“... was merit in the movement to ‘destroy art before it’s too late’. Warhol’s biographer Fred Lawrence Guiles1 remarks elsewhere that his subject’s Pop creations ‘were more Duchampian than anybody’s. If a machine could have created silkscreen paintings of coke bottles, soup cans and dollar bills, Andy would have paid its inventor to set the thing up ...”

“... too. Greetings, borrowers. What I admire – not the word – about the poems is their intensity. John Berryman once said: write as short as you can, in order, of what matters. Surely no one – least of all Berryman himself – can have fulfilled the terms of that prescription as scrupulously as Hamilton. The majority of the poems are generated by one of two ...”

“... is found again in her commentary on the film Reds, which sorts out the ‘real’ history of John Reed and Louise Bryant from Warren Beatty’s ‘romantic celebration’; in her account of Lee Harvey Oswald as a ‘ghostly anachronism’ left over from the Depression years, and in her interest in English visitors to America. It’s apparent in her ...”

“... McEwan, I tried to call you on the radio telephone, when our old flatmate, John Webb, fell overboard in a gale off the coast of Long Island a few years ago and was nearly swept south to Bermuda. But the old Oxford number had been disconnected, and your publisher told me that you were ‘indisputably a hugely important literary phenomenon’ and not taking any calls ...”

“... not only because he worked hard at them, but also because he listened to advice, especially from John Gardner but also, more remotely, from Hemingway, Chekhov and V.S. Pritchett. One of the things he learned was the need for arduous revision, draft after draft. Another lesson was that the writer needs to trust the tale. ...”

“... the politics of their respective authors: R.H. Tawney and Christopher Hill on the political left, Lawrence Stone in the Whig centre, and Hugh Trevor-Roper on the right. They were comfortable corroborating their own political predilection with sophisticated historical exposition and, it seems, happy for their opponents to do the same. All agreed on the ...”

“... Alfred the Great (who earns the mysterious plaudit that ‘there was something about him of T.E. Lawrence’) gets credit for proscribing as treason any plot against the life of a feudal superior, and Henry VII for backdating his reign to the day before the Battle of Bosworth, making a traitor of anyone who fought for Richard III. There followed, in ...”

“... obsession with masculinity from James Fenimore Cooper through Owen Wister, Zane Grey and John Ford to Sergio Leone and Sam Peckinpah. His subject is the well-known tautology that a man’s gotta do what a man’s gotta do. For Mitchell, the Western novel is essentially theatrical – a stage on which male identity is enacted, as well as a form of ...”

“... books published to mark the opening of the new galleries supports this view of Turner’s genius. John Gage ends his introduction with a remark made by Lawrence Gowing in 1966: ‘It is not certain that we are yet prepared to see Turner whole.’ Gage reckons it is time to renew the attempt. He uses another quotation from ...”

“... it, producing not only Rockwell, Guest and the Saturday Evening Post but also Georges Simenon, John Steinbeck and the New Yorker (‘high-class kitsch for the luxury trade’). With kitsch running wild, like the capitalism which propelled it, authenticity needed defending. For nearly fifty years, Greenberg shouldered the task, separating good art from bad ...”

“... excoriated by Yeats. O’Malley tells his story in cadences influenced by the early Joyce, D.H. Lawrence and American writer friends like Hart Crane, but with a dry assurance all his own. The heroics come through all the more powerfully in his highly-polished but economical style. The supreme example can be found in the closing paragraph of the book. It is ...”

“... When John le Carré published A Perfect Spy in 1986, Philip Roth, then spending a lot of time in London, called it ‘the best English novel since the war’. Not being such a fan of A Perfect Spy, I’ve occasionally wondered what Roth’s generous blurb says about the postwar English novel. As a le Carré bore, however, I’ve also wondered how Roth managed to overlook Tinker Tailor Soldier Spy (1974), the central novel in le Carré’s career, in which George Smiley – an outwardly diffident ex-spook with a strenuously unfaithful wife and an interest in 17th-century German literature – comes out of retirement to identify the turncoat in a secret service that’s explicitly presented as a metaphorical ‘vision of the British establishment at play ...”

“... come hell or high water, let our distinctive British identity be lost in a federal Europe.’ John Major’s ringing assurance to last year’s Conservative Party Conference is part of a long tradition whereby Britishness has been defined primarily by reference to a real or an imaginary Other. Understandably so, since defining this entity in its own terms ...”

“... work off their private frustrations and seek new identities. (Like his most ardent disciple, T.E. Lawrence, Blunt may well have been conceived out of wedlock.) The net effect was far from innocuous. The myth that the ‘English knew the Arabs as no one else did’ made it easier for the British to take over large portions of the old Ottoman Empire after the ...”

“... Lover’, ‘Hill of the Bees’, ‘A Myth Enacted’, ‘Slow Bell from the High Hill’, ‘John Hunter’s Canal’, ‘The Lawn of Trees and Rocks’, ‘Quelle Histoire’, and (an unusual exertion of sympathy) ‘Dulled Son of Man’. In a poem to Ivor Gurney, Grigson, who can sometimes be magnanimous to the dead, hails Gurney as a poet of ...”