After Alfred deals with the Anglo-Saxon Chronicles, tracing the development of this group of texts, linking them to a southern court elite who were deeply engaged in kingdom-building, and offering both a detailed study of each chronicle and a broad contribution to the history of a critical period in the making of England and the English story.

The vernacular Anglo-Saxon Chronicles cover the centuries which saw the making of England and its conquest by Scandinavians and Normans. After Alfred traces their development from their genesis at the court of King Alfred to the last surviving chronicle produced at the Fenland monastery of Peterborough. These texts have long been part of the English national story. Pauline Stafford considers the impact of this on their study and editing since the sixteenth century, addressing all surviving manuscript chronicles, identifying key lost ones, and reconsidering these annalistic texts in the light of wider European scholarship on medieval historiography. The study stresses the plural 'chronicles', whilst also identifying a tradition of writing vernacular history which links them. It argues that that tradition was an expression of the ideology of a southern elite engaged in the conquest and assimilation of old kingdoms north of the Thames, Trent, and Humber. Vernacular chronicling is seen, not as propaganda, but as engaged history-writing closely connected to the court, whose networks and personnel were central to the production and continuation of these chronicles. In particular, After Alfred connects many chronicles to bishops and especially to the Archbishops of York and Canterbury. The disappearance of the English-speaking elite after the Norman Conquest had profound impacts on these texts. It repositioned their authors in relation to the court and royal power, and ultimately resulted in the end of this tradition of vernacular chronicling.

The vernacular Anglo-Saxon Chronicles cover the centuries which saw the making of England and its conquest by Scandinavians and Normans. After Alfred traces their development from their genesis at the court of King Alfred to the last surviving chronicle produced at the Fenland monastery of Peterborough. These texts have long been part of the English national story. Pauline Stafford considers the impact of this on their study and editing since the sixteenth century, addressing all surviving manuscript chronicles, identifying key lost ones, and reconsidering these annalistic texts in the light of wider European scholarship on medieval historiography. The study stresses the plural 'chronicles', whilst also identifying a tradition of writing vernacular history which links them. It argues that that tradition was an expression of the ideology of a southern elite engaged in the conquest and assimilation of old kingdoms north of the Thames, Trent, and Humber. Vernacular chronicling is seen, not as propaganda, but as engaged history-writing closely connected to the court, whose networks and personnel were central to the production and continuation of these chronicles. In particular, After Alfred connects many chronicles to bishops and especially to the Archbishops of York and Canterbury. The disappearance of the English-speaking elite after the Norman Conquest had profound impacts on these texts. It repositioned their authors in relation to the court and royal power, and ultimately resulted in the end of this tradition of vernacular chronicling.

Alfred's Basic Piano Library Fun Books provide additional recital pieces designed for students who require more solo material and are particularly useful when two students are from the same family (Recital Book for one, Fun Book for the other).

A progressive repertoire series designed to motivate students while allowing them to progress evenly and smoothly from the earliest classics toward intermediate literature. These pieces are from the standard classical literature, chosen to appeal both to teacher and student. Each volume comes with a corresponding CD. PIanist Kim O'Reilly Newman holds a Master of Music degree from the University of Illinois. She has performed throughout North America and Europe with the Hambro Quartet of Pianos and was an editor and recording pianist for Alfred Music. Kim is a brain tumor survivor and now specializes in performing music for the left hand.

Soldier, statesman, and scholar, Alfred the Great was a fascinating and highly successful king, pushing back the Vikings to command what is now thought of as the heart of England as ruler of Wessex from 871-899. In this, the first major biography of King Alfred since 1902, his life, career and enduring legacy are given a radical new interpretation, putting into question most of our assumptions about this singular monarch. Alfred P. Smyth's portrait of King Alfred rejects the image of a neurotic and invalid king who supposedly remained a pious illiterate until he was almost 40. Instead, we are shown a man of remarkable energy and intelligence who took necessary steps to defend his people from the Norsemen. We see, too, a king who had been a scholar all his life and who used his great knowledge to bolster the powers of his own kingship. Smyth also provides a detailed examination of the much-disputed medieval biography of King Alfred, attributed to the King's tutor, Asser. Alfred Smyth argues that Asser's Life may, in fact, have been a late medieval forgery--a revelation with profound implications for our understanding of the whole of Anglo-Saxon history. Smyth's King Alfred also contains major studies on the writings of this gifted king, on the controversial charters of his reign, and on the origins of the Anglo-Saxon Chronicle. (Smyth shows this work to have been much more closely connected with the court of King Alfred than previously realized and suggests a new date for the completion of the earliest Alfredian section of the Chronicle.) A monumental and intriguing work of historical scholarship, King Alfred the Great will dramatically change the way we understand this early period of western civilization.

One of the most influential anthropological works of the last two decades, Alfred Gell’s Art and Agency is a provocative and ambitious work that both challenged and reshaped anthropological understandings of art, agency, creativity and the social. It has become a touchstone in contemporary artifact-based scholarship. This volume brings together leading anthropologists, archaeologists, art historians and other scholars into an interdisciplinary dialogue with Art and Agency, generating a timely re-engagement with the themes, issues and arguments at the heart of Gell’s work, which remains salient, and controversial, in the social sciences and humanities. Extending his theory into new territory – from music to literary technology and ontology to technological change – the contributors do not simply take stock, but also provoke, critically reassessing this important work while using it to challenge conceptual and disciplinary boundaries.