Drawing on numerous unpublished sources, he examines in detail the peculiar friendship between the Oxford mathematician Charles Dodgson (Lewis Carroll) and Alice Liddell, the child for whom he invented the Alice stories, and analyzes how this relationship stirred Carroll s imagination and influenced the creation of Wonderland. It also explains why "Alice in Wonderland" (1865) and its sequel, "Through the Looking-Glass" (1871), took on an unstoppable cultural momentum in the Victorian era and why, a century and a half later, they continue to enthrall and delight readers of all ages."The Story of Alice" reveals Carroll as both an innovator and a stodgy traditionalist, entrenched in habits and routines. He had a keen double interest in keeping things moving and keeping them just as they are. (In Looking-Glass Land, Alice must run faster and faster just to stay in one place.) Tracing the development of the Alice books from their inception in 1862 to Liddell s death in 1934, Douglas-Fairhurst also provides a keyhole through which to observe a larger, shifting cultural landscape: the birth of photography, changing definitions of childhood, murky questions about sex and sexuality, and the relationship between Carroll s books and other works of Victorian literature.In the stormy transition from the Victorian to the modern era, Douglas-Fairhurst shows, Wonderland became a sheltered world apart, where the line between the actual and the possible was continually blurred."

    Yet, his purposes were obstensibly beneficient. An uneducated peasant, he left Siberia to become a wandering holy man and soon acquired a reputation as a healer. The empress was desperate to find a cure for the haemophilia from which her son Alexei suffered, and in 1905 Rasputin was presented at court. His positive effect on the heir's health made him indispensable. But his religious teachings were unorthodox, and his charismatic presence aroused in many ladies of the St Petersburg aristocracy an exalted response, which he exploited sexually. Shady financial dealings added to the atmosphere of debauchery and scandal, and he was also seen as a political threat. He was assassinated in 1916.

    Charlotte, Emily, Anne and Branwell, the four prodigiously gifted Bronte children, grew up in a world circumscribed by their father's dank, claustrophobic parsonage at Haworth in Yorkshire.  Here their lively imaginations fed upon each other's childhood fantasies.  They invented their own fictional world of romance and adventure which led to the great novels of the three girls' maturity.  Branwell, the only son, of whom so much was expected, had his talent destroyed by wildness and alcohol, while only Charlotte among the three sisters lived barely long enough to enjoy her writing career.The story of the Bronte family is not, however, one of unrelieved tragedy.  They knew love and friendship, they found success in their writings, and above all they exalted in the glories of the wild Yorkshire countryside, the moors of Wuthering Heights.  Using the freedom of a novelist and his own richly imaginative insights, Glyn Hughes brings the creative and dramatic world of the Bronte family triumphantly to life.

    Hugely enriched by his unique access to private papers and family memories, it details the lives of such fascinating figures as the romantic, chivalrous Henry Spencer, First Earl of Sunderland; Georgiana, Duchess of Devonshire, scandalizer and enchantress of eighteenth century high-society; and George Spencer, who, as Father Ignatius, rejected the privileges of his birth to live a life of poverty and chastity as a mendicant monk. ‘A labour of love and a very successful one… The Spencers have been leading actors on the British stage for more than 300 years. Look at every reign from James I onwards and you will find a Spencer in the thick of things. .. The women of the family have their own histories which are every bit as fascinating.’ - Amanda Foreman, Mail on Sunday 'Charles Spencer is a very good writer… a splendidly enjoyable, elegantly written narrative in which the author brings all his characters to life in a manner that is both at once astute and vivid.' - Literary Review 'A warm, entertaining and appropriately personal account of one of the most successful families England has produced.' -Daily Mail 'A history of his family which contrives to be always entertaining without descending to the trivial … he writes well, with wit and panache.' - Daily Telegraph Charles Spencer was educated at Eton College and obtained his degree in Modern History at Magdalen College, Oxford. He is the author of five books, including the Sunday Times bestseller ‘Blenheim: The Battle for Europe’ (shortlisted for History Book of the Year, National Book Awards), 'Killers of the King: The Men Who Dared to Execute Charles I' and ‘Prince Rupert: The Last Cavalier’.

    This collection contains, too, many examples of that humorous and epigrammatic genius which captured the London theatre and, by suddenly casting light from an unexpected angle, widened the bounds of truth.

    For comfort, he turned to his bookshelves, back to the ghost stories that obsessed him as a boy, and to the writers through the ages who have attempted to confront what comes after death.In Ghostland, Parnell goes in search of the ‘sequestered places’ of the British Isles, our lonely moors, our moss-covered cemeteries, our stark shores and our folkloric woodlands. He explores how these landscapes conjured and shaped a kaleidoscopic spectrum of literature and cinema, from the ghost stories and weird fiction of M.R. James, Arthur Machen and Algernon Blackwood to the children’s fantasy novels of Alan Garner and Susan Cooper; from W.G. Sebald’s The Rings of Saturn and Graham Swift’s Waterland to the archetypal ‘folk horror’ film The Wicker Man…Ghostland is Parnell’s moving exploration of what has haunted our writers and artists—and what is haunting him. It is a unique and elegiac meditation on grief, memory and longing, and of the redemptive power of stories and nature.

    They showed that “the modern”need not be at war with the past: constructivists and conservatives could work together, and even the Bauhaus émigré László Moholy-Nagy was beguiled into taking photos for Betjeman’s nostalgic An Oxford University Chest.A rich network of personal and cultural encounters was the backdrop for a modern English renaissance. This great imaginative project was shared by writers, painters, gardeners, architects, critics, and composers. Piper abandoned purist abstracts to make collages on the blustery coast; Virginia Woolf wrote in her last novel about a village pageant on a showery summer day. Evelyn Waugh, Elizabeth Bowen,and the Sitwells are also part of the story, along with Bill Brandt and Graham Sutherland, Eric Ravilious and Cecil Beaton.