The century that followed was an era of vigorous expansion and large-scale projects, of rapidly changing culture and commerce, as huge numbers of people arrived in the shining city, drawn by its immense wealth and power and its many diversions. Borrowing a phrase from Daniel Defoe, Jerry White calls London this great and monstrous thing, the grandeur of its new buildings and the glitter of its high life shadowed by poverty and squalor."A Great and Monstrous Thing" offers a street-level view of the city: its public gardens and prisons, its banks and brothels, its workshops and warehouses and its bustling, jostling crowds. White introduces us to shopkeepers and prostitutes, men and women of fashion and genius, street-robbers and thief-takers, as they play out the astonishing drama of life in eighteenth-century London. What emerges is a picture of a society fractured by geography, politics, religion, history and especially by class, for the divide between rich and poor in London was never greater or more destructive in the modern era than in these years.Despite this gulf, Jerry White shows us Londoners going about their business as bankers or beggars, reveling in an enlarging world of public pleasures, indulging in crimes both great and small amidst the tightening sinews of power and regulation, and the hesitant beginnings of London democracy."

    Japan, meanwhile, was trying to reinvent itself as a more cosmopolitan, modern state, ultimately transforming itself, in the course of twenty-five years, from a feudal backwater to an international power. This great wave of historical and cultural reciprocity between the two young nations, which intensified during the late 1800s, brought with it some larger-than-life personalities, as the lure of unknown foreign cultures prompted pilgrimages back and forth across the Pacific.In The Great Wave, Benfey tells the story of the tightly knit group of nineteenth-century travelers—connoisseurs, collectors, and scientists—who dedicated themselves to exploring and preserving Old Japan. As Benfey writes, “A sense of urgency impelled them, for they were convinced—Darwinians that they were—that their quarry was on the verge of extinction.”These travelers include Herman Melville, whose Pequod is “shadowed by hostile and mysterious Japan”; the historian Henry Adams and the artist John La Farge, who go to Japan on an art-collecting trip and find exotic adventures; Lafcadio Hearn, who marries a samurai’s daughter and becomes Japan’s preeminent spokesman in the West; Mabel Loomis Todd, the first woman to climb Mt. Fuji; Edward Sylvester Morse, who becomes the world’s leading expert on both Japanese marine life and Japanese architecture; the astronomer Percival Lowell, who spends ten years in the East and writes seminal works on Japanese culture before turning his restless attention to life on Mars; and President (and judo enthusiast) Theodore Roosevelt. As well, we learn of famous Easterners come West, including Kakuzo Okakura, whose The Book of Tea became a cult favorite, and Shuzo Kuki, a leading philosopher of his time, who studied with Heidegger and tutored Sartre.Finally, as Benfey writes, his meditation on cultural identity “seeks to capture a shared mood in both the Gilded Age and the Meiji Era, amid superficial promise and prosperity, of an overmastering sense of precariousness and impending peril.”

    The first study of Lafayette to appear in almost ten years, Saint Bris’ new volume recounts the young Lafayette's personal friendship with George Washington, who went so far as to refer to Lafayette as his “adopted son,” and his pivotal role as Washington’s aide-de-camp in helping establish the fledgling American nation.Lafayette’s presence at the British surrender at Yorktown is a stark reminder of just how closely our forefather's victory hinged on the help of our French allies, who were roused into action by Lafayette himself. equally absorbing and less well known is Lafayette's idealistic but naive efforts to plant the fruits of the American-style democracy he so admired in the unreceptive soil of his homeland.

