Drawing on her hugely popular lecture courses at Yale and Harvard over the past thirty years, Marjorie Garber offers passionate and revealing readings of the plays in chronological sequence, from The Two Gentlemen of Verona to The Two Noble Kinsmen. Supremely readable and engaging, and complete with a comprehensive introduction to Shakespeare's life and times and an extensive bibliography, this magisterial work is an ever-replenishing fount of insight on the most celebrated writer of all time.

    The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)

    For any student of the city and its secret life, it is indispensable reading." -Peter Ackroyd, The Times (London)Before his murder in 1831, the "Italian boy" was one of thousands of orphans on the streets of London, begging among the livestock, hawkers, and con men. When his body was sold to a medical college, the suppliers were arrested for murder. Their high-profile trial would unveil a furtive trade in human corpses carried out by "resurrection men" who killed to satisfy the first rule of the cadaver market: the fresher the body, the higher the price. Historian Sarah Wise reconstructs not only the boy's murder but the chaos and squalor of his world. In 1831 London, the poor were desperate and the wealthy petrified, the population swelling so fast that class borders could not hold. All the while, early humanitarians were attempting to protect the disenfranchised, the courts were establishing norms of punishment, and doctors were pioneering the science of anatomy.As vivid and intricate as a novel by Charles Dickens, The Italian Boy restores to history the lives of the very poorest Londoners and offers an unparalleled account of England's great metropolis at the brink of a major transformation.

    Wilson draws together all the most recent discoveries and looks afresh at the fascinating life and times of the Tudor monarch, particularly, looking at the King's childhood which is too often dismissed, and the influences of his father and grandfather. Interwoven with an insightful account of how England became a Protestant nation and Henry VIII's life within the court and, of course, all his wives, this Brief History will bring this enigmatic monarch and the dramatic changes that occurred in Britain during his reign to life.

    But how many of us can place that event in the context of the entire dramatic year in which it took place? From the death of Edward the Confessor in early January to the Christmas coronation of Duke William of Normandy, there is an almost uncanny symmetry, as well as a relentlessly exciting surge, of events leading to and from Hastings.

    Forster's Aspects of the Novel is an innovative and effusive treatise on a literary form that, at the time of publication, had only recently begun to enjoy serious academic consideration. This Penguin Classics edition is edited with an introduction by Oliver Stallybrass, and features a new preface by Frank Kermode.First given as a series of lectures at Cambridge University, Aspects of the Novel is Forster's analysis of this great literary form. Here he rejects the 'pseudoscholarship' of historical criticism - 'that great demon of chronology' - that considers writers in terms of the period in which they wrote and instead asks us to imagine the great novelists working together in a single room. He discusses aspects of people, plot, fantasy and rhythm, making illuminating comparisons between novelists such as Proust and James, Dickens and Thackeray, Eliot and Dostoyevsky - the features shared by their books and the ways in which they differ. Written in a wonderfully engaging and conversational manner, this penetrating work of criticism is full of Forster's habitual irreverence, wit and wisdom.In his new introduction, Frank Kermode discusses the ways in which Forster's perspective as a novelist inspired his lectures. This edition also includes the original introduction by Oliver Stallybrass, a chronology, further reading and appendices.E. M. Forster (1879-1970) was a noted English author and critic and a member of the Bloomsbury group. His first novel, Where Angels Fear To Tread appeared in 1905. The Longest Journey appeared in 1907, followed by A Room With A View (1908), based partly on the material from extended holidays in Italy with his mother. Howards End (1910) was a story that centered on an English country house and dealt with the clash between two families, one interested in art and literature, the other only in business. Maurice was revised several times during his life, and finally published posthumously in 1971.If you enjoyed Aspects of the Novel, you might like Forster's A Room with a View, also available in Penguin Classics.

