Here are 100 books that The Year of Lear fans have personally recommended if you like
The Year of Lear.
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I am a Professor of early-modern British History at the University of Oxford and a Senior Research Fellow at Jesus College, Oxford, who was a specialist in the Tudor period, especially the life and reign of Elizabeth I. However, while doing research over the past six years, I became excited by the politics, religion, and culture of the Jacobean period. James I’s reign had been a topic I taught in a week to undergraduates, but I realised that I didn’t do justice to this rich and important period. Not only is it fascinating in its own right, but James’s reign had a huge impact on a long stretch of British and world history.
I love exhibition catalogues. They are usually lavishly illustrated with expert explanations of the visuals. I can dip into them at will, especially when I’m too tired for a major investment of time in reading.
This one is particularly fine as its production values are high and the explanations lengthy. Prince Henry, the son of James VI and I, who died suddenly in November 1610 at the age of eighteen, was, like his mother, Queen Anna, a patron of music, paintings, masques, architecture, and gardens. These interests are amply revealed in the fascinating pictures and text of this wonderful catalogue.
This exploration of Henry's life and image, and the extraordinary reaction to his death, transforms our understanding of this exceptional prince and the time in which he lived. In November 1612, shortly before his nineteenth birthday, Henry, the eldest son of James I and Anne of Denmark, died of typhoid fever after a short illness. The nation was struck by grief at the loss of this most promising prince who, it was believed, would become a king to transform Britain. Unlike his father, Henry was seen as militaristic, ardently Protestant and fiercely moral; he was also a precocious patron of…
I am a Professor of early-modern British History at the University of Oxford and a Senior Research Fellow at Jesus College, Oxford, who was a specialist in the Tudor period, especially the life and reign of Elizabeth I. However, while doing research over the past six years, I became excited by the politics, religion, and culture of the Jacobean period. James I’s reign had been a topic I taught in a week to undergraduates, but I realised that I didn’t do justice to this rich and important period. Not only is it fascinating in its own right, but James’s reign had a huge impact on a long stretch of British and world history.
I found this book utterly engrossing. The subject of Sir Thomas Roe’s embassy to India from 1616 to 1619 interested me in part because of my interest in cross-cultural exchanges and partly because of my own visit to some of the places previously trodden by Roe.
I liked the fact that the book had a clear argument, namely that Roe’s previous personal and political experiences influenced his perceptions and conduct in India.
Above all, I found the writing a joy. Despite its undoubted scholarship, the book reads as a novel. Das brings colour to all the descriptions, whether of people, places, or events. I wish I could write like that.
WINNER OF THE BRITISH ACADEMY BOOK PRIZE
A SPECTATOR, WATERSTONES, BBC HISTORY MAGAZINE, PROSPECT AND HISTORY TODAY BOOK OF THE YEAR
A profound and ground-breaking new history of one of the most important encounters in the history of colonialism: the British arrival in India in the early seventeenth century.
'A triumph of writing and scholarship. It is hard to imagine anyone ever bettering Das's account of this part of the story' - William Dalrymple, Financial Times
'A fascinating glimpse of the origins of the British Empire . . . drawn in dazzling technicolour' - Spectator
'Beautifully written and masterfully researched,…
I am a Professor of early-modern British History at the University of Oxford and a Senior Research Fellow at Jesus College, Oxford, who was a specialist in the Tudor period, especially the life and reign of Elizabeth I. However, while doing research over the past six years, I became excited by the politics, religion, and culture of the Jacobean period. James I’s reign had been a topic I taught in a week to undergraduates, but I realised that I didn’t do justice to this rich and important period. Not only is it fascinating in its own right, but James’s reign had a huge impact on a long stretch of British and world history.
A good textbook is indispensable, and this is the one on James I that I most often resort to. It is lucidly written, covers an awful lot of ground, is properly referenced, and offers an in-depth look at the reigns of James VI and I and Charles I in England and Scotland.
Although it is ten years old now, I still place it top of my reading list for undergraduates studying this period of history.
A gripping new account of one of the most important and exciting periods of British and Irish history: the reign of the first two Stuart kings, from 1567 to the outbreak of civil war in 1642 - and why ultimately all three of their kingdoms were to rise in rebellion against Stuart rule.
Both James VI and I and his son Charles I were reforming monarchs, who endeavoured to bolster the authority of the crown and bring the churches in their separate kingdoms into closer harmony with one another. Many of James's initiatives proved controversial - his promotion of the…
I am a Professor of early-modern British History at the University of Oxford and a Senior Research Fellow at Jesus College, Oxford, who was a specialist in the Tudor period, especially the life and reign of Elizabeth I. However, while doing research over the past six years, I became excited by the politics, religion, and culture of the Jacobean period. James I’s reign had been a topic I taught in a week to undergraduates, but I realised that I didn’t do justice to this rich and important period. Not only is it fascinating in its own right, but James’s reign had a huge impact on a long stretch of British and world history.
