“All women together ought to let flowers fall on the tomb of Aphra Behn... in Westminster Abbey, for it was she who earned them the right to speak their minds.” The first professional woman writer in England, best known for her scandalous stage comedies during the reign of Charles II, Behn ended her career with a hard-hitting novel about slavery and rebellion in colonial Suriname. It may not be true, as she says when dedicating Oroonoko (1688) to a Scottish nobleman, that “I writ it in a few hours.” But there’s real urgency to Behn’s narrative as she deplores the fate of her enslaved hero, an African prince she likens to “a lion taken in a toil,” while also sounding the alarm about regime change back home in England. 

Robin Evans was a versatile architectural historian and theorist who died too young. This highly original and unusual book, published after his death, is about the relationship of geometry to architecture, and how methods of drawing, including perspective and orthographic projection, can influence what is conceived and built. I admire the way in which Evans, unlike many architectural historians, is able to combine deep scholarship with a working practical understanding of how buildings are made, and how they are used in practice. There has been no other recent writer on architecture with so subtle a mind.

I saw this in a charity shop. My partner and I had been watching a number of Dickens adaptions, and my interest was piqued. Then I put it back, uncertain. Then I picked it up again because I realised I did want to know more about Charles Dickens. 

But the book turned out to be about much more than that cherished author; it’s about the relationship between personal psychological pain and the brilliance of creativity. It theorises that, without his anguished childhood, Dickens would not have been so brilliant an author. This book speaks to everyone who wishes to tell tales, me included.

This book was given to me by an Anglican priest in Valparaiso, and it’s probably been the single biggest influence on my thought of anything I have ever read. It is a series of letters from Mayne to his grandchildren, explaining his view of the world. It’s a bit quieter than Annie Dillard’s exuberant sense of enchantment, but no less filled with wonder. It’s packed full of quotations from other authors, gleaned from a lifetime’s reading. The title is a quote from GK Chesterton, "At the back of our brains, there is a forgotten blaze or burst of astonishment at our own existence. The object of the artistic and spiritual life is to dig for this sunrise of wonder." 

This is a compelling and comprehensive study of Richard III’s reign. Annette Carson examines the events as they actually happened, based on the evidence of the original sources. In place of assumptions so beloved of traditional historians, she instead dissects motives and actions in light of the historical facts. Carson dares to investigate areas where historians fear to tread, raising many controversial questions and encouraging readers to think again.

This is a sparklingly funny play. I love its contemporary freshness, its fleetness of foot, and its irreverence. It satirizes the fashion for all things French among London’s social climbers. It sugars the pill of all that satire by bringing a fast-paced plot to a comic ending of marriage and reconciliation. It taught me that writers in seventeenth-century England like the play’s author, John Dryden, were importing words and ideas from France as they sought to trace a middle way between a servile mimicry of French culture and an insular rejection of it. 

I was very lucky that this book came out while working on my own sequels – mainly to ensure that I hadn’t made any terrible errors!

Decades in the making, this second part of David Carpenter’s monumental biography covers the latter years of Henry’s reign and the time of the Second Barons’ War, exactly the period described in my novels.

Carpenter writes with a light touch, an eye for colour and telling detail, and a sure ability to find the human story in the grand panorama of the past. He shows us not only the events of the era in unrivalled close focus but a compelling portrait of Henry himself, a very human monarch struggling through a turbulent age.

I love this book despite feeling frustrated by the excessive detail. Turner brings Chaucer’s cosmopolitan world and diverse literary works to life by focusing on places and spaces significant to him. I especially enjoyed the chapter on Households, where Chaucer was sent to serve in his adolescence, like many of his contemporaries, as page-boy, valet, entertainer, general factotum. I also learnt about his international travels, as a diplomat, prisoner of war, member of Parliament, and the sadness of his unfulfilled private life.

The last two chapters recount Chaucer’s final year living in the precincts of Westminster Abbey, his sudden death, relatively obscure burial, subsequent reburial in Poet’s Corner, and elevation as Father of English Literature, which Turner controversially challenges, placing him in a European cultural background.

While walking through a Barnes and Noble some thirty years ago, I stumbled upon Anthony Trollope—probably because he took up about three whole shelves. Curious, I chose one of his fifty novels and then another and another until I concluded that he is undoubtedly one of the most underrated authors in the English language. Both of his series—The Chronicles of Barsetshire and The Pallisers—make Downton Abbey look like upstairs/downstairs-lite. Highly recommended!