“... might well have regarded with disdain. Venus and Adonis and The Rape of Lucrece, the self-consciously classical narrative poems he published in 1593 and 1594, with their dutifully obsequious dedications to Southampton, were what mattered to him, rather than Titus Andronicus, The Taming of the Shrew and the early history plays, which he made no ...”

“... and replied: ‘Go on with you! Scat!’ This image of a person obscurely in the know, at once self-collected and reticent, is also an image of the person Bishop became – or the one many took her to be. But Bishop knew that you could compel attention by declining to demand it, and that restraint could be a kind of plea. She once wrote of a friend: ‘She ...”

“... sunset was never exactly a paragon of family values. A boy in the 1950s, the heyday of the genre, Robert Pippin grew up steeped in the Western. He watched them both on television (his favourite show was Have Gun, Will Travel) and ‘all day Saturdays at the movies (ten in the morning until six at night) … one Western after another’. Growing up in Havana ...”

“... we will not be hearing much about ‘merely good chaps, or fairly good chaps’, nor about ‘self-restrained’ chaps, or ‘secretive’ chaps. And fair enough, we have to say: these are his memoirs, after all. But what then is left to tell? Luckily, Amis possesses a good memory for anecdotes, or so he says, and he is also not too choosy when it comes ...”

“... exactly a lost classic, as it is billed, since it was published in 1928, and again, in a slightly self-censored version, in 1968 – says he asked William Burroughs what he thought. ‘It’s the book that made me want to be a writer,’ Burroughs said. But was it poetry? ‘Of course it’s poetry. It rhymes.’ It is ‘closer to “Frankie and ...”

“... want you to be. For women, not only women of the Third World, this is the most available form of self-preservation. The temporal form of the book is as intricately logical as electric wiring, moving not serially but in bundled threads between the area of darkness of the East and the often artificial light of America. From the electrical storm of ‘high ...”

“... No, what scotched the Disraelian legend as serious history was the standard biography by Robert Blake in 1966. Lord Blake possesses unimpeachable credentials as the eminent chronicler of the evolution of the Conservative Party. But he maintains also irreproachable standards as an academic historian, and these made his Disraeli disconcerting reading ...”

“... Hamilton, Alick West, H.R. Barbor, Miles Malleson. To Lucas, these writers differed from the more self-regarding literati in their search for ‘a little-told story: a story not of despair, but of resistance, even vision’. The patricidal disaffection of Berjeman, Waugh and the Sitwells, defined in Lucas’s account as Bright Young Things, was, in ...”

“... of History as the ‘basic introduction’ to history as taught in the universities. Evans is a self-declared ‘Rankean’ empiricist, committed to Ranke’s view that facts and documents ‘speak for themselves’. He believes that the proper method for historians today is the same as it has always been, at least since the 19th century, when the rules of ...”

“... intelligent exile, trying to tell the truth, and the portrait he paints of his own younger self is of someone who, like the wartime GIs, was oversexed and over here. You get the same impression in London. Whereas Naipaul, an Oxford graduate with plenty of friends in the bohemian world, is a man who feels detached from the English social scene, Theroux ...”

“... and Williams are better than the movies,’ O’Hara, unlike Ginsberg, couldn’t use the rolling self-importance of Whitman – any more than Keats could use the ‘egotistical sublime’ of Wordsworth. Like Keats, he rejected poetry that had ‘a palpable design’ on us. But he could learn from Williams’s relaxed intimacy with places and things; and he ...”

“... language generally devoted to notions of stubborn defensiveness (‘stonewalling’), or patient, self-denying collaboration (‘keeping your end up’), or long experience (‘a good innings’), or humorous cunning (‘yorker’, ‘googly’, ‘chinaman’), or occasional bafflement (‘stumped’), and only in a few instances of vainglorious triumph ...”

“... Not long ago I, too, was browsing in the Huntingdon files and found a large box of letters from Robert Conquest to Amis; the other side of the correspondence was missing, and what was there contained lots of limericks and few confessional items for the use of any future biographer of Conquest, possibly Salwak. It seemed somehow a slightly dingy way of ...”

“... are fond are perhaps too blithely rinsed off. Children betray their mothers. I thought of Robert Frost, in a poem like ‘Design’, sidling up to the reader before shivving him with ‘design of darkness to appal’. Much of Stallings’s work can seem like light verse that suddenly appals: solid, foundational stanzas that chat directly with ...”

“... an oeil de boeuf window. It belongs to no school, though there is some affinity with another self-designed, but suburban, house of a very different painter, Roger Fry. The inclusion of this remote, largely unrecorded site is again testimony to Orbach’s determination and willingness to follow rutted, unmade, probably private roads through parched ...”