Aphra Behn was a prolific and well established writer but facts about her remain scant and difficult to confirm. What can safely be said though is that Aphra Behn is now regarded as a key English playwright and a major figure in Restoration theatre. Aphra was born into the rising tensions to the English Civil War. Obviously a time of much division and difficulty as the King and Parliament, and their respective forces, came ever closer to conflict. There are claims she was a spy, that she travelled abroad, possibly as far as Surinam. By 1664 her marriage was over (though by death or separation is not known but presumably the former as it occurred in the year of their marriage) and she now used Mrs Behn as her professional name. Aphra now moved towards pursuing a more sustainable and substantial career and began work for the King's Company and the Duke's Company players as a scribe. Previously her only writing had been poetry but now she would become a playwright. Her first, "e;The Forc'd Marriage"e;, was staged in 1670, followed by "e;The Amorous Prince"e; (1671). After her third play, "e;The Dutch Lover"e;, Aphra had a three year lull in her writing career. Again it is speculated that she went travelling again, possibly once again as a spy. After this sojourn her writing moves towards comic works, which prove commercially more successful. Her most popular works included "e;The Rover"e; and "e;Love-Letters Between a Nobleman and His Sister"e; (1684-87). With her growing reputation Aphra became friends with many of the most notable writers of the day. This is The Age of Dryden and his literary dominance. From the mid 1680's Aphra's health began to decline. This was exacerbated by her continual state of debt and descent into poverty. Aphra Behn died on April 16th 1689, and is buried in the East Cloister of Westminster Abbey. The inscription on her tombstone reads: "e;Here lies a Proof that Wit can never be Defence enough against Mortality."e; She was quoted as stating that she had led a "e;life dedicated to pleasure and poetry."e;

Thomas Middleton was born in London in April 1580 and baptised on 18th April. Middleton was aged only five when his father died. His mother remarried but this unfortunately fell apart into a fifteen year legal dispute regarding the inheritance due Thomas and his younger sister. By the time he left Oxford, at the turn of the Century, Middleton had and published Microcynicon: Six Snarling Satirese which was denounced by the Archbishop of Canterbury and publicly burned. In the early years of the 17th century, Middleton wrote topical pamphlets. One - Penniless Parliament of Threadbare Poets was reprinted several times and the subject of a parliamentary inquiry. These early years writing plays continued to attract controversy. His writing partnership with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the so-called War of the Theatres. His finest work with Dekker was undoubtedly The Roaring Girl, a biography of the notorious Mary Frith. In the 1610s, Middleton began another playwriting partnership, this time with the actor William Rowley, producing another slew of plays including Wit at Several Weapons and A Fair Quarrel. The ever adaptable Middleton seemed at ease working with others or by himself. His solo writing credits include the comic masterpiece, A Chaste Maid in Cheapside, in 1613. In 1620 he was officially appointed as chronologer of the City of London, a post he held until his death. The 1620s saw the production of his and Rowley's tragedy, and continual favourite, The Changeling, and of several other tragicomedies. However in 1624, he reached a peak of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. Though Middleton's approach was strongly patriotic, the Privy Council silenced the play after only nine performances at the Globe theatre, having received a complaint from the Spanish ambassador. What happened next is a mystery. It is the last play recorded as having being written by Middleton. Thomas Middleton died at his home at Newington Butts in Southwark in the summer of 1627, and was buried on July 4th, in St Mary's churchyard which today survives as a public park in Elephant and Castle.

Eugene Gladstone O'Neill was born on October 16, 1888 in a hotel bedroom in what is now Times Square, New York. Much of his childhood was spent in the comfort of books at boarding schools whilst his actor father was on the road and his Mother contended with her own demons. He spent only a year at University - Princeton - and various reasons have been given for his departure. However whatever his background and education denied or added to his development it is agreed amongst all that he was a playwright of the first rank and possibly America's greatest. His introduction of realism into American drama was instrumental in its development and paved a path for many talents thereafter. Of course his winning of both the Pulitzer Prize (4 times) and the Nobel Prize are indicative of his status. His more famous and later works do side with the disillusionment and personal tragedy of those on the fringes of society but continue to build upon ideas and structures he incorporated in his early one act plays. Eugene O'Neill suffered from various health problems, mainly depression and alcoholism. In the last decade he also faced a Parkinson's like tremor in his hands which made writing increasingly difficult. But out of such difficulties came plays of the calibre of The Iceman Cometh, Long Day's Journey Into Night, and A Moon for the Misbegotten. Eugene O'Neill died in Room 401 of the Sheraton Hotel on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "e;I knew it. I knew it. Born in a hotel room and died in a hotel room."e;

