Search results for ""Author Elizabeth"

An around-the-world tour of ancient Christmas celebrations, Pagan Solstice customs, and magical seasonal plants. Whether viewed as a mid-winter observance of the Winter Solstice or a celebration of the birth of Jesus Christ, for millennia cultures have taken time out to honour the darkest days of the year with lights, foods, and festivities. In ancient Egypt, people decorated their homes with greenery at the festival of the re-birth of the God Horus. The ancient Romans decorated their homes with vines and ivy and shared gifts, especially candles, at the midwinter festival of Saturnalia. In Scandinavian and Germanic cultures, the Yule Log was burned in the hearth, fruit orchards were wassailed, and sheaves of wheat were displayed to carry luck into the New Year. In Celtic cultures, mummers and guisers went door to door and European mistletoe (Viscum album) was gathered by Druids as a medicinal and magical aid. Presenting an around-the-world tour of ancient Christmas celebrations, Pagan Solstice customs, and magical seasonal plants, Ellen Evert Hopman shares lore, recipes, rituals, and crafts you can make as a family activity to enliven your Yuletide observance. She explores the origins of the Christmas tree and Santa Claus, as well as female gift bringers, holiday Spirits, and Yuletide animals. She shows how to make a Yule Log and decorate your house with greenery and grain weavings. She explains how to perform Winter Solstice divinations and cook traditional foods and drinks such as Wassail and Elizabethan gingerbread cookies. And she looks in depth at the medicinal and magical properties of the many herbs, barks, and berries associated with the Christmas and Yuletide season such as Frankincense and Myrrh, Cinnamon, Nutmeg, Hibiscus, Bayberry, and many more. Woven throughout with mystical seasonal lore, this guide offers practical and magical ways to celebrate and honour the darkest days of the year.

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In a recent sale catalog, one bookseller apologized for the condition of a sixteenth-century volume as "rather soiled by use." When the book was displayed the next year, the exhibition catalogue described it as "well and piously used [with] marginal notations in an Elizabethan hand [that] bring to life an early and earnest owner"; and the book's buyer, for his part, considered it to be "enlivened by the marginal notes and comments." For this collector, as for an increasing number of cultural historians and historians of the book, a marked-up copy was more interesting than one in pristine condition. William H. Sherman recovers a culture that took the phrase "mark my words" quite literally. Books from the first two centuries of printing are full of marginalia and other signs of engagement and use, such as customized bindings, traces of food and drink, penmanship exercises, and doodles. These marks offer a vast archive of information about the lives of books and their place in the lives of their readers. Based on a survey of thousands of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics. The chapters address the place of book-marking in schools and churches, the use of the "manicule" (the ubiquitous hand-with-pointing-finger symbol), the role played by women in information management, the extraordinary commonplace book used for nearly sixty years by Renaissance England's greatest lawyer-statesman, and the attitudes toward annotated books among collectors and librarians from the Middle Ages to the present. This wide-ranging, learned, and often surprising book will make the marks of Renaissance readers more visible and legible to scholars, collectors, and bibliophiles.

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In late medieval Catholicism, mourners employed an array of practices to maintain connection with the deceased—most crucially, the belief in purgatory, a middle place between heaven and hell where souls could be helped by the actions of the living. In the early sixteenth century, the Reformation abolished purgatory, as its leaders did not want attention to the dead diminishing people's devotion to God. But while the Reformation was supposed to end communication between the living and dead, it turns out the result was in fact more complicated than historians have realized. In the three centuries after the Reformation, Protestants imagined continuing relationships with the dead, and the desire for these relations came to form an important—and since neglected—aspect of Protestant belief and practice. In Speaking with the Dead in Early America, historian Erik R. Seeman undertakes a 300-year history of Protestant communication with the dead. Seeman chronicles the story of Protestants' relationships with the deceased from Elizabethan England to puritan New England and then on through the American Enlightenment into the middle of the nineteenth century with the explosion of interest in Spiritualism. He brings together a wide range of sources to uncover the beliefs and practices of both ordinary people, especially women, and religious leaders. This prodigious research reveals how sermons, elegies, and epitaphs portrayed the dead as speaking or being spoken to, how ghost stories and Gothic fiction depicted a permeable boundary between this world and the next, and how parlor songs and funeral hymns encouraged singers to imagine communication with the dead. Speaking with the Dead in Early America thus boldly reinterprets Protestantism as a religion in which the dead played a central role.

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Investigates Shakespeare's mode of composition and the way contemporary psychology informs dramatic representation through ekphrasis Describes Shakespeare's own ingenuity and his dramatizations of ingenuity according to classical and renaissance accounts of this activity Explains and illustrates in his plays the function of fantasy in reading the external world, as described in contemporary psychology Participates in the current scholarly interest in the intertextuality of theatrical scripts Traces Shakespeare's adaptations of the hybrid genre tragicomedy from his problem plays" to The Winter's Tale and demonstrates his use of the writings of Giraldi Cinzio and Battista Guarini to give unique shape to this late work Drawing inspiration from Robert Greene's deathbed attack on Shakespeare as "an upstart crow, beautified with our feathers," The Bodger (Elizabethan variant of "botcher," "mender," "patcher") argues that Shakespeare's dramas are compositions of "shreds and patches" pieced together by a mind of extraordinary synthetic acuity. Such patches include passages of dialogue that, as described in the sixteenth century, "lead objects before our eyes" by means of ekphrasis. The book offers substantial art-historical research into the only visual artist named by Shakespeare, Giulio Romano--who performs an important role in The Winter's Tale as the alleged sculptor of a statue of the dead Queen. Giulio, heir to Raphael's workshop, is known primarily as a painter and architect. My research has revealed that he was also a designer of sculpture. Applying historical and theoretical materials to close readings of several plays, I focus on the most critical issues of The Winter's Tale King Leontes' sudden fit of jealousy; Shakespeare's introduction of a surrogate playwright in the personification of Time, who refashions the play from tragedy to comedy, assisted by a behind-the-scenes female ghost writer; and the Queen's statue amazingly "coming to life" through an interactive declaration of faith. "

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London, more than any other city, has a secret history concealed from view. Behind the official façade promoted by the heritage industry, lies a city of esoteric traditions, obscure institutions, and forgotten locations. Occult London rediscovers this history, unearthing the hidden city that lies beneath our own. From the Elizabethan magic of Dr Dee and Simon Forman, to the occult designs of Wren and Hawksmoor; from the Victorian London of Spring-Heeled Jack, to the fin de siècle heyday of Madame Blavatsky and Aleister Crowley. This book describes these practitioners of the occult and their unorthodox beliefs, alongside the myths and legends through which the city has always been perceived. The role of the occult within London's literary history is also outlined, while a gazetteer maps the sites of London's most resonant occult locations. Today we are experiencing a renewal of interest in the occult tradition, and Merlin Coverley examines the roots of this revival, exploring the rise of New Age philosophies and the emergence of psychogeography in shaping a new vision of the city.

