“... give the impression of looking back with a certain wistfulness on the wartime free-for-all. Berryman and Lowell, with all their overwhelming obligations to suicide and neurosis, were born as poets in that epoch. And as the storm began to gather, Elizabeth Smart was not only involved in the preparations for the King’s coronation but walked into Better ...”

“... McMichael has a fine delicate touch in brief evocative lyrics and can open out into longer forms. John Matthias at his best achieves a steady tone, a dense texture, a clear focus on complex material. And in some of Robert Pinsky’s poems (‘Sadness and Happiness’, for example) there is a momentum, a sense of invention and of language rushing ...”

“... has been ignored, discounted or disbelieved. Consequently, among the American poets, Lowell and Berryman, whose work shows in every line, have had the attention they deserve, while William Carlos Williams has been slighted or ignored. Frank O’Hara, like Eliot, inherited two traditions, one American, the other French. Although he says, half-serious, ‘of ...”

“... that poem is in some ways the centrepiece of Vendler’s book. The trouble is there’s more to John Ashbery than ‘The Painter’, ‘Drunken Americans’ and his other disquisitions on the Reflective Sublime. To compare Vendler’s choice with Ashbery’s, in the invaluable Selected Poems, is to find a troubling divergence. She gives us nothing, for ...”

“... I made another personal discovery: Stuart’s mother was descended, through her mother, from John Rock Grosset, a pro-slavery Tory MP who owned a plantation in Portland. Further questions arose. What, beyond simple economic interest, turned people into active pro-slavers? What were they afraid of? How did they hope to stem the tide of abolitionism? How ...”

“... Readers of John Updike’s previous novel, The Witches of Eastwick, will not have forgotten Darryl Van Horne’s bottom: how, at the end of a game of tennis, Darryl dropped his shorts and thrust his hairy rump into his partner’s face, demanding that she kiss it, which she did. In Roger’s Version the roles are reversed ...”

“... of the usual morose adolescent parables and things like that. The first issue had a foreword by John Wain, the novelist, who had just appeared then and was very famous. I wrote to him to ask if there was some message he could send to youthful aspirants and he did. It was rather good, about half a page, which ended: ‘and, if all this fails, back to the ...”

“... have a line there I wrote in Africa 15 years ago,’ a friend told him; others like John Davenport and Aiken merely kept score. And yet there is perhaps nothing in it as impressive as the first page and a half, a completely orderly progression of six paragraphs, massive and thrilling and utterly well-made, until the first line of dialogue takes ...”

“... Manic Power: Robert Lowell and His Circle (1987), examined Lowell’s friendships with Roethke, Berryman and Randall Jarrell, with an epilogue on Sylvia Plath. He observed that these four male poets ‘suffered from unmanly or absent fathers and from strong, seductive mothers’ and claimed that their unhappy childhoods ‘contributed to their emotional ...”

“... Partly this is because loom isn’t what happiness does. Literary biography these days (Lowell, Berryman) is bad news that stays news. Anyway, for reasons of honourable privacy, we are not to know much about how it was that Eliot and his second wife, Valerie Eliot, made each other so touchingly happy. Hereabouts there is little news, and for the biographer ...”

“... this last reminding me unfortunately of someone’s altogether more robust sneer (is it Berryman?), ‘nuts in groups about the room’. There is a clear and real external scene, a view or ‘subject’, and yet always stronger is one’s sense of the poem as being made, like a painting: the quick, nervous applications of paint, and the quick taking ...”

“... out; and because it isn’t just a matter of time before you get it – as is the case, say, with John Ashbery – you can’t get much literary criticism out of a Thomas poem. (Nothing reveals the banality of paraphrase more than a commentary on one of his poems; his best critics – Empson, Lowell, MacNeice – are inclined to say that they don’t know ...”

“... nebulous enemy from the other side of the world. It could be Bob Dylan performing his ‘Talkin’ John Birch Paranoid Blues’ (‘I discovered there was red stripes on the American flag’); but the year is 2002, and the song is ‘Talkin’ Al Kida Blues’ (‘Cuba’s our enemy, unless we need a prison camp’). Al Kida is the name of a man who lives ...”

“... his own ideas.’ The exact quotation, incidentally, comes from a letter Byron wrote to John Murray on 9 October 1820: Mr Keats whose poetry you enquire after – appears to me what I have already said; such writing is a sort of mental masturbation – he is always f – gg – g his Imagination. I don’t mean that he is indecent, but viciously ...”

“... even the names of the poets – Charles Tomlinson, or David Gascoyne, or Robert Conquest, or John Holloway, or Christopher Middleton, or Geoffrey Hill – stood for a world that was fully England. Looking at the list of poets was like having one’s Irish nose pushed up against the polished glass of a posh window in some imaginary Big House. But it was ...”