Marie Louise Bruce's account of Anne Boleyn's life and death is not very well-known nowadays but it was pre-eminent at the time it was published.It covers her childhood and time in France, the divorce and her courtship with Henry VIII, her marriage and her tragic fall.

    The enemy sits across the table and sleeps in the next room. Her husband of twenty-one years is plotting against her because he feels increasingly threatened - by Elizabeth's intellect, independence, and unwillingness to stifle her own thoughts. So Theophilus makes a plan to put his wife back in her place. One summer morning, he has her committed to an insane asylum.The horrific conditions inside the Illinois State Hospital in Jacksonville, Illinois, are overseen by Dr. Andrew McFarland, a man who will prove to be even more dangerous to Elizabeth than her traitorous husband. But most disturbing is that Elizabeth is not the only sane woman confined to the institution. There are many rational women on her ward who tell the same story: they've been committed not because they need medical treatment, but to keep them in line - conveniently labeled "crazy" so their voices are ignored.No one is willing to fight for their freedom and, disenfranchised both by gender and the stigma of their supposed madness, they cannot possibly fight for themselves. But Elizabeth is about to discover that the merit of losing everything is that you then have nothing to lose...

    Even before his birth, his life was threatened: it was rumored that his father, Henry, had tried to make the pregnant Mary miscarraige by forcing her to witness the assasination of her supposed lover, David Riccio. By the time James was a one-year-old, Henry was murdered, possibly with the connivance of his mother, Mary was in exile in England and he was King of Scotland. By the age of five, he had experienced three different regents as the ancient dynasties of Scotland battled for power and made him a virtual prisoner in Stirling Castle. In fact, James did not set foot outside the confines of Stirling until he was eleven, when he took control of the country. But even with power in his hands, he would never feel safe. For the rest of his life, he could be caught up in bitter struggles between the warring political and religious factions who fought for control over his mind and body.

    Eamon Duffy shows that late medieval Catholicism was neither decadent nor decayed, but was a strong and vigorous tradition, and that the Reformation represented a violent rupture from a popular and theologically respectable religious system. For this edition, Duffy has written a new Preface reflecting on recent developments in our understanding of the period.From reviews of the first edition:“A magnificent scholarly achievement [and] a compelling read.”—Patricia Morrison, Financial Times“Deeply imaginative, movingly written, and splendidly illustrated. . . . Duffy’s analysis . . . carries conviction.”—Maurice Keen, New York Review of Books“This book will afford enjoyment and enlightenment to layman and specialist alike.”—Peter Heath, Times Literary Supplement“[An] astonishing and magnificent piece of work.”—Edward T. Oakes, Commonweal

    A woman of intellect and presence, Elizabeth was the object of extravagant adoration by her contemporaries. She firmly believed in the divine providence of her sovereignty and exercised supreme authority over the intrigue-laden Tudor court and Elizabethan England at large. Brilliant, mercurial, seductive, and maddening, an inspiration to artists and adventurers and the subject of vicious speculation over her choice not to marry, Elizabeth became the most powerful ruler of her time. Anne Somerset has immortalized her in this splendidly illuminating account.

    This is a page-turning, revisionist history of the villainised and misunderstood Mary Tudor, the first queen of England.

    The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary--one who was equally ambitious but possessed sharply contrasting strengths and weaknesses.Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock's uninhibited style of "action painting" triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock's sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend's mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain's most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen.Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one's own as an artist--finding one's voice--almost always involves willfully breaking away from some intimate's expectations of who you are or ought to be.Praise for The Art of Rivalry"Gripping . . . Mr. Smee's skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas."--The New York Times"With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority."--The Boston Globe"Bacon liked to say his portraiture aimed to capture 'the pulsations of a person.' Revealing these rare creators as the invaluable catalysts they also were, Smee conveys exactly that on page after page. . . . His brilliant group biography is one of a kind." --The Atlantic "Perceptive . . . Smee is onto something important. His book may bring us as close as we'll ever get to understanding the connections between these bristly bonds and brilliance."--The Christian Science Monitor"In this intriguing work of art history and psychology, The Boston Globe's art critic looks at the competitive friendships of Matisse and Picasso, Manet and Degas, Pollock and de Kooning, and Freud and Bacon. All four relationships illuminate the creative process--both its imaginative breakthroughs and its frustrating blocks."--Newsday

    Was she bald? What precisely was her sex-life? What were her emotional attachments? No other biography provides such a personal study of the Queen and her court - their daily lives, concerns, topics of conversation, meals, living conditions, travels, successes and failures - but it also places them firmly within the historical context of 16th Century Britain. An authoritative history of the period enlightened by a through understanding of Elizabethan society and an intimate portrait of the Queen.

