“... an enormous zero-shaped pattern entitled ‘Trump’s Lies’, under the byline of two reporters, David Leonhardt and Stuart A. Thompson. The dates of more than a hundred ‘lies’ were printed in boldface, the text of the lie in quotation marks and the correction in parenthesis. Most of the lies, however, were what anyone would call opportunistic ...”

“... Several million television viewers in Europe and America, and who knows how many newspaper-readers everywhere, have watched and heard or been informed about a monumental concert given in Warsaw’s opera house on 1 September to mark the 50th anniversary of Hitler’s invasion of Poland. Despite the personal narrative with which Samuel Pisar – a survivor from Auschwitz – judiciously and movingly linked the musical episodes in Humphrey Burton’s Unitel film (shown the following day on BBC 2), the nature of the occasion was essentially public – which is to say, a prey to those acts of political and social publicity which can render all such occasions, however solemn, profoundly if not atrociously ambiguous ...”

“... On Saturday 29 January, I left my in-laws’ house in Wadham Road, Bootle, and headed for the Strand Precinct to buy myself a shirt. As I reached the junction with Stanley Road a building fell down in front of me. I saw a man leap from the top of it. There was a crash and bricks spilled out into the road, pulling the scaffolding down with them. Another man was pinned between the falling building and the scaffolding ...”

“... For neo-liberals and neo-socialists, the deepening crisis with which this and other advanced industrial societies have been grappling since the early Seventies is essentially economic – a matter of insufficient competition, or inadequate investment, or lax monetary management, or deflationary fiscal policies, to be put right by the appropriate bag of economic tricks ...”

“... This book suggests how an odd mixture of Hungarian nerve, social bluff and show-business instinct once commanded the British cinema. In Michael Korda’s telling, however, the panorama of picture-making is not always alight with understanding or information. The author may have been born on the night in 1933 when his uncle Alexander Korda’s first great success, The Private Life of Henry VIII, opened, and that could have made Michael a good-luck charm in Alex’s eyes ...”

“... Not before time, historians are turning their attention to the often remarkably involved careers of the more familiar fruits and vegetables. For long, Redcliffe Salaman held this field alone, with his justly-renowned History and Social Influence of the Potato. Smaller-scale and little-known by comparison, but in its unambitious way hardly less fascinating, is N ...”

“... Great art collections formed by individuals are generally highly specialised – French Impressionist paintings, English sporting pictures, early Chinese bronzes – or somewhat specialised – Classical antiquities, Old Master drawings, Islamic art. What is special about George Ortiz’s collection of antiquities and ethnographic art, part of which is currently on show at the Royal Academy, is its combination of quality and breadth ...”

“... Day after day in the course of October 1907, Rilke returned to the two rooms at the Salon d’Automne devoted to Cézanne’s memory. The letters he wrote to his wife describe his intense admiration for the ‘emptying out of love in anonymous work’ which had enabled Cézanne to render the ‘substantiality’ of the natural world. What finally persuaded him, however, of the essential loneliness of Cézanne’s effort to strip away the preconceptions which separate us from that world was not the pictures themselves, but a quirk of scheduling: ‘the Salon no longer exists; in a few days it will be replaced by an exhibition of automobiles which will stand there, long and dumb, each one with its own idée fixe of velocity ...”

“... There are some curious aspects to Frank Lentricchia’s study of four Modernist poets: T.S. Eliot, Robert Frost, Ezra Pound and Wallace Stevens. For a start, it’s a book about poets which doesn’t seem much interested in poems. Lentricchia has written a lengthy chapter on each member of his quartet. Yet Eliot is represented by ‘The Love Song of J ...”

“... Jananne Al-Ani​ is an artist whose recent work has done much to illuminate the ways in which modern media can resemble a process of delineation: a drawing or writing with light (photo-graphy) or with motion (cinemato-graphy). The resemblance is established in Shadow Sites I (2010), which reinscribes by means of its own kind of graphic manoeuvre an already existing inscription ...”

“... Do you know why British politics is so acrimonious?’ I heard one man in a dark blue suit and pale blue open-necked shirt say to another, dressed just the same. ‘Because the stakes are so low.’ This was a somewhat heretical thing to say at an event that had been convened to remind us that the stakes have never been higher. The occasion was the Future of Britain conference, organised by the Tony Blair Institute for Global Change and presided over by the man himself ...”

“... There is nothing novel about British forces being involved in Afghanistan. Britain was deeply concerned with Afghanistan from the early 19th century right up until the moment it relinquished its empire in India in 1947, and at times actively engaged in its affairs. Diana Preston’s book focuses on one particular episode, the First Anglo-Afghan War of 1838-42 ...”

“... The​ Netflix series Colin in Black and White, about the early life of the NFL quarterback and civil rights activist Colin Kaepernick, begins by comparing American football to slavery. We are shown a group of Black football players having their bodies prodded and measured by white coaches, as they decide who fits the bill and who gets tossed on the scrapheap ...”

“... Estate, and was one of the first to take the Tennis Court Oath, appearing in the foreground of David’s painting. He was secretary of the National Assembly during the session of 14 July 1789, and later president, as well as a key member of some of the important committees that did much of the real work of revolution. One of the leaders of the Jacobins, he ...”

“... The debate went on for most of the 20th century: was its greatest artist Matisse or Picasso? This was perhaps the only century of the millennium in which the championship was a two-horse race – and a very close race, so that there may never be a consensus lasting more than fifty years as to which of them was the winner. Nevertheless, there is a clear distinction in their greatness, one relating purely to its nature, not its degree ...”