Reveals how people thought about, used, manipulated and resisted the law from the eighteenth to the twentieth century, focusing on everyday legal experiences.

In nineteenth-century England, legal conceptions of work and family changed in fundamental ways. Notably, significant legal moves came into play that changed the legal understanding of the family. Constructing the Family examines the evolution of the legal-discursive framework governing work and family relations. Luke Taylor considers the intersecting intellectual and institutional forces that contributed to the dissolution of the household, the establishment of separate spheres of work and family, and the emergence of modern legal and social ideas concerning work and family. He shows how specific legal-institutional moves contributed to the creation of the family’s categorical status in the social and legal order and a distinct and exceptional body of rules – Family Law – for its governance. Shedding light on the historical processes that contributed to the emergence of English Family Law, Constructing the Family shows how work and family became separate regulatory domains, and in so doing reveals the contingent nature of the modern legal family.

This is a book about the conflict between history and poetry – and historians and poets – in Atlantic World society from the end of the seventeenth century to the present day. Blending historiography and theory, it proceeds by asking: what is the point of poetry as far as historians are concerned? The focus is on W. H. Auden’s Cold War-era history poems, but the book also looks at other poets from the seventeenth century onwards, providing original accounts of their poetic and historical educations. An important resource for those teaching undergraduate and postgraduate courses in historiography and history and theory, Poetry for historians will also be of relevance to courses on literature in society and the history of education. General readers will relate it to Steedman’s Landscape for a Good Woman (1987) and Dust (2001), on account of its biographical and autobiographical insights into the way history operates in modern society.