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'The most comprehensive narrative of intelligence compiled ... unrivalled' Max Hastings, Sunday Times'Captivating, insightful and masterly' Edward Lucas, The TimesThe history of espionage is far older than any of today's intelligence agencies, yet the long history of intelligence operations has been largely forgotten. The first mention of espionage in world literature is in the Book of Exodus.'God sent out spies into the land of Canaan'. From there, Christopher Andrew traces the shift in the ancient world from divination to what we would recognize as attempts to gather real intelligence in the conduct of military operations, and considers how far ahead of the West - at that time - China and India were. He charts the development of intelligence and security operations and capacity through, amongst others, Renaissance Venice, Elizabethan England, Revolutionary America, Napoleonic France, right up to sophisticated modern activities of which he is the world's best-informed interpreter. What difference have security and intelligence operations made to course of history? Why have they so often forgotten by later practitioners? This fascinating book provides the answers.

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Early modern English writers often complained that ""charity had grown cold,"" lamenting the dissolution of society's communal bonds. But far from diminishing in scope or influence, charity generated heated debates, animated by social, political, and religious changes that prompted urgent questions about the virtue's powers and functions. Charity was as much a problem as it was a solution, a sure sign of trouble even when invoked on behalf of peace and community.Love's Quarrels charts charity's complex history from the 1520s to the 1640s and details the ways in which it can be best understood in biblical translations of the early sixteenth century, in Elizabethan polemic and satire, and in the political and religious controversies arriving at the outset of civil war. As key works from Edmund Spenser, Ben Jonson, and John Milton reveal, ""reading charity"" was fraught with difficulty as early modern England reconsidered its deepest held convictions in the face of mounting social disruption and spiritual pressure.

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Taking cross-disciplinary and comparative approaches to the volume’s subject, this exciting collection of essays offers a reassessment of Shakespeare’s erotic and Ovidian mythology within classical and continental aesthetic contexts. Through extensive examination of mythological visual and textual material, scholars explore the transmission and reinvention of Ovidian eroticism in Shakespeare’s plays to show how early modern artists and audiences collectively engaged in redefining ways of thinking pleasure. Within the collection’s broad-ranging investigation of erotic mythology in Renaissance culture, each chapter analyses specific instances of textual and pictorial transmission, reception, and adaptation. Through various critical strategies, contributors trace Shakespeare’s use of erotic material to map out the politics and aesthetics of pleasure, unravelling the ways in which mythology informs artistic creation. Received acceptions of neo-platonic love and the Petrarchan tensions of unattainable love are revisited, with a focus on parodic and darker strains of erotic desire, such as Priapic and Dionysian energies, lustful fantasy and violent eros. The dynamics of interacting tales is explored through their structural ability to adapt to the stage. Myth in Renaissance culture ultimately emerges not merely as near-inexhaustible source material for the Elizabethan and Jacobean arts, but as a creative process in and of itself.

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My Cue to Fight, Volume I of a planned two volume release, is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality but also physical violence throughout his works. Written ideally for theatrical stage directors, fight directors, intimacy consultants, and actors as a technical scene-by-scene breakdown in staging combat during production of these plays, this publication is also for Shakespeare enthusiasts who want to learn more about the blood, sweat, and viscera hidden just underneath the poetry. A writer utilises violence, like song or dance, in moments where the story requires more than just words. But addressing how the violence will be staged tends either to be neglected or utterly gratuitous, both of which serve to separate the audience from the story and kill the whole venture. The answer rests in approaching violence the same way we do scenework. The plays of William Shakespeare seek to engage audiences with all of the characters’ blood, tears, sweat, and guts. These works are not flowery poems meant to be mumbled in a classroom, or histrionically declaimed in frilly costumes. There is nothing light and fluffy about 'rape' and 'murder’s rages', or 'carving' someone as a dish fit for the gods, or fighting till from one’s bones one’s 'flesh be hacked'. Making matters more complicated is the ambiguity and sometimes even complete lack of stage directions. Modern texts typically possess clear directions whenever violence is to occur in the action, but playscripts were quite different four centuries ago. Such denotations were both rare and inconsistent in Elizabethan and Jacobean printings. The potential violence we will examine is not appropriate for all productions or scene partners. We’re here to question and inspire rather than provide catch-all solutions. Actors, directors, fight directors, and intimacy consultants must work together to find the most effective way for their production to communicate the playwright’s story to the audience.

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As the site of the first permanent English settlement in North America, the birthplace of a presidential dynasty, and the gateway to western growth in the nation's early years, Virginia can rightfully be called the ""cradle of America."" Peter Wallenstein traces major themes across four centuries in a brisk narrative that recalls the people and events that have shaped the Old Dominion. The second edition is updated with new material throughout, including a new chapter on Virginia and world affairs from the Korean War through 9/11 and beyond, and, an expanded bibliography.Historical accounts of Virginia have often emphasized harmony and tradition, but Wallenstein focuses on the impact of conflict and change. From the beginning, Virginians have debated and challenged each other's visions of Virginia, and Wallenstein shows how these differences have influenced its sometimes turbulent development. Casting an eye on blacks as well as whites, and on people from both east and west of the Blue Ridge Mountains, he traces such key themes as political power, racial identity, and education.Bringing to bear his long experience teaching Virginia history, Wallenstein takes readers back, even before Jamestown, to the Elizabethan settlers at Roanoke Island and the inhabitants they encountered, as well as to Virginia's leaders of the American Revolution. He chronicles the state's dramatic journey through the Civil War era, a time that revealed how the nation's evolution sometimes took shape in opposition to the vision of many leading Virginians. He also examines the impact of the civil rights movement and considers controversies that accompany Virginia into its fifth century. The text is copiously illustrated to depict not only such iconic figures as Pocahontas, George Washington, and Robert E. Lee, but also such other prominent native Virginians as Edgar Allan Poe, Carter G. Woodson, and Patsy Cline. Sidebars throughout the book offer further insight, while maps and appendixes of reference data make the volume a complete resource on Virginia's history.

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In the fifty years between 1530 and 1580, England moved from being one of the most lavishly Catholic countries in Europe to being a Protestant nation, a land of whitewashed churches and antipapal preaching. What was the impact of this religious change in the countryside? And how did country people feel about the revolutionary upheavals that transformed their mental and material worlds under Henry VIII and his three children?In this book a reformation historian takes us inside the mind and heart of Morebath, a remote and tiny sheep farming village on the southern edge of Exmoor. The bulk of Morebath’s conventional archives have long since vanished. But from 1520 to 1574, through nearly all the drama of the English Reformation, Morebath’s only priest, Sir Christopher Trychay, kept the parish accounts on behalf of the churchwardens. Opinionated, eccentric, and talkative, Sir Christopher filled these vivid scripts for parish meetings with the names and doings of his parishioners. Through his eyes we catch a rare glimpse of the life and pre-Reformation piety of a sixteenth-century English village.The book also offers a unique window into a rural world in crisis as the Reformation progressed. Sir Christopher Trychay’s accounts provide direct evidence of the motives which drove the hitherto law-abiding West-Country communities to participate in the doomed Prayer-Book Rebellion of 1549 culminating in the siege of Exeter that ended in bloody defeat and a wave of executions. Its church bells confiscated and silenced, Morebath shared in the punishment imposed on all the towns and villages of Devon and Cornwall. Sir Christopher documents the changes in the community, reluctantly Protestant and increasingly preoccupied with the secular demands of the Elizabethan state, the equipping of armies, and the payment of taxes. Morebath’s priest, garrulous to the end of his days, describes a rural world irrevocably altered and enables us to hear the voices of his villagers after four hundred years of silence.

