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London has become the focus of a ferocious imaginative energy since the rise of Thatcher. The Making of London analyses the body of work by writers who have committed their writing to the many lives of a city undergoing complex transformations, tracing a major shift in the representation of the capital city.
This book explores the literary and cultural rebuilding of London after the Great Fire of 1666.
Following on from Julian Wolfrey's successful Writing London (1998), this second volume extends Wolfrey's original argument that a new urban sensibility in the nineteenth century had been developed which established new ways of writing about and responding to the city. Writing London - Volume 2 explores through a range of readings of twentieth-century films and texts the complex relationship between the experience of the city, the pleasures of the urban text and the solitary nature of these pleasures. The book has a broad focus, in part dictated not only by the transformation of literary production in the twentieth-century, but also by the need to respond to the changes in both urban representation and London itself. Writers discussed include Virginia Woolf, Elizabeth Bowen, Maureen Duffy, Peter Ackroyd, Iain Sinclair and Michael Moorcock. The volume covers texts from the late nineteenth-century to the end of the twentieth, in a critical reading that incorporates the theoretical insights of Walter Benjamin, Guy Debord and Jacques Derrida.
A seductive beauty turns the tables on a gentleman gaming for the guiltiest of pleasures in this rich and sensual Regency romance. Lydia Slaughter understands the games men play—both in and out of the bedroom. Not afraid to bend the rules to suit her needs, she fleeces Will Blackshear outright. The Waterloo hero had his own daring agenda for the gaming tables of London’s gentlemen’s clubs. But now he antes up for a wager of wits and desire with Lydia, the streetwise temptress who keeps him at arm’s length. A kept woman in desperate straits, Lydia has a sharp mind and a head for numbers. She gambles on the sly, hoping to win enough to claim her independence. An alliance with Will at the tables may be a winning proposition for them both. But the arrangement involves dicey odds with rising stakes, sweetened with unspoken promise of fleshly delights. And any sleight of hand could find their hearts betting on something neither can afford to risk: love.
A debut novel of love, loss, redemption and betrayal in which one man, in a bid to get his hands on a stash of dirty money without being sent to jail, fakes his own death and, with his wife, sets up a new identity in the Caymen Islands. But things do not go quite according to plan.
London Craft reinvents her life after reading a childhood letter to her future self and in doing so finds the love she truly wants.
Breaking new ground in the study of tragedy, early modern theatre, and literary London, Metropolitan Tragedy demonstrates that early modern tragedy emerged from the juncture of radical changes in London's urban fabric and the city's judicial procedures. Marissa Greenberg argues that plays by Shakespeare, Milton, Massinger, and others rework classical conventions to represent the city as a locus of suffering and loss while they reflect on actual sources of injustice in sixteenth- and seventeenth-century London: structural upheaval, imperial ambition, and political tyranny. Drawing on a rich archive of printed and manuscript sources, including numerous images of England's capital, Greenberg reveals the competing ideas about the metropolis that mediated responses to theatrical tragedy. The first study of early modern tragedy as an urban genre, Metropolitan Tragedy advances our understanding of the intersections between genre and history.