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“... made up). These changes make (some of) his poems more accessible and ostensibly more frank: he now writes plainly about being gay. But these may not be profound differences. The radical problem for Merrill was the trickiness of self-representation. In the early part of his career, he simply froze before the lyric ‘I’. What enabled him, later ...”

“... lies. They’re all Picassos, not one is Dora Maar,’ she exclaimed after their break-up. When James Lord, her interlocutor, attempted to point out that her portraits are hung in museums throughout the world and have been published in numerous art-books, and that as a result she would never be forgotten, she retorted acerbically: ‘Do you think I ...”

“... Ernest Mehew was in the news last year when, in the TLS, he delivered a flaming attack on Frank McLynn’s much-lauded biography of Stevenson. I must say I was with him on this, and especially over McLynn’s ludicrous vendetta against Stevenson’s wife Fanny Osbourne and her family. Perhaps there is something in the Stevenson story which gets people ...”

“... Tite Street was the family home; he did not return there. The spectre of Wilde haunted Henry James in the first two months of 1895, and James’s correspondence gives us a much richer sense than Wilde’s does of what the opening of a new play could mean at the turn of the 19th century. ‘Who shall deny the immense ...”

“... Frank Kermode’s History and Value reads the literature of the Thirties as ‘a love story, almost a story of forbidden love’. The story is usually told in political terms, but the characters and actions in Kermode’s version and in the conventional version are the same: the poets and novelists who hoped to serve a proletarian revolution that would abolish their privilege and consume their class ...”

“... raised a question that wouldn’t go away for Auden: the importance, or the impotence, of being frank. Discussing Peer Gynt in The Dyer’s Hand, he wrote that ‘both the dreamer and the madman are in earnest; neither is capable of play-acting.’ The dreamer is ‘like the movie-goer who writes abusive letters to the actor he has seen playing a ...”

“... James Merrill​ has in Langdon Hammer the biographer he would have wished for: intelligent, appreciative, sympathetic, thorough, a first-rate reader of the poems, and an excellent writer to boot. Merrill would have hated to be the subject of a plodding biography. He was all about stylishness and elegance, in poetry and in life ...”

“... his would-be resurrectors. The same melancholy afflicts his most authoritative modern biographer, James Anderson Winn: ‘Any candid teacher of English literature must admit that many students find little pleasure or stimulation in those few selections from Dryden we now ask them to read.’ The difficulty is not confined to students, or to recent times. ‘I ...”

“... William Nicholson, and woodcuts by Kandinsky, collected by the University’s Vice-Chancellor. Frank Rutter, curator of Leeds Art Gallery, completed the boy’s artistic education. He had already begun to write poems, in free verse influenced by Imagism. Now he became a partisan of the English near-abstract movement Vorticism, and the drawings reproduced ...”

“... is to choose a strong narrative line, which means travelling light when it comes to what Henry James called ‘solidity of specification’. The other is to put together a portrait ‘from the life’, which is what Parker has done. This book is not, primarily, about Isherwood’s career, but about Isherwood. And Isherwood was all about Isherwood. His ...”

“... form and essence of culture. He is end and beginning, both cedar tree and ‘A per se’. And as James Kinsley suggests, Virgil’s best translators acquire something of his luminous stature: ‘the ancient author becomes culturally effective, and the translator a “noble collateral” with him.’ Henry Howard, Earl of Surrey, relied heavily on Douglas’s ...”

“... Lewis Carroll seems an obvious precursor of James Joyce in the world of elaborate wordplay, and critics have long thought so. Harry Levin suggested in 1941 that Carroll’s Humpty Dumpty was ‘the official guide’ to the vocabulary of Finnegans Wake. Why wouldn’t he be? He was the inventor of the portmanteau word (‘You see it’s like a portmanteau – there are two meanings packed up into one word’), an inspired parodist of what Saussure later called the arbitrariness of the linguistic sign (that is, its being grounded in nothing but convention) and extremely proud of his ability to ‘explain all the poems that ever were invented – and a good many that haven’t been invented just yet ...”

“... by doing or seeming to do nothing. It was the fashion. Gary Cooper, Clint Eastwood, Lee Marvin, James Coburn, and in England – and in a different, English way – Michael Caine, seldom did anything else. It was also a manner which could not always be easily distinguished from simple idleness. For the first 25 years of Mitchum’s career, his performances ...”

“... The Barracks (1963), The Dark (1965) – and in some of his best short stories. ‘Gugering,’ Frank Shovlin explains in a footnote, ‘is the act of dropping seed potatoes into holes in the ground.’ Uncle Pat, he suggests, is a model for the fictional character ‘The Shah’ in McGahern’s final novel, That They Might Face the Rising Sun ...”

“... before Christ was crucified. Yeats came to O Rathaille, or to this line of his, with the help of Frank O’Connor. Introducing O’Connor’s name, John Jordan introduces a writer who won a particular fame as a translator of Irish as well as a more widely acknowledged renown as a short-story writer in English. The translator has been of extraordinary ...”