Fans pick 100 books like The Death of Anglo-Saxon England

This is a book about much more than just the most famous of the Saxon kings, Alfred the Great. The narrative begins in 789 and runs to 955, and charts not only the ‘beginning’ of England, as we know it, but also the ‘end’ of the smaller kingdoms of Northumbria, East Anglia, and Mercia. One of the more recent of my book recommendations, Max Adams simply thinks about Saxon England the way that I do, and he’s able to weave a narrative that’s conscious of both the narrative sources for the period and recent archaeological advances. I often pick up his books (he’s written two others about earlier Saxon England) to make use of his timelines and maps. He has a lightness of touch and flair that makes even the murkiest of topics, engaging and more importantly, comprehensible.

As with the book on Athelstan above, this is the first of England’s queen, and the first of England’s queens for whom we have a historical record that she underwent consecration, for which a monograph currently exists. While the author does draw on much post-conquest material, if not for this book I know I would never have begun to consider the queens, as well as the kings, as subjects that I could write about. It’s not the thickest of books, but it is very well written, again adopting a chronological approach, and readers will feel as though Queen Elfrida, whose Old English name was Ælfthryth, feels far more understandable, as opposed to being lost behind the seemingly impenetrable wall of 1066 and the Norman Conquest. It perhaps helps, that Queen Elfrida had quite a scandalous reputation☺

I’ve owned this book for over thirty years, and it’s still my ‘go-to-book’ for the earliest of the English kingdoms—charting the centuries when Northumbria, Mercia, and then Wessex were in the ascendant during Saxon England. It’s so readable and engaging. Without it, I don’t believe my passion for the era would ever have gained flight. And it’s not that it shies away from the more complicated arguments about source material and complexities in the narrative record. No, it does all that and much, much more. I still believe it to be one of the best books on the period, and I know for a fact, that many other Saxon historical fiction authors have this book on their bookshelves.

Aethelstan is an engrossing account of king Aethelstan, lauded as the first crowned king of ‘England,’ something his father, and more importantly, his grandfather, King Alfred, was unable to lay claim to. It’s a thorough examination of all that’s known about Aethelstan during his reign. It’s rare to get a book dedicated to any one single king before the reign of Æthelred II, who was Aethelstan’s great, great-nephew, and reigned thirty years later. The work shows just how much can be gleaned about historical figures during this period by experts in the field, who know how to unpick all the complicated details and present them to readers in an engaging format.

This is a book written in its own language: one that is derived from Old English. It is written from the viewpoint of a Saxon native, a freeman, whose liberty is threatened by the outside world, invaders who respect no moral laws. Through this method, we enter the minds of the protagonist – Buccmaster of Holland – and a worldview is constructed in which the local is in a shifting balance with external sources of power. The book demonstrates how our thoughts and worldviews are realised by, and dependent upon, the language through which they are articulated. Without explicitly intending to do so, it also provides insight into much of the psychology behind Brexit.

Huw Davies takes a long look at the tactics and training of the British army over a long period, culminating in the victories and defeats in this war. And there were extraordinary highs and lows in these twelve years.

He identifies the innovators, brilliant, hardworking men who changed the way cavalry and infantry worked, and the important decisions made in the Horse Guards in London. A new, well-written analysis.

Helen Marquard’s search for a piano teacher led her to Hedwig Stein who had fled Berlin in 1933 with her Russian Jewish husband, both concert pianists, to start again from nothing. A large, vivid woman, Hedwig freely shared her ideas on music, art, philosophy, literature. Later, Marquard discovered Hedwig had written a diary, and determined to bring us this story that would otherwise have been lost, enabling Hedwig and her husband to take their rightful place in the roll-call of émigrés who have contributed so much to UK cultural life. Hedwig put her husband’s career and her children first, yet she never gave up on her own career, which continued its own quiet flourishing after her husband’s sudden death. 

A memoir that deals with the everyday life of an office worker in 1950s/60s London seems like a joke and, indeed, when it came out, it was treated as such but there is some kind of poetry in this exploration of the humdrum. The manuscript was discovered in the slush pile by a rare editor who grasped the humour of what would appear to be an empty life but a life that Smith is content with. She lived with her parents until her twenties then moved into various lodgings, descriptions, and inhabitants of which are examined in detail. Smith had many short-term boyfriends, usually meeting them at a 'social club'.

Chapters are minimalistic and quirky but I wondered if some could be expanded and if she had missed some opportunities. Not a lot happens as Smith moves through life as a secretary making her observations, some grotesque, some unusual, some… show more.

New Perspectives shows us that Black British history is a complex field of historiography. No longer should we look at it as a sketchy, speculative, politically correct apologia for historical investigation. But rather see, that for more than three generations scholars have worked very hard to establish a vigorous pedagogy. It is a pedagogy that supports wider British histories, but subverts the traditional trajectories of those narratives. This book introduces us to some of the major developments in Black British history and it is an excellent place to start for a reader who knows very little about this subject.         

I have to admit I saw the cover of this book and was smitten… then I discovered what makes this crime novel and its amateur sleuth a little bit different. Josephine Tey revisits the scene of a death at Charleston Farmhouse in 1915, and now, twenty years later, she realises that it might have been more sinister than ‘just’ an accident—and she, who was there at the time, might be implicated in the murder herself. Josephine Tey, as well as being the book’s protagonist, was also the real-life pen name of Elizabeth MacKintosh, who wrote eight murder mysteries as Tey. That Upson has so cleverly fictionalised the real-life Tey is what makes this book, and the others in the series, so different—brilliantly so, in my opinion.