Oscar Fingal O'Flahertie Wills Wilde was born on the 16th October 1854 in Dublin Ireland. The son of Dublin intellectuals Oscar proved himself an outstanding classicist at Dublin, then at Oxford. With his education complete Wilde moved to London and its fashionable cultural and social circles. With his biting wit, flamboyant dress, and glittering conversation, Wilde became one of the most well-known personalities of his day. His only novel, The Picture of Dorian Gray was published in 1890 and he then moved on to writing for the stage with Salome in 1891. His society comedies produced enormous hits and turned him into one of the most successful writers of late Victorian London. Whilst his masterpiece, The Importance of Being Earnest, was on stage in London, Wilde had the Marquess of Queensberry, the father of his lover, Lord Alfred Douglas, prosecuted for libel. The trial unearthed evidence that caused Wilde to drop his charges and led to his own arrest and trial for gross indecency. He was convicted and imprisoned for two years' hard labour. It was to break him. On release he left for France, There he wrote his last work, The Ballad of Reading Gaol in 1898. He died destitute in Paris at the age of forty-six sipping champagne a friend had brought with the line 'Alas I am dying beyond my means'. Here we publish the infamous play 'Salome'. A work of great art that is now being accepted and placed where it rightfully belongs.

Louisa May Alcott's Little Women is a classic of American fiction that was originally published in two consecutive books (Little Women and Good Wives). The latter were later grouped in the present volume. In a rather autobiographical fashion, Alcott tells the story of an ordinary American family living in Concord, Massachusetts. When the father leaves for war, the family's four sisters, Meg, Jo, Beth and Amy, along with their mother, have to take charge of their own destiny. Their financial situation worsens and Meg and Jo succeed in finding jobs while Amy goes to school and Beth stays at home. Jo is the most daring of all her sisters. In her father's absence, she acts like the man of the house. She befriends their neighbors' son, Theodore Laurence, who soon becomes like the fifth sibling of the family. The book speaks about the many adventures and pleasant activities that the girls accompanied by Theodore get involved in. When he later reveals his love to Jo, she rejects him, claiming that he is a brother to her. Theodore eventually accepts the situation and finds a new love. Meg and Amy meet the men of their lives while Jo remains more interested in the stories that she writes. However, she too seems to fall in love by the end.

Lucy Maud Montgomery was born in Clifton, Prince Edward Island, Canada, on November 30, 1874. Her mother died when she was a toddler and her devastated father asked her grandparents to raise her. Her childhood years in Cavendish were very lonely. Lucy's solution at this early age was to create imaginary worlds and people them with imaginary friends. Her creativity was beginning to establish itself in her life. With her studying days over Lucy began a career as a teacher and worked at various Prince Edward Island schools. It was soon obvious to her that she did not enjoy teaching but the benefit was that it gave her time to write. That was now her real passion. Much of her early career was spent writing short stories. Indeed in the decade from 1897 magazines and newspapers published over 100 stories from the prolific young writer. In 1908, Lucy published her first book, the classic, Anne of Green Gables. It was an immediate success and quickly established her career. During her lifetime, Lucy published 20 novels, 530 short stories, 500 poems, and 30 essays. Aware of her fame, by 1920 Lucy began editing and recopying her journals, reframing her life as she wanted it remembered. Lucy Maud Montgomery died on April 24, 1942 in Toronto. A note was found beside her bed, "e;I have lost my mind by spells and I do not dare think what I may do in those spells. May God forgive me and I hope everyone else will forgive me even if they cannot understand. My position is too awful to endure and nobody realizes it. What an end to a life in which I tried always to do my best."e; The official cause of death was a coronary thrombosis.