I like to get stuck into specialized studies to extend and deepen my historical knowledge. This recent monograph, based on research in Denmark, England, and Scotland, taught me a great deal about how Queen Anna used visual and material culture to forge her own identity and bring prestige to the Jacobean monarchy.
I very much enjoyed reading Field’s descriptions of Anna’s clothes, jewelry, and collecting practices, all of which displayed the queen’s pan-European identity and interests. As a scholar, I am particularly interested in the public image of kings and queens, so this book greatly appealed to me.
Approaching the Stuart courts through the lens of the queen consort, Anna of Denmark, this study is underpinned by three key themes: translating cultures, female agency and the role of kinship networks and genealogical identity for early modern royal women. Illustrated with a fascinating array of objects and artworks, the book follows a trajectory that begins with Anna's exterior spaces before moving to the interior furnishings of her palaces, the material adornment of the royal body, an examination of Anna's visual persona and a discussion of Anna's performance of extraordinary rituals that follow her life cycle. Underpinned by a wealth…
I’m a Shakespeare scholar with a particular interest in theatre history and the repertories of the London commercial playing companies of the late-sixteenth and early-seventeenth centuries. I’m particularly fascinated by the hundreds of plays written during this period that have not survived, whether as the result of fire, vandalism, censorship, or more mundane causes like a lack of interest in or opportunity for publication. The surviving plays from the period are the distinct minority; yet the plays lost to us were known to Shakespeare and his contemporaries, who often wrote in response to what else was being performed across London.
In the wake of Knutson’s work, a number of seminal studies of individual playing companies from Shakespeare’s London have appeared, but I particularly value Manley and MacLean’s for the prominence they give to the role of lost plays in the repertory of Lord Strange’s Men. This book normalised the understanding that if one is to study a company—its patron, its players, its performance venues (including touring), and its style—then one cannot do so without attending to the plays once performed by the company but which have since been lost.
For a brief period in the late Elizabethan Era an innovative company of players dominated the London stage. A fellowship of dedicated thespians, Lord Strange's Men established their reputation by concentrating on "modern matter" performed in a spectacular style, exploring new modes of impersonation, and deliberately courting controversy. Supported by their equally controversial patron, theater connoisseur and potential claimant to the English throne Ferdinando Stanley, the company included Edward Alleyn, considered the greatest actor of the age, as well as George Bryan, Thomas Pope, Augustine Phillips, William Kemp, and John Hemings, who later joined William Shakespeare and Richard Burbage in…
I’m a recovering ambassador, now running an Oxford college. After almost 25 years in diplomacy, including working in no 10 for three prime ministers, I realised that education is upstream diplomacy. If we are to find a way through the challenges ahead – from climate change to pandemics and economic crisis to artificial intelligence – we must act, urgently, to upgrade why, what, and how we learn. I set out to ask hundreds of the most inspirational people on the planet what they wished they had known, and what they would share with the next generation if this was their last day.
A book of immense humanity and authenticity, which reminds us of how the great themes of great literature and art can offer solace and guidance in moments of fragility. By helping us go back to Shakespeare with less insecurity or baggage, the book opens up new perspectives on how others have grappled with these questions about how to be human. And it reminds us that we are allowed to question, challenge, and have fun.
'The best introduction to the plays I've read, perhaps the best book on Shakespeare, full stop' Alex Preston, Observer
'It makes you impatient to see or re-read the plays at once' Hilary Mantel
A genius and prophet whose timeless works encapsulate the human condition like no others. A writer who surpassed his contemporaries in vision, originality and literary mastery. Who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of.
But it doesn't really tell us the whole truth. So much of what…
I married Indian born Atam Vetta when mixed relationships were rare and viewed with hostility not just in the UK. In 1966, they were illegal in South Africa and in most Southern States of the USA (until Loving v Virginia). In India they are not illegal but many upper-caste Indians do not approve of marriage outside of caste.
In the UK attitudes have revolutionised. Mixed relationships are no longer rare and it is predicted that by 2075 the majority of the population will be of mixed ancestry. There are mixed relationships in all three of my novels. My aim was to explore what we have in common whilst being honest about the challenges. The ultimate prize is an enhanced understanding and the creativity that comes with crossing cultures.
Shakespeare’s tragedies resonate in most cultures because they address the human condition. That is why Romeo and Juliet have spawned West Side Story, many films, and Russian ballets. I personally organised the Joe and Zara workshop with a mixed group of teenagers working on a modern take on the story. The young people in this ten-minute video from the workshop are impressive.
Othello too is tragic. Othello describes how Desdemona would come again ‘greedy –to hear tales of adventure sorrow and suffering. ‘She loved me for the dangers I had passed and I loved her that she did pity them.’
I relate to that.
