon discovers that the usual rules of war don't apply. He will have to fight to survive, and this time the battle might prove one he could lose. Praise for the Jack Lark series:'Brilliant' Bernard Cornwell'Enthralling' The Times 'You feel and experience all the emotions and the blood, sweat and tears that Jack does... I devoured it in one sitting' Parmenion Books

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'The lamps are going out all over Europe. We shall not see them lit again in our life-time.' The words of Sir Edward Grey, looking out from the windows of the Foreign Office at the end of August 1914, are amongst the most famous in European history, and encapsulate the impending end of the nineteenth-century world.The man who spoke them was Britain's longest-ever serving Foreign Secretary (in a single span of office) and one of the great figures of late Victorian and Edwardian Britain. Statesman of Europe describes the three decades before the First World War through the prism of his biography, which is based almost entirely on archival sources and presents a detailed account of the main domestic and international events, and of the main personalities of the era. In particular, it presents a fresh understanding of the approach to war in the years and months before its outbreak, and Grey's role in the unfolding of events.Yet Grey's life was not all public affairs, momentous as those were. He disliked being in London, much preferring country life at Fallodon, his family estate in Northumberland, and displayed none of the ambition of his contemporaries (or successors). He attended assiduously to his duties as director of the Great North Eastern Railway, one of the transformative enterprises in industry and communications of the period, and wanted to spend as much time as he could fishing. Apart from his memoirs, the only book he wrote was called The Charm of Birds. This hinterland gave quality to his judgements, and made his character attractive to his contemporaries.This important book is the definitive biography of one of the pivotal figures in European diplomacy, and a magnificent portrait of an age.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. The Royal Botanic Gardens, Kew has a gallery dedicated to the paintings of the remarkable Victorian artist Marianne North, who had a great eye for botanical detail. She set out in 1871 on a painterly progress through world flora. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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Originally published in 1966. In his lifetime, Gerard Manley Hopkins was known as a poet only by a small circle of his friends. More than any other major Victorian writer, he was recovered and presented as a poet to modern readers by editors and scholars of the first half of the twentieth century. This book analyzes how and to what extent the presuppositions of these critics have dictated the modern conception of Hopkins's work. Bender seeks to dispel, once and for all, the notion that Hopkins was a naïf poet. He provides an analysis of classical Greek and Latin rhetoric relative to the classical background of Hopkins's style and the structure in his poetry. He maintains that especially in Hopkins's more extreme work, such as "The Wreck of the Deutschland," there are precedents for the structure of the poem itself, the structure of the sentences within the poem, and its sensual and obscure imagery in the classical literature that Hopkins knew so well.Bender's study suggests two highly controversial positons: first, that although Hopkins is one of the most original voices in English, his poetry is within a tradition insufficiently recognized by modern critics; and second, that the effect of careful and sympathetic study of classical literature can induce quite the opposite of a neoclassical style in English.

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In nineteenth-century England, marriage between first cousins was both legally permitted and perfectly acceptable. After mid-century, laws did not explicitly penalize sexual relationships between parents and children, between siblings, or between grandparents and grandchildren. But for a widower to marry his deceased wife's sister was illegal on the grounds that it constituted incest. That these laws and the mores they reflect strike us today as wrongheaded indicates how much ideas about kinship, marriage, and incest have changed. In Family Likeness, Mary Jean Corbett shows how the domestic fiction of novelists including Jane Austen, Charlotte Brontë, George Eliot, Elizabeth Gaskell, and Virginia Woolf reflected the shifting boundaries of "family" and even helped refine those borders. Corbett takes up historically contingent and culturally variable notions of who is and is not a relative and whom one can and cannot marry. Her argument is informed by legal and political debates; texts in sociology and anthropology; and discussions on the biology of heredity, breeding, and eugenics. In Corbett's view, marriage within families—between cousins, in-laws, or adoptees—offered Victorian women, both real and fictional, an attractive alternative to romance with a stranger, not least because it allowed them to maintain and strengthen relations with other women within the family.

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A bold reassessment of nineteenth-century British painter and decorative artist Edward Burne-Jones, elucidating his fundamentally radical defiance of the Victorian age Challenging the dominant characterization of Edward Burne-Jones as an escapist who withdrew from the modern world into imaginary realms of his own creation, this groundbreaking book argues that he was engaged in a fundamentally radical defiance of the age, protesting against imperial aggression, capitalist economic inequality, and environmental destruction in the wake of the industrial revolution. Harnessing the utopian power of embodied aesthetic encounters, Burne-Jones drew inspiration from the medieval concept of dreams as visionary states of transformation. Therefore, his art functioned not as a retreat, but as a vehicle for revolutionary awakening. Often characterized as a painter, this book re-centers Burne-Jones’s practice in the decorative arts, demonstrating that he consistently interrogated the boundaries of artistic media, in keeping with wider debates over the role of the arts in the nineteenth century. The first scholarly monograph solely devoted to Burne-Jones since 1973, The Radical Vision of Edward Burne-Jones offers a thorough re-examination of his work, illuminating his radical defiance of the artistic, social, and political hierarchies of nineteenth-century Britain.Distributed for the Paul Mellon Centre for Studies in British Art

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The elegant Bible you'll keep coming back to because it's so easy to read and use. This edition is published in large KJV Comfort Print type, which was designed exclusively for Thomas Nelson to be the most readable at any size.Enjoy the classic King James Version in a traditional Scripture design optimized to help you quickly navigate through the Bible. The 2-column, large print text is easy to read, and the blue headings and verse numbers stand out while providing a restful, thoroughly enjoyable Scripture-reading experience. With over 72,000 cross references, this Bible gives you the tools you'll need to dive deeply into God's Word for yourself.Features include: Verse-style Scripture format starts each verse on its own line so it’s easy to navigate the text Premium Bible paper in opaque white creates a high contrast with the black text, improving readability Words of Christ in black for a reading experience that is easy on your eyes throughout Scripture Ultra-flexible sewn binding lays flat in your hand or on your desk End of page cross references allow you to find related passages quickly and easily Wide double-faced satin ribbons help keep track of where you were reading Full color maps show a visual representation of Israel and other biblical locations for better context Clear and readable 10.5-point KJV Comfort Print More than 400 years since its initial publication, the bestselling King James Version Bible continues to inspire, encourage, and strengthen people from all walks of life. The KJV is considered one of the most influential and beautiful works of literature in the English language and continues to be the favorite translation for millions of Christians.About the Maclaren Series: Named for noted Victorian-era preacher Alexander Maclaren, this series of elegant Bibles features regal blue highlights and verse numbers and clear, line-matched text.

