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At the age of 16, I briefly joined the International Socialists, a small British Trotskyist party. Though I soon became disillusioned, it was a formative experience that left me with a lifelong fascination with communism and the Soviet Union. Over the following decades, I read everything I could about the subject, both fiction and non-fiction. In the years after the fall of communism, the ideas that eventually culminated in the writing of this book began to form in my head.
Grossman consciously attempted to write the War and Peace of the Second World War, and in this panoramic masterpiece, he pulled it off. Like War and Peace, the book focuses both on the travails of a single family and the broader sweep of history, as we witness events from the perspective of persecuted Jewish scientists, soldiers (both Soviet and German), partisans, peasants, and generals.
This is an intensely personal work – Grossman covered the battle of Stalingrad for the Soviet press and knew his subject matter firsthand. Writing it was also an extremely courageous act. The KGB confiscated the manuscript and Grossman never lived to see the book published.
Based around the pivotal WWII battle of Stalingrad (1942-3), where the German advance into Russia was eventually halted by the Red Army, and around an extended family, the Shaposhnikovs, and their many friends and acquaintances, Life and Fate recounts the experience of characters caught up in an immense struggle between opposing armies and ideologies. Nazism and Communism are appallingly similar, 'two poles of one magnet', as a German camp commander tells a shocked old Bolshevik prisoner. At the height of the battle Russian soldiers and citizens alike are at last able to speak out as they choose, and without reprisal…
A retired professor, an art historian who taught at Berkeley, Northwestern, and the University of Pennsylvania. Since my main interest is the emergence of Europe from the late Middle Ages and into the Early Modern period around 1500, I naturally gravitate to non-fiction books that engage with the shifting interests and values of that era, and my own books include similar efforts to discuss visual art in relation to religion, literature, politics, and wider contemporary cultural movements. Among my own books I would cite: Rubens, Velázquez, and the King of Spain (with Aneta Georgievska-Shine); Europe Views the World, 1500-1700; and the forthcoming Art and Dis-Illusion in the Long Sixteenth Century.
An unlikely complement to Huizinga tracing the overlap between magical beliefs in religion as well as astrology and the emerging accusations of witchcraft. Deeply immersed in research about 16th-17th century England, this book offers a form of historical anthropology for baseline views of the strange ideas that drove spiritual life.
Witchcraft, astrology, divination and every kind of popular magic flourished in England during the sixteenth and seventeenth centuries, from the belief that a blessed amulet could prevent the assaults of the Devil to the use of the same charms to recover stolen goods. At the same time the Protestant Reformation attempted to take the magic out of religion, and scientists were developing new explanations of the universe. Keith Thomas's classic analysis of beliefs held on every level of English society begins with the collapse of the medieval Church and ends with the changing intellectual atmosphere around 1700, when science and…
I have been fascinated by the Tudors since childhood – in spite of, or perhaps because of, the fact that I grew up in the American Midwest, where Tudor artefacts were few and far between. A family holiday to England, when I was fourteen, sparked the beginning of a life-long love affair, which I have been lucky enough to turn into a career focused on all things Tudor. After receiving my PhD from Yale University, I took up a post-doctoral fellowship in England, at Warwick University, with which I have been affiliated ever since. I am currently an Honorary Reader at Warwick and working on a new book, on Hans Holbein.
A quirky and brilliantly insightful book which is now, unfortunately, out of print. But do snap it up if you chance upon it in a second-hand bookshop or can find a copy online. It is deceptively modest-looking: a slender paperback, with only a handful of illustrations. My hunch is that it will change the way you think about paintings, sculptures, and buildings in the works of Shakespeare, Spenser, Donne, and their contemporaries. Certainly, that is the effect it had on me.
An interdisciplinary study that shows how works of art influenced English poets in the late sixteenth and early seventeenth centuries. Included in the appendix is a survey of the ownership and distribution of books of art and architecture in English Renaissance libraries. Very light foxing on front panel. iv , 100 pages. stiff paper wrappers. small 8vo..
I have been fascinated by the Tudors since childhood – in spite of, or perhaps because of, the fact that I grew up in the American Midwest, where Tudor artefacts were few and far between. A family holiday to England, when I was fourteen, sparked the beginning of a life-long love affair, which I have been lucky enough to turn into a career focused on all things Tudor. After receiving my PhD from Yale University, I took up a post-doctoral fellowship in England, at Warwick University, with which I have been affiliated ever since. I am currently an Honorary Reader at Warwick and working on a new book, on Hans Holbein.
