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“... scarce at different times. Thus a loaf of bread in its turn is, as the Gospel says, not like a stone. But at each stage in the process of distinction some sort of contrast of form and matter must be acknowledged. Those who would annexe all for form (or discourse, or ‘text’) are, as it were, constitutionally obliged to ignore the contrast. The drama of ...”

“... asked ‘whether a love of poverty helped’ him ‘use other eyes, like those of that sightless stone’. Whether he’s condemned here for not loving poverty – that is, for not being poor (as, in one account at least, Homer supposedly was) – or for wanting St Lucians to remain poor rather than grow wealthy from the tourists, is not made clear, and the ...”

“... scarcely survive a reading of Professor Jones’s excellent history; it would probably be killed stone dead by even a cursory glance at Russell Taylor’s Going for Broke, which is subtitled ‘How Banking Mismanagement in the Eighties Lost Thousands of Billions of Pounds’. Going for Broke occasionally exasperates because of its lack of organisation ...”

“... only other living French novelist I would compare with her as a source of intelligent pleasure, Robert Pinget.) She went about literature slowly once she had taken to it. Tropisms, her first book, was not published until 1939, seven years after she began writing it. It is a sparse but mordant collection of short scenes of social exchange whose ordinariness ...”

“... 10 March. At 6:45 a.m. I set off by car service to Newark airport to catch the 10 a.m. Virgin/Continental flight to Gatwick. At this time of the morning the New Jersey Turnpike is too busy altogether. This use of altogether, I’m reminded by Terence Patrick Dolan in A Dictionary of Hiberno-English, means ‘wholly, completely’ and may be compared to the Irish phrase ar fad, particularly in its positioning at the end of a sentence ...”

“... in wide lyrical links: Platonic England, house of solitudes, rests in its laurels and its injured stone, replete with complex fortunes that are gone, beset by dynasties of moods and clouds. Alas, neither the tone nor the metre of the new poems has that bosomy largesse. Instead, Hill is angry, frothing with laus et vituperatio – vituperatio, above ...”

“... LaRouche, the real ‘existentialist’ honchos on the boardwalk aren’t Adorno or Arendt, but Robert McNamara and the Kilgorean figure of William Westmoreland. This volume bears little sign of the bourgeois deviationism to which Marcuse fell prey in the Forties, though it may be coming in one of the promised sequels. These were, after all, the years when ...”

“... and systematically, while no one is leading anyone here. I assume that Crowe, a former Rolling Stone reporter, and the writer-director of Say Anything, Singles and Jerry Maguire, has edited his taped talks with Wilder, but he has edited them to sound like taped talks. The order of events is their actual order, and on page 131 of the book Crowe and Wilder ...”

“... number of Hogg’s other novels and stories, including the most famous of all. The first victim of Robert Wringhim the justified sinner, and his diabolical shadow Gil-Martin, is a minister who sits up when shot; and when Wringhim’s own body comes to be buried, it has stiffened into a sitting posture, so that one of the burial party, in a passage expunged in ...”

“... the city, wheeling her around to focus on unexpected views and details: ‘the texture of old stone, a batch of secondhand bathtubs for sale on a sidewalk, the juxtaposition of several buildings’. Though often thought of as a social critic (because of his collaboration with James Agee in 1941 on Let Us Now Praise Famous Men), Evans, too, distrusted ...”

“... of Bowie figure for many younger listeners who may never have heard of Sol LeWitt or Donald Judd, Robert Pruitt or Lynette Yiadom-Boakye, before Solange referenced them. There’s a fascinating autodidact’s story there, I think, which is very different from today’s more usual social media dream of effortless, instantaneous global renown. Phillips charts ...”

“... in Ammons is ‘wind’. An early journal entry contains a note to self – ‘Poetry: to make stone of the phenomena of wind’ – but in the poems such adamantine statements of purpose are haunted by a sense of the frailties of things made. The last poem in A Coast of Trees begins by observing how ‘Wind, though in the temple,/criticises the pillars ...”

“... it produces obstacles to expression. Then he treats the chosen rules as if they were set in stone, beyond appeal. The supreme example of formalist procedure must be the fugue in music. Once you have decided to write a fugue, your choice of theme is already restricted by the permutations that will be required. A loose fugue is no fugue at all. Once ...”

“... their political, and sentimental, education at the Utøya camp. The ‘left-wing ideological stone in the shoe of the pragmatic governing Labour Party’, Utøya embodied everything that Breivik loathed: feminism, gay rights, and sympathy for immigrants and oppressed Third World peoples. With his ‘pre-emptive’ attack on these ‘cultural ...”

“... in the wake of the great debate of the 1940s and 1950s that was dominated by R.H. Tawney, Lawrence Stone, Christopher Hill and Trevor-Roper himself. Its focus was the economic causes of the war. The conflicting hypotheses about the wealth and power of the aristocracy and gentry, about the waning of feudalism and the rise of the bourgeoisie, and about the ...”