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The Victorians called him 'Bobby' after Sir Robert Peel, the Home Secretary who created the Metropolitan Police in 1829. The generations that followed came to regard the force in which he served as 'the best police in the world'. If twenty-first century observers sometimes take a more jaundiced view of his efforts, the blue-helmeted, unarmed policeman remains an icon of Britishness, and a symbol of the relatively peaceful nature of our social evolution. In The Great British Bobby, Clive Emsley traces the development of Britain's forces of law and order from the earliest watchmen and constables of the pre-modern period to the police service of today. He examines in detail such milestones in police history as the establishment of the Bow Street Runners in the 1740s, the Police Acts of 1839, the introduction of women police officers during the First World War, and the Macpherson Report of 1999 into the death of Stephen Lawrence. Threaded through his narrative are case-studies of real-life Bobbies, drawn from police archives, evoking the day-to-day reality of the policeman's lot over two and a half centuries: the boredom of patrolling on foot in all weathers, the threats to life and limb of policing rough areas, and the diverse historical challenges of industrial unrest, the growth of cities, the arrival of the motor car and the ethnic diversification of society. From Robert Grubb, patrolling the mean streets of Georgian London with rattle and cudgel, to Norwell Roberts, the first black officer to be appointed to the Metropolitan Police, The Great British Bobby presents a cast of mostly honest coppers performing a testing role to the best of their ability. A distinguished historian and criminologist, Clive Emsley is ideally placed to tell - candidly but affectionately - the fascinating story of Britain's police force. The Great British Bobby is nothing less than a social history of Britain over the last 250 years, viewed through the prism of one of its most remarkable and distinctive institutions.

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Can it get any stranger? Absolutely! When Peg, Meg, and Teg were first summoned Over Where, vast and varied life experience (along with wide reading choices) helped them adjust to a world where they were the only humans, magic was real, ships could fly, and reincarnation was a confirmed fact. In the company of the “inquisitors,” Xerak, Grunwold, and Vereez, the three newly appointed mentors rediscovered the Library of the Sapphire Wind, and, within it, revelations that transformed the young people’s pasts into a vast tangle of lies and half-truths. But there are still questions to be answered. Before they are done, Meg the retired librarian, Teg the archeologist-turned-mage, and the multi-talented, ever surprising Peg will deal with kidnappings, betrayal, arcane artifacts, romantic intrigues, and the inescapable reality that past lives cast long shadows. Together, the three mentors and their young allies will uncover the startling truth about what lies on the other side of the Aurora Borealis Bridge—a truth that holds the secret of Over Where, and that will change all their lives forever. About Jane Lindskold: “Intricately plotted. . . . a thought-provoking tale of magic and politics, enlivened by Firekeeper's wry and wolfish point-of-view.” —Publishers Weekly on Wolf's Blood “Lindskold delivers an exotic historical fantasy that takes the reader from Victorian England to Egypt.” —Publishers Weekly on The Buried Pyramid “I loved it. A thrilling, edge-of-the-seat read—I couldn't put it down!” —Tamora Pierce on Fire Season (cowritten with David Weber)

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What do characters as diverse as Alfred the Great, the architect Sir Christopher Wren, diarist Samuel Pepys and the Victorian poet Gerard Manley Hopkins have in common? All had some involvement in shipwrecks: in causing, recording or salvaging them. This book examines a variety of wrecks from logboats, Roman galleys and medieval cogs to East Indiamen, grand ocean liners, fishing boats and warships - all are woven into the history of shipwrecks along the coastline of England and in her territorial waters. Wrecks are not just physically embedded in this marine landscape - they are also an intrinsic part of a domestic cultural landscape with links that go beyond the navy, mercantile marine and fishing trade. Evidence of shipwrecks is widespread: in literature, in domestic architecture and as a major component of industrial archaeology. Shipwrecks also transcend national boundaries, forming tangible monuments to the movement of goods and people between nations in war and peace. In peacetime they link the architecture and monuments of different countries, from shipyards to factories, warehouses to processing plants; in time of war wrecks have formed a landscape scattered across the oceans, linking friend and foe in common heritage. England's Shipwreck Heritage explores the type of evidence we have for shipwrecks and their causes, including the often devastating effects fo the natural environment and human-led disaster. Ships at war, global trade and the movement of people - such as passengers, convict transports and the slave trade - are also investigated. Along the way we meet the white elephant who perished in 1730, the medieval merchant who pursued a claim for compensation for nearly 20 years, the most famous privateer for the American revolutionary wars and the men who held their nerve in the minesweeper trawls of the First World War. Highly illustrated and based on extensive new research, this book will appeal to anyone with an interest in England's maritime heritage.

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Another Crossing tells the stories of an individual life, of a family, of the communities of Chapeltown and Harehills, and of crucial moments in the making of Leeds as a place where cultures meet. In poetry that sings from the page, Another Crossing recreates places that have been swept away by time, like the house on 56 Cowper Street where Kadijah Ibrahiim's Jamaican grandmother captured her from time to time, where there was black pride and Victorian respectability, where there were aunts who gave the young girl a cultural education, where her grandfather entertained his friends in the sanctum of the West Indian front room - and where there was a forbidden attic whose religious significance only became clear long afterwards. Or there was her mother's house on Gathorne Mount, a place that moved to the looser beat of reggae, where there was strict discipline, love, good food - and blues parties in the cellar. The poems tell of the days when youths were excluded from school for growing their locks, of the bonfire night riots, police harassment and overt racism. But they were also the days when black people in Leeds were creating their own culture in music, dance, dress - shaped by influences from the Caribbean, from Black American music, and from British punk, into something unique. In rhythms that draw from the music being celebrated, with an unerring eye for the details of style that catch a moment, Another Crossing both recreates the recent past, and uses that recreation to ask questions about the present. Where has that political fire gone? Where the energies that danced to a political beat? But if there are notes of regret for a lost clarity of vision, there is also celebration of times that continue to inspire.

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Taking us from the beginning of our story to the present day, A Cold Spell examines how ice has shaped our thoughts, actions and societies – and what it means for us that it is rapidly disappearing from our planet 'A warm-hearted tale of the bizarre, something to cuddle up with in the bleak midwinter . . . Astonishing' THE TIMES 'Bracingly original . . . As the earth warms threateningly, there could hardly be a more pertinent time for a story like this’ MICHAEL PALIN 'A book of limitless fascinations' OLIVIA LAING 'Brightly written, nimbly researched and really quite delightful' LITERARY REVIEW Ice has confounded, delighted and fascinated us since the first sparks of art and culture in Europe and it now underpins the modern world. Without ice, we would not feed ourselves or heal our sick as we do, and our towns and cities, countryside and oceans would look very different. Science would not have progressed along the avenues it did and our galleries and libraries would be missing many masterpieces. A Cold Spell uses this vital link to understanding our past to tell a surprising story of obsession, invention and adventure – how we have lived and dreamed, celebrated and traded, innovated, loved and fought over thousands of years. It brings together a sacrificial Incan mummy, Winston Churchill’s secret plans for unusual aircraft carriers, strange bones that shook Victorian beliefs about the world and a macabre journey into the depths of the human body. It is an original and unique way of looking at something that is literally all around us, whose loss confronts us daily in the news, but whose impact on our lives has never been fully explored. [An] extraordinary, complete and utter history of the human experience of the cold stuff' JOHN LEWIS-STEMPEL, COUNTRY LIFE ‘A thought-provoking chronicle of humanity . . . Leonard consistently frames ice in surprising and insightful ways, and in doing so lends it a magical quality’ GEOGRAPHICAL

