Search results for ""Author Simon Thomas""

Mainly covering the mid-1960s to the mid-1980s, this collection of images offers a fascinating survey of one of the iconic locomotives of twentieth-century Britain: the Class 40. A common sight in Scotland and the north of England in the latter part of the century, the Class 40 continues to capture the imagination of railway enthusiasts everywhere. Used to haul both heavy freight and passenger trains, this book captures a locomotive at the peak of its powers, with previously unpublished images showing Class 40s both at work and rest. The vast majority of the photographs in this book were taken by the late Keith Holt. He was brought up in West Yorkshire and, like many youngsters at that time, developed an interest in railways as he cycled around the West Riding to visit places of interest. He always took photographs, including many of the iconic Class 40 locomotives. This book serves as a fitting tribute to his longstanding interest in the railways, and reflects the varied work carried out by the Class 40.

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'She had saved her. But at what a cost! Her position, her name, her character - she had given them all, but Clarissa was hers.' Upon the death of her mother, Agatha Bodenham finds herself alone for the first time in her life. Solitary and socially awkward by nature, she starts to dream about her imaginary childhood friend - the only friend she ever had. Much to her surprise, Clarissa starts to appear, fleetingly at first, and engage with her, and eventually becomes visible to everyone else. Agatha, a 32-year- old spinster, must explain the child's 'sudden' appearance. In a moment of panic, she pretends that Clarissa is her own daughter, her love child. Olivier constructs a mother/daughter relationship which is both poignant and playful. As the years roll by and Clarissa grows into a beautiful young woman, Agatha's love becomes increasingly obsessive as she senses Clarissa slipping away, attracted by new interests and people her own age.

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"I know that things of that kind always are known, and the people I've been thrown with, sooner or later, always turned out to have heard the story. Or if they hadn't," said Miss Marchrose in a voice of calm despair, "someone took the trouble to tell them." Miss Marchrose is about to discover that she cannot escape her past when she takes up a new position at a secretarial college in the south west of England. Following insinuations dropped by the director's wife, she becomes the subject of a whispering campaign which threatens her professional career and personal happiness. Tension examines reputation and the persistence of gossip in relation to a woman's choice of work and domestic arrangements with a light touch of humour. The two main female characters represent the different roles of women in public life: Lady Rossiter uses her social position to influence college matters, while Miss Marchrose is a professional woman who brings qualifications and experience to her role.

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'She got up, without meeting his eyes, and went into the bedroom to dress. That was life all over; you wanted to make a good exit, and you remembered you were still in your housecoat.' Single girl Liza leaps into an exciting new sexual relationship with Walter after the couple meet at a New Year's party. Written by Angela Milne, the niece of A. A. Milne, and originally published in 1942, the story shines a light on subtly changing societal attitudes and deftly captures Liza's euphoria and frustrations as she navigates a relationship outside of marriage. Warm, witty and surprising, it leaves you wondering why Milne only wrote one novel.

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'There was no one in the room. Blinds and curtains were closed; the light of the skies, if any, was shut out. ... Only the fire was alive, consuming its life-for what? Then the door opened and as Claudia came with hurried steps into the fire's glow, two open letters in her hand, the telephone began ringing. She shut the door and turned up the lights.' Claudia Heseltine returns to this moment three times in a series of parallel narratives. As the novel presses the re-set button, she accepts each invitation, one by telephone, two by letter, to a specific social event, and in doing so her life goes down a different path with its own possibilities and achievements, sorrows and disappointments. This is an inventive novel, published in 1931, which contemplates the consequences of a single decision.

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When her bohemian life in Paris falls flat at the beginning of the First World War, Sally Lunton returns to the care of her guardian in Little Crampton to find a husband. With some encouragement from the local busybody, she makes a play for Mr Bingley, the bank manager, although she has a rival in Mrs Dalton, a widow with a young daughter to raise. These two ladies form a quiet alliance, recognising that the prize isn't really worth fighting over but respecting the other's pursuit of financial security. Sally aims to win but is distracted by her unsettling emotions for a soldier tortured by his experience at the Front. This entertaining novel is full of acute and humorous observations of male and female attitudes to love and marriage. Sally is a spirited heroine, who is determined to settle into a comfortable life now that she is in her early thirties. But in securing her future, Sally must also face her past.

