Dame Beryl's life is defined by her love of dance. Both as a ballerina and an Artistic Director she helped make British ballet the powerhouse it is today. Knowing and working with virtually everyone in dance, she reveals fascinating insights into the people, characters and institutions that made up world dance in the 20th century. Grey began her dancing career with the Sadler's Wells Ballet in 1943 at the unprecedented early age of 14. Her natural virtuosity saw her quickly promoted, dancing her first Giselle at 17, and Princess Aurora at 19. Dame Beryl was the first English ballerina to dance at the Bolshoi and the Kirov, as well as the Peking Ballet. Asked to become Artistic Director of what is now English National Ballet, her love of dance allowed her to navigate the tricky passage from ballerina to leader of a dance company. This autobiography proves a fascinating and personal insight into and extraordinary woman, her life and career.

Fascinated by them, unable to ignore them, and imaginatively stimulated by them, Charles Dickens was an acute and unsentimental reporter on the dogs he kept and encountered during a time when they were a burgeoning part of the nineteenth-century urban and domestic scene. As dogs inhabited Dickens's city, so too did they populate his fiction, journalism, and letters. In the first book-length work of criticism on Dickens's relationship to canines, Beryl Gray shows that dogs, real and invented, were intrinsic to Dickens's vision and experience of London and to his representations of its life. Gray draws on an array of reminiscences by Dickens's friends, family, and fellow writers, and also situates her book within the context of nineteenth-century attitudes towards dogs as revealed in the periodical press, newspapers, and institutional archives. Integral to her study is her analysis of Dickens's texts in relationship to their illustrations by George Cruikshank and Hablot Knight Browne and to portraiture by late eighteenth- and nineteenth-century artists like Thomas Gainsborough and Edwin Landseer. The Dog in the Dickensian Imagination will not only enlighten readers and critics of Dickens and those interested in his life but will serve as an important resource for scholars interested in the Victorian city, the treatment of animals in literature and art, and attitudes towards animals in nineteenth-century Britain.

Fascinated by them, unable to ignore them, and imaginatively stimulated by them, Charles Dickens was an acute and unsentimental reporter on the dogs he kept and encountered during a time when they were a burgeoning part of the nineteenth-century urban and domestic scene. As dogs inhabited Dickens's city, so too did they populate his fiction, journalism, and letters. In the first book-length work of criticism on Dickens's relationship to canines, Beryl Gray shows that dogs, real and invented, were intrinsic to Dickens's vision and experience of London and to his representations of its life. Gray draws on an array of reminiscences by Dickens's friends, family, and fellow writers, and also situates her book within the context of nineteenth-century attitudes towards dogs as revealed in the periodical press, newspapers, and institutional archives. Integral to her study is her analysis of Dickens's texts in relationship to their illustrations by George Cruikshank and Hablot Knight Browne and to portraiture by late eighteenth- and nineteenth-century artists like Thomas Gainsborough and Edwin Landseer. The Dog in the Dickensian Imagination will not only enlighten readers and critics of Dickens and those interested in his life but will serve as an important resource for scholars interested in the Victorian city, the treatment of animals in literature and art, and attitudes towards animals in nineteenth-century Britain.

A treatise which explores the extent to which music played a role in the literary works of George Eliot. The author concentrates principally on "The Mill on the Floss", "Middlemarch" and "Daniel Deronda" and argues that music was an indispensable component of each of these works.