The English Civil War has become a frequent point of reference in contemporary British political debate. A bitter and bloody series of conflicts, it shook the very foundations of seventeenth-century Britain. This book is the first attempt to portray the visual legacy of this period, as passed down, revisited, and periodically reworked over two and a half centuries of subsequent English history. Highly regarded art historian Stephen Bann deftly interprets the mass of visual evidence accessible today, from ornate tombs and statues to surviving sites of vandalism and iconoclasm, public signage, and historical paintings of human subjects, events, and places. Through these important scenes and sometimes barely perceptible traces, Bann shows how the British view of the War has been influenced and transformed by visual imagery.

Cavaliers and Roundheads are figures who appear in hundreds of English ghost stories. In this innovative account, Charles Esdaile argues that such tales are in reality folk memories of an episode of English history that was second only to the Black Death in terms of individual and collective suffering alike, and, further, that they reveal important truths about the way in which the conflict was represented: it is no surprise, then, to find that spectral Cavaliers are often romantic figures and revenant Roundheads grim ones full of menace. Yet, the book is no mere catalogue. On the contrary, rather than being discussed in a vacuum, the tales of haunting are rather set within a detailed regional history of the conflicts of 1642-1651 of a sort that has never yet been attempted, but is, for all that, badly needed.

The sequence of civil wars that ripped England apart in the seventeenth century was the single most traumatic event in this country between the medieval Black Death and the two world wars. Indeed, it is likely that a greater percentage of the population were killed in the civil wars than in the First World War. This sense of overwhelming trauma gives this major new history its title: God’s Fury, England’s Fire. The name of a pamphlet written after the king’s surrender, it sums up the widespread feeling within England that the seemingly endless nightmare that had destroyed families, towns and livelihoods was ordained by a vengeful God – that the people of England had sinned and were now being punished. As with all civil wars, however, ‘God’s fury’ could support or destroy either side in the conflict. Was God angry at Charles I for failing to support the true, protestant, religion and refusing to work with Parliament? Or was God angry with those who had dared challenge His anointed Sovereign? Michael Braddick’s remarkable book gives the reader a vivid and enduring sense both of what it was like to live through events of uncontrollable violence and what really animated the different sides. The killing of Charles I and the declaration of a republic – events which even now seem in an English context utterly astounding – were by no means the only outcomes, and Braddick brilliantly describes the twists and turns that led to the most radical solutions of all to the country’s political implosion. He also describes very effectively the influence of events in Scotland, Ireland and the European mainland on the conflict in England. God’s Fury, England’s Fire allows readers to understand once more the events that have so fundamentally marked this country and which still resonate centuries after their bloody ending.

In this compelling history of the violent struggle between the monarchy and Parliament that tore apart seventeenth-century England, a rising star among British historians sheds new light on the people who fought and died through those tumultuous years. Drawing on exciting new sources, including letters, memoirs, ballads, plays, illustrations, and even cookbooks, Diane Purkiss creates a rich and nuanced portrait of this turbulent era. The English Civil War’s dramatic consequences-rejecting the divine right monarchy in favor of parliamentary rule-continue to influence our lives, and in this colorful narrative, Purkiss vividly brings to life the history that changed the course of Western government.

The first volume in a pioneering account of Oliver Cromwell--providing a major new interpretation of one of the greatest figures in history Oliver Cromwell (1599-1658)--the only English commoner to become the overall head of state--is one of the great figures of history, but his character was very complex. He was at once courageous and devout, devious and self-serving; as a parliamentarian, he was devoted to his cause; as a soldier, he was ruthless. Cromwell's speeches and writings surpass in quantity those of any other ruler of England before Victoria and, for those seeking to understand him, he has usually been taken at his word. In this remarkable new work, Ronald Hutton untangles the facts from the fiction. Cromwell, pursuing his devotion to God and cementing his Puritan support base, quickly transformed from obscure provincial to military victor. At the end of the first English Civil War, he was poised to take power. Hutton reveals a man who was both genuine in his faith and deliberate in his dishonesty--and uncovers the inner workings of the man who has puzzled biographers for centuries.

A New York Times Notable Book of 2020 How do we read William Faulkner in the twenty-first century? asks Michael Gorra, in this reconsideration of Faulkner's life and legacy. William Faulkner, one of America’s most iconic writers, is an author who defies easy interpretation. Born in 1897 in Mississippi, Faulkner wrote such classic novels as Absolom, Absolom! and The Sound and The Fury, creating in Yoknapatawpha county one of the most memorable gallery of characters ever assembled in American literature. Yet, as acclaimed literary critic Michael Gorra explains, Faulkner has sustained justified criticism for his failures of racial nuance—his ventriloquism of black characters and his rendering of race relations in a largely unreconstructed South—demanding that we reevaluate the Nobel laureate’s life and legacy in the twenty-first century, as we reexamine the junctures of race and literature in works that once rested firmly in the American canon. Interweaving biography, literary criticism, and rich travelogue, The Saddest Words argues that even despite these contradictions—and perhaps because of them—William Faulkner still needs to be read, and even more, remains central to understanding the contradictions inherent in the American experience itself. Evoking Faulkner’s biography and his literary characters, Gorra illuminates what Faulkner maintained was “the South’s curse and its separate destiny,” a class and racial system built on slavery that was devastated during the Civil War and was reimagined thereafter through the South’s revanchism. Driven by currents of violence, a “Lost Cause” romanticism not only defined Faulkner’s twentieth century but now even our own age. Through Gorra’s critical lens, Faulkner’s mythic Yoknapatawpha County comes alive as his imagined land finds itself entwined in America’s history, the characters wrestling with the ghosts of a past that refuses to stay buried, stuck in an unending cycle between those two saddest words, “was” and “again.” Upending previous critical traditions, The Saddest Words returns Faulkner to his sociopolitical context, revealing the civil war within him and proving that “the real war lies not only in the physical combat, but also in the war after the war, the war over its memory and meaning.” Filled with vignettes of Civil War battles and generals, vivid scenes from Gorra’s travels through the South—including Faulkner’s Oxford, Mississippi—and commentaries on Faulkner’s fiction, The Saddest Words is a mesmerizing work of literary thought that recontextualizes Faulkner in light of the most plangent cultural issues facing America today.

"The period of the English Civil Wars (1642-51) was one of the most momentous in British history. Never before had the institution of monarchy been so fundamentally challenged. Never before had a monarch been executed. Truly the natural order had been turned upside down."This book provides insight and perspective about the lives, vanities, and relationships of those who fought in the English Civil Wars through the filter of portraiture, much of it painted as conflict raged.Roundhead against Cavalier, Royalist against Parliamentarian, Dandy against Puritan - this book examines and deconstructs many of the common preconceptions of the period. Lavishly illustrated, many of these portraits will not have been seen before.This volume is the first in a series of books on The Face of War.

John Adamson provides a new synthesis of current research on the political crisis that engulfed England in the 1640s. Drawing on new archival findings and challenging current orthodoxies, these essays by leading historians offer a variety of original perspectives, locating English events firmly within a 'three kingdoms' context.