A collection of ordinary diary entries from a cross section of classes and lifestyles showing the essentials of the Victorians' daily reality: their family concerns, medical conditions and education. Included in the book are entries from an actor, a schoolboy, a Countess and an engraver.

Delightful Victorian Diary of 23 year-old Adelaide Pountney, who recorded daily life in a series of magical little cameos.

When the married Isabella Robinson was introduced to the dashing Edward Lane at a party in 1850, she was utterly enchanted. He was 'fascinating', she told her diary, before chastising herself for being so susceptible to a man's charms. But a wish had taken hold of her, and she was to find it hard to shake...In one of the most notorious divorce cases of the nineteenth century, Isabella Robinson's scandalous secrets were exposed to the world. Kate Summerscale brings vividly to life a frustrated Victorian wife's longing for passion and learning, companionship and love, in a society clinging to rigid ideas about marriage and female sexuality.

This volume contains a collection watercolors, sketches, and selected entries from a nineteenth century British woman's diary (Maud Berkley). Maud shares her humorous observations on family life, amateur dramatics, and social life. The images portray a Victorian woman living in semi-fine surroundings and what she finds to do with herself. The book includes stories about her and her family's life, including clippings and photos.

In her examination of neglected diaristic texts, Anne-Marie Millim expands the field of Victorian diary criticism by complicating the conventional notion of diaries as mainly private sources of biographical information. She argues that for Elizabeth Rigby Eastlake, Henry Crabb Robinson, George Eliot, George Gissing, John Ruskin, Edith Simcox and Gerard Manley Hopkins, the exposure or publication of their diaries was a real possibility that they either coveted or feared. Millim locates the diary at the intersection of the public and private spheres to show that well-known writers and public figures of both sexes exploited the diary's self-reflexive, diurnal structure in order to enhance their creativity and establish themselves as authors. Their object was to manage, rather than to indulge or repress, their emotions for the purposes of perfecting their observational and critical skills. Reading these diaries as literary works in their own right, Millim analyses their crucial role in the construction of authorship. By relating these Victorian writers' diaries to their publications and to contemporary works of cultural criticism, Millim shows the multifarious ways in which diaristic practices, emotional management and professional output corresponded to experiences of the literary marketplace and to nineteenth-century codes of propriety.

Alice Miles kept this diary from 1868 to 1870. She was seventeen when she came from Paris to London and 'did' the Season. The Mileses were living in France for reasons of economy while Philip Miles waited to inherit a baronetcy. They knew 'everyone', so Alice was in the thick of the social round in both London and Paris, but her diary suggests that a faint hint of the raffish marred her triumph. Alice is astonishing, partly for the impudent energy of her writing, more for the complexity of her personality. Maggy Parsons has made an irrestible book of Alice's diary.

The diary of Edith Lorrimer, England 1871 I was shown the laundry - a vast noisy sunless room full of steam and the sharp smell of soapsuds. I counted seven women slaving over the large tubs where the clothes are washed, their reddened faces shiny with sweat even in this weather...Condensation ran down the windows and pooled on the floor. Heavy wooden racks are pulled up and down from the high ceiling and the sheets and clothes are draped over them and hoisted up to the ceiling from where they drip on the unfortunates toiling beneath. No doubt Rosie takes her turn in here. Just to think of it filled my eyes with tears. What a terrible existence. Edith Lorrimer is the sheltered daughter of a wealthy widow who is on the Board of Governors at a workhouse for the destitute. Whilst visiting the workhouse, Edith meets with Rosie Chubb, a troubled orphan who is a liar, quick-tempered and always in trouble...

Facts meet fiction in this exciting, intricate Victorian detective story.

TRAVEL BACK IN TIME WITH THE BBC'S RUTH GOODMAN We know what life was like for Victoria and Albert. But what was it like for a commoner - like you or me? How did it feel to cook with coal and wash with tea leaves? Drink beer for breakfast and clean your teeth with cuttlefish? Catch the omnibus to work and do the laundry in your corset? How to be a Victorian is a radical new approach to history; a journey back in time more personal than anything before, illuminating the overlapping worlds of health, sex, fashion, food, school, work and play. Surviving everyday life came down to the gritty details, the small necessities and tricks of living and this book will show you how. ______________________ 'Goodman skilfully creates a portrait of daily Victorian life with accessible, compelling, and deeply sensory prose' Erin Entrada Kelly 'We're lucky to have such a knowledgeable cicerone as Ruth Goodman . . . Revelatory' Alexandra Kimball 'Goodman's research is impeccable . . . taking the reader through an average day and presenting the oddities of life without condescension' Patricia Hagen