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“... and Johnny” than to Tristan and Iseult,’ Spiegelman says, ‘but March had been a protégé of Robert Frost’s at Amherst, and knew his way around villanelles as well as around speakeasies.’ Frost’s name is a good clue, since The Wild Party’s best known lines echo, in a bleak, jazz-inflected register, one of Frost’s most famous poems: Some say ...”

“... signalled his intentions to his far-flung sublunar creatures. No need for poets then to ask, with Robert Frost, whether design governed in so small a thing as a royal bastard’s rebellion or a reflagged Kuwaiti oil ship. In fact, neither Lilly nor Ashmole would have needed to wonder whether such seemingly minor events might escalate into large and then ...”

“... parses and dishes up, not fussily garnished but imbued with Shakespeare, Henry James, Jane Austen, Robert Graves, and the shade of Kipling, who seems also to get a tribute from Mukherjee in the name of the farm dog Shadow, and whose father worked in Lahore. She has the gift she ascribes to her sisters, of taking the world on her tongue. ‘Interested in ...”

“... soon afterwards in a series of cases which brought Holroyd into open revolt. An SAS officer called Robert Nairac gave Holroyd a Polaroid photograph of the dead body of an IRA leader called John Green. Nairac, later to be shot himself, told Holroyd he had taken the picture after personally shooting Green. Nairac said that he and two Protestant terrorists had ...”

“... No, what scotched the Disraelian legend as serious history was the standard biography by Robert Blake in 1966. Lord Blake possesses unimpeachable credentials as the eminent chronicler of the evolution of the Conservative Party. But he maintains also irreproachable standards as an academic historian, and these made his Disraeli disconcerting reading ...”

“... misses that note of implacable hostility which mars the otherwise creative and convincing work of ...”

“... claims made on his behalf, Michael Hofmann’s recent hailing of Brodsky as the true successor to Robert Lowell and great American poet of our age has at least the virtue of unambivalence. We may not agree with it, but the terms are clear. Hitherto, through no fault of his own, the poet has seemed to occupy a position of statelessness somewhere between ...”

“... a wonderful poem by Les Murray, terrific poet and world-class fatty, called ‘Quintets for Robert Morley’. The poem begins: Is it possible that hyper- ventilating up Parnassus I have neglected to pay tribute to the Stone Age aristocracy?    I refer to the fat. This raises the question of who were the first fatties. It may be that – without ...”

“... who might be a mole’. Failing to land a job on the Daily Worker he went to Tribune, where Robert Edwards was leaving to join Beaverbrook and Michael Foot, recently a Beaverbrook man, was acting editor. (Will Mervyn Jones also end up in the Beaverbrook stable? the reader anxiously wonders.) Tribune paid him £16 a week to spread himself over the paper ...”

“... ends with the death of the main character: ‘Such a death, in a mining accident during which Robert has been trying to help his companions, is both plausible and tragic, but it is also in a measure defeatist.’ The People of the Ruins ‘glumly looks forward to Europe ... a century after it has been taken over and wrecked by Communist revolution. All ...”

“... greatest hits from recent historical writing are converted into Post-Modernists – Simon Schama, Robert Darnton, Natalie Zemon Davis and Orlando Figes. But Evans never cites an instance of these authors even borrowing the Post-Modernist label, let alone one showing that they conceive of themselves as working on behalf of an intellectual cause known as ...”

“... like Reuchlin, Muenster and Luther. Even in England, that Renaissance backwater, men and women – Robert Wakefield, William Tyndale and Lady Jane Grey – made the effort; and the man whose trail-blazing translation of the New Testament from its original Greek had paved the way for the Reformation ought logically to have done the same with me Old ...”

“... the Connaught? Naipaul’s conversation on this occasion is admirable, too. Rather than denouncing Robert Lowell’s poetry as bogus (‘His poems are very good,’ is Theroux’s interesting contribution) he has the much more brilliant inspiration that the madness was bogus. (‘Total con, total con.’ I said: ‘He goes to mental ...”

“... New York found the place almost monastic. Leary loved to turn people on, with various results. Robert Lowell, for example, seems to have felt uncomfortable. There are some scary bits, in Flashbacks, that force one to admire the recklessness of Leary. The hidden presence of the CIA is menacing, as was (and no doubt is) the extent of the Agency’s interest ...”

“... A book could be – perhaps already has been – written on art whose success is connected with getting outside the idiom and context of its age. Such art reassures by its apparent timelessness, and depends on the reassurance of anachronism for its populist impact. When Gray observed that ‘the language of the age is never the language of poetry’ he was noting something that the common reader usually takes for granted ...”