The play was originally attributed to, and published in, the folios of John Fletcher & Francis Beaumont but modern analysis and scholarship has defined the primary author as John Ford. There is also some evidence that the surviving play was reworked by Philip Massinger.John Ford was born in 1586 in Ilsington, in Devon and baptizes on April 17th.Details of his life are scare and some have a variance of truth about them. By 1602 Ford, had by most accounts, been admitted to Middle Temple in London, a prestigious law school but also a centre for literary and dramatic pursuits. In 1606 Ford was expelled due to his financial problems. He then wrote and had published two poems Fame's Memorial and Honour Triumphant. Two years later he was back at Middle Temple and would remain there until at least 1617.His initial forays into playwriting began with other more senior and well-known collaborators such as Thomas Dekker, John Webster, and William Rowley. It is difficult to distinguish the share of the writing amongst them but certainly his themes, style, rhythm and language are at least an influence and undoubtedly grew with each production.From about 1627 to 1638 Ford wrote plays by himself, mostly for private theatres and his outstanding reputation, is set mainly with his first four plays in which he was the sole author. Of these, 'Tis Pity She's a Whore is the most powerful. Ford's austerely powerful themes are set off by subplots with minor characters and perhaps not the greatest of comedy, but together they outline him as the most important tragedian of the reign of King Charles I (1625-49).Philip Massinger was baptized at St. Thomas's in Salisbury on November 24th, 1583.Massinger is described in his matriculation entry at St. Alban Hall, Oxford (1602), as the son of a gentleman. His father, who had also been educated there, was a member of parliament, and attached to the household of Henry Herbert, 2nd Earl of Pembroke. The Earl was later seen as a potential patron for Massinger.He left Oxford in 1606 without a degree. His father had died in 1603, and accounts suggest that Massinger was left with no financial support this, together with rumours that he had converted to Catholicism, meant the next stage of his career needed to provide an income.Massinger went to London to make his living as a dramatist, but he is only recorded as author some fifteen years later, when The Virgin Martyr (1621) is given as the work of Massinger and Thomas Dekker.During those early years as a playwright he wrote for the Elizabethan stage entrepreneur, Philip Henslowe. It was a difficult existence. Poverty was always close and there was constant pleading for advance payments on forthcoming works merely to survive.After Henslowe died in 1616 Massinger and John Fletcher began to write primarily for the King's Men and Massinger would write regularly for them until his death.The tone of the dedications in later plays suggests evidence of his continued poverty. In the preface of The Maid of Honour (1632) he wrote, addressing Sir Francis Foljambe and Sir Thomas Bland: "e;I had not to this time subsisted, but that I was supported by your frequent courtesies and favours."e;The prologue to The Guardian (1633) refers to two unsuccessful plays and two years of silence, when the author feared he had lost popular favour although, from the little evidence that survives, it also seems he had involved some of his plays with political characters which would have cast shadows upon England's alliances.Philip Massinger died suddenly at his house near the Globe Theatre on March 17th, 1640. He was buried the next day in the churchyard of St. Saviour's, Southwark, on March 18th, 1640. In the entry in the parish register he is described as a "e;stranger,"e; which, however, implies nothing more than that he belonged to another parish.

John Dryden was born on the 19th August 1631 in the village rectory of Aldwincle near Thrapston in Northamptonshire. Over the course of his career he made an immense contribution to literary life, so much so that the Restoration Age is also known as the Age Of Dryden. He was educated at Westminster and Trinity College Cambridge. In 1654 he graduated from Trinity but a short while later his Father died leaving him a little land and with it an income but unfortunately not enough to live on. He returned to London during the Protectorate and at Cromwell's funeral on November 23rd 1658 he walked in a procession with the Puritan Poets. That same year he published his first major poem, Heroique Stanzas (1658), a restrained eulogy on Cromwell's death. In 1660 he celebrated the Restoration of the monarchy and the return of Charles II with Astraea Redux, an authentic royalist panegyric. In this work the interregnum is a time of anarchy, and Charles is seen as the restorer of peace and order. With this Dryden established himself as the leading poet of the day and with it came his allegiance to the new government. On December 1st 1663 he married Lady Elizabeth Howard who was to bear him three sons. He also began to write plays now that theatres had re-opened after the Puritan ban. In 1665 the Great Plague of London ensured that all London theatres were closed again. Dryden retreated to Wiltshire. The next year the Great Fire of London swept through London. In 1667, he published Annus Mirabilis, a lengthy historical poem which described the events of 1666; the English defeat of the Dutch naval fleet and the Great Fire of London. It was a modern epic in pentameter quatrains that established him as the preeminent poet of his generation. By 1668 he was the Poet Laureate and had also contracted to write 3 plays a year for the King's Company. This was for many years to now become the main source of his income and of course his Restoration Comedies are almost without peer. Dryden's career remains a glorious example of English culture and for many he is as revered as Shakespeare. Dryden died on 12 May 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later