    These women held sway in the salons, in the councils of state, in the ballrooms, in the bedrooms; they enchanted (or intimidated) the most powerful of men and presided over an extraordinary cultural flowering of unprecedented luxury and sophistication. It is this captivating world that Olivier Bernier recreates. A world in which the shrewdness of Madame de Pompadour or the beauty of Madame du Barry could change the course of great nations. A world that could encompass the piquant frankness of Abigail Adams and the dark plotting of the queen of Naples. This world has been swept away, but its great ladies, the first modern women, still speak to us.Fourteen dashing and sometimes tragic women—empress and dressmaker, bluestocking and courtesan—come to life here in a series of lavishly illustrated essays. Delightfully informative, this timely book charts the beginnings of women's liberation, illuminates the century for those who are unfamiliar with it, and provides new insights for those who know it well.ForewordDiana VreelandPrefaceOlivier BernierChapter 1: The Emergence of PowerMadame des UrsinsThe Duchesse de BerryChapter 2: The Sway of IntelligenceMadame du DeffandMadame de PompadourChapter 3: Writer and PublicistBetie WolffMadame NeckerChapter 4: The Flesh TriumphantMademoiselle ClaironMadame du BarryChapter 5: In Search of FreedomAbigail AdamsGeorgiana, Duchess of DevonshireChapter 6: Working WomenMademoiselle BertinMadame Vigée-LebrunChapter 7: To Rule a WorldThe Margravine of BayreuthQueen Maria CarolinaSource NotesSelected Bibliography

    As a non-linear sensibility has come to dominate modern style, curious trendsetters have increasingly found a stimulating muse in writers—many, like Joan Didion, whose personal aesthetic is distinctly "out of fashion." For decades, Didion has used her work, both her journalism and experimental fiction, as a mirror to reflect her innermost emotions and ideas—an originality that has inspired Millennials, resonated with a new generation of fashion designers and cultural tastemakers, and made Didion, in her eighties, the face of Celine in 2015.Legendary Authors and the Clothes They Wore examines fifty revered writers—among them Samuel Beckett; Quentin Crisp; Simone de Beauvoir; T.S. Eliot; F. Scott and Zelda Fitzgerald; Malcolm Gladwell; Donna Tartt; John Updike; Oscar Wilde; and Tom Wolfe—whose work and way of dress bears an idiosyncratic stamp influencing culture today. Terry Newman combines illuminating anecdotes about authors and their work, archival photography, first-person quotations from each writer and current designers, little-known facts, and clothing-oriented excerpts that exemplify their original writing style.Each entry spotlights an author and a signature wardrobe moment that expresses his or her persona, and reveals how it influences the fashion world today. Newman explores how the particular item of clothing or style has contributed to fashion’s lingua franca—delving deeper to appraise its historical trajectory and distinctive effect. Legendary Authors and the Clothes They Wore is an invaluable and engaging look at the writers we love—and why we love what they wear—that is sure to captivate lovers of great literature and sophisticated fashion.

    In a remote and crumbling New England mansion, 12-year-old orphan Florence is neglected by her guardian uncle and banned from reading. Left to her own devices she devours books in secret and talks to herself - and narrates this, her story - in a unique language of her own invention. By night, she sleepwalks the corridors like one of the old house's many ghosts and is troubled by a recurrent dream in which a mysterious woman appears to threaten her younger brother Giles. Sometimes Florence doesn't sleepwalk at all, but simply pretends to so she can roam at will and search the house for clues to her own baffling past.After the sudden violent death of the children's first governess, a second teacher, Miss Taylor, arrives, and immediately strange phenomena begin to occur. Florence becomes convinced that the new governess is a vengeful and malevolent spirit who means to do Giles harm. Against this powerful supernatural enemy, and without any adult to whom she can turn for help, Florence must use all her intelligence and ingenuity to both protect her little brother and preserve her private world.Inspired by and in the tradition of Henry James' s The Turn of the Screw, Florence & Giles is a gripping gothic page-turner told in a startlingly different and wonderfully captivating narrative voice.

    Rives

    From Sophia who died shortly before she would have become Queen as heir to Queen Anne, to Adelaide, consort to William IV whose failure to provide an heir ensured the succession passed to his niece Queen Victoria. During this period, an array of colourful personalities came and went - George I's ill-fated wife Sophia Dorothea of Celle who was imprisoned for adultery for over 30 years until her death; the equally tragic Caroline Matilda, Queen of Denmark and sister of George III who married an incipient schizophrenic, saw her lover put to death, was divorced and imprisoned, released after pressure from her brother, only to die of typhoid or scarlet fever aged just 23; George IV's notorious consort , his cousin Caroline of Brunswick, who danced naked on tables and was refused access to his coronation; and their daughter Charlotte, whose death in childbirth in 1817 necessitated the hasty marriages of several of her middle-aged uncles in a desperate race to provide a legal heir to the throne.

