Filled with vivid personalities, gossipy anecdotes, grand houses, and a wealth of period details--plus photographs, illustrations, quotes, and the finer points of Victorian and Edwardian etiquette--To Marry An English Lord is social history at its liveliest and most accessible.

    But for every celebrity psychopath who’s gotten ink for spilling blood, there’s a bevy of all-but-forgotten homicidal fiends studding the bloody margins of U.S. history. The law gave them their just desserts, but now the hugely acclaimed author of The Serial Killer Files and The Whole Death Catalog gives them their dark due in this absolutely riveting true-crime treasury. Among America’s most cold-blooded you’ll meet   • Robert Irwin, “The Mad Sculptor”: He longed to use his carving skills on the woman he loved—but had to settle for making short work of her mother and sister instead.   • Peter Robinson, “The Tell-Tale Heart Killer”: It took two days and four tries for him to finish off his victim, but no time at all for keen-eyed cops to spot the fatal flaw in his floor plan.   • Anton Probst, “The Monster in the Shape of a Man”: The ax-murdering immigrant’s systematic slaughter of all eight members of a Pennsylvania farm family matched the savagery of the Manson murders a century later.   • Edward H. Ruloff, “The Man of Two Lives”: A genuine Jekyll and Hyde, his brilliant scholarship disguised his bloodthirsty brutality, and his oversized brain gave new meaning to “mastermind.”   Spurred by profit, passion, paranoia, or perverse pleasure, these killers—the Witch of Staten Island, the Smutty Nose Butcher, the Bluebeard of Quiet Dell, and many others—span three centuries and a host of harrowing murder methods. Dramatized in the pages of penny dreadfuls, sensationalized in tabloid headlines, and immortalized in “murder ballads” and classic fiction by Edgar Allan Poe and Theodore Dreiser, the demonic denizens of Psycho USA may be long gone to the gallows—but this insidiously irresistible slice of gothic Americana will ensure that they’ll no longer be forgotten.

    Roger Ekirch illuminates the aspects of life most often overlooked by other historians—those that unfold at night. In this "triumph of social history" (Mail on Sunday), Ekirch's "enthralling anthropology" (Harper's) exposes the nightlife that spawned a distinct culture and a refuge from daily life.Fear of crime, of fire, and of the supernatural; the importance of moonlight; the increased incidence of sickness and death at night; evening gatherings to spin wool and stories; masqued balls; inns, taverns, and brothels; the strategies of thieves, assassins, and conspirators; the protective uses of incantations, meditations, and prayers; the nature of our predecessors' sleep and dreams—Ekirch reveals all these and more in his "monumental study" (The Nation) of sociocultural history, "maintaining throughout an infectious sense of wonder" (Booklist).

    The two shots that rang out at Mayerling in the Vienna Woods echo still.Frederic Morton, author of the bestselling Rothschilds, deftly tells the haunting story of the Prince and his city, where, in the span of only ten months, "the Western dream started to go wrong." In Rudolf's Vienna moved other young men with striking intellectual and artistic talents—and all as frustrated as the Prince. Among them were: young Sigmund Freud, Gustav Mahler, Theodor Herzl, Gustav Klimt, and the playwright Arthur Schnitzler, whose La Ronde was the great erotic drama of the fin de siecle. Morton studies these and other gifted young men, interweaving their fates with that of the doomed Prince and the entire city through to the eve of Easter, just after Rudolf's body is lowered into its permanent sarcophagus and a son named Adolf Hitler is born to Frau Klara Hitler.

    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.