Philip Massinger was baptized at St. Thomas's in Salisbury on November 24th, 1583.Massinger is described in his matriculation entry at St. Alban Hall, Oxford (1602), as the son of a gentleman. His father, who had also been educated there, was a member of parliament, and attached to the household of Henry Herbert, 2nd Earl of Pembroke. The Earl was later seen as a potential patron for Massinger.He left Oxford in 1606 without a degree. His father had died in 1603, and accounts suggest that Massinger was left with no financial support this, together with rumours that he had converted to Catholicism, meant the next stage of his career needed to provide an income.Massinger went to London to make his living as a dramatist, but he is only recorded as author some fifteen years later, when The Virgin Martyr (1621) is given as the work of Massinger and Thomas Dekker.During those early years as a playwright he wrote for the Elizabethan stage entrepreneur, Philip Henslowe. It was a difficult existence. Poverty was always close and there was constant pleading for advance payments on forthcoming works merely to survive.After Henslowe died in 1616 Massinger and John Fletcher began to write primarily for the King's Men and Massinger would write regularly for them until his death.The tone of the dedications in later plays suggests evidence of his continued poverty. In the preface of The Maid of Honour (1632) he wrote, addressing Sir Francis Foljambe and Sir Thomas Bland: "e;I had not to this time subsisted, but that I was supported by your frequent courtesies and favours."e;The prologue to The Guardian (1633) refers to two unsuccessful plays and two years of silence, when the author feared he had lost popular favour although, from the little evidence that survives, it also seems he had involved some of his plays with political characters which would have cast shadows upon England's alliances.Philip Massinger died suddenly at his house near the Globe Theatre on March 17th, 1640. He was buried the next day in the churchyard of St. Saviour's, Southwark, on March 18th, 1640. In the entry in the parish register he is described as a "e;stranger,"e; which, however, implies nothing more than that he belonged to another parish.

Rudolf Wilhelm Besier was born in Blitar, East Java, in the Dutch East Indies,on July 2nd, 1878. His father, the Dutch soldier Rudolf Wilhelm Besier, died whilst his mother, Margaret Ann Collinson, was pregnant with him. He was given his father's name in respect and remembrance. As a playwright his early career, which began with The Virgin Goddess in 1906, was somewhat limited. In 1912 he worked with HG Wells to turn Kipps into a stage play and after the war with Hugh Walpole on Robin's Father. Other plays were produced but received little attention. His great success came only in 1930. The Barretts of Wimpole Street was based on Elizabeth Barrett and Robert Browning's courtship. It was rejected by two London producers but did get to premiere at the Malvern Festival of 1930, produced by Sir Barry Jackson. (The first Malvern Drama Festival took place in 1929 dedicated to Bernard Shaw, six Shaw plays have debuted at Malvern including the 1929 English premiere of The Apple Cart, and the world premiere of Geneva in 1938). Alas, American producers were not at all interested. Twenty seven were approached and 27 rejected it. The actress Katharine Cornell however staged at the Hanna Theatre in Cleveland in 1931, and then New York where it opened on February 9th, 1931 at the Empire Theatre, starring Katharine Cornell and Brian Aherne. The Barretts of Wimpole Street became a major theatrical success and was turned, in 1934, into a glossy MGM film, starring Fredric March, Norma Shearer and Charles Laughton. The play was later used as the basis for a 1964 musical Robert and Elizabeth. Rudolf Besier died in Surrey on June 16th, 1942, at the age of 63.

DH Lawrence's Sons and Lovers is a must-read classic that deals with family relations in a typical Freudian fashion. In fact, the book tells the story of the very strong attachment of two sons, William and Paul Morel, to their mother. As the boys grow older and start dating women, they both find difficulties to establish serious and lasting love relationships with their partners. They are never satisfied with the girls' personalities and often complain about their superficiality and ostensible nature while their affairs never reach beyond passion and mere physical gratification. Being often considered as an autobiographical novel in which Lawrence explores aspects of his own personal life, the narrative presents the boys' mother as their ultimate example of the perfect woman, an example that cannot be attained by the women they happen to meet. After William's sudden death, the mother's hold on Paul is further reinforced. She is now jealous of her second son's mistress and engages in a campaign to separate them. As expected, the son never succeeds in disentangling himself from his mother's apron strings. After the mother's death, the end of the novel depicts a lost and lonely Paul with no hopes or aspirations.

