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“... as an occasion for otherwise elusive experience. It came to represent the modern in general, as David Welsh ably demonstrates in two immense chapters, one on utopian fantasy from the turn of the 20th century, the other on the inevitable ensuing sourness. In Anticipations (1902), H.G. Wells imagined the Metropolitan Railway’s ‘black and ...”

“... Is every fictional character a kind of doll? Thackeray presented his characters as puppets, which he took out of the box at the beginning of the novel, and shut away again at the end. E.M. Forster spoke of round and flat characters, as if they were two types of doll; the flat ones could be made lifelike by shaking them vigorously. The gulf between childhood toys and adult reading is bridged by fantasy tales such as Pinocchio, where the puppet comes to life, and Hoffmann’s ‘The Sand-Man’, in which the beautiful Olympia turns out to be a mechanical doll ...”

“... wrecking the economy? It looked hopeless. In his fine book The Rise and Fall of Apartheid (2009), David Welsh asked: ‘How could two such opposed organisations as the ANC and the NP ever hope to reach a constitutional settlement, given their respective histories, their radically different constitutional proposals, and a serious difference of opinion ...”

“... for drawings and paintings – and commissioned photographs. Some of the most powerful were by David King. He used to come blazing into the office with his huge black-and-white portraits, already measured up for size: no question, ever, of anything being cropped. One was of the writer Francis Wyndham, then in his sixties, in conversation with a 34-year-old ...”

“... encounter with Glyn Dŵr obviously locks onto traditional oppositions that caricature both the Welsh sensibility and the English. The one, dealing in mythology, magic and prophecy, duly rants, boasts and carries on in the face of the other’s hard-headed commitment to reason and common sense. But the play goes on to blur the edges of exactly those ...”

“... You​ ought to be in a kindergarten,’ a Canadian nurse exclaimed to David Jones, aged twenty, awaiting transfer home in July 1916 after being wounded in Mametz Wood. Even a decade later, photographs show a wary child or an understudy for an adult. Prudence Pelham, the staunchest of his extended female fellowship, described him as ‘completely unsexed ...”

“... with Armitage and Crawford including a more than symbolic amount of poetry in its original Welsh, Irish or Scottish Gaelic, accompanied by parallel English translations. O’Brien is more Anglocentric: Nuala Ní Dhomhnaill is in facing-page English, but Sorley MacLean and Iain Crichton Smith, for example, occur only in English, and there is no ...”

“... with other footloose professors? There seems to be an ‘only connect’ issue somewhere here. David Trotter’s book begins with the word ‘perhaps’. It echoes in the mind for a while. He contends that in the fiction of Defoe and Dickens the metaphor of circulation of the blood, as proposed by William Harvey in 1616, marries with the metaphor of money ...”

“... from cult status to ubiquity. Soon afterwards I too found myself improbably mesmerised by Irvine Welsh’s often squalid tales of young heroin addicts from Leith, Edinburgh’s blustery, downtrodden port, in the late 1980s. With its needles and cravings, its bare junkie flats and shivery withdrawal scenes, its hovering premonitions of HIV and ...”

“... a Mohawk in the Sky!’ Is it a man, is it a bird? Is Powysianism a cult, a fan-club, a Welsh academic festival? Let us turn to Recollections of the Powys Brothers, to attempt historical perspective. In the Thirties and Forties, when I was a boy, the most acceptable of the Powys brothers was Theodore Francis – both to Dr Leavis and to the general ...”

“... David Peterley’s Peterley Harvest was first published on 24 October 1960. The book had a curious history and, shortly before publication, stories began to appear in the press declaring it to be an elaborate hoax. The jacket of the book contained the information that David Peterley was the only son of an old Quaker family that had ‘lived in the Chilterns and been neighbours of Milton and the Penns ...”

“... and entertaining contributions. Hugh Trevor-Roper discusses the origins of Scottish kitsch; David Cannadine the (not at all remote) origins of British royal ritual; other contributions concern British rule in India and Welsh cultural identity (treated more respectfully than Trevor-Roper treats poor old Scotland). Eric ...”

“... wears off. Our anti-hero, Nathan, is undergoing his self-imposed ordeals on an island off the Welsh coast. Here writers live in a community paid for by a trust. They may write, they may not. They may find, or they may destroy, themselves. Each is obliged to undertake seven Main Events, a kind of DIY ordeal, under the quasi-pastoral supervision of Joe ...”

“... Last year​ – year one of the Great War centenary – David Jones’s In Parenthesis, a long prose-and-verse evocation of his first months as a soldier, got a decent outing. The poet Owen Sheers drew on the text for his play Mametz at National Theatre Wales in the summer; Faber reissued the book with T.S. Eliot’s introduction in its series Poets of the Great War; and in Poetry of the First World War (2013), Tim Kendall chose a fine sequence of extracts – sticking to the verse where he could – even though he reckoned that Jones is ‘by far the most difficult [poet] to anthologise ...”

“... From David Hockney’s Lord of Misrule to its repetition on the back of the jacket, this book is a bull shot, like the cocktail at the bar in Langan’s Brasserie. It consists of Langan’s self-portrait, written in the sleepless marches, to which the art critic Brian Sewell has contributed a memoir of friendship which will come as a pleasant surprise to readers more accustomed to his inspired Sowerberry in the columns of the Evening Standard ...”