    Fashioning Fashion takes you through fashion and time with the sumptuous variety of an extraordinary collection. I promise, it cannot fail to inspire you." -From the preface by John GallianoThe creation of eighteenth and nineteenth century fashion moved at a much slower tempo than the lightning-speed pace of contemporary fashion, so great attention was paid to the smallest detail. Fashioning Fashion: European Dress in Detail, 1700-1915 celebrates these and brilliantly examines the transformation of the fashionable silhouette over this span of more than two centuries. Lavish photographs and illustrative text provide historical context, showing how technical inventions, political events, and global trade often profoundly affected style. It is little wonder that many of today's top haute couture designers often look to fashion of the past to find inspiration in the present. The intriguing and stunning examples of historic dress in this opulent volume are as captivating today as they were centuries ago. Fashioning Fashion showcases nearly two hundred highlights from the Los Angeles County Museum of Art's new European collection of rare pieces of historic fashion and accessories for men, women, and children. LACMA recently acquired this singular collection, which numbers more than 1,000 objects and represents a total of fifty years of acquisitions by prominent historic dress dealers and collectors Martin Kamer of England and Wolfgang Ruf of Switzerland. The pieces were chosen for their roles in the story of fashion's aesthetic and technical development from the Age of Enlightenment to World War I. This in-depth look at the details of these luxurious textiles, exacting tailoring techniques, and lush trimmings is the first presentation of this remarkable collection.

    Some are outright fabrications; others contain a kernel of truth that has been embellished over the years. Collaborating with The Colonial Williamsburg Foundation, Mary Miley Theobald has uncovered the truth behind many widely repeated myth-understandings in our history in Death by Petticoat including:* Hat makers really were driven mad. They were poisoned by the mercury used in making hats from furs. Their symptoms included hallucinations, tremors, and twitching, which looked like insanity to people of the 17th and 18th centuries--and the phrase "mad as a hatter" came about.* The idea that portrait painters gave discounts if their subjects posed with one hand inside the vest (so they didn't have to paint fingers and leading to the saying that something "costs an arm and a leg") is strictly myth. It isn't likely that Napoleon, King George III, or George Washington were concerned about getting a discount from their portrait painters.- - Pregnant women secluded themselves indoors, uneven stairs were made to trip up burglars, people bathed once a year, women had tiny waists, apprenticeships lasted seven years--Death by Petticoat reveals the truth about these hysterical historical myth-understandings.

    And yet in many ways, these daring men remain little known to us. Like most other poor working people of the past, they left few first-hand accounts of their lives. But their lives are not beyond recovery. In this book, Marcus Rediker uses a huge array of historical sources (court records, diaries, travel accounts, and many others) to reconstruct the social cultural world of the Anglo-American seamen and pirates who sailed the seas in the first half of the eighteenth century. Rediker tours the sailor's North Atlantic, following seamen and their ships along the pulsing routes of trade and into rowdy port towns. He recreates life along the waterfront, where seafaring men from around the world crowded into the sailortown and its brothels, alehouses, street brawls, and city jail. His study explores the natural terror that inevitably shaped the existence of those who plied the forbidding oceans of the globe in small, brittle wooden vessels. It also treats the man-made terror--the harsh discipline, brutal floggings, and grisly hangings--that was a central fact of life at sea. Rediker surveys the commonplaces of the maritime world: the monotonous rounds of daily labor, the negotiations of wage contracts, and the bawdy singing, dancing, and tale telling that were a part of every voyage. He also analyzes the dramatic moments of the sailor's existence, as Jack Tar battled wind and water during a slashing storm, as he stood by his brother tars in a mutiny or a stike, and as he risked his neck by joining a band of outlaws beneath the Jolly Roger, the notorious pirate flag. Between the Devil and the Deep Blue Sea focuses upon the seaman's experience in order to illuminate larger historical issues such as the rise of capitalism, the genesis the free wage labor, and the growth of an international working class. These epic themes were intimately bound up with everyday hopes and fears of the common seamen.

