The history of one woman's battle against an empire, and the story of how Boudica became one of the most legendary figures in history It is Britain, AD 60. Three Roman towns are in ashes and thousands lie dead. With her new allies, the Trinovantes and the Catuvellauni, Boudica and the Iceni march defiantly towards their enemy seeking one last pivotal victory to drive the Romans from their land forever. Not far away the Roman governor, Gaius Suetonius Paulinus, awaits them with his ground chosen, his strategy decided, and his small force ready to face the great native army. If his strategy is sound they will prevail, if not they will be massacred, losing the province forever. Is it really revenge Boudica wants for the vile humiliations the Romans heaped on her, or is she playing for much higher stakes? Can Paulinus defeat the odds to win the day? To answer these questions, this book reexamines events from a fresh, tactical perspective and produce a clearer picture of a revolt crushed on a newly suggested battle site, offering a new interpretation of a battle that decided 2,000 years of Britain's cultural heritage.

In AD 43, the Romans landed an invasion force on the shores of Britain that heralded the beginnings of recorded British history and laid the cultural foundations of today's national identity. Yet despite the crucial importance of this event, the actual location of the landings remains unclear. From Victorian antiquarians to today's modern scholars and archaeologists, there has been much written over the years with regard to this particular question, with Richborough in Kent and Chichester in Sussex proposed as contemporary favourites. Whilst still being universal in its approach, this book is less reliant on archaeology or literary records to support its conclusions, and instead places greater emphasis on the practical problems the Romans faced in deciding on a landing site. The result is a book which presents a straightforward and logical study which can be readily appreciated by both the general reader and the specialist alike.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

John Waite had known stardom as a member of the Babys, a British quartet that had a brief run on the American charts in the late '70s and early '80s. During the heyday of punk rock, they were unapologetic stadium rockers with their feet planted firmly in the mainstream, and it worked -- they just missed the Top Ten with "Every Time I Think of You" and "Isn't It Time." That was nothing compared to what would follow when Waite's solo career finally took off, yet it took a little effort for that career to gain momentum. He released his first solo album, Ignition, in the summer of 1982. Musically, the record certainly took its cues from the Babys, but it was also a product of its times, exhibiting a considerable new wave production sheen. That much was evident from the surging opener "White Heat," with its glistening, processed guitars and tight rhythms. It's the sound of stylized, commercial mainstream rock in the early '80s, and the rest of Ignition follows this pattern to an appealing end. True, the record has a couple of moments that seem like filler, but not in a bad way; that's because the production sounds good, and Waite's performances are always inspired. The problem is that no matter how well-crafted Ignition is, none of its songs are total knockouts -- the kind of single that would break down the doors to mainstream radio, regardless of whether it was given a push. And so, even though it was a very good solo debut, Ignition withered on the vine. ~ Stephen Thomas Erlewine