This book contains first hand accounts of life in the workhouse, enabling you to see the workhouse through the eyes of people who experienced it.CONTENTSFOODI am fond of gruelSaltless gruel and dry breadSweetened gruel and diarrhoeaSour gruelSICKNESSRaw, festering soresThe tramp with diarrhoeaAsking for the doctorBATHING, UNDRESSING AND DRESSINGDirty looking bathsOur clothes were taken from us“Hurry up, women”Wet clothesThe condition of the clothesCONDITIONS AND PEOPLEDo I look like a prostitute?We were “only tramps”Coming into contact with other men’s fleshThirst“Your neighbour breathed right into your face”Being woken up throughout the nightPunished for being cheekyBEDS AND BEDDINGThe wire mattressThe wire pillow – a cruel inventionDirty blankets and hard bedsLABOURPicking oakumStone-breaking in Paddington work houseA NIGHT IN A WORKHOUSEYou’ve missed your gruelA stain of blood bigger than a man's handFilthy anecdotesThe swearing clubChecking for liceThree fourths of a pint of gruel in a yellow basinMilling with the crank-handleTHE CRAWLERS: THE WOMAN UNABLE TO GET ADMISSION TO THE WORKHOUSEA CHILD'S MEMORIES OF BEING PUT IN THE WORKHOUSE

    She claimed the police had inserted a stick inside her… Swaranpreet realised that she had been cruelly violated; He spoke a single sentence but repeated it twice in chaste Punjabi: ‘Please give me a turban? I want nothing else…’ These are voices begging for deliverance in the aftermath of Indira Gandhi’s assassination in October-November 1984 in which 2,733 Sikhs were killed, burnt and exterminated by lumpens in the country. Nilanjan Mukhopadhyay walks us through one of the most shameful episodes of sectarian violence in post Independent India and highlights the apathy of subsequent governments towards Sikhs who paid a price for what was clearly a state-sponsored riot. Poignant, raw and most importantly, macabre, the personal histories in the book reveal how even after three decades, a community continues to battle for its identity in its own country.

    They were often drunk and broke, sometimes hungry, but they were of a rebellious spirit. Inhabiting the same England with Philistines and Puritans, this parallel minority of moral pioneers lived in a world of faulty fireplaces, bounced checks, blocked drains, whooping cough, and incontinent cats.They were the bohemians.Virginia Nicholson -- the granddaughter of painter Vanessa Bell and the great-niece of Virginia Woolf -- explores the subversive, eccentric, and flamboyant artistic community of the early twentieth century in this "wonderfully researched and colorful composite portrait of an enigmatic world whose members, because they lived by no rules, are difficult to characterize" (San Francisco Chronicle).

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    Beginning with: "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her. What does the word mean?", Carson examines her subject from numerous points of view and styles, transcending the constraints of the scholarly exercise for an evocative and lyrical meditation in the tradition of William Carlos William's Spring and All and William H. Gass's On Being Blue.

    This has been described as "the most highly finished of all his works and the expression of his deepest thought". It is the story of Marius, the grave and thoughtful young man whose reactions to the diverse philosophical forces of his times the Golden Book of Lucius Apuleius, the stoicism of Marcus Aurelius, the tranquil beauties of the old Roman religion, and the lurid horrors of the Christian persecution are interestingly and imaginatively depicted.

    Whether you're writing a rags-to-riches tell-all memoir or literary journalism, telling true stories well is hard work. In You Can't Make This Stuff Up, Lee Gutkind, the go-to expert for all things creative nonfiction, offers his unvarnished wisdom to help you craft the best writing possible. Frank, to-the-point, and always entertaining, Gutkind describes and illustrates every aspect of the genre. Invaluable tools and exercises illuminate key steps, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding the genre, this practical guidebook will help you thoroughly expand and stylize your work.

