“... In 1927, Antonio Gramsci was in chains, about to begin a nightmarish 19-day journey from Sicily to Milan’s San Vittore prison, when he met two ‘common criminals’ in a Palermo waiting-room. One of them refused to accept that he was indeed Gramsci ‘because Antonio Gramsci must be a giant and not such a tiny man.’ Disappointed, the man, Gramsci reported, ‘said nothing more, withdrew to a corner, sat down on an unmentionable contraption and stayed there, like Marius on the ruins of Carthage, meditating on his lost illusions ...”

“... In the early Eighties, the main debate – though quarrel might be the better word – among historians of British art in its ‘great century’, from Hogarth to Turner, was about landscape. But whatever the differences between them, the most vocal participants in this debate were all finally on the same side, arguing with a largely silent (either stunned or indifferent) opposition to establish that there was a politics of landscape painting, that it needed to be understood in the context of landownership, agricultural improvement, the management of the rural poor, the changing economic relation between town and country and so on ...”

“... The British monarchy was tested almost to destruction in 1936-37. The crisis had three phases, of which the actual abdication of King Edward VIII was only the most visible. The monarchy had already been placed under acute strain by Edward’s unkingly conduct in the few months since his father’s death – his feckless hedonism, his dangerous political naivety and his neglect of the more tedious duties of his role ...”

“... Gustave Flaubert, in a letter to his publisher of October 1862, and after two other grumbles about the typesetting on the page-proofs of his new book: ‘3º The circumflex accent on Salammbô has no profile. Nothing could be less Punic. I demand a more open one.’ To demand with Flaubert was to get: within a few days he had an accent that straddled its underlying vowel in the comprehensive way that he wanted, and gave the name of the heroine of his Carthaginian novel a suitably Punic appearance on the title-page ...”

“... Born at the end of the Seventies and in decline at the beginning of the Eighties, Martianism, as a movement in British poetry, was shortlived, and as a descriptive term, misleading. Largely the creation of Craig Raine and Christopher Reid, the movement was characterised by, and remembered for, unusual similes and exotic descriptions. Its name derived from the title poem of Raine’s second collection, A Martian Sends a Postcard Home (1979), in which the Martian, rather like Robin Williams in Mork and Mindy, memorably misconstrues what he sees on our planet – interpreting caxtons, for instance, as ‘mechanical birds’ and noting how ‘Rain is when the earth is television ...”

“... Earlier this year it was announced that Patricia Cornwell, America’s newest Queen of Crime, had defected from Scribner (the publisher who ‘discovered’ her) to Putnam. In defiance of trade courtesy, Cornwell bad-mouthed Scribner unmercifully on leaving: they had never pushed her books hard enough, she was reported as claiming, treating her like some ‘midlist author ...”

“... Five years ago the formidable chairwoman of the first Russian Booker Prize remarked of one of the entries that she’d never been so disgusted in her life. There was an American judge on the panel, also a woman, who looked surprised. Conditioned as she and I were to the novel in the West, we had scarcely noticed what seemed to us rather quaint attempts by younger Russian novelists – aspirants for the prize – to shock and repel their readers ...”

“... Power stalks the corridors as it has always done, and operates in the same ways, but it increasingly prefers to do so in a mean privacy. Shakespeare today would no longer have the feel of what happens there. The media have taken over the forecourt; and art, in the true sense, no longer has the entrée. Even the Russian novel cannot get in, as it was able to do without effort in the days of War and Peace and Resurrection, following the novels of Balzac and Scott ...”

“... Archaeologists come in shapes and sizes. Some are more theoretical than others, some are interested in written records and put their faith in them, others distrust texts and despise them. There is a tendency for archaeologists to get priggish about their findings, in many cases in inverse proportion to the glamour of the things they are digging up. Some thump the table about the importance of their coprolites or disintegrating fish bones, and as a result those whose work involves finding solid gold coffins or whole pyramids can be made to feel guilty ...”

“... Thoughtcrime, as conceived by George Orwell, was one of the black flowers of Thirties totalitarianism. By criminalising thought the dictatorial state planned to erase individuality – even an individuality as insignificant as Winston Smith’s. In the Orwellian dystopia the state’s apparatus was primarily bureaucratic: new technology – in the form of the ubiquitous telescreen (TV that watched you) – was instrumental but not central ...”

“... Although it sets out to explore the lives of Fred and Rosemary West – along with Peter Sutcliffe, the most notorious figures in recent British criminal history – Happy like Murderers reads more like a novel than a documentary. In this respect, it recalls Truman Capote’s ‘novel of fact’, In Cold Blood, which made compelling fiction out of the brutal and senseless murder of an apparently typical American family in rural Kansas, and created a new genre on the way ...”

“... When Michael Heseltine launched a not-too-oblique attack on Irish neutrality in the course of a visit to Northern Ireland on 4 May, he was – presumably – unaware of the fact that he was reopening a book which both Churchill and de Valera had decided peaceably to close almost exactly thirty years ago. That at any rate would be the charitable explanation ...”

“... Bilingualism, multiculturalism, ethno-linguistic identity – they may not be words to conjure with, but much conjuring has nevertheless been done with them. Even the most casual observer can hardly be unaware of the interest in minority ethnic groups, their language and their education; and this has been paralleled by a concern for indigenous groups who speak the national language in a non-standard form ...”

“... Where is the Soviet Union going? Despite the many striking changes since the death of Brezhnev in November 1982 and particularly since the election of Mikhail Gorbachev as General Secretary in March 1985, it is still far from clear what their result will be. For all the turnover in the leadership, more extensive than at any time since Stalin’s purges of the late Thirties; for all the attack on corruption, with ministers, Central Committee members, regional party secretaries arrested and punished; for all the drive for discipline, with hard-hitting measures against alcoholism and a squeeze on unearned income; for all the innovations in industrial management, agriculture and foreign trade, it is too soon to tell whether the Soviet system is undergoing radical reconstruction or merely modest improvement ...”

“... In 1929 Wilson Knight wrote an essay ‘Myth and Miracle’ which deeply impressed T.S. Eliot. So deeply, in fact, that Eliot offered to persuade the Oxford University Press to publish Knight’s essays and to write an introduction for them himself. The result was The Wheel of Fire, one of our century’s seminal books on Shakespeare. At the same time Eliot sent Knight an inscribed copy of his poem ‘Marina’, ‘a perfect poetical commentary’, as Knight observed, ‘on those Shakespearian meanings which I had unveiled ...”