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Borde Hill Garden is set in historic parkland in a designated Area of Outstanding Natural Beauty in West Sussex. The Elizabethan mansion was purchased in the 1890s by Colonel Stephenson Robert Clarke (known as Stephie), who set about creating the garden and woodland using plants from several continents brought back to England by the great plant hunters of the early 1900s. Well over a century and three generations later, Borde Hill remains in the ownership of the Stephenson Clarke family, and today is renowned for its collection of rare shrubs and trees. This beautiful new book - the first dedicated to Borde Hill - is structured in two main parts. For the first, 'The History', Vanessa Berridge has had exclusive access to the Borde Hill archive, which contains not only family photographs but also a wealth of written sources, such as letters between Stephie and nurserymen, directors of botanical gardens, other landowners, and plant hunters. Giving unique insight into the horticultural world and social history of the interwar years, this correspondence reveals acts of courage by such famed plant explorers as George Forrest and Ernest Wilson and the professional level of accomplishment of Stephie and his gardening acquaintances. The second part of the book takes the reader on an extended tour of the garden, illustrated by the glorious photography of John Glover. Borde Hill is laid out as a series of intimate outdoor 'rooms', including the Old Rhododendron Garden, the Rose Garden and the terraced Italian Garden. With its variety further encompassing wide lawns that flow out into the countryside, many plant species not found elsewhere in Britain and one of the country's largest collections of privately owned rare trees, it is no wonder that Borde Hill lays claim to offering visitors the world in one garden. Concluding with information on Borde Hill's historic plants, its many RHS Awards of Merit and its 70 champion trees, this authoritative, engaging book is a fitting celebration of one of Britain's great heritage gardens.

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At the cutting edge of new social and demographic history, this book provides a detailed picture of the most comprehensive system of poor relief operated by any Elizabethan town. Well before the Poor Laws of 1598 and 1601, Hadleigh, Suffolk—a thriving woolen cloth center with a population of roughly 3,000—offered a complex array of assistance to many of its residents who could not provide for themselves: orphaned children, married couples with more offspring than they could support or supervise, widows, people with physical or mental disabilities, some of the unemployed, and the elderly. Hadleigh's leaders also attempted to curb idleness and vagrancy and to prevent poor people who might later need relief from settling in the town. Based upon uniquely full records, this study traces 600 people who received help and explores the social, religious, and economic considerations that made more prosperous people willing to run and pay for this system. Relevant to contemporary debates over assistance to the poor, the book provides a compelling picture of a network of care and control that resulted in the integration of public and private forms of aid.

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Beginning with an atmospheric account of Tyburn, we are set up for a grisly excursion through London as a city of ne'er do wells, taking in beheadings and brutality at the Tower, Elizabethan street crime, cutpurses and con-men, through to the Gordon Riots and Highway robbery of the 18thcentury and the rise of prisons, the police and the Victorian era of incarceration. As well as the crimes, Arnold also looks at the grotesque punishments meted out to those who transgressed the law throughout London's history - from the hangings, drawings and quarterings at Tyburn over 500 years to being boiled in oil at Smithfield. This popular historian also investigates the influence of London's criminal classes on the literature of the 19thand 20thcenturies, and ends up with our old favourites, the Krays and Soho gangs of the 50s and 60s.London's crimes have changed over the centuries, both in method and execution. Underworld London traces these developments, from the highway robberies of the eighteenth century, made possible by the constant traffic of wealthy merchants in and out of the city, to the beatings, slashings and poisonings of the Victorian era.

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Early espionage organisations like Walsingham's Elizabethan spy network were private enterprises, tasked with keeping the Tudor Queen and her government safe. Formal use of spies and counter spies only really began in the years after 1909, when the official British secret service was founded. Britain became the first major proponent of secret information gathering and other nations quickly followed. The outbreak of war in 1914 saw a sudden and dramatic increase in the use of spies as the military quickly began to realise the value of covert intelligence. Spying 'came of age' during the war on the Western Front and that value only increased in the run up to the Second World War, when the threat of the Soviet Union and Nazi Germany began to make themselves felt. The Cold War years, with the use of moles, defectors and double agents on both sides of the Iron Curtain saw the art of spying assume record proportions. The passing on of atom secrets, the truth about Russian missiles on Cuba, it was the age of the double agent, the activities of whom managed to keep away the looming threat of nuclear war. _A Hundred Years of Spying_ takes the reader through the murky world of espionage as it develops over the course of the twentieth century, where the lines of truth and reality blur, and where many real-life spies have always been accompanied, maybe even proceeded, by a plethora of spy literature. This book will look at the use of and development of spying as an accepted military practice. It will focus on individuals from Belgians like Gabrielle Petite to the infamous Mata Hari, from people like Reilly Ace of Spies to the British traitors such as Philby, Burgess and McClean. The activities of American atom spies like the Rosenbergs will also be covered as will Russian double agent Oleg Penkovsky and many others.

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Harold Frederic was for a long time known primarily as a writer of New York regional fiction and historical novels. His most outstanding and influential novel, The Damnation of Theron Ware (1896) represents the first extended narrative in US literature of Irish-Catholic entry into American life. In 1995, a year short of that novel’s centenary, Joyce Carol Oates wrote: “WHAT a wonderful novel is The Damnation of Theron Ware.” Though raised in a German-American, Methodist environment in the Mohawk Valley of New York state, Frederic became intrigued with Ireland’s people, politics, and history when post-Famine Irish began arriving in his hometown of Utica in the 1860s and 1870s.The Martyrdom of Mave and other Irish Stories gathers for the first time all of the Irish work Harold Frederic completed in his lifetime. He planned more, but died of a stroke in his early forties, in England, where he was employed as The New York Times London Correspondent. He had earlier written his publisher that he had been “toiling for years” on the archeology of the Iveagha (present Mizen) Peninsula in Cork, and that the projected book of historical fiction underway would be unique. The Martyrdom of Maev and Other Irish Stories brings together the four sixteenth-century stories that Frederic finished and published in magazines in 1895–96, and two of his stories set in the west of Ireland of the second-half of the nineteenth century.Taken together the stories track the ramifications of the Elizabethan invasions as they extend to the famine, evictions, and humiliations still plaguing the country just before the rise of Parnell. The dramatic title story involves young romance caught in the political unrest that begot the Land-League and portrays as well the adamant, menacing, sexual prohibitions prevailing in the rural Ireland of the late nineteenth century. Others portray life within the remote Gaelic clans of late medieval Ireland. All the stories reveal Frederic’s brilliant prose talent—“The Path of Murtogh,” for example, a starkly primitive revenge tale, is as dark and shocking as anything by Edgar Allen Poe.For those who like Harold Frederic’s fiction, or who love dramatic tales set in Ireland, this collection makes for compelling reading.

