The daughter of a respectable self-made businessman, the middle-aged Eliot was cast into social exile when she began a scandalous liaison with married writer and scientist George Henry Lewes. Only her burgeoning literary success allowed her to overcome society's disapproval and eventually take her proper place at the heart of London's literary elite. The territory of her novels encompassed the entire span of Victorian society.
Kathryn Hughes has wrought a balanced, sympathetic, and intensely engaging biography, the first to grapple equally with the personal dramas that shaped Eliot's psyche and with her broader social and intellectual milieu. A lively portrait emerges of a woman and writer by turns ambitious and insecure, cerebral and earthy, provocative and conservative-contradictions which not only express the spirit of Eliot's time, but speak eloquently to our own.
"[May's] flawless reading is perfectly timed and modulated, and flows easily. Well researched, well read and very easy to listen to."- Kliatt
'Intriguing, gleefully contentious and - appropriately enough - fizzing with life, Victorians Undone is the most original history book I have read in a long while' Daily Mail
A SUNDAY TIMES BOOK OF THE YEAR
A groundbreaking account of what it was like to live in a Victorian body from one of our best historians.
Why did the great philosophical novelist George Eliot feel so self-conscious that her right hand was larger than her left?
Exactly what made Darwin grow that iconic beard in 1862, a good five years after his contemporaries had all retired their razors?
Who knew Queen Victoria had a personal hygiene problem as a young woman and the crisis that followed led to a hurried commitment to marry Albert?
What did John Sell Cotman, a handsome drawing room operator who painted some of the most exquisite watercolours the world has ever seen, feel about marrying a woman whose big nose made smart people snigger?
How did a working-class child called Fanny Adams disintegrate into pieces in 1867 before being reassembled into a popular joke, one we still reference today, but would stop, appalled, if we knew its origins?
Kathryn Hughes follows a thickened index finger or deep baritone voice into the realms of social history, medical discourse, aesthetic practise and religious observance - its language is one of admiring glances, cruel sniggers, an implacably turned back. The result is an eye-opening, deeply intelligent, groundbreaking account that brings the Victorians back to life and helps us understand how they lived their lives.
Some called it a craze, to others it was a cult. Join prize-winning historian Kathryn Hughes to discover how Britain fell in love with cats and ushered in a new era.
‘He invented a whole cat world’ declared H G Wells of Louis Wain, the Edwardian artist whose anthropomorphic kittens made him a household name. His drawings were irresistible but Catland was more than the creation of one eccentric imagination. It was an attitude – a way of being in society while discreetly refusing to follow its rules.
As cat capitalism boomed in the spectacular Edwardian age, prize animals changed hands for hundreds of pounds and a new industry sprung up to cater for their every need. Cats were no longer basement-dwelling pest-controllers, but stylish cultural subversives, more likely to flaunt a magnificent ruff and a pedigree from Persia. Wherever you found old conventions breaking down, there was a cat at the centre of the storm.
Whether they were flying aeroplanes, sipping champagne or arguing about politics, Wain’s feline cast offered a sly take on the restless and risky culture of the post-Victorian world. No-one experienced these uncertainties more acutely than Wain himself, confined to a mental asylum while creating his most iconic work. Catland is a fascinating and fabulous unravelling of our obsession with cats, and the man dedicated to chronicling them.
