'An Officer and a Gentlewoman' charts Goodley's absorbing journey as she gives an insight into the array of bizarre military behaviours and customs at this esoteric and hidden institution."

    Her father, Maharajah Duleep Singh, was heir to the Kingdom of the Sikhs, one of the greatest empires of the Indian subcontinent, a realm that stretched from the lush Kashmir Valley to the craggy foothills of the Khyber Pass and included the mighty cities of Lahore and Peshawar. It was a territory irresistible to the British, who plundered everything, including the fabled Koh-I-Noor diamond. Exiled to England, the dispossessed Maharajah transformed his estate at Elveden in Suffolk into a Moghul palace, its grounds stocked with leopards, monkeys and exotic birds. Sophia, god-daughter of Queen Victoria, was raised a genteel aristocratic Englishwoman: presented at court, afforded grace and favor lodgings at Hampton Court Palace and photographed wearing the latest fashions for the society pages. But when, in secret defiance of the British government, she travelled to India, she returned a revolutionary. Sophia transcended her heritage to devote herself to battling injustice and inequality, a far cry from the life to which she was born. Her causes were the struggle for Indian Independence, the fate of the lascars, the welfare of Indian soldiers in the First World War – and, above all, the fight for female suffrage. She was bold and fearless, attacking politicians, putting herself in the front line and swapping her silks for a nurse's uniform to tend wounded soldiers evacuated from the battlefields. Meticulously researched and passionately written, this enthralling story of the rise of women and the fall of empire introduces an extraordinary individual and her part in the defining moments of recent British and Indian history.

    At the center of almost every social situation in her novels one finds tea. In Emma, does Miss Bates drink coffee? Of course not: "No coffee, I thank you, for me never take coffee. A little tea if you please." In Pride and Prejudice, what is one of the supreme honors Mr. Collins can envision Lady Catherine bestowing on Elizabeth Bennet and her friends? Why, drinking tea with her, naturally.Tea with Jane Austen begins with tea drinking in the morning and ends with tea in the evening, at balls and other gatherings. Each chapter includes a description of how tea was taken at a particular place or time of day, along with history, recipes, excerpts from Austen's novels and letters and illustrations from the time.

    In Imperial Requiem, Justin C. Vovk narrates the epic story of four women who were married to the reigning monarchs of Europe's last empires during the late nineteenth and early twentieth centuries. Using a diverse array of primary and secondary sources, letters, diary entries, and interviews with descendants, Vovk provides an in-depth look into the lives of four extraordinary women who stayed faithfully at their husbands' sides throughout the cataclysm of the First World War and the tumultuous years that followed. At the centers of these four great monarchies were Augusta Victoria, Germany's revered empress whose unwavering commitment to her bombastic husband made her a national icon; Mary, whose Cinderella story and immense personal strength made her the soul of the British monarchy through some of its greatest crises; Alexandra, the ill-fated tsarina who helped topple the Russian monarchy through her ineffective rule; and Zita, the resolute empress of Austria whose story of loss and exile captivated the world's attention for seven decades. Imperial Requiem shares the fascinating story of four princesses who married for love, graced imperial thrones, and watched as their beloved worlds were torn apart by war, revolution, heartache, and loss.

    Her family lived in a tiny flat near Paddington Station and her earliest memories were of the smell of horses and the shrill whistle of steam trains. For a girl from the slums there was only really one option once school was over - a life in service. She started work on 1925 as a lowly kitchen maid in the London home of Lady Diana Spencer's family. Here she heard tales of the Earl's propensity for setting fire to himself, as well as enjoying the servant's gossip about who was sleeping with whom.The Spencers were just the first in a line of eccentric families for whom she worked during a career that lasted more than thirty earrs and took her from a London palace to remote medieval estates. But despite long hours, amorous butlers and mad employers, Kathleen always kept her sense of humour and knew how to have fun. On one occasion she was almost caught in bed with her boyfriend who had to jump out of the window and run down the drive in his underwear to escape the local bobby.

    

    Now updated with new material that brings the killer's picture into clearer focus.In the fall of 1888, all of London was held in the grip of unspeakable terror.  An elusive madman calling himself Jack the Ripper was brutally butchering women in the slums of London’s East End.  Police seemed powerless to stop the killer, who delighted in taunting them and whose crimes were clearly escalating in violence from victim to victim.  And then the Ripper’s violent spree seemingly ended as abruptly as it had begun.  He had struck out of nowhere and then vanished from the scene.  Decades passed, then fifty years, then a hundred, and the Ripper’s bloody sexual crimes became anemic and impotent fodder for puzzles, mystery weekends, crime conventions, and so-called “Ripper Walks” that end with pints of ale in the pubs of Whitechapel.  But to number-one New York Times bestselling novelist Patricia Cornwell, the Ripper murders are not cute little mysteries to be transformed into parlor games or movies but rather a series of terrible crimes that no one should get away with, even after death.  Now Cornwell applies her trademark skills for meticulous research and scientific expertise to dig deeper into the Ripper case than any detective before her—and reveal the true identity of this fabled Victorian killer.In Portrait of a Killer: Jack the Ripper, Case Closed, Cornwell combines the rigorous discipline of twenty-first century police investigation with forensic techniques undreamed of during the late Victorian era to solve one of the most infamous and difficult serial murder cases in history.  Drawing on unparalleled access to original Ripper evidence, documents, and records, as well as archival, academic, and law-enforcement resources, FBI profilers, and top forensic scientists, Cornwell reveals that Jack the Ripper was none other than a respected painter of his day, an artist now collected by some of the world’s finest museums: Walter Richard Sickert.It has been said of Cornwell that no one depicts the human capability for evil better than she.   Adding layer after layer of circumstantial evidence to the physical evidence discovered by modern forensic science and expert minds, Cornwell shows that Sickert, who died peacefully in his bed in 1942, at the age of 81, was not only one of Great Britain’s greatest painters but also a serial killer, a damaged diabolical man driven by megalomania and hate.  She exposes Sickert as the author of the infamous Ripper letters that were written to the Metropolitan Police and the press.  Her detailed analysis of his paintings shows that his art continually depicted his horrific mutilation of his victims, and her examination of this man’s birth defects, the consequent genital surgical interventions, and their effects on his upbringing present a casebook example of how a psychopathic killer is created.New information and startling revelations detailed in Portrait of a Killer include:- How a year-long battery of more than 100 DNA tests—on samples drawn by Cornwell’s forensics team in September 2001 from original Ripper letters and Sickert documents—yielded the first shadows of the 75- to 114 year-old genetic evid...

