Here are 100 books that This Golden Fleece fans have personally recommended if you like
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I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
This is a rare and poignant insight into a man’s needlecraft and it was a delight to read. Julia Blackburn sets out on a mission to rediscover the neglected embroideries and forgotten story of the Norfolk fisherman, John Craske, (1881-1943). Her research leads her to many dead ends and unexpected encounters and, along the way, she experiences and shares her own story of loss. I love this book because it takes me into the world of the sea captured in the fishing folk Blackburn meets and introduces me to Craske’s mesmerising embroideries made under tragic circumstances.
John Craske, a Norfok fisherman, was born in 1881 and in 1917, when he had just turned thirty-six, he fell seriously ill. For the rest of his life he kept moving in and out of what was described as 'a stuporous state'. In 1923 he started making paintings of the sea and boats and the coastline seen from the sea, and later, when he was too ill to stand and paint, he turned to embroidery, which he could do lying in bed. His embroideries were also the sea, including his…
I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
This is a surprisingly gentle memoir by the curator of fashion at the V & A Museum in London. She uses her own wardrobe to unfold the story of her own life. In exquisite prose she traces how, whether homemade or haute couture, what we wear catches significant moments in our lives and archives personal memories. It made me think of my own clothes in a different way and understand why I couldn’t throw out those that remind me of people I love and my own joyful or sad events.
'I am overwhelmed by this book. It is an absolute masterpiece. A book of such beauty and profundity, of such poetry in its emotion and observation ... I found my sense of life transformed by her writing as I often find it transformed after the exhibition of a great artist' LAURA CUMMING
Claire Wilcox has been a curator of fashion at the Victoria and Albert Museum for most of her working life. In Patch Work, she steps into the archive of memory, deftly stitching together her dedicated study of fashion with the story of…
I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
This is a brilliantly researched book which allowed me to accompany Sofi Thanhauser as she travelled across continents to unearth the origin and the fate of fabric production. It made me realise the terrible damage done to our environment and to communities through colonialisation, exploitation, industrialisation, and our throw-away economy. Tracking how craft is being replaced with slave labour, how traditions are being eroded, and local economies destroyed in the pursuit of cheaper and greater textile production, Worn is not a comfortable read, but it is, for me, a reminder of the human cost involved in most of what I wear.
A sweeping and captivatingly told history of clothing and the stuff it is made of—an unparalleled deep-dive into how everyday garments have transformed our lives, our societies, and our planet.
“We learn that, if we were a bit more curious about our clothes, they would offer us rich, interesting and often surprising insights into human history...a deep and sustained inquiry into the origins of what we wear, and what we have worn for the past 500 years." —The Washington Post
In this panoramic social history, Sofi Thanhauser brilliantly tells five stories—Linen, Cotton, Silk, Synthetics, Wool—about the clothes we wear and…
I have sewn since I was a child, taught by my mother to keep me out of mischief. From having the best-dressed dolls in the neighbourhood I graduated to making my own, sometimes outlandish, forms of fashion and then became a banner maker and community textile artist. Sewing is in my DNA and I love the tactile, rhythmic soothe of it. But I have long been curious about how, in the many books are published about needlework, very few ever mention why people sew. This is what fascinates me, the stories of sewing, because it is through its purpose that we discover the spirit that lies within it.
I read this book in the early 1980s when it was first published and it changed my view of sewing and made me understand its cultural importance and how its value has been diminished over the centuries. It is a seminal landmark feminist book, the first to ever explore why sewing is perceived as just women’s work. Parker debates the nature of women’s embroidery through time, the dutiful and the radical, the artistic and the unacknowledged and if it hadn’t been for this book I would never have become fascinated about people who sew not simply to decorate clothes or their homes but to campaign, celebrate, conserve their stories and make their mark.
Rozsika Parker's re-evaluation of the reciprocal relationship between women and embroidery has brought stitchery out from the private world of female domesticity into the fine arts, created a major breakthrough in art history and criticism, and fostered the emergence of today's dynamic and expanding crafts movements.
