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“... but there are other types of image he returned to just as obsessively. ‘No one has gotten the power in cinema that I feel there is in industry and factory workers,’ he said about Dune. ‘This notion of fire and oil.’ This ‘notion’ is there in the later films, in the car crashes, smoking engines, chromework and tailfins, the polished gun ...”

“... and was built on the site of the old thatched cathedral. It must have carried the great weight of power and newness which factories had in more industrial landscapes. It was where people first learned to remain quiet in large groups, and where they learned about being on time. Until the recent restoration I had never imagined the colour: people must have been ...”

“... parents had reservations when the couple got engaged in 1878: he had no notable ancestors, save Jonathan Edwards (who was only a distant relation); his means were modest and there was a family history of mental illness. Mabel, however, found it in herself to overlook all this. Her first requirement in a husband was sympathy to her ambitions. ‘No man can ...”

“... which, fifty years or more after it was written, burns on the page. Pathological and homosexual. Jonathan Arac, who edited Matthiessen’s letters, wrote that ‘to create the centrally authoritative critical identity of American Renaissance, much had to be displaced, or scattered, or disavowed.’ Matthiessen was aware of this. In January 1930 he wrote to ...”

“... Chu is visiting the guru who lives on the sweat of the young tennis-players; he notes that his power is in listening, in making you recognise that ‘He’s thinking as hard as you. It’s like he’s you in the top of a clean pond. It’s part of the attention.’ What Infinite Jest is creating is a future in which it exists. What it fears most is one in ...”

“... of her poetry and his antiquarianism, and at the same time to their own sense of privilege and power, which derived from the very oppressor of the ancient culture they admired. Their dual mandate, the ambiguity of their position, allowed them to be noticed and remembered, allowed them to do whatever they liked, and allowed Lady Wilde in 1879, three years ...”

“... was the one labelled “everyone is at risk.”’ An obvious fact was forever being obscured. As Jonathan Mann, the founder of the Word Health Organisation’s Global Programme on Aids, told a London audience in 1993, the spread of HIV is strongly determined by an identifiable societal risk factor … the scope, intensity and nature of discrimination which ...”