He is a handsome English aristocrat, sprawled in the dunes, dying of thirst. She is a white-skinned savage, fleeing the aborigine tribe that found her and raised her but still shunned the fiery-haired outcast.Suddenly, Meg is about to escape her primitive life as Luke introduces her to the strange ways of Victorian England. In a search filled with adventure and excitement that spans three continents, Meg uncovers the clues to her true identity and realizes someone is trying to kill her. But the mysteries and secrets of the aborigines still pulse through the Victorian young lady, enabling Meg to triumph in the final desperate battle for survival and claim the only man she will ever love.

    Even in the peaceful fields of rural England only intelligent and energetic intervention could keep the shadows at bay."Cthulhu by Gaslight" includes a lengthy roleplaying adventure, "The Yorkshire Horrors" in which the investigators join forces with the world's most famous consulting detective, Sherlock Holmes Extensive background essays provide period skills, social classes, world politics, biographies and timelines for the 1890s, maps and London location notes (including the best stores of the time), travel, criminals and police, Cockney slang, cost of living, royalty and titles, club life in London, the occult in the 1890s, prices, and clothing. A lengthy essay considers time-travel rationales for moving investigators of another time into the 1890s.

    But as this lavish monograph points out, he mostly portrayed the newly rich middle classes, not the aristocracy, and his pictures reflected their insecurities as well as their need to be flattered. Dismissed today by most critics as superficial and trite, his paintings nevertheless enjoy considerable popularity both for their period charm and their detailed mirroring of a society. London art dealer Wood, author of three books on Victorian painting, offers a wide-angled view: the painter's youthful medieval craze and his late religious canvases triggered by the death of his mistress get their full due, even though the latter look hopelessly stagey. Tissot's love scenes are mysterious dramas pregnant with emotion, and his pictures of shopgirls and circus performers have the offhand quality of works by his friends Degas and Manet. --from Publisher's Weekly Tissot is best known for his brilliant pictures of English and French society in the 1860's and 1870', depicting in minute detail the ravishing costumes, decorative interiors and riverside scenes of the period. More than any other Victorian painter Tissot's pictures mirror exactly the habits and preoccupations of his age. Here Christopher Woods's engagingly written and copiously illustrated book surveys Tissot's entire career, revealing the tensions and contradictions that often lay beneath the deceptively glossy surface .of his pictures. --amazon Tissot occupies a unique and ambivalent position in 19th-century painting. Born a Frenchman, he sought fame in England, and after a brilliant career as a society painter he turned late in life to religion. He set his glittering and minutely detailed scenes in elegant London ballrooms and conservatories and peopled them with chic young women in ravishing costumes, while at the same time investing them with a note of brooding melancholy. This became overwhelming in his many portraits of his mistress Kathleen Newton, and intensely romantic figure whom Tissot loved and painted obsessively until her tragically early death. Then, after returning to France, he experienced a dramatic religious conversion and devoted the rest of his life to spiritualism and illustrating the Bible, which brought him even greater fame. --www.amazon.de

    Inspired by the “new novel” developed by Zola and Flaubert, Norris adapted its methods to American settings, adding his own taste for exciting action and a fascination with the emergent sciences of economics and psychology.Born in Chicago in 1870, Norris moved with his family to San Francisco in 1885. After studying art in Paris and literature at Berkeley and Harvard, he worked as a journalist and foreign correspondent, was expelled from South Africa in 1896, and reported on the Spanish-American War from Cuba in 1898, where he met Stephen Crane. Joining the publishing firm of Doubleday & McClure in 1898, he met William Dean Howells, Hamlin Garland, and Theodore Dreiser, and published six novels between 1898 and 1902. He died following an attack of appendicitis in October of 1902.Vandover and the Brute (1914) was published posthumously but written in 1895 during Norris’s year at Harvard. Drunkenness, sensuality, gambling, and debauchery reduce young Vandover, once a fashionable playboy and aspiring artist, to virtual bestiality. His dissipation is described with shocking realism, as Norris paints each level of San Francisco society he encounters in his descent.The novel McTeague (1899) represented a radical departure for American fiction of its era in its frank treatment of sex, domestic violence, and obsession. McTeague is a huge, simple dentist who dreams of having a giant tooth to hang outside his office and who carries his pet canary wherever he goes; Trina is his gentle, diminutive wife, who wins a lottery and compulsively hoards her money. They live on Polk Street in San Francisco, where the new middle class struggles with its pathological underside. Erich von Stroheim based his classic film Greed (1924) on this immensely powerful and grimly realistic novel.The Octopus (1901), the first work in Norris’s unfinished trilogy “The Epic of the Wheat,” is a novel about the ranchers and wheat producers of California. Pitted against the railroad monopoly and political machine, the members of the ranching community are forced to take up arms against the state. Inspired by the Mussel Slough Massacre of 1880, it depicts a band of strong ruthless Westerners who are crushed by inexorable forces of nature and capital they had sought to control.The twenty-two essays in this volume cover the years 1896–1902. They include book reviews, articles, literary columns, and parodies of popular authors in the hilarious “Perverted Tales.” They address theories of literature, the state of American fiction, and the social responsibilities of the artist.

