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“... All fathers​ are unknowable to their sons but some are more mysterious than others. The Victorian stereotype was a whiskered patriarch behind a study door, the son, barred from entry, tiptoeing past. Now the door is open, and the study has been converted to a playroom, and fathers are expected to be on hand. Even so, inaccessibility remains a dominant motif: the workaholic dad, out early and back late, available only at weekends; the divorced dad, living elsewhere, available only on alternate weekends; the abusive or alcoholic dad, available but not to be trusted; the sperm donor dad, available only since 2005, when a change in the law removed his right to anonymity; the accidental dad, heedless of the consequences of his donation, unacquainted with or unaware of his offspring ...”

“... Johnson’s Imlac, urging that the poet neglect the ‘minuter discriminations’ of the tulip leaf in favour of ‘general properties’, has been unpopular for two hundred years, never more so than now, when it is believed that accumulated tiny detail – thinginess – vouches for a poem’ s authenticity. But Imlac also argues, apparently contradicting himself, that ‘to a poet nothing can be useless,’ that he ‘must know many languages and many sciences’ and through his command of botany, zoology, astronomy, politics, ethics and so on become a ‘legislator of mankind ...”

“... Why has​ so little of Walter Kempowski’s work appeared in English? In Germany he published forty-odd books but only two of his novels were translated into English during his lifetime: Aus grosser Zeit (Days of Greatness) in 1978 and Hundstage (Dog Days – not to be confused with Günter Grass’s Hundejahre, Dog Years) ten years later. There was also a collection of interviews, Did You Ever See Hitler?, one of the three ‘inquiry’ volumes accompanying his autobiographical novel sequence, Deutsche Chronik, though to buy it now you’d have to fork out £144 ...”

“... According to W.H. Davies, tramps often buried surplus items of clothing or footwear by the side of the road, knowing they could retrieve them should they pass the same way again. In his second volume of autobiography, Later Days, published in 1925, Davies lists a few of his deposits: a shirt on the banks of the Mississippi, a pair of boots in the Allegheny mountains, a coat under rocks on Long Island Sound ...”

“... A more sophisticated version of Larkin’s cry ‘Foreign poetry? No!’ is the belief that the poetry of certain parts of the world (Eastern Europe, for example) is intrinsically more interesting than that of other parts. This isn’t only a matter of some countries being thought politically more dramatic, and therefore poetically more absorbing, than others, nor of the Teutonic going down better here than the Latin ...”

“... There​ is a terrific photo of A.E. Coppard on Brighton racecourse one Sunday morning in 1901. Dressed in running gear (white shorts, sleeveless vest, bare feet in leather running shoes so thin they look more like ballet pumps), he’s down on his haunches, leaning forward, waiting for the starting gun. There are no competing runners nearby; he was obviously posing for the camera ...”

“... If​ his English teacher hadn’t been so snootily discouraging, it’s unlikely that Tony Harrison would have gone on to write as much as he has: by my calculation, 13 plays, 11 films and twenty or more poetry collections and pamphlets, not to mention the essays and addresses assembled in Edith Hall’s edition of his selected prose. That teacher, commemorated but unnamed in the poem ‘Them & [uz]’, was so dismayed by Harrison’s ‘barbarian’ recital of Keats’s ‘Ode to a Nightingale’ in a Northern working-class accent that he called a halt after only four words:‘Can’t have our glorious heritage done to death …Poetry’s the speech of kings ...”

“... Poetry written in dialect seems to be undergoing a resurgence. Tony Harrison has made extensive use of Northern idioms. Tom Paulin has been busy raiding Ulster (and, I suspect, Scottish) dictionaries. Craig Raine has produced a manifesto, ‘Babylonish Dialects’, on dialect’s behalf. And several of the books under review here – by Scots, Welshmen and British West Indians – cannot be read without the glossaries which they thoughtfully provide ...”

“... Blake Morrison begins his account of the murder of James Bulger with a delicate diversion into the story of the Children’s Crusade. The year 1212: at Saint-Denis, a boy of 12 begins to preach. He has received word from God that it is the mission of Christian children to free the Holy Land from the infidel. He draws crowds, draws followers: boys and girls swarm from street and field ...”

“... Towards the end of And When Did You Last See your Father? (1993), Blake Morrison says:Stand them up against grief, and even the greatest poems, the greatest paintings, the greatest novels lose the power to console. I used to think that solace was the point of art, or part of it; now it’s failed the test, it doesn’t seem to have much point at all ...”

“... Plath, the seminal ‘Daddy’. Germaine Greer’s used up Daddy, We Hardly Knew You, and now Blake Morrison has bagged And When Did You Last See Your Father? Which leaves me, I guess, with a choice between Oh, mein Papa and Daddy’s Little Girl. I’d better get a move on, or I’ll be lumbered with When Father Papered the Parlour, which wouldn’t ...”

“... It seemed to be happening only yesterday, but Blake Morrison was born in 1950, and for him the Movement is something you have to work on in a library. So it suddenly comes to seem rather remote, as deep in the past as those files of the Spectator where he found the famous pieces by J.D. Scott and Anthony Hartley, or the scripts of John Wain’s Third Programme magazine First Reading, or copies of the Reading limited editions of Wain and Amis ...”

“... In 1982, at the age of 30, Andrew Motion, together with Blake Morrison, claimed attention in the Introduction to the Penguin Book of Contemporary British Poetry for the idea that ‘British poetry is once again undergoing a transition’: the new poets, many of them ‘Martians’, showed ‘a preference for metaphor and poetic bizarrerie to metonymy and plain speech’, and ‘a renewed interest in narrative ...”

“... of prose, as in ‘Your Attention Please’. He remains one of our finest satirists and observers. Blake Morrison, of the Observer, has shown himself over the past four years to be a highly gifted observer. On the subject of war, he now shows himself to be a trenchant satirist: Her grail’s religious: coming from the flatlands She dreams of death on a ...”

“... wrote, poetry makes nothing happen, then the poetry anthology has no such self-effacing qualms. Blake Morrison and Andrew Motion knew this, as did the predecessor they were tussling with, A. Alvarez’s The New Poetry (which was tussling with its predecessor, Robert Conquest’s New Lines). ‘This anthology,’ they wrote in their preface to the ...”