“... by the exercise of reason. The Harsh Voice and the much later The birds fall down, the monumental Black Lamb and Grey Falcon and The Meaning of Treason are essentially variations of the same battle. Blake, she believed, was on her side, so was Lawrence – though this disconcertingly meant claiming both of them as champions of the mind. ‘The mind must walk ...”

“... of bespectacled Teutons bumbling through Alsatian villages while freshly rinsed children with black bows and tricolour rosettes in their hair laugh at them behind their backs. But there is an older, more harrowing influence evident in Ungerer’s work. When he studied at the Lycée Bartholdi in Colmar, Ungerer used to shelter from the rain in the ...”

“... tradition may argue about whether non-racialism is merely ‘a form that the struggle takes’ (Max Sisulu) or its essential content and objective. Julie Frederikse, a former Harare-based American journalist, firmly declares it an ‘unbreakable thread’. However, the thread has not yet been tested to breaking-point. Although the relative harmony of ...”

“... Edward Evans-Pritchard (1902), Claude Lévi-Strauss (1908), Edmund Leach (1910), Louis Dumont and Max Gluckman (1911). They were formed in the age of Hitler and Stalin, and, in the cases of France and Britain, of impending imperial decline. The last generation came to adulthood during World War Two, and made their careers during the Cold War, the zenith of ...”

“... though her art is, it evokes precedents from Rembrandt through Goya and Daumier to her compatriot Max Klinger: she aimed to bend the bourgeois tradition of printmaking to her proletarian content, not to break with it. ‘Genius can probably run on ahead and seek out new ways,’ Kollwitz once remarked. ‘But the good artists who follow after genius – and I ...”

“... a girl swallowing a stork, a print too spiky and direct to be suggestive. The etching Baa, Baa, Black Sheep from 1989 was an early flirtation with a feral lover, and in 1990 she depicted Andromeda dismissing a tiny Perseus and reaching up to caress the sea monster instead; in both of these images the woman’s face is hidden. Loving Bewick is in some sense ...”

“... also about what did happen in this beautiful, brutally contested and colonised corner of Europe. Max Egremont, a graceful and practised writer, has taken pains to learn its complicated history; he has driven and tramped back and forth across the territory, now divided between three independent nation-states, and he has listened sympathetically to those who ...”

“... in tandem. And while Palmer concentrated on white revolutionaries, in his 1938 classic, The Black Jacobins, C.L.R. James successfully revived interest in the slaves and free blacks active in Saint-Domingue’s revolution in 1791. Arguing that liberty, equality and fraternity meant even more to the enslaved in France’s richest Caribbean colony than to ...”

“... Among the new religious nationalists are the black-clad Union of Orthodox Banner-Bearers, who have burned Harry Potter books on the embankment by the Kremlin to protest against J.K. Rowling’s Satanism, and Dmitry Enteo, a wan-faced youth with a goatee, who has made speeches on TV about his plan to throw ...”

“... perceptions of African American artistic expression. In a little over a decade, more books by black Americans appeared in print than had been published in the entire history of black American writing. In December 1923, Opportunity, the mouthpiece of the National Urban League, declared in its editorial: ‘There are new ...”

“... human subjects that are too much to bear. Rereading the famous biographies – Jones, Peter Gay, Max Schur – I was now struck by just how exposed and vulnerable Freud was to the ills, major and petty, of the times, and by the fierce contrasts in his moods between blindness and insight, equanimity and dismay. Freud was articulate about what he personally ...”

“... that dominated German and Scandinavian theatres in the early 20th century. The Austrian director Max Reinhardt may have been another influence. Delius would most likely have been aware of Reinhardt’s work; the set designer for the Berlin premiere of A Village Romeo and Juliet had previously collaborated with Reinhardt, as had Edvard Munch, with whom Delius ...”

“... Max Porter​ ’s compact and splendid book, a polyphonic narrative with elements of the prose poem, cracks open a set of emotions that has become spuriously coherent and tractable. Grief Is the Thing with Feathers, in which a being that resembles Ted Hughes’s Crow appears to a bereaved husband and his sons (the father happens to be writing a critical book about Hughes), qualifies as a novel by the familiar logic of its not fitting any other category ...”

“... created a new world for himself.’ Wright threw in for his protest-ending the communist lawyer. Max, with his appeal to understand Bigger as a victim. But the novel keeps up a distance between this hero’s consciousness of himself and the terms of exculpation arranged for him by the professionals of social sympathy. It was ...”

“... Racket (1951), Clash by Night (1952), Beware, My Lovely (1952), The Naked Spur (1953), Bad Day at Black Rock (1955), Men in War (1957), God’s Little Acre (1958), Odds against Tomorrow (1959), Billy Budd (1962) and The Wild Bunch (1969). In many of these films, Ryan played a bad man; in every one, he was an outsider. The parts are often separately ...”