This period of mid-Victorian London covers a huge span: Victoria's wedding and the place of the royals in popular esteem; how the very poor lived, the underworld, prostitution, crime, prisons and transportation; the public utilities - Bazalgette on sewers and road design, Chadwick on pollution and sanitation; private charities - Peabody, Burdett Coutts - and workhouses; new terraced housing and transport, trains, omnibuses and the Underground; furniture and decor; families and the position of women; the prosperous middle classes and their new shops, e.g. Peter Jones, Harrods; entertaining and servants, food and drink; unlimited liability and bankruptcy; the rich, the marriage market, taxes and anti-semitism; the Empire, recruitment and press-gangs. The period begins with the closing of the Fleet and Marshalsea prisons and ends with the first (steam-operated) Underground trains and the first Gilbert & Sullivan.

    Such drudgery was routine for the parents of people still living, but the knowledge of it has passed as if it had never been. Following the daily life of a middle-class Victorian house from room to room; from childbirth in the master bedroom through the kitchen, scullery, dining room, and parlor, all the way to the sickroom; Judith Flanders draws on diaries, advice books, and other sources to resurrect an age so close in time yet so alien to our own. 100 illustrations, 32 pages of color.

    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.

    It was also Engels's first book, written during his stay in Manchester from 1842 to 1844. Manchester was then at the very heart of the Industrial Revolution and Engels compiled his study from his own observations and detailed contemporary reports. The fluency of his writing, the personal nature of his insights, and his talent for mordant satire combine to make this account of the life of the victims of early industrial change into a classic - a historical study that parallels and complements the fictional works of the time by such writers as Gaskell and Dickens. What Cobbett had done for agricultural poverty in his Rural Rides, Engels did - and more - in this work on the plight of the industrial workers in the England of the early 1840s. This edition includes the prefaces to the English and American editions, and a map of Manchester c.1845.

    . .We know what life was like for Victoria and Albert, but what was it like for a commoner? How did it feel to cook with coal and wash with tea leaves? Drink beer for breakfast and clean your teeth with cuttlefish? Dress in whalebone and feed opium to the baby? Catch the omnibus to work and wash laundry while wearing a corset? How To Be A Victorian is a new approach to history, a journey back in time more intimate, personal, and physical than anything before. It is one told from the inside out--how our forebears interacted with the practicalities of their world--and it's a history of those things that make up the day-to-day reality of life, matters so small and seemingly mundane that people scarcely mention them in their diaries or letters. Moving through the rhythm of the day, from waking up to the sound of a knocker-upper man poking a stick at your window, to retiring for nocturnal activities, when the door finally closes on twenty-four hours of life, this astonishing guide illuminates the overlapping worlds of health, sex, fashion, food, school, work, and play.If you liked The Time Traveller's Guide to Medieval England: A Handbook for Visitors to the Fourteenth Century or 1000 Years of Annoying the French, you will love this book.

    Reading it is like unravelling the bandages on a mummy to find the face of the past staring back in all its terrible and poignant humanity’ Financial TimesA groundbreaking account of what it was like to live in a Victorian body from one of our best historians.Why did the great philosophical novelist George Eliot feel so self-conscious that her right hand was larger than her left?Exactly what made Darwin grow that iconic beard in 1862, a good five years after his contemporaries had all retired their razors?Who knew Queen Victoria had a personal hygiene problem as a young woman and the crisis that followed led to a hurried commitment to marry Albert?What did John Sell Cotman, a handsome drawing room operator who painted some of the most exquisite watercolours the world has ever seen, feel about marrying a woman whose big nose made smart people snigger?How did a working-class child called Fanny Adams disintegrate into pieces in 1867 before being reassembled into a popular joke, one we still reference today, but would stop, appalled, if we knew its origins?Kathryn Hughes follows a thickened index finger or deep baritone voice into the realms of social history, medical discourse, aesthetic practise and religious observance – its language is one of admiring glances, cruel sniggers, an implacably turned back. The result is an eye-opening, deeply intelligent, groundbreaking account that brings the Victorians back to life and helps us understand how they lived their lives.

    It replaced reverence with skepticism and Strachey's wit, iconoclasm, and narrative skill liberated the biographical enterprise. His portraits of Cardinal Manning, Florence Nightingale, Thomas Arnold, and General Gordon changed perceptions of the Victorians for a generation. Lytton Strachey's biographical essays on four "eminent Victorians" dropped an explosive charge on Victorian England when the book was published in 1918. This edition is unique in being fully annotated and in drawing on the full range of Strachey's manuscript materials and literary remains.

    His graphically unforgettable descriptions of social injustice, slum housing, mining conditions, squalor, hunger and growing unemployment are written with unblinking honesty, fury and great humanity.