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In late medieval Catholicism, mourners employed an array of practices to maintain connection with the deceased—most crucially, the belief in purgatory, a middle place between heaven and hell where souls could be helped by the actions of the living. In the early sixteenth century, the Reformation abolished purgatory, as its leaders did not want attention to the dead diminishing people's devotion to God. But while the Reformation was supposed to end communication between the living and dead, it turns out the result was in fact more complicated than historians have realized. In the three centuries after the Reformation, Protestants imagined continuing relationships with the dead, and the desire for these relations came to form an important—and since neglected—aspect of Protestant belief and practice. In Speaking with the Dead in Early America, historian Erik R. Seeman undertakes a 300-year history of Protestant communication with the dead. Seeman chronicles the story of Protestants' relationships with the deceased from Elizabethan England to puritan New England and then on through the American Enlightenment into the middle of the nineteenth century with the explosion of interest in Spiritualism. He brings together a wide range of sources to uncover the beliefs and practices of both ordinary people, especially women, and religious leaders. This prodigious research reveals how sermons, elegies, and epitaphs portrayed the dead as speaking or being spoken to, how ghost stories and Gothic fiction depicted a permeable boundary between this world and the next, and how parlor songs and funeral hymns encouraged singers to imagine communication with the dead. Speaking with the Dead in Early America thus boldly reinterprets Protestantism as a religion in which the dead played a central role.

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A new account of medieval and Renaissance clown traditions reveals the true extent of their cultural influence. From the late-medieval period through to the seventeenth century, English theatrical clowns carried a weighty cultural significance, only to have it stripped from them, sometimes violently, by the close of the Renaissance when the famed "license" of fooling was effectively revoked. This groundbreaking survey of clown traditions in the period looks both at their history, and reveals their hidden cultural contexts and legacies; it has far-reaching implications not only for our general understanding of English clown types, but also their considerable role in defining social, religious and racial boundaries. It begins with an exploration of previously un-noted early representations of blackness in medieval psalters, cycle plays, and Tudor interludes, arguing that they are emblematic of folly and ignorance rather than of evil. Subsequent chapters show how protestants at Cambridge and at court, during the reigns of Henry VIII and Edward, patronised a clownish, iconoclastic Lord of Misrule; look at the Elizabethan puritan stage clown; and move on to a provocative reconsideration of the Fool in King Lear, drawing completely fresh conclusions. Finally, the epilogue points to the satirical clowning which took place surreptitiously in the Interregnum, and the (sometimes violent) end of "licensed" folly. Professor ROBERT HORNBACK teaches in the Departments of Literature and Theatre at Oglethorpe University.

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Captain John Smith is best remembered for his association with Pocahontas, but this was only a small part of an extraordinary life filled with danger and adventure. As a soldier, he fought the Turks in Eastern Europe, where he beheaded three Turkish adversaries in duels. He was sold into slavery, then murdered his master to escape. He sailed under a pirate flag, was shipwrecked and marched to the gallows to be hanged, only to be reprieved at the eleventh hour. All this before he was thirty years old. He was one of the founders of the English settlement at Jamestown, where he faced considerable danger from the natives as well as from within the faction-ridden settlement itself. In fact, were it not for Smith's leadership, the Jamestown colony would surely have failed. Yet Smith was a far more ambitious explorer and soldier of fortune than these tales suggest. This swashbuckling Elizabethan adventurer was resourceful, intelligent and outspoken, with a vision of what America could become. In this riveting book, R.E. Pritchard tells the rip-roaring story of a remarkable man who refused to give in.

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Ecclesiastical history, the history of public schools and endowed grammar schools, and sporting history provide the bulk of the content in Volume II. The opening chapter deals not only with the territorial organization of the established church in Shropshire but also with the history of Roman catholic and protestant nonconformist organization. There are separate articles on 40 religious houses including the abbeys of Buildwas, Haughmond, Lilleshall, and Shrewsbury and the priory of Wenlock; an account of the Ludlow Palmers' Guild, which maintained a college of chaplains in St Lawrence's church, is also included. Among the 15 schools whose histories are treated are Ludlow Grammar School and Oswestry School, whose origins lie in the Middle Ages, and Shrewsbury School, founded in 1552 to become one of the leading schools of Elizabethan England and restored to greatness in the early 19th century under the energetic rule of Samuel Butler. The dozen articles on the sporting history of Shropshire, besides illuminating the social basis of some sports, revive the memory of such noteworthy sportsmen as John Mytton of Halston and John Purcell,the sporting parson of Sidbury. A table of population completes the volume; based on the official censuses 1801-1961, the table gives statistics of each parish and for various other local government areas.

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This collection of essays includes some of the most recent work of a master critic at the height of his powers. Of the fourteen essays, written from the late 1970's to the present, three have never before been published; the essays' appearance in a single volume makes available for the first time the full scope of Berger's unique approach to ethical discourses in Shakespeare's plays. The sequence of essays displays both the continuity and the revisionary development that mark his critical practice since the early work on The Tempest, Troilus and Cressida, and the Elizabethan theater. When one compares Berger's earlier work from the 1960's with the writing from the 1980's and 1990's in the present collection, one sees that the difference stems primarily from the impact on the later work of his encounters with the whole range of structuralist and poststructuralist theory. Much of the excitement and vitality of Berger's current work comes from his efforts to incorporate new methodological influences into his previous system. Because he comes to poststructuralism as a mature critic whose larger interpretive framework is already in place, his response is not simply to immerse himself in the new theoretical modes and adopt them wholesale, but rather to make them his own. Among the plays discussed are The Merchant of Venice, Much Ado About Nothing, King Lear, Macbeth, 2 Henry IV, Richard II—and, in two of the new essays, 1 Henry IV and Measure for Measure. Also new is Berger's retrospective account of his critical development in the extensive opening "Acknowledgments."

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The publication of "Short Stories for Children" celebrates the fiftieth anniversary of Walter de la Mare's death. It is also the culmination of a major literary enterprise. For many people, Walter de la Mare (1873-1956) is as great a writer of fiction as of poetry. But, the majority of his short stories, of which there are a hundred, have long been unavailable. "Short Stories" brings them all together in three volumes in the first comprehensive collection to be published. The third and last volume, "Short Stories for Children", starts with "Broomsticks and Other Tales" of 1925, with its twelve stories, and continues with "The Lord Fish" of 1933 with seven stories. It includes three distinctive stories, 'Pigtails, Ltd', 'The Thief' and 'A Nose', that have never been reprinted since they originally appeared in Broomsticks. Quirky, disparate, unpredictable, acutely observed, sometimes frightening, and often preoccupied with states of mind and personal identity, these stories have much in common with the adult stories. Some of them are peopled with giants, witches, kind elves, evil and spiteful fairies, and imprisoned maidens in castles, but most are not.We find ourselves in railway trains, a mansion in the City of London, another Elizabethan one in a mysterious tract of country, a remote farm house near the sea, a waterlogged forest, a drawing-room being watched by a fly; and, among other things, we encounter a wise monkey, a haunted cat, a fish magician, a baron transmogrified into a donkey, a thief desperate to be burgled, a man who believes he has a wax nose, and a godmother celebrating her 350th birthday. As in de la Mare's poems, everyday reality may at any time become undercut by disturbing uncertainty and dark, though not always malign, forces. A full understanding of the poems and stories is impossible without knowledge of both. Vivid and timeless, Bold's original woodcut designs and Rex Whistler's original engravings have been used to illustrate the two parts of the book.

