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“... That novel, in which the characters have names like Roberta and Fergal and Bernadette and Vincent, centres on Amelia Lovett, who is a small girl when the Troubles start in 1969 and can’t believe that they’re still going on a whole week later. ‘Watchful and distrustful and … pertinaciously suspicious’, and also a precocious reader, she drifts ...”

“... But is it any more startling than to find Aneurin Bevan willing (as I have just learned from John Campbell’s Nye Bevan and the Mirage of British Socialism) to see force used in 1948 against dockers seeking to defy Cripps’s wage freeze? Even the most right-wing employer cannot risk industrial relations being made unworkable. Even the most left-wing ...”

“... a dust-sheet over her first husband. Miss Edwards excellently takes it off. The second husband, John Marsh, was an advertising copywriter and a PR man. He read her epic carefully and, among many other things, took out the dashes. Gone with the Wind was written in a peculiar manner. It is, of course, very long, but epics are supposed to be. (Beckett’s ...”

“... the entries in Who’s Who. There are some known names: Cecil Beaton, Jasper Johns, James Jones, John Mortimer, Patricia Neal, William Styron, Andy Warhol. Among the rest are antique dealers, decorators, magazine editors, a ‘freelance music co-ordinator for fashion shows’, a princess ‘internationally concerned with matters of spiritual evolution’, an ...”

“... indulge in orgies of this: ‘We consigned to the flames or the waves one Gunter Grass, two John Fowles, a Nabokov, a John Berger, three Doris Lessings, a Gore Vidal, two John Barths, and the whole of Jorge Luis Borges.’ This impatience with literary artefacts means that he and ...”

“... film Confessions of an Opium Eater, shot on a shoestring by Albert Zugsmith in 1962 and starring Vincent Price, opens with Vaseline-fogged images of a Chinese junk and a delirious Price voice-over (‘I am De Quincey … I dream … and I create dreams … out of my opium pipe’). This is Gilbert De Quincey, a presumed descendant, who wanders the seas as a ...”

“... products of nature rather than art. Artifice was often required to create these sensual paradises: John Evelyn, at the end of the 17th century, describes how to make what he calls a ‘Phonotactic Cylinder, or giant musical box’, which used water to produce sounds similar to birdsong (the alternative was to have an aviary). The synaesthetic delights of ...”

“... called Animals, and in one edition, I think in 1968, a thrilling article by the ornithologist John Gooders described how he’d seen two hundred species of birds in Britain in a single calendar year. I never got anywhere close. There were so many more birds that I hadn’t seen than I had. I often tried to turn common birds into uncommon birds. Those ...”

“... another party if it is to be more than assent. It happens within the heart (according to King John) but becomes consent only when it is declared. The word could mean, as now, agreement to a proposal, but Shakespeare’s plays reflect social conditions in which consent between lovers depends on the consent given by friends and family. As Petruchio tells ...”

“... shows a preference for the poetic abstracted from vulgar congregational performance – he likes John Byrom and Christopher Smart, whose greatest successes, as Davie sees it, were not pointed towards the actual singing of current congregations. Some poems which have been highly successful as sung works in congregations – of the past and sometimes of the ...”

“... Last year, the Society of St Vincent de Paul spent €6.1 million giving people in Ireland food. This year, it says that requests for food are up 50 per cent, that calls in general are up 35 per cent and in Dublin 50 per cent, and that 25 per cent of callers are new clients, many of whom were contributors to the charity at the church gates last year ...”

“... about in Nanjing as in Rome and Lima. As ‘The Wise Man from the West’, he was the subject of Vincent Cronin’s laudatory 1955 biography, still in print today. He was also at the centre of Jonathan Spence’s 1984 study, The Memory Palace of Matteo Ricci, which focused on Ricci’s use of the classical ars memoriae as a way of gaining access to members ...”

“... he’d joined a carnival, worked as a farmhand, had played out West with Woody Guthrie, with Gene Vincent, with Blind Lemon Jefferson ... He was soon even mythologising his own early days in New York, claiming to Shelton, who swallowed the story whole, that he spent his first two months in the big city hustling around Times Square as a rent boy. In the early ...”

“... A.J.P. Taylor on Beaverbrook, Martin Gilbert on Churchill, Jonathan Dimbleby on his father, John Pearson on Ian Fleming, P.N. Furbank on E.M. Forster, Philip Williams on Gaitskell, Sybille Bedford on Aldous Huxley, Michael Holroyd on Augustus John, J.E. Morpurgo on Allen Lane, Ronald Lewin on Slim and Christopher ...”

“... obsession with masculinity from James Fenimore Cooper through Owen Wister, Zane Grey and John Ford to Sergio Leone and Sam Peckinpah. His subject is the well-known tautology that a man’s gotta do what a man’s gotta do. For Mitchell, the Western novel is essentially theatrical – a stage on which male identity is enacted, as well as a form of ...”