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“... moment of ration books and travel restrictions, of the lust for food, and hymnings of garlic, and John Minton’s seductive, and faintly Post-Impressionist, illustrations to Elizabeth David. Brooke, after the war, heads for the Mediterranean as fast as he possibly can, but, being Brooke, he is already deeply nostalgic for his Army days there and strives to ...”

“... that orthodoxy calls most persuasively to those who know, as Christ told the woman of Samaria in John 4.10, that there is no living water in this life. Eliot could state this perception without complaint, and even joke about it in his sober way. He tells his brother about ‘the kink in my brain which makes life at all an unremitting strain for me, and which ...”

“... indulge in orgies of this: ‘We consigned to the flames or the waves one Gunter Grass, two John Fowles, a Nabokov, a John Berger, three Doris Lessings, a Gore Vidal, two John Barths, and the whole of Jorge Luis Borges.’ This impatience with literary artefacts means that he and ...”

“... to have some justification. Yet it is rarely so obviously justified as in the case of Professor John Elliott’s rediscovery of a major Spanish statesman of the 17th century, the effective ruler of Spain for more than twenty years and the contemporary, the rival and the opponent of Cardinal Richelieu. A choleric man, obsessed with honour and reputation, it ...”

“... of Kansas by pro-slavery forces, which had terrorised Northern settlers and sacked the town of Lawrence, but ridiculed Senator Andrew Butler of South Carolina in unusually personal terms, alluding to his speech impediment. ‘He shows an incapacity of accuracy,’ Sumner declared. ‘He cannot open his mouth, but out there flies a blunder.’ Brooks was ...”

“... a voice at the start assures us that Robin Hood robbed the rich to feed the poor. But when Little John (a bear) asks Robin (a fox), ‘Are we good guys or bad guys?’ Robin hedges: ‘We never rob; we borrow a bit from those who can afford it.’ Later in the film, bad King John (a lion) tries to firm up the moral ...”

“... Juliet. In ‘Dust of Gold’, one of the late numbers of Fors Clavigera, Ruskin remembers Friar Lawrence rebuking the parents’ grief at Juliet’s death:                             Heaven and yourself Had part in this fair maid; now Heaven hath all. Hilton speculates that it was anorexia, induced by religious fasting, that ...”

“... permission to use the runnels and platforms for The Vertical Line, a performance piece devised by John Berger. In Ways of Seeing, Berger presented on television for the first time an ideological analysis of art and aesthetics. One of the programmes juxtaposed pin-ups and centrefolds with Titians, in a powerful early assault on advertising. Thirty years ...”

“... In 1978, at a seminar on John Maynard Keynes held by the University of Kent, Raymond Williams talked about ‘The Significance of Bloomsbury as a Social and Cultural Group’. He accepted Leonard Woolf’s characterisation of Bloomsbury as consisting ‘of the upper levels of the professional middle class and county families, interpenetrated to a certain extent by the aristocracy’ with ‘an intricate tangle of ancient roots and tendrils stretching far and wide’ through those classes ...”

“... includes a dozen of them, mostly in their entirety.Interest in his life is sharpening. After John Stuart Roberts’s compact and readable single volume of 1999, we now have Jean Moorcroft Wilson’s double-header, with Max Egremont’s somewhat shorter Life expected soon. Sassoon’s story has also reached a wider audience through television re-creations ...”

“... to commit suicide, but the coroner decided it was an accident. While the premature deaths of, say, John Berryman and Delmore Schwartz and Sylvia Plath seemed somehow implicit in the trajectory of their careers, there was nothing remotely maudit about Jarrell, until the last couple of years of his life, when the approach of his 50th birthday induced a bout of ...”

“... stock heritage prop. It has passed through the levels of Eng Lit from the coal-owner’s estate in Lawrence to David Storey’s Radcliffe and homoerotic fumblings among the guy ropes. There is the same smack of Mosleyite fellow-travelling that Ishiguro exploits in The Remains of the Day. ‘Stand in the snug every Sunday after service, pull on his thumbs and ...”

“... younger brothers into the same orbit. Sometimes the new world and the old collided. ‘A Mr D.H. Lawrence came over the other day,’ Ida Sitwell wrote to Osbert in some bemusement, ‘a funny little petit-maître of a man with flat features and a beard. He says he is a writer, and seems to know all of you.’ At a loss to entertain his guests, Sir George ...”

“... always on the move. There’s nothing about Mansfield that’s institutional. She knew Woolf and Lawrence and the rest, published in the same avant-garde magazines, went to the same parties and talked about the same things, but the fact that her biography doesn’t sit comfortably alongside theirs, seems more insubstantial than theirs, is due as much as ...”

“... in for ‘experiment’, from James, Ford and Conrad and Joyce to, say, Golding and Ian McEwan. Lawrence saw how much might be done in a novel, how free it could be of constraints, how apt to the business of making it new; the novel was protean, insisting on its own virtually infinite possibilities, experimental in its very nature. Johnson was fond of ...”