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“... devising new types of midway meeting between man and machine is at a premium in Turner’s work. Peter Corrigan, whose mission in the jungles of New Guinea forms the backbone of the narrative, actually is a camera: that is to say, he has only to look at a scene in order to register it, and subcutaneous circuits enable him to store his footage with maximum ...”

“... who in a Stanley Fishy way has simply asserted his right to authenticate? Floreat emptor. Or as Peter Carey ends his new novel, ‘How do you know how much to pay if you don’t know what it’s worth?’ Theft: A Love Story, is about just such issues of authenticity and fraudulence in the international art world. As he did in his last novel, My Life as a ...”

“... wave’ of Russian emigration. But others, including the organisations of monarchists, White Army veterans and ‘Solidarists’, had their roots in the first-wave emigration that had left Russia after the Revolution. First-wave émigrés – more comfortably settled than the DPs into an anti-communist stance, and, above all, savvy veterans of the ...”

“... for some while now to admit to being bored by the huge, flat, ‘pure’ abstracts on the white walls of the museums of modern art. And yet non-representational paintings on a fairly large scale seem still to be what art students are most encouraged to make. Critics now incline to applaud in them evidence of a strenously physical relationship with ...”

“... and abroad.From the beginning, Kollwitz used the dramatic contrasts afforded by black ink and white paper to illustrate the plight of the poor. Need (Not), for example, a lithograph she worked on from 1893-97, depicts a weaver’s cottage lit by a single window – which is to say, hardly at all. Only the essential details stand out: a man and child, a ...”

“... she was passing in Harlem. The heroines of her novels are loners, alienated from both Black and white communities, but forced to masquerade as belonging to one or the other. In Quicksand (1928), Helga Crane, the daughter of a white working-class mother and a West Indian father, must pass as Black to enter Harlem ...”

“... Nelson, the universal icon, had been downgraded for allowing himself to be seduced by so-called ‘white monopoly capital’, which has come to include much black capital as well. A growing black bourgeoisie and professional bureaucracy parallel their white counterparts in the private sector in rapaciousness. ...”

“... Cold War mentality of the ‘tranquillised Fifties’, as Lowell called them. Mailer’s ‘The White Negro’, for instance, has a Faustian hipster jealous of the black man’s intenser and more frequent orgasms and scornful of the puritan virtues of self-containment: ‘A stench of fear has come out of every pore of American life, and we suffer from a a ...”

“... faces south of the river for regular bits of business, cash drops. These heavy suits would sit, white-knuckled, fingers digging into the scarlet leather, until they made it safely home to Poplar. They piled into the nearest boozer and pitched back the doubles until they could lift a shot glass without spilling half of its contents. The ride to the tunnel ...”

“... kind of freedom. Mrs Wrayburn, like Fred’s sisters and mother, who stitch banners in the purple white and green of the WSPU, will gain less from the changes to come than Daisy, who has nothing to lose and is already quite tough. When Kelly, the journalist who has cost her her job, meets her as she sets out for Cambridge, she lets him propostion her. ‘He ...”

“... up with an emotionally and anatomically limited set of human characters: especially his handsome white-skinned goddesses, whose bodies, despite his brilliant way with pale flesh, are oddly stiff and un-fleshly. When they are naked their straight backs and high, small breasts mimic the shape they would have had beneath constricting bodices of the kind worn by ...”

“... at your door, papier-mâché heads, a cloud no bigger than ... It might have been blue satin, Peter Stuyvesant Gold, Deep Heat, umbrella pines, familiar two-note calls repeated at intervals, a lifeguard’s upraised hand. It didn’t matter what it was, almost anything would do to bring it all back to you, then take it away again. Till Soon How I laughed ...”

“... for a surrogate mother in every relationship,’ says Elizabeth Sweeting). His ‘marriage’ to Peter Pears, begun shortly after Mrs Britten’s death, may be partly understood in this light (Pears’s singing voice, it was noted, was uncannily similar to Mrs Britten’s), as may his lifelong willingness to be looked after, sometimes dominated, by a series ...”

“... had travelled more than 20 kilometres to arrive at our table.’ To accompany them, ‘pink-and-white peaches with the complexion of a Boucher milkmaid’ and ‘figs so ripe their purple skins had started to split open, threatening to reveal their juicy, red, pornographic interiors’. The House in France is Wells’s account of life with her mother, the ...”

“... poems, which contain lines like these, in ‘Star Damage at Home’, from the 1969 collection The White Stones:                               ... That some star not included in the middle heavens should pine in earth, not shine above the skys and those cloudy vapours? That it really should burn with fierce heat, explode its ...”