With the rare gift of a storyteller, David Landau takes the reader inside the little-known world of the haredim - the bearded, black-clothed Jewish fundamentalists. Decimated by the Holocaust, this sect has enjoyed a dramatic revival that has caused tensions everywhere and a bitter battle for the soul of Israel. Piety and Power describes life in the self-contained haredi ghettos in London, New York, and Jerusalem, where Hasidic rabbis reign supreme and strict rules govern every aspect of life. Landau takes the reader into homes marked by warm family life and strict sexual codes, and into yeshivas, the intellectual core of the community, where young men spend decades as full-time students of the Torah. For many readers, Jews and Gentiles alike, this will be a disturbing book. It depicts an aggressive, assertive fundamentalism in an expansive and self-confident mood, certain of its divine right to win souls and influence the Jewish people and to dictate its views on who is a Jew.

Of the many different kinds of anti-Semite, Eliot was the rarest: one who was able to place his anti-Semitism at the service of his art. This study looks both at the detail of Eliot's deployment of anti-Semite discourse and at the role it played in his greater literary works.

Traces the history of the popular British new wave group, offers brief profiles of all five band members, and looks at their recordings

The novel centres on a colourful group of refugee Tibetans. One of the group's members, the charismatic (and slightly dubious) Rabbi Chod, recognises himself as the reincarnation of Moses, and various friends as reincarnations of key Biblical figures. Despite condemnation from both the mainstream Jewish and Tibetan communities, he declares his followers the true 'lost tribe of Israel', and defiantly opens up a synagogue in a pet shop. a family where suppression and dysfunction are common currency. Both of his parents are Tibetan Jews, followers of Rabbi Chod. His father owns a cafe called 'Hush Hush', so called because within the cafe, all forms of noise are forbidden. Any customer who speaks is instantly banned and a Polaroid photo of them is pinned to a cork board in case they should dare to return. way not into the future, but the past. He falls asleep each night only to wake up the day before. In this way, as he grows up his parents get younger. By the end of the book his parents are children - too young to manage by themselves - and the adult Monlam has to look after them. In this way he witnesses his own family history, quite literally living backwards into their lives.

"Howard Jacobson's funny, revealing and tender memoir of his path to becoming a writer. It's my theory that only the unhappy, the uncomfortable, the gauche, the badly put together, aspire to make art. Why would you seek to reshape the world unless you were ill-at-ease in it? And I came out of the womb in every sense the wrong way round. In Mother's Boy, Booker-Prize winner Howard Jacobson reveals how he became a writer. It is an exploration of belonging and not-belonging, of being an insider and outsider, both English and Jewish. Jacobson was forty when his first novel was published. In Mother's Boy he traces the life that brought him there. Born to a working-class family in 1940s Manchester, the great-grandson of Lithuanian and Russian immigrants, Jacobson was raised by his mother, grandmother and aunt Joyce. His father was a regimental tailor, as well as an upholsterer, a market-stall holder, a taxi driver, a balloonist, and a magician. Grappling always with his family's history and his Jewish identity, Jacobson takes us from the growing pains of childhood to studying at Cambridge under F.R. Leavis, and landing in Sydney as a maverick young professor on campus." --

In 1935, while Virginia Woolf was alive and building her career as a woman writer, Ruth Gruber published a seminal essay on the novelist that is now seen as the first feminist interpretation of Woolf's writings and life. Seventy years after its original publication, Gruber's seminal critique is available once again, with new material that makes it more relevant for readers today. Virginia Woolf: The Will to Create as a Woman includes several previously unpublished letters exchanged between Woolf and Gruber, and a new introduction in which Gruber recalls her 1933 meeting with the English writer, examining the questions surrounding Woolf's bi-polar illness and anti-Semitism. In this groundbreaking assessment of Woolf's philosophy, influences, and style, Gruber laid the groundwork for a generation of future feminist analyses. She cogently examines Woolf's concept of gender and her literary influences, adeptly discussing how Woolf constructed a feminine writing style in a realm dominated by men. Above all, she shows how Woolf consciously strove to create as a woman. Virginia Woolf's experimental prose and her struggles with mental illness have made her an enduringly provocative figure, and today, more than sixty years after her suicide, Woolf's writing continues to fascinate and inspire readers.