    Unlike the "New Woman" novels of the era which challenged the idea that the unmarried woman was superfluous, Gissing satirizes that image and portrays women as "odd" and marginal in relation to an ideal. Set in a grimy, fog-ridden London, Gissing's "odd" women range from the idealistic, financially self-sufficient Mary Barfoot to the Madden sisters who struggle to subsist in low paying jobs and little chance for joy. With narrative detachment, Gissing portrays contemporary society's blatant ambivalence towards its own period of transition. Judged by contemporary critics to be as provocative as Zola and Ibsen, Gissing produced an "intensely modern" work as the issues it raises remain the subject of contemporary debate.

    And a very strange, very English obsession. But where did this fixation develop? And what does it tell us about ourselves?In The Art of the English Murder, Lucy Worsley explores this phenomenon in forensic detail, revisiting notorious crimes like the Ratcliff Highway Murders, which caused a nationwide panic in the early nineteenth century, and the case of Frederick and Maria Manning, the suburban couple who were hanged after killing Maria's lover and burying him under their kitchen floor. Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of modern England, murder entered our national psyche, and it's been a part of us ever since.The Art of the English Murder is a unique exploration of the art of crime and a riveting investigation into the English criminal soul by one of our finest historians.

    Author Daniel Pool provides countless intriguing details (did you know that the "plums" in Christmas plum pudding were actually raisins?) on the Church of England, sex, Parliament, dinner parties, country house visiting, and a host of other aspects of nineteenth-century English life—both "upstairs" and "downstairs."An illuminating glossary gives at a glance the meaning and significance of terms ranging from "ague" to "wainscoting," the specifics of the currency system, and a lively host of other details and curiosities of the day.

    Jane Austen’s England explores the customs and culture of the real England of her everyday existence depicted in her classic novels as well as those by Byron, Keats, and Shelley. Drawing upon a rich array of contemporary sources, including many previously unpublished manuscripts, diaries, and personal letters, Roy and Lesley Adkins vividly portray the daily lives of ordinary people, discussing topics as diverse as birth, marriage,  religion, sexual practices, hygiene, highwaymen, and superstitions.From chores like fetching water to healing with  medicinal leeches, from selling wives in the marketplace to buying smuggled gin, from the hardships faced by young boys and girls in the mines to the familiar sight of corpses swinging on gibbets, Jane Austen’s England offers an authoritative and gripping account that is sometimes humorous, often shocking, but always entertaining.

    In Can You Forgive Her? Trollope inextricably binds together the issues of parliamentary election and marriage, of politics and privacy. The values and aspirations of the governing stratum of Victorian society are ruthlessly examined and none remain unscathed. Above all Trollope focuses on the predicament of women. 'What should a woman do with her life?' asks Alice Vavasor of herself, and this theme is echoed by every other woman in the novel, from the uncomfortably married Lady Glencora to the coquettish Mrs Greenow and Alice's clear-headed cousin, Kate.

    That, of course, is a matter of opinion. And there are other layers to the story.With a combination of novelistic flair and historical accuracy, Kate Williams begins by relating the heartbreaking story of Princess Charlotte, the Queen who never was, and her impact on the young Victoria. Our perception of Victoria the Queen is coloured by portraits of her older, widowed self - her dour expression embodying the repressive morality propagated in her time. But Becoming Queen reveals an energetic and vibrant woman, determined to battle for power. It also documents the Byzantine machinations behind Victoria's quest to occupy the throne, and shows how her struggles did not end when finally the crown was placed on her head.In the late eighteenth century, monarchies were in crisis across Europe. Discontented with their mad King, George III, and his spendthrift offspring, the English pinned their hopes on the only legitimate grandchild: Princess Charlotte, daughter of George, Prince of Wales. But Charlotte died at the age of twenty-two, a few hours after giving birth to a stillborn son. A grieving nation immediately began venerating her as someone who would have made an ideal Queen while Charlotte's rackety uncles embarked on a race to produce the next heir.No one thought that little Victoria, daughter of the Duke of Kent, would ascend the throne. She, in turn, became increasingly determined to take control of her own destiny, and clashed constantly not only with her hugely ambitious mother but with her protégé and household comptroller, the Irish adventurer, John Conroy. After she became Queen, ministers, even her beloved Prince Albert, still attempted to steal power away from her.Revealing how Charlotte's death shaped Victoria's reign and laying bare the passions that swirled around the throne, Becoming Queen is an absorbingly dramatic tale of secrets, sexual repression and endless conflict. After her lauded biography of Emma Hamilton, England's Mistress, Kate Williams has produced a most original and intimate portrait of Great Britain's longest reigning monarch.

    E. Housman's A Shropshire Lad, first published in 1896. Scholars and critics have seen in these timeless poems an elegance of taste and perfection of form and feeling comparable to the greatest of the classic. Yet their simple language, strong musical cadences and direct emotional appeal have won these works a wide audience among general readers as well.This finely produced volume, reprinted from an authoritative edition of A Shropshire Lad, contains all 63 original poems along with a new Index of First Lines and a brief new section of Notes to the Text. Here are poems that deal poignantly with the changing climate of friendship, the fading of youth, the vanity of dreams — poems that are among the most read, shared, and quoted in our language.