    The text is complemented by a wide-ranging selection of contemporary illustrations.

    Here, drawing on a wealth of unpublished letters, archives, and images, the current incumbent of the seat, Robert Sackville-West, paints a vivid and intimate portrait of the vast, labyrinthine house and the close relationships his colorful ancestors formed within it.Inheritance is the story of a house and its inhabitants, a family described by Vita Sackville-West as "a race too prodigal, too amorous, too weak, too indolent, and too melancholy; a rotten lot, and nearly all starkstaring mad." Where some reveled in the hedonism of aristocratic life, others rebelled against a house that, in time, would disinherit them, shutting its doors to them forever. It's a drama in which the house itself is a principal character, its fortunes often mirroring those of the family. Every detail holds a story: the portraits, and all the items the subjects of those portraits left behind, point to pivotal moments in history; all the rooms, and the objects that fill them, are freighted with an emotional significance that has been handed down from generation to generation.Now owned by the National Trust, Knole is today one of the largest houses in England, visited by thousands annually and housing one of the country's finest collections of secondhand Royal furniture. It's a pleasure to follow Robert Sackville-West as he unravels the private life of a public place on a fascinating, masterful, four-hundred-year tour through the memories and memorabilia, political, financial, and domestic, of his extraordinary family.

    They included Lord Byron, John Keats, and Mary Shelley, as well as a host of fascinating lesser-known figures: Mary Shelley’s stepsister and Byron’s mistress, Claire Clairmont; Hunt’s botanist sister-in-law, Elizabeth Kent; the musician Vincent Novello; the painters Benjamin Haydon and Joseph Severn; and writers such as Charles and Mary Lamb, Thomas Love Peacock, and William Hazlitt. They were characterized by talent, idealism, and youthful ardor, and these qualities shaped and informed their politically oppositional stances—as did their chaotic family arrangements, which often left the young women, despite their talents, facing the consequences of the men’s philosophies.In Young Romantics, Daisy Hay follows the group’s exploits, from its inception in Hunt’s prison cell in 1813 to its disintegration after Shelley’s premature death in 1822. It is an enthralling tale of love, betrayal, sacrifice, and friendship, all of which were played out against a background of political turbulence and intense literary creativity.

    Her childhood was loving and secure, his turbulent: the Duke's grandfather was assassinated, his father arrested, his family exiled, his parents separated by the time he was ten. For almost sixty years theirs have been among the most famous faces in the world—yet the personalities behind the image remain elusive, and the nature of their marriage is an enigma.Gyles Brandreth has met all the principal players in the story. He quotes no anonymous sources; he has known the Duke of Edinburgh for twenty-five years and has interviewed him. This is a unique and revealing portrait of a remarkable partnership.

    Index. A Helen and Kurt Wolff Book

    By unfolding the histories of the meaningful objects in their family home in Haworth, Lutz immerses readers in a nuanced re-creation of the sisters' daily lives while moving us chronologically forward through the major biographical events: the death of their mother and two sisters, the imaginary kingdoms of their childhood writing, their time as governesses, and their determined efforts to make a mark on the literary world.From the miniature books they made as children to the blackthorn walking sticks they carried on solitary hikes on the moors, each personal possession opens a window onto the sisters' world, their beloved fiction, and the Victorian era. A description of the brass collar worn by Emily’s bull mastiff, Keeper, leads to a series of entertaining anecdotes about the influence of the family’s dogs on their writing and about the relationship of Victorians to their pets in general. The sisters' portable writing desks prove to have played a crucial role in their writing lives: it was Charlotte's snooping in Emily’s desk that led to the sisters' first publication in print, followed later by the publication of Jane Eyre and Wuthering Heights.Charlotte's letters provide insight into her relationships, both innocent and illicit, including her relationship with the older professor to whom she wrote passionately. And the bracelet Charlotte had made of Anne and Emily's intertwined hair bears witness to her profound grief after their deaths.Lutz captivatingly shows the Brontës anew by bringing us deep inside the physical world in which they lived and from which their writings took inspiration.

    The battles it fought are household words, but the idiosyncracies and eccentricities of its soldiers and the often appalling conditions under which they lived have gone largely unrecorded. Byron Farwell explores here the lives of officers and men, their foibles, gallantry, and diversions, their discipline and their rewards.

    Victoria's matchmaking plans were further complicated by the tumultuous international upheavals of the time: revolution and war were in the air, and kings and queens, princes and princesses were vulnerable targets.Queen Victoria's Matchmaking travels through the glittering, decadent palaces of Russia and Europe, weaving in scandals, political machinations and family tensions to enthralling effect. It is at once an intimate portrait of a royal family and an examination of the conflict caused by the marriages the Queen arranged. At the heart of it all is Victoria herself: doting grandmother one moment; determined Queen Empress the next.