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An examination of Puritan iconoclasm, the reasons which led to it, and the forces which sustained it. This work offers a detailed analysis of Puritan iconoclasm in England during the 1640s, looking at the reasons for the resurgence of image-breaking a hundred years after the break with Rome, and the extent of the phenomenon. Initially a reaction to the emphasis on ceremony and the 'beauty of holiness' under Archbishop Laud, the attack on 'innovations', such as communion rails, images and stained glass windows, developed into a major campaign driven forwardby the Long Parliament as part of its religious reformation. Increasingly radical legislation targeted not just 'new popery', but pre-Reformation survivals and a wide range of objects (including some which had been acceptable tothe Elizabethan and Jacobean Church). The book makes a detailed survey of parliament's legislation against images, considering the question of how and how far this legislation was enforced generally, with specific case studies looking at the impact of the iconoclastic reformation in London, in the cathedrals and at the universities. Parallel to this official movement was an unofficial one undertaken by Parliamentary soldiers, whose violent destructivenessbecame notorious. The significance of this spontaneous action and the importance of the anti-Catholic and anti-Episcopal feelings that it represented are also examined. Shortlisted for Historians of British Art Book Prize for2003 Dr JULIE SPRAGGON is at the Institute for Historical Research, University of London.

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Fool's Gold: The Life and Legacy of Vancouver's Official Town Fool is the second release in Jesse Donaldson's 49.2: Tales from the Off Beat, an ongoing series dedicated to celebrating the eccentric and unusual aspects of Vancouver. In Fool's Gold, Donaldson explores the legacy of Joachim Foikis. On April 1, 1968, a tall, bespectacled, 35-year-old former social worker named Joachim Foikis received $3,500 from the Canada Council for the Arts in order to finance a unique, self-imposed mission unseen since Elizabethan England: reinvent the vanished tradition of "Town Fool." The 35-year-old Foikis, who held two university degrees (one in economics from the University of Berlin, and the other in literature from the University of British Columbia), was already well known throughout the city for his off-kilter antics. His aim, according to interviews with The Sun and The Province, was "to spread joy and confusion" while at the same time "mock the four pillars of society: money, status, respectability, and conformity." Praise for Donaldson's previous book, This Day in Vancouver: "Donaldson combed through archives all around the city and consulted with experts of all stripes to put together the book. The result is a fascinating read - it's everything you never knew about Vancouver and didn't think to ask. Once you flip through this book, you'll never look at the city the same way again." (The Province)

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The book provides an account of many Jesuits, from the time of St. Ignatius to the 1990’s, who have been incarcerated around the world for their faith. It is divided into chapters that deal with specific themes related to their imprisonment. The principal themes are: prayer as a key element in survival, arrest and trial procedures, the experience of suffering, Mass, the daily order of prison life, forced labor, ministry to other prisoners, guards, prisoners who became Jesuits while imprisoned, community in prison, and voluntary incarceration. This is the first book to examine the experience of incarcerated Jesuits around the world and down through the centuries from the standpoint of these various themes. Much of the material is by the Jesuits themselves, in letters, autobiographical fragments and other sources—including obscure publications long out of print. The result is a gathering together of these pieces and fragments into a coordinated whole, with commentary on their significance in the context of the political and cultural situations of their time—situations that were generally the immediate cause of the Jesuits imprisonment, whether in Elizabethan England or in Communist China and Russia. A chart of imprisoned Jesuits by country of incarceration at the beginning, and a glossary of names at the back (as well as an index), will help the reader to keep track of the names of the many Jesuits who figure in the book.

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In 1762 the philosopher Jean-Jacques Rousseau observed that we are blind half our lives because of what we miss during the night. Yet we fear the dark, and are led to believe that bad things happen during the small hours, especially in cities. This is when insomniacs, psychopaths and photophobics--those who are afraid of the light--roam the streets; the time when 'normal' people should be tucked up in their beds. The Elizabethan playwright Thomas Middleton wrote that there should be 'no occupation but sleepe, feed, and fart' during night-time hours.Yet there have long been literary walkers, flaneurs, who have wandered the dark streets of their cities to uncover the secrets of the night: from Restif de la Bretonne, in his 1789 Les Nuits de Paris, labelled both eccentric and pornographic--to Charles Dickens, who in his Night Walks (1861) evoked the sleeplessness of 'a man who defied the night, with all its sorrowful thoughts'. As cities became lighter, through the advance of technology and commerce, the writer's fascination in the mystery of the night-time city faded. But some cities, restless metropolises like New York and London, retain their nocturnal allure.Madrid is one such city. In 2016 writer Ben Stubbs was drawn to explore the Spanish capital at night like the flaneurs of the past. He set out when the sun went down to examine the life of the night in this often-maligned city, a place famed for its late hours and exuberant nightlife. Exploring the history of everything from tapas to the new politics of Podemos, he encountered the city's cultural quirks and clandestine stories while talking to many Madrilenos who are normally denied a voice in the city.As each hour of the night unfolds, Stubbs discovers different layers within Madrid that many visitors do not see as they stick to well-trodden guidebook itineraries. The deepening darkness reveals cross-dressing migrants, people who live at the airport, Muslims celebrating Ramadan, hotel workers hidden in the bowels of the Ritz, all-night taxi drivers, party-goers enjoying their nightly marcha from bar to bar, poodle-blessing priests and locals in the poorer barrios who walk the streets with him to share the experience of a trasnochador--one who lives during the hours of the night.Mixing personal observation with literary and historical references, Stubbs introduces us to a hitherto unknown and fascinating dimension of Madrid. After Dark reveals a multifaceted city, full of surprises and possibilities, and very much awake and alive between dusk and dawn.

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Spanning the period 1512-78, the High Cross churchwardens' accounts of Stratton, in Cornwall, are unusually complete and informative. Written mostly in English, they are among only eighteen surviving sets of Pre-Reformation churchwardens' accounts which cover the whole period 1535-70, when most Reformation change took place. Spanning the period 1512-78, the High Cross churchwardens' accounts of Stratton, in Cornwall, are unusually complete and informative. Written mostly in English, they are among only eighteen surviving sets of Pre-Reformation churchwardens' accounts which cover the whole period 1535-70, when most Reformation change took place. These accounts allow us to track the progress of the Reformation in a single parish and its impact on the lives of ordinary people.Stratton, in addition, has a partial set of general receivers' or stock wardens' accounts, which give much additional information about the parish at this time. They show how much has been lost from other parishes, shed light on the 1548-9 Cornish rebellions and enable a more narrative approach to be taken than is usually possible with churchwardens' accounts, often dismissed as mere lists. The volume also makes extensive use of the Blanchminster Charity records at the Cornwall Record Office, including deeds and leases of church lands, and an Elizabethan court case with rare pictorial plans showing Stratton's church, church house and market place. Together, these documents give a rounded picture of life in one parish in a period of important religious change. JOANNA MATTINGLY is a freelance researcher and Fellow of the Society of Antiquaries. Based in Cornwall, she has written books and articles on Mousehole and Newlyn, Cornish church architecture and medieval guilds, and church houses.