The Subversive Stitch is now available again with a new Introduction that brings the book up to date with exploration of the stitched art of Louise Bourgeois and Tracey Emin, as well as the work of new young female and male embroiderers. Rozsika Parker uses household accounts, women's magazines, letters, novels and the works…
I have loved visiting country houses ever since I was a child. There is something unique about the combination of art, architecture, and people. Over my lifetime, I have been privileged to visit all sorts of houses and castles. I used to work at Christie’s and during that time I visited many country houses, some of which were completely private. It was a natural progression when I moved to Goodwood and became the curator of the art collection, enjoying the house as part of my daily life. The view from my office looks out through the columns of the portico, across the park, with the sea glinting in the distance. What could be better?
The country house is a subject that has always fascinated me, but I’ve often struggled to define it accurately. Clive Aslet, former editor of Country Life magazine does a brilliant job of refining the topic into very readable, succinct, chapters filled with plenty of anecdotes and charming illustrations. As soon as I finished it, I wanted to read it all over again.
The fascinating story of the evolution of the country house in Britain, from its Roman precursors to the present
The Story of the Country House is an authoritative and vivid account of the British country house, exploring how they have evolved with the changing political and economic landscape. Clive Aslet reveals the captivating stories behind individual houses, their architects, and occupants, and paints a vivid picture of the wider context in which the country house in Britain flourished and subsequently fell into decline before enjoying a renaissance in the twenty-first century. The genesis, style, and purpose of architectural masterpieces such…
I spent 40 years as a soldier studying war. After graduation from Royal Military College, I joined the Armoured Corps. Throughout history, we have regaled each other with stories of war. From Greek myths to Norse sagas to modern movies, we cannot seem to get enough of war stories. And yet, we know that war is inherently a bad idea. It is evil. It is a form of collective madness. War is destructive and cruel, unworthy of our better selves. To paraphrase Abraham Lincoln, war breaks the bonds of our affection and does not speak to our better angels. I study it in order to better understand this madness.
John Masters grippingly tells of his life as a newly commissioned Subaltern in a Gurkha regiment, warts, and all. This book is especially valuable to new infantry platoon commanders, or anyone interested in the challenges of leading at the lowest levels. Masters is a consummate storyteller who takes the reader along with him in his personal journey of discovery as he learns about life, leadership, and the nature of war.
The first of John Master's evocative memoirs about life in the Gurkhas in India on the cusp of WWII
John Masters was a soldier before he became a bestselling novelist. He went to Sandhurst in 1933 at the age of eighteen and was commissioned into the 4th Gurkha Rifles in time to take part in some of the last campaigns on the turbulent north-west frontier of India.
John Masters joined a Gurhka regiment on receiving his commission, and his depiction of garrison life and campaigning on the North-West Frontier has never been surpassed. BUGLES AND A TIGER is a matchless…
I’ve loved the theater ever since I first stepped on stage in a high school production of You Can’t Take It With You. I had one line and was hooked! And as for Shakespeare–I fell in love with the Bard when I was 13 and saw Franco Zeffirelli’s Romeo and Juliet. My best friend and I spent hours reciting the lines (I still remember whole speeches). So, when I was looking for an artsy subject (I love the arts) for my third novel, I naturally turned to the theater. I have a Master of Arts in Drama from the University of Toronto and when I’m not writing, I run Art In Fiction, a website showcasing 1700+ novels inspired by the arts.
Entertaining Mr. Pepys explores the world of British theater during a time when women were finally allowed on stage as actresses. I loved it because of how the author explored her main character’s fascination with acting, which reminded me very much of how Grace in my own book is captivated by the stage and willing to go to any lengths to become an actress. I have read several of Swift’s novels and credit them with inspiring me to write my own novels based on women in the arts.
Perfect for fans of Philippa Gregory, Alison Weir, Anne O'Brien and Elizabeth Chadwick, Deborah Swift brings a unique period in history to vivid, fascinating life in her acclaimed Pepys trilogy.
