“... diary to Buckinghamshire, or they could lose the whole shebang.In Samuel Pepys: The Unequalled Self (2002), Claire Tomalin calls what followed a ‘tragi-comedy’. Her account, which has become the standard narrative of the diary’s transcription, has Neville hiring an impecunious undergraduate, John Smith, to produce a readable version of Pepys’s ...”

“... of the rapport between Blair and Clinton and the genuineness of Blair’s populism, penchant for self-made multimillionaires, and pleasure in throwing parties at Downing Street for pop stars. I ask a question, ‘Whatever happened to Labour’s commitment to the principle of progressive income tax?’ to which Ross replies that he doesn’t know ...”

“... pre-Reformation who nobly gave his head to forces beyond his control. Most absurdly, because of Robert Bolt’s screenplay, this barrister of Catholic repression is widely envisioned as modernity’s diapason: the clear, strong note of individual conscience, sounding against the authoritarian intolerance of the Early Modern state. Thomas More died in ...”

“... And I guess the "robin” means he stole birds.’ Robin is more likely to be a nickname for Robert, though the resonance with ‘robber’ may also count for something, and Hood may suggest his frequent disguises, for Robin is a great trickster whose masquerades inevitably bamboozle his foolish oppressors: he specialises in pretending to help people ...”

“... to most historians conclusive evidence of the Marian regime’s shortsightedness and instinct for self-destruction. Yet the case can be made that in 16th-century terms the burnings were inevitable, and that they were efficiently carried out and persuasively defended. The regime had to break the back of Protestant resistance, and pressed the device of painful ...”

“... women, felt driven to sketch his extraordinary personality. Koestler himself wrote several mordant self-analyses. Scammell from time to time interjects his own ideas on what – his neglectful mother, his inner conflict over his Jewishness in anti-semitic Central Europe – made Koestler so pugnacious, so insufferably competitive, so tyrannical and ruthless ...”

“... Geller had given him a mind-expanding reading list of what we would now recognise as New Age self-help books. Elvis had read them all, performed all the meditations, but didn’t feel the light, not in mind, body or soul. The fire refused to descend; his spiritual air remained a vacuum. Now, on the plush customised tour bus, Geller was thrown by how ...”

“... hoarding flies, reducing his handsome accommodations to a warehouse, caring only to measure his self-contentment by the quantity of his acquisitions, was surely crazy. To remain indifferent to the interests or opinions of others, except when to consult them might mean an increase to his store, the encroaching measure of his own greatness: to live thus was ...”

“... Autobiography of Alice B. as a crucial document in the history of Modernist fashioning and self-fashioning – the story of Axel’s tower or Babel’s, told in the first person. It should also make us think yet again about the legacy of cultural Modernism – and about its relationship to the larger fate of Europe in mid-century. The Man from ...”

“... precocity here takes a cultural form that was central to Spender’s own habitual confidence or self-importance. And the second is that, as a writer, Spender was, as he sometimes acknowledged, a constant autobiographer. In World within World, his first formal autobiography, published when he was only 42, he contrasted himself with those of his poetical ...”

“... designs or marketing. Seeking a change of publisher was less like a fresh start than a sort of self-sabotage, since it risked the new book being separated from his back catalogue, especially damaging in the case of a trilogy. The Information was published by Flamingo in 1995, but Amis was back with Cape for Night Train in 1997 and has stayed there ...”

“... Dowland and Purcell, with a small debt to odd contemporaries like Kevin Ayers, Syd Barrett, Robert Wyatt.In​ Germany in the mid-1970s, Eno hung out with the Cologne experimentalists Can and collaborated with Hans-Joachim Roedelius and Dieter Moebius (aka Cluster, aka Harmonia). Not long after Another Green World was released he was in Germany and ...”

“... was, however, an epoch of unprecedented epoch-mania. Nothing was allowed to be its own individual self; everything had to be interpreted in terms of what was typical for its time. A handful of nit-picking philosophers and pukka historians may have frowned their disapproval, but why should anyone care as long as the trade in periods and period styles was ...”

“... does not seem to be a passing fad. The scandal-maker of the 1930s became, by a kind of self-fulfilling prophecy, part of the saving remnant on which the future of reading would depend. The photo on the cover of Denys Thompson’s The Leavises shows him in a jacket impermeable to the insults of time and with the open shirt of a Labour leader. He ...”

“... On receipt of a first draft of what would end up as Canto II, the one that begins ‘Hang it all, Robert Browning’, Homer records that reading it made him feel ‘like one going up in an Airship – The Mechanician has honoured me with a seat – and we are soon up in the pure azure – Time and space are nothing.’ He modestly declares his opinion of ...”