Alas, now out of print, this book is part biography, part architectural history, and part social history. The mason-architect Robert Smythson comes to life, as do the houses he designed and the eccentric patrons who employed him. The book's (mainly black-and-white) illustrations inevitably look a bit dated now. But the text is, to my mind, hard to beat: utterly engrossing, particularly when dealing with Hardwick Hall, a house Girouard knows intimately, having lived there as a small child. I remember stumbling across this book many years ago, as a student, while looking for something else at the library. I ended up spending the better part of the day reading Robert Smythson from cover to cover: it was a revelation that a work of scholarship could be so beautifully written.
Describes the career of the seventeenth-century British architect, looks at his designs for rural mansions and castles, and discusses his contributions to their interior decoration
I have been fascinated by the Tudors since childhood – in spite of, or perhaps because of, the fact that I grew up in the American Midwest, where Tudor artefacts were few and far between. A family holiday to England, when I was fourteen, sparked the beginning of a life-long love affair, which I have been lucky enough to turn into a career focused on all things Tudor. After receiving my PhD from Yale University, I took up a post-doctoral fellowship in England, at Warwick University, with which I have been affiliated ever since. I am currently an Honorary Reader at Warwick and working on a new book, on Hans Holbein.
Strong is the undisputed doyen of Elizabethan painting. As Assistant Keeper (1959-67) and Director (1967-73) of the National Portrait Gallery and then Director of the Victoria and Albert Museum (1973-87), he devoted the better part of thirty years to groundbreaking exhibitions and publications on the Tudor court. His writings, more than anyone else’s, are what led me to Tudor art. This book distills the essence of Strong’s many seminal works from a long and distinguished career, but adds glorious new colour photography and generous nods to the art historians who have come after him. Strong wears his learning lightly, making this an ideal gateway text for anyone seeking a way into the world of Elizabethan painting and portraiture.
Fifty years after his seminal Tate gallery London exhibition, 'The Elizabethan Image', leading authority Roy Strong returns with fresh eyes to the subject closest to his heart, The Virgin Queen, her court and our first Elizabethan age
From celebrated portraits of the Queen and paintings of knights and courtiers, to works depicting an aspiring 'middle class', Strong presents a detailed and authoritative examination of one of the most fascinating periods of British art. Enriching previous perceptions and ways of seeing the Elizabethans in their world, he reveals an age parallel in many ways to our own-a country aspiring professionally and…
I have been fascinated by the Tudors since childhood – in spite of, or perhaps because of, the fact that I grew up in the American Midwest, where Tudor artefacts were few and far between. A family holiday to England, when I was fourteen, sparked the beginning of a life-long love affair, which I have been lucky enough to turn into a career focused on all things Tudor. After receiving my PhD from Yale University, I took up a post-doctoral fellowship in England, at Warwick University, with which I have been affiliated ever since. I am currently an Honorary Reader at Warwick and working on a new book, on Hans Holbein.
A learned, yet eminently readable, book which synthesizes and knits together the findings contained in several of Thurley’s earlier, landmark publications, including The Royal Palaces of Tudor England (Yale, 1993) and Whitehall Palace (Merrell, 2008). Houses of Power is a compact volume (and available in paperback, too). I have often taken my copy with me for reference when visiting the sites described in it. Thurley’s illustrations include fascinating conjectural reconstructions of buildings that either no longer survive or have been greatly altered since Tudor times. A wonderful tool when trying to visualize now-lost buildings.
What was it like to live as a royal Tudor? Why were their residences built as they were and what went on inside their walls? Who slept where and with who? Who chose the furnishings? And what were their passions?
The Tudors ruled through the day, throughout the night, in the bath, in bed and in the saddle. Their palaces were genuine power houses - the nerve-centre of military operations, the boardroom for all executive decisions and the core of international politics. Houses of Power is the result of Simon Thurley's thirty years of research, picking through architectural digs, and…
A retired professor, an art historian who taught at Berkeley, Northwestern, and the University of Pennsylvania. Since my main interest is the emergence of Europe from the late Middle Ages and into the Early Modern period around 1500, I naturally gravitate to non-fiction books that engage with the shifting interests and values of that era, and my own books include similar efforts to discuss visual art in relation to religion, literature, politics, and wider contemporary cultural movements. Among my own books I would cite: Rubens, Velázquez, and the King of Spain (with Aneta Georgievska-Shine); Europe Views the World, 1500-1700; and the forthcoming Art and Dis-Illusion in the Long Sixteenth Century.
One of the great works of historical recreation, which reads like a novel but is based on a voluminous study of texts, art, and history. Huizinga recreates the violent tenor and pervasive Christian spirituality of late medieval life, as well as a corresponding chivalric secular side, lived out by French and Burgundian nobility.