    But was she a cunning vixen or a tragic wife and mother? As this extraordinary biography shows, the first queen to bear the name Elizabeth lived a life of tragedy, love, and loss that no other queen has since endured. This shocking revelation about the survival of one woman through vilification and adversity shows Elizabeth as a beautiful and adored wife, distraught mother of the two lost Princes in the Tower, an and innocent queen slandered by politicians.

    England loved her; Henry loved, respected, and finally feared her. Wolsey hated her. Twice she saved England, once from invasion, once from Civil War. Here is one of those rare books, brilliantly readable and buttressed by scholarship and research, which make you see history through new eyes.

    'The Other Tudors' examines the extraordinary untold tales of the women who Henry loved but never married, the mistresses who became queens and of his many children, both acknowledged and unacknowledged.

    Theirs is an almost forgotten chapter of British history, preserved largely in folktales and ballads. It is the story of the notorious raiding families - Armstrongs, Elliots, Grahams, Johnstones, Maxwells, Scotts, Kerrs, Nixons, and others--of the outlaw bands and broken men, and the fierce battles of English and Scottish armies across the Marches. The Steel Bonnets tells their true story in its historical context - how the reivers ran their raids and operated their system of blackmail and terrorism, and how the March Wardens, enforcing the unique Border law, fought the great lawless community. A superb work of scholarship and a spellbinding narrative. George MacDonald Fraser is the celebrated author of the Flashman novels, The Candlemass Road, The Pyrates, and the Private McAuslan stories.

    In Tudor, England, when Mary, Queen of Scots, was under house arrest, her needlework carried her messages to the outside world. From the political propaganda of the Bayeux Tapestry, World War I soldiers coping with PTSD, and the maps sewn by schoolgirls in the New World, to the AIDS quilt, Hmong story clothes, and pink pussyhats, women and men have used the language of sewing to make their voices heard, even in the most desperate of circumstances. Threads of Life is a chronicle of identity, protest, memory, power, and politics told through the stories of needlework. Clare Hunter, master of the craft, threads her own narrative as she takes us over centuries and across continents—from medieval France to contemporary Mexico and the United States, and from a POW camp in Singapore to a family attic in Scotland—to celebrate the age-old, universal, and underexplored beauty and power of sewing. Threads of Life is an evocative and moving book about the need we have to tell our story.

    Bess Hardwick, the fifth daughter of an impoverished Derbyshire nobleman, did not have an auspicious start in life. Widowed at sixteen, she nonetheless outlived four monarchs, married three more times, built the great house at Chatsworth, and died one of the wealthiest and most powerful women in English history.In 1527 England was in the throes of violent political upheaval as Henry VIII severed all links with Rome. His daughter, Queen Mary, was even more capricious and bloody, only to be followed by the indomitable and ruthless Gloriana, Elizabeth I. It could not have been more hazardous a period for an ambitious woman; by the time Bess's first child was six, three of her illustrious godparents had been beheaded.Using journals, letters, inventories, and account books, Mary S. Lovell tells the passionate, colorful story of an astonishingly accomplished woman, among whose descendants are counted the dukes of Devonshire, Rutland, and Portland, and, on the American side, Katharine Hepburn.

    The clash is so significant because it marks the break between medieval and modern; yet how much do we really know about this historical landmark?Michael Jones uses archival discoveries to show that Richard III's defeat was by no means inevitable and was achieved only through extraordinary chance. He relocates the battle away from the site recognized for more than 500 years. With startling detail of Henry Tudor's reliance on French mercenaries, plus a new account of the battle itself, the author turns Shakespeare on its head, painting an entirely fresh picture of the dramatic life and death of Richard III, England's most infamous monarch.