A Very British Murder

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a b c Woods, Judith (13 April 2011). "DrLucyWorsley:'I'mjustanhistorianwhowanderedintoTV' ". Daily Telegraph. Archived from theoriginal on 24 June 2012 . Retrieved 1 April 2013. Wade, Francesca (26 March 2016). "TalesoflecherousTudors". The Daily Telegraph . Retrieved 22 October 2016 – via lucyworsley.com. Sitting down after a hard day’s work, slippers on, guard lowered… for the last 200 years murder has been the topic to which readers turn for comfort and relaxation.” How did we come to a place where crime is entertainment? It's a really good question. Short answer: as the odds of certain risks (murder) go down, fascination with it goes up. Well, Worsley wrote a whole book explaining it better that that, and a very entertaining book it is, tracing the rise of newspapers, fictional detectives, the golden age of crime writing. I particularly enjoy the history of policing and detection, but it's all good. Lucy Worsley, OBE (born 18 December 1973) is an English historian, author, curator, and television presenter.

A Very British Murder: The Story of a National Obsession by A Very British Murder: The Story of a National Obsession by

Carpani, Jessica (25 March 2016). "HistorianLucyWorsley:Mylifeineightobjects". The Daily Telegraph . Retrieved 22 October 2016. If you are interested in Crime, both as fiction and as reality, especially in how it affects the public psyche, then you will certainly find a lot to appreciate here. Owens, Mitchell (1 June 2012). "KensingtonPalace'sNewLook". Architectural Digest . Retrieved 6 September 2020. An excellent overview of how the consumption of crime became a dominant part of our cultural landscape" ( The Sunday Times) An excellent overview of how the consumption of crime became a dominant part of our cultural landscape The Sunday Times

A Very British Murder is Lucy Worsley's enthralling exploration of a curious national obsession. Our fascination with 'a good murder' -- from the Ratcliffe Highway Murders at the turn of the nineteenth century to Edith Thompson and Freddie Bywaters, hanged in 1922 for the murder of Edith's husband -- became a form of national entertainment, inspiring novels, plays and films, puppet shows and paintings, poetry and true-crime journalism. This riveting investigation shows how during the birth of modern Britain murder entered our national psyche -- and has been a part of us ever since. LucyWorsleyuncoversthetruestoriesofVictorianwomenaccusedofmurderinanewpodcastandseries". bbc.co.uk/mediacentre . Retrieved 13 March 2022.

A Very British Murder: The curious story of how crime was A Very British Murder: The curious story of how crime was

In 2014, the three-part series The First Georgians: The German Kings Who Made Britain explored the contributions of the German-born kings GeorgeI and GeorgeII. The series explained why the Hanoverian George I came to be chosen as a British monarch, how he was succeeded by his very different son George II and why, without either, the current United Kingdom would likely be a very different place. The series emphasises the positive influence of these kings whilst showing the flaws in each. A Very British Romance, a three-part series for BBC Four, was based on the romantic novels and sought to uncover the forces shaping our very British idea of 'happily ever after' and how our feelings have been affected by social, political and cultural ideas. [16] As a television presenter, she is known for having a rhotacism, a minor speech impairment [1] which affects her pronunciation of "r". When she made the move from BBCFour to BBCTwo for the series Fit to Rule: How Royal Illness Changed History, she worked with a speechandlanguagetherapist to help with her pronunciation, but to no avail. [32] In the years following the First World War, people wanted leisure reading to numb, not to stimulate, their capacity for experiencing horror.As she moves into the twentieth century, Worsley largely pulls away from true crime to concentrate on the fictional. She discusses the Golden Age authors in some depth, giving almost mini-biographies of some of them, particularly Dorothy L Sayers. She argues (as others have done) that the Golden Age puzzle with its fairly defined rules developed as a response to the horrors of WW1 and fed into a society that wanted something a bit cosier than the blood-curdling melodramas of the past. She discusses how class and gender were represented in these novels, but keeps the tone light – though it’s clearly well-researched, this book never reads like an academic study. Dolman, Brett; Lipscomb,Suzannah; Prosser, Lee (2009). Henry VIII: 500 Facts. Historic Royal Palaces. ISBN 978-1873993125.

A very British murder : the story of a national obsession

The Spectrum of English Murder: The Detective Fiction of Lancelot Aubrey-Fletcher and GDH and Margaret Cole" Some of the history is more interesting than others, but this book was right up my alley. It reminded me of some great mysteries I’ve read over the years and had me thinking of re-reading a few of them, and also reminded me of authors I have yet to try. Access-restricted-item true Addeddate 2020-10-02 03:00:40 Boxid IA1951713 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier Worsley is Joint Chief Curator at Historic Royal Palaces but is best known as a presenter of BBC Television series on historical topics, including Elegance and Decadence: The Age of the Regency (2011), Harlots, Housewives and Heroines: A 17th Century History for Girls (2012), The First Georgians: The German Kings Who Made Britain (2014), A Very British Romance (2015), Lucy Worsley: Mozart’s London Odyssey (2016), and Six Wives with Lucy Worsley (2016).Law, Katie (27 April 2010). "ItistimeforPrincessDianatotakeherplaceinhistory". London Evening Standard . Retrieved 1 April 2013. Worsley, Lucy (2001). TheArchitecturalPatronageofWilliamCavendish,firstDukeofNewcastle,1593–1676 (D.Phil. thesis) . Retrieved 1 April 2013. It’s not deep lit crit, or a totally in depth micro-history, but there’s interesting stuff and it’s entertainingly written. Lucy Worsley has set out to trace the roots of the British obsession with murder – as consumers, rather than participants. She makes the case that the fascination with murder corresponded to the increasing urbanisation of Britain during the nineteenth century which, because neighbours no longer knew each other as they had done in a more rural age, meant that murders could be much harder to detect. And what could be more thrilling than knowing that a murderer might be on the loose? Combine that with the rise of affordable printed material, such as the Penny Dreadfuls that became available during the Victorian era, and suddenly the commercial potential of murder, real or fictional, was huge.