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“... As Britain chips away at her manufacturing base and slides towards becoming one vast open-air museum and tourist attraction, her aristocracy has emerged as the most dignified and venerable of museum pieces. Country houses are prized and revered as architectural gems, as art galleries and as period museums, and the frequently bizarre mixture of the excellent and the ordinary in their collections, or their downright second-rate quality, is successfully concealed by the adroit salesmanship which portrays all this in the full glory of its variety and eclecticism as a central part of the national heritage ...”

“... John Smith was ‘one of them’. Tony Blair is ‘one of them’. And so are Chris Smith and Jack Straw and half the Shadow Cabinet and many more on the backbenches including Frank Field, that one-man think-tank of the Labour Right. ‘They’ are the Christian socialists, architects of New Labour, ready to provide the movement with the ethical foundations which seem sorely missing ...”

“... Tasmania’s prodigal son, Peter Conrad, suggested recently that his island-state had ‘unwritten its own history’ in accordance with ‘a self-protective incuriosity about origins’. Tasmania’s origins lay in an act of genocidal conquest and a penal experiment, both of which were so recent and so omnipresent in their effect as to make recollection intolerable ...”

“... Well,’​ said the heavily bandaged Countess of Lucan from her hospital bed, eyeing her sister and brother-in-law with no great affection, ‘now who’s the one with paranoia eh?’ Forty years after the murder of the Lucans’ nanny, Sandra Rivett, the answer is pretty much everybody. The events of the night of 7 November 1974, when Rivett was bludgeoned to death in the basement of the Lucans’ London house, 46 Lower Belgrave Street, the countess was violently assaulted and her husband, John Bingham, seventh earl of Lucan, disappeared, offer all things to all tastes ...”

“... Graham Greene was more than half in love with easeful failure. He chose to end A Sort of Life, the sly memoir of his early years that stood in for an autobiography, with ‘the years of failure which followed the acceptance of my first novel’, adding the characteristic gloss that ‘failure too is a kind of death’ and so may conclude the story of a life as appropriately as one’s last breath ...”

“... Charles​ Booth’s survey of London poverty was an epic Victorian undertaking. Beginning in the late 1880s with East London, Booth and his army of investigators launched a systematic study which went on to cover nearly all of the metropolis, then the largest in the world with around four million inhabitants. The accounts of their walks around London filled 450 notebooks ...”

“... Babies and old people have so much in common. They have similar hair and teeth for a start, and they don’t like food too hot. You can’t leave them out in the sun for long; they don’t remember big numbers; they sometimes need help into their chair; they often get sick in the car. They also have a common skill, which is to turn themselves into the image of the thing they love ...”

“... Confronted with kings called Charles the Bald, Charles the Simple, Charles the Fat and Louis the Blind, and chroniclers like Notker the Stammerer, Benzo of Alba and Hrotsvitha of Gandersheim, we might be tempted to think that the history of France and Germany a millennium ago can offer us nothing more than the dreary spectacle of one barbarian succeeding another on the banks of the Seine or the Rhine ...”

“... It is only fair to preface anything you write about Degas with a few of his own remarks. He challenges you to prove relevance and competence. He wanted to be ‘illustrious and unknown’, and wrong-foots biographers by making their curiosity seem prurient or irrelevant. He thought most writing about art ignorant and unnecessary: ‘I have spoken to the most intelligent people about art,’ he said to George Moore, ‘and they have not understood ...”

“... There’s a scene in Tarantino’s Pulp Fiction in which John Travolta’s character, a hitman called Vincent Vega, who has escorted his boss’s wife home after an evening out, returns from the bathroom to find her unconscious on the floor. Mia (Uma Thurman) has taken a bag of heroin from his jacket pocket and, mistaking the white powder for cocaine, snorted a line and collapsed ...”

“... The approach​ to the main southbound platform at Dundee Station has a sharp curve. People waiting there hear the trains coming before they see them, the noise amplified by the Dock Street tunnel and echoing off the rough red sandstone blocks of the high wall opposite. The small train whose journey will end in Glasgow or Edinburgh pulls in and whines off again ...”

“... The Left has always been uneasy with aesthetics. The very word suggests privilege, preciousness, a remoteness from the real. Even when radicals respect culture, they assign it, quite properly, a secondary place to social utility. If it’s a choice between snatching from the flames the Holbein or the hippie, the radical is a mite less agonised than the aesthete ...”

“... This year brings the centenary of Trollope’s death. On the whole, the anniversary has been taken calmly by his countrymen: with far less celebration than, for instance, George Eliot received in 1980. There is to be no British Library exhibition (although they hold significant manuscripts); no plaque in the Abbey (although Trollope was more devout than the other novelist); no portrait stamp, no commemorative pillar-box at Waltham Cross ...”

“... Few writers can claim to have quite literally saved their own lives through writing. In the second volume of her autobiography, Janet Frame describes how she was rescued from the leucotomy then fashionable in New Zealand mental hospitals by attracting the attention of the superintendent. Her first volume of short stories, The Lagoon, had won the Hubert Church Award, the first of many literary prizes which she was to receive in her climb to an international reputation (one, it should be said, which has always flourished in the USA rather than England ...”

“... On 22 June​ 1922, the doors of Liverpool Street Station were closed for an hour to all but invited guests. Flags on the roof were set at half-mast while a ceremony took place to commemorate the men from the Great Eastern Railway Company who had died in the First World War. The guest of honour was Field Marshal Sir Henry Wilson, who unveiled a memorial in the station’s booking hall ...”