The story of the troubled accession of England's first Scottish king and the transition from the age of the Tudors to the age of the Stuarts at the dawn of the seventeenth century

"Mary Stuart's execution remains an entirely unacceptable crime morally (...) However, it is equally difficult to deny that the destruction of Mary Stuart was a prudent course of action from a public policy standpoint. Because, regrettably, in politics, the determining issue is not the correctness of a legislation, but its success." Stefan Zweig was enchanted with Mary Stuart, whose life he perceived as immensely paradoxical and from whom he perceived a "inexhaustible attraction of mystery." Thus, he investigated the queen of Scotland and Elizabeth I's fierce rival through the lens of a novelistic biography. Zweig is the undisputed master of this genre: he meticulously details the tumultuous life of this amazing woman, who culminated on the scaffold. Biography Stefan Zweig (1881-1942) was born into a Jewish commercial family in Vienna. He created poetry, stories, plays, and essays, all of which were burned by the Nazis in 1933. He resided in Salzburg from 1919 until 1934, then moved to England and then to Brazil in 1941. His epic works, like his historical miniatures and biographical works, made him famous. He deliberately put up his life in Petrópolis, Brazil, on February 23, 1942.

In 1967 the world of Milton studies was divided into two armed camps: one proclaiming (in the tradition of Blake and Shelley) that Milton was of the devil's party with or without knowing it, the other proclaiming (in the tradition of Addison and C. S. Lewis) that the poet's sympathies are obviously with God and the angels loyal to him. The achievement of Stanley Fish's Surprised by Sin was to reconcile the two camps by subsuming their claims in a single overarching thesis: Paradise Lost is a poem about how its readers came to be the way they are--that is, fallen--and the poem's lesson is proven on a reader's impulse every time he or she finds a devilish action attractive or a godly action dismaying. Fish's argument reshaped the face of Milton studies; thirty years later the issues raised in Surprised by Sin continue to set the agenda and drive debate.

A critical first-hand appraisal of the activities, achievements, and importance of the Jewish Brigade by IDF Major-General Shlomo Shamir (Rabinowicz), its Covert Internal Commander on behalf of the Haganah and the Jewish national institutions in Palestine. Some myths surrounding the Brigade's activities are also dealt with in this appraisal. The Jewish Brigade, a unit of the British Army during WW2, played a crucial role on behalf of world Jewry in the fight against Nazi Germany. Comprised mainly of Jewish volunteers from Palestine, the Brigade was formed in 1944 after four years of struggle for deployment as a fighting force. The Brigade participated in the Italian campaign, distinguishing itself in the battles along the Senio River and proving that Jewish soldiers could fight as a unified force against a well-trained enemy and prevail. Beyond combat and under Shamir's guidance, the Brigade was the first to search for, meet, and care for survivors of the Holocaust. Despite British disapproval, its members worked at numerous Displaced Persons camps in Germany, particularly at Bergen-Belsen, and facilitated the illegal journeys of many survivors to Palestine. The story of the Brigade therefore, exemplified a dedicated pursuit of both military goals and Jewish national aspirations. With many Brigade members subsequently becoming leading figures in the fledgling Israel Defence Forces (IDF), the book shines a light on how the experience of these Jewish volunteers in the British Army was irreplaceable in shaping both the military and political landscape of the nascent State of Israel.

First published in 1985, this book examines how workers theatre movements intended their performances to be activist -- perceiving art as a weapon of struggle and enlightenment -- and an emancipatory act. An introductory study relates left-wing theatre groupings to the cultural narratives of contemporary British socialism. The progress of the Workers' Theatre Movement (1928-1935) is traced from simple realism to the most brilliant phase of its Russian and German development alongside which the parallel movements in the United States are also examined. A number of crucial texts are reprints as well as stage notes and glimpses of the dramaturgical controversies which accompanied them.

