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Another day dawns over the Houses of Parliament and Maxwell Murray, 'Chief of Staff', researcher and what sometimes feels like nanny to the hapless MP Eliot Oakcroft, has much to do. Invitations for Oakcroft to consider, party correspondence, and, here and there, some legitimate constituency...

One of the few things Eliot Oakcroft MP knows is the secret of political survival: hire competent people and take the credit yourself. Luckily, Maxwell Murray and Diana Burton keep his office running with only occasional homicidal thoughts. Then Eliot is manoeuvred into taking on intern Robin...

David Weir explores the conflicting attitudes towards modernity present in decadent culture by examining the difference between aesthetic decadence - the excess of artifice - and social decadence, which involves excess in a variety of forms, whether perversely pleasurable or gratuitously cruel. Such contrariness between aesthetic and social decadence led some of its practitioners to substitute art for life and to stress the importance of taste over morality, a maneuver with far-reaching consequences. 

The Romantic myth of Bohemia originated in the early nineteenth century as a way of describing the new conditions faced by artists and writers when the previous system of aristocratic patronage collapsed in the wake of the Age of Revolution. Without the patron system, the artist was free to move around, to seek an audience wherever fortune beckoned. This marketing model likening the artist's vagabond career to the "gypsy" life helps to explain part of the bohemian myth, but not all of it. This Very Short Introduction traces the myth of Bohemia through its various fictional manifestations.