    Imagine one of those 1930s screwball comedies with the crazy situations, but substitute malevolence for humor.”—Karl Edward Wagner “Doctor, I’m losing my mind.” So begins John Franklin Bardin’s unconventional crime thriller in which a psychiatrist's attempts to help his patient lead to a dead-end world of amnesia and social outcasts. The Deadly Percheron is a murder mystery, poignant love story, and an unsettling and hallucinatory voyage into memory, madness, and despair.

    First, while acknowledging the seminal contribution of Daniel Mornet’s Les origens intellectuelles de la Révolution française (1935), he synthesizes the half-century of scholarship that has created a sociology of culture for Revolutionary France, from education reform through widely circulated printed literature to popular expectations of government and society. Chartier goes beyond Mornet’s work, not be revising that classic text but by raising questions that would not have occurred to its author.Chartier’s second contribution is to reexamine the conventional wisdom that there is a necessary link between the profound cultural transformation of the eighteenth century (generally characterized as the Enlightenment) and the abrupt Revolutionary rupture of 1789. The Cultural Origins of the French Revolution is a major work by one of the leading scholars in the field and is likely to set the intellectual agenda for future work on the subject.

    Thrale's dinner party when the twenty-six-year-old Fanny has the incomparable thrill of hearing Dr. Johnson himself admiringly acknowledge her authorship of Evelina, her first novel, anonymously published for fear of upsetting her adored father, and now the talk of the town. We see her growing up, daughter of the charming and gifted musician and teacher Dr. Charles Burney, who was the very embodiment of a new class: talented, energized, self-educated, self-made, self-conscious, socially ambitious and easily endearing himself to aristocratic patrons.We see Fanny partly enjoying, partly rejecting the celebrity engendered by Evelina, and four years later by Cecilia ("If you will be an author and a wit," says Mrs. Thrale, "you must take the consequences"). And we see her mingling with the most famous men and women of the time, not only Dr. Johnson but Joshua Reynolds, Sheridan, David Garrick, Mrs. Siddons, Horace Walpole and, later, Chateaubriand and Madame de StaÎl.For five years, during the time of George III's madness, Fanny Burney held a position in the Royal Household as Second Keeper of the Robes to Queen Charlotte. For her father, Fanny's going to court was like going to heaven, but for Fanny it was more an incarceration. Her journals, published posthumously in 1842, gave her some solace. She saw herself as an eavesdropper. Dr. Johnson wryly called her "a spy." Her marriage at forty-one to a penniless Catholic exile, Alexandre d'Arblay, resulted in trans-Channel crossings that left her stranded for almost a decade in Napoleon's France, and then, after a dramatic flight from Paris, trapped in Brussels on the eve of Waterloo.Claire Harman's biography of Fanny Burney is as lively as it is meticulously researched and authoritative. It gives us the woman, her world and the early-blooming artist whose acute grasp of social nuance, gift for satire, drama and skillful play among large casts of characters won her comparison with the best of Smollett, Richardson and Fielding, the admiration of Jane Austen and Lord Byron and a secure place in the pantheon of the English novel.

    Maeve Brennan and Alice Adams movingly explore what cats can mean to their humans; Patricia Highsmith imagines the intriguingly alien feline point of view; Kipling celebrates the independence of cats in his timeless tale, 'The Cat That Walked by Himself'. Cats flaunt their superiority in Angela Carter's bawdy retelling of 'Puss-in-Boots' and Stephen Vincent Benét's uncanny 'The King of the Cats', while humour abounds in stories by comic masters P.G. Wodehouse and Saki. The essential unknowableness of cats can inspire the most exotic flights of fancy: Italo Calvino's secret city of cats in 'The Garden of Stubborn Cats'; the disappearing animal in Ursula K. Le Guin's brain-teasing 'Schrodinger's Cat'; the cartoon rodent and his cartoon nemesis in Steven Millhauser's 'Cat 'n' Mouse'. In these and other stories, this delightful anthology offers cat lovers a many-faceted tribute to the mysterious objects of their affection.