“... next to Candy author Terry Southern. Willie Morris, of the Texas Observer and Harper’s Magazine by way of a place called Yazoo and a university named Oxford, is now listening. ‘Mr Bill,’ Southern whispers into Faulkner’s ear, ‘why are you and I already drinking brandy and everyone else is still drinking wine?’ ‘Terry,’ the self-described Delta ...”

“... By 1815 London was the biggest city anyone had ever seen. It was the most stable and prosperous Western metropolis and had been enriched further by a flood of Continental refugees and by works of art similarly cast loose on a tide of war and revolution ...”

“... he has to defend these activities, at least as it appears in this book, is directly influenced by his membership of the Communist Party. There are 19 essays in this collection, the first written in 1978, the last in 1988. There is a postscript written at the beginning of this year. Most of the essays were originally published in Marxism Today and are part ...”

“... in 1925, more volumes to follow) also suggest that there is still a good deal of reading to be done about Bloomsbury. Both these two books show the fate of newcomers, arrivals in Bloomsbury from the outside. ‘Most people were at that time ordinary,’ said Frank Swinnerton, looking back with nostalgia to the beginning of the century, and Dora ...”

“... gum – no X-rays to tell you where to cut, of course – and levering it out, very probably bit by bit? Anyone who has had this done under modern conditions will not like to think about such treatment under premodern conditions: but then, what was the alternative? Some of the root-rotted teeth found in archaeological excavations make one wonder whether it ...”

“... and dog arranged in a pastoral trio in the Fifties. Towards an Australian Bloomsbury? There has to be more going on. It’s not enough to confirm the greatness of greatness; we want to know our business with the dead. David Marr unfolds it, steadily, over seven hundred pages. The first vindication of his huge and wonderful ...”

“... are of interest, but what is the point of unrolling them alphabetically as something purporting to be a dictionary? Abbott opens, and Zangwill closes, yet the book is not a work of reference. It is an anthology. A lazy piece of work, or of relaxation, and not just because its compiler has declined the effort of an imaginative ordering and has instead fallen ...”

“... soon devise a plausible electoral campaign. Given the events of the last four years, this will not be easy: on any objective reckoning, almost no government this century will present the electorate with such a record of wilful failure. But, of course, objective reckonings matter little in the outcome of British general elections, and ‘failure’ has several ...”

“... remains a gap between belief and proof, or between what we think we know and what can plausibly be shown. If Oswald was not, for example, the FBI or CIA plant that many think he was, the relevant testimony to the Commission would truthfully assert that he wasn’t. The directors of those agencies would testify, as indeed they did, that Oswald was not an ...”

“... Just under forty years ago David Erdman provided for William Blake historical contexts in abundance in Blake: Prophet against Empire (1954). It was a remarkable work of literary detection, which still dominates the field. Some Blake readers have felt that his attribution of correspondence between text and contemporaneous events was over-literal (as well as hazardous), and Jon Mee is one of these ...”

“... and Spike Milligan to form The Goons: slightly wearing to listen to now (I suppose you had to be there at the time) but routinely credited with having ‘revolutionised British post-war comedy’ – unless that was Monty Python or Beyond the Fringe. He moved slowly but surely into film comedy, was outstandingly good in such low-key successes as The Naked ...”

“... If an author is still read fifty years after his death there is a strong likelihood that he will be read five centuries from then. Chaucer, at any rate, has never been far from the consciousness of readers of English, and if the last twenty years have seen an amazing upsurge of interest in him in academic circles, this has fortunately not been balanced ...”

“... suspicious of his Gentile surroundings, is aggressive towards the literature he’s supposed to be teaching, to a degree that makes Leavis seem like a nice auntie. He’s also racked by consciousness of his own literary failure. To his misery, he finds himself stranded in Wrottesley Poly, where the enfeebled Liberal ...”

“... Hughes’s novel, Where I Used to Play on the Green, won both the Guardian Fiction Prize and the David Higham Fiction Prize in 1982, yet it received not a tenth of the publicity awarded to winners of the Booker and the Whitbread. This is a pity, for it is a fine achievement, although too dour a story to command affection in the media. It reminds us not only ...”

“... Who shall paint the chameleon, who can tether a broomstick?’ wrote J.M. Keynes of David Lloyd George in 1919. ‘How can I convey to the reader ... any just impression of this extraordinary figure of our time, this syren, this goat-footed bard, this half-human visitor to our age from the hag-ridden magic and enchanted woods of Celtic antiquity?’ This passage was left out of the original text of The Economic Consequences of the Peace, because Keynes felt that he had tried and failed to do justice to the British prime minister’s baffling complexity of character ...”