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

    Historically accurate, it is a story of murder and betrayal, of a failed rebellion, and the love of a national scandal.  Charles Trevelyan was Secretary of the Treasury, and Director of the Famine Relief Programme at a time when famine raged and antipathy in English politics towards the plight of those affected raged equally. Kathryn, Charles' daughter, likewise felt no sympathy until the very scale of the tragedy became apparent. Joining the underground, she preached insurrection, stole food for the starving, and became the lover of the leader of the rebellion. She became known as Dark Rosaleen, the heroine of banned nationalist poem, was branded as both traitor and cause celebré. This is her story.

    Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all."Ecology without Nature" investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from "The Lord of the Rings" to electronic life forms, "Ecology without Nature" widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."

    Showalter is one of the few scholars who can make her readers rush to their bookshelves to refute her point, or simply to experience again Jane Eyre, The Mill on the Floss, or the bitterly illuminating stories of Katherine Mansfield. Her chief innovation is to place the works of famous women writers beside those of the minor or forgotten, building a continuity of influence and inspiration as well as a more complete picture of the social conditions in which women's books have been produced. She has added a new introduction recounting, with justifiable pleasure, how daring and controversial her study seemed when it first appeared in 1977 (and how many enemies it made her). In an afterword, she touches on more recent developments in the women's novel in Britain, including the influence of the dazzling Angela Carter. --Regina Marler

    This diverse and powerful body of literature has established a specific practice of post-colonial writing in cultures as various as India, Australia, the West Indies and Canada, and has challenged both the traditional canon and dominant ideas of literature and culture.The Empire Writes Back was the first major theoretical account of a wide range of post-colonial texts and their relation to the larger issues of post-colonial culture, and remains one of the most significant works published in this field. The authors, three leading figures in post-colonial studies, open up debates about the interrelationships of post-colonial literatures, investigate the powerful forces acting on language in the post-colonial text, and show how these texts constitute a radical critique of Eurocentric notions of literature and language.This book is brilliant not only for its incisive analysis, but for its accessibility for readers new to the field. Now with an additional chapter and an updated bibliography, The Empire Writes Back is essential for contemporary post-colonial studies.

    As a brilliant survey of English literature in terms of changing attitudes towards country and city, Williams' highly-acclaimed study reveals the shifting images and associations between these two traditional poles of life throughout the major developmental periods of English culture.

    In the years since publication this book has rightly attained the status of a classic. Written for readers with little knowledge of the subject, Sexual/Textual Politics nevertheless makes its own intervention into key debates, arguing provocatively for a commitedly political and theoretical criticism as against merely textual or apolitical approaches.With a new afterword in this edition, Sexual/Textual Politics is a must-read for all those interested in feminist literary theory.

    Abrams has given us a remarkable study, admirably conceived and executed, a book of quite exceptional and no doubt lasting significance for a number of fields - for the history of ideas and comparative literature as well as for English literary history, criticism and aesthetics.

    Adopting what is essentially a structuralist approach, the author identifies and names the basic constituents and techniques of narrative and illustrates them by referring to literary works in many languages.

    To demonstrate the sense in which Foucault's work is beyond structuralism and hermeneutics, the authors unfold a careful, analytical exposition of his oeuvre. They argue that during the of Foucault's work became a sustained and largely successful effort to develop a new method—"interpretative analytics"—capable fo explaining both the logic of structuralism's claim to be an objective science and the apparent validity of the hermeneutical counterclaim that the human sciences can proceed only by understanding the deepest meaning of the subject and his tradition. "There are many new secondary sources [on Foucault]. None surpass the book by Hubert Dreyfus and Paul Rabinow. . . . The American paperback edition contains Foucault's 'On the Genealogy of Ethics,' a lucid interview that is now our best source for seeing how he construed the whole project of the history of sexuality."—David Hoy, London Review of Books

     After her fiancé’s death, Brenna Keelin travels to England, stumbles up hidden stairs in a cathedral and comes out in 1871 Yorkshire. To keep from starving, she becomes a servant in a great estate. More than anything she wants to return to her modern life, especially in time for her sister's wedding, but falling in love has changed everything. Lord Garren Buntingford left Scotland to take over an earldom. He has a lot to learn about the subtleties of being an aristocrat—and a title he never wanted. He desires to return to his vast farm and family in Scotland until a beautiful housemaid is injured by a horse and he carries her back to the estate where she works in his arms. Brenna must hide the truth about where she is from and find her purpose for being sent through time before the stairs will open again. But soon discovers that her calling is to help Lord Garren marry an aristocratic wife. Her heart is torn between fulfilling her call and a desperate passion for a braw Scotsman that society says she can never have. Both must choose between the home they long for and a forbidden love, between duty and devotion, the upstairs and the downstairs, all under the roof of Dunstable Park House.

    As such, this is a critical survey of modern Western philosophy, focusing in particular on the complex relations between aesthetics, ethics & politics. Eagleton provides a brilliant & challenging introduction to these concerns, as characterized in the work of Kant, Schiller, Schopenhauer, Kierkegaard, Marx, Nietzsche, Freud, Heidegger, Lukacs, Adorno, Habermas & others. Wide in span, as well as morally & politically committed, this is his major work to date. It forms both an original enquiry & an exemplary introduction.

    Sprinting through the rain, she comes upon the only oasis in the storm, a dark castle with stone wolves at that gate. She doesn’t want to enter but she doesn’t have much choice. With her brother trapped in their carriage, she needs help. But the man she finds inside the castle… it’s not clear if he’s her angel or a devil. Lord Gavin deWolfe knows his old castle is off-putting, in fact, he prefers it that way. After the loss of his wife, he wishes to shut out the world. That is until a wet and pathetic girl lands in a puddle on his floor. He’ll help her and then send her on her way. The problem, her brother’s too injured to travel and she is no girl after all. She’s all woman and she stirs feelings in him he thought long dead. Read for FREE with Kindle Unlimited!

    But when the ancient fae magic causes a disruption in reality, she’s unexpectedly pulled back in time to 1850. Kaitlyn is thrilled to spend time in the past and eager to try it all, including the harmless flirting with the wealthy men who visit Twickenham Manor. Though her mind belongs in the twenty-first century, as she spends time with a handsome Baronet she wonders if finding love in the past is really a possibility. Cyrus told himself the real reason he came to England was to help keep Kaitlyn safe as a promise to her mother, but he soon discovers that there’s more to his best friend’s younger sister than he remembers. When he finally gets a chance to explore where a relationship might lead, he finds himself in the past where there are others willing to sweep Kaitlyn off her feet. Will Kaitlyn give him a chance to prove his love, or will he lose out to a genuine Victorian gentleman?

    Through the notion of trauma, she contends, we come to a new understanding that permits history to arise where immediate understanding is impossible. In her wide-ranging discussion, Caruth engages Freud's theory of trauma as outlined in Moses and Monotheism and Beyond the Pleasure Principle; the notion of reference and the figure of the falling body in de Man, Kleist, and Kant; the narratives of personal catastrophe in Hiroshima mon amour; and the traumatic address in Lecompte's reinterpretation of Freud's narrative of the dream of the burning child.