The second Oxford edition of Shakespeare's Complete Works reconsiders every detail of their text and presentation in the light of modern scholarship. The nature and authority of the early documents are re-examined, and the canon and chronological order of composition freshly established. Spelling and punctuation are modernized, and there is a brief introduction to each work, as well as an illuminating and informative General Introduction. Included here for the first time is the play The Reign of King Edward the Third as well as the full text of Sir Thomas More. This new edition also features an essay on Shakespeare's…
I’m a Shakespeare scholar with a particular interest in theatre history and the repertories of the London commercial playing companies of the late-sixteenth and early-seventeenth centuries. I’m particularly fascinated by the hundreds of plays written during this period that have not survived, whether as the result of fire, vandalism, censorship, or more mundane causes like a lack of interest in or opportunity for publication. The surviving plays from the period are the distinct minority; yet the plays lost to us were known to Shakespeare and his contemporaries, who often wrote in response to what else was being performed across London.
Not all archival work entails Indian Jones-style quests for hidden treasures; Steggle’s book—written at a crucial point when digital databases such as Early English Books Online and Google Books were accessible but rarely utilised to their maximum capabilities—proved how much crucial knowledge is hiding in plain sight. Steggle used a variety of search strategies to solve cruxes and mysteries that have plagued theatre historians for centuries, recovering the subject matter of lost plays that scholars routinely ignored on account of their opaque titles and scant evidence.
This book establishes new information about the likely content of ten lost plays from the period 1580-1642. These plays' authors include Nashe, Heywood, and Dekker; and the plays themselves connect in direct ways to some of the most canonical dramas of English literature, including Hamlet, King Lear, The Changeling, and The Duchess of Malfi. The lost plays in question are: Terminus & Non Terminus (1586-8); Richard the Confessor (1593); Cutlack (1594); Bellendon (1594); Truth's Supplication to Candlelight (1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel King (1624); The Duchess of Fernandina (c. 1630-42); and The Cardinal's Conspiracy…
I'm a classically trained Shakespearian actor who has spent a lifetime researching Tudor and Stuart times, imbibing their language, customs, and idiosyncrasies. As an actor, I'm trained to get inside my characters' heads and dedicate myself to their intentions. Also, as an actor, I've come to relish language and recognize what makes a good phrase, paragraph, and/or book. I not only perform the Bard, but I've also taught his rhetorical stylings to countless people. I love language and admire writers who use it elegantly. They say, "Write what you know." I know Shakespeare and the Elizabethan era inside and out. One's life can be changed by a book; the ones I've recommended have changed mine.
Shaw believed he was a better writer than Shakespeare, and I think he may be right in this play. His wit and language combine to inform and entertain. Cleverness and iconoclasm abound. You can't help but revel in Shaw's pin-pricking of cherished beliefs. In response, we are forced to reevaluate customs and standards. If you want intellectual fun, this play is for you.
Shaw began writing MAN AND SUPERMAN in 1901 and determined to write a play that would encapsulate the new century's intellectual inheritance. Shaw drew not only on Byron's verse satire, but also on Shakespeare, the Victorian comedy fashionable in his early life, and from authors from Conan Doyle to Kipling. In this powerful drama of ideas, Shaw explores the role of the artist, the function of women in society, and his theory of Creative Evolution. As Stanley Weintraub says in his new introduction, this is "the first great twentieth-century English play" and remains a classic expose of the eternal struggle…
Most people have not heard of a female playwright before Aphra Behn so I’ve been passionate about restoring the work of Shakespeare’s ‘sisters’, or female contemporaries, to the stage and to public awareness. Early play scripts by women are often dismissed as ‘closet drama’: unperformed, not written for performance, and unperformable. To challenge such assumptions, I staged productions of female-authored plays, most recently Wroth’sLove’s Victory. A good deal of writing about women’s drama now exists, including my book Playing Spaces.I have made this selection to encourage you to discover the plays for yourselves. I hope you enjoy reading, and perhaps watching or acting, them.
This modern edition gives readers a sample plays by the remarkable Margaret Cavendish, who privately published 2 volumes of plays in 1662 and 1668 though many were probably written earlier.
I find her plays fascinating for the ways they deal explicitly with women’s experiences in love, in war and in marriage.
In this selection Love’s Adventures Parts I and IIfeatures a cross-dressing heroine in pursuit of her intended husband;Bell In CampoParts I and II, dramatizes the experience of a superheroine leading an army, while The Bridals and The Convent of Pleasuresatirize love and marriage.
I love The Convent of Pleasure’s depictions of same-sex retreat and desire. Cavendish’s witty prefaces on the difficulties of writing plays for a woman are included as appendices to Shaver’s edition.
Margaret Cavendish, Duchess of Newcastle (1623-1673), until recently remembered more as a flamboyant eccentric than as a serious writer, was in fact the most prolific, thought-provoking, and original woman writer of the Restoration. Cavendish is the author of many poems, short stories, biographies, memoirs, letters, philosophical and scientific works (including The Description of a New World, Called The Blazing World, the first work of science fiction by a woman), and nineteen plays. "The Convent of Pleasure" and Other Plays collects four of Cavendish's dramatic works that are among the most revealing of her attitudes toward marriage and her desire for…
