It is the connections between the facts that seem to elude us--those subtle nuances of feeling & emotion that a biographer relies on to paint a true, complete portrait. Lacking these, we are almost compelled to make the story up as we go along, weaving together facts, opinions & our own personal biases to flesh out an otherwise bloodless life. For this reason, John Gardner may well be the perfect candidate to construct a life of Chaucer. An award-winning novelist & a translator of Middle English poetry, Gardner dumps into a pile all the facts we know about the beloved English poet & mixes them with a judicious sampling of literary criticism & a heaping dose of lively conjecture. What emerges is a rollicking good tale that might stand on its own, filled with persuasive answers to vexing questions; imaginative reconstructions of the Black Death & other compelling events of the times; & whatever snippets of Chaucer's own poetry may help shed light on his extraordinary age. Black-&-white illustrations.

    Ceram visualized archeology as a wonderful combination of high adventure, romance, history and scholarship, and this book, a chronicle of man's search for his past, reads like a dramatic narrative. We travel with Heinrich Schliemann as, defying the ridicule of the learned world, he actually unearths the remains of the ancient city of Troy. We share the excitement of Lord Carnarvon and Howard Carter as they first glimpse the riches of Tutankhamen's tomb, of George Smith when he found the ancient clay tablets that contained the records of the Biblical Flood. We rediscover the ruined splendors of the Hanging Gardens of Babylon, one of the wonders of the ancient wold; of Chichen Itza, the abandoned pyramids of the Maya: and the legendary Labyrinth of tile Minotaur in Crete. Here is much of the history of civilization and the stories of the men who rediscovered it.From the Paperback edition.

    Topics include Roger "the Raker" who drowned in his own sewage, a "merman" imprisoned in Orford Castle, the sufferings of the Jews of Bristol, and more. Each reveals the extraordinary diversity of medieval society. Through these characters and events--and using the latest discoveries and research--the dynamic and engaging panorama of medieval England is revealed.

    Such is a fair summary of the evidence offered in Hildegard of Bingen, a biography by Fiona Maddocks (the chief music critic for London's The Observer). Hildegard is today best known for her haunting musical compositions. She was also, in Maddocks's description, "a polymath: a visionary, a theologian, a preacher; an early scientist and physician; a prodigious letter writer who numbered emperors and popes among her correspondents ... Her boldness, courage, and tenacity made her at once enthralling and haughty, intrepid, and irksome." This is a straightforward, chronologically organized biography, beginning with Hildegard's girlhood (she entered a male monastery when she was 8 years old) and ending with the story of her canonization and a contemporary account of the procession that occurs annually on her feast day in Eibingen, the site of the second convent she founded. Throughout, Maddocks reminds readers of the rich historical background of Hildegard's life (the Crusades, the rise of monasticism, the beginnings of the Renaissance), offering not only an account of one extraordinary woman but of an era whose influence on our own is still being felt. --Michael Joseph Gross

    Yet this formidable dominion never inspired the awe of its predecessor. Voltaire distilled the disdain of generations when he quipped it was neither holy, Roman, nor an empire. Yet as Peter Wilson shows, the Holy Roman Empire tells a millennial story of Europe better than the histories of individual nation-states. And its legacy can be seen today in debates over the nature of the European Union.Heart of Europe traces the Empire from its origins within Charlemagne’s kingdom in 800 to its demise in 1806. By the mid-tenth century its core rested in the German kingdom, and ultimately its territory stretched from France and Denmark to Italy and Poland. Yet the Empire remained stubbornly abstract, with no fixed capital and no common language or culture. The source of its continuity and legitimacy was the ideal of a unified Christian civilization, but this did not prevent emperors from clashing with the pope over supremacy―the nadir being the sack of Rome in 1527 that killed 147 Vatican soldiers.Though the title of Holy Roman Emperor retained prestige, rising states such as Austria and Prussia wielded power in a way the Empire could not. While it gradually lost the flexibility to cope with political, economic, and social changes, the Empire was far from being in crisis until the onslaught of the French revolutionary wars, when a crushing defeat by Napoleon at Austerlitz compelled Francis II to dissolve his realm.

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    Fleming and six other authors will each contribute a story from different points of view: M.T. Anderson, Jennifer Donnelly, Stephanie Hemphill, Deborah Hopkinson, Linda Sue Park, and Lisa Ann Sandell.

    This biography takes the reader through her life, from her Victorian childhood in London to her final years farming in the Lake District.

