A criticism of the British Government's handling of the Mahdi's revolt, and a defence of Gordon's actions.

General Gordons death in Khartoum on 26 January 1885 and the fall of the besieged city to the forces of the Mahdi was a crucial episode in British imperial history. It was deeply controversial at the time, and it still is today. Gordon has routinely been depicted as the hero of the story, in contrast to Prime Minister Gladstone who is often portrayed as the villain of the piece, responsible for a policy of drift in Sudan.Fergus Nicolls radical reappraisal, which is based on eyewitness accounts and previously unpublished archive material, refutes the conventional image of both men. Presenting an inside view of Gladstones thinking and decision-making, Nicoll gives the prime minister credit for his steadfast insistence that Britain should have minimal engagement in and zero responsibility for Sudan. Gordon, who succumbed to a lasting mania that skewed his decision-making and undermined his military capacity, is cast in a more sceptical light. This fascinating insight into British policy in Africa exposes the inner workings of government, the influence of the press and public opinion and the power of a book to change a government.Each stage in the rapid sequence of events is reconsidered Gladstones steely determination to avoid involvement, Gordons partial evacuation of Khartoum, the siege, the despatch of the relief expedition that arrived too late, the abandonment of Sudan, and the subsequent political battle over responsibility. The personal cost to both men was great: Gordon lost his life and Gladstone saw his reputation gravely tarnished.

Melodrama is often seen as a blunt aesthetic tool tainted by its reliance on improbable situations, moral binaries, and overwhelming emotion, features that made it a likely ingredient of British imperial propaganda during the late nineteenth century. Yet, through its impact on many late-Victorian genres outside of the theater, melodrama developed a complicated relationship with British imperial discourse. Melodramatic Imperial Writing positions melodrama as a vital aspect of works that underscored the contradictions and injustices of British imperialism. Beyond proving useful for authors constructing imperialist fantasies or supporting unjust policies, the melodramatic mode enabled writers to upset narratives of British imperial destiny and racial superiority. Neil Hultgren explores a range of texts, from Dickens’s writing about the 1857 Sepoy Rebellion to W. E. Henley’s imperialist poetry and Olive Schreiner’s experimental fiction, in order to trace a new and complex history of British imperialism and the melodramatic mode in late-Victorian writing.

Edgehill, 1642: Surveying the disastrous scene in the aftermath of the first battle of the English Civil War, Oliver Cromwell realized that war could no longer be waged in the old, feudal way: there had to be system and discipline, and therefore - eventually - a standing professional army. From the 'New Model Army' of Cromwell's distant vision, former soldier Allan Mallinson shows us the people and events that have shaped the British army we know today. How Marlborough's momentous victory at Blenheim is linked to Wellington's at Waterloo; how the desperate fight at Rorke's Drift in 1879 underpinned the heroism of the airborne forces at Arnhem in 1944; and why Montgomery's momentous victory at El Alamein mattered long after the Second World War was over . . . From the British Army's origins at the battle of Edgehill to the recent conflict in Afghanistan, The Making of the British Army is history at its most relevant - and most dramatic.

The final volume of the prime minister’s four-part history of Britain brings the nation from the Napoleonic Wars to the Boer War of 1902. In the “wilderness” years after Sir Winston Churchill unflinchingly guided his country through World War II, he turned his masterful hand to an exhaustive history of the country he loved above all else. And the world discovered that this brilliant military strategist was an equally brilliant storyteller. In 1953, the great man was awarded the Nobel Prize for Literature for “his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values.” This final volume in Churchill’s extraordinary, sweeping history follows Britain from the conclusion of the Napoleonic Wars to the Boer War of 1902. In it, Churchill makes an impassioned argument for the crucial role played by the English-speaking people in exporting not just economic benefits, but political freedom by encouraging democracy throughout the world. Churchill’s passion for this era—informed by his own experience as a soldier and a wartime journalist during the Boer War—shines through in this thrilling conclusion to his historic work. “This history will endure; not only because Sir Winston has written it, but also because of its own inherent virtues—its narrative power, its fine judgment of war and politics, of soldiers and statesmen, and even more because it reflects a tradition of what Englishmen in the hey-day of their empire thought and felt about their country’s past.” —The Daily Telegraph