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Following England's future corporate and digital disintegration, and the fall of its cities, a hallucinatory conflict – inspired and propelled by the history and traces of 1970s punk rock and the spectres of Jimmy Savile and Peter Sutcliffe, the “Kings of Leeds” – erupts between the South and the North, so virulent and all-engulfing that only fragments of its memory can survive. A contemporary myth of text and image, England's Darkness explores a near-future culture on its precipice.
The "Ethiope," the "tawny Tartar," the "woman blackamoore," and "knotty Africanisms"—allusions to blackness abound in Renaissance texts. Kim F. Hall's eagerly awaited book is the first to view these evocations of blackness in the contexts of sexual politics, imperialism, and slavery in early modern England. Her work reveals the vital link between England's expansion into realms of difference and otherness—through exploration and colonialism-and the highly charged ideas of race and gender which emerged. How, Hall asks, did new connections between race and gender figure in Renaissance ideas about the proper roles of men and women? What effect did real racial and cultural difference have on the literary portrayal of blackness? And how did the interrelationship of tropes of race and gender contribute to a modern conception of individual identity? Hall mines a wealth of sources for answers to these questions: travel literature from Sir John Mandeville's Travels to Leo Africanus's History and Description of Africa; lyric poetry and plays, from Shakespeare's Antony and Cleopatra and The Tempest to Ben Jonson's Masque of Blackness; works by Emilia Lanyer, Philip Sidney, John Webster, and Lady Mary Wroth; and the visual and decorative arts. Concentrating on the sixteenth and seventeenth centuries, Hall shows how race, sexuality, economics, and nationalism contributed to the formation of a modern ( white, male) identity in English culture. The volume includes a useful appendix of not readily accessible Renaissance poems on blackness.
This collection of essays examines the motifs of darkness, depression, and descent in both literal and figurative manifestations within a variety of Anglo-Saxon texts, including the Old English Consolation of Philosophy, Beowulf, Guthlac, The Junius Manuscript, The Wonders of the East, and The Battle of Maldon. Essays deal with such topics as cosmic emptiness, descent into the grave, and recurrent grief. In their analyses, the essays reveal the breadth of this imagery in Anglo-Saxon literature as it is used to describe thought and emotion, as well as the limits to knowledge and perception. The volume investigates the intersection between the burgeoning interest in trauma studies and darkness and the representation of the mind or of emotional experience within Anglo-Saxon literature.
A major contribution to the cultural and literary history of the Victorian age, Rule of Darkness maps the complex relationship between Victorian literary forms, genres, and theories and imperialist, racist ideology. Critics and cultural historians have usually regarded the Empire as being of marginal importance to early and mid-Victorian writers. Patrick Brantlinger asserts that the Empire was central to British culture as a source of ideological and artistic energy, both supported by and lending support to widespread belief in racial superiority, the need to transform "savagery" into "civilization," and the urgency of promoting emigration. Rule of Darkness brings together material from public records, memoirs, popular culture, and canonical literature. Brantlinger explores the influence of the novels of Captain Frederick Marryat, pioneer of British adolescent adventure fiction, and shows the importance of William Makepeace Thackeray's experience of India to his novels. He treats a number of Victorian best sellers previously ignored by literary historians, including the Anglo-Indian writer Philip Meadows Taylor's Confessions of a Thug and Seeta. Brantlinger situates explorers' narratives and travelogues by such famous author-adventurers as David Livingstone and Sir Richard Burton in relation to other forms of Victorian and Edwardian prose. Through readings of works by Arthur Conan Doyle, Joseph Conrad, H. Rider Haggard, Rudyard Kipling, John Hobson, and many others, he considers representations of Africa, India, and other non-British parts of the world in both fiction and nonfiction. The most comprehensive study yet of literature and imperialism in the early and mid-Victorian years, Rule of Darkness offers, in addition, a revisionary interpretation of imperialism as a significant factor in later British cultural history, from the 1880s to World War I. It is essential reading for anyone concerned with Victorian culture and society and, more generally, with the relationship between Victorian writers and imperialism, 'and between racist ideology and patterns of domination in modern history.
A few years later, the young and weakened Mughal emperor, Shah Alam II, was browbeaten into issuing an edict that replaced his own revenue officials with the Company s representatives. Over the next several decades, the East India Company, backed by the British government, extended its control over most of India
1939, Cambridge. The opening weeks of the Second World War, and the first blackout - The Great Darkness - covers southern England, enveloping the city. Detective Inspector Eden Brooke, a wounded hero of the Great War, takes his nightly dip in the cool waters of the Cam. The night is full of alarms, but in this Phoney War, the enemy never comes. But daylight reveals a corpse on the riverside, the body torn apart by some unspeakable force. Brooke investigates, calling on the expertise and inspiration of a faithful group of fellow 'nighthawks' across the city, all condemned, like him, to a life lived away from the light. Within hours The Great Darkness has claimed a second victim. War, it seems, has many victims. But what links these crimes of the night?
Medieval mystery for people who laugh starts here.... England's most famous date 1066: At the monastery of De'Ath's Dingle, during a completely pointless theological debate, there is a mysterious death. Routine business for the average investigative medieval monk. Unfortunately, this isn’t a tale of average monks. Anyone who would put the idiot Brother Simon in charge of a murder investigation is either one chant short of a plainsong or is up to something. When Brother Hermitage, innocent in every way, including bystanding, is lined up for execution, he begins to wonder if something might be going on. Perhaps his new companion Wat, weaver of pornographic tapestry, can figure out what it is. Before it's too late. If you are a lover of the historical detective genre, if you have a deep respect for the worlds created, don’t read this book. It’ll only upset you. Now available in a massive box set with The Garderobe of Death and The Tapestry of Death; for those with a lever-arch Kindle. People have commented on the whole sorry business: 5* Such a good writer, it's a whole new slant on medieval mystery. The truth is out there, sort of! Always makes me laugh, love these books, love this author. More please as soon as possible, just keep writing... 5* Like Cadfael meets Clouseau. 5* The usual mayhem, confusion, murder and laughs! 5* Always makes me laugh, love these books, love this author. 1* Stupid! Be warned, there are now 31 Chronicles of Brother Hermitage
River of Dark Dreams places the Cotton Kingdom at the center of worldwide webs of exchange and exploitation that extended across oceans and drove an insatiable hunger for new lands. This bold reaccounting dramatically alters our understanding of American slavery and its role in U.S. expansionism, global capitalism, and the upcoming Civil War.