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In early modern Britain, there was an argument that war at sea, especially war in Spanish America, was an ideal means of warfare, offering the prospect of rich gains at relatively little cost whilst inflicting considerable damageon enemy financial resources. In early modern Britain, there was an argument that war at sea, especially war in Spanish America, was an ideal means of warfare, offering the prospect of rich gains at relatively little cost whilst inflicting considerable damageon enemy financial resources. This book examines that argument, tracing its origin to the glorious memory of Elizabethan maritime war, discussing its supposed economic advantages, and investigating its influence on British politics and naval policy during the War of the Spanish Succession (1702-13) and after. The book reveals that the alleged economic advantages of war at sea were crucial in attracting the support of politicians of different political stances. It shows how supporters of war at sea, both in the government as well as in the opposition, tried to implement pro-maritime war policy by naval operations, colonial expeditions and by legislation, and how their attempts wereoften frustrated by diplomatic considerations, the incapacity of naval administration, and by conflicting interests between different groups connected to the West Indian colonies and Spanish American trade. It demonstrates how, after the War of the Spanish Succession, arguments for active colonial maritime war continued to be central to political conflict, notably in the opposition propaganda campaigns against the Walpole ministry, culminating in the War of Jenkins's Ear against Spain in 1739. The book also includes material on the South Sea Company, showing how the foundation of this company, later the subject of the notorious 'Bubble', was a logical part of British strategy. Shinsuke Satsuma completed his doctorate in maritime history at the University of Exeter.

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SHORTLISTED FOR THE WOLFSON HISTORY PRIZE A major new history of Britain that transforms our understanding of this country's past'I've waited so long so read a comprehensively researched book about Black history on this island. This is it: a journey of discovery and a truly exciting and important work' Zainab Abbas Despite the best efforts of researchers and campaigners, there remains today a steadfast tendency to reduce the history of African and Caribbean people in Britain to a simple story: it is one that begins in 1948 with the arrival of a single ship, the Empire Windrush, and continues mostly apart from a distinct British history, overlapping only on occasion amid grotesque injustice or pioneering protest.Yet, as acclaimed historian Hakim Adi demonstrates, from the very beginning, from the moment humans first stood on this rainy isle, there have been African and Caribbean men and women set at Britain's heart. Libyan legionaries patrolled Hadrian's Wall while Rome's first 'African Emperor' died in York. In Elizabethan England, 'Black Tudors' served in the land's most eminent households while intrepid African explorers helped Sir Francis Drake to circumnavigate the globe. And, as Britain became a major colonial and commercial power, it was African and Caribbean people who led the radical struggle for freedom - a struggle which raged throughout the twentieth century and continues today in Black Lives Matter campaigns.Charting a course through British history with an unobscured view of the actions of African and Caribbean people, Adi reveals how much our greatest collective achievements - universal suffrage, our victory over fascism, the forging of the NHS - owe to these men and women, and how, in understanding our history in these terms, we are more able to fully understand our present moment.

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A comprehensive look at the history and practices of rural English witchcraft • Explores witch’s familiars and fetches, animal magic, and the forms of witchcraft practiced by rural tradespeople, such as blacksmiths, herbalists, and artisans • Offers practical insight into spells, charms, folk incantations, herbal medicine practices, amulets, sigils, and tools of the craft • Details the evolution of public perception of witchcraft throughout England’s history, including the laws against witchcraft in place until the 1950s and witchcraft’s contentious relationship with the Christian church In this practical guide, Nigel Pennick takes the reader on a journey through the practice of operative witchcraft in the British Isles from the Middle Ages and the Elizabethan era to the decriminalization of witchcraft in the 1950s and its practice today. Highlighting uniquely English traditions, Pennick explores fetches and witch’s familiars, animal magic, and the forms of witchcraft practiced by rural tradespeople, such as blacksmiths, herbalists, and artisans, to enhance their professional work and compel others to do their bidding, both man and beast. He provides actual spells, charms, and folk incantations, along with details about the magical use of a variety of herbs, including nightshades, the creation of amulets and sigils, protection against the Evil Eye, and the use of aromatic oils. Pennick explains the best times of day for different types of magic, how to identify places of power, and the use of the paraphernalia of operative witchcraft, such as the broom, the witches’ dial, and pins, nails and thorns. He explores the belief in three different types of witches: white witches, who offer help and healing for a fee; black witches, who harm others; and gray witches, who practice both white and black magic. Examining witchcraft’s contentious relationship with the Christian church, he investigates the persecution of witches throughout the UK and the British West Indies up until the mid-20th century. He offers a look into the changing public perceptions of witchcraft and the treatment of its followers as well as revealing how English churchmen would offer magical solutions to the perceived threat of black witchcraft. Painting an in-depth picture of English witchcraft, including how it relates to and differs from modern Wicca, Pennick reveals the foundation from which modern witchcraft arose. He shows how this context is necessary to effectively use these ancient skills and techniques and how the evolution of witchcraft will continue harmonizing the old ways with the new.

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An overview of the history of yachting in its social, cultural, political and economic contexts. Shortlisted for the Maritime Foundation's Mountbatten Award 2018 This book, by a leading expert in the field, is the first major history of yachting for over a quarter of a century. Setting developments within political,social and economic changes, the book tells the story of yachting from Elizabethan times to the present day: the first uses of yachts, by monarchs, especially Charles II; yacht clubs and yacht racing in the eighteenth century; the early years of the Royal Yacht Squadron at Cowes and an analysis of the America Cup challenges; the pioneering developments in Ireland and the exporting of yachting to the colonies and trading outposts of the Empire; the expansion of yachting in Victorian times; the Golden Age of Yachting in the years before the First World War, when it was the sport of the crowned heads of Europe; the invention of the dinghy and the keelboat classes and, after the Second World War, the massive numbers of home-built dinghies; the breaking of new boundaries by risk-taking single-handers from the mid-1960s; the expansion of leisure sailing that came in the 1980s with the use of moulded plastic yachts; and current trends and pressures within the sport. Well-referenced yet highly readable, this book will be of interest both to the scholar and the sailing enthusiast. MIKE BENDER is an experienced yachtsman and qualified Ocean Yachtmaster, with some forty thousand miles, mostly singlehanded, under the keel. He is an Honorary Research Fellow in History at the University of Exeter.

