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    Philippa Gregory and two historians, leading experts in their field who helped Philippa to research the novels, tell the extraordinary 'true' stories of the life of these women who until now have been largely forgotten by history, their background and times, highlighting questions which are raised in the fiction and illuminating the novels. With a foreword by Philippa Gregory - in which Philippa writes revealingly about the differences between history and fiction and examines the gaps in the historical record - and beautifully illustrated with rare portraits, The Women of the Cousins' War is an exciting new addition to the Philippa Gregory oeuvre.

    Wife to King Louis XVI, she was executed by guillotine during the French Revolution. Her life has become a symbol of the rich continuing their ostentatious lifestyle even while their country lives in squalor around them.

    Hamilton's work was of that constructive sort which is vital for laying the foundations of new states. Whether the Union would have been formed under the Constitution and would have been consolidated into a powerful nation, instead of a loose confederation of sovereign states, without the great services of Hamilton, is one of those problems about which speculation is futile. It is certain that the conditions of the time presented a rare opportunity for such a man as Hamilton, and that without some directing and organizing genius like his, the consolidation of the Union must have been delayed, and have been accomplished with much travail.

    Using the words of the women themselves, 'Bluestockings' charts the fight for and expansion of higher education for women from 1869 through to the 1930s.

    For twenty-five years she had struggled to assert her authority over advisers, who pressed her to marry and settle the succession; now, she was determined not only to reign but to rule. In this magisterial biography, John Guy introduces us to a woman who is refreshingly unfamiliar: at once powerful and vulnerable, willful and afraid. We see her confronting challenges at home and abroad: war against France and Spain, revolt in Ireland, an economic crisis that triggers riots in the streets of London, and a conspiracy to place her cousin Mary Queen of Scots on her throne. For a while she is smitten by a much younger man, but can she allow herself to act on that passion and still keep her throne?  For the better part of a decade John Guy mined long-overlooked archives, scouring handwritten letters and court documents to sweep away myths and rumors. This prodigious historical detective work has enabled  him to reveal, for the first time, the woman behind the polished veneer: determined, prone to fits of jealous rage, wracked by insecurity, often too anxious to sleep alone. At last we hear her in her own voice expressing her own distinctive and surprisingly resonant concerns. Guy writes like a dream, and this combination of groundbreaking research and propulsive narrative puts him in a class of his own.

    In The Sisters of Henry VIII, Maria Perry brings history alive by examining the lives of these extraordinary women and their influence on Europe in the Tudor Age. Margaret became queen of Scotland at age thirteen; family members arranged beautiful Mary's betrothal to the aging king of France when she was twelve. But both women chose their second husbands for love: Margaret married and divorced twice after Henry's advancing armies slaughtered her first husband and kidnapped her children; Mary risked execution by proposing to the handsome duke of Suffolk. Groundbreaking in both depth and scope, Perry's work rescues two remarkable princesses from the shadows of history and offers a fresh interpretation of a royal family and an era sure to fascinate readers of Alison Weir and Antonia Fraser.

    The majority of the fourteen queens considered here, from Catherine de Valois and Elizabeth Woodville to Elizabeth of York, Jane Seymour and Catherine Parr, were consorts, the wives of kings. Although less frequently examined than ruling queens, queen consorts played a crucial and central role within the Royal Court. Their first duty was to bear children and their chastity within marriage had to be above reproach. Any suspicion of sexual misconduct would cast doubt on the legitimacy of their offspring. Three of these women Margaret of Anjou, Anne Boleyn and Catherine Howard were accused of such conduct, and two were tried and executed. A queen also had to contribute to her husband's royal image. This could be through works of piety or through humble intercession. It could also be through her fecundity because the fathering of many children was a sign of virility and of divine blessing. A queen might also make a tangible contribution to her husband's power with her marriage as the symbol of an international diplomatic agreement. A ruling queen was very different, especially if she was married, insofar as she had to fill the roles of both king and queen. No woman could be both martial and virile, and at the same time submissive and supportive. Mary I solved this problem in a constitutional sense but never at the personal level. Elizabeth I sacrificed motherhood by not marrying. She chose to be mysterious and unattainable "la belle dame sans merci." In later life she used her virginity to symbolize the integrity of her realm and her subjects remained fascinated by her unorthodoxy. How did they behave (in and out of the bedchamber)? How powerful were they as patrons of learning and the arts? What religious views did they espouse and why? How successful and influential were they? From convenient accessory to sovereign lady the role of queen was critical, colorful, and often dramatic. "The Tudor Queens of England" is the first book of its kind to intimately examine these questions and more.

    The author aims to cut through the legend and propaganda and asks some important questions: what happened to the princes in the tower? Why did he seize the throne? Did he really believe his brother and nephews were illegitimate?

