The English Folly

If this were a novel, the tales of astounding wealth, sexual perversion, murder, munificence, rape, insanity, brutality, slavery, religious mania, selfishness, snobbery, charity, suicide, generosity, theft, madness, wickedness, failure and eccentricity which unfold in these pages would be too concentrated to allow for the willing suspension of disbelief. All these sins and virtues, and more, are displayed by the characters in this book, some exhibiting several of them simultaneously. Folly builders were not as we are. They never built what we now call follies. They built for beauty, utility, improvement; it is only we, struggling after them with our imperfect understanding, who dismiss their prodigious constructions as follies. Follies can be found around the world, but England is their spiritual home. Having written the definitive books on follies in Great Britain, Benelux and the USA, Headley & Meulenkamp have turned their attention to the folly builders themselves, people so blinded by fashion or driven by some nameless ideology that they expended great fortunes on making their point in brick, stone and flint. Most follies are simply misunderstood buildings, and this book studies the motives, characters, decisions and delusions of their builders. If there was madness in their building, fortunately there was no method in it.

Erasmus reached England after a stay in Italy early in the summer of 1510. Soon afterwards, in Thomas More's house at Bucklersbury, he rapidly wrote his famous satire, the Encomium Moriae, or "Praise of Folly," in which Folly celebrates her own praises as the great source of human pleasures. He had been meditating this piece on the long journey from Rome; it is a kaleidoscope of his experiences in Italy, and of earlier memories. As to the title, Moria, the Greek word for "folly," was a playful allusion, of course, to the name of his wise and witty host. This "Praise of Folly" is a satire, not only in the modern but in the original sense of that word,—a medley. All classes, all callings, are sportively viewed on the weak side. But in relation to the author's own life and times, the most important topics are the various abuses in the Church, the pedantries of the school-men, and the selfish wars of kings. If this eloquent Folly, as Erasmus presents her, most often wears the mocking smile of Lucian or Voltaire, there are moments also when she wields the terrible lash of Juvenal or of Swift. The popularity of the satire, throughout Europe, was boundless. The mask of jest which it wore was its safeguard; how undignified, how absurd it would have been for a Pope or a King to care what was said by Folly! And, just for that reason, the Encomium Moriae must be reckoned among the forces which prepared the Reformation.

With its prime focus on the human factor in history, this book examines the role of foolishness in the unfolding of major events in Britain, particularly invasions, from Caesar's expeditions to the Norman Conquest. Many historians believe that foolishness in a bygone age cannot be meaningfully assessed, but this book does not accept that view.

"Two ideas lie at the heart of this study and its claim that we need a new history of reading: that voices in books can affect us deeply ; that printed books can be brought to life with the voice. Voices and Books offers a new history of reading focussed on the oral and voice-aware silent reader, rather than the historical reader we have privileged in the last few decades, who is invariably male, silent, and alone. It recovers the vocality of education for boys and girls in Renaissance England, and the importance of training in pronuntiatio (delivery) for oral-aural literary culture. It offers the first attempt to recover the voice-and tone-from textual sources. It explores what happens when we bring voice to text, how vocal tone realizes or changes textual meaning, and how the literary writers of the past tried to represent their own and others' voices, as well as manage and exploit the voices of their readers. It offers fresh readings of the key Tudor authors who anticipated oral readers: John Bale, Anne Askew, William Baldwin, Thomas Nashe. And it aims to rethink what a printed book can be, searching the printed page for vocal cues, and exploring the neglected role of the voice in the printing process"-- Provided by publisher.

On a stormy night in 1421, the North Sea delivers a devastating blow to Holland: the Saint Elizabeth Flood, a deluge of biblical proportions that drowns hundreds of towns, thousands of people, and forever alters the geography of the Low Countries. Where the factions of the noble Hooks and the merchant Cods waged a literal class war but weeks before, there is now only a nigh-endless expanse of grey water, a desolate inland sea with moldering church spires jutting up like sunken tombstones. For a land already beleaguered by generations of civil war, a worse disaster could scarce be imagined. Yet even disaster can be profitable, for the right sort of individual, and into this flooded realm sail three conspirators: a deranged thug at the edge of madness, a ruthless conman on the cusp of fortune, and a half-feral girl balanced between them. With The Folly of the World, Jesse Bullington has woven an extraordinary new tale of the depraved and the desperate.

Pulitzer Prize–winning historian Barbara W. Tuchman, author of the World War I masterpiece The Guns of August, grapples with her boldest subject: the pervasive presence, through the ages, of failure, mismanagement, and delusion in government. Drawing on a comprehensive array of examples, from Montezuma’s senseless surrender of his empire in 1520 to Japan’s attack on Pearl Harbor, Barbara W. Tuchman defines folly as the pursuit by government of policies contrary to their own interests, despite the availability of feasible alternatives. In brilliant detail, Tuchman illuminates four decisive turning points in history that illustrate the very heights of folly: the Trojan War, the breakup of the Holy See provoked by the Renaissance popes, the loss of the American colonies by Britain’s George III, and the United States’ own persistent mistakes in Vietnam. Throughout The March of Folly, Tuchman’s incomparable talent for animating the people, places, and events of history is on spectacular display. Praise for The March of Folly “A glittering narrative . . . a moral [book] on the crimes and follies of governments and the misfortunes the governed suffer in consequence.”—The New York Times Book Review “An admirable survey . . . I haven’t read a more relevant book in years.”—John Kenneth Galbraith, The Boston Sunday Globe “A superb chronicle . . . a masterly examination.”—Chicago Sun-Times

An acclaimed master of suspense creates a heroine you will never forget in this superbly chilling novel of a woman who begins a desperate undertaking that may transform her life -- or end it. What happens if your worst fears aren't all in your mind? Rae Newborn is a woman on the edge: on the edge of sanity, on the edge of tragedy, and now on the edge of the world. She has moved to an island at the far reaches of the continent to restore the house of an equally haunted figure, her mysterious great-uncle; but as her life begins to rebuild itself along with the house, his story starts to wrap around hers. Powerful forces are stirring, but Rae cannot see where her reality leaves off and his fate begins. Fifty-two years old, Rae must battle the feelings that have long tormented her -- panic, melancholy, and a skin-crawling sense of watchers behind the trees. Before she came here, she believed that most of the things she feared existed only in her mind. And who can say, as disturbing incidents multiply, if any of the watchers on Folly Island might be real? Is Rae paranoid, as her family and the police believe, or is the threat real? Is the island alive with promise -- or with dangers? With Folly, award-winning author Laurie R. King once again powerfully redefines psychological suspense on a sophisticated and harrowing new level, and proves why legions of readers and reviewers have named her a master of the genre.