“... Twenty years ago Muriel Spark described a principle on which ‘much of my literary composition is based’. This was ‘the nevertheless idea’. Mrs Spark was writing about Edinburgh, about her exile from and her attachment to that city, a city in which, she explained, ‘nevertheless’ becomes ‘niverthelace’: ‘I can see the lips of tough elderly women in musquash coats taking tea at MacVittie’s, enunciating this word of final justification ...”

“... Brendan King​ starts with a difficulty: Beryl Bainbridge’s writing. It makes everyone else’s prose look flabby. But he also has an advantage: his particular knowledge of her life. King worked with Bainbridge for more than twenty years. He looked after her admin and edited her last novel for publication after her death. Diaries, letters and lovers have been open to him ...”

“... Tom Stoppard wrote​  Rosencrantz and Guildenstern Are Dead while listening to ‘Subterranean Homesick Blues’ and ‘Like a Rolling Stone’. He would like to have written Michael Frayn’s Copenhagen. Threaded into each of his plays is a coded tribute: an MP in Dirty Linen, a clerk in The Invention of Love and two characters in Leopoldstadt are all called Chamberlain, doffing their caps to Stoppard’s long-term assistant, Jacky Chamberlain ...”

“... If​ you live in London, squares are best. They have a plot. They tilt the natives away from secrecy and hoarding – from their hidden back gardens – towards a shared space. One end isn’t grander than the other; indeed, unless you are a postwoman, it won’t be clear where they start and finish. Ideal for snoopers, snipers, novelists, cartoonists and daydreamers, squares offer the chance of peering out in several directions without someone across from you peering back ...”

“... This biography gets off to a bad start with its title. The writer called Stevie Smith was also a celebrity called Stevie – a spiky sprite who was famous for being unfashionable. This creature thrived on being a spinster, which licensed her to be a bit cuckoo, and on speaking her hard words from a spindly frame decked out like a schoolgirl’s – as if it were a feat to think behind a fringe ...”

“... According to Rebecca West, F. Tennyson Jesse was ‘ideally beautiful. I have never seen a lovelier girl.’ A sketch in Joanna Colenbrander’s biography shows a flat, winsome face with wide, rather fishy eyes; her thin limbs are splayed out with flapperish elegance. It may be that her attractions – a fat bundle of love-letters was destroyed when she died, and Mrs Colenbrander finds several witnesses to testify to her ‘aura’ – had less to do with ideal beauty than with loquaciousness and flair ...”

“... In February 1948 André Gide received an uncharacteristically triumphant letter from his English translator. Used to hearing about Gide’s exploits, she now had, girlishly, ‘a little adventure of my own’ to confess. The manuscript of a short story which she had written and sent to Gide 19 years earlier – ‘Oh how could I be so idiotic?’ – and which Gide had stuffed in his desk drawer, had at last been shown to friends in London ...”

“... The young Noel Coward thought E. Nesbit was ‘the most genuine Bohemian I had ever seen’. Berta Ruck called her ‘the Duchess’. Nesbit set herself up as the complete Edwardian: a free-thinker, a matriarch and a madcap. She bobbed her hair, carried her tobacco in a corset box, and acquiesced in her Fabian husband’s disdain for the suffragettes: ‘Votes for women ...”

“... I too work hard, Mrs Oliphant,’ said Queen Victoria to the Scottish novelist. Mrs Oliphant was famous for her productivity. She published biographies of Edward Irving and the Comte de Montalembert, a literary history of England and more than sixty fat novels.* From the mid-1850s until her death in 1897 she contributed half a dozen essays a year to Blackwood’s Magazine, delivering on Bunsen, Savonarola, Queen Anne, Marco Polo and Jesus Christ ...”

“... On 24 March 1928 Charlotte Mew killed herself by drinking a bottle of disinfectant in a nursing-home near Baker Street. She left behind her a volume of poems, a number of uncollected essays and short stories, and instructions that after her death her main artery should be severed: she had thought a lot about being buried alive. Local newspapers reported the ‘suicide whilst of unsound mind’ of ‘Charlotte New, a writer of verse’, and of ‘Charlotte Mew, said to be a writer ...”

“... Susannah Clapp’s memoir of Bruce Chatwin has little in the way of hard-going and nothing of the comprehensive record that bloats a literary biography. It makes no claims about the relation between a writer’s life and work that weren’t already clear from Chatwin’s career, and tends to confirm that the real waywardness of this ur-traveller lay in his darting and musing and drifting intelligence: the long list of places visited, sights seen, hinterlands crossed can seem like a vulgar indiscretion by comparison – the mind, not the world, was Chatwin’s oyster ...”

“... from the London Review of Books is a sad moment for the magazine which, with Mary-Kay Wilmers and Susannah Clapp, he founded in 1979. In all important respects, the present character of the London Review was established then, in the closing months of 1979 and the first months of 1980, even though it appeared as an insert in the New York Review of ...”

“... just after her death. Narrative power was what animated the best of her writing. According to Susannah Clapp, it was what she admired in Shakespeare, whose plays she read like novels, enjoying the ‘bland’ lines that moved the action on, such as ‘a ship has come from France.’ Like Shakespeare, Carter was adept at borrowing plots. The Bloody ...”

“... owners’ dispute with the unions and the idea was to fill the gap left by the absence of the TLS. Susannah Clapp, who’d also been at the Listener, was the assistant editor; I was to be Karl’s deputy. The first issue of the new paper, designed by Peter Campbell, another refugee from the Listener, appeared at the end of October; a month later the TLS ...”

“... the separate planes of art and life. In her notes Marina Warner records a debt of gratitude to Susannah Clapp for pointing out to her that the Autumn of Keats’s ode – ‘close bosom-friend of the maturing sun’ – could be either a male or a female personification. The Latin god Autumnus was male, but there seems no doubt Keats had a lady in ...”