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An affectionate but meticulously researched history of one of the most beautiful and best-loved corners of England – Crosthwaite Parish, nestling deep within the mountains and valleys of the Lake District. 'A unique contribution to English history' Hunter Davies 'A delightful, refreshingly written book, attentive to social detail and telling the only story that matters – history' Simon Jenkins 'A wonderful book' Margaret Drabble 'A completely fresh perspective on the Lakes and Lake Poets... I hugely enjoyed it' Andrew Marr Bounded by the peaks of Scafell, Skiddaw and Helvellyn, and embracing such well-known landmarks as Borrowdale, Derwentwater and Keswick, it lies within the heart of the Lake Poets' landscape and its rugged terrain excites passion in all those who know it. The Parish also boasts a remarkable history. Its 90 square miles were governed, from medieval times, by eighteen annually chosen 'customary tenants'; ancestors of the people who later prompted Wordsworth's portrayal of the area as 'a perfect Republic of Shepherds and agriculturalists'. His fellow poet Robert Southey lived within the Parish for forty years, was an active parishioner and rests in St Kentigern's churchyard. Here he is given his rightful position as a Lake Poet. In the nineteenth century, the Victorian state killed off the old parish system, sweeping away the egalitarian rule of the Eighteen Men. But a degree of redemption was at hand. Canon Rawnsley, vicar of Crosthwaite from 1883, pledged to defend the Lake District for future generations. So the Parish was at the heart of the creation of the National Trust and blazed a trail for a wider movement to preserve the English landscape. Writing with a historian's rigour and bearing aloft the banner of the Lake District statesmen, Philippa Harrison has produced a magisterial and fascinating record of a parish with a unique social, cultural and aesthetic resonance in English history.

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Prince Dmitry Rostov, Anglophile lover of English poetry, especially Shakespeare, has a bicycling accident. It occurs beside Wordsworth's "sylvan Wye". More sinister and worrying are a ghostly white figure, a strange black boat, a blood-red rose cast on the water, a train whistle and a gunshot, all of which make him witness to a "gap in nature" that will ultimately involve him in a unique quest for the truth. Finding himself less seriously injured than he thought, he receives medical care and a night's rest at the home of the beautiful daughter of Lord Irmingham, a devotee of the late-Victorian cult of Tolstoyanism. Discovering that the prince had once met Anna Karenina, Lord Irmingham insists on having him as an honoured guest at his large country house, Stadleigh Court, among other guests assembled for a soiree devoted to celebrating Tolstoy's ideas. But there is an important sub-text to the occasion, as the prince soon discovers. He is invited to confront the veiled, reclusive lady in the tower. Is she Anna Karenina? Is she now apparently alive and well and living at Stadleigh Court on the banks of the river Wye? Entrusted with the task of identifying her, the prince finds himself drawn ever more deeply into a sympathetic understanding of her situation, her concern for her son, newly arrived from Russia but suddenly struck down, her joys and fears, above all her talk of threats and, finally, her claim to have "enemies". The soiree when it occurs proves to be fatally tragic. Her death overnight forces the prince to investigate. By dint of clever detective work and a certain amount of good luck he gradually uncovers the specifically Russian reasons for her killing. An Epilogue to what is an ingenious and entertaining crime novel reveals how much more the prince has to tell his wife when she returns from visiting her mother in Russia.

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Andrew Roberts's Masters and Commanders: The Military Geniuses who led the West to Victory in WWII tells the story of how four great leaders fought each other over how best to fight Hitler. During the Second World War the master strategy of the West was shaped by four titanic figures: Winston Churchill and Franklin Roosevelt, and their respective military commanders - General Sir Alan Brooke and General George C. Marshall. Each man was tough-willed and strong minded. And each was certain he knew best how to achieve victory. Drawing on previously unpublished material, including for the first time verbatim reports of Churchill's War Cabinet meetings, Andrew Roberts's acclaimed history recreates with vivid immediacy the fiery debates and political maneuverings, the rebuffs and the charm, the explosive rows and dramatic reconciliations, as the masters and commanders of the Western Alliance fought each other over the best way to fight Adolf Hitler. 'History as it should be written; a gripping narrative' Michael Gove, Mail on Sunday Books of the Year 'Scintillating historical writing on the whole rich panorama of Britain and the US at war' Martin Gilbert, Evening Standard 'A compelling analysis of American and British military strategy during the war. He also tells a profoundly human story' Laurence Rees, Sunday Times 'A masterpiece' Christopher Silvester, Daily Express 'Britain's finest contemporary military historian' Economist Books of the Year Andrew Roberts is a biographer and historian of international renown whose previous books include Salisbury: Victorian Titan (1999), which won the Wolfson History Prize and the James Stern Silver Pen Award for Non-Fiction; Napoleon and Wellington (2001); Hitler and Churchill: Secrets of Leadership (2003), which coincided with four-part BBC2 history series, and A History of the English-Speaking Peoples Since 1900 (2005).

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'To construct a civilization around the nostrum that the public realm is morally, economically and socially inferior to the private realm is to submit to an alien barbarism in which what we hold in common is permanently placed as second best. David Marquand has constructed a masterly and highly readable plea for the idea of the public once again to be celebrated in British life. His re-entry into the national conversation could not be better timed or more important. Let's hope our fellow citizens take arms in the battle he invites us to join.' --Will Hutton, Columnist, Observer Newspaper 'A profound analysis of the decline of the public realm and the growth of unaccountable government in Britain. The summation of a life's work by one of Britain's leading political thinkers.' --John Gray, The London School of Economics The public domain of citizenship, equity and service is crucial for individual fulfilment and social well-being. But it has been under attack for thirty years – first from the market fundamentalists of the New Right, and then from their New Labour imitators. The results are everywhere – resource-starved public services; the marketization of the public sector; the soul-destroying targets and audits that go with it; the denigration of professionalism and the professional ethic; and the erosion of public trust. More damaging still are the hollowing out of citizenship, the manipulative populism that now pervades British government and a slide towards a new version of the 'Old Corruption' that our Victorian ancestors thought they had banished. David Marquand traces the growth of the public domain from Gladstone to Attlee, analyses the forces that began to undermine it in its post-war heyday and exposes the campaign that the Thatcher and Blair governments have waged against it. He ends with a call for a counter-attack, based on a re-statement of the civic ideal in a twenty-first century idiom. This book will appeal to all those who take an interest in current political events as well as those studying politics and social policy.

