Mostrando resultados por narrador "Lydia Leonard" en Todas las categorías

Michael is coming undone. Adrift after his wife's departure, he has begun taking himself on long, solitary walks across the English countryside. Becoming ever more reclusive, he’ll do anything to avoid his empty house. Marnie, on the other hand, is stuck. Hiding alone in her London flat, she avoids old friends and any reminders of her rotten, selfish ex-husband. Curled up with a good book, she’s battling the long afternoons of a life that feels like it’s passing her by.

The story begins with a hand curled around another man’s throat. This is Roman justice: Emperor Tiberius first dispatches a traitor—a friend he once trusted with the city—then the man's whole family and all of his friends. It is as if he never existed. Into this fevered forum, a child is born. His mother is Agrippina, granddaughter of Emperor Augustus. But their imperial blood is neither balm nor protection. Rather, it is a liability. Blood is easily spilled or poisoned. So swiftly corrupted. As the aging Tiberius becomes blind to the ignoble end awaiting him, Agrippina sees the future.

Into this fevered forum, a child is born. His mother is Agrippina, granddaughter of Emperor Augustus. But their imperial blood is no protection. The closer you are to the heart of the empire, the closer you are to power, intrigue, and danger. She faces soldiers, senators, rivals, silver-tongued pretenders, each vying for position. One mistake risks exile, incarceration, execution. Or, worst of all, the loss of her infant son.

When she first meets Adam, Coralie is new to London and feeling adrift. But Adam is clever, witty, and (he insists) a quarter inch taller than the average male. His charming four-year-old daughter only adds to his appeal. But ten years on, something important is missing from the life Coralie and Adam (though let’s face it, mostly Coralie) have built. Or maybe, having gained everything she dreamed of, Coralie has lost something else she once had: herself.

Ancient Rome, 50 AD. Agrippina secures her son Lucius’s fate through her marriage to Emperor Claudius. Though more intelligent than her previous husbands—and with a power that is absolute—for a time she bends her husband to her will. Claudius is gentle as a lamb with a rope around its neck. So it is, that Lucius is adopted into the imperial family and becomes Nero Claudius Caesar Augustus Germanicus.

The boy Nero lives. His mother Agrippina has married her way to power, tangling the Emperor Claudius in her skirts. The emperor may have a son and heir of his own, but Agrippina sees no obstacles to her ambition. Rome is a path through a marsh, lit by torches. Those who walk it are always one step from disaster–and the road itself is treacherous, slippery with blood. Claudius may have the world at his feet, but he has Agrippina in his bed.

In addition to her celebrated career as a novelist, Hilary Mantel contributed for years to newspapers and journals, unspooling stories from her own life and illuminating the world as she found it. “Ink is a generative fluid,” she explains. “If you don’t mean your words to breed consequences, don’t write at all.” A Memoir of My Former Self collects the finest of this writing over four decades.

Marnie is stuck. Stuck working alone in her London flat, stuck battling the long afternoons and a life that increasingly feels like it's passing her by. Michael is coming undone. Reeling from his wife's departure, increasingly reclusive, taking himself on long, solitary walks across the moors and fells. When a persistent mutual friend and some very English weather conspire to bring them together, Marnie and Michael suddenly find themselves alone on the most epic of walks and on the precipice of a new friendship. But can it survive the journey?

From her unique childhood to her all-consuming fascination with Thomas Cromwell that grew into the Wolf Hall Trilogy, Hilary Mantel had a celebrated career as a novelist. Alongside this, she long contributed to newspapers and journals, unspooling stories from her own life and illuminating the world as she found it. This strand of Hilary's writing was an integral part of how she thought of herself. 'Ink is a generative fluid,' she explains. 'If you don't mean your words to breed consequences, don't write at all.' A Memoir of My Former Self collects the finest of this writing over four decades.

A new adaptation of L. P. Hartley's story of a boy who is betrayed by a sophisticated young rich woman and her farmer lover who use him to ferry letters back and forth in the blazing summer of 1900 - with Richard Griffiths and Harriet Walter. It's best known from the 1970 film, which focused on the main plot line. But on re-reading the book, adaptor Frances Byrnes found within it another drama perfect for audio in which an old man finds a boyhood diary and is forced to unlock the trauma inside.

Set against an eventful decade that included the soap opera of five Prime Ministers plus Brexit and Covid, Consider Yourself Kissed puts the subjects of love and family on a grand stage, showing how the intimate dramas in our homes inescapably compete for energy and attention with the shared public dramas of our times. Told over ten years of one woman’s life, Consider Yourself Kissed is an unforgettable literary love story which effortlessly balances sweetness with bite, the public with the personal, and humour with heart.

When she first meets Adam, Coralie is new to London and feeling adrift. But Adam is clever, witty, and (he insists) a quarter inch taller than the average male. His charming four-year-old daughter only adds to his appeal. But ten years on, something important is missing from the life Coralie and Adam have built. Or maybe, having gained everything she dreamed of, Coralie has lost something else she once had: herself.

The annals of movie history are full of lost treasures - spectacular scripts from world-renowned writers that could have been classics, had they only been made. Now, for the first time, some of these forgotten gems have been brought to life, fully realised as vivid, cinematic radio productions. Scripted by major 20th-century writers, including Harold Pinter, Arthur Miller, Alfred Hitchcock and Dennis Potter, they star a host of A-list actors and feature richly evocative, atmospheric soundtracks.

From his tiny room at Hampton Court, the royal chronicler records the comings and goings of the King of England, his six Queens—and his six mothers-in-law. Introducing us to these redoubtable ladies, he relates the surprising part they played in the destiny of Henry VIII and his unfortunate wives. We meet Catherine of Aragon's duenna, Dona Elvira; Lady Boleyn, whose gentleman admirer threatens danger for her daughter Anne; and Lady Margaret, whose attempt to overturn hundreds of years of tradition leads to a dramatic confrontation.

Thrilling, creepy, and utterly unforgettable, these five stories of strange voices, haunting passions, and terrifying nightmares will stay with you forever.

Sarah Perry's father-in-law, David, died at home nine days after a cancer diagnosis and having previously been in good health. The speed of his illness outstripped that of the NHS and social care, so the majority of nursing fell to Sarah and her husband. They witnessed what happens to the body and spirit, hour by hour, as it approaches death.

When she first meets Adam, Coralie is new to London and is feeling adrift. But Adam is clever, witty and (he insists) a half inch taller than the average male. His charming four-year-old daughter only adds to his appeal.

A family cleaner sees and hears everything, from the pill packet that signals that her employers are no longer trying for another child, to that unfamiliar earring in the marital bed that signals something altogether more worrying. In this five-part drama, two successful people, prosperous and happily married, pay little attention to their Polish domestic. Perhaps they should....

In addition to her celebrated career as a novelist, Hilary Mantel contributed for years to newspapers and journals, unspooling stories from her own life and illuminating the world as she found it. “Ink is a generative fluid,” she explains. “If you don’t mean your words to breed consequences, don’t write at all.” A Memoir of My Former Self collects the finest of this writing over four decades.