. .Judy Nunn's latest bestselling novel will take you from the cotton mills of England to the magnificent theatres of Melbourne, on a scintillating journey through the golden age of Australian showbusiness.'So, Will, are you going to come with me and my team of merry performers to the sunny climes of Australia, where the crowds are already queuing and the streets are paved with gold?'In the second half of the 19th century, Melbourne is a veritable boom town, as hopefuls from every corner of the globe flock to the gold fields of Victoria.And where people crave gold, they also crave entertainment.Enter stage right- brothers Will and Max Worthing and their wives Mabel and Gertie. The family arrives from England in the 1880s with little else but the masterful talents that will see them rise from simple travelling performers to sophisticated entrepreneurs.Enter stage left- their rivals, Carlo and Rube. Childhood friends since meeting in a London orphanage, the two men have literally fought their way to the top and are now producers of the bawdy but hugely popular 'Big Show Bonanza'. The fight for supremacy begins.Waiting in the wings- Comedy, tragedy, passion and betrayal; economic depression, a pandemic and the horrors of World War One...

    Britain stands alone facing an imminent Nazi invasion. Handpicked groups of men form the covert Auxiliary Units; ordinary by day, they will be saboteurs and assassins by night. With a life expectancy of two weeks, their identities are a closely guarded secret from all but the local senior policeman but once activated, that policeman will be the cell's first victim. Clement Wisdom, a humble vicar and leader of the East Sussex Auxiliaries, receives the invasion alert and assembles his team. Burdened with the tension between his faith and his patriotic duty, he sets out to eliminate the Police Inspector, only to find him dead already. While assisting Lewes Police to find the Inspector's killer, events take an ominous turn as one by one, members of Clement’s team are found callously murdered. Priorities shift and every aspect of life is called into question when Clement becomes embroiled in the murky world of espionage, where nothing is what it seems. In Spite of All Terror is the first in a series of crime thrillers that mix historical fact, crime fiction and superb characterisations. They will keep you hungry for the next piece of this wartime puzzle.

    Saul is sending Josiah as far away as he can and hopes never to see him again. Josiah's wife is ill and knows she can never return to England.What will these people make of their new lives? As it often does, migration causes other people to follow the group out to the Peel Region of Western Australia, bringing new complications in their lives. Some will die, some will succeed, and others will move on from Western Australia, either back to England or across to Victoria. For Liza and Benedict, the central characters, there will be cruel disappointments before they can win their way through to a happier life.

    Many of them are well known—Marx, Freud, Proust, Einstein, Kafka. Others have vanished from collective memory despite their enduring importance in our daily lives. Without Karl Landsteiner, for instance, there would be no blood transfusions or major surgery. Without Paul Ehrlich, no chemotherapy. Without Siegfried Marcus, no motor car. Without Rosalind Franklin, genetic science would look very different. Without Fritz Haber, there would not be enough food to sustain life on earth.What do these visionaries have in common? They all had Jewish origins. They all had a gift for thinking in wholly original, even earth-shattering ways. In 1847 the Jewish people made up less than 0.25% of the world’s population, and yet they saw what others could not. How? Why?Norman Lebrecht has devoted half of his life to pondering and researching the mindset of the Jewish intellectuals, writers, scientists, and thinkers who turned the tides of history and shaped the world today as we know it. In Genius & Anxiety, Lebrecht begins with the Communist Manifesto in 1847 and ends in 1947, when Israel was founded. This robust, magnificent volume, beautifully designed, is an urgent and necessary celebration of Jewish genius and contribution.

    The angels on our Christmas cards, the stained glass in our churches, the great paintings in our galleries - Edward Burne-Jones's work is all around us. The most admired British artist of his generation, he was a leading figure with Oscar Wilde in the aesthetic movement of the 1880s, inventing what became a widespread 'Burne-Jones look'. The bridge between Victorian and modern art, he influenced not just his immediate circle but artists such as Klimt and Picasso. In this gripping book Fiona MacCarthy explores and re-evaluates his art and life - his battle against vicious public hostility, the romantic susceptibility to female beauty that would inspire his art and ruin his marriage, his ill health and depressive sensibility, the devastating rift with his great friend and collaborator William Morris as their views on art and politics diverged. With new research and fresh historical perspective, The Last Pre-Raphaelite tells the extraordinary, dramatic story of Burne-Jones as an artist, a key figure in Victorian society and a peculiarly captivating man.

