Richard III's story, told in first person from his point of view, using, where possible, Richard's actual words (in modern English.) From the battle of Barnet when Richard is only 18 through his marriage to Anne Neville, to unexpected kingship, betrayal by his 'friend' Buckingham...and the mystery of the vanished princes. Then it is on through the pain of the loss of his only legitimate son Edward, to the final deadly conflict on Bosworth Field against Henry Tudor. A different fictional look at England's most loved--and most hated--King.. Not a wooden saint, nor yet Shakespeare's hunchbacked fiend, a flesh and blood, fallible man: King's brother, royal duke, scoliosis sufferer, warrior, husband, father. Called 'a new Ricardian classic.' Approximately 250,000 words. Contains what is probably the most up to date fictional account of Richard's last moments at Bosworth, based on the archaeology and forensics.

    Composed in verse in the 1220s just a few years after his death, it is a major primary source not simply for its subject's life but for the exceptionally stormy period he had had to navigate. It could hardly be other than major, given that its subject was regarded as the greatest knight who ever lived and that he rose in the course of his long life to be a central figure in the reigns of no fewer than four kings: Henry II, Richard Lionheart, John and Henry III. This remarkable biography was brought to light in the late nineteenth century thanks to a determined hunt for the manuscript by its first editor, the eminent French scholar Paul Meyer. It gives a vigorous account of events, full of vivid detail and passionate comment and frequent flashes of humour. And it gives revelatory insights into the attitudes and perceptions of the time, especially into the experience and nature of warfare in the late twelfth and early thirteenth centuries. But while its quality and value have been long acknowledged, the poem has sometimes been deemed less than impartial and objective. Commissioned as it was by Marshal's own son, and intended not least for his family's fond enjoyment, it is little surprise that the poem's adulation of its subject is rarely qualified by regrets for failings or what are nowadays referred to as 'errors of judgement'. Marshal is presented as - to all intents and purposes - flawless: not simply a magnificent warrior, supreme in tournaments and battles alike, but a paragon of the key chivalric virtues of prowess, largesse and unfailing loyalty. But this is not surprising: the idea of the fallible hero is a modern invention, and the writer of this work - like Marshal himself - was steeped in the old ideals of the chansons de geste as well as the more recent ideology of chivalry. In any case, there can be no denying that Marshal's achievements - and sometimes his behaviour - were by any standards extraordinary and seen as such by his contemporaries, and the poem corresponds with what we know of his life from other sources. Few other medieval biographies have the immediacy of this celebration of Marshal's career, based not least on stories told by Marshal himself and those close to him, and it is made available here for the first time in a modern prose translation.

    Departing from the usual king-centric narrative, Richard Huscroft instead centers each of his chapters on the experiences of a particular man or woman who contributed to the broad sweep of events. Whether noble and brave or flawed and fallible, each participant was struggling to survive in the face of uncontrollable forces. Princes, princesses, priests, heroes, relatives, friends, and others—some well known and others obscure—all were embroiled in the drama of historic events.   Under Henry II and his sons Richard I (the Lionheart) and John, the empire rose to encompass much of the British Isles and the greater part of modern France, yet it survived a mere fifty years. Huscroft deftly weaves together the stories of individual lives to illuminate the key themes of this exciting and formative era.

    A marriage surprisingly happy, with the king pouring wealth upon his young wife's relatives...incurring the wrath of the Barons. Eleanor, devoted mother, who fought the will of the monks to stay in a monastery and nurse her sick son, the future Edward I. Eleanor, caught in court intrigue, with the powerful, disturbing Baron, Simon de Montfort, looming at every turn--friend or foe? Or what else? Eleanor, attacked while on a barge passing under London Bridge, as the kingdom seems to slip away from her and Henry. Eleanor in victory, de Montfort slain at Evesham by her son's mighty forces. But there is a price to pay. Eleanor, a widow, seeking peace after so many years of strife, ending her days in Amesbury Priory in the shadow of Stonehenge, a convent thought in Eleanor's time to be the final refuge of Queen Guinevere, whose legends the queen had ever loved. Today, Eleanor of Provence is lost to time, one of the lesser known English Queens, her gravesite obliterated, its whereabouts forgotten—one of the few English monarchs to have no known tomb. MY FAIR LADY is first person novel written from the viewpoint of Eleanor herself. A woman’s look at her own Queenship and life and loves in the 13th century, at the time of the Second Barons Revolt.

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    He is normally overshadowed by his far more famous son, Henry V, despite his many achievements. Shakespeare is partly to blame for Henry's diminution and his son's exaggerated stature but not completely; we just don't know what to make of a man who took the throne from the rightful king. In this lecture his reputation is traced from his youth (when he was prasied and revered far and wide) to his later years, when he was feared and disliked and seen as a disappointment. The resons for that decline are explained and a new, more posiitive view taken of his resilience. In conclusion, one has to see something deeply distinguished and 'Churchillian' in the way he weathered the storm of his later years and prepared the way for his son's martial reign.