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Winner of the Jesse H. Jones Award for Best Work of Fiction from the Texas Institute of Letters * A San Francisco Chronicle Recommended Book of 2015 * Fiction Finalist for the 2015 Writers’ League of Texas Book Awards * A Kirkus Reviews Best Book of 2015 * One of the Texas Observer’s “Five Books We Loved in 2015” * One of PRI’s “The World’s Five Books You Should Read in 2016” “Profound and wrenching…A deeply moving chronicle of one family’s collective devastation, full of remarkable wisdom and humor” (The New York Times Book Review) that follows the members of a wealthy Mexican family after their patriarch is kidnapped.On an unremarkable night, José Victoriano Arteaga—the head of a thriving Mexico City family—vanishes on his way home from work. The Arteagas find few answers; the full truth of what happened to Arteaga is lost to the shadows of Mexico’s vast underworld. But soon packages arrive to the family house, offering horrifying clues. Fear, guilt, and the prospect of financial ruin fracture the once-proud family and scatter them across the globe, yet delicate threads still hold them together: in a swimming pool in Palo Alto, Arteaga’s grandson struggles to make sense of the grief that has hobbled his family; in Mexico City, Arteaga’s mistress alternates between rage and heartbreak as she waits, in growing panic, for her lover’s return; in Austin, the Arteagas’ housekeeper tries to piece together a second life in an alienating new land; in Madrid, Arteaga’s son takes his dog through the hot and unforgiving streets, in search of his father’s ghost. A stunningly original exploration of the wages of a hidden war, Barefoot Dogs is a heartfelt elegy to the stolen innocence of every family struck by tragedy. Urgent and vital fiction, “these powerful stories are worthy of rereading in order to fully digest the far-reaching implications of one man’s disappearance…this singular book affords the reader the chance to step inside a world of privilege and loss, and understand how the two are inextricably intertwined” (San Francisco Chronicle).

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Jennifer Montagu is a world-renowned art historian whose name has become synonymous with the study of Italian Baroque sculpture. In honor of Jennifer Montagu’s immeasurable contribution to the field of Italian Baroque sculpture, sixty-two of the foremost scholars of European sculpture have been invited to participate in a symposium in her honor on 6 - 7 September 2013 at the Wallace Collection, London. Thirty of the papers presented there were selected for the publication as a tribute to this generous colleague and friend who has inspired and mentored dozens of younger historians in European art. Dr. Montagu’s academic work began in Political Science at Oxford, but conversations with Ernst Gombrich led her to pursue an advanced degree in art history instead. In 1963, long before the study of Italian bronze statuettes reached the level of interest that it enjoys today, her classic survey, simply titled Bronzes, was met with great enthusiasm, eventually being printed in five languages. Montagu taught at the University of Reading until 1964, when she became an assistant curator of the Photographic Collection at the Warburg Institute. In 1971 she became a full curator of the collection, a position she held until 1991. During these years she published at an indefatigable rate, and following her retirement from that post, her productivity only increased. Montagu was a Slade Professor of Fine Art at Cambridge University, a Mellon Professor at the Center for Advanced Study in the Visual Arts (National Gallery of Art,Washington, D.C.), and a visiting professor at the Collège de France. Montagu’s numerous publications include her monumental study of Alessandro Algardi (Yale University Press, 1985), Roman Baroque Sculpture: the Industry of Art (Yale, 1989) and Gold, Silver and Bronze: Metal Sculpture of the Italian Baroque (Mellon Lectures, CASVA; Yale University Press, 1996). She was appointed LVO (Royal Victorian Order) in 2006 for services to the Royal Collection and CBE (Commander of the Most Excellent Order of the British Empire) in 2012 for her contribution to the history of art.

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Major edition revealing key ideas and events in the lives and work of the Pre-Raphaelite brotherhood and Victorian literary circles: 5,800 letters (including 2,000 previously unpublished letters) to 330 recipients. The best of these letters, flowing rapidly from his pen, radiate charisma and enthusiasm, warmth and care for his friends, and a total engagement with art and literature. BURLINGTON MAGAZINE [Julian Treuherz] 1835-1854: This nine-volume edition will represent the definitive collection of extant Rossetti correspondence, an outstanding primary witness to the range of ideas and opinions that shaped Rossetti's art and poetry. The largest collection ofRossetti's letters ever to be published, it features all known surviving letters, a total of almost 5,800 to over 330 recipients, and includes 2,000 previously unpublished letters by Rossetti and selected letters to him. In addition to this, about 100 drawings taken from within letter texts are also reproduced. In its entirety the collection will give an invaluable and unparalleled insight into Rossetti's character and art, and will form a rich resource for students and scholars studying all aspects of his life and work. The correspondence has been transcribed from collections in sixty-four manuscript repositories, containing Rossetti's letters to his companions in the Pre-Raphaelite Brotherhood, Hunt and Stephens; friends such as Boyce and Bell Scott; his early patrons, Ellen Heaton and James Leathart; and his publisher friend, Alexander Macmillan. An additional twenty-two printed sources have also been accessed. Index; extensive annotations.WILLIAM E. FREDEMAN (1928-1999) was professor of English at the University of British Columbia from 1956-1991. His many books, articles and reviews on the Pre-Raphaelites and their followersinclude his important Pre-Raphaelitism: A Bibliocritical Study. He died in 1999 with this edition almost completed. An editorial committee chaired by Betty Fredeman has been formed to see it through the press.

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Secrecy and the Media is the first book to examine the development of the D-Notice system, which regulates the UK media's publication of British national security secrets. It is based on official documents, many of which have not previously been available to a general audience, as well as on media sources.From Victorian times, British governments have consistently seen the need, in the public interest, to prevent the media publishing secret information which would endanger national security. The UK media have meanwhile continuously resisted official attempts to impose any form of censorship, arguing that a free press is in the public interest. Both sides have normally seen the pitfalls of attempting to resolve this sometimes acrimonious conflict of interests by litigation, and have together evolved a system of editorial self-regulation, assisted by day-to-day independent expert advice, known colloquially as the D-Notice System. The book traces the development of this system from nineteenth-century colonial campaigns, through two world wars, to modern operations and counter-terrorism in the post-Cold War era, up to the beginning of the Labour government in 1997. Examples are drawn from media, political and official sources (some not yet open), and cover not only defence issues (including Special Forces), but also the activities of the secret intelligence services MI5, MI6 and GCHQ. These cases relate principally to the UK, but also to American and other allies’ interests. The story of how this sometimes controversial institution now operates in the modern world will be essential reading for those in the media and government departments, and for academics and students in the fields of security, defence and intelligence, as well as being an accessible exposé for the general reader.Nicholas Wilkinson served in the Royal Navy 1959-98, and from 1999 to 2004 he ran the independent Defence, Press and Broadcasting Advisory Committee. He was a Press Complaints Commissioner from 2005 to 2008, and is a Cabinet Office Historian.