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From the distinguished literary scholar Gordon Teskey comes an essay collection that restores Spenser to his rightful prominence in Renaissance studies, opening up the epic of The Faerie Queene as a grand, improvisatory project on human nature, and arguing—controversially—that it is Spenser, not Milton, who is the more important and relevant poet for the modern world.There is more adventure in The Faerie Queene than in any other major English poem. But the epic of Arthurian knights, ladies, and dragons in Faerie Land, beloved by C. S. Lewis, is often regarded as quaint and obscure, and few critics have analyzed the poem as an experiment in open thinking. In this remarkable collection, the renowned literary scholar Gordon Teskey examines the masterwork with care and imagination, explaining the theory of allegory—now and in Edmund Spenser’s Elizabethan age—and illuminating the poem’s improvisatory moments as it embarks upon fairy tale, myth, and enchantment.Milton, often considered the greatest English poet after Shakespeare, called Spenser his “original.” But Teskey argues that while Milton’s rigid ideology in Paradise Lost has failed the test of time, Spenser’s allegory invites engagement on contemporary terms ranging from power, gender, violence, and virtue ethics, to mobility, the posthuman, and the future of the planet. The Faerie Queene was unfinished when Spenser died in his forties. It is the brilliant work of a poet of youthful energy and philosophical vision who opens up new questions instead of answering old ones. The epic’s grand finale, “The Mutabilitie Cantos,” delivers a vision of human life as dizzyingly turbulent and constantly changing, leaving a future open to everything.

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"A historian’s biography of Philip II as Renaissance prince, refuting the Elizabethan propaganda picture of the spider of the Escorial."—New York Times Book Review (And Bear in Mind)"In humanizing a man too often viewed as a cardboard tyrant, Kamen has made a valuable contribution to European historiography."—Booklist Philip II of Spain—ruler of the most extensive empire the world had ever known—has been viewed in a harsh and negative light since his death in 1598. Identified with repression, bigotry, and fanaticism by his enemies, he has been judged more by the political events of his reign than by his person. This book, published four hundred years after Philip's death, is the first full-scale biography of the king. Placing him within the social, cultural, religious, and regional context of his times, it presents a startling new picture of his character and reign. Drawing on Philip's unpublished correspondence and on many other archival sources, Henry Kamen reveals much about Philip the youth, the man, the husband, the father, the frequently troubled Christian, and the king. Kamen finds that Philip was a cosmopolitan prince whose extensive experience of northern Europe broadened his cultural imagination and tastes, whose staunchly conservative ideas were far from being illiberal and fanatical, whose religious attitudes led him to accept a practical coexistence with Protestants and Jews, and whose support for Las Casas and other defenders of the Indians in America helped determine government policy. Shedding completely new light on most aspects of Philip's private life and, in consequence, on his public actions, the book is the definitive portrayal of Philip II.

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A gripping heart-in-your-mouth adventure told by Eve, a Tudor girl who sets out on a dangerous journey to change her life for the better. Voices: Diver's Daughter - A Tudor Story brings Eve and her mother, who was stolen from her family in Mozambique as a child, from the Southwark slums of Elizabethan London to England's southern coast. When they hear from a Mary Rose survivor that one of the African free-divers who was sent to salvage its treasures is alive and well and living in Southampton, mother and daughter agree to try to find him and attempt to dive the wreck of another ship, rumoured to be rich with treasures. But will the pair survive when the man arrives to claim his 'share'? Will Eve overcome her fear of the water to help rescue her mother? In this thrilling adventure based on real events, Patrice Lawrence shows us a fascinating and rarely seen world that's sure to hook young readers. ABOUT THE SERIES VOICES: A thrilling series showcasing some of the UK's finest writers for young people. Voices reflects the authentic, unsung stories of our past. Each shows that, even in times of great upheaval, a myriad of people have arrived on this island and made a home for themselves - from Roman times to the present day. Praise for Diver's Daughter "a thrilling tale, with the expertly described Tudor world brought to hideous, harsh life" BookTrust "a uniquely fascinating perspective into life in Tudor times." Books For Topics "engaging and insightful" Aisha, Historical Association UK "exciting and full of tension" Damian, Historical Association UK

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Robert Fallon has written a book for those whose encounter with a play by Shakespeare, either in performance or on the printed page, has left them occasionally puzzled as to what in the world is going on. Shakespeare can be difficult: he wrote largely in verse and not in everyday speech; his plays are set in unfamiliar locales; and his lines abound in allusions that were familiar to Elizabethan audiences but not, alas, to us. His plays move us despite these difficulties, but they would even more so if we had a bit of deciphering and knew more about Shakespeare's London. A Theatergoer’s Guide opens a window to that time while illuminating the timelessness of Shakespeare’s plays, their portrayal of the human condition in any age. Written for the general reader “in plain though not inelegant English,” the book is mercifully free of academic jargon or scholarly apparatus. It examines the most frequently staged plays scene by scene, and those less frequently performed act by act, in chapters that may be read in one sitting in anywhere from five to forty minutes. These chapters pursue the sequence of events clearly, but they are much more than tedious plot summaries, and they do not “dumb down” Shakespeare. They provide intelligent readers with incisive and engaging commentary on character, theme, setting, poetry, and stage history, in surveys that will help them follow the action with ease and understanding. Dedicated theatergoers as well as students and teachers unfamiliar with a play will find the book a rich source of pleasure and insight. It is destined to become a standard work in the field.

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In Staging Harmony, Katherine Steele Brokaw reveals how the relationship between drama, music, and religious change across England’s long sixteenth century moved religious discourse to more moderate positions. It did so by reproducing the complex personal attachments, nostalgic overtones, and bodily effects that allow performed music to evoke the feeling, if not always the reality, of social harmony. Brokaw demonstrates how theatrical music from the late fifteenth to the early seventeenth centuries contributed to contemporary discourses on the power and morality of music and its proper role in religious life, shaping the changes made to church music as well as people’s reception of those changes. In representing social, affective, and religious life in all its intricacy, and in unifying auditors in shared acoustic experiences, staged musical moments suggested the value of complexity, resolution, and compromise rather than oversimplified, absolutist binaries worth killing or dying for. The theater represented the music of the church’s present and past. By bringing medieval and early Tudor drama into conversation with Elizabethan and Jacobean drama, Brokaw uncovers connections and continuities across diverse dramatic forms and demonstrates the staying power of musical performance traditions. In analyzing musical practices and discourses, theological debates, devotional practices, and early staging conditions, Brokaw offers new readings of well-known plays (Marlowe’s Doctor Faustus, Shakespeare’s The Tempest and The Winter’s Tale) as well as Tudor dramas by playwrights including John Bale, Nicholas Udall, and William Wager.

