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A historian, poet and autobiographer, A. L. Rowse (1903-1997) moved through the worlds of academia, politics and publishing; those he encountered upon the way came in for witty and vitriolic diatribes in his journals. On their first publication in 2003 these diaries were already widely anticipated - Rowse himself had suggested in his lifetime that there would be much to scandalise and entertain in them, and they didn't disappoint this prediction. Winston Churchill, G. M. Trevelyan, T. S. Eliot and John Betjeman are among the famous characters who came under his gaze, and whose conversations and opinions of one another he recorded. Compiled and edited by Richard Ollard, the diaries stretch from the 1920s - when Rowse first left his native Cornwall to study at Cambridge - to the 1960s, a fascinating and personal study of the most turbulent decades in recent history.
A.L. Rowse's journals extend over the greater part of the 20th century. Born in 1903, the son of a poor, virtually illiterate Cornish china-clay worker, he became one of the most prolific authors of his time and one of the most read. For 50 years a Fellow of All Souls College, Oxford (its first working-class entrant) he seized the opportunities offered in scholarship, in literature, in politics and above all in public controversy.
Erasmus, Leonardo da Vinci, King James I, Francis Bacon, Frederick the Great, Tchaikovsky, Diaghilev, Ernst Rohm, and E.M. Forster. The legacies they left to the world are as varied as their talents and temperaments, yet all shared a single predilection -- homosexuality. Now one of the most foremost historians of our time provides a thought provoking look at these and other homosexual men of genius in society, politics, literature and the arts in this first serious study of the problems and contributions of the homosexual through the ages.
Winner of the Adult Non-Fiction section of the Holyer an GofAwards 2006, and Overall Winner of the Holyer an Gof Trophy, this gripping biographical study explores the immensely complicated relationship that existed between A.L. Rowse and his native Cornwall. Rowse's books, A Cornish Childhood and Tudor Cornwall, remain in strong demand, essential reading for the general reader and historian alike, and for all those who know and love Cornwall. By shedding new light on this complex character, Payton invites a greater understanding of the broader issues of Cornish identity as well as assessing Rowse's highly original contribution to the writing of British and Cornish history.
There is nothing like Keith Vaughan's Journals. They represent one of the greatest pieces of confessional writing of the twentieth-century. Keith Vaughan was a painter and belonged to the Neo-Romantic group, other members including Graham Sutherland, John Minton, Michael Ayrton, Ceri Richards, John Piper and John Craxton. He was also gay and much troubled by his sexuality. 'Faced at the age of 27 with what then seemed the likelihood of imminent extinction before I had properly got started', he began the Journals in 1939 and only finished them at the very moment of his suicide in 1977. The Journals are edited by Alan Ross, and in his words they are 'a self-portrait of astonishing honesty: devoid of disguise in any shape or form, or hypocrisy. It is difficult to think of anything in literature they resemble.' The earlier Journals, covering his war and his period of greatest creativity in the late 1940s and 1950s, 'are revealing for the light they shed on a painter's character and, to a lesser extent, working methods.' The last Journals chronicle 'a descent into hell . . . redeemed by their frankness, spleen and dry humour.' First published in 1966 and then reissued in amplified form in 1989, it is the latter version Faber Finds is reissuing. The fuller edition itself has been out of print for a long time, so its renewed availability will be welcome.
A GUARDIAN BOOK OF THE YEAR * A TIMES BOOK OF THE YEAR * A SUNDAY TIMES BOOK OF THE YEAR * A DAILY MAIL BOOK OF THE YEAR 'An original, memorable and substantial achievement' TLS'A masterpiece' Mail on Sunday'I honked so loudly the man sitting next to me dropped his sandwich' ObserverShe made John Lennon blush and Marlon Brando clam up. She cold-shouldered Princess Diana and humiliated Elizabeth Taylor. Andy Warhol photographed her. Jack Nicholson offered her cocaine. Gore Vidal revered her. John Fowles hoped to keep her as his sex-slave. Dudley Moore propositioned her. Francis Bacon heckled her. Peter Sellers was in love with her. For Pablo Picasso, she was the object of sexual fantasy. "If they knew what I had done in my dreams with your royal ladies" he confided to a friend, "they would take me to the Tower of London and chop off my head!" Princess Margaret aroused passion and indignation in equal measures. To her friends, she was witty and regal. To her enemies, she was rude and demanding. In her 1950's heyday, she was seen as one of the most glamorous and desirable women in the world. By the time of her death, she had come to personify disappointment. One friend said he had never known an unhappier woman. The tale of Princess Margaret is pantomime as tragedy, and tragedy as pantomime. It is Cinderella in reverse: hope dashed, happiness mislaid, life mishandled. Combining interviews, parodies, dreams, parallel lives, diaries, announcements, lists, catalogues and essays, Ma'am Darling is a kaleidoscopic experiment in biography, and a witty meditation on fame and art, snobbery and deference, bohemia and high society. 'Brown has been our best parodist and satirist for decades now ... Ma'am Darling is, as you would expect, very funny; also, full of quirky facts and genial footnotes. Brown has managed to ingest huge numbers of royal books and documents without losing either his judgment or his sanity. He adores the spectacle of human vanity' Julian Barnes, Guardian
Aemilia Bassano Lanyer published poetry to and for women in 1611, at the height of the largely misogynistic reign of James I. Her verse complements and extends our view of her contemporaries, such as Spenser, Shakespeare, Jonson, and Donne, whose work in turn provides a context for her unique and engaging voice. This book situates Lanyer within the rich tradition of Jacobean poetry.