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“... 1990s, when literary parties were more fun, or I was more fun, I used occasionally to see Stephen Spender: there he was, the establishment on quivering legs, queer as a chocolate orange but safely married. (When I spoke to him, I discovered he could flirt with his eyes shut.) Frank Kermode, a great friend to this paper but never knowingly ...”

“... She goes to parties with his rather pre-war friends, Cyril Connolly, Arthur Koestler, Stephen Spender. She has an affair with Lucian Freud, she visits Oxford, becomes pregnant and marries into a more modern set: her husband, a friend of Ken Tynan and Kingsley Amis, has to be indoctrinated into her mother’s religion by the time-honoured Father ...”

“... Stephen​ Spender had spent two terms as an undistinguished student at University College, Oxford, before he finally met W.H. Auden. It was not for want of trying. Michael, Spender’s elder brother, an insufferable turbo-brain at Balliol, had known Auden at school and kept in touch, but refused to arrange an introduction for Stephen, fearing, as Spender later put it, that ‘in producing me he would be playing the weakest card in his hand ...”

“... What​ became of his face? In his memorial address Stephen Spender, who had known Auden since they were undergraduates, contrasted the young man, Nordic and brilliant, with a ‘second image of Wystan … of course one with which you are all familiar: the famous poet with the face like a map of physical geography, criss-crossed and river-run and creased with lines ...”

“... Stephen Spender was a visitor to the city of Hamburg both before the war and after, when he played a part in the work of occupation and recovery. He was well on his way to being the noted ex-communist poet, whose lyricism of the left spoke up in praise of pylons and the landing aeroplane, gliding over the suburbs, ‘more beautiful and soft than any moth ...”

“... When Stephen Spender’s son Matthew was ten years old, he caught his hand in a car door. ‘The event,’ John Sutherland writes, ‘recalled other tragedies in the boy’s little life; the running over, for example, of his dog Bobby – a "rather lugubrious looking spaniel” and a present from his godmother, Edith Sitwell ...”

“... prove anything. That is equally true of Gladstone. The seventh and eighth volume of Dr Colin Matthew’s learned and authoritative edition of the Diaries of that extraordinary figure reveal a very strange relationship between the Prime Minister and a high-class ex-courtesan called Mrs Thistlethwaite, who had become a convert to ...”

“... the nasty label ‘confessional’. A bit of 1910, a bit of 1960, and a bit of 1860 in the stately Matthew Arnold (Hamilton’s current subject as a biographer) crumble of the lines. They are physical, without losing themselves in materialist drift; scenic without being pretty; verbally effective but not finical or clever for the sake of it. Thought wrestles ...”

“... give figurative painting seriousness and weight. As it is, Wyndham Lewis’s portrait of Stephen Spender upstages a row of portraits by Lamb, Coldstream and John because of its linear clarity and bite, and a Matthew Smith holds your eye by force of juicy paint and saturated colour alone. Yet thin paint in the work of ...”

“... No Arnold can write a novel; if they could, I should have done it.’ That was Matthew Arnold’s reaction to his niece’s first significant attempt at fiction, Miss Bretherton, published in 1884. It can’t have been very encouraging. But Mary Ward was used to the magisterial arrogance of the Arnold men. Her father, Tom Arnold, had demolished the prosperity of his family and the happiness of his wife by his conversions and unconversions and reconversions to and from the Catholic faith ...”

“... country clay. The poet wrote until his dying day. The final nail in the coffin came from Stephen Spender, Day Lewis’s old friend and longest surviving hydra head of Roy Campbell’s monstrous ‘MacSpaunday’, who admitted, writing in 1992 at the time of the long-awaited publication of Day Lewis’s Complete Poems, that while he admired the poet’s ...”

“... without a secret,’ said Truman Capote; ‘the Ecce Homo of modern exhibitionism,’ said Stephen Spender. For his own part, Warhol was intensely reasonable: ‘I just want to be a machine,’ he said. There were many Andies: the Andy who brought cruelty back into art; the Andy who worried about ‘boy trouble’; the Andy who saw to the heart of ...”

“... Eliot derived his poetics from the French Symbolists, so that it was impossible for him to follow Matthew Arnold in finding a solution to spiritual turbulence in poetry as such. The language of poetry cannot deliver a solution of this kind, indeed cannot even comment authoritatively on such a condition, since to be persuasive – which is to say, for ...”

“... to fend for yourself. The opening poem of his first collection – privately printed by Stephen Spender in 1928 – sets and upsets the scene:The sprinkler on the lawnWeaves a cool vertigo, and stumps are drawn;The last boy vanishes,A blazer half-on, through the rigid trees.This isn’t quite cricket. We may approve the orderly syllable count, but the ...”

“... has a flintier edge. It is, for example, difficult to miss the disdain in a description of Stephen Spender as ‘a literary mover and shaker, knighted in 1983. His wealthy, artistic parents sent him to various private schools and Oxford, but he left without taking a degree.’ Similarly, it is hard not to detect the verdict of moral absurdity in his account ...”