First published in 1981, this book examines the life of Arthur Harding, a well-known figure in the East End underworld during the first half of the twentieth century. The first five chapters survey his life in the 'Jago' slum between 1887 and 1896, offering a different view of an often vilified district. The subsequent phases of his life as a cabinet-maker, street trader and wardrobe dealer reflect the changing fortunes of the East End from hand-to-mouth conditions in the late-nineteenth century to comparative security in the 1930s. The reader is introduced to some of the major features of East End life -- back-street enterprise, neighbourhood solidarity, politics and popular culture. Among the many themes that can be traced are the relationship between the underworld and the local working-class community; the collusive understanding established between villains and the police; the effects of the criminalisation of street betting; and the relationship between Jews, non-Jews and what the author terms 'half-jews' in a district of high immigration. Drawn from transcripts of recorded reminiscences, this book provides an important text for understanding the political economy of crime -- extended by the authors extensive footnotes and a preface discussing the peculiar moral complexion of south-west Bethnal Green.

A biography of Edwin Montagu, British Secretary of State for India in 1917-22. Conservative Party opposition to his policies was accompanied by more or less openly expressed antisemitism (see the index). Ch. 23 (pp. 422-449), "Zionism: The Balfour Declaration, " traces the debate among British Jewry over the government's support for a Jewish state in Palestine. Montagu, like most of the Jewish establishment, attempted to prevent adoption of the Declaration, fearing that it would lead to perceptions that Jews were not loyal citizens in the countries of their residence and thus fuel antisemitism.

Miriam Gross, as a journalist and editor, has worked with some of the most influential figures of the 20th century poets, philosophers, playwrights and politicians. This book offers recollections from 40 years at the heart of English cultural life. Brought up in wartime Jerusalem, she was deposited by her parents, speaking no English, at the bohemian Dartington Hall School; and then continued her education at Oxford where eschewing her quiet, tea-drinking contemporaries at St Anne s she found her way into more glamorous academic circles. From there it was a short hop to pre-spell-check Fleet Street. Her descriptions whether she is having to mend her boss's bra on her first day at work, or rewriting Angus Wilson's slapdash book reviews, or being asked to make the women s pages of the Observer more raunchy show a merciless eye for the bogus and the absurd. Alongside reflections on everything from feminism and motherhood to education and anti-semitism, she recounts her numerous infatuations, both requited and unrequited, with the sort of self-deprecating candour that makes this memoir a classic of its kind.

In this extensively revised and updated edition of her classic work, Look Back in Gender, Michelene Wandor confirms the symbiotic relationship between drama and gender in a provocative look at key, representative British plays from the last fifty years. Repositioning the text at the heart of hteatre studies, Wandor surveys plays by Ayckbourn, Beckett, Churchill, Daniels, Friel, Hare, Kane, Osborne, Pinter, Ravenhill, Wertenbaker, Wesker and others. Her nuanced argument, central to any analysis of contemporary drama, discusses: *the imperative of gender in the playwright's imagination *the function of gender as a major determinant of the text's structural and narrative drives *the impact of socialism and feminism on post-war British drama, and the relevance of feminist dynamics in drama *differences in the representation of the fmaily, sexuality and the mother, before and after 1968 *the impact of the slogan that the 'personal is political' on contemporary form and content.

Throughout the twentieth century, administrations have wrestled with allaying public concern over national disasters and social scandals. This book seeks to describe historically the use of public inquiries, and demonstrates why their methods continued to deploy until 1998 the ingrained habits of lawyers, particularly by issuing warning letters in order to safeguard witnesses who might be to blame. Under the influence of Lord Justice Salmon, the vital concern about systems and services allotted to social problems was relegated to the identification of individual blameworthiness. The book explains why the last inquiry under that system, into the events of ‘Bloody Sunday’ under Lord Saville’s chairmanship, cost £200 million and took twelve and a half years (instead of two years). ‘Never again’, was the Government’s muted cry as the method of investigating the public concern was eventually replaced by the Inquiries Act 2005, by common consent a good piece of legislation. The overriding principle of fairness to witnesses was confirmed by Parliament to those who are ‘core participants’ to the event, but with limited rights to participate. The public inquiry, the author asserts, is now publicly administered as a Commission of Inquiry, and is correctly regarded as a branch of public administration that focuses on the systemic question of what went wrong, as opposed to which individuals were to blame.