    To him, the Civil War was just an interlude. Before and after this great conflict, Crook was an Indian fighter.Crook fought the greatest of the Indian chieftains; served at frontier posts from the Columbia River to the Rio Grande, from Illinois to the Pacific. Yet he was as good at defending Indians as he was at fighting them. Crook understood and sympathized with them. He spoke plainly and often against injustices in the treatment of the Indian. And when he died, Red Cloud, chief of the Sioux, gave him his epitaph: “He, at least, had never lied to us.”General George Crook: His Autobiography first came into print when Martin F. Schmitt, working in the archives of the Army War College in Washington, made the startling rediscovery of the Crook papers, which had been presented to the library of the War College by the widow of Walter S. Schuyler, one-time aid to General Crook. The existence of the autobiography had apparently not been previously suspected by any writer on the West, not even by the General’s friend, Captain John G. Bourke, who wrote the only existing sketch of his life.A West Point graduate of 1852, General Crook spent his entire military career, with the exception of the four Civil War years, 1861 to 1865, on the frontier. His life paralleled western expansion during the latter half of the nineteenth century. In 1890, at the time of this death, he was commanding general of the Department of the Missouri, the largest and most active of all frontier commands. The Rogue River and Yakima wars in the eighteen fifties, Paiute pacification in the late sixties, the Apache campaigns of the seventies and eighties—all found Crook actively involved, fighting, counseling and making peace with the Indians.His Civil War experiences, while not uniformly successful or profitable, brought him into close contact with the great military figures of the day. He was a favorite of Grant’s and a close associate of Sheridan, who had been in his class at West Point. His blunt, sometimes caustic opinions of his associates and the conduct of campaigns are new and often refreshing.General Crook’s autobiography covers the period from Crook’s graduation from West Point in 1852 to June 18, 1876, the day after the famous Battle of the Rosebud. The editor has supplemented it with other material, some from the Crook diaries and letters and contemporary clippings, on the other years of the General’s life.

    But, before the cards could be distributed, the company that had commissioned them went out of business, leaving behind just one complete set of cards. Fifty of these cards, whimsically depicting life in the year 2000, are reprouduced in full colour here, with lively commentary and analysis from the tewntieth century's most esteemed futurist, Isaac Asimov.

    It examines the individual achievements of Brunel, Joseph Paxton and Robert Stephenson among others, and explains how industrialization changed the face of the environment. The book concludes by considering why the Victorians' mood of optimism turned to one of disillusionment. It argues that the Victorians failed to come to terms with the consequences of industrialization, and that many of the innovations of British engineers found their best expression in other countries.

    The Memoirs of John Addington Symonds are a startling, engrossing and unique new contribution to our understanding of nineteenth-century sexual mores, and an instant, new classic of Victorian autobiography. Written in 1892, but until recently locked in a London library, they reveal the secret homosexual life of a nineteenth century man of letters. Symonds wrote his book knowing that it could never be published in his lifetime, but hoping that posterity would understand and vindicate what his own age despised and hid.

    Drawing on rich new evidence from women's correspondence and diaries between 1860 and 1914, Pat Jalland examines the experience of courtship, marriage, and childbirth and analyzes the vital domestic and political functions they performed. With its intimate approach to women's lives, this book is a welcome complement to the better-known public history of women and the women's movement.