"Elizabethan and Jacobean architecture - not the friendly unassuming architecture of the vernacular but the uniquely strange and exciting buildings put up by the great and powerful, ranging from huge houses to gem-like pavilions and lodges designed for feasting and hunting - is a phenomenon as remarkable as the literature which accompanied it, the literature of Shakespeare, Spenser, Sidney, Marlow, Jonson, Campion and others. Forty years after adventuring into this world in his first book, 'Robert Smythson', in which he discussed one family of mason-architects and the great houses with which they were connected, Mark Girouard has returned to the subject to cover the whole rich field in detail. In this beautiful and fascinating book, Girouard discusses social structure and the way of life behind it, the evolution of the house plan, the ferment of excitement aroused in English patrons and craftsmen as they learnt about the classic Five Orders and the buildings of Ancient Rome from publications and engravings, the surprising wealth of architectural drawings which survive from the period, the inroads of foreign craftsmen who brought new fashions in ornament with them, but also the strength of the native tradition which was creatively integrated with the 'antique' style. Behind the book is a vivid consciousness of the European scene, and the different ways in which different countries reacted to new influences yet did not abandon their native traditions. Italy, France, central Europe and above all the Low Countries provide the background, and England was influenced by all of them. But the principal argument of the book is the individuality of the English achievement. Girouard's pioneering work on Elizabethan architecture, then an unfashionable period, has helped inspire an increasing number of architectural historians to venture into the field. His new book benefits from their researches and publications, but is essentially a product of new research and travel on his part. The results are displayed with his own unique sense of style, and are fired by the excitement which the architecture of the period still generates in him." -- from book jacket.

Bound in the publisher's original maroon cloth with the spine stamped in gilt.

Professor William Fishman, son of an immigrant tailor, describes London's East End at a time of mass immigration from Eastern Europe to the shabby tenements of Stepney and Whitechapel. He describes the spread of libertarian and socialist ideals among the Jewish community culminating in the great strikes of 1889 and 1912. It was in London's East End that Rudolf Rocker taught himself Yiddish and helped politicize a generation. An extraordinary period of Jewish, immigrant and radical history, described by an inspired storyteller. "An immensely readable work, it should attract a large and enthusiastic audience." - Paul Avrich

England, says Matthew Engel, is the most complicated place in the world. And, as he travels through each of the historic English counties, he discovers that's just the start of it. Every county is fascinating, the product of a millennium or more of history: still a unique slice of a nation that has not quite lost its ancient diversity.He finds the well-dressers of Derbyshire and the pyromaniacs of Sussex; the Hindus and huntsmen of Leicestershire; the goddess-worshippers of Somerset. He tracks down the real Lancashire, hedonistic Essex, and the most mysterious house in Middlesex. In Durham he goes straight from choral evensong to the dog track. As he seeks out the essence of each county - from Yorkshire's broad acres to the microdot of Rutland - Engel always finds the unexpected .Engel's England is a totally original look at a confused country: a guidebook for people who don't think they need a guidebook. It is always quirky, sometimes poignant and often extremely funny.

This study develops our understanding of medieval society through an examination of its charitable activities. In a detailed study of the forms in which relief was organised in medieval Cambridge and Cambridgeshire, the book unravels the economic and demographic factors which created the need for relief as well as the forms in which the community offered it. With continual reference to the religious teachings of priests and friars and the changing ideas of lay piety, Dr Rubin relates the changing forms of charitable giving to the shift in attitudes towards community and social order, towards relations between laity and clergy, and towards the poor. A local study is thus set in a wide comparative context, drawing together contributions in the fields of social, religious, economic and urban history.

