In popular imagination, the Vikings are remembered as fierce warrior seamen who campaigned through Western Europe, terrorizing British, Frankish, and Irish societies. Yet is it possible that the great Viking armies left more in their wake than carnage and destruction? The stories of two families-the Olafssons, who transformed a pirate camp in Ireland into the kingdom of Dublin, and the Haraldssons, whose rule encompassed Hebrides, Galloway, and the Isle of Man-suggest that the Vikings did indeed leave behind a much greater legacy.
Between the tenth and twelfth centuries, these two Viking families, descendants of men whom earlier chroniclers dismissed as pagan pirates, established themselves as Christian rulers whose domain straddled the Scandinavian and Celtic worlds. The Olafssons and Haraldssons carved out empires that inspired fear and made their families fabulously wealthy. From their ranks came the settlers who gave name to the Danelaw in Britain, Fingal in Ireland, and Normandy in Francia. Celebrated in Icelandic sagas and poems, Irish tales, and French history, the Olafssons and Haraldssons took part in the last successful Scandinavian invasion of Britain and the overthrow of the last Old English kingdom, even as they allied with, fought against, and married their Irish neighbors.
Though the families had come to these lands as conquerors, they soon learned the importance of cooperating with those they had vanquished. Even as they worshipped pagan gods, the Olafssons and Haraldssons both became important benefactors to the Christian church. They also played a crucial role in the economic revival of northern Europe as trading ships from their ports sailed throughout theAtlantic and the goods they produced traveled as far west as Canada. Under their rule, the seas became a connector for a shared culture, commercially, artistically, and socially.
Challenging traditional views of the Vikings' culture, Benjamin Hudson shows the role that these two great dynasties played in the Second Viking age. The rise and transformation of the Olafssons and Haraldsssons from the tenth to the twelfth centuries highlights a period and people important for understanding the political, religious, and cultural development of Europe in the High Middle Ages.

Macbeth is arguably the world's most famous monarch. Both the historical king and the literary character have fascinated writers and audiences for centuries, beginning with the poets who recited their verses at the medieval monarch's court. Macbeth's legend began almost immediately after his death as medieval and Renaissance writers gradually replaced the king with a semi-literary character developed and embroidered to suit their own political and cultural agenda. The process of transformation culminated in playwright William Shakespeare's The Tragedie of Macbeth. Investigating the man and the legend, Benjamin Hudson traces the eleventh-century prince's rise to prominence from local warlord to international ruler. Battling Vikings, English, and his fellow Scots, Macbeth was involved in a Dano-Norwegian conflict, made a pilgrimage to Rome, and gave refuge to Norman knights. He was more than a mere warlord. With his queen, Gruoch, the widow of a man who killed Macbeth's father, he was a benefactor of churches. The historical prince was an important innovator who used new fighting tactics, developed an international outlook to government, and encouraged intellectual pursuits. Hudson also tracks the ways in which popularizers developed the women behind the fictional Lady Macbeth and the weird sisters. Drawing on centuries of Celtic and Scandinavian sources, popular entertainment, political theory, folklore, and art, Macbeth before Shakespeare recovers the genuine king from the historical record and shows how he was replaced by the legendary monster of ambition.

‘Williams’s favourite among his plays, [Cat on a Hot Tin Roof] is perhaps his most impassioned and articulate statement on human isolation, the wrenching problems of communication between people and the ways in which death defines life.’ NEW YORK TIMES In Cat on a Hot Tin Roof, a Southern family meet to celebrate 'Big Daddy' Pollitt's 65th birthday. But as the party unfolds, the facade of a happy family gathering is fractured by sexual frustration, repressed love and greed in the light of their father's impending death. This edition includes a commentary by Benjamin Hudson, which explores the major themes of the play, including illness and mortality; white supremacy through the plantation setting; mendacity and 'fake news'; alcoholism and addiction; as well as sexuality, womanhood and mid-century notions of masculinity. It draws attention to the context of the play, including the cultural, social and political landscape of the Mississippi Delta and St. Louis; the first-hand witnessing of Black life in the South; homosexuality and outsider sympathy; and American conservatism and the idealised 1950s family. It also delves into recent productions and adaptations of the play, including the Bollywood and Antoine Fuqua film adaptations.

Following the new format of the First FRCR Anatomy Examination and based on the syllabus of the Royal College of Radiology, this unique revision tool is more complete and detailed than any other guide on the market. The comprehensive, structured approach promotes a working understanding of anatomy by guiding the reader through over 200 practice images, explaining any normal variants or key anatomical concepts of particular interest. This section is followed by three practice exams, each comprising 20 question stems and images. This is an invaluable aid for all First FRCR Anatomy Examination candidates. It is also highly recommended for doctors studying for MRCS or MRCP examinations, emergency department doctors and radiographers.