“... but overabundance. Lutyens and Hislop are not the first to notice this. In 1986, the historian Robert Hewison called his fine study of British culture between 1960 and 1975 Too Much. In Mike Leigh’s play Abigail’s Party, the claustrophobic lounge, crammed with 1970s products (like a cruder suburban version of Peter Cook’s showy living-room) is as ...”

“... scale of the loss accounts for Flodden’s place in the history of Scotland. Writing in the 1560s, Robert Lindsay of Pitscottie claimed that on the night the army left Edinburgh, a ghostly voice named a long list of individuals summoned to appear before the devil within forty days. Only one of them returned from Flodden. Artists, writers and musicians have ...”

“... is able to trace bonds of professional exchange, kinship and allegiance. When Reyner Wolfe printed Robert Recorde’s The Ground of Arts – a bestseller, ‘teachyng the worke and practise of arithmetike, moch necessary for all states of men’ – Wolfe borrowed eight initials, two ornaments and some textura fonts from John Herford. And a small number of ...”

“... round … wears boots of Spanish leather, laced or tied along the side with black ribbons’. That Robert Hooke is ‘melancholy and giddy … and … has strange dreams of riding and eating cream’. That Mary Sidney, countess of Pembroke, with her lovers, peered through a ‘vidette’ or peephole to gaze on mating horses at Wilton House. That William Harvey ...”

“... is a woolly conceit, almost a faith. Proof isn’t required. A Brighton film of two years earlier, Robert Hamer’s delightfully sinister Pink String and Sealing Wax, set, to judge by the costumes, in the 1880s, does indeed have ‘Victorianism’ written all over it, as does Hamer’s subsequent Kind Hearts and Coronets. But neither of these is scrutinised by ...”

“... The Compleat Drawing-Book​, published by Fleet Street printseller Robert Sayer in 1755, is a handbook for the amateur artist that aims to provide ‘Proper Instructions to Youth for their Entertainment and Improvement in this Art’. The core of the book is a series of ‘Many and Curious Specimens’: prints from images ‘engrav’d on one hundred copper-plates’ that present vignettes to study and copy ...”

“... When​ Donald Trump nominated Rex Tillerson, the CEO of Exxon, as secretary of state, Robert McNally found the choice unremarkable. ‘The closest thing we have to a secretary of state outside government is the CEO of Exxon,’ he said. McNally is an energy consultant, a former adviser to George W. Bush, Mitt Romney and Marco Rubio, and a member of the National Petroleum Council ...”

“... racism. Her father is a preacher in Memphis; Jack’s father is a preacher in Iowa: he is the Robert Boughton we’re introduced to in Gilead (2004), the first novel in the series, the broken-hearted apologist for his irredeemably wayward son. The fact that the characters live on either side of a racial divide is less important to their conversation in ...”

“... and rhythms of the printers’ working lives. In the wake of brilliant studies by McKenzie, Robert Darnton and others, McKitterick reconstructs the economics of book production: the costs of type, copper plates and paper, the sizes of editions, the prices per sheet of the resulting books (slightly lower than London ones). Moving from the warehouse to ...”

“... fans were once legion, and as reverential as mystics or poets. Indeed many were poets, like Robert Bridges, who sang that she had ‘all passion’s splendour’. Writers of all sorts revered her, from the anonymous Late Victorian critic who enthused over the structure of Wuthering Heights to the novelist L.P. Hartley, who doted on her whole oeuvre and ...”

“... through Perec, Mann, Proust and Flaubert, he homes in on the figures of Carlo Emilio Gadda and Robert Musil, two ‘engineer-writers’ who have one quality in common: ‘their inability to find an ending’. Despite his own love of arcana and encyclopedic forms, Calvino’s relationship to this tradition was always tangential, for the simple reason ...”

“... the ‘last outburst of peasant rage to result in murder’. The Village of Cannibals, like Robert Darnton’s Great Cat Massacre, confirms the degree to which social historians, building on the Annales tradition, have embraced cultural anthropology and the study of popular political language over time. Darnton calls it ‘history in the ethnographic ...”

“... that scientists don’t know whether or when major cod and haddock stocks will recover ... Robert Hache of the Association des Pêcheurs Professionels Acadiens said that the conclusions in the report are shocking even to fishermen used to declining stocks. ‘We see something that has never happened before in the northwest Atlantic,’ he said. ‘We ...”

“... grinds his teeth in silence, no interviews, no comment. Silence of a different sort descended on Robert Kennedy’s Justice Department when journalists started probing after her death: Marilyn had been a phone call away from killing Bobby’s career, and possibly brother Jack’s as well. The silence of those whom Anthony Summers failed to catch suggests ...”

“... Again, translation was the only mode of access. From the time of Browning and Swinburne to that of Robert Lowell, Anglo-American poetry has, under a modernistic veneer, been anxiously conservative. It has assembled the treasures of the past and mimed them with passionate nostalgia before closing time. Hence the primal dramatic function of allusion and ...”