    As these lives—of adults and children alike—unfold, lies are revealed, hearts are broken, and the damaging truth about the Wellwoods slowly emerges. But their personal struggles, their hidden desires, will soon be eclipsed by far greater forces, as the tides turn across Europe and a golden era comes to an end.Taking us from the cliff-lined shores of England to Paris, Munich, and the trenches of the Somme, The Children’s Book is a deeply affecting story of a singular family, played out against the great, rippling tides of the day. It is a masterly literary achievement by one of our most essential writers.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    But there is one other crucial factor, which is much less well known. The same team had done it before. The truth is that many of those most closely involved in cracking the Enigma code – Alistair Denniston, Frank Birch, Dilly Knox – had wrestled with German naval codes for most of the First World War. By the end of the war they had been successfully cracking a new code every day, from their secret Room 40 at the Old Admiralty Building, in a London blacked out for Zeppelin Raids.The techniques they developed then, the ideas that they came to rely on, the people they came to trust, had been developed the hard way, under intense pressure and absolute secrecy during World War I. Before Enigma tells their story and explains how they managed to crack the supposedly indecipherable code. The book outlines the capture of the Magdeburg and the Hobart, discusses the use of cracked codes to bring German fleets to battle at Dogger Bank and Jutland, and focuses on individuals such as Winston Churchill and Admiral Sir Reginald ‘Blinker’ Hall and their importance in the development of a British naval code tradition. Praise for David Boyle ‘Exhilarating’ - Daily Mail David Boyle is a British author and journalist who writes mainly about history and new ideas in economics, money, business and culture. He lives in Crystal Palace, London. His books include Alan Turing: Unlocking the Enigma, Operation Primrose, Rupert Brooke: England’s Last Patriot, Peace on Earth: The Christmas Truce of 1914, Jerusalem: England’s National Anthem and Unheard Unseen: Warfare in the Dardanelles .Endeavour Press is the UK's leading independent digital publisher. For more information on our titles please sign up to our newsletter at www.endeavourpress.com. Each week you will receive updates on free and discounted ebooks. Follow us on Twitter: @EndeavourPress and on Facebook via http://on.fb.me/1HweQV7. We are always interested in hearing from our readers. Endeavour Press believes that the future is now.

    Like any sane person, his response is to travel to Crewe, Carlisle and Luton. Hatters, Railwaymen and Knitters is an attempt to seek out the England of today through the lens of its football clubs. Small teams and towns, Gray argues, made the country great and matter now more than ever. Taking twelve teams who had notable seasons in 1981, the year of his birth, Hatters, Railwaymen and Knitters is part-football book, part-travelogue and part-love letter to the bits of England that often get forgotten.In Middlesbrough, his own childhood team, Gray examines the concept of supporter loyalty and identity. Is football all some of us have left to cling to in a land where the industry that bound the people of towns together has gone? In Watford he muses on the existence of a North-South divide. In Sheffield, a city of bitter derbies, he examines rivalries in football and what they say about our country. In traditionally-wealthy Ipswich he ponders the ownership of football clubs past, present and future. Via such places as Chester, Burnley, Bradford and Carlisle, this is a whistle-stop tour of the outer reaches of the football league that aims to answer big questions about Englishness.For fans of Harry Pearson's The Far Corner or Stuart Maconie's Pies and Prejudice, this is a book that brings the real England vivdly jumping off the page.

    In Reading Comics, critic Douglas Wolk shows us why this is and how it came to be. Wolk illuminates the most dazzling creators of modern comics-from Alan Moore to Alison Bechdel to Dave Sim to Chris Ware-and introduces a critical theory that explains where each fits into the pantheon of art. Reading Comics is accessible to the hardcore fan and the curious newcomer; it is the first book for people who want to know not just what comics are worth reading, but also the ways to think and talk and argue about them.

    A regular visitor to London, to the seashore for holidays, and to the estates of friends and relatives, Jane carried her own notion of home with her wherever she went and drew inspiration for her brilliantly witty novels from every new experience. She wrote most everywhere she traveled, accompanied by her portable writing desk.With gorgeous photography and illustrations, At Home with Jane Austen explores Austen’s world, her physical surroundings, and the journeys the popular author took during her lifetime. Author Kim Wilson ties Austen’s novels to places where she lived, visited, and even attended school, ending with her final months in temporary lodgings in Winchester, England. Jane Austen’s enduring legacy is the final chapter of this beautiful and eye-opening book.

    It was the world's first creative 'Bohemia'. The nation's most significant artists, actors, poets, novelists, and dramatists lived here. From Soho and Leicester Square across Covent Garden's Piazza to Drury Lane, and down from Long Acre to the Strand, they rubbed shoulders with rakes, prostitutes, market people, craftsmen, and shopkeepers. It was an often brutal world full of criminality, poverty and feuds, but also of high spirits, and an intimacy that was as culturally creative as any other in history. Virtually everything that we associate with Georgian culture was produced here.