Philip Massinger was baptized at St. Thomas's in Salisbury on November 24th, 1583.Massinger is described in his matriculation entry at St. Alban Hall, Oxford (1602), as the son of a gentleman. His father, who had also been educated there, was a member of parliament, and attached to the household of Henry Herbert, 2nd Earl of Pembroke. The Earl was later seen as a potential patron for Massinger.He left Oxford in 1606 without a degree. His father had died in 1603, and accounts suggest that Massinger was left with no financial support this, together with rumours that he had converted to Catholicism, meant the next stage of his career needed to provide an income.Massinger went to London to make his living as a dramatist, but he is only recorded as author some fifteen years later, when The Virgin Martyr (1621) is given as the work of Massinger and Thomas Dekker.During those early years as a playwright he wrote for the Elizabethan stage entrepreneur, Philip Henslowe. It was a difficult existence. Poverty was always close and there was constant pleading for advance payments on forthcoming works merely to survive.After Henslowe died in 1616 Massinger and John Fletcher began to write primarily for the King's Men and Massinger would write regularly for them until his death.The tone of the dedications in later plays suggests evidence of his continued poverty. In the preface of The Maid of Honour (1632) he wrote, addressing Sir Francis Foljambe and Sir Thomas Bland: "e;I had not to this time subsisted, but that I was supported by your frequent courtesies and favours."e;The prologue to The Guardian (1633) refers to two unsuccessful plays and two years of silence, when the author feared he had lost popular favour although, from the little evidence that survives, it also seems he had involved some of his plays with political characters which would have cast shadows upon England's alliances.Philip Massinger died suddenly at his house near the Globe Theatre on March 17th, 1640. He was buried the next day in the churchyard of St. Saviour's, Southwark, on March 18th, 1640. In the entry in the parish register he is described as a "e;stranger,"e; which, however, implies nothing more than that he belonged to another parish.

Cruel To Be Kind is the true story of Max, aged 6. He is fostered by Cathy while his mother is in hospital with complications from type 2 diabetes. Cruel To Be Kind is the true story of Max, aged 6. He is fostered by Cathy while his mother is in hospital with complications from type 2 diabetes. Fostering Max gets off to a bad start when his mother, Caz, complains and threatens Cathy even before Max has moved in. Cathy and her family are shocked when they first meet Max. But his social worker isn’t the only one in denial; his whole family are too.

A Négyek jele

Experienced foster carer, Rosie Lewis, takes on the heart-breaking case of Megan, a baby born with a drug addiction and a cleft palate. Addicted to drugs from birth because of her mother’s substance abuse during pregnancy, new-born Megan is taken into Rosie’s loving care. Rosie is supposed to help Megan find her new permanent home, but it turns out that Megan has already found her ‘forever mummy’ in Rosie. Rosie grows incredibly attached to Megan and applies to adopt her, but the system refuses her in favour of a young couple and Rosie is devastated. Against all her instincts, Rosie does her job and prepares Megan for her new ‘forever family’, but everything about Megan leaving feels wrong. When Rosie learns a few months later that Megan’s adoption has broken down, she is saddened but also filled with hope – will this little girl be allowed to return to her true ‘forever home’?

Experienced foster carer, Rosie Lewis, takes on the heart-breaking case of Megan, a baby born with a drug addiction and a cleft palate. Addicted to drugs from birth because of her mother’s substance abuse during pregnancy, new-born Megan is taken into Rosie’s loving care. Rosie is supposed to help Megan find her new permanent home, but it turns out that Megan has already found her ‘forever mummy’ in Rosie. Rosie grows incredibly attached to Megan and applies to adopt her, but the system refuses her in favour of a young couple and Rosie is devastated. Against all her instincts, Rosie does her job and prepares Megan for her new ‘forever family’, but everything about Megan leaving feels wrong. When Rosie learns a few months later that Megan’s adoption has broken down, she is saddened but also filled with hope – will this little girl be allowed to return to her true ‘forever home’?