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Thom Gunn has been described as 'one of the most singular and compelling poets in English during the past half-century' (TLS). This Selected Poems, compiled by his friend Clive Wilmer and accompanied by insightful notes, is the first edition to represent the full arc of Gunn's inimitable career. 'The poetry of Thom Gunn was much admired in his lifetime, and at the same time often misunderstood and underestimated. The scale of his achievement, and its uniqueness - a masterful Elizabethan lyric poet writing in the second half of the twentieth century - is just now becoming properly appreciated. Anonymous in voice, even in the service of the most intimate subject matter, acute in observation, particularly the urban experience, with San Francisco the principal site, Gunn is not merely the poet of the druggy '60s in California or the plague of the AIDS epidemic, but of the deeper-running themes, shared by Shakespeare, Baudelaire, William Carlos Williams and all his greatest exemplars, of the artist's moral and imaginative engagement with the world as it actually is, in the broadest possible sense, not as contemporary fashion might have it be. Which strikes me, who knew and loved the man and poet, as a kind of heroism.' August Kleinzahler'Thom Gunn smuggled the lyric tradition out of post-war Britain, and gave it cool, gracious renaissance in California. His poetry evokes the wild life of the body with madrigal-like elegance.' Fiona Sampson'Gunn's work illustrates with unusual clarity some of the debates poetry in English has pursued in [the twentieth] century - form versus improvisation, diction versus talk, the American way versus the English tradition, even, at times, authenticity versus art. To contain these contradictory impulses and . . . to have generated a body of work which anybody wanting to understand the period and identify some of its best poems will find essential reading - this is quite an achievement.' Sean O'Brien

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Evocative, engaging and filled with vivid details, Rooms of their Own explores the homes of these three writers linked to the Bloomsbury Group. Bringing together stories of love, desire and intimacy, of evolving relationships and erotic encounters, with vivid accounts of the settings in which they took place, it offers fresh insights into their complicated, interlocking lives. Complete with first-hand accounts, this book illuminates shifting social and moral attitudes towards sexuality and gender in the 1920s and 30s. “I hold the conviction that as the centuries go on, and the sexes become more nearly merged on account of their increasing resemblances ... such connections will to a very large extent cease to be regarded as merely unnatural, and will be understood far better”. Vita Sackville-West, 1920 In the deep blue Turret Room at Knole sits a battered tin trunk inscribed “Edward Sackville-West: Various Papers”. Hoarded inside were the intimate records of lives lived at the heart of 1920s literary Bloomsbury. Lytton Strachey, James Strachey, Alix Strachey, Duncan Grant, Bunny Garnett and Stephen Tomlin all stayed with Eddy at Knole. Two of these friends – Duncan Grant and Stephen Tomlin – became lovers, filling his rooms with the vibrant outpourings of Bloomsbury creativity. Living in an England where homosexuality was illegal until 1967, Eddy’s design choices were boldly counter-cultural. Eddy’s first cousin, Vita Sackville-West, and her lover, Virginia Woolf, were equally at home in this world, their names permanently associated through the publication of Orlando in 1928. Set at Knole, Woolf’s tribute to Vita created a hero/heroine who evaded categorisations of sex and time, changing as the centuries progress. Linked by an intimate web of relationships, Eddy, Virginia and Vita created homes in Kent and East Sussex which challenged contemporary conventions. While Virginia Woolf and Eddy Sackville-West favoured the bright colours and bold patterns of Bloomsbury, Vita Sackville-West looked backwards to the Elizabethan age, filling her rooms with the romantic relics of past lovers.

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In Collecting Shakespeare, Stephen H. Grant recounts the American success story of Henry and Emily Folger of Brooklyn, a couple who were devoted to each other, in love with Shakespeare, and bitten by the collecting bug. Shortly after marrying in 1885, the Folgers started buying, cataloging, and storing all manner of items about Shakespeare and his era. Emily earned a master's degree in Shakespeare studies. The frugal couple worked passionately as a tight-knit team during the Gilded Age, financing their hobby with the fortune Henry earned as president of Standard Oil Company of New York, where he was a trusted associate of John D. Rockefeller Sr. While a number of American universities offered to house the collection, the Folgers wanted to give it to the American people. Afraid the price of antiquarian books would soar if their names were revealed, they secretly acquired prime real estate on Capitol Hill near the Library of Congress. They commissioned the design and construction of an elegant building with a reading room, public exhibition hall, and the Elizabethan Theatre. The Folger Shakespeare Library was dedicated on the Bard's birthday, April 23, 1932. The library houses 82 First Folios, 275,000 books, and 60,000 manuscripts. It welcomes more than 100,000 visitors a year and provides professors, scholars, graduate students, and researchers from around the world with access to the collections. It is also a vibrant center in Washington, D.C., for cultural programs, including theater, concerts, lectures, and poetry readings. The library provided Grant with unprecedented access to the primary sources within the Folger vault. He draws on interviews with surviving Folger relatives and visits to 35 related archives in the United States and in Britain to create a portrait of the remarkable couple who ensured that Shakespeare would have a beautiful home in America.

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In a recent sale catalog, one bookseller apologized for the condition of a sixteenth-century volume as "rather soiled by use." When the book was displayed the next year, the exhibition catalogue described it as "well and piously used [with] marginal notations in an Elizabethan hand [that] bring to life an early and earnest owner"; and the book's buyer, for his part, considered it to be "enlivened by the marginal notes and comments." For this collector, as for an increasing number of cultural historians and historians of the book, a marked-up copy was more interesting than one in pristine condition. William H. Sherman recovers a culture that took the phrase "mark my words" quite literally. Books from the first two centuries of printing are full of marginalia and other signs of engagement and use, such as customized bindings, traces of food and drink, penmanship exercises, and doodles. These marks offer a vast archive of information about the lives of books and their place in the lives of their readers. Based on a survey of thousands of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics. The chapters address the place of book-marking in schools and churches, the use of the "manicule" (the ubiquitous hand-with-pointing-finger symbol), the role played by women in information management, the extraordinary commonplace book used for nearly sixty years by Renaissance England's greatest lawyer-statesman, and the attitudes toward annotated books among collectors and librarians from the Middle Ages to the present. This wide-ranging, learned, and often surprising book will make the marks of Renaissance readers more visible and legible to scholars, collectors, and bibliophiles.

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Tom Hart Dyke has a bit of a thing about plants. You might call it an obsession. You might call him certifiable, in fact. But it's a truth universally acknowledged that a single man in possession of a large ramshackle country estate and an obsession with plant collecting could want for only one thing - in Tom's case it's a walled garden containing examples of plants collected from every corner of the globe. Tom's infectious enthusiasm for anything with chlorophyll in it and the hugely ambitious World Garden project he has undertaken at his family home, Lullingstone Castle, in Kent have been documented in a 12-part television series for BBC 2. The first six parts ("Save Lullingstone Castle") were shown in spring 2006, and the second six episodes ("Return to Lullingstone Castle") in spring 2007 to coincide with hardback publication.Tom's attempts to set up the World Garden aren't exactly straightforward. You might imagine, for example, that the easiest way to start preparing the ground inside the walled Elizabethan garden which he transforms into the main part of the world garden would be to enlist the help of a few people and a lot of hard digging. Well not for Tom, who enlists instead two large pigs, who do indeed do a great job of turning over the earth and fertilising it with great organic manure. But the problem is that they keep escaping into the Hart Dyke family burial plot next door where they start digging up Tom's ancestors..."The World Garden" is created to bring together a truly amazing collection of plants from every continent and so to show the global origins of the plants we all grow in our gardens. It's already establishing itself as a tourist attraction of some note as well as an educational resource. This is a book for all those who bought Tim Smit's "Lost Gardens of Heligan". It's stuffed full of fascinating botanical information as well as the story of Tom's hapless struggle to overcome huge logistical nightmares. It's a riveting, hilarious story of English eccentricity in full bloom.

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