“... the psychologically ruined war veteran Septimus Smith. In that novel the two didn’t meet, though Michael Cunningham, refracting the material in The Hours, had his modern-day Clarissa figure care for Richard, his version of Septimus, worn down by the struggle with HIV. The ending, suicide by jumping, was the same in both books.Murphy has set out, in ...”

“... Writing about Goya’s Black Paintings in Art After Modernism , a collection of essays published in 1984 by the New Museum in downtown New York, Kathy Acker wrote: ‘The only reaction against an unbearable society is equally unbearable nonsense.’ She once said she didn’t expect anyone to read any of her books all the way through from beginning to end: ‘even in Empire of the Senseless , which is the most narrative book, you could read pretty much anywhere ...”

“... the tip of his stylus? You may prefer Marguerite Porete, burning alive with her book, or the rich black intersection of St John of the Cross or the pyroclastic whisper of Anonymous, Unknown Author. Or something a little closer to home – Jeannie, for instance, the family friend whom my father (a Catholic priest in full cassock) calls simply a Eucharistic ...”

“... they were Papes till then they were talking to the Nuns. Ye watched for that. Usually Papes had black hair and peelywally skin or else ginger hair and freckles.’ Catholic and Protestant children share the same swimming-pool. Kieron is afraid that if one of the crosses the Catholic children wears touches his skin, he’ll be burned. Kieron’s brother ...”

“... Herbert, Robert Crawford). But the fact relevant to Pound’s current standing is the one in Michael Alexander and James McGonigal’s Introduction: Sons of Ezra could not find a British publisher. Pounds have always been a dodgy stock, of course, but still ... Audens, on the other hand, have long been a very judicious buy. ‘In Solitude, for ...”

“... runs over two hundred pages, with more than a hundred colour plates, as well as a series of black and white portrait photographs of the artists taken by Johnnie Shand Kydd. It has five catalogue essays, several pages of artists’ biographies, a bibliography and, as the very last item in the book, a six-page checklist of the 110 works in the ...”

“... Paul’s mother, the obsessive subject of her art, against a louring cloud of thickly layered black and brown paint; at the top of the canvas, a glow of gold gives a promise of sunrise. The head seems to float in the lower half of the painting, an apparition in a welter of night; the eyes are lowered and the face turned to the side, almost as if she were ...”

“... hanging above an implacable sea-cave. We climbed homewards up Wen crack, a near-vertical ladder of black holds as convenient as an old-fashioned route in the Dolomites. On the ledge which was now our goal, huge tumps of sea-thrift bulbed out like green brains. As Ed’s silhouette merged with the silhouette of one tump, I saw it as a thought absorbed back into ...”

“... in North Uist, where the refugees from the most violent evictions on that island lived ‘in the black moor’ before the bulk of them embarked for Glasgow and Australia. It’s turquoise with radial veins suggesting a sea-urchin – an exquisite secretion of the Hebrides. 16 May. We catch an early ferry to Barra and make for Buaile nam Bodach ...”

“... TV show Ready Steady Go!, and appeared in other films as well as Russell’s, including Alfie with Michael Caine. How much of her reputation came from her art and how much from herself is a question that haunts Kristal’s book as well as Pauline Boty: A Portrait, the catalogue for an exhibition of her work at Gazelli Art House earlier this year. Both have ...”

“... his friend’s peculiar death (Jarrell was sideswiped by a car in the course of an evening walk): black-gloved, black-coated, you plod out stubbornly as if in lockstep to grasp your blank not-I at the foot of the tunnel … as if asleep, Child Randall, greeting the car, and approving – your harsh luminosity. It was never ...”

“... of Stan without his knowledge. At first, the hints of menace, guilt and racial tension – Gary is Black, Stan is not, and the episode is told from Stan’s point of view – seem to enter the territory of Michael Haneke’s Caché, but Ridgway’s story is subtler, less gothic. Stan always knows who’s sending the ...”

“... Vanity Fair in full make-up and a bulging décolletage, her arms around the bare biceps of the two black bodyguards she calls ‘my centurions’. In the introduction to Sex, Art and American Culture, a bizarre grab-bag of book reviews, interviews, transcribed lectures, classroom notes and personal memorabilia, Paglia gleefully provides an annotated ...”

“... into a revolt. Still, when Republicans were roaming through Cork and Tipperary shooting at the Black and Tans, it was possible to feel heroic. But it must have been hard to feel heroic in the Civil War and the years that followed its crimes. Yet O’Faolain’s early stories want you to feel that life in Ireland was a romance, and sometimes an epic. I have ...”

“... Touching Feeling, the queer theorist Eve Kosofsky Sedgwick describes its strange and haunting black and white cover photograph as ‘the catalyst that impelled me to assemble the book in its present form’. It depicts a woman clumsily embracing an object that resembles an enormous wasps’ nest made of sticks and twine. The woman’s eyes are shut, and ...”