If readers are not already familiar with him as the tyrant whose misgovernment gave rise to Magna Carta, we remember him as the villain in the stories of Robin Hood.Formidable and cunning, but also cruel, lecherous, treacherous and untrusting. Twelve years into his reign, John was regarded as a powerful king within the British Isles. But despite this immense early success, when he finally crosses to France to recover his lost empire, he meets with disaster. John returns home penniless to face a tide of criticism about his unjust rule. The result is Magna Carta – a ground-breaking document in posterity, but a worthless piece of parchment in 1215, since John had no intention of honoring it. Like all great tragedies, the world can only be put to rights by the tyrant’s death. John finally obliges at Newark Castle in October 1216, dying of dysentery as a great gale howls up the valley of the Trent. 16 pages of color and B&W illustrations

    Those infected serve only to afflict others through any means. As forces move in on the beleaguered city, Sergeant Brown has to make his way through roving bands of the infected in order to escape. Will the ring close before he can reach safe grounds or will he and others he finds be added to the final tally?

    In handsomely crafted prose, and with the grace and authority of his extraordinary gift for narrative history, William Manchester leads us from a civilization tottering on the brink of collapse to the grandeur of its rebirth - the dense explosion of energy that spawned some of history's greatest poets, philosophers, painters, adventurers, and reformers, as well as some of its most spectacular villains - the Renaissance.

    A first in audiobook publishing--a series that uses the written word to enhance the listening experience--poetry to be read as well as heard. Each audiobook includes rare archival recordings and a book with the text of the poetry, a bibliograohy, and commentary by J. D. McClatchy, the poet and critic, who is the editor of The Yale Review. "To hear a poem spoken in the voice of the person who wrote it is not only to witness the rising of words off the page and into the air, but to experience an aural reenactment of exactly what the poet must have heard, if only internally, during the act of composition. THE VOICE OF THE POET recordings deliver these pleasures as they broadcast the pitch and timbre of many of the major voices in twentieth-century poetry."--Billy Collins, U.S,. Poet Lauerate.

    One day Lucinda was an obscure, dowdy country girl; the next, she was the diamond-decked mistress of a vast London town house and wife to a young lord, legendary for his wealth, daring escapades, and magnetic attraction for women. Would the world wonder why he chose her? Would they guess he was using this young girl to cover his affair with the glittering, sophisticated Lady Devereux? Lucinda hadn't time to care. She was too busy becoming the overnight darling of London society--too busy earning the notice and respect of the man she was irresistibly, hopelessly, growing to love.

    Reissue.

    When she overhears a plot to force her into vows—either to the church or a husband—she disguises herself and flees the convent in desperation to discover the truth. Malcolm Castillon of Berkham is determined to win the next tournament and be granted a manor of his own. After years of proving his worth on the jousting field, he yearns for a life of peace. Rescuing a scrawny lad who turns out to be a beautiful woman is not what he bargained for. Still, he cannot deny that she stirs his heart like no other, in spite of her conniving ways. Chaos, deception, and treachery threaten their goals, but both are determined to succeed. Learning to trust each other might be the only way either of them survives. Written for the General Market (G) (I): Contains little or no; sexual dialogue or situations, violence, or strong language. May also contain some content of an inspirational nature.

    In some ways, the media frenzy over the rating overshadowed the harrowing portrait of teenagers destroying their lives and the then twenty-one-year-old screenwriter who created them. "Whether you see the movie as a masterpiece or as sensationalism," wrote Lynn Hirshberg, "the movie is relentless and brilliant and extremely disturbing. It's powerful-both steel-eyed and sexy; horrifying and captivating."Now, in this first book of fictional set pieces, Korine captures the fragmented moments of a life observed through the demented lens of media, TV, and teen obsession. Korine reinvents the novel in this highly experimental montage of scenes that seem both real and surreal at the same time. With a filmmaker's eye and a prankster's glee, this bizarre collection of jokes, half-remembered scenes, dialogue fragments, movie ideas, and suicide notes is an episodic, epigrammatic lovesong to the world of images. Korine is the voice of his media-savvy generation and A Crack-Up at the Race Riots is the satiric lovechild of his dark imagination.