    Tolkien is "the most influential author of the century," and The Lord of the Rings is "the book of the century." In support of these claims, the prominent medievalist and scholar of fantasy Professor Tom Shippey now presents us with a fascinating companion to the works of J.R.R. Tolkien, focusing in particular on The Hobbit, The Lord of the Rings, and The Silmarillion. The core of the book examines The Lord of the Rings as a linguistic and cultural map and as a response to the meaning of myth. It presents a unique argument to explain the nature of evil and also gives the reader a compelling insight into the unparalleled level of skill necessary to construct such a rich and complex story. Shippey also examines The Hobbit, explaining the hobbits' anachronistic relationship to the heroic world of Middle-earth, and shows the fundamental importance of The Silmarillion to the canon of Tolkien's work. He offers as well an illuminating look at other, lesser-known works in their connection to Tolkien's life.

    Nobody would dream of writing the history of Germany, say, or the Soviet Union in this way.David Edgerton's major new history breaks out of the confines of traditional British national history to redefine what it was to British, and to reveal an unfamiliar place, subject to huge disruptions. This was not simply because of the world wars and global economic transformations, but in its very nature. Until the 1940s the United Kingdom was, Edgerton argues, an exceptional place: liberal, capitalist and anti-nationalist, at the heart of a European and global web of trade and influence. Then, as its global position collapsed, it became, for the first time and only briefly, a real, successful nation, with shared goals, horizons and industry, before reinventing itself again in the 1970s as part of the European Union and as the host for international capital, no longer capable of being a nation.Packed with surprising examples and arguments, The Rise and Fall of the British Nation gives us a grown-up, unsentimental history which takes business and warfare seriously, and which is crucial at a moment of serious reconsideration for the country and its future.

    A thousand eyes see all I do.' Elizabeth IThe Tudor monarchs were constantly surrounded by an army of attendants, courtiers and ministers. Even in their most private moments, they were accompanied by a servant specifically appointed for the task. A groom of the stool would stand patiently by as Henry VIII performed his daily purges, and when Elizabeth I retired for the evening, one of her female servants would sleep at the end of her bed. These attendants knew the truth behind the glamorous exterior. They saw the tears shed by Henry VII upon the death of his son Arthur. They knew the tragic secret behind 'Bloody' Mary's phantom pregnancies. And they saw the 'crooked carcass' beneath Elizabeth I's carefully applied makeup, gowns and accessories. It is the accounts of these eyewitnesses, as well as a rich array of other contemporary sources that historian Tracy Borman has examined more closely than ever before. With new insights and discoveries, and in the same way that she brilliantly illuminated the real Thomas Cromwell - The Private Life of the Tudors will reveal previously unexamined details about the characters we think we know so well.

    What is it that makes comics so special? What can this unique art form do that others can’t?In Why Comics?, comics scholar Hillary Chute reveals the history of comics, underground comics (or comix), and graphic novels, through deep thematic analysis, and fascinating portraits of the fearless men and women behind them. As Scott McCloud revealed the methods behind comics and the way they worked in his classic Understanding Comics, Chute will reveal the themes that Comics handle best, and how the form is uniquely equipped to explore them.The topics Why Comics? include:• Why Disaster: with such major works focusing on disasters, from Art Spiegelman’s work, which covers the Holocaust and 9/11 to Keiji Nakazawa’s work covering Heroshima, comics find themselves uniquely suited to convey the scale and disorientation of disaster.• Why Suburbs: through the work of Chris Ware and Charles Burns, Chute reveals the fascinating ways that Comics illustrate the quiet joys and struggles of suburban existence.• Why Punk: With an emphasis on DIY aesthetics and rebelling against what came before, the Punk movement would prove to be a fertile ground for some of the most significant modern cartoonists, creating a truly democratic art form.Chute has created an indispensable guide to comics for those new to the genre, or those who want to understand more about what lies behind their favorite works.