'A remarkably beguiling read. It transported me to the glitter and filth of seventeenth century London' Martine Bailey, author of The Almanack
'The fusion of historical facts and fiction is so flawless that it is hard to know where reality ends and fiction begins' Readers' Favorite
London, 1666. Elizabeth 'Bird' Carpenter has a wonderful singing voice, and music is her chief passion. When her father persuades her to marry horse-dealer…
Being an immigrant from India, a culture that places family values above all else, I am drawn to books that explore family conflicts, secrets, and the triumph of love against all odds. When an author incorporates these themes into a mystery, the book becomes more than a simple formulaic whodunnit story that educates me about the complexities of our lives.
Threat of exposure of a scandalous affair takes Lynley and his sidekick Havers from London into the countryside, where they reveal how a hidden past and the mistaken identity of a father by his son, led to murder. I love it for the writing style – George's later books became too big for me – the characters she creates with such clarity and passion, who are put into situations that threaten their lives, reputation, and ideals.
As the editor of a popular left-wing tabloid, Dennis Luxford has made a career out of scandal. But this time the scoop involves his own daughter. To save the life of his child, Luxford must expose the girl's mother - Eve Bowen, now Under Secretary of State for the Home Office. And Eve refuses to involve the police, convinced that Charlotte's disappearance is just one more shabby tabloid ploy.
Only when events take an unbearable turn is New Scotland Yard brought in, in the guise of Inspector Thomas Lynley and his partner, Barbara Havers. And as their investigations move from…
I wanted to go to the sea ever since I can remember. In the hope of having the nonsense knocked out of me, my father sent me at the tender age of fourteen to the ‘Indefatigable’, a tough sea-training school. This only strengthened my resolve for a life at sea, and I joined the Royal Navy at 15. My family emigrated and I transferred to the Royal Australian Navy and saw service around the world. Although I no longer have an active involvement with the navy, I sail in my imagination through my sea-faring novels.
I’m greatly drawn to the caricaturists and satirists of the late eighteenth and early nineteenth century. In the days before the internet they were often vehicles for witty, sometimes very pointed, commentary on all aspects of society. This book, with prints from the National Maritime Museum, focuses on the Royal Navy during the later eighteenth and early nineteenth century.
Broadsides explores the political and cultural history of the Navy during the later eighteenth and early nineteenth centuries through contemporary caricature. This was a period of intense naval activity - encompassing the Seven Years War, the American War of Independence, the wars against revolutionary and Napoleonic France, and the War of 1812. Naval caricatures were utilised by the press to comment on events, simultaneously reminding the British public of the immediacy of war, whilst satirising the same Navy it was meant to be supporting. The thematic narrative explores topics from politics to invasion, whilst encompassing detailed analysis of the context…
My fascination with intelligence studies is tied to my previous experience as a practitioner. While serving as a military officer and CIA officer, I became curious about how two organizations with a shared history could be so different. Exploring the “why” of the CIA/DoD differences led me to the broader interplay of organizational cultures, individuals, and missions in influencing the evolution of intelligence, its purpose, and its role. These five books will provide the reader a broader appreciation of how intelligence was used to help policymakers understand reality and how intelligence organizations have been used to try to change reality. You will not merely learn something about intelligence but will be entertained and engaged while doing so.
I am fascinated by how different countries approach intelligence, both from how they organize intelligence activities and how intelligence informs policymaking. These various approaches highlight there is not a common approach to intelligence and help explain why simple definitions of intelligence are insufficient at capturing various intelligence activities and organizations. The Black Door looks at how British Prime Ministers have used intelligence and their relationships with intelligence organizations over the past century. A well-written account by two thoughtful and prolific scholars, the reader will appreciate how British Prime Ministers have used intelligence to not only understand the world but to also act.
The Black Door explores the evolving relationship between successive British prime ministers and the intelligence agencies, from Asquith's Secret Service Bureau to Cameron's National Security Council.
Intelligence can do a prime minister's dirty work. For more than a century, secret wars have been waged directly from Number 10. They have staved off conflict, defeats and British decline through fancy footwork, often deceiving friend and foe alike. Yet as the birth of the modern British secret service in 1909, prime ministers were strangers to the secret world - sometimes with disastrous consequences. During the Second World War, Winston Churchill oversaw a…
