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“... the page. Boswell, a slovenly, scribbling, lovable Scot, and Johnson, a cantankerous old genius, a John Bull himself, now appear to us as creatures of one another’s making. Together they constitute a minor archipelago of literary selves.In the past it seemed natural to admire one at the expense of the other, and most natural of all, to see Boswell as the ...”

“... Mr Quennell is most interested in Madame de Lieven’s autumnal love for Guizot. Joanna Richardson on Madame de Girardin is much fuller and captures something of the fascination of a famous literary coterie: but as its hostess, she ‘chose to talk her Lettres Parisiennes before she wrote them’, so even her talk comes to us (with who knows what ...”

“... magenta Rugosa roses in odd corners, yellow standard roses in our square garden, William Allen Richardson pink climbers on the pergola overlooking the crematorium, favourite meeting place for nursemaids and prams. (“There goes another poor soul!” as a column of brown smoke rose in the still air.)’ This passage not only shows Jean MacGibbon at her ...”

“... the catalogue commentary requires the combined efforts of Colin Amery, Mary Lutyens, Jane Brown, John Cornforth, Gavin Stamp and John Summerson to do justice to an architect whose career, in its range, dimensions and achievements, outshines Wren, Vanbrugh and the Adam brothers. Cloud-capp’d towers, gorgeous ...”

“... of superannuated Pinter. There is always a war with real life. Storey describes a rehearsal with John Gielgud (as Harry) and Ralph Richardson (as Jack) of Home, his play about England and everyday madness. The actors are navigating their way around two chairs and a table. Storey starts by showing the two actors before ...”

“... like war: long periods of boredom punctuated by bouts of frenzied activity. The scene in Tony Richardson’s The Charge of the Light Brigade in which Lord Raglan and his party view the charge from a nearby hilltop is (perhaps deliberately) very like watching the making of a film. The terminology of film ...”

“... wedding anniversary. Joan Didion’s daughter, Quintana Roo, was married at the Cathedral of St John the Divine on Amsterdam Avenue in New York in 2003. Dates are important. In a writer as fastidious as Didion they carry a lot of weight. Detail matters too, sometimes more than the main thing, or instead of it: Seven years ago today we took the leis from ...”

“... was intertwined with his. It would be helpful to have explanations of Lucy Porter, Hill Boothby, John Taylor and the Thrales, as major figures in Johnson’s life and letter-writing. The notes are self-referential in a cryptic way, with a delicately archaic use of ante and post; these are not as helpful as the editor thinks, for the reader who is reading ...”

“... like Dadie [Rylands] shun me. I am so distinguished yet so undistinguished,’ he writes. John Barton snubs him, showing ‘coltish contempt’; ‘I am so accustomed to being liked or at worst ignored, and my reputation awes people into civility – even if they think I don’t deserve it.’ In general, he says, ‘I like an evening where I talk a ...”

“... Moll Flanders first appeared with no quotation-marks separating dialogue from narration. Richardson used them sometimes at the beginning of each line of a quoted utterance (a convention still used for verse), and sometimes dropped them altogether and assigned each utterance to a new paragraph. Conventions for punctuation and lay-out hardened around ...”

“... need for them), there are some prayers of unsettled authorship, a dramatisation of part of Samuel Richardson’s novel Sir Charles Grandison, admittedly of little interest in itself, and some poems of which the same might be said. The 100-page introduction is lovingly minute in its coverage of early commentary, and the annotations are careful and useful. The ...”

“... in the afternoon to ‘relax unseen’ in the darkness of the ‘kinema’. The novelist Dorothy Richardson, a film critic for Close Up, saw women with infants at a cinema in North London on a Monday afternoon in July 1927, their ‘faces sheened with toil’, ‘figures of weariness at rest’. The notion that the cinema might be a sanctuary for mothers ...”

“... laid out in the discourses he delivered as President of the Royal Academy. It was re-created by John Barrell in his influential Political Theory of Painting (1986). Drawing on J.G.A. Pocock’s politics of civic humanism, Barrell replaced the two traditions of painting with a tradition of academic theory – from Shaftesbury to Reynolds and so on – which ...”

“... with rows of folding chairs and a simple table … Nikos told me later that the critic and editor John Gross, in the audience, seemed to be scowling at my presuming to speak about Sonia. Then Mary McCarthy spoke, her rectangular smile held rectangular and exposing her teeth as she spoke, and what she said about Sonia didn’t seem complimentary, except her ...”

“... us, as for Trollope, ‘a terrible aspect’. It doesn’t apparently, though, for Gilbert Phelps, John Sutherland and Peter Keating, surveyors and encyclopedists of the form who in their respective fields have laboured with energetic exhaustiveness and not broken down. Each of these books feels as if it takes in an infinity of novels, and each deserves the ...”