When Britain was compelled to introduce conscription in 1916, the question arose of what to do with its 'friendly aliens'-its 30,000 Russian-Jewish refugees of military age. The Tsar didn't want them back to serve in his army, and they had no desire to help his war effort. But when sections of the British press commented that as asylum seekers they should show gratitude and join up, a campaign with strong anti-Semitic overtones took off and became Parliamentary business. Then the Tsar was overthrown, and by the summer of 1917 the question was settled with the new regime: Russian Jews of military age had to choose either to join the British Army or to return to Russia to serve there. MI5 and Special Branch kept watch on the Communist Club in the West End, where Russian revolutionaries agitated tailors, cobblers and cabinet-makers who agonised over what to do. Many ended up in the British Army or were exempted for war work, but nearly 4,000 chose to go back to Russia-for a variety of reasons. Arriving there via the Arctic within weeks and days of the Bolshevik revolution, they found a vacuum of authority, which soon turned into the chaos and dangers of civil war. How they fared and how they struggled to return to their families in Britain is the story of War or Revolution. With the help of personal documents, official British and Russian archives, and interviews of survivors and their families, the author illuminates an unknown corner of the First World War and sets it against the background of the period.

Poor training facilities, bad diets, packed stands, great songs, scary center-backs, world-class strikers and, after 90 minutes of kicking and being kicked, a brown ale in a dirty bath. One of British soccer’s greatest heroes talks about the golden era, before football became a circus of media hype

Elias Canetti originally intended Party in the Blitz to capture an image of his time in post-war London. Well known throughout Europe, Canetti scorned British intellectuals who weren't familiar with his work. By force of will alone he accumulated English followers, but not before being christened "the godmonster of Hampstead." Canetti's memories of various people in his social circle are brief and scathing brimstone sketches. T.S. Eliot, Iris Murdoch, Wittgenstein, Herbert Read, Bertrand Russell-Canetti rakes them all over the coals. To Canetti, T.S. Eliot was nothing more than an American emigrant trying desperately to act British, and Canetti's portrayal of Iris Murdoch, with whom he had an affair, is nothing short of brutal. Michael Hofmann's translation pulls no punches, delivering the goods on Canetti's searing injection: "when you write down your life, every page should contain something no one has ever heard about."

How much did Aunt Addie know? How much did she feel? Aunt Addie better known to the world at large as Adelaide Granby, the fabulously successful author of 49 volumes of gushing, melodramatic Victorian romance. Upon her death in 1912, flowers and cards pour in, including one particularly lavish set "From Stanislaw", whom her independent-minded, suffragette niece Pamela decides was "darling Aunt Addie's Grande Passion." Pamela also inherits a stack of Aunt Addie's secret papers, including youthful diaries and her unintentionally hilarious unpublished first novel, written when she was only 16, entitled The Bastard of Pinsk (a "bastard", 16-year-old Adelaide was sure, being "A very noble Hero of Royal Blood.") As Pamela explores these documents and talks with those who knew her aunt when, seeking the real-life source of her romantic sensibility, the reader is drawn irresistibly into the intrigue. In a novel both sentimental and brutally honest, nostalgic for and horrified by the sentiments of the past, hilarious and poignant, all at once, the brilliant Eleanor Farjeon poses surprisingly powerful questions about what makes a love "real" and how much one really needs to know to experience it... This new edition features a superb introduction by twentieth-century women's historian Elizabeth Crawford. "Naughtiness of a definitely mauve tint." Beatrice Sherman, New York Times