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“... For over fifty years the diary of Joseph Farington – topographer, academician and formidable art politician – has been recognised as an invaluable source of information about English artists of the Romantic period. Running from 1793, when the compiler was 46, to his death 28 years later, it covers one of the most exciting times in the history of British painting ...”

“... Asa Briggs has just produced three new books. This piece of information is made even more remarkable by the fact that he has published 26 already. Admittedly, there are some, like How they lived, 1700-1815 and They saw it happen, 1897-1940, which are largely collections of contemporary documents, and which have merely been awarded Briggs’s benediction ...”

“... The common reader may feel inclined to lay the same embargo on his writers as the Duke in the Elizabethan tragedy on his courtiers. Great tact, and a sustained intellectual animation to balance the much that is repulsive in the theme, were needed to make a very long book about it as attractive, as well as instructive, as this one is. It is a study of birth as well as death, and among what it shows perishing, besides human victims deserving or undeserving of their fate, are gangrened beliefs and ossified customs, leaving room for a fresher air to blow in ...”

“... On the dust-jacket of the latest supplement to the Dictionary of National Biography there are photographs of David Niven, Diana Dors, Eric Morecambe, John Betjeman and William Walton. Dors has a leering ‘Come up and read me sometime’ expression on her face and Niven wears his yacht-club greeter’s smile. Morecambe seems to be laughing at one of his own jokes ...”

“... The gang of four, discoursing melodically and harmonically within the gamut of some five octaves, was a relatively late response to the acoustic properties of the violin family. Once formed, however, a couple of centuries ago, it acquired within our culture a more-than-musical resonance, comparable with the development potential of the novel, the intimacy of the still-life, the proportionality of Georgian domestic architecture, the numinosity of Cranmer’s collects ...”

“... Somehow, the traders seem to get there first. Before the armies, before the missionaries or travellers or bureaucrats or busybodies, they arrive, in search of furs and spices, rare textiles and strange foods. To prehistoric groups whose burial sites contain items brought from a continent away, or woodsmen in pursuit of goods lying just beyond the frontier, the trader brought many other things: stories of the exotic, knowledge of the unknown, foreign songs and dress, religion, disease, inventions and slaves ...”

“... At​ the grubby end of an afternoon earlier this year I stood with my back to the Mitchell Library in Glasgow, watching the traffic on the M8. Here the motorway cuts through the centre of the city after crossing the Clyde, carrying cars from the river’s western reaches to Edinburgh on the east coast. About 70 per cent of Scotland’s population lives along this seventy-mile axis, and this is its densest part, in people as well as in buildings and economic activity ...”

“... Frank Kermode belongs to no sect of literary criticism, and he has founded no school. Like William Empson, whom he praises as a ‘genius’ of criticism, Kermode has always been more interested in a poetic than in a theoretic approach to the study of literature. He thinks that literature itself – rather than theories about it – is our best guide to how to read critically, and he has devoted the better part of a long career to this conviction ...”

“... Suddenly the Victorians have become controversial again. This is not because a new Lytton Strachey has sprung up in our midst, but because Mrs Thatcher – who polarises public opinion more forcibly than any prime minister since Gladstone – appropriates ‘Victorian values’ for herself and her party: ‘those were the values when our country became great,’ she told Brian Walden three years ago ...”

“... Presented as a pendant to Age of Extremes, a personal portrait hung opposite the historical landscape, what light does Interesting Times throw on Eric Hobsbawm’s vision of the 20th century, and overall narrative of modernity?1 In overarching conception, The Age of Revolution, The Age of Capital, The Age of Empire and Age of Extremes can be regarded as a single enterprise – a tetralogy which has no equal as a systematic account of how the contemporary world was made ...”

“... That capitalism unobstructed by public regulations, cartels, monopolies, oligopolies, effective trade unions, cultural inhibitions or kinship obligations is the ultimate engine of economic growth is an old-hat truth now disputed only by a few cryogenically-preserved Gosplan enthusiasts and a fair number of poorly-paid Anglo-Saxon academics. That the capitalist engine achieves growth as well as it does because its relentless competition destroys old structures and methods, thus allowing more efficient structures and methods to rise in their place, is the most famous bit of Schumpeteriana, even better-known than the amorous escapades of the former University of Czernowitz professor ...”

“... Good journalism often has a guising element in it, in which the voice of the journalist seems to come from an unexpected direction. The best journalism transcends this. But it is still true that many of the great practitioners who have written for the British or American press have been evasive about their native backgrounds and have used their trade to affect or colonise quite different ones ...”

“... It is odd that Lytton Strachey did not manage to strike up much fellow-feeling for Prospero. In an essay of 1904 on Shakespeare’s final period we find the puncturing remark (uncharacteristic of later deflationary measures only in the diffidence of the opening phrase): ‘To an irreverent eye, the ex-Duke of Milan would perhaps appear as an unpleasantly crusty personage, in whom a twelve years’ monopoly of the conversation had developed an inordinate propensity for talking ...”

“... Literature should be naked,’ Peter Stamm writes. Words should never obscure the story, ‘its warmth, its form, its vitality’. It’s form that critics in Germany and his native Switzerland are talking about when they compare Stamm to Raymond Carver. Take ‘The True Pure Land’, one of his more ‘naked’ stories. The narrator, a Swiss man working in New York for six months, lives in Spanish Harlem ...”

“... On 30 July 1914, it suddenly dawned on Kaiser Wilhelm II that Germany was on the threshold of a war with three great powers. Panicking, he grabbed a recently arrived dispatch from St Petersburg and committed his agonised thoughts to paper in a frenzy of marginal scribbles. England was the author of Germany’s predicament, he scrawled. Over the years, it had gradually tightened a net of alliances around the unsuspecting Germans ...”