“... a political grouping nor a social stratum, the mass denoted a pathological orientation of the self. Arendt claimed that its members had no interests, no concern for their ‘wellbeing’ or survival, no beliefs, community or identity. What they had was an anxiety brought on by loneliness, ‘the experience of not belonging to the world’, and a desire to ...”

“... Spender, Auden and Day-Lewis), a composite creature marked by its blend of glib Marxism, shameless self-advertising and large quantities of indifferent verse. As the popular label for the period suggests, Auden was from the start the dominating presence, and poetically he increasingly came to be seen as being in a class of his own. MacNeice was, in ...”

“... of the uncanny was to haunt a violent century in which emphatic distinctions would be made between self and others, friends and enemies, compatriots and strangers. When the familiar and the unfamiliar can’t be clearly distinguished, thrones and altars start to tremble. Who is my friend and who is not? What are the duties or practical implications of ...”

“... on Alcatraz. San Francisco prides itself on being a liberal place to live, but the urge to self-destruction saw the bridge and recognised destiny. There are still disputes about whether to build a ‘suicide barrier’ on the bridge or whether to leave the decision to the person who spends an hour gazing at the water below. That’s where the drama ...”

“... undemanding relationship with her erstwhile husband than of the ungovernable passion she felt for Robert. He rather relied on this passion keeping their marriage on more placid and companionable lines. When Tory worries about her son at boarding school, Bertram suggests they call the matron. ‘That “we” took a great burden from her. For so long she had ...”

“... day when, as a boy fighting in the Russian Civil War, he killed (or thought he killed) a man in self-defence. The man was blond and handsome, on a beautiful white horse; the narrator was tired and ugly, riding a black nag. (Gazdanov’s protagonists often shared his characteristics. His fellow émigré Vasily Yanovsky described him as ‘a stocky fellow ...”

“... Other club members preferred less gruesome explanations for the playwright’s brilliance. Robert Folkestone Williams, later to write a trilogy of biographical novels about Shakespeare – Shakespeare and His Friends, The Youth of Shakespeare and The Secret Passion – reverts to a less elaborate version of the Ovid-goes-to-Stratford manner in ‘A ...”

“... some curators in Europe. At the beginning of the practice known as ‘institutional critique’, Robert Smithson insisted that the artist must understand the apparatus he or she is ‘threaded through’ in order to challenge, if not to change, its operations. Today many artists are only too happy to be so threaded, and many curators only too eager to do the ...”

“... defiant statements (Byrd used his to proclaim his allegiance to the pope). McCarthy attributes his self-assurance in both the highest and the lowest musical styles of the day to the difficult trajectory of his career. ‘He did not merely survive constant change: it made him even more capable.’The scant biographical detail means that it is difficult to ...”

“... Lionel Trilling wrote in his journal of his ‘intense disgust with my official and public self’. One of the attractions of this language, if you can bear the tension, is that people can talk about unhappiness; and denial, even while fully in place as denial, can be elaborately discussed. The word ‘fear’ runs through Robins’s book like an ...”

“... ancient sources contradict one another on the details of his downfall, but it is immortalised in Robert Graves’s I, Claudius in which Sejanus (a young Patrick Stewart in the BBC adaption) is presented by his successor, Macro, with the letter ordering his summary execution and the butchery of all his family. After seven years at the apex of power, Macro was ...”

“... Fort’s very British mind – Eton and BalIiol – doesn’t wander easily to excavations of the self but rather to ruminations about history and class. ‘I like to picture Prior More of Worcester on a fine summer’s morning in, say, 1521,’ he writes, as he sets off on his bike to find the original commissioned ponds, a botched journey which nonetheless ...”

“... of the captives of Lebanon, the George Harrison of the hostage scene, the other one. The reporter Robert Fisk has confessed to him how he failed to follow up a dubious tip-off about where he was being kept in 1988. When Keenan was held hostage in Beirut journalists found themselves asking what the story was. I am not referring to the international news splash ...”

“... of a long sequence of visitors, seeking some authenticity or purity not to be found elsewhere. Robert Flaherty’s film Man of Aran (1932) was a ‘decisive moment in the formulation of the Aran myth’, and the writings of Aran natives like Liam O’Flaherty and the Irish-language poet, the late Mairtin O’Diereain, have added further nuances and ...”

“... of voice.’ That gives the clue. The confident poetic voice takes things for granted, is never self-conscious about what it says, however unexpected or incomprehensible this may be. In a note on Betjeman’s ‘Myfanwy’ Amis says the poet has ‘got him where he wants’ with poems in this vein, ‘but I have never been able to work out quite where that ...”