Experienced foster carer, Rosie Lewis, takes on the heart-breaking case of Megan, a baby born with a drug addiction and a cleft palate. Addicted to drugs from birth because of her mother’s substance abuse during pregnancy, new-born Megan is taken into Rosie’s loving care. Rosie is supposed to help Megan find her new permanent home, but it turns out that Megan has already found her ‘forever mummy’ in Rosie. Rosie grows incredibly attached to Megan and applies to adopt her, but the system refuses her in favour of a young couple and Rosie is devastated. Against all her instincts, Rosie does her job and prepares Megan for her new ‘forever family’, but everything about Megan leaving feels wrong. When Rosie learns a few months later that Megan’s adoption has broken down, she is saddened but also filled with hope – will this little girl be allowed to return to her true ‘forever home’?

The Book of Eve is neither male nor female, rather a poetic revelation of one's exploration of life. A quest for knowledge, wisdom, truths and understanding, Eve takes us on a heartfelt journey of discoveries, fears, needs and desires. Melanie E. Haggins is a poet, a creative writer and former radio personality. She is strongly influenced by a musical and business background, which later helped her to progress into the world of media as the host of her own popular radio magazine show, where she conducted celebrity interviews with musicians and vocalists alike. An inspirational figure to young people and women of all ages, Melanie has worked for many years as a passionate educator and mentor to young people within her community, championing a number of initiatives on behalf of young people and human rights. With a keen eye for innovation, she draws inspiration from all she encounters for the purpose of improving the lives of those who come into contact with her as she continues to put her visionary ideas and quests for truths into poetic forms.

St Claire Bullock - a Professor of Philosophy, no less - in the intervals between pondering the great questions of life, turned his hand to penning light verse in the manner of Hilaire Belloc, Ogden Nash and Edward Lear. In rhyming couplets these wry and witty poems ponder the foibles and vanities of mortals. Some of these are captured in pen and ink drawings which caricature the subject of the poems. Each character is given an amusing name, beginning with Master Cecil Abercorn, through Clarence Castle, Serena Huff, The Marchioness of Mal de Mer, Major Houghton Reid and Thomas Tinkham Tattersall to Roland Washburn White. There are 70 poems in all of which 10 are illustrated. The illustration on the front cover relates to Rupert Ashe: 'The greatest pride of Rupert Ashe was his luxuriant moustache. He took great care to keep it groomed, And even, with restraint, perfumed. He brushed it upward every day, and it made such a grand display, that people who were not the wiser, imagined that he was the Kaiser.'

Chimney is a much loved family cat who has chosen to tell her own story in poetic form as only a cat can. She charts her life from mischievous kittenhood to thoughtful maturity in the company of two glorious IRISH SETTERS. Cat lovers and owners everywhere will recognise many of her ways and cat philosophy and those, who do not know cats well, will be surprised at their observational skills!

John Clare (1793-1864) was born at a time of great social upheaval, just months after the beheading of Louis XVI and the outbreak of war with France which was to last till the defeat of Napoleon at Waterloo in 1815. He also lived through the upheavals of the land enclosure movement and agricultural revolution which changed the face of the countryside and the way of life in rural England. His father was a farm worker who managed to pay for his son’s schooling, though this was cut short as conditions worsened, but at least Clare had by then learnt to read and write so he could continue his own education, reading whatever books he could lay his hands on. At the age of sixteen he witnessed the social dislocation caused by the local enclosure Act and observed how the landscape was gradually transformed. Drawing on Clare’s writing, this extensively researched study gives the modern reader an appreciation of the divisive effects of these policies. Structured chronologically, this exploration of John Clare’s life highlights the socio-economic and environmental aspects of his observations and includes his reports on an insidious revolution taking place in the English countryside. Parliament, dominated by landowners, authorised the enclosure of large tracts of common land by private acts without considering the effect on those who had enjoyed rights of use and pasturage for centuries. Land enclosures, and the improved agricultural techniques which this permitted, was important in increasing food production at a time when the population of England was growing rapidly. While additional work was initially provided for agricultural labourers in the fencing and walling needed, this was temporary. The introduction of new, labour-saving machinery further reduced the opportunities for work. Insufficient attention, the author argues, has been given to the consequences. Those driven out of their homes in the country were left with no option but to migrate to the towns and sell their labour to whoever would pay for it. In effect, land enclosure created a market in land; landlessness created a market in labour. These are the foundations of our modern market economy. The author asserts that the harshness of the early years of the industrial revolution were the product of land enclosure which the welfare state has to some extent mitigated, although at the cost of creating a dependency culture in contrast to the sturdy independence of Clare’s parents’ generation of farm workers.