    There is little in this book about Bonnie Prince Charlie and other principals of the last Jacobite Rising of 1745. Culloden recalls them by name and action, presenting the battle as it was for them, describing their life as fugitives in the glens or as prisoners in the gaols and hulks, their transportation to the Virginias or their deaths on the gallows at Kennington Common. The book begins in the rain at five o'clock on the morning of Wednesday, 16 April 1746, when the Royal Army marched out of Nairn to fight the clans on Culloden Moor. It is not a partisan book, its feeling is for the 'Common Men' on both sides - John Grant charging with Clan Chatten and seeing the white gaiters of the British infantry suddenly as the east wind lifted the cannon smoke, and Private Andrew Taylor in a red coat waiting for Clan Chatten to reach him, likening them to 'a troop of hungry wolves'. Culloden reminds us, too, that many of the men who harried the glens as ruthlessly as the Nazis in Occupied Europe were in fact Scots themselves. It recalls the fact that many men in Prince Charles' army had been forced to join him. It shows that a British foot-soldier's wish for a sup of brandy on a cold morning before battle is as much a reality as a Prince's pretensions to a throne. The detail for the story told in Culloden has come from regimental Order Books and manuals, from contemporary newspapers and magazines, from the letters and memoirs of soldiers and officers, eye-witness accounts of atrocity and persecution, and the personal stories of the victims themselves. Culloden is the story not of a Prince, but of a people.

    Why is Anne so compelling? Why has she inspired such extreme reactions? What did she really look like? Was she the flaxen-haired martyr of Romantic paintings or the raven-haired seductress of twenty-first century portrayals? (Answer: neither.) And perhaps the most provocative questions concern Anne's death more than her life. How could Henry order the execution of a once beloved wife? Drawing on scholarship and critical analysis, Susan Bordo probes the complexities of one of history's most infamous relationships.Bordo also shows how generations of polemicists, biographers, novelists, and filmmakers imagined and reimagined Anne: whore, martyr, cautionary tale, proto-"mean girl," feminist icon, and everything in between. In this lively book, Bordo steps off the well-trodden paths of Tudoriana to expertly tease out the human being behind the competing mythologies.

    Three decades later, it is the richest and most influential country in Europe, and Margaret Thatcher is the reason. The preternaturally determined Thatcher rose from nothing, seized control of Britain’s Conservative party, and took a sledgehammer to the nation’s postwar socialist consensus. She proved that socialism could be reversed, inspiring a global free-market revolution. Simultaneously exploiting every politically useful aspect of her femininity and defying every conventional expectation of women in power, Thatcher crushed her enemies with a calculated ruthlessness that stunned the British public and without doubt caused immense collateral damage. Ultimately, however, Claire Berlinski agrees with Thatcher: There was no alternative. Berlinski explains what Thatcher did, why it matters, and how she got away with it in this vivid and immensely readable portrait of one of the towering figures of the twentieth century.

    There's just one problem: he doesn't quite have the looks to match his talent, and his publisher wants a photo to put on the book jacket. He asks his handsome (but dim) college classmate, Mike Smith, to take his place.Consequently it is Smith rather than Collins who receives the offer to be writer-in-residence at an asylum where therapy is centered on the soothing powers of literature. It's not long before the boundaries between inmate and observer are blurred in this literary cuckoo's nest and this comedy of errors verges on tragedy.

    From the author of The Last Days of Richard III comes the first full biography of George, Duke of Clarence, brother of Kings Richard III and Edward IVLess well-known than his brothers Edward IV and Richard III, George, Duke of Clarence has so had little written about him, that historians are faced with a series of questions: Where was he born? What was he really like? Was it his unpredictable behavior that set him against his brother Edward IV? George played a central role in the Wars of the Roses played out by his brothers—but was he for York or Lancaster? Who was really responsible for his execution? Is the story of his drowning in a barrel of wine—as he did in Richard III—true? And was "false, fleeting, perjur'd Clarence" in some ways the role model behind the 16th-century defamation of Richard III? Finally, where was he buried and what became of his body? Can the DNA used recently to test the remains of his younger brother, Richard III, also reveal the truth about the supposed "Clarence bones" in Tewkesbury? John Ashdown-Hill exposes the myths surrounding this pivotal and central Plantagenet, with remarkable results.