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A study of the women who led the United States section of the Women's International League for Peace and Freedom in the interwar years, this book argues that the ideas of these women—the importance of nurturing, nonviolence, feminism, and a careful balancing of people's differences with their common humanity—constitute an important addition to our understanding of the intellectual heritage of the United States. Most of these women were well educated and prominent in their chosen fields: they included Jane Addams and Emily Greene Balch, the only two United States women to win Nobel Prizes for Peace; Jeannette Rankin, the first woman elected to the U.S. Congress; and Dorothy Detzer, the woman who prompted the investigation of the munitions industry in the 1930's. The ideas of these women were not usually expressed in forms conventionally studied by intellectual historians. On the whole, their ideas must be teased out of organizational records, statements of principle and policy, and personal correspondence. When combined with an understanding of the personal backgrounds of the WIL leaders and placed in the context of early-twentieth-century America, these documents tell us what these women thought was important and why. The ideas of the WIL leaders are also analyzed in the context of the intellectual themes of Victorianism and modernism. Our understanding of these themes has been based largely on the work of privileged European and American men, and the ideas of women often fit uncomfortably into these traditional categories. A reconstruction of the ideas of the WIL leaders suggests that historians have overlooked an important, alternative intellectual tradition in the United States. To understand and appreciate women's thoughts, we must dissolve the old constructs and let new, multifaceted ones replace them.

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A probing and holistic meditation on the key question: Why do we continue to make art, and thus beauty, out of war? Beautiful War: Studies in a Dreadful Fascination is a wide-ranging exploration of armed conflict as depicted in art that illustrates the constant presence of war in our everyday lives. Philip D. Beidler investigates the unending assimilation and pervasive presence of the idea of war in popular culture, the impulses behind the making of art out of war, and the unending and debatably aimless trajectories of war itself. Beidler's critical scope spans from Shakespeare's plays, through the Victorian battle paintings of Lady Butler, into the post–World War I writings of F. Scott Fitzgerald and Virginia Woolf, and up to twenty-first-century films such as The Hurt Locker and Extremely Loud and Incredibly Close. As these works of art have become ubiquitous in contemporary culture, the many faces of war clearly spill over into our art and media, and Beidler argues that these portrayals in turn shift the perception of war from a savage truth to a concept. Beautiful War argues that the representation of war in the arts has always been, and continues to be, an incredibly powerful force. Incorporating painting, music, photography, literature, and film, Beidler traces a disturbing but fundamental truth: that war has always provided an aesthetic inspiration while serving ends as various and complex as ideological or geopolitical history, public memory, and mass entertainment.Beautiful War is a bold and vivid account of the role of war and military conflict as a subject of art that offers much of value to literary and cultural critics, historians, veterans, students of art history and communication studies, and those interested in expanding their understanding of art and media's influence on contemporary values and memories of the past.

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Control is a book about eugenics, what geneticist Adam Rutherford calls “a defining idea of the twentieth century.” Inspired by Darwin’s ideas about evolution, eugenics arose in Victorian England as a theory for improving the British population, and quickly spread to America, where it was embraced by presidents, funded by Gilded Age monopolists, and enshrined into racist American laws that became the ideological cornerstone of the Third Reich. Despite this horrific legacy, eugenics looms large today as the advances in genetics in the last thirty years—from the sequencing of the human genome to modern gene editing techniques—have brought the idea of population purification back into the mainstream. Eugenics has “a short history, but a long past,” Rutherford writes. The first half of Control is the history of an idea, from its roots in key philosophical texts of the classical world all the way into their genocidal enactment in the twentieth century. The second part of the book explores how eugenics operates today, as part of our language and culture, as part of current political and racial discussions, and as an eternal temptation to powerful people who wish to improve society through reproductive control. With disarming wit and scientific precision, Rutherford explains why eugenics still figures prominently in the twenty-first century, despite its genocidal past. And he confronts insidious recurring questions—did eugenics work in Nazi Germany? And could it work today?—revealing the intellectual bankruptcy of the idea, and the scientific impossibility of its realization.

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Creative genius, war artist, adventurer, lover. These are just some of the words that can be used to describe Aberdeenshire-born painter and printmaker James McBey (1883-1959). McBey was a Scottish superstar amongst the creative spirits that fuelled the Etching Revival of the late nineteenth century and Etching Boom of the early twentieth century, and in an historical context, was the acknowledged heir to Whistler and Rembrandt. But after his death in Tangier, Morocco, in 1959, his renown as one of Britain’s most accomplished artists – who took the art world by storm – faded from public consciousness. Born illegitimately in the tiny parish of Foveran, Aberdeenshire, in the late Victorian era, he was brought up by his blind mother and elderly grandmother amid the rigid Presbyterian confines of Scotland’s north-east. Tragedy, dreary work as a bank clerk and a craving for success on his own terms all precipitated his leaving Aberdeen to live the life of an artist in London where he quickly became one of the most-talked about creatives of his generation. At the heart of this biography – the first ever to be published on McBey – is his time as a war artist in the Middle East during the Great War – where he would meet and paint T. E. Lawrence – his many love affairs, marriage to the beautiful American, Marguerite Loeb, and his enduring passion for Morocco. Drawing on his many diaries and letters and artistic creations, this is the story of one man who – clever, kind, intrepid, dashing, insecure and flawed – triumphed against the odds.

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'There's something about the Whiteknights area that makes people stay here.' - From the Foreword by Fiona Talkington, BBC Radio 3 Presenter and long-term resident Two hundred years ago, the aptly named 'Southern Hill' that rises steeply from the edge of the river plain south of Reading was part of Whitley and largely farmland. However, its vistas, fresh air and proximity to the town led prominent Victorians to invest in and develop the area and their contributions have shaped it into the 'village within a town' that it is today. Schools, the University, hotels and a care home now occupy many of the sites originally owned by the town's famous industrialists and their elegant homes have been co-opted for community use which gives the area its unique aura of egalitarian refinement. Celebrated in the annual walking tour of artists' studios, the creative heart of the district beats stronger than ever and this book brings together 28 artists to respond in their own way and their own medium to the place we call 'Whiteknights'. And to give context to the artwork, local historians paint a fascinating picture of the Whiteknights estate that became the University campus, the buildings, the streets and the people who lived here. This joint venture from the Whiteknights Studio Trail, celebrating 20 years, and Two Rivers Press, publishing in the area for 25 years, pays tribute to the heritage we are privileged to be part of.