    But when she arrives at Gwynedd Castle, she is only a naive girl who cannot control her desire for Prince Owain-- until he decides to murder her child. Now, in a court filled with jealousy and betrayal, Brenda will harbor a dangerous secret-- and daringly become a Druid healer, a woman who steadily gains influence and cunning to protect her son Madoc at any cost. But soon a prophecy that has foreseen him as a messiah for the Druids and the finder of a faraway shore called America, will magnificently, thrillingly unfold...

    As a young girl she witnessed Earl Harold standing barefoot in his handfast marriage to the beautiful Lady Svana and has yearned for her own love match ever since.Amongst England's royal court, marriages are not often chosen for love and political matches are rife while King Edward is still without an heir. When her family are exiled to the wild Welsh court, Edyth unexpectedly finds herself falling for the charismatic Griffin - first King of all of Wales. Becoming his Queen catapults Edyth onto the opposing side of a bitter feud between England and Wales. She has to grow up fast but has the support and encouragement of her closest friend, Lady Svana.Years later, Edyth is in line to take the crown of England. This time the lines of love and duty are far more blurred. As 1066 dawns, Edyth and Svana will be asked to make an even greater sacrifice, perhaps the greatest of all. In the midst of war, can love - and freedom - survive?

    Using historical documents and translated by Regine Pernoud, Joan of Arc seeks to answer the questions asked by Joan's contemporaries as well as us: Who was she? Whence came she? What had been her life and exploits? First published in the United States in 1966 by Stein and Day, this book reveals the historical Joan, described in contemporary documents by her allies as well as her enemies.

    Hanawalt's richly detailed account offers an intimate view of everyday life in Medieval England that seems at once surprisingly familiar and yet at odds with what many experts have told us. She argues that the biological needs served by the family do not change and that the waysfourteenth- and fifteenth-century peasants coped with such problems as providing for the newborn and the aged, controlling premarital sex, and alleviating the harshness of their material environment in many ways correspond with our twentieth-century solutions.Using a remarkable array of sources, including over 3,000 coroners' inquests into accidental deaths, Hanawalt emphasizes the continuity of the nuclear family from the middle ages into the modern period by exploring the reasons that families served as the basic unit of society and the economy.Providing such fascinating details as a citation of an incantation against rats, evidence of the hierarchy of bread consumption, and descriptions of the games people played, her study illustrates the flexibility of the family and its capacity to adapt to radical changes in society. She notes thateven the terrible population reduction that resulted from the Black Death did not substantially alter the basic nature of the family.

    A diplomat and brother-in-law to John of Gaunt, one of the most powerful men in the kingdom, Chaucer was celebrated as his country's finest living poet, rhetorician and scholar: the preeminent intellectual of his time. And yet nothing is known of his death. In 1400 his name simply disappears from the record. We don't know how he died, where or when; there is no official confirmation of his death and no chronicle mentions it; no notice of his funeral or burial. He left no will and there's nothing to tell us what happened to his estate. He didn't even leave any manuscripts. How could this be? What if he was murdered? Terry Jones' hypothesis is the introduction to a reading of Chaucer's writings as evidence that might be held against him, interwoven with a portrait of one of the most turbulent periods in English history, its politics and its personalities.

    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.

    In James Goldman’s classic play The Lion in Winter, domestic turmoil rises to an art form. Keenly self-aware and motivated as much by spite as by any sense of duty, Henry II and Eleanor of Aquitaine maneuver against each other to position their favorite son in line for succession. By imagining the inner lives of Henry, Eleanor, and their sons, John, Geoffrey, and Richard, Goldman created the quintessential drama of family strife and competing ambitions, a work that gives visceral, modern-day relevance to the intrigues of Angevin England. Combining keen historical and psychological insight with delicious, mordant wit, the stage play has become a touchstone of today’s theater scene, and Goldman’s screenplay for the 1968 film adaptation won him an Academy Award. Told in “marvelously articulate language, with humor that bristles and burns” (Los Angeles Times), The Lion in Winter is the rare play that bursts into life on the printed page.