“... prosopographical breakthrough: a book confidently entitled The Most Evil Men and Women in History (Michael O’Mara, £15.99) and with a cover where the word ‘evil’ appears in black in a type size several magnitudes greater than that of its supporting syntax. Nor should we be surprised for a second time to find that this is a set of potted life-stories to ...”

“... degree of moral disdain. In the Heat of the Night has a scene in which Mr Tibbs is slapped by a white man and slaps him right back: for many people, that was ‘1968’ writ large, and, through a fusillade of old-guard objections, along with objections from the new guard that it wasn’t enough, it seemed that the cinema might never be the same ...”

“... Because the man himself is so ungainly, it is easy to overlook Michael Moore’s voice. Where his body seems ungovernable and a source of embarrassment to him – he often can’t bear to watch himself on screen – his voice is confident, almost suave. There’s a moment in his least known movie, The Big One (1997), where he launches effortlessly into a gravelly imitation of Dylan singing ‘The Times They Are A-Changin’’ before reverting, with a chuckle, to his own spoken voice ...”

“... to mean many things apart from indissoluble union, but even (or especially) on this reading Edmund White finds the image ‘chilling’, and George Painter has this to say: If [Mme Proust’s] words were given their full, terrible meaning they would imply a mystic union with her son more valid than her marriage, in an alien faith, to his father. But their ...”

“... 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 ...”

“... these matters his new partner, who has stayed with him for the whole of his business life, Gordon White, boasted to a Sunday Mirror gossip columnist: ‘Why should I marry? I don’t need anyone to look after me. I’ve got a good housekeeper to darn my socks, sew on my buttons and cook my meals.’ White managed to ...”

“... the chance to speak in an unmediated first person fulfilled a more urgent necessity. It allowed Michael Herr, on assignment in Vietnam for Esquire and Rolling Stone, to write about his own terror and confusion as he drifted through the war zone, and it allowed Joan Didion, in The White Album, to weave details of her ...”

“... a sexual relationship with an English teacher that began when she was 13, wrote online that ‘a white woman has written a book that fictionalises a story many people have survived and the book is receiving tremendous backing and promotion.’ Ortiz described ‘eerie story similarities’ between My Dark Vanessa and Excavation, but stopped short of accusing ...”

“... her flat so she could watch Neil Jordan’s biopic about the nationalist politician and guerrilla Michael Collins. In the closing sequence, Collins’s fiancée, Kitty, buys her wedding dress, Michael is assassinated by anti-Treatyites in the wilds of County Cork, and Sinead O’Connor sings ‘She Moves through the ...”

“... There’s​ a morbid aspect to Libertyville, the Chicago suburb where Pan, Michael Clune’s first novel, is set: ‘At night in the Midwest in winter,’ we are told, ‘the raw death of the endless future … is sometimes bare inches above the roofs.’ It’s the kind of thought that could only occur to a sullen teenager with a flair for melodrama ...”

“... foreground whom at first we barely notice: a typical Poussin figure, half-asleep on the ground, white-haired and a little overweight: as if death, if we’re lucky, will be a long weary half-consciousness of water still flowing (the figure is a river god holding a jar whose contents spill through his fingers) and a shelf of grass. Death is everywhere at ...”

“... especially but not exclusively in the South, have understood freedom as an entitlement limited to white people. Cowie argues that ‘white freedom’ has long entailed the power to dominate others, especially non-whites, without interference from the national government. The fear that ...”

“... an unspeakable wilderness swinging a crookhandled stick for all weapon with two bull-dogs, Paddy (white) and Biddy (brindle) at his heels and a Loanda boy carrying a bundle for all company. A few months afterwards it so happened that I saw him come out again, a little leaner, a little browner, with his stick, dogs and Loanda boy, and quietly serene as though ...”

“... thoughts and fantastic reveries and exquisite passions. Set it for a moment beside one of those white Greek goddesses or beautiful women of antiquity, and how would they be troubled by this beauty, into which the soul with all its maladies has passed. For Pater, physical lust and spiritual ambition are opposites. The other exception is Kate Moss. Consider ...”

“... sort of plot and the two men were buried alongside each other and their graves marked by plain white marble slabs bearing just their names and dates. Family photographs show both graves strewn with wreaths and flowers and Alfred’s headstone has an ornate wire frame fixed behind it, covered with more flowers. Amelia and Albert were the only mourners at ...”