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We tend to think about the Middle Ages as a dark and backward time, characterised by violence, ignorance and superstition. We believe that life was unchanging over the period, so if a peasant fell asleep in in the year 1000 and woke up six hundred years later, he would return to a world that was instantly recognisable. We hold that change is facilitated by science and technological innovation, and that it was the inventions of recent centuries, from the steam engine to the Internet, that created the modern world. We couldn't be more wrong.

In a contest of change, which century from the past millennium would come up trumps? Imagine the Black Death took on the female vote in a pub brawl, or the Industrial Revolution faced the Internet in a medieval joust - whose side would you be on? In this hugely entertaining book, celebrated historian Ian Mortimer takes us on a whirlwind tour of Western history, pitting one century against another in his quest to measure change.

One of the greatest novelists of all time, Leo Tolstoy is famed worldwide for his masterpieces of realist fiction, War and Peace and Anna Karenina. This comprehensive collection contains both those iconic works, as well as his final novel, Resurrection, his autobiographical essay 'A Confession', Stephen Wakelam's dramatic account of his tempestuous marriage, Mrs Tolstoy, and In Our Time: Tolstoy.

In the latest volume of his celebrated series of Time Traveller's Guides, Ian Mortimer turns to what is arguably the most loved period in British history: the Regency (a.k.a. Georgian England). Bookended by the outbreak of the French Revolution in 1789 and the death of George IV in 1830, this is the age of Jane Austen and the Romantic poets, the paintings of Constable and the gardens of Repton, the sartorial elegance of Brummell and the poetic licence of Byron, Britain's military triumphs at Trafalgar and Waterloo and the threat of revolution and the Peterloo massacre.

Of all the questions that arise from the Shakespeare authorship debate, one is more perplexing than any other. Why does neither camp apply the sort of analysis that professional historians are able to apply to the question? In any other debate about 16th century events, historians would be summoned in droves. But when it comes to Shakespeare, everybody feels he or she is at liberty to proceed without professional historical input. In this speech, Dr. Mortimer applies a professional historical methodological approach to the authorship question.

Henry IV is not famous except for the plays that bear his name: He is not even a "much-maligned" king. He is normally overshadowed by his far more famous son, Henry V, despite his many achievements. Shakespeare is partly to blame for Henry's diminution and his son's exaggerated stature but not completely; we just don't know what to make of a man who took the throne from the rightful king.