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To the impartial observer Britain does not appear to have any mountains. Yet the British invented the sport of mountain climbing and for two periods in history British climbers led the world in the pursuit of this beautiful and dangerous obsession. Unjustifiable Risk is the story of the social, economic and cultural conditions that gave rise to the sport, and the achievements and motives of the scientists and poets, parsons and anarchists, villains and judges, ascetics and drunks that have shaped its development over the past two hundred years. The history of climbing inevitably reflects the wider changes that have occurred in British society, including class, gender, nationalism and war, but the sport has also contributed to changing social attitudes to nature and beauty, heroism and death. Over the years, increasing wealth, leisure and mobility have gradually transformed climbing from an activity undertaken by an eccentric and privileged minority into a sub-division of the leisure and tourist industry, while competition, improved technology and information, and increasing specialisation have helped to create climbs of unimaginable difficulty at the leading edge of the sport. But while much has changed, even more has remained the same. Today's climbers would be instantly recognisable to their Victorian predecessors, with their desire to escape from the crowded complexity of urban society and willingness to take "unjustifiable" risk in pursuit of beauty, adventure and self-fulfilment. Unjustifiable Risk was shortlisted for the Boardman Tasker prize in 2011.

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Winner, LGBT Studies Lammy Award presented by Lambda Literary Neither queer theory nor queer activism has fully reckoned with the role of race in the emergence of the modern gay subject. In A Taste for Brown Bodies, Hiram Pérez traces the development of gay modernity and its continued romanticization of the brown body. Focusing in particular on three figures with elusive queer histories—the sailor, the soldier, and the cowboy— Pérez unpacks how each has been memorialized and desired for their heroic masculinity while at the same time functioning as agents for the expansion of the US borders and neocolonial zones of influence. Describing an enduring homonationalism dating to the “birth” of the homosexual in the late 19th century, Pérez considers not only how US imperialist expansion was realized, but also how it was visualized for and through gay men. By means of an analysis of literature, film, and photographs from the 19th to the 21st centuries—including Herman Melville’s Billy Budd, Anne Proulx’s “Brokeback Mountain,” and photos of abuse at the Abu Ghraib prison—Pérez proposes that modern gay male identity, often traced to late Victorian constructions of “invert” and “homosexual,” occupies not the periphery of the nation but rather a cosmopolitan position, instrumental to projects of war, colonialism, and neoliberalism. A Taste for Brown Bodies argues that practices and subjectivities that we understand historically as forms of homosexuality have been regulated and normalized as an extension of the US nation-state, laying bare the tacit, if complex, participation of gay modernity within US imperialism.

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How do we understand Christmas? What does it mean? This book is a lively introduction to the study of popular culture through one central case study. It explores the cultural, social and historical contexts of Christmas in the UK, USA and Australia, covering such topics as fiction, film, television, art, newspapers and magazines, war, popular music and carols. Chapters explore the ways in which the production of meaning is mediated by the social and cultural activities surrounding Christmas (watching Christmas films, television, listening or engaging with popular music and carols), its relationship to a set of basic values (the idealised construct of the family), social relationships (community), and the ways in which ideological discourses are used and mobilised, not least in times of conflict, terrorism and war. Packed with examples ranging from Charles Dickens' seminal text, A Christmas Carol, Coca-colonisation and Santa Claus, Victorian cartoons and Christmas cards, to Dr Who, The Office, 'A Fairy Tale of New York', 'Happy Christmas (War is Over)', and such dystopian films as Jingle All the Way and All I Want For Christmas, the case studies offer an incisive account of the ways in which Christmas relates to social change, and how such recent events as 9/11 and the continuing conflict in Iraq focus attention on traditional themes of community and family. Christmas, Ideology and Popular Culture offers students and scholars alike an opportunity to explore the hidden agendas of the world's most popular festival and what it means to the outsider looking in.

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Nicholas Frankel presents a new and revisionary account of Wilde’s final years, spent in poverty and exile on the European continent following his release from an English prison for the crime of “gross indecency” between men. Oscar Wilde: The Unrepentant Years challenges the prevailing, traditional view of Wilde as a broken, tragic figure, a martyr to Victorian sexual morality, and shows instead that he pursued his post-prison life with passion, enjoying new liberties while trying to resurrect his literary career.After two bitter years of solitary confinement, Frankel shows, Wilde emerged from prison in 1897 determined to rebuild his life along lines that were continuous with the path he had followed before his conviction, unapologetic and even defiant about the crime for which he had been convicted. England had already done its worst. In Europe’s more tolerant atmosphere, he could begin to live openly and without hypocrisy.Frankel overturns previous misunderstandings of Wilde’s relationship with Lord Alfred Douglas, the great love of his life, with whom he hoped to live permanently in Naples, following their secret and ill-fated elopement there. He describes how and why the two men were forced apart, as well as Wilde’s subsequent relations with a series of young men. Oscar Wilde pays close attention to Wilde’s final two important works, De Profundis and The Ballad of Reading Gaol, while detailing his nearly three-year residence in Paris. There, despite repeated setbacks and open hostility, Wilde attempted to rebuild himself as a man—and a man of letters.

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Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging. Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our understanding of creativity in the late nineteenth century.

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The personal journals examined in Reading the Diaries of Henry Trent are not the witty, erudite, and gracefully written exercises that have drawn the attention of most biographers and literary scholars. Prosaic, ungrammatical, and poorly spelled, the fifteen surviving volumes of Henry Trent's hitherto unexamined diaries are nevertheless a treasure for the social and cultural historian.Henry Trent was born in England in 1826, the son of a British naval officer. When he was still a boy, his father decided to begin a new life as a landed gentleman and moved the family to Lower Canada. At the age of sixteen Trent began writing in a diary, which he maintained, intermittently, for more than fifty years. As a lonely youth he narrates days spent hunting and trapping in the woods owned by his father. On the threshold of manhood and in search of a vocation, he writes about his experiences in London and then on Vancouver Island during the gold rush. And finally, as the father of a large family, he describes the daily struggle to make ends meet on the farm he inherited in Quebec's lower St Francis valley.As it follows Trent through the different stages of his long life, Reading the Diaries of Henry Trent explores the complexities of class and colonialism, gender roles within the rural family, and the transition from youth to manhood to old age. The diaries provide a rare opportunity to read the thoughts and follow the experiences of a man who, like many Victorian-era immigrants of the privileged class, struggled to adapt to the Canadian environment during the rise of the industrial age.

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When Isaac Newton published the "Principia" three centuries ago, only a few scholars were capable of understanding his conceptually demanding work. Yet this esoteric knowledge quickly became accessible in the 19th and early 20th centuries, when Britain produced many leading mathematical physicists. In this book, Andrew Warwick shows how the education of these "masters of theory" led them to transform our understanding of everything from the flight of a boomerang to the structure of the universe. Warwick focuses on Cambridge University, where many of the best physicists trained. He begins by tracing the dramatic changes in undergraduate education there since the 18th century, especially the gradual emergence of the private tutor as the most important teacher of mathematics. Next he explores the material culture of mathematics instruction, showing how the humble pen and paper so crucial to this study transformed everything from classroom teaching to final examinations. Balancing their intense intellectual work with strenuous physical exercise, the students themselves - known as the "Wranglers" - helped foster the competitive spirit that drove them in the classroom and informed the Victorian ideal of a manly student. Finally, by investigating several historical "cases", such as the reception of Albert Einstein's special and general theories of relativity, Warwick shows how the production, transmission and reception of new knowledge was profoundly shaped by the skills taught to Cambridge undergraduates. Drawing on a wealth of new archival evidence and illustrations, "Master of Theory" examines the origins of a cultural tradition through which the complex world of theoretical physics was made commonplace.

