“... and distinctive talent. Gerard Manley Hopkins thought the author might be Irish, observing to Robert Bridges in 1885 that ‘Field is a common, Michael a very common, Irish name.’ Bradley triumphantly reported that at least one reader was convinced that Field must be ‘a Bristol man’. Privately, the authors called themselves ...”

“... separated the theatres, one behind the other, on a vast paved piazza. But something there is, as Robert Frost says, that does not like a wall. From any angle, these schemes suggested disguised factories for making some plebeian product – meat pies, perhaps – inexplicably thrusting out of the harbour, the same problem that had inspired the soon to be ...”

“... the rushed observations of Andrew Marr. An academic industry has flourished. Now both Weight and Robert Colls have written requiems for the old Britishness which are also ruminations on a new, more democratic England. Britannia, for so long a proud Amazon, armoured and helmeted, repulsing European foes and civilising barbarians is, these days, according to ...”

“... German, French, and Italian – Austrian lawyer, Jew, perfect typist, wants a position – Dr Robert Fischer, Deutschmesiterplatz 2, Vienna I.’28 July 1938: ‘Young Jewess, opera and concert singer, music teacher, Vienna Music Academy with honours, besides well-trained doctor’s assistant, speaking French, Italian, German, perfect household ...”

“... Burnt Diaries (1999), and by Elaine Feinstein in her biography of Hughes from 2001. Like his hero Robert Graves, Hughes tirelessly pursued the White Goddess, or the Goddess of Complete Being as he called her in his study of Shakespeare, both in his imagination and in the forms that she assumed in the women whom he met and slept with. Few, it seems, took much ...”

“... face portrait of Miss Jogg the model, and a suit of armour containing Don Quixote.’ Or, ‘One stone terrace (cracked), one gondola in distance, one Venetian senator’s dress complete, richly embroidered white satin costume with profile portrait of Miss Jogg the model, one Scimitar superbly mounted in gold with jewelled handle, elaborate Moorish dress ...”

“... freedom struggle. The four political assassinations that define the 1960s – those of John and Robert Kennedy, Malcolm X and King – stand in for the very large numbers (almost all black and lost to national public memory) martyred to racial justice. It is now a commonplace that, instead of protecting Southern civil rights workers, the FBI (with the ...”

“... were not unknown. Haggerston Baths, with its soft red brick laid in English bonds, its Portland stone dressing, was a marker for the territory, from the 90-foot chimney stack for coal-fired boilers to the golden galleon that caught the wind as a weathervane. This craft was a symbol of locality by which those staggering home from a cluster of pubs could ...”

“... Depestre; the Cuban artist Wifredo Lam; the French poet Louis Aragon; the French photographer Robert Doisneau; the Russian-Mexican painter Vlady Rusakov and his father, Victor Serge, hero of the anti-Stalinist left. Several of her works are lost, including The Commune, Louise Michel and Us, a film she worked on in the early 1970s and ‘Guns for ...”

“... Abu Simbel, the stones aligned to mark the moonrise and moonset at Stonehenge, the 5000-year-old stone circle at Callanish on the Isle of Lewis: they all appear to describe the extent of our capacity for wonder, the full midsummer Moon at the Callanish stones in certain years appearing ‘to skim the horizon in a ghostly and prophetic way’. Stroud is a ...”

“... a small courtyard. A doorway at the far corner leads into a building of indeterminate age with a stone façade. You pass along a brief, twisting entranceway and into an elegant antechamber. But then the passage suddenly and dramatically opens out, leading into a vast, formal hall. It is richly decorated with 17th-century panelling and arrayed flags, all ...”

“... impressed. It was a building that worked, though made of ordinary and traditional materials – stone, timber and iron – on a limited budget; it was the product of a mind at once practical and imaginative. Throughout, as my then boss, Andy MacMillan, put it, Mackintosh ‘demonstrates a creative exploitation of each and every specific requirement, seizing ...”

“... Robert Lowell​ has a poem called ‘Picture in The Literary Life, a Scrapbook’ which begins:A mag photo, I before I was I, or my books –a listener … A cheekbone gumballs out my cheek;too much live hair.Not knowing the photo of Lowell, I go instead to the picture of Seamus Heaney on the front of the companion volume to this one, New Selected Poems 1966-87, painfully young, worried-looking, Noh-rice-flour-pale, against a dark brick wall ...”

“... and post-minimalist sculptors of her own generation or slightly older – figures such as Robert Morris, Sol LeWitt and Richard Serra – and then with the promotion, through the journal October, which she co-founded in 1976, of a somewhat younger group of postmodern artists who substituted photographic imagery for painting, among them James ...”

“... and the human touch which made him such a fine teacher. The long list of his pupils runs from Robert Kee at Magdalen in the Thirties to Kathy Burk, the last of his postgraduate students, in the Seventies. But a survey of the many historians he taught would show that in various respects they did not agree with Alan Taylor or indeed with one another. One of ...”