In this collection of essays and articles best selling author Mark Girouard writes of places he has visited in town and country. Mixing erudition with anecdote, he offers fascinating insights into both buildings and their inhabitants. He tells how he first became interested in architecture, describes the country houses which he visited as a boy, provides an authoritative interpretation of the origins of English rococo art, analyzes the formation of an English seaside resort, recreates the Georgian architecture and polite society of Jane Austen's world, and traces changing attitudes toward the landscape in architecture from eighteenth-century Britain to twentieth-century America. Old Slaughter's Coffee-House in the mid-eighteenth century; Holdenby, an Elizabethan great house built by a royal favourite who was called by one of his contemporaries "a mere vegetable of the court that sprung up at night and sank again at noon"; Belvedere, the eighteenth-century Irish country house that was witness to a tragic story of adultery and revenge: these are just a few of the buildings described by Girouard in these delightful essays on architecture and society in bygone eras in England and Ireland. Written with his customary wit and elegance, this collection of Girouard's finest essays illuminates not only architecture and social history but also the man who has explored both with such elan.

A unique insight into the rapidly expanding Chinese art market from an expert in the field Presents the remarkable story of the leading contemporary dealer in Chinese and other Asian art A Dealer's Hand serves as both a personal history of the evolving Chinese art market and a catalogue of Chinese art illustrated with over 500 objects As the West awakes, with some apprehension, to the economic power of that once-supine dragon, China, A Dealer's Hand is a timely reminder that its material culture has never failed to entrance and amaze those looking in from the outside, no less over the 50 years covered here than in the more distant past. Giuseppe Eskenazi is the pre-eminent expert and dealer in Chinese art and therefore well-placed to cast light on one aspect of this cultural relationship. Hajni Elias is a highly experienced researcher in the field. Together they have woven a narrative with several strands: Giuseppe's progression from young boy in Constantinople to doyen of Chinese art dealers, enlivened by reminiscence and anecdote; an overview of the market for Chinese art in the West and the part played in it by scholars, dealers, auction houses, museums and collectors; and a fabulous pictorial record of hundreds of the marvelous works of art that have passed through the Eskenazi Gallery's doors and amaze those looking in from outside, no less over the 50 years covered here than in the more distant past.

The Thames was London's 'grandest street', a stage for royal and civic ceremony as well as a bustling commercial thoroughfare. Published to accompany a major exhibition at the National Maritime Museum, this magnificent catalogue charts 500 years of river-borne pomp and pageantry, including Anne Boleyn's coronation and Nelson's funeral. Illustrated with rarely seen paintings, prints and artefacts, the book also records the shipping, bridges and tunnels and frost fairs of the Thames, and the buildings that line its shores.--publisher's description.

A sereis of linked television plays. A London library with a huge collection of rare photographs is faced with extinction. Among its 10 million pictures are images telling extraordinary stories of the past, intimate tales which are both erotic and full of pain. the custodians of these pictures are an eccentric collection of librarians whose stoical, arcane knowledge is in conflict with a new management determined to destroy their world forever

On a remote edge of the North York moors, where a grassy hillside overlooks the Vale of York, there is a secluded acre of land, edged by woods, called Scotch Corner. A mysterious war memorial chapel stands there, a simple stone building, decorated with bold carvings. Madeleine Bunting's father erected the chapel in his youth.

By looking at England's cathedral towns, Regency spas and industrial cities, and at their market squares, docks, council chambers and assembly rooms, the author traces the development of English towns through the centuries.

"Nobody at the Globe much likes the word 'authentic'. It is a difficult adjective to justify, given that so little is known about theatrical practice in Shakespeare's time, and the modern environment inevitably makes its presence felt, as does the modern weather. Performances take place for only half the year, between May and September. Evening performances are routine, whereas they were afternoons-only, at the original Globe. The theatre itself can be no more than a 'best guess' as to how things were. And the same sense of limitation pervades all aspects of the productions - casting, clothing, properties, design, music, movement ... Every attempt at an 'original practice' is an experiment, whether it be the casting of men in women's roles, the design and making of contemporary costume, or the performance of songs and instrumental music. The Globe has nonetheless carved out for itself an enviable reputation in each of these areas"-- Provided by publisher.