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“... Mann wrote this engaging novella in a few weeks in 1943. (The new translation by Marion Faber and Stephen Lehmann, which is brisk and direct, is a welcome replacement of the fussier and less accurate English version done by Helen Lowe-Porter for the original publication.) The novella was written after Mann helped pitch a film on the Ten Commandments to ...”

“... 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 ...”

“... and if so, why? A complicated story. It happened that Vidal had information on this subject: both Stephen Spender and John Lehmann had been told by Hugh Walpole – in identical words, apparently – of an occasion mentioned by Edel. Walpole, then young, beautiful, and awed by the Master, had offered himself to James. After ...”

“... Rosamond Lehmann was born the day after Queen Victoria’s funeral. When the First World War broke out she was 13, on holiday with her family on the Isle of Wight. The imminence of hostilities had put an end to a plan, much dreaded by Rosamond, to send her and her sister to stay with relatives in Germany. From her own point of view the war was ‘a personal and miraculous reprieve’: ‘of the world crisis, I remember only that sudden emptiness of the beach and the expression on my father’s face as he sat reading the papers all day ...”

“... The first volume of John Lehmann’s autobiography, published in 1955, starts: When I try to remember where my education in poetry began, the first image that comes to mind is that of my father’s library at the old family home of Fieldhead on the Thames. It is an autumn or winter evening after tea, for James the butler has been in to draw the blinds and close the curtains, and my father is reading under a green-shaded lamp ...”

“... novelists: Bowen, Graham Greene, Henry Yorke (who wrote as Henry Green), Rose Macaulay, Rosamond Lehmann and the Austrian émigrée Hilde Spiel. The combination of danger and novelty made the times ‘an absolute gift to the writer’, as Yorke put it to Lehmann: ‘Everything is breaking up.’ Amid the physical and ...”

“... to be a mysterious cove comprehensible only to his pals (among whom Waugh did not number himself). Stephen Spender, Waugh declared, had been granted at birth all the fashionable literary neuroses but his fairy godmother ‘quite forgot the gift of literary skill’. (Once celebrated as the Shelley of the Thirties, he was later described by Geoffrey Grigson as ...”

“... Grigson. (It happened that the previous day a national newspaper had given publicity to my brother Stephen in some sensationally farfetched connection with Guy Burgess, John Lehmann and other names they hoped to involve.) ‘Ah that rings a bell,’ and significant looks passed between uniformed men at desks and with ...”

“... 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 ...”

“... was jailed during the Second World War for his homosexuality. McBean’s 1937 portrait of Beatrix Lehmann twins the actress’s face with incongruous block and tackle, and frames this ‘surrealised’ arrangement with silk drapery. His 1941 study of Quentin Crisp is an astonishing instance of the retoucher’s art, the subject’s burnished flesh so perfect ...”

“... by Bloomsbury – the books, the people, the scarves, the gossip – which led them to venerate Stephen Spender as one of its last links. Squeezed into a narrow bed, they would read Spender’s World within World together and admire ‘that entirely English’ set-up in which, Plante wrote at the time, ‘I fantasise having a place, even if that world no ...”

“... he is approached by a present-day admirer, a ‘lecturer at a Yorkshire polytechnic’. At first Stephen Highwood is suspicious. He doesn’t expect people to know who he is. His books have long been out of print and are not to be found in public libraries. In surveys of modern literature, his name barely rates a mention. ‘Are you some kind of highclass ...”

“... Xtopher,’ Stephen Spender wrote in April 1931, ‘is a cactus.’ Prickly, solitary, self-sufficient, hard to handle and difficult to love. How to get to grips with ‘Isherwood’ (as he has chosen to address him) was a problem for Peter Parker: something that perhaps explains the 12 years this usually brisk biographer has spent on his task ...”

“... flashes or not at all, is that it was put together as a new home for my father’s brother, Stephen. Wilsford had long been far too expensive for this eccentric solitary to run, if ‘run’ was a word which could ever apply to my uncle. Here, only a few hundred yards from the old house he had always lived in, was the solution. Teasels had been ...”

“... and 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 ...”