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Miss Cullen finds herself in a dreadful predicament. Four years from retirement, she can no longer meet the educational standards expected nor control her pupils at Besley High School for girls. She knows that no other school will hire her now, but if she is sacked or doesn't work until she's 60, she will lose her pension. Her only hope is to hang on. But her poor exam results affect the standing of the whole school. Her colleagues embark on a campaign against her to save their own positions and she retaliates by involving the school inspector. Into this hostile environment comes Viola Kennedy, a young new teacher full of optimism and ideas, who instead gets caught up in the conspiracies and swirling resentments. A quietly devastating novel about the realities of life for single working women in the 1920s and the systems that failed them.

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Julia Almond believes she is special and dreams of a more exciting and glamorous life away from the drab suburbia of her upbringing. Her work in a fashionable boutique in the West End gives her the personal freedom that she craves but escape from her parental home into marriage soon leads to boredom and frustration. She begins a passionate affair with a younger man, which has deadly consequences. Based on the events of a sensational murder trial in the 1920s - the Thompson/Bywaters case - Julia becomes trapped by her sex and class in a criminal justice system in which she has no control. Julia finds herself the victim of society's expectations of lower-middle-class female behaviour and incriminated by her own words. Tennyson Jesse creates a flawed, doomed heroine in a novel of creeping unease that continues to haunt long after the last page is turned.

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David Tompkins thinks it is a splendid idea to open a tea garden at his Kentish cottage. His wife, Germayne, is not so sure. The local villagers are divided on the matter, and not necessarily supportive, particularly Mr Perch at the Dolphin, who sees it as direct competition to Mrs Perch's own tea garden. It doesn't bode well when the official opening coincides with a break in the beautiful weather. Things are further complicated by the arrival of the 'cake cook' Mimi, a Viennese girl with a mysterious past, Germayne's daughter Ducks, and finally her 'rather stolid' ex-husband Digby. With rumour rife that the couple are - whisper it - not actually married, the lady of the manor, who has failed to realise that nowadays that title carries no real weight, makes it her mission to shut the enterprise down.

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A Pygmalion-style story told with von Arnim’s characteristic wit and charm, this novel introduces us to Salvatia (known as Sally), a much longed-for child to humble shopkeepers. Sally grows up to be an extremely beautiful girl, attracting the attentions of every man who sees her. When her mother dies, her father decides it is just too difficult to defend her virtue and marries her to the first man who proposes. But Jocelyn is about to learn a lesson in marrying for looks alone. The two are from very different classes and have nothing in common: beauty can only bridge the gap so far. Meanwhile, his mother is being pursued by her own unsuitable suitor – debating if she can tolerate his crass personality in return for the security of his wealth. Von Arnim turns her ironic humour to great effect in showing us the follies of her cast of characters, whom we can’t help wishing the best for, despite everything.

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In this body swap comedy from the 1930s, the minds of two strangers, aristocrat Lady Elizabeth and middle-class Polly Wilkinson, switch places with baffling and hilarious results. With wry observations on class, behaviour and relationships, as both attempt to navigate the different social settings and awkward situations they suddenly find themselves thrust into - the switches taking place randomly with very little warning - the two women are eventually able to contrive a meeting and learn to control their 'gift' and effect positive changes in each others' lives.

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'Joanna sat with her cheek against her [Libby's] shining hair. She had hardly thought of Steven since he slammed his way out of the house, but now, welling up within her and pouring out over her love for Libby, came an intolerable flood of envy.' Widowed at 21 with a young baby, Joanna Malling finds her solitary existence upended twenty years later when her daughter Libby moves in with her new husband. At 35, Steven is closer in age to Joanna than Libby. What begins as an awkward relationship between mother and son-in-law evolves into something more intimate and Joanna must wrestle with re-awakened emotions and the conflict between desire and loyalty.

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'Oh God, one should not go to parties, Daisy sighed, sinking in wan defeat in the melancholy dawn. One should not mingle with others; one should keep oneself to oneself...' Lying awake after a hotel party on holiday in the Mediterranean, Daisy Simpson reflects on her lacklustre social performance and muses on the impression her confident and graceful half-sister Daphne may have made on the other guests. What is it that makes Daphne, Daphne and Daisy, Daisy? And which of the two will attract the attentions of one of their hosts, Raymond, whom they have both fallen for? Returning to London, Daisy's life is strained by the efforts of presenting the right elements of her personality to the right people, resulting in embarrassments, difficulties and deceits as she navigates her relationships and social standing. Rose Macaulay's novel, first published in 1928, offers a sharp and witty commentary on how we twist our identities to fit, delivered in an intelligent and innovative style.

