“... with a particular way of going about their trade, can shed their skins. The lapse of time between Henry Green’s Living (1929) and Nothing (1950) is shorter than between Money and The Pregnant Widow, but the transformation in the texture of the prose is total, from clotted to syncopated conversational flow. Green’s late style is thinned out but has its own ...”

“... a commodity squandered as I had never known it before. 22 May. Reading Frank Kermode’s review of John Haffenden’s life of Empson makes me regret a little that Empson was cut out of The History Boys. In the first version of the play Hector sings the praises of Sheffield where he had been taught by Empson, then recounts to the boys wanting to go to Cambridge ...”

“... wife and three children, arranged in perfect descending height order from left to right, husband Henry to little Bobby. The shot is framed by two trees; in the upper right corner, a group of smiling shoppers coming through the lot balances the family in the lower left. Tall, masculine Henry is exquisite in camel-hair ...”

“... forms, including a kind of nervous male bluster masquerading as chivalry. When Mervyn Griffith-Jones put his famous question to the Lady Chatterley trial jury about the reading-matter appropriate to wives and servants, he may have had in mind the criteria applied by a Sunday Times editor in 1949 to The Naked and the Dead. ‘No decent man could leave it ...”

“... superb new edition of his correspondence, addressed to the 12-year-old Philip by his father, Sir Henry, urges him ‘to exercise that practise’ in letter writing, ‘for it will stand you in most steed in that profession of lyfe that you are borne to liue in.’ Some years later, when he was setting off on an extended tour of Europe, Philip was repeatedly ...”

“... first feature, Pather Panchali (1955), is a masterpiece of non-Italian Italian Neorealism. So is John Cassavetes’s first movie, Shadows (1959), populated by underemployed jazz musicians and shot in and around Times Square. Neorealism was the inspiration for British ‘free cinema’ and kitchen-sink realism. Jean Rouch’s ethnographic features made in ...”

“... national fund amounted to nearly £56,000, most of it raised in London. The money enabled Inigo Jones to rebuild the west front of the cathedral and to restore the choir – work which was not pulled down until 1687, having been weakened by the Great Fire. By contrast, the Puritan Feoffees of Impropriation, which Ashton hints were not necessarily distrusted ...”

“... Life, invented by Milton Bradley in 1860, which was itself a reinvention of Elizabeth Newbery and John Wallis’s moralising New Game of Human Life from 1790. The 18th-century version had a snakes-and-ladders set-up: players were sent forward to maturity when they landed on virtues and back to childhood when they landed on vices. It was unplayably boring; the ...”

“... told his early lover Pamela Hansford Johnson. ‘I’m like a baby in the dark,’ he explained to Henry Treece, an Apocalyptic poet who wrote the first critical book about him, and with whom Thomas had a long and revealing correspondence. Being infantile was useful as a would-be disarming way of acknowledging his worldly incompetence: ‘These apologies, we ...”

“... 2000, the month after the Human Rights Act came into effect, Michael Douglas and Catherine Zeta-Jones arrived in the Court of Appeal, seeking to hold the emergency injunction granted to them and to OK! magazine to stop OK!’s rival Hello! from publishing unauthorised photographs of the Douglases’ wedding in New York. Although the court, of which I was a ...”

“... I was hired​ as an assassin. You don’t bring in a 37-year-old woman to review John Updike in the year of our Lord 2019 unless you’re hoping to see blood on the ceiling. ‘Absolutely not,’ I said when first approached, because I knew I would try to read everything, and fail, and spend days trying to write an adequate description of his nostrils, and all I would be left with after months of standing tiptoe on the balance beam of objectivity and fair assessment would be a letter to the editor from some guy named Norbert accusing me of cutting off a great man’s dong in print ...”

“... pantheon. But unlike such Oxford contemporaries as Trevor-Roper, Maurice Bowra or even John Sparrow, all of whom have been well served in recent biographies, Cobb was never a college head, and this may go some way to explaining his subsequent eclipse. It was a role for which he was epically unsuited, given his (very un-French) disdain for ...”

“... the antecedents of Webb’s Red House in the work of Butterfield and Pugin and indeed in John Nash, who might claim, if any one architect could, to have invented the architecture Muthesius so admired. But to the Edwardians Nash was still despicable as a stucco-peddling Neoclassicist, his houses ‘cheerless’ and ‘rectangular’. It was to the ...”

“... out against the French coast. Nicolas Deshayes – an artist who lives on the hill, just below Henry II’s magnificent 12th-century castle, the largest in England – revels in the spectacle of choreographed movement. He makes works that reference water: vast bodies of it, along with drains, pipes and other signs of liquid urban flow. ‘I like the energy ...”

“... The Wiki authors seem here to be thinking of, among others, Henry Darger, the obsessive, reclusive, quasi-paedophilic Chicago hospital janitor and bona fide outsider-genius, who died in 1973, leaving behind hundreds of extraordinary scrolls of artwork, exquisitely painted and collaged, depicting an apocalyptic ...”