Victoria's Madmen is the story of those who were outcasts by temperament and choice; the non-conformists of the Victorian Age. Clive Bloom's readable account of the dark underbelly of Victoria's Britain captures the unrest bubbling under the surface of strait-laced Victorian society.

The true story for fans of the PBS Masterpiece series Victoria, this page-turning biography reveals the real woman behind the myth: a bold, glamorous, unbreakable queen—a Victoria for our times. Drawing on previously unpublished papers, this stunning portrait is a story of love and heartbreak, of devotion and grief, of strength and resilience. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES • ESQUIRE • THE CHICAGO PUBLIC LIBRARY “Victoria the Queen, Julia Baird’s exquisitely wrought and meticulously researched biography, brushes the dusty myth off this extraordinary monarch.”—The New York Times Book Review (Editor’s Choice) When Victoria was born, in 1819, the world was a very different place. Revolution would threaten many of Europe’s monarchies in the coming decades. In Britain, a generation of royals had indulged their whims at the public’s expense, and republican sentiment was growing. The Industrial Revolution was transforming the landscape, and the British Empire was commanding ever larger tracts of the globe. In a world where women were often powerless, during a century roiling with change, Victoria went on to rule the most powerful country on earth with a decisive hand. Fifth in line to the throne at the time of her birth, Victoria was an ordinary woman thrust into an extraordinary role. As a girl, she defied her mother’s meddling and an adviser’s bullying, forging an iron will of her own. As a teenage queen, she eagerly grasped the crown and relished the freedom it brought her. At twenty, she fell passionately in love with Prince Albert of Saxe-Coburg and Gotha, eventually giving birth to nine children. She loved sex and delighted in power. She was outspoken with her ministers, overstepping conventional boundaries and asserting her opinions. After the death of her adored Albert, she began a controversial, intimate relationship with her servant John Brown. She survived eight assassination attempts over the course of her lifetime. And as science, technology, and democracy were dramatically reshaping the world, Victoria was a symbol of steadfastness and security—queen of a quarter of the world’s population at the height of the British Empire’s reach. Drawing on sources that include fresh revelations about Victoria’s relationship with John Brown, Julia Baird brings vividly to life the fascinating story of a woman who struggled with so many of the things we do today: balancing work and family, raising children, navigating marital strife, losing parents, combating anxiety and self-doubt, finding an identity, searching for meaning.

Using contemporary sources and modern profiling techniques, the authors flag-up a hitherto little-known suspect as London’s most infamous mass-murderer.

"Ackroyd, as always, is well worth the read." —Kirkus, starred review Dominion, the fifth volume of Peter Ackroyd’s masterful History of England, begins in 1815 as national glory following the Battle of Waterloo gives way to a post-war depression and ends with the death of Queen Victoria in January 1901. Spanning the end of the Regency, Ackroyd takes readers from the accession of the profligate George IV whose government was steered by Lord Liverpool, whose face was set against reform, to the ‘Sailor King’ William IV whose reign saw the modernization of the political system and the abolition of slavery. But it was the accession of Queen Victoria, at only eighteen years old, that sparked an era of enormous innovation. Technological progress—from steam railways to the first telegram—swept the nation and the finest inventions were showcased at the first Great Exhibition in 1851. The emergence of the middle-classes changed the shape of society and scientific advances changed the old pieties of the Church of England, and spread secular ideas among the population. Though intense industrialization brought booming times for the factory owners, the working classes were still subjected to poor housing, long work hours, and dire poverty. Yet by the end of Victoria’s reign, the British Empire dominated much of the globe, and Britannia really did seem to rule the waves.

This volume is unique in its focus on cross-fertilisation in the arts, on very specific exploration of liminal spaces, and on the representation of marginal figures in writing. The essays here grew out of the Borders and Margins colloquium, held at Leeds Trinity University, UK, in April 2010, which was the fourth in a series of colloquia. This collection, moreover, contributes to a growing area of scholarship which explores Anglo-French interactions and exchanges. In choosing the term “liminality”, the editors are aware of its nuanced implications, allowing suggestions both of the initial and the transitional. The contributors here are academics from the fields of literature, history and art history, and their essays cover art history, literature, cultural history, the arts, and faith. Altogether, this collection evokes a sense of temporal shift, in that changes in values and focus are uncovered as the nineteenth century progresses. Some have an ekphrastic quality, showing how pictures can have a narrative, and how pictures, as well as texts, can be encoded with moral and social interpretations. Close scrutiny is applied to different kinds of texts, fiction and non-fiction, and the purposes for which they were produced. This book will appeal to scholars and academics interested in a wide range of cross-categorisational transactions in nineteenth-century Britain. It will be of interest to scholars of Victorian culture, and English nineteenth-century literature and art, particularly in terms of genre, as well as to academics interested in the development of social, personal, and national identities.

This book explores the ways in which poetic inspiration came to be associated with madness in early nineteenth-century Britain. By examining the works of poets such as Barrett, Browning, Clare, Tennyson, Townshend, and the Spasmodics in relation to the burgeoning asylum system and shifting medical discourses of the period, it investigates the ways in which Britain’s post-Romantic poets understood their own poetic vocations within a cultural context that insistently linked poetic talent with illness and insanity. Joseph Crawford examines the popularity of mesmerism among the writers of the era, as an alternative system of medicine that provided a more sympathetic account of the nature of poetic genius, and investigates the persistent tension, found throughout the literary and medical writings of the period, between the Romantic ideal of the poet as a transcendent visionary genius and the ‘medico-psychological’ conception of poets as mere case studies in abnormal neurological development.

In recent years horror and gothic themes have penetrated mainstream popular culture in a manner unseen since the horror boom of the 1970s. Primetime television viewers who before might not have shown interest in such late-night fare now happily settle down after dinner to watch zombie or serial killer shows. This collection of 54 biographical essays examines many overlooked and underrated figures who have played a role in the ever expanding world of horror and gothic entertainment. The contributors push the boundaries of how we define these terms, bringing into the discussion such diverse figures as singer-songwriter Tom Waits, occultist Dion Fortune, author Charles Beaumont, historian and bishop Gregory of Tours and video game designer Shinji Mikami.