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Rose Macaulay takes a lively and perceptive look at three generations of women within the same family and the 'dangers' faced at each of those stages in life. The book opens with Neville celebrating her 43rd birthday and contemplating middle age now that her children are grown. Her mother, in her sixties, seeks answers to her melancholy in Freudianism. Her sister, Nan, 33, a writer who has hitherto led a single and carefree life in London, experiences the loss of love and with it her plan for the future. And Neville's principled daughter Gerda, who is determined not to follow her mother's generation into the institute of marriage, finds herself at an impasse with the man she loves.

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A female narrator looks back on her childhood in a coming-of-age novel set before the First World War. Ruan is an intelligent and imaginative child, who gradually comes to understand the nuances of the adult world around her, as she moves from the Manse, under the strict rule of her father, a non-conformist minister, to Cobbetts, her mother's ancestral home, under the tutelage of her Uncle Alaric, and back to the guardianship of Rosie Day at Bolton House high up on the moor above the town where she was born. Her young life is shaped by a series of tragedies, but also the warmth of enduring friendships, particularly with David, her dearest friend who shares her love of the wild expanse and colours of the moor.

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An interdisciplinary approach to sources for our knowledge of the crusades. The interrelation of so-called "literary" and "historical" sources of the crusades, and the fluidity of these categorisations, are the central concerns of the essays collected here. They demonstrate what the study of literary texts can do for our historical understanding of the crusading movement, challenging earlier historiographical assumptions about well-known poems and songs, and introducing hitherto understudied manuscript sources which elucidate a rich contemporary compositional culture regarding the matter of crusade. The volume discusses a wide array of European textual responses to the medieval crusading movement, from the Plantagenet and Catalan courts to the Italy of Charles of Anjou, Cyprus, and the Holy Land. Meanwhile, the topics considered include the connexions between poetry and history in the Latin First Crusade texts; the historical, codicological and literary background to Richard the Lionheart's famous song of captivity; crusade references in the troubadour Cerverí of Girona; literary culture surrounding Charles of Anjou's expeditions; the use of the Mélusine legend to strengthen the Lusignans' claim to Cyprus; and the influence of aristocratic selection criteria in manuscript traditions of Old French crusade songs. These diverse approaches are unified in their examination of crusading texts as cultural artefacts ripe for comparison across linguistic and thematic divides.

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An interdisciplinary approach to sources for our knowledge of the crusades. The interrelation of so-called "literary" and "historical" sources of the crusades, and the fluidity of these categorisations, are the central concerns of the essays collected here. They demonstrate what the study of literary texts can do for our historical understanding of the crusading movement, challenging earlier historiographical assumptions about well-known poems and songs, and introducing hitherto understudied manuscript sources which elucidate a rich contemporary compositional culture regarding the matter of crusade. The volume discusses a wide array of European textual responses to the medieval crusading movement, from the Plantagenet and Catalan courts to the Italy of Charles of Anjou, Cyprus, and the Holy Land. Meanwhile, the topics considered include the connexions between poetry and history in the Latin First Crusade texts; the historical, codicological and literary background to Richard the Lionheart's famous song of captivity; crusade references in the troubadour Cerverí of Girona; literary culture surrounding Charles of Anjou's expeditions; the use of the Mélusine legend to strengthen the Lusignans' claim to Cyprus; and the influence of aristocratic selection criteria in manuscript traditions of Old French crusade songs. These diverse approaches are unified in their examination of crusading texts as cultural artefacts ripe for comparisonacross linguistic and thematic divides. SIMON THOMAS PARSONS teaches Medieval History at Royal Holloway, University of London and King's College London; LINDA PATERSON is Professor Emerita at Warwick University. Contributors: Luca Barbieri, Miriam Cabré, Jean Dunbabin, Ruth Harvey, Simon John, Charmaine Lee, Helen J. Nicholson, Simon Parsons, Anna Radaelli, Stephen Spencer, Carol Sweetenham.

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