    After abandoning his wife and child many years ago, the Black War veteran Thomas Toosey must return to the city to search for William, his now motherless twelve-year-old son. He travels through the island's northern districts during a time of impossible hardship - hardship that has left its mark on him too. Arriving in Launceston, however, Toosey discovers a town in chaos. He is desperate to find his son amid the looting and destruction, but at every turn he is confronted by the Irish transportee Fitheal Flynn and his companion, the hooded man, to whom Toosey owes a debt that he must repay.To Name Those Lost is the story of a father's journey. Wilson has an eye for the dirt, the hardness, the sheer dog-eat-doggedness of the lives of the poor. Human nature is revealed in all its horror and beauty as Thomas Toosey struggles with the good and the vile in himself and learns what he holds important.

     Three years after being widowed, Therese, Lady Osbaldestone finally settles into her dower property of Hartington Manor in the village of Little Moseley in Hampshire. She is in two minds as to whether life in the small village will generate sufficient interest to keep her amused over the months when she is not in London or visiting friends around the country. But she will see. It’s December, 1810, and Therese is looking forward to her usual Christmas with her family at Winslow Abbey, her youngest daughter, Celia’s home. But then a carriage rolls up and disgorges Celia’s three oldest children. Their father has contracted mumps, and their mother has sent the three—Jamie, George, and Lottie—to spend this Christmas with their grandmama in Little Moseley. Therese has never had to manage small children, not even her own. She assumes the children will keep themselves amused, but quickly learns that what amuses three inquisitive, curious, and confident youngsters isn’t compatible with village peace. Just when it seems she will have to set her mind to inventing something, she and the children learn that with only twelve days to go before Christmas, the village flock of geese has vanished. Every household in the village is now missing the centerpiece of their Christmas feast. But how could an entire flock go missing without the slightest trace? The children are as mystified and as curious as Therese—and she seizes on the mystery as the perfect distraction for the three children as well as herself. But while searching for the geese, she and her three helpers stumble on two locals who, it is clear, are in dire need of assistance in sorting out their lives. Never one to shy from a little matchmaking, Therese undertakes to guide Miss Eugenia Fitzgibbon into the arms of the determinedly reclusive Lord Longfellow. To her considerable surprise, she discovers that her grandchildren have inherited skills and talents from both her late husband as well as herself. And with all the customary village events held in the lead up to Christmas, she and her three helpers have opportunities galore in which to subtly nudge and steer. Yet while their matchmaking appears to be succeeding, neither they nor anyone else have found so much as a feather from the village’s geese. Larceny is ruled out; a flock of that size could not have been taken from the area without someone noticing. So where could the birds be? And with the days passing and Christmas inexorably approaching, will they find the blasted birds in time? First in series. A novel of 60,000 words. A Christmas tale of romance and geese.

    This story is brutal and shockingly unpredictable. In the year 1823, at the height of the British Empire and the colonization of Australia, Pat Roche sits on board a convict ship, sentenced for the term of his natural life to the New Colonies. All hope of ever seeing his wife and child again appeared to be lost. The ship is a fraught with tension under such a strict military guard; with one hundred and fifty criminals confined to a small space, it can only mean trouble. By the time the ship arrives at Van Dieman’s Land, there will be fighting, flogging, rape, murder and mutiny. Pat Roche will find himself involved in it all. Sarah Roche has now been shunned by the local community and is struggling to fend for herself and her little boy. There is a terrible turn of events and she is soon to follow in her husband’s footsteps. So too will a desperate voyage begin for her on board the female convict ship, otherwise known as ‘Floating Brothels’. She arrives in Hobart a broken woman, only regaining her strength after a fleeting moment with her husband. Pat is being taken away to a place of unbearable torment; the notorious Sarah Island settlement, where escape is punishable by death. Many colourful characters weave their way through the pages, creating a plot intertwined with deceit, retribution, murder, tragedy and enduring love, resulting in a heart wrenching climax.For Pat Roche, when there is nothing more worth living for, a chance to escape and find his family is worth dying for.

    His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.

