A autobiography by one whose real father was Francis Macnamara - a flamboyant Irishman - and who came early in life to look on the ebullient Augustus John as a father-figure.

An alphabetized volume on women writers, major titles, movements, genres from medieval times to the present.

Ideal fathers, cruel fathers, puffed-up-with-pride fathers, horribly and humanly flawed fathers: this wonderful anthology contains a whole range of experience from the amazed joy of new fatherhood, to the pains of bereavement, from the comic and eccentric Papa to the sinister and silent Dad. Louise Guinness has collected irresistible extracts spanning nearly three thousand years, from Homer and the Bible to present day, from Chaucer to Beatrix Potter, Rabelais to Seamus Heaney.

The definitive biography of the poet who was almost as notorious for his 'rock 'n' roll' lifestyle as his artistic work Dylan Thomas was a romantic and controversial figure; a poet who lived to excess and died young. An inventive genius with a gift for both lyrical phrases and impish humour, he also wrote for films and radio, and was renowned for his stage performances. He became the first literary star in the age of popular culture - a favourite of both T.S. Eliot and John Lennon. As his status as a poet and entertainer increased, so did his alcoholic binges and his sexual promiscuity, threatening to destroy his marriage to his fiery Irish wife Caitlin. As this extraordinary biography reveals, he was a man of many contradictions. But out of his tempestuous life, he produced some of the most dramatic and enduring poetry in the English language.

The Victorian era is famous for the collecting, hording, and displaying of things; for the mass production and consumption of things; for the invention, distribution and sale of things; for those who had things, and those who did not. For many people, the Victorian period is intrinsically associated with paraphernalia. This collection of essays explores the Victorians through their materiality, and asks how objects were part of being Victorian; which objects defined them, represented them, were uniquely theirs; and how reading the Victorians, through their possessions, can deepen our understanding of Victorian culture. Miscellaneous and often auxiliary, paraphernalia becomes the ‘disjecta’ of everyday life, deemed neither valuable enough for museums nor symbolic enough for purely literary study. This interdisciplinary collection looks at the historical, cultural and literary debris that makes up the background of Victorian life: Valentine’s cards, fish tanks, sugar plums, china ornaments, hair ribbons, dresses and more. Contributors also, however, consider how we use Victorian objects to construct the Victorian today; museum spaces, the relation of Victorian text to object, and our reading – or gazing at – Victorian advertisements out of context on searchable online databases. Responding to thing theory and modern scholarship on Victorian material culture, this book addresses five key concerns of Victorian materiality: collecting; defining class in the home; objects becoming things; objects to texts; objects in circulation through print culture.

Sarah Carter’s "Imperial Plots: Women, Land, and the Spadework of British Colonialism on the Canadian Prairies" examines the goals, aspirations, andchallenges met by women who sought land of their own. Supporters of British women homesteaders argued they would contribute to the “spade-work” of the Empire through their imperial plots, replacing foreign settlers and relieving Britain of its "surplus" women. Yet far into the twentieth century there was persistent opposition to the idea that women could or should farm: British women were to be exemplars of an idealized white femininity, not toiling in the fields. In Canada, heated debates about women farmers touched on issues of ethnicity, race, gender, class, and nation. Despite legal and cultural obstacles and discrimination, British women did acquire land as homesteaders, farmers, ranchers, and speculators on the Canadian prairies. They participated in the project of dispossessing Indigenous people. Their complicity was, however, ambiguous and restricted because they were excluded from the power and privileges of their male counterparts. Imperial Plots depicts the female farmers and ranchers of the prairies, from the Indigenous women agriculturalists of the Plains to the array of women who resolved to work on the land in the first decades of the twentieth century.

Millions of readers know and love him for his lyrical portraits of his life, from the moving and nostalgic tales of childhood and innocence found in the pages of Cider with Rosie, to the nomadic wanderings through Spain retold in As I Walked Out One Midsummer Morning, to his dramatic experiences fighting Franco's forces in A Moment of War. As a poet, playwright, broadcaster and writer, Laurie Lee created a legend around himself that would see him safely secured in the literary canon even within his own lifetime. Yet, though he wrote exclusively about his own life, Lee never told the whole story. His readers know him as a man devoted to two women: his wife and his daughter, 'the firstborn'. Among the pages of his published works there is little trace of the girls he left behind. He never identifi ed in print the girl who inspired him to go to Spain, or the woman who supported him there. He never named the beautiful mistress he came home to, who was the great love of his young life and who led him into literary London, bore his child and broke his heart. In The Life and Loves of Laurie Lee, acclaimed biographer Valerie Grove delves into the letters and diaries he kept hidden from the world, building on her magisterial study of the charismatic poet to capture the essence of this romantic, elusive enigma and bring him to life once more.