“... bibulous: to express her point of view, Jensen has embellished Weedon Grossmith’s drawings with black railway smoke and a suggestion of alcoholic fumes. He is supporting Waterhouse’s suggestion that sensible Carrie’s diary is ever so slightly mad. Perhaps all diarists expose a sort of madness in themselves. The diary of raving-mad Daniel ...”

“... than her own, and its even more terrible consequences.’ Clearly, a dreadful experience. But Michael Shelden, George Orwell’s biographer and in Spurling’s view one of those responsible for disparaging Sonia, has a slightly different take on the event. Interviewing her sister and half-brother, he claims that fearing for her life in the struggle with ...”

“... as quickly as I managed to get a foot inside the door, I was sent a copy of Byzantium endures – Michael Moorcock. That one, icons iconing, balalaikas balalaikaing, kept me up nights marking pages, memorising passages, and dreaming dreams of a vividness and thrust that I hadn’t experienced since I was in the Army. My well-intentioned friends in Poland ...”

“... What​ was it like growing up in black and white?’ was a question I asked my mother once. Until that moment her memories of childhood, so much more engrossing than any bedtime story, had unspooled in my head in perfect greyscale. (They do still, in childish defiance of the facts.) It wasn’t as if I’d seen many photographs of her as a girl – I still haven’t – but simply that the past, as I had perceived it, was defined by an absence of colour ...”

“... History of Time. The book contains a few cartoons: a full-bearded God throwing dice towards a black hole, for example. Also some jokes: miniature black holes gobbling up ‘all those odd socks’, four-dimensional slide projector screens becoming unavailable through ‘government cuts’. A three-part companion ...”

“... over the fire. It’s the size of a marshmallow. It bubbles and blackens to Campfire goo – Burnt-black skin outside Gooey Jew. From the 20th century’s 24/7 chimneys, choo-choo- Train puffs of white smoke rise. The trains waddle full of cattle to the camps. The weightless puffs of smoke are on their way to the sky. Ovens cremate fields of human cow. Ovens ...”

“... all, of Reger’s sentences’ – in a sort of lopsided barbershop trio. One that sings only the black notes. A normal novel is at pains to differentiate between its characters by making them talk, about themselves and about each other, in distinct, individuated ways. He do the police in different voices and so on. In Bernhard, though, there is a convergence ...”

“... a page or so. What happened in those two years? In the first, Véra was in a sanatorium in the Black Forest for seven weeks. She was with her mother, and Schiff simply says Véra’s ‘health was also fragile at the time’. Voronina and Boyd offer Véra’s own ‘depression, anxiety, weight loss’ as the reason for her spell away from home. These are ...”

“... they sup on unsuspecting humans when they can, but otherwise it’s work and pleasure as usual: black clothes, pale faces, no brains. There are glimpses of a later London, where the escalators in the Underground never work and trains are late ‘due to delays’; a whole litter of movie references; and good gags about journalism and art colleges. But what ...”

“... passing, like a pleasant sitting-room with chintzy chairs, into another room at the back. It has a black-and-white checked floor and is full of easels. At each easel there is an old woman, wearing a smock. Some have paintbrushes in their hands and are managing to dip them occasionally into paint and splodge on the paper in front of them. Such a passage would ...”

“... went on to describe the park at the top of the cliffs, full of prowling servicemen in the wartime black-out, a sex jungle at night. He felt nervous, but Tennessee was in his element. Neither of the two most memorable characters in this book was ‘anybody’: Frank Merlo, the playwright’s lover and adviser, who died of cancer and/or a broken heart, his long ...”

“... of Buenos Aires, make this book as absorbing as any thriller. Where Costantini stops short at the black hole into which the desaparecidos vanished, Omar Rivabella takes us inside, and incidentally reminds us that the moral choice which Francisco Sanctis enjoyed was something of a luxury. The reader of Requiem for a Woman’s Soul has to piece together the ...”

“... here, to tell the truth,’ Sancho says, presumably telling the truth. ‘For one thing I’m black and white in a full-colour universe.’ And for the moment, he doesn’t seem visible to anyone except his father. Will he die if his father stops thinking about him? ‘If you get imagined into being, does that mean that after that you can just be?’ If ...”

“... and Fog, where we can’t put together the bland colour images of the present with the grisly black and white pictures of the past. What on earth can it mean to say this is the same place? At another moment the narrator recalls a film made during the first year of the Occupation, a light comedy called Premier Rendez-vous. The physical film seems strange ...”

“... Khan, who ran Pakistan’s bomb-building programme, was exposed as the kingpin of an international black market in nuclear technology. Khan was placed under house arrest but subsequently pardoned by Pakistan’s unelected president, General Pervez Musharraf. Officials from the United States and the IAEA were denied permission to interrogate him. According to ...”