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19th-century British culture in the autograph hand. Original manuscripts of Scott, Coleridge, Austen, Yeats, Joyce, etc. Commentary.
Alex Pheby's Mordew launches an astonishingly inventive epic fantasy trilogy. God is dead, his corpse hidden in the catacombs beneath Mordew. In the slums of the sea-battered city, a young boy called Nathan Treeves lives with his parents, eking out a meagre existence by picking treasures from the Living Mud and the half-formed, short-lived creatures it spawns. Until one day his desperate mother sells him to the mysterious Master of Mordew. The Master derives his magical power from feeding on the corpse of God. But Nathan, despite his fear and lowly station, has his own strength—and it is greater than the Master has ever known. Great enough to destroy everything the Master has built. If only Nathan can discover how to use it. So it is that the Master begins to scheme against him—and Nathan has to fight his way through the betrayals, secrets, and vendettas of the city where God was murdered, and darkness reigns. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Reprint of the original, first published in 1868.
What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.
Two clubs, dedicated to proclaiming the joys of libertine sex, thrived in mid and late 18th-century Scotland. The Beggar's Benison (1732), starting from local roots in Fife, became large and sprawling, with branches in Edinburgh, Glasgow - and St Petersburg. As a toast "The Beggar's Benison" was drunk at aristocratic dinners in London as a coded reference to sex, and the Prince of Wales (later George IV) became a member. In Edinburgh, also, the Wig Club (1775) gave the elite of the Scottish Tory establishment a forum in which to dine, gamble and venerate a wig supposedly made of the pubic hairs of the mistresses of Charles II. Both clubs flourished in a great age of raucous clubs in which bawdy often played a prominent part, and both died as changes in sensibility made such behaviour seem gross and unacceptable. As the Victorian age approached, the clubs withered away under its disapproving glare. In this book, the author tells the story of these clubs, analyzes the obscene relics of their rituals which survive, and places the clubs in their social, cultural and political contexts. It is an extensively researched study, but at the same time recognizes the entertainment value of the many anecdotes concerning the clubs, the absurdities inherent in the antics of club rituals, and the appeal of the bawdy.