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“... The year 2000​ has come and gone; we survived the Maya apocalypse of 2012. Portents of our demise now come most often in the form of UN climate reports, the Doomsday Clock or the pronouncements of epidemiologists. These predictions reveal not only the fragility of our existence, but also our capacity to bring about potentially catastrophic changes to life on earth ...”

“... This article by Robert Fisk was commissioned by the ‘New Yorker’, who subsequently declined to publish it on the grounds that it was too ‘polemical’ Selma Tawil brought the fifty-year-old keys into the room, sat down in her corner armchair and let them spill out of her hands onto the floor: heavy store-room keys, rusting cupboard keys, keys shaped like backbones for office safes, car keys for an old British-made Hillman, and one larger steel key with a three-and-a-half inch shaft, gun-metal grey with an elegant knot at one end and a broad, worn blade ...”

“... One of the greatest elegies of the 20th century was written in a flat-roofed Australian beach house beside scribbly-gums and banksias in 1975. The poem and the circumstances out of which it grew are painful. Nearly 20 years ago the poet allowed an Australian academic, Bruce Bennett, to publish details of the events behind it in Spirit in Exile. In the 1950s Jannice Henry, an 18-year-old doctor’s daughter from Surrey, fell in love with her father’s locum, Neil Micklem ...”

“... The marketing blurbs for Bret Easton Ellis’s new novel, Imperial Bedrooms, would have it be a sequel to Less than Zero, the 1985 novel that made him famous. It is, after a fashion: all of Ellis’s books are sequels, prequels, spinoffs and derivatives of each other. They share a universe, or perhaps a multiverse, of interconnected fictional lives and storylines, all of which bear, or are supposed to bear, or are trying to convince you they’re supposed to bear, some resemblance to Ellis’s actual life experiences, family members, enemies and friends ...”

“... It is the fate​ of some artists,’ John Ashbery once remarked, ‘and perhaps the best ones, to pass from unacceptability to acceptance without an intervening period of appreciation.’ For a long time – more than forty years in fact – there seemed no danger that this fate would befall J.H. Prynne: take him or leave him, it didn’t seem possible that he’d ever be acceptable ...”

“... Sergei​ is on the way up. He is our man in Russia, responsible for running oilfield operations in the countries that once formed the Soviet Union. The business operates by means of a complex network of ‘country managers’, ‘product line chiefs’ and ‘division heads’, but in this part of the world, all reporting lines ultimately lead to Sergei, who sits at the apex of the hierarchy ...”

“... Wadi el-Jarf​ lies two hundred kilometres south-east of Cairo on a pristine stretch of the Red Sea coast. It dates from the time of the pharaoh Sneferu, the father of Khufu, builder of the Great Pyramid of Giza, who used it as a staging post for expeditions to the Sinai Peninsula in search of turquoise and copper ore. For the past 4500 years, it has lain dormant ...”

“... In reviewing the Gladstone Diaries and the Disraeli Letters I must declare an interest. I am chairman of the committee which superintends the publication of the former and one of the research consultants involved in the latter. But the quality and scholarship of the editors of all these volumes has been so widely acclaimed by others that there is no danger of appearing to give an unwarranted puff to works with which I am connected ...”

“... Bent to the ground in the gesture of prayer, one morning in Kashmir in 1915, Aadam Aziz accidentally bumps his nose – and gives up prayer for ever. This event ‘made a hole in him, a vacancy in a vital inner chamber, leaving him vulnerable to women and history’. Long afterwards, the same hole is discovered in Saleem Sinai, hero-narrator of Midnight’s Children: ‘What leaked into me from Aadam Aziz: a certain vulnerability to women, but also its cause, the hole at the centre of himself caused by his (which is also my) failure to believe or disbelieve in God ...”

“... programme and, in particular, the agenda of the great banks. Under the watchful supervision of Robert Rubin, who, having been CEO at Goldman Sachs, was made Clinton’s Treasury Secretary in 1993, the already disintegrating barriers between investment banks, commercial banks and insurance companies – originally erected by the New Deal, in response to the ...”

“... The first of these books, Rough Justice, is 350 pages of documentary journalism on the rise and fall of the notorious Richardson gang, which operated a reign of terror, extortion and fraud in parts of London from the late 1950s to the famous torture trial of 1967. These operations were restored to topicality after Charles Richardson’s escape from prison in May 1980 and his subsequent letter to the Times ...”

“... After​ the shock and awe tactics of the Rabaa massacre last summer, when Egypt’s military regime murdered around a thousand supporters of the deposed president, Mohamed Morsi, the rolling counter-revolution has played out mostly within the justice system, between police stations, prisons and courtrooms. The system is self-contained and unaccountable: graduates of the Police Academy are automatically granted a law degree and can move fluidly from police station to prosecutor’s office to judge’s bench ...”

“... Two months after Tennyson’s death Burne-Jones was reluctantly following the instructions of the poet’s widow and son in repainting the portrait of Tennyson as a young man which now hangs in the National Portrait Gallery. Emily Tennyson had never liked the picture, perhaps in part because she also disliked Edward FitzGerald, who had originally commissioned it from Samuel Laurence ...”

“... When he first heard of William Morris’s death, Wilfrid Scawen Blunt wrote in his diary, ‘He is the most wonderful man I have known,’ then added more equivocally: ‘unique in this, that he had no thought for anything or person, including himself, but only for the work he had in hand.’ This handsome new edition of Morris’s letters does not entirely answer our natural question of how a man so often apparently unmoved by other persons should have had the explosive creative energy to become famous as poet, artist, decorator, printer, manufacturer and socialist ...”

“... For three centuries Rochester has been in and out of the pantheon of English poetry, but today we can see more clearly that the romantic image of the lyrical libertine who underwent a spectacular deathbed conversion has obscured a major poetic talent. Not that the old picture was wrong, but it was partial. The trouble has been that it is hard to fit his philosophical and religious beliefs, poetic practice and dissolute life into a whole ...”