Frankie Boyle

Drawing on new genetic and genealogical research, original records, expert testimony, and contemporary interviews, this history reaches back to Roman Britain, the medieval imagination, and Shakespeare's Othello. It reveals that behind the South Sea Bubble was Britain's global slave-trading empire and that much of the great industrial boom of the 19th century was built on American slavery. It shows that Black Britons fought at Trafalgar and in the WWI trenches. Black British history can be read in stately homes, street names, statues, and memorials across Britain and is woven into the cultural and economic histories of the nation. Unflinching, confronting taboos, and revealing hitherto unknown scandals, this book describes how black and white Britons have been intimately entwined for centuries.

The traditional view of the Scottish nation holds that it first arose during the Wars of Independence from England in the thirteenth and fourteenth centuries. Although Scotland was absorbed into Britain in 1707 with the Treaty of Union, Scottish identity is supposed to have remained alive in the new state through separate institutions of religion (the Church of Scotland), education, and the legal system. Neil Davidson argues otherwise. The Scottish nation did not exist before 1707. The Scottish national consciousness we know today was not preserved by institutions carried over from the pre-Union period, but arose after and as a result of the Union, for only then were the material obstacles to nationhood – most importantly the Highland/Lowland divide – overcome. This Scottish nation was constructed simultaneously with and as part of the British nation, and the eighteenth century Scottish bourgeoisie were at the forefront of constructing both. The majority of Scots entered the Industrial Revolution with a dual national consciousness, but only one nationalism, which was British. The Scottish nationalism which arose in Scotland during the twentieth century is therefore not a revival of a pre-Union nationalism after 300 years, but an entirely new formation. Davidson provides a revisionist history of the origins of Scottish and British national consciousness that sheds light on many of the contemporary debates about nationalism.

John Irving's memoir begins with his account of the distinguished career and medical writings of the novelist's grandfather Dr. Frederick C. Irving, a renowned obstetrician and gynecologist, and includes Mr. Irving's incisive history of abortion politics in the United States. But My Movie Business focuses primarily on the thirteen years John Irving spent adapting his novel The Cider House Rules for the screen--for four different directors. Mr. Irving also writes about the failed effort to make his first novel, Setting Free the Bears, into a movie; about two of the films that were made from his novels (but not from his screenplays), The World According to Garp and The Hotel New Hampshire; about his slow progress at shepherding his screenplay of A Son of the Circus into production. Not least, and in addition to its qualities as a memoir--anecdotal, comic, affectionate, and candid--My Movie Business is an insightful essay on the essential differences between writing a novel and writing a screenplay. The photographs in My Movie Business were taken by Stephen Vaughan, the still photographer on the set of The Cider House Rules--a Miramax production directed by Lasse Hallström, with Michael Caine in the role of Dr. Larch. Concurrently with the November 1999 release of the film, Talk Miramax Books will publish John Irving's screenplay.