Jan-Marie Knights documents the social calendar of Plantagenet high society in a series of bite-sized chunks. The book covers weddings, feasts, funerals and more - allowing the reader to immerse themselves in the glamour, affluence and human drama of a gilded world.

Jan-Marie Knights documents the social calendar of Plantagenent high society in a series of bite-sized chunks. The book covers weddings, feasts, funerals and more - allowing the reader to immerse themselves in the glamour, affluence and human drama of a gilded world. Murders, mayhem and bloody struggles, warring families and deeds of chivalry and love are disclosed in tales from more than three hundred years of English history. Follow the Peasants Revolt, Glorious Agincourt, War of the Roses and the murder of the Princes in the Tower, and let this book transport you back in time to give a Socialite's view of the monarchs and their courts, their loves, their scandals, their tragedies and passions of those distant characters we call 'the Plantagenets'.

Jan-Marie Knights documents the social calendar of Tudor high society in a series of bite-sized chunks. The book covers weddings, feasts, funerals and more - allowing the reader to immerse themselves in a world of glamour, affluence and human drama in a gilded world.

The colorful life and creative career of the writer behind six of Hitchcock’s thrillers: “An intriguing and revealing story.” —Times Literary Supplement With a career that spanned from the silent era to the 1990s, British screenwriter Charles Bennett lived an extraordinary life. His experiences as an actor, director, playwright, film and television writer, and novelist in both England and Hollywood left him with many amusing anecdotes, opinions about his craft, and impressions of the many famous people he knew. Among other things, Bennett was a decorated WWI hero, an eminent Shakespearean actor, and an Allied spy and propagandist during WWII, but he is best remembered for his commercially and critically acclaimed collaborations with directors Sir Alfred Hitchcock and Cecil B. DeMille. The fruitful partnership with Hitchcock began after the director adapted Bennett’s 1929 play Blackmail as the first British sound film. Their partnership produced six thrillers: The Man Who Knew Too Much, The 39 Steps, Sabotage, Secret Agent, Young and Innocent, and Foreign Correspondent. In this witty and intriguing book, Bennett discusses how their collaboration created such famous motifs as the “wrong man accused” device and the MacGuffin. He also takes readers behind the scenes with the Master of Suspense, offering his thoughts on the director’s work, sense of humor, and personal life. Featuring an introduction and additional biographical material from Bennett’s son, editor John Charles Bennett, Hitchcock’s Partner in Suspense is a richly detailed narrative of a remarkable yet often-overlooked figure in film history.

It's a laugh-out-loud mashup of romantic comedy, crime fiction, and satire: Dorothy Parker meets Dorothy L. Sayers. Perennially down-and-out socialite Camilla Randall--a.k.a. "The Manners Doctor"--is a magnet for murder, mayhem and Mr. Wrong, but she always solves the mystery in her quirky, but oh-so-polite way. Usually with more than a little help from her gay best friend, Plantagenet Smith. This comic novel—which takes its title from the most famous Shakespearean quote that Shakespeare never wrote—explores how easy it is to perpetrate a character assassination whether by a great playwright or a gang of online trolls. In this hilarious episode Camilla makes the mistake of responding to an online review of one of her etiquette guides and sets off a chain of events that leads to arson, attempted rape and murder. Plantagenet, vacationing in England, is accused of the murder and nobody but Camilla's shady former boyfriend—fresh from prison—can save him. Camilla and Plantagenet are caught between rival factions of historical reenactors who are fiercely pro- and anti-Richard III. And there's a mysterious cat. Who knows more than he's letting on… Although this is #5 in the series, it can be read as a stand-alone "Laughs and social commentary abound in this global adventure. Camilla Randall, a down-on-her luck-socialite-turned-etiquette-expert, takes on review cyberbullies while her friend Plantagenet hunts down the ghost of Richard III. "Anne R. Allen has given us a hilarious satire that pokes fun at some dark topics." "Anne Allen is masterful at keeping the plot twisting and turning; and making sure all those details make sense by the end." "On the surface, it's a frothy romance-cum-suspense story…but underneath, it provides a perceptive insight into the mad world of modern publishing and the subculture of Internet lunatics." "Josephine Tey's Daughter of Time for the 21st Century." "Laughs and social commentary abound in this global adventure. Camilla Randall, a down-on-her luck-socialite-turned-etiquette-expert, takes on review cyberbullies while her friend Plantagenet hunts down the ghost of Richard III."

Bringing together fourteen original essays, this collection opens up new perspectives on the architectural history of the nineteenth century by examining the buildings of the period through the lens of 'experience'. With a focus on the experience of the ordinary building user – rather than simply on the intentions of the designer – the book shows that new and important insights can be brought to our understanding of Victorian architecture. The chapters present a range of ideas and new research – some examining individual building case studies (from grand hotels and clubhouses in New York to the parliament buildings of Westminster), and others exploring conceptual questions about the nature of architectural experience, whether sensory or otherwise. Yet they share the premise that the idea of the 'experience of architecture' took on a new and particular significance with the rise of industrial modernity, and they examine what contemporary people – both architects and non-architects – understood by this idea. The insights in this volume extend beyond the study of Victorian architecture. Together they suggest how 'experience' might be used as a framework to produce a more convincingly historical account of the artefacts of architectural history.