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The thrilling second novel in the acclaimed series The Brightstorm Chronicles! The Brightstorm twins are back for another adventure! Eudora Vane has organized an explorer fleet to search the last known destination of missing adventurer Ermitage Wrigglesworth. Harriet Culpepper and the crew of the Aurora join the mission, but they don't believe that Eudora has good intentions. What is she really looking for? Arthur is determined to find out, and when disaster strikes and the Brightstorm twins are separated, will he and Maudie be able to find their way back to each other? The long-awaited sequel to Brightstorm, which was selected as the first Booksellers Association Children's Book of the Season, won the West Sussex Children's Story Book Award, was shortlisted for the Books Are My Bag Awards and the Waterstones' Children's Book Prize, and longlisted for the Blue Peter Book Award. Perfect for fans of books by Peter Bunzl, Abi Elphinstone, and Alex Bell. PRAISE FOR BRIGHTSTORM: "A pacy tale of lies and greed versus loyalty" Observer "Hardy has drunk from the same cup as Philip Reeve and Philip Pullman. This is a skilful, gripping and hugely enjoyable account of the bonds that keep families together." Literary Review "Full of surprises and keeps you desperate to find the truth" National Geographic Kids "An unputdownable Victorian adventure with vivid characters that travels at lightning speed" BookTrust's Great Books Guide "A highly entertaining old-school adventure" The Bookseller

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Conrad in Italy provides international students and researchers with a variety of critical approaches. Richard Ambrosini surveys Conrad's reception within the Italian academy. Franco Marenco's essay on "Heart of Darkness" outlines Conrad's centrality in English Modernism. Alessandro Serpieri deals with Conrad's impressionistic treatment of space in The Secret Agent and other texts. Giuseppe Sertoli focuses on Conrad's debt to the Comtesse de Boigne's Memoires and to James's Portrait of a Lady in the writing of Suspense. Fausto Ciompi investigates the isotopy of dream in Lord Jim and other early novels. Elio Di Piazza reads the The Mirror of the Sea as an inquiry into British and Russian empires. Maria Teresa Chialant's study of "Amy Foster" and "Tomorrow" accounts for the interest of Italian critics in Conrad's minor works. Francesco Marroni unfolds the moral structure of "The Secret Sharer". Nicoletta Vallorani tackles the theme of the double in "The Secret Sharer" from the perspective of the art of photography. Luisa Villa illuminates the complex structure of Chance in the light of Conrad's re-elaboration of the Victorian multi-plot novel. Mario Domenichelli proposes a reading of Conrad's cooperation with Ford. The Inheritors is the subject of Mario Curreli's essay on Conrad's debt to H.G. Wells, Zangwill, and Drumont, while it places the issue of fourth-dimension in the context of European colonialisms. Marialuisa Bignami's survey of Conrad's influence on Primo Levi and Marilena Saracino's intertextual analysis of "Heart of Darkness" and Luigi Guarneri's Tenebre sul Congo are two exercises in dialogic reading which confirm Conrad's well-established reception in Italian culture.

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Fairy stories, especially from the rich tradition of Ireland where the supernatural grew from the legends of the Celts, are the magic stories of everyday folk seeking solutions to the challenges of the day. This spritely new collection brings together the fables and stories of banshees, kings, trembling farmers, tricksters and beloved princesses. ‘Smallhead and the King's Sons’ (a Cinderella story) and ‘The Haughty Princess’ (recalling Grimm’s ‘Kings Thrushbeard’) are amongst the many delightful tales of hope and reckless determination. Fairy tales bring the myths of ancient times into the Victorian and Modern eras, where superstition and the supernatural still exist. Rooted in the past, such fairy stories bring morals and lessons for the young, and wise words for the old. They are a reminder of the power of the natural world and offer suggestions for our inner fears of the dark and the shadows. These tales provide a link between the myths and legends of the Celts, and the modern tales of dark monsters, of vampires and bewitchment, of the dark voices hidden in the earth, and the stars. FLAME TREE 451: From myth to mystery, the supernatural to horror, fantasy and science fiction, Flame Tree 451 offers a healthy diet of werewolves and mechanical men, blood-lusty vampires, dastardly villains, mad scientists, secret worlds, lost civilizations and escapist fantasies. Discover a storehouse of tales gathered specifically for the reader of the fantastic.

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Writer Harry Pearson takes a warm and witty journey around Britain in pursuit of the lost folk sports that somehow still linger on in the glitzy era of the Premier League and Sky Sports to find out how and why they have survived and to meet the characters who keep them going. When Victorian public schoolmasters and Oxbridge-educated gentlemen were taming football, codifying cricket, bringing the values of muscular Christianity to the boxing ring and the athletics field, games that dated back to the pagan era clung on in isolated pockets of rural Britain, unmodified by contemporary tastes, shunned by the media and sport’s ruling elites. Here they remain, small, secret worlds, free from media scrutiny and VAR controversies, wreathed in an arcane language of face-gaters, whack-ups, potties, gates-of-hell and the Dorset flop; as much a part of the British countryside as the natterjack toad and almost as endangered. No Pie, No Priest! travels through Britain in search of the nation’s traditional rural sports, seeking out the championship of Knur and Spell (a Viking forefather of golf) on the West Yorkshire moors; watching Irish Road Bowling in County Armagh (once a surprising interest of England cricket captain Mike Brearley), Popinjay at Kilwinning Abbey in Ayrshire, the Aunt Sally competitions of Oxfordshire, and taking in world championship Stoolball (often considered the dairymaid’s form of cricket) and Toad-in-the-Hole in West Sussex.No Pie, No Priest! combines sports reporting, travelogue and history, and features a cast of bucolic eccentrics and many deeply impenetrable regional accents.

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In 1881, a writer in the Saturday Review called tattooing ‘an art without a history’. ‘No-one’, it went on, ‘has made it the business of his life to study the development of tattooing.’ Until now. Painted People is a beguiling and intimate look at an untold history of humanity. The earliest tattoos yet identified belonged to Ötzi, the ‘iceman’, whose mummy allows us a brief glimpse into the prehistory of the practice. We know that over the more than five thousand years since he was tattooed, countless cultures have performed this ancient practice, and people in every corner of the world have been tattooed. For the most part, these fascinating histories remain stubbornly untold, and the secrets of Siberian princesses, Chinese generals and Victorian socialites have been hidden on the skin, under layers of clothing and under layers of history. Now with access to a wealth of new and unreported material, this book will roll up its sleeves and reveal the artwork hidden beneath them. In Painted People, Dr Matt Lodder, one of the world’s foremost experts on tattooing, tells the stories of people like Arnaq, who was tattooed in keeping with her cultural and religious traditions in sixteenth-century Canada, and Horace Ridler, who was tattooed as a means to make money in 1930s London. And in between these two extremes, he describes tattoos inked for love, for loyalty, for sedition and espionage and for self-expression, as well as tattoos inflicted on the unwilling, to ostracise. Taken together, these twenty-one tattoos paint a portrait of humanity as both artist and canvas.

