Indian attacks, Mexican invasions, murderous bandits and the persistent threat of disease and famine plagued these early settlers. In the first third of the book A. J. Sowell gathers numerous first-hand accounts to construct a history of this area in the mid-nineteenth century, when life was tough and often short. Particularly focusing on the attacks by Native Americans, Sowell examines how early settlers defended themselves in ad hoc groups and volunteer companies. Then Sowell examines the advent of the Republic of Texas in the aftermath of the Texas Revolution. Many of Texas’ most famous events are covered in this section, drawn from eyewitness accounts and sometimes seen by Sowell himself, including the Battle of Concepcion, the Siege of the Alamo and the Battle of San Jacinto. Part three of Sowell’s work covers his own fascinating involvement with the Texas Rangers, including the Wichita Campaign in northwest Texas where he endured a brutally cold winter and participated in a number of deadly fights with Native Americans. Andrew Jackson Sowell was first of his family to be born in Texas after his relations moved to the area in 1830. His grandfather was involved in the Texas Revolution, as was his uncle, who served in the Alamo garrison but departed to obtain supplies prior to its fall. From 1870 November until 1871 June, he was a Texas Ranger in Company F of the Frontier Battalion, serving under Capt. David P. Baker. Drawing on his own experiences as a Texas Ranger, events in his relatives’ lives, family history, and interviews, Sowell wrote numerous books and articles about the early history of Texas. His books include Rangers and Pioneers of Texas, Life of Big Foot Wallace, Early Settlers and Indian Fighters of Southwest Texas, and History of Fort Bend County. Rangers and Pioneers of Texas was published in 1884. Sowell died in 1921.

    And so he has decided to put his thoughts down on paper. In THE CROWN: TRUTH & FICTION, Vickers writes that he does not approve of THE CROWN because 'it depicts real life people in situations which are partly true and partly false, and unfortunately most viewers take it all as gospel truth.'  He accepts that fiction can be a device to illuminate true events, but points out that it can be used to create dangerous, and lasting, false impressions too. THE CROWN has been a highly successful series, watched with intense interest across the globe.  The settings and costumes are of high quality, the acting is good, and it all looks convincing.  Peter Morgan is an intelligent writer, author of the film THE QUEEN, and the stage production of THE AUDIENCE.  The real Queen has previously inspired great performances from actresses such as Prunella Scales and Helen Mirren, and Claire Foy portrays her beautifully. As Vickers writes, 'THE CROWN has done a great job in reminding a younger generation that the Queen and Prince Philip were once young themselves.' One of the devices used in Series 2 is to take two straightforward themes which did happen and clash them against each other to create something which did not.  For example, in Episode 8, yes, the Queen and Prince Philip entertained the Kennedys at Buckingham Palace (on 5 June 1961), and yes, the Queen visited Nkrumah in Ghana (between 9 and 20 November 1961), but the Queen did not go to Ghana for the trivial reason that she wished to pull one over on Mrs Kennedy – she went there to ensure that Ghana remained part of the Commonwealth. Much has been written about the massive budget for this series and the attention to detail.   THE CROWN: TRUTH & FICTION identifies quite a number of mistakes, especially in respect of Orders and decorations.  Having worked on films himself, Hugo Vickers knows how hard it is to make sure these details are correct, and how sometimes shortcuts have to be taken.  But it is not that difficult to get the details right, and so he points out some of these errors.  But these are trivial things in comparison to the things shown as having happened, when they did not. The cruelest and most undeserved victim of the series is Prince Philip, here portrayed as a fractious, bumptious Jack the Lad, very much the villain.  Watching the series, Hugo Vickers concludes that he failed to find the man who, in 1962, was advancing Anglo-German relations through remarks such as, ‘It may be difficult for people to see any virtue in forgiving one’s enemies, but let them reflect that it is much more likely to achieve a better future than stoking the fires of hatred and suspicion.’  This fictional Prince Philip is little more than a self-centred philanderer.  The real Prince Philip told his biographer, Tim Heald: ‘I certainly believe in the need for a “free” press, but there is a difference between freedom and licence and between the honest pursuit of the truth and the cynical pursuit of thoughtless – even vindictive sensationalism.’ THE CROWN: TRUTH & FICTION delivers a sharp message to filmwriters, producers, and their historical advisers: Fiction should help us understand the truth, not pervert it.

    Topics range from expressive hand gestures to patron saints, pasta, parmesan, shoes, opera, the Vespa, the Fiat 500, gelato, gondolas, and more. History, folklore, superstitions, traditions, and customs are tossed in a delicious sauce that also includes a wealth of factual information for the sophisticated traveler:• why lines, as we know them, are nonexistent in Italy• why a string of coral beads is often seen around a baby’s wrist• what the unlucky number of Italy is (it’s not thirteen, unless seating guests at a table, when it IS thirteen–taking into account the outcome of the Last Supper)• why red underwear begins to appear in shops as the New Year approaches In addition to the lyrical and poetic, Italianissimo provides useful and indispensable information for the traveler: deciphering the quirks of the language (while English has only one word for “you,†in Italy there are three), the best place to find balsamic vinegar (in Modena, of course), the best gelato (in Sicily, where they first invented it using the snow from Mount Etna). There are also recommendations for little-known museums and destinations (the Bodoni museum, the Pinocchio park, legendary coffee bars).This is a new kind of guidebook overflowing with enlightening and hilarious miscellaneous information, filled with luscious graphics and unforgettable photographs that will decode and enrich all trips to Italy–both real and imaginary.

