Fighting with the Bengal Yeomanry Cavalry by John Tulloch Nash
Private Metcalfe at Lucknow by Henry Metcalfe
Two vital recollections of the great Indian uprising
This is another Leonaur volume which includes two essential perspectives of a single conflict within one book for great value reading. The first account sees the Mutiny from the perspective of a hastily thrown together unit of irregular cavalry. The author-a gentleman volunteer-saw much hard riding, tough campaigning and brutal action. He has recorded it all here for posterity in this rare but vital first hand account. By contrast, Private Metcalfe's is an authentic voice of the ordinary infantryman of the Queen Empress's regular army. A soldier of the 32nd Foot from the age of thirteen Metcalfe was of the stuff that 'kept the map red'. Rough, tough, nostalgic and capable of acts of violence and great kindness by turns, Metcalfe possessed almost limitless endurance, stoicism and good humour throughout one of the most demanding actions of the war-the siege of the Residency at Lucknow.

Trevor Griffiths has been a critical force in British television writing for over three decades. His successes have included the series Bill Brand (1976), his adaptations of Sons and Lovers and The Cherry Orchard (1981) and his television plays, The Comedians (1979), Hope in the Year Two (1994) and Food for Ravens (1997). During his creative life he has negotiated the issues of genre, politics, identity, class, history, memory and televisual form with a sustained creativity and integrity second to none. And he has parallelled this career with one as equally as eminent in the theatre, as well as the slightly more problematic forays into film-writing for Warren Beatty's Reds and Ken Loach's Fatherland. John Tulloch's Trevor Griffiths is also, however, a work that looks at such a creative and successful career from a number of different angles. For example, Griffith's televisual work coincides with the emergence of media and cultural studies and so Tulloch reflects on how critical citation moves from Marx to Derrida from the 70s throught to the 90s, mirroring the increased theorisation of media studies. He also looks at the dialogic relationship of Griffiths as the radical critic and the radical critique of cultural studies. Both a canny work on Griffiths, as well as a pertinent work for students introducing them to to broader concepts, theories and methods within the field, Tulloch's work will be read widely by students and academics in a range of disciplines.