In The Stricklands, Edwin Lanham tells the story of two brothers, tenant farmers who faced losing their land in 1930s Oklahoma. One brother turns to stealing; the other struggles to unite whites and blacks against the exploitative landowners. Originally published in 1939, this novel provides insight into rural life in Depression-era Oklahoma. A new foreword by Lawrence Rodgers sets Lanham’s novel in its historical, regional, and literary context.

The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped down sculpture of artists like Donald Judd. This volume investigates the origins of Minimalism in post-war American culture. The author redefines it as a movement that developed reductive stylistic innovations.

The authors draw on their backgrounds in composition, linguistics, and literary theory to ground their teaching in a philosophy that is student centered and inquiry based.

A family containing six authors is special. When three of them independently become famous, the family is extraordinary. Such was the Strickland family, six sisters and two brothers, brought up in Suffolk, England with Lancastrian forbears and Canadian descendants. 'The Strickland Family' interweaves family letters, writings and newspaper items, allowing the family members to tell their own fascinating and varied life stories. Set in England and in Canada, their lives stretched from 1794 when King George III was on the throne, past celebrations for Queen Victoria's Diamond Jubilee in 1897. Their father was a wealthy self-made man who believed that girls should be as well-educated as boys. The home education he devised for his daughters was of great breadth and depth. His sons were his two youngest children and went to schools. However a business deal went wrong in 1815 and he died in 1818 before he could re-coup the losses. He left his widow with debts, not income, and his sons' education was cut short. After his death, life for his family was a struggle, but they survived and to varying degrees prospered. Three of the family (Sam Strickland, Susanna Moodie and Catharine Parr Traill) were early emigrants to Canada. Their first homes were primitive log cabins in small forest clearings. As time passed and Canada developed, Sam became a successful farmer and businessman. His sisters struggled with Canadian pioneer life but both achieved long-lasting fame as writers - Susanna as a poet and novelist, Catharine through her writing for children and her botanical studies. Agnes Strickland was the most famous member of the family. She attended the Court of Queen Victoria and was a house guest in some of the grandest houses in Britain. Her sister and sometime co-author (Elizabeth Strickland) insisted on remaining anonymous, despite the complications this caused when their series of royal biographies 'Lives of the Queens of England' became an outstanding success. Agnes followed this with a biography of Mary Queen of Scots, which she considered her most important work. Jane Margaret Strickland, despite ill health and being the sister who stayed at home to care for their ageing mother, was also an author of note. Her many works included a history of Rome and a biography of her sister, Agnes. Of the two non-authors in the family, one (Sarah) became, in her second marriage, the wife of Richard Gwillym, a wealthy and well-connected vicar in Lancashire. The other (Tom) joined the merchant navy aged fourteen. As captain of beautiful but hazardous sailing ships, his working life took him all round the world. Despite the distances which separated them, family ties remained strong and they helped each other in times of need. Their interwoven biographies trace many of the changes and main events in Canada and England in the 19th century.

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The definitive bible on all things Anne Boleyn from her guilt and execution to her relationship with Jesus Christ, as well as depiction of Anne in popular culture from TV series to West End musicals. Anne Boleyn sells, but she sells in segments; a biography here, a study over there on her guilt and something else yonder concerned with where she lived or what she liked to wear. This book, covering not just her life but her life onscreen, in theater, on TV and also the impact of the first black actress to play her, is the definitive, all-encompassing story of Anne Boleyn from 1501 (or thereabouts) to 2023. Having examined the ardent fandom of Anne Boleyn for his doctorate, Dr Mickey Mayhew is in a unique position to offer something new to say on this much-discussed ‘tragic’ Tudor queen and is not afraid to tackle some of the less palatable aspects of her life. Also, this book is the first to examine with authenticity the reality of Anne’s relationship with the most important man in her life, the man whose name she repeated in comfort while facing the Swordsman of Calais on the scaffold, having spent her life promulgating his doctrine; Jesus Christ himself. As for the aforementioned executioner, Dr Mayhew’s research in Calais and Saint-Omer can now lift a lid on a few of the particulars of this elusive and yet essential figure of Anne Boleyn mythos; and yes, now he even has a name as well. The Anne Boleyn Bible also offers a straightforward retelling of Anne’s actual historical life, albeit one that outlines an entirely fresh and empowering perspective on her rise to prominence; this is followed by a series of considered arguments on the ‘for’ and ‘against’ in regard to her guilt & execution; then her entry into popular culture, firstly in plays and masques, before she went on to headline movies, TV series, cosplay, and now, with the first black woman to portray her, model and actress Jodie Turner-Smith. This book is simply what it says on the cover - The Anne Boleyn Bible - leaving no depiction, no religious aspect, no appearance in popular culture, from The Simpsons to the West End musical ‘Six’, overlooked; likewise, Dr Mayhew also turns his trademark brand of rather wry commentary toward the vast plethora of Anne Boleyn merchandising, tourist spots, rubber ducks, beanies and the wrangling question of who was the ultimate onscreen Anne; Geneviève Bujold or Natalie Dormer?!