    "What They Did There: Profiles From the Battle of Gettysburg" offers a unique view of its subject, telling the story of the battle not through convention narrative but via 170 mini-bios of not only combatants blue and gray, but of civilians, doctors, nurses, artists, photographers, Samaritans; saints, sinners and the moral terrain in-between.

    She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

    She endured a catastrophic set of physical calamities as a child and young woman, was an active member of the Communist Party, and survived a tempestuous marriage to the artist Diego Rivera. This book includes many photographs of her life alongside her extraordinary paintings, and presents commentary by leading Mexican art historians, stunning reproductions of her most seminal works -- some never before reproduced, and nine gate-folds allowing the reader to examine in detail aspects of her larger works.

    In GREAT TALES FROM ENGLISH HISTORY, Robert Lacey recounts the remarkable episodes that shaped a nation as only a great storyteller can: by combining impeccable accuracy with the timeless drama that has made these tales live for centuries. This new paperback edition is encyclopedic in scope, gathering together all of Robert Lacey's great tales previously published in three separate hardcover volumes. The book comprises 154 delectable stories, each brimming with insight, humor, and fascinating detail. Bite-sized history at its best, GREAT TALES FROM ENGLISH HISTORY belongs on every Anglophile's bookshelf."An informative, trustworthy distillation, less a debunking than an entertaining, wryly lucid reconstruction of the facts. . . . The tales weave a narrative as finely thatched as an English cottage." -Tennessean"Eminently readable, highly enjoyable. . . GREAT TALES should appeal to the reader who appreciates individuals and their personalities more than mere mass movements." -St. Louis Post-Dispatch"Beautifully written, full of things you didn't know, and well worth a read if you want a new view on stories you thought you'd already understood." -Living History

    It was once notorious for the haunt of thieves, con-men, pimps, prostitutes and murderers, most notably Jack the Ripper. This publication chronicles the rise and fall of this remarkable street, from its promising beginnings in the 17th century as the centre of the silk weaving industry, through its gradual descent into iniquity, vice and violence to its final demise in the hands of the demolition men.

    It was a culture that reflected a turbulent political reality.

    Even after 200 years of intensive research and the publication of hundreds of books and articles on the battle, the French perspective and many of the primary French sources are underrepresented in the written record. So it is high time this weakness in the literature – and in our understanding of the battle – was addressed, and that is the purpose of Andrew Field’s thought-provoking new study. He has tracked down over ninety firsthand French accounts, most of which have never been previously published in English, and he has combined them with accounts from the other participants in order to create a graphic new narrative of one of the world’s decisive battles. Virtually all of the hitherto unpublished testimony provides fascinating new detail on the battle and many of the accounts are vivid, revealing and exciting.

    The letters vividly show the artist's life was no bed of roses. Whereas Van Gogh perfectly knew what was sellable, he continued to produce what he considered as honest, 'truthful' art, regardless of current taste. He did not expect the art-buying public to understand the rough appearance of his work. Van Gogh acknowledged that being an artist simply involved struggle, but he believed that one would benefit from adversity, both personally and professionally. "No victory without a battle, no battle without suffering." In Van Gogh's case it seems to have been a never ending battle against poverty, isolation and adversity. Given his circumstances - being financially dependent upon his brother Theo, not selling any work, and getting minimal recognition - his achievements are utterly amazing. This is not a book about Van Gogh's art, but about his life as an artist and human being. By reading it, you will appreciate and understand his work even better. "Van Gogh's Inner Struggle" belongs to the series 'Secrets of Van Gogh'.

    Here is the dramatic - and tragic - story of Versailles and the men and women who made it their home.

    Here, from author Jay Williams, is the moving story of the man behind the Renaissance myth.

    Thompson collaborator Ralph Steadman delivers a heaping helping of anti-American vitriol with trademarked bombast, based on his travels throughout the Land of the Free and Home of the Brave.

    With a wealth of detail, "A Journal of the Plague Year" seems almost a firsthand account, taking readers through the neighborhoods, houses, and streets that have drastically changed with the rising death toll. The bustle of business and errands gives way to doors marked with the cross to signify a house of death, as well as the dead-carts transporting those struck down to the mass graves as the dead rise in number to nearly 100,000. As the epidemic progresses and the narrator encounters more stories of isolation and horror, Defoe reveals his masterful balance as both a historical and imaginative writer.