This new English translation of Huizinga’s Autumntide of the Middle Ages (Herfsttij der Middeleeuwen) celebrates the centenary of a book that still ranks as one of the most perceptive and in¿uential analyses of the late medieval period. Its wide-ranging discussion of fourteenth and ¿fteenth century France and the Low Countries makes it a classic study of life, culture, and thought in medieval society. The new and now unabridged translation of the original text captures the impact of Huizinga’s deep scholarship and powerful language. The translation is based on the Dutch edition of 1941 – the last edition Huizinga worked on.…
I’ve always been fascinated by history, by the way that the past informs the present, how it makes us who we are. And I’ve found myself drawn, as a reader and as a writer, towards those stories that incorporate some element of magic into the past. I’ve written two magical historical novels. And my third book, which I hope to be finished with soon, is a fabulist tale set in the future, which I like to say is history that hasn’t happened yet.
Yes, it’s almost a thousand pages long. But this sprawling magical historical novel by the Nobel Prize winner is one of the best books I’ve read in years. Following the rise and fall of the 18th-century Jewish mystic and would-be messiah, Jacob Frank, the novel paints a vivid picture of a vibrant multicultural society in Poland and beyond.
In the mid-eighteenth century, as new ideas begin to sweep the continent, a young Jew of mysterious origins arrives in a village in Poland. Before long, he has changed not only his name but his persona; visited by what seem to be ecstatic experiences, Jacob Frank casts a charismatic spell that attracts an increasingly fervent following. In the decade to come, Frank will traverse the Hapsburg and Ottoman empires, throngs of disciples in his thrall as he reinvents himself again and again, converts to Islam and then Catholicism, is pilloried as a heretic and revered as the Messiah, and wreaks…
Fake news is not new. Biographies, in particular, are fraught with fallacies and fake stories. When fake news slanders individuals, reputations are ruined and lives destroyed. That’s what happened to Elizabeth Wydeville, Queen Consort to Edward IV, and mother of the two princes who disappeared during Richard III’s reign. When I discovered the slander that destroyed Queen Elizabeth’s reputation, I began a 5-year research project to set the record straight. Some fallacies are deliberate, originating in envy or power putsches. Others derive from historical laziness or incompetence. What I learned from my research has determined my choices of biographies, stories that tell previously unrevealed truths about individuals.
A literary biography, Will in the World connects the plots of Shakespeare’s plays and the sentiments of his poems to the writer’s life and career. No one living knows more about Shakespeare than Stephen Greenblatt. His research is solid and impressive. In this book, Greenblatt verges a bit into speculative possibilities. Where, exactly, was Shakespeare living—what was he doing?—during “The Lost Years”? Was the “Shakeshafte” mentioned in a Lancashire document our man, perhaps tutoring as a schoolmaster in a Catholic home?
Greenblatt carefully points out that he is discussing possibilities, not certainties. But a possibility mentioned too many times by a scholar of Greenblatt’s authority often becomes accepted as fact. Yet, I appreciate this book because it provides a huge amount of information about Shakespeare’s milieu, and it forces readers to examine critically every claim. In our current milieu, we need exercises in critical thinking and analysis.
A young man from a small provincial town moves to London in the late 1580s and, in a remarkably short time, becomes the greatest playwright not of his age alone but of all time. How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world's greatest playwright.
I’ve always loved all things Elizabethan, and I especially love spending time with books and manuscripts where voices from the period speak to us directly. Wanting to understand how Shakespeare and his contemporaries understood themselves led me to investigate their ideas about relations between mind and body, about emotions, about the imagination, and about the minds of women and those of other races. I’ve learned that the Elizabethans grappled with many conflicting ideas about the mind, from classical philosophies, medieval medicine, new theologies, and more – and that this intellectual turmoil was essential fuel for the extraordinary literary creativity of the period.
A brilliantly researched and argued book that transformed the intellectual landscape.
In the 1980s and 1990s many writers on Shakespeare and his contemporaries asserted that when reading their works we had to put aside modern concepts of selfhood as anachronistic. To some extent they were right: Elizabethan and Jacobean ideas about the self were different from ours; but that doesn’t mean they didn’t exist.
Maus shows that Elizabethan and Jacobean authors were obsessed with what they called ‘the inward self’ or ‘the inner man’, and that their drama was shaped by this preoccupation with disparities between a performed public self and a concealed inner self. There’s also a fascinating chapter, wittily called "A Womb of his Own", on how male writers appropriated childbirth metaphors to represent their intellectual creativity.
This text explores the preoccupation of many Renaissance writers' with the inwardness and invisibility of truth. The perceived discrepancy between a person's outward appearance and inward disposition, it argues, influenced the ways in which English Renaissance dramatists and poets conceived the theatre, imagined dramatic characters and reflected upon their own creativity. Reading works by Kyd, Marlowe, Shakespeare, Jonson and Milton in conjuction with sectarian polemics, gynaecological treatises and accounts of criminal prosecutions, the author delineates unexplored connections among religious, legal, sexual and theatrical ideas of inward truth. She reveals what was at stake ethically, politically, epistemologically and theologically when a…
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