    This accessible new study provides the most comprehensive view of the movement to date. It shows us why, a century and a half later, Pre-Raphaelite art retains its power to fascinate, haunt, and often shock its viewers. Calling themselves the Pre-Raphaelite Brotherhood, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt produced a statement of ideas that revolutionized art practice in Victorian England. Critical of the Royal Academy's formulaic works, these painters believed that painting had been misdirected since Raphael. They and the artists who joined with them, including William Michael Rossetti, James Collinson, and Frederick George Stephens, created bright works representing nature and literary themes in fresh detail and color. Considered heretical by many and frequently admonished for a lack of grace in composition the group disbanded after only a few years. Yet its artists and ideals remained influential; its works, greatly admired. In this richly illustrated book, Elizabeth Prettejohn raises new and provocative questions about the group's social and artistic identity. Was it the first avant-garde movement in modern art? What role did women play in the Pre-Raphaelite fraternity? How did relationships between the artists and models affect the paintings? The author also analyzes technique, pinning down the distinctive characteristics of these painters and evaluating the degree to which a group style existed. And she considers how Pre-Raphaelite art responded to and commented on its time and place a world characterized by religious and political controversy, new scientific concern for precise observation, the emergence of psychology, and changing attitudes toward sexuality and women. The first major publication on the Pre-Raphaelite movement in more than fifteen years, this exquisite volume incorporates the swell of recent research into a comprehensive, up-to-date survey. It comprises well over two hundred color reproductions, including works that are immediately recognizable as Pre-Raphaelite masterpieces, as well as lesser-known paintings that expand our appreciation of this significant artistic departure.

    Returning home to England from Van Diemen's land, the Bristol Maid is shipwrecked on the Queensland coast and Mrs Roxburgh is taken prisoner by a tribe of aborigines, along with the rest of the passengers and crew. In the course of her escape, she is torn by conflicting loyalties - to her dead husband, to her rescuer, to her own and to her adoptive class.

    * Horses - How to ride them. * Parents - How to understand them. * Latin - How to speak it. * Gold - How to pan for it. * Friends - How to get to know them. * Secrets - How to keep them. * School - How to tolerate it. * Stars - How to wish on them. * Snakes - How to avoid them. * History - How to make it.

    John Ruskin, the uncompromising nineteenth century defender of the painting of William Turner (1775-1851) spoke of the 'innocence of the eye', which perceives the colors and forms of the world before it recognizes their significance. But in order to develop such a style, Turner first had to overcome the entire legacy of late rococo academic teachings. He was simultaneously a romantic and a realist - and yet he was neither. His landscapes, far in advance of their time, have been called forerunners of Impressionism, but they also posses traits that influenced Expressionism, and many of his late compositions are thoroughly surrealistic.

    A chest of clues.Come find me... I’ll be waiting…1929: On the night of her engagement to austere banker Floyd Clark, Charlotte Greene meets enigmatic Sydney Harbour Bridge engineer, Alexander Young. Their encounter is brief, but their attraction instant.During a second-chance meeting, Alex invites Charlotte to play a game with him, one of daring clues and secret meeting places. She accepts and they embark on a thrilling lover’s chase across the city.But with her arranged marriage to Floyd looming, will she have the strength to let Alex go?Present Day: Paige Westwood is helping her boss establish a publishing company in his newly-purchased Playfair Street house in The Rocks, Sydney. In the attic, she discovers a chest of old clues that lead the reader on a journey across the city. Paige contacts the former owner, Ryan Greene, who explains the clues belonged to his great-aunt Charlotte, who once lived in the house, but who mysteriously disappeared in 1929.Together, they follow Charlotte and Alex’s clues to unravel a fascinating tale of lies and intrigue, of two lovers bound by hope, but also by deceit. Can they solve the mystery of Charlotte’s disappearance or has all hope been lost to the past?

    His Doré Bible was a treasured possession in countless homes, and his best-received works continued to appear through the years in edition after edition. His illustrations for Dante's Divine Comedy constitute one of his most highly regarded efforts and were Doré's personal favorites.The present volume reproduces with excellent clarity all 135 plates that Doré produced for The Inferno, Purgatory, and Paradise. From the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise, Doré's illustrations depict the passion and grandeur of Dante's masterpiece in such famous scenes as the embarkation of the souls for hell, Paolo and Francesca (four plates), the forest of suicides, Thaïs the harlot, Bertram de Born holding his severed head aloft, Ugolino (four plates), the emergence of Dante and Virgil from hell, the ascent up the mountain, the flight of the eagle, Arachne, the lustful sinners being purged in the seventh circle, the appearance of Beatrice, the planet Mercury, and the first splendors of paradise, Christ on the cross, the stairway of Saturn, the final vision of the Queen of Heaven, and many more.Each plate is accompanied by appropriate lines from the Henry Wadsworth Longfellow translation of Dante's work.