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“... observations which epitomise the art of film come in as asides, as when, writing about Michel Simon, he invokes ‘the special mingling of self and character that is so necessary (and dangerous) in screen acting’. (This, by the way, is a rewrite. In the previous edition it read: ‘the special mingling of self and character that is so hallucinatory in ...”

“... history (Bloch, Braudel, Hobsbawm, Needham, Elliott), sociology (Mosca, Pareto, Weber, Simmel, Mann), anthropology (Mauss, Lévi-Strauss, Dumont, Malinowski, Evans-Pritchard) or literary studies (Bakhtin, de Man, Barthes). All these foundational figures are European. The grand American exception is Chomsky, who revolutionised the study of ...”

“... say “A friend of mine just died” doesn’t mean anything any more,’ the historian Simon Watney said in 1994, but that network is qualitatively and quantitively specific to how gay men live. Deaths in those networks mean deaths of whole areas of memory and association. Death for most heterosexuals means family deaths most of the time, up to the ...”

“... the rustle of the Holy Ghost, hers an oracular hooga-booga. The objections that Howe, Rahv, John Simon, the art critic Hilton Kramer and other keepers of the scrolls lodged against her were as much about the 1960s as they were about her, for no one in the Family (as Norman Podhoretz, a former Partisan Review-er, dubbed them) personified the 1960s more than ...”

“... just under the surface: Catherine Deneuve’s character appears to be the mistress of both Simon (Richard Crenna), the gangster behind the raid, and Edouard Coleman (Delon), the policeman pursuing him; Coleman exchanges lengthy, longing glances with one of his informers, a transvestite prostitute who’s clearly in love with him, only to inflict an ...”

“... commended Moravia and Malaparte, and was respectful of Aldanov and Malraux. Critical of Sartre and Mann, cool about Camus and Pasternak, he warmed to Queneau. These​ were the novels of others. It is in his own that the effect of Powell’s personal culture becomes salient. More real persons are referred to in A la recherche than there are characters: on a ...”