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Britain fought three major wars, and two minor ones, with the Asante people of West Africa in the nineteenth century. Only the Sudanese and Zulu campaigns saw a greater loss of life, both for the British and the indigenous population. Like the Zulus, the Asante were a warrior nation who offered a tough adversary for the British regulars - they were respected for their martial skills and bravery. And yet these wars have rarely been written about and are little understood. That is why Stephen Manning's vivid, detailed new history of this neglected colonial conflict is of such value. In the war of 1823-6 the British were defeated - the British governor's head was severed and his skull was taken to the Asante king who made a cast of gold and this trophy was paraded once a year during an Asante ceremony. The years 1873-4 witnessed the brilliance of Sir Garnet Wolseley in overcoming the logistical problems of sending a large British expedition deep into the jungle where it faced not only a formidable foe but a climate so unforgiving that the region became known as 'The White Man's Grave'. Finally, the 1900 campaign culminated in the epic siege of the British fort in Kumasi which must rank as one of the great Victorian escapades alongside the more famous sieges of Peking and Mafikeng. Stephen Manning's account, which is based on Asante as well as British sources, offers a fascinating view from both sides of one of the most remarkable and protracted struggles of the colonial era.

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In days of old, Christmas was defined by the custom of exchanging simple handmade gifts. Today, it has become a multi-billion industry, synonymous with commercialism and consumption. How did this transformation occur? In this incisive and engaging examination of how Christmas has evolved since 1880, Waits chronicles the history of the holiday, from its origin to its current form. The book is illustrated with dozens of historical photographs and will be of interest to cultural and social historians alike. Christmas was a relatively modest occasion in the English- speaking world, celebrated by the exchange of modest handmade gifts, until the Victorians invested the holiday with immense significance as part of a larger effort to celebrate home, family, and a mythic past of well-ordered communities. By the late 19th century, Christmas had become a major American festival. Today, it is a multi-billion dollar industry and easily the most important seasonal event of the year. In this survey of the modern American Christmas, William Waits shows us how this holiday emerged, tracing its evolution from the days prior to 1880 when people presented one another with simple crafted presents to the turn of the century when industrialization brought with it waves of inexpensive, tawdry gimcracks. In the early twentieth century, reform-minded Americans reflecting on the new Christmas prompted a backlash against this cheapening of the Yule tradition, and the Christmas card was born. Henceforth, family members and close friends exchanged useful, costly items, while cards were sent to acquaintances and distant relatives. These reformers also persuaded retail stores to keep their regular hours of business during the holiday, rather than lengthening them, to give trade workers the opportunity to join in the celebration. They also rationalized the collection and distribution of holiday charity, resulting in the Christmas celebration we have today. Waits's book clearly illustrates that the notion that Christmas is uncontrollable is simply untrue. An incisive and engaging history of giftgiving, The Modern Christmas in Americaalso examines the differing traditions of giftgiving to friends, employees, the poor, and among entire communities. Handsomely illustrated with dozens of historical photographs, this book is not only the perfect holiday gift but will also be of interest to any student of American history and culture.

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This NKJV Large Print Thinline Bible is inviting to pick up and hard to put down. Unique to this edition, the words of Christ are highlighted in a restful blue ink that’s easy to read and colorblind-friendly.The slim design of the NKJV Large Print Thinline Reference Bible means you can bring it along, wherever your day takes you. This large print edition features Thomas Nelson’s NKJV Comfort Print®, designed to provide a smooth reading experience of the accurate and beautiful New King James Version. And with features including extensive cross-references, concordance, and full-color maps, you’ll still have the tools to get more out of God’s Word. Features include: Presentation page to personalize this special gift by recording a memory or a note Words of Christ in blue quickly identify verses spoken by Jesus Double column provides a nice readable flow of the text End-of-page cross-references and translator notes allow you to find related passages quickly and easily Concordance for finding a word’s occurrences throughout the Bible Full-color maps show a visual representation of Israel and other biblical locations for better context Durable Smyth-sewn binding lies flat in your hand or on your desk Two satin ribbon markers for you to easily navigate and keep track of where you are reading Elegant, gilded page-edge design Clear and readable 10-point NKJV Comfort Print About the Maclaren Series: Named for noted Victorian-era preacher Alexander Maclaren, this series of elegant Bibles features regal blue highlights and verse numbers and clear, line-matched text.Trusted by millions of believers around the world, the NKJV remains a bestselling modern “word-for-word” translation. It balances the literary beauty and familiarity of the King James tradition with an extraordinary commitment to preserving the grammar and structure of the underlying biblical languages. And while the translator’s relied on the traditional Greek, Hebrew, and Aramaic text used by the translators of the 1611 KJV, the comprehensive translator notes offer important insights about the latest developments in biblical manuscript studies. The result is a Bible translation that is both beautiful and uncompromising—perfect for serious study, devotional use, and reading aloud.

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How much do the English really care about their stately homes? In this pathbreaking and wide-ranging account of the changing fortunes and status of the stately homes of England over the past two centuries, Peter Mandler melds social, cultural, artistic, and political perspectives and reveals much about the relationship of the nation to its past and its traditional ruling elite. Challenging the prevailing view of a modern English culture besotted with its history and its aristocracy, Mandler portrays instead a continuously changing and modernizing society in which both popular and intellectual attitudes toward the aristocracy—and its stately homes—have veered from selective appreciation to outright hostility and only recently to thoroughgoing admiration.With great panache, Mandler adds the missing pieces to the story of the country house. Going beyond its architects and its owners, he brings to center stage a much wider cast of characters—aristocratic entrepreneurs, anti-aristocratic politicians, campaigning conservationists, ordinary sightseers and voters—and a scenario full of incident and local and national color. He traces attitudes toward the stately homes, beginning in the first half of the nineteenth century when public feeling about the aristocracy was mixed and divided. Criticism of the "foreign" and "exclusive" image of the typical aristocratic country house was widespread. At the same time, interest grew in those older houses that symbolized an olden time of imagined national harmony. The Victorian period also saw the first mass tourist industry, and a strong popular demand emerged for the right to visit all the stately homes. By the 1880s, however, hostility toward the aristocracy made appreciation of any country house politically treacherous, and interest in aristocratic heritage declined steadily for sixty years. Only after 1945, when the aristocracy was no longer seen as a threat, was a gentle revival of the stately homes possible, Mandler contends, and only since the 1970s has that revival become a triumphant appreciation. He enters today's debate with a discussion of how far people today—and tomorrow—are willing to see the aristocracy's heritage as their own.

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