Britain's most widely read author of the late twentieth century, Catherine Cookson published more than 100 books, including The Fifteen Streets, The Black Velvet Gown, and Katie Mulhollond. Set in England's industrial northeast, her novels depict the social, economic, and emotional hardships of that area. In the first essay collection devoted to Cookson, the contributors examine what Cookson's memoirs and historical fiction mean to readers, including how her fans contribute to her position in the cultural imaginary; constructions of gender, class, and English and Irish identity in her work; the importance of place in her novels; Cookson's place in the heritage industry; and television adaptations of Cookson's works. Cookson's work tackled topics that were still taboo in the early post-World War II era, such as domestic abuse, rape, and incest. This collection places Cookson in historical context and shows how skillful she was at pushing generic boundaries.

Britain's most widely read author of the late twentieth century, Catherine Cookson published more than 100 books, including The Fifteen Streets, The Black Velvet Gown, and Katie Mulhollond. Set in England's industrial northeast, her novels depict the social, economic, and emotional hardships of that area. In the first essay collection devoted to Cookson, the contributors examine what Cookson's memoirs and historical fiction mean to readers, including how her fans contribute to her position in the cultural imaginary; constructions of gender, class, and English and Irish identity in her work; the importance of place in her novels; Cookson's place in the heritage industry; and television adaptations of Cookson's works. Cookson's work tackled topics that were still taboo in the early post-World War II era, such as domestic abuse, rape, and incest. This collection places Cookson in historical context and shows how skillful she was at pushing generic boundaries.

The international success of Downton Abbey has led to a revived interest in period dramas, with older programs like The Forsyte Saga being rediscovered by a new generation of fans whose tastes also include grittier fare like Ripper Street. Though often criticized as a form of escapist, conservative nostalgia, these shows can also provide a lens to examine the class and gender politics of both the past and present. In Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey, James Leggott and Julie Anne Taddeo provide a collection of essays that analyze key developments in the history of period dramas from the late 1960s to the present day. Contributors explore such issues as how the genre fulfills and disrupts notions of "quality television," the process of adaptation, the relationship between UK and U.S. television, and the connection between the period drama and wider developments in TV and popular culture. Additional essays examine how fans shape the content and reception of these dramas and how the genre has articulated or generated debates about gender, sexuality, and class. In addition to Downton Abbey and Upstairs, Downstairs, other programs discussed in this collection include Call the Midwife, Danger UXB, Mr. Selfridge, Parade's End, Piece of Cake, and Poldark. Tracing the lineage of costume drama from landmark productions of the late 1960s and 1970s to some of the most talked-about productions of recent years, Upstairs and Downstairs will be of value to students, teachers, and researchers in the areas of film, television, Victorian studies, literature, gender studies, and British history and culture.