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“... This summer​ , a new monument appeared in Budapest’s Liberty Square. Amid a copse of truncated white marble pillars stands the metal figure of a slender young man. Wrapped from hips to feet in windswept drapery, he opens his arms to the sky. In his right hand he bears the orb of political authority surmounted by the Hungarian double-barred cross ...”

“... elegiac fondness for the Prussian past. Pinning down what Fontane meant takes us to the heart of Christopher Clark’s lively and thoughtful book. His clear-eyed account hinges on the idea that the essence of the Prussian tradition was the absence of tradition. It is not hard to see how that quality might have impressed a 19th-century observer like ...”

“... As gravity bends light, so power bends time,’ Christopher Clark writes. The ‘temporal turn’, which has recently become fashionable among historians, looks at the interplay between an individual’s subjective experience of the world and the temporal systems that surround them. These systems are generated, on the one hand, by the infrastructure of modernity – clocks, railways, the internet – and, on the other, by ideas about stasis and change, and the past, present and future ...”

“... the Battle of Waterloo without General Blücher and his Prussians. The recent books by Christopher Clark and Margaret Macmillan, which suggest that the catastrophe of 1914 was caused, in part, by secret treaties, devious and incompetent diplomacy and a culture of militarism from which Britain can’t be exculpated, have had little impact on ...”

“... the masses had only been waiting for a signal to pour into the streets and head for the palaces. Christopher Clark uses a metaphor from nuclear physics for the way the revolution accelerated: From the beginning of March 1848, it becomes impossible to trace the revolutions as a linear sequence from one theatre of turbulence to the next. We enter the ...”

“... earlier. A comparable mistake today, Johnson believed, could leave twenty million dead instantly. Christopher Clark’s breathtakingly good book is, much more self-consciously than Tuchman’s, also a history for its – that is, our – times. An act of terrorism in Sarajevo – the assassination of the heir to the Austro-Hungarian throne and his wife ...”

“... outbreak of war and the revisionist interpretation recently advanced by his Cambridge colleague Christopher Clark. (It is unfortunate that Evans decided to end a book so full of new and interesting material with Sir Edward Grey’s familiar lament on 3 August 1914 that Europe’s lamps were being extinguished – a darkness for which Grey himself was ...”

“... anyone seeking to divine the underlying logic of Johnson’s apparently chaotic administration (Christopher Clark writes about Cummings’s blog and his obsession with Bismarck on p.21). There is a guilty frisson in the idea of a lawless nihilist pulling all the strings, but to grasp the danger Cummings poses, one has to start by recognising how ...”

“... blunders of the German elite’ can’t be made to shoulder all the blame. In The Sleepwalkers, Christopher Clark deploys on a grander scale and over a much longer timeframe essentially the same argument.* ‘The protagonists of 1914,’ he writes at the end, ‘were sleepwalkers, watchful but unseeing, haunted by dreams, yet blind to the reality of ...”

“... is a case in point. Herbert Butterfield slew it in 1931, and here come John Pocock and Jonathan Clark to slay it again. There is next to nothing in common between them, save their opposition to the Whig Interpretation and its offspring: but it is that opposition which provides both of them with the structure of their argument and the dramatic purpose of ...”

“... No Australian poet before Christopher Brennan was fully conscious of the artistic problem posed by isolation from Europe, and no Australian poet since has been fully disabled by it. Brennan’s life and death dramatised the problem once and for all. It was and is a true problem, not just a difficulty. Brennan, whether he wanted to or not, lived the problem to the full, and thereby, on everybody else’s behalf, got it out into the open ...”

“... to ‘a’? Quoting the same sentence in his preface to the full set of new translations, Christopher Prendergast writes: ‘all paradises are lost paradises.’ This is impeccably aphoristic, and assumes that false paradises are just not paradises at all. Proust himself could be more accommodating, and at one point implies that almost anything may be ...”

“... statesmen, like others, did not know what they were doing.’ Something similar is argued by Christopher Clark in The Sleepwalkers, a book whose title says it all. I don’t think this is just an academic spat, a Historikerstreit, with little application to modern political debate. On the contrary, I think it has had a damaging knock-on effect on ...”

“... I knew Kenneth Clark by sight some time before he spoke to me. It was in the late Fifties, I think, at the press view of an exhibition of 20th-century English painting, that words were exchanged. We must have got there very early, because no one else was in the gallery. I was standing in front of a big Pasmore and Clark was coming to look at it ...”

“... T.J.​ Clark begins If These Apples Should Fall with a restaging of his first encounter with Cézanne, when as a 15-year-old in 1958 he was amazed by a reproduction of The Basket of Apples: ‘I think I can retrieve the feeling even sixty years later.’ This is one version of ‘the present’ in his subtitle, the summoning of a then of Cézanne painting and Clark looking into a now of his writing and our reading ...”