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It is a rare thing for a reviewer to read a book which on its own terms, in its content and argument, leaves nothing open to serious criticism. Professor Diarmaid Ferriter’s Ambiguous Republic: Ireland in the 1970s is one such book.
In this dense and well-researched book, Mark Roodhouse investigates the 'moral economy' of Britain's wartime and post-war white, grey, and black markets (p. 10).
In Saturday Night and Sunday Morning, Alan Sillitoe’s ground breaking 1958 novel, television is a metaphor for mass consumerism and the resulting growth of a more privatised, home-centred working-class in post-war Britain.
Michael Fry is that unusual individual these days, an independent scholar and a regular (often controversial and amusing) newspaper columnist, who has also devoted himself to becoming a highly productive and successful historian of his adopted country.
In Unemployment, Welfare, and Masculine Citizenship, Marjorie Levine-Clark assesses the regime through which British working-class men, and their families, were granted access to welfare in the late 19th and early 20th centuries.
Few cultural commentators would feel brave enough to identify a particular month and year when human character underwent a significant transformation- the novelist Virginia Woolf had no such reservations. According to her, December 1910 marked one of these distinctive turning points.
In between small model spitfires and Sherman tank key rings, visitors browsing the shelves of the Imperial War Museum’s gift shop will find their gaze met by the reassuringly familiar smile of a round-faced rag doll, beaming from the side of a tote bag.
Contemporary punditocracy suggests that the Left has never grasped the joy of shopping, its late 20th–century political katabasis being no clearer indication.
For almost 30 years David Edgerton has produced a series of well-researched and ground-breaking revisionist accounts of this country's recent past, which have exposed the inadequacies and weaknesses of 'declinism' as an explanation of Britain's changing domestic and international experience since 1900.
In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.