Billed as “a loving and hilarious, if occasionally spiky, valentine” to the author’s adopted country, Bill Bryson’s follow-up, two decades on, to his bestselling Notes from a Small Island,
“does an admirable job of showing how national identity, myth-making, and popular culture can influence the historical narrative . . .”
“good storytelling built on solid scholarship . . .”
“. . . a well-written piece of investigative journalism that asks some deeply troubling questions . . .”
“. . . an entertaining account that strings together fascinating factoids into a tapestry of urban history and cultural anthropology.”
“Alan Jacobs offers a handy introduction to the cultural and social effects . . . of this book . . .”
“. . . a richly researched, carefully crafted, balanced history of personal privacy . . .”
“. . . thanks to determined writers like Mr. MacAirt the truths behind this particular tragedy have been resurrected.”
“. . . a coffee table book that deserves to be read and studied. . . . beautiful and engaging . . .”
“. . . a valuable study [but] Professor Sax misinterprets the value the majority of British people place on the Tower Raven myth . . .”
“Vera Atkins—whose list of aliases goes on for a full paragraph—was the most successful agent of World War II.
Europe in the year 1660 was an environment of interesting mixed historical contradictions.
In Mary Tudor: Princess, Bastard, Queen, Anna Whitelock sets out to offer a picture of English first Queen Regnant as something other than the “weak-willed failure as so often rendered by tradition
In Mary Tudor: Princess, Bastard, Queen, Anna Whitelock sets out offer a picture of English first Queen Regnant as something other than the “weak-willed failure as so often rendered by traditional