    There was a time, however, when female literacy was a radical idea, and women have certainly not always been free to read whatever they want, whether for pleasure or instruction. This highly acclaimed book presents a compelling selection of paintings, drawings, prints and photographs of women reading through the ages. Works by a diverse range of artists, from Vermeer, Manet and Whistler to Edward Hopper and photographer Eve Arnold, are accompanied by commentaries that explain the context in which each image was created. Also featuring a foreword by the novelist Karen Joy Fowler and an engaging introduction exploring reading as a female pursuit, Women Who Read Are Dangerous will appeal to book lovers everywhere.

    The saga recounts Egil's progression from youthful savagery to mature wisdom as he struggles to avenge his father's exile from Norway, defend his honour against the Norwegian King Erik Bloodaxe, and fight for the English King Athelstan in his battles against Scotland. Exploring issues as diverse as the question of loyalty, the power of poetry, and the relationship between two brothers who love the same woman, Egil's Saga is a fascinating depiction of a deeply human character.

    And unlike dogs, cats offer humans no practical benefit. The truth is they are sadly incompetent mouse-catchers and now pose a threat to many ecosystems. Yet, we love them still.Content:Catacombs Cat's cradle What's the catch? The cats that ate the canaries The cat lobby CAT scan Pandora's litter box Lions and toygers and lykoi Nine likes.

    Who were these medieval monastic knights, whose exploits were the stuff of legend even in their own day? Were these elite crusaders corrupted by their conquests, which amassed them such power and wealth as to become the envy of kings? Indignant at the discrepancies between the fantasies, on which "writers on history of every kind and hue have indulged themselves without restraint", and the available evidence, Régine Pernoud draws a different portrait of these Christian warriors. From their origins as defenders of pilgrims to the Holy Land to their dramatic finish as heretics burned at the stake, Pernoud offers a concise but thorough account of the Templars' contribution to Christendom.

    Juried by distinguished artist and educator Joe Bova, this magnificent gallery includes pieces from an international group of artists; the beautifully crafted works range from the representational to the abstract, from artful realism to provocative surrealism (including animal-human hybrids). Ann Marais’ image of a waterfowl painted onto a porcelain dish has a restrained, Asian quality. Sharkus’ painted and smoke-fired stoneware turtle could easily be mistaken for the living creature. Bova provides astute and illuminating commentary overall, with selected artists’ notes.

    A unique body of medieval literature, the Sagas rank with the world’s great literary treasures – as epic as Homer, as deep in tragedy as Sophocles, as engagingly human as Shakespeare. Set around the turn of the last millennium, these stories depict with an astonishingly modern realism the lives and deeds of the Norse men and women who first settled in Iceland and of their descendants, who ventured farther west to Greenland and, ultimately, North America. Sailing as far from the archetypal heroic adventure as the long ships did from home, the Sagas are written with psychological intensity, peopled by characters with depth, and explore perennial human issues like love, hate, fate and freedom.

    She was at the very center of the rich culture and clashing politics of the twelfth century. Richest marriage prize of the Middle Ages, she was Queen of France as the wife of Louis VII, and went with him on the exciting and disastrous Second Crusade. Inspiration of troubadours and trouveres, she played a large part in rendering fashionable the Courts of Love and in establishing the whole courtly tradition of medieval times. Divorced from Louis, she married Henry Plantagenet, who became Henry II of England. Her resources and resourcefulness helped Henry win his throne, she was involved in the conflict over Thomas Becket, and, after Henry’s death, she handled the affairs of the Angevin empire with a sagacity that brought her the trust and confidence of popes and kings and emperors. Having been first a Capet and then a Plantagenet, Queen Eleanor was the central figure in the bitter rivalry between those houses for the control of their continental domains, a rivalry that excited the whole period: after Henry’s death, her sons, Richard Coeur-de-Lion and John Lackland (of Magna Carta fame), fiercely pursued the feud up to and even beyond the end of the century. But the dynastic struggle of the period was accompanied by other stirrings: the intellectual revolt, the struggle between church and state, the secularization of literature and other arts, the rise of the distinctive urban culture of the great cities. Eleanor was concerned with all the movements, and closely connected with all the personages; she knew every city from London and Paris to Byzantium, Jerusalem, and Rome.Amy Kelly’s story of the queen’s long life—the first modern biography—brings together more authentic information about her than has ever been assembled before and reveals in Eleanor a greatness of vision, an intelligence, and a political sagacity that have been missed by those who have dwelt on her caprice and frivolity. It also brings to life the whole period in whose every aspect Eleanor and her four kings were so intimately and influentially involved. Miss Kelly tells Eleanor’s absorbing story as it has long waited to be told: with verve and style and a sense of the quality of life in those times, and yet with a scrupulous care for the historic facts.