Nevertheless their lives were so closely intertwined, their choices, dreams and tragedies so eerily similar, it seems impossible to consider one without the other.Both women became famous writers; fell in love with brilliant but impossible men; and were single mothers who had children out of wedlock; both lived in exile; fought for their position in society; and thought deeply about how we should live. And both women broke almost every rigid convention there was to break: Wollstonecraft chased pirates in Scandinavia. Shelley faced down bandits in Naples. Wollstonecraft sailed to Paris to witness the Revolution. Shelley eloped in a fishing boat with a married man. Wollstonecraft proclaimed that women’s liberty should matter to everyone.Not only did Wollstonecraft declare the rights of women, her work ignited Romanticism. She inspired Coleridge, Wordsworth and a whole new generation of writers, including her own daughter, who – with her young lover Percy Shelley – read Wollstonecraft’s work aloud by her graveside. At just nineteen years old and a new mother herself, Mary Shelley composed Frankenstein whilst travelling around Italy with Percy and roguish Lord Byron (who promptly fathered a child by Mary’s stepsister). It is a seminal novel, exploring the limitations of human nature and the power of invention at a time of great religious and scientific upheaval. Moreover, Mary Shelley would become the editor of her husband’s poetry after his early death – a feat of scholarship that did nothing less than establish his literary reputation.Romantic Outlaws brings together a pair of visionary women who should have shared a life, but who instead shared a powerful literary and feminist legacy. This is inventive, illuminating, involving biography at its best.

    As well as recording public and historical events, Pepys paints a vivid picture of his personal life, from his socializing and amorous entanglements, to his theatre-going and his work at the Navy Board. Unequaled for its frankness, high spirits and sharp observations, the diary is both a literary masterpiece and a marvelous portrait of seventeenth-century life.Previously published as The Shorter Pepys, this edition is edited and abridged by Robert Latham, Fellow and Pepys Librarian at Magdalene College, Cambridge.

    In this important study, Richard D. Altick moves us toward an understanding of the social, intellectual, and theological crises that Carlyle and Dickens, Tennyson and Arnold were daily struggling to solve. And the issues were many: the revolution in class structure and class attitudes; the rise of utilitarianism and the evangelical spirit; the crisis in religion, including the Oxford movement and Darwinism; the democratization of culture; the place of art and the artist in an industrial, bourgeois society; the effects of industrialism, especially on the way people live. Altick brings to the discussion of these complicated questions the lively and sensitive intelligence that his many readers have come to expect. He includes contemporary illustrations and a full reference index.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    Each year they are seen by millions of visitors, and they have become as integral a part of the Tower as its ancient stones. But their role is even more important than that—legend has it that if the ravens should ever leave, the Tower will crumble into dust and great harm will befall the kingdom.The responsibility for ensuring that such a disaster never comes to pass falls to one man: the Ravenmaster. The current holder of the position is Yeoman Warder Christopher Skaife, and in this fascinating, entertaining and touching book he memorably describes the ravens’ formidable intelligence, their idiosyncrasies and their occasionally wicked sense of humour. The Ravenmaster is a compelling, inspiring and irreverent story that will delight and surprise anyone with an interest in British history or animal behaviour.

    All argument is against it; but all belief is for it.” —Samuel Johnson   Ghosts are woven into the very fabric of life. In Britain, every town, village, and great house has a spectral resident, and their enduring popularity in literature, art, folklore, and film attests to their continuing power to fascinate, terrify, and inspire. Our conceptions of ghosts—the fears they provoke, the forms they take—are connected to the conventions and beliefs of each particular era, from the marauding undead of the Middle Ages to the psychologically charged presences of our own age. The ghost is no less than the mirror of the times.   Organized chronologically, this new cultural history features a dazzling range of artists and writers, including William Hogarth, William Blake, Henry Fuseli, Dante Gabriel Rossetti, John Everett Millais, Susan Hiller and Jeremy Deller; John Donne, William Shakespeare, Samuel Pepys, Daniel Defoe, Percy and Mary Shelley, Emily Bronte, Charles Dickens, Wilkie Collins, Henry James, Thomas Hardy, Muriel Spark, Hilary Mantel, and Sarah Waters.

    Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    Yet sometime near the end of the century, censors cut a section from "The Secret History of the Mongols, " leaving a single tantalizing quote from Genghis Khan: "Let us reward our female offspring." Only this hint of a father's legacy for his daughters remained of a much larger story. The queens of the Silk Route turned their father's conquests into the world's first truly international empire, fostering trade, education, and religion throughout their territories and creating an economic system that stretched from the Pacific to the Mediterranean. Outlandish stories of these powerful queens trickled out of the Empire, shocking the citizens of Europe and and the Islamic world. After Genghis Khan's death in 1227, conflicts erupted between his daughters and his daughters-in-law; what began as a war between powerful women soon became a war against women in power as brother turned against sister, son against mother. At the end of this epic struggle, the dynasty of the Mongol queens had seemingly been extinguished forever, as even their names were erased from the historical record.. One of the most unusual and important warrior queens of history arose to avenge the wrongs, rescue the tattered shreds of the Mongol Empire, and restore order to a shattered world. Putting on her quiver and picking up her bow, Queen Mandhuhai led her soldiers through victory after victory. In her thirties she married a seventeen-year-old prince, and she bore eight children in the midst of a career spent fighting the Ming Dynasty of China on one side and a series of Muslim warlords on the other. Her unprecedented success on the battlefield provoked the Chinese into the most frantic and expensive phase of wall building in history. Charging into battle even while pregnant, she fought to reassemble the Mongol Nation of Genghis Khan and to preserve it for her own children to rule in peace. At the conclusion of his magnificently researched and ground-breaking narrative, Weatherford notes that, despite their mystery and the efforts to erase them from our collective memory, the deeds of these Mongol queens inspired great artists from Chaucer and Milton to Goethe and Puccini, and so their stories live on today. With "The Secret History of the Mongol Queens," Jack Weatherford restores the queens' missing chapter to the annals of history.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    This is a fascinating and unique guide to the capital that takes the reader off the beaten track and into unexplored territory. This book allows the reader to travel through time to six key periods in the history of London. From Shakespeare to the plague, medieval London to the swinging 60s, readers can totally immerse themselves in the sights, sounds and smells of our capital at each particular moment.It's vividly written, and after reading this book you'll never rush through the streets of Covent Garden or St Paul's again without pausing for at least a moment to think of all the mad characters and epic lives that ran through the same streets centuries before.Whether you are a tourist looking for an alternative way to see the city, or a Londoner that wants to learn more about the world around you, this is a must-have guide.

    Over the course of the next 47 years, the company's reach grew until almost all of India south of Delhi was effectively ruled from a boardroom in the city of London.

    The implications and challenges associated with this fact are enormous. But how did we get here?From the origins of urbanization in Mesopotamia to the global metropolises of today, great cities have marked the development of human civilization. The Great Cities in History tells their stories, starting with the earliest, from Uruk and Memphis to Jerusalem and Alexandria. Next come the fabulous cities of the first millennium: Damascus and Baghdad, Teotihuacan and Tikal, and Chang’an, capital of Tang Dynasty China. The medieval world saw the rise of powerful cities such as Palermo and Paris in Europe, Benin in Africa, and Angkor in southeast Asia. The last two sections bring us from the early modern world, with Isfahan, Agra, and Amsterdam, to the contemporary city: London and New York, Tokyo and Barcelona, Los Angeles and Sao Paulo.The distinguished contributors, including Jan Morris, Michael D. Coe, Simon Schama, Orlando Figes, Felipe Fernandez-Armesto, Misha Glenny, Susan Toby Evans, and A. N. Wilson, evoke the character of each place—people, art and architecture, government—and explain the reasons for its success.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    The crucial players in this drama were the British, who invented both capitalism and imperialism and were incomparably the richest, most important investors in the developing world. In this sense, England's position has strong resemblances to America's in the late twentieth century.As one of our most accomplished biographers and novelists, A. N. Wilson has a keen eye for a good story, and in this spectacular work he singles out those writers, statesmen, scientists, philosophers, and soldiers whose lives illuminate so grand and revolutionary a history: Darwin, Marx, Gladstone, Christina Rossetti, Gordon, Cardinal Newman, George Eliot, Kipling. Wilson's accomplishment in this book is to explain through these signature lives how Victorian England started a revolution that still hasn't ended.

    Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.