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“... the things they speak of come to pass. But one last fin-de-siécle anthologising project remains: an anthology of anthology introductions. We would then be able to follow the growth not only of a market but of a genre, a genre with its own protocols and ...”

“... 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 ...”

“... Florine Stettheimer​ was a rich New Yorker who found artistic inspiration in Europe, like a Henry James heroine, looking at Old Masters and Rococo interiors. One of her early paintings riffs on Botticelli’s Primavera: Stettheimer thought his Flora was ‘too fat to move ...”

“... In France, we do it lying down,’ a French minister is reported to have said on first seeing the tango. He was not far wrong. The tango crystallised at the end of the 19th century in the brothels of Buenos Aires. It was a dance of prostitutes and pimps, and in its ineluctable rhythms, its belly-to-belly stance, its interlacing of legs, it reflected their professional concerns ...”

“... At​ the Pompidou Centre in Paris, a two-hour wait will get you ‘priority access’ to the Henri Cartier-Bresson exhibition. It’s available only to friends of the museum, members of the press, and those who bought tickets in advance and naively thought they’d walk straight in ...”

“... with Special Reference to Donne, Crashaw and Cowley’ were commissioned in 1925 and delivered at Trinity College, Cambridge in 1926. Since then they have been famous for not being available. Eliot intended to make them into a book called The School of Donne, which would be far longer, partly because – on the face of ...”

“... no entries on pain or suffering; and it says much that modern Catholic scholars such as François Varone, author of Le Dieu censé aimer la souffrance (1984), deny that suffering has any special purpose in the divine scheme, thereby seemingly reducing the crux of Christian theology to vacousness. Pain appears to have become ...”

“... always announced his presence with a ‘burst of prophetic whistling’. In May 1958, eating a slice of toast with butter and strawberry jam before going to teach her class at Smith, she spotted the mailman with ‘a handful of flannel: circulars – soap-coupons, Sears sales, ...”

“... Peter Redgrove had a secret. It was called ‘the Game’. Sexual in nature, this obsessive ritual ignited some of his most arresting poetry, and was vital to his personal mythology for sixty years. Known only to his lovers and a few in his inner circle, the Game has now been made public in Neil Roberts’s remarkable biography of the poet, published almost a decade after Redgrove’s death, along with a new Collected Poems ...”

“... I have no use for a writer who directs my attention to himself and to his wit instead of the people he is interpreting,’ Jean-Luc Godard said in one of his early articles for Cahiers du cinéma. From the beginning Godard liked to be contrary. In a magazine that championed a cinema of personal expression and was to proclaim la politique des auteurs, he was declaring in favour of the self-effacing author ...”

“... This is the first part of a two-part interview. Part 2: ‘The Price’.Ian Hamilton died of cancer on 27 December 2001, aged 63. It was a death that the ‘LRB’ has especial cause to lament. He was a great support to this paper, helping to get it going in 1979, serving ever since on its editorial board, and above all contributing many exact, unsparing and funny pieces on poetry, on novels – and on football ...”

“... distillery. These many named and unnamed of the acknowledgment pages are the foundations on which a book is built: they help to determine its size and shape, its character and its content, and they deserve our attention. When Helen Vendler begins her recent book on Seamus Heaney, for example, ‘I am grateful to Seamus ...”

“... it by accident,’ Werner writes, ‘in the Amherst College Library, when it fell (rose?) out of an acid-free envelope. If I had not held it lightly in my hands, I would never have suspected the manner in which it was assembled … Look at it here, flying on the page, vying with light.’ Behold, Werner’s sacramental ...”

“... It was all done with a pastry board and a bulldog clip. Sheets of paper were clipped to the board, the board rested on the arms of his chair and the fountain-pen began to cover the pages with a scrawl that barely hinted at intimations of legibility ...”

“... This essay, in an earlier version, given as a paper at the conference on ‘Something We Have that They Don’t: Anglo-American Poetic Relations since the War’, organised by Mark Ford and Steve Clark under the aegis of the University of London ...”