    Traditional biographies tell us that Queen Victoria inherited the throne as a naïve teenager, when the British Empire was at the height of its power, and seemed doomed to find failure as a monarch and misery as a woman until she married her German cousin Albert and accepted him as her lord and master. Now renowned chronicler Gillian Gill turns this familiar story on its head, revealing a strong, feisty queen and a brilliant, fragile prince working together to build a family based on support, trust, and fidelity, qualities neither had seen much of as children. The love affair that emerges is far more captivating, complex, and relevant than that depicted in any previous account. The epic relationship began poorly. The cousins first met as teenagers for a few brief, awkward, chaperoned weeks in 1836. At seventeen, charming rather than beautiful, Victoria already “showed signs of wanting her own way.” Albert, the boy who had been groomed for her since birth, was chubby, self-absorbed, and showed no interest in girls, let alone this princess. So when they met again in 1839 as queen and presumed prince-consort-to-be, neither had particularly high hopes. But the queen was delighted to discover a grown man, refined, accomplished, and whiskered. “Albert is beautiful!” Victoria wrote, and she proposed just three days later.As Gill reveals, Victoria and Albert entered their marriage longing for intimate companionship, yet each was determined to be the ruler. This dynamic would continue through the years–each spouse, headstrong and impassioned, eager to lead the marriage on his or her own terms. For two decades, Victoria and Albert engaged in a very public contest for dominance. Against all odds, the marriage succeeded, but it was always a work in progress. And in the end, it was Albert’s early death that set the Queen free to create the myth of her marriage as a peaceful idyll and her husband as Galahad, pure and perfect. As Gill shows, the marriage of Victoria and Albert was great not because it was perfect but because it was passionate and complicated. Wonderfully nuanced, surprising, often acerbic–and informed by revealing excerpts from the pair’s journals and letters–We Two is a revolutionary portrait of a queen and her prince, a fascinating modern perspective on a couple who have become a legend.

    Crazed with power and paranoia, he is generally supposed to have killed the youthful Prince of Wales and the aged Henry VI, drowned his brother in a vat of wine, poisoned his wife, and, worst of all, murdered his two young nephews, the older of whom was the rightful king--a reign of terror ending only with his own cowardly death on the blood-soaked field of battle.But is all this true? Modern revisionists, citing the unreliability of Shakespeare's sources and the political agenda of historians in Richard's own day, have offered a far different portrait. A brave and valiant soldier, a loyal brother, and an intelligent, able king popular with his subjects and defeated only through treachery, their Richard is the victim of a deliberate campaign of slander devised by his Tudor successors to the throne.In this comprehensive, meticulously researched book, renowned litigator Bertram Fields outlines and evaluates the arguments of both sides, sifting through five hundred years of legend to apply his highly successful courtroom techniques to the available evidence. Clearing away the dust of time, Fields reconstructs one of the most dramatic and turbulent episodes in history, analyzing the motives and machinations of the many players and emerging with the most definitive account yet of this most fascinating figure--and a powerful argument against acquiescing to common belief.

    In this sometimes heartbreaking young adult biography, Catherine Reef explores the turbulent lives of these literary siblings and the oppressive times in which they lived. Brontë fans will also revel in the insights into their favorite novels, the plethora of poetry, and the outstanding collection of more than sixty black-and-white archival images. A powerful testimony to the life of the mind. (Endnotes, bibliography, index.)

    Together with the shorter recollections of James Edward's two sisters, Anna Lefroy and Caroline Austen, the Memoir remains the prime authority for her life and continues to inform all subsequent accounts. These are family memories, the record of Jane Austen's life shaped and limited by the loyalties, reserve, and affection of nieces and nephews recovering in old age the outlines of the young aunt they had each known. They still remembered the shape of her bonnet and the tone of her voice, and their first-hand accounts bring her vividly before us. Their declared partiality also raises fascinating issues concerning biographical truth, and the terms in which all biography functions. This edition brings together for the first time these three memoirs, and also includes Jane's brother Henry Austen's Biographical Notice of 1818 and his less known Memoir of 1833.

    In this sumptuous group portrait of the six daughters of "Mad" King George III, acclaimed biographer Flora Fraser takes us into the heart of the British royal family during the tumultuous period of the American and French revolutions.Drawing on their extraordinary private correspondence, Fraser gives voice to these handsome, accomplished, extremely well-educated women: Princess Royal, the eldest, constantly at odds with her mother; home-loving, family-minded Augusta; plump Elizabeth, a gifted amateur artist; Mary, the bland beauty of the family; Sophia, emotional and prone to take refuge in illness; and Amelia, "the most turbulent and tempestuous of all the Princesses." Never before has the historical searchlight been turned with such sympathy and acuity on George III and his family.

    Jessica was a Communist; Debo became the Duchess of Devonshire; Nancy was one of the best-selling novelists of her day; beautiful Diana married the Fascist leader Sir Oswald Mosley; and Unity , a close friend of Hitler, shot herself in the head when England and Germany declared war.