“... In a preliminary chapter called ‘Curriculum Vitae’ David Sylvester explains that he became interested in art when, at 17, he was fascinated by a black and white reproduction of a Matisse. He at once began to paint in oils, but soon discovered that he lacked talent and began to write about art instead, devoting himself thenceforth to the black and white of the page ...”

“... Faced with such books as these it is hard not to regret the passing of an age when it seemed easy to write about painting and painters. The grapes of Zeuxis, as Pliny admiringly observed, were so real that birds came and pecked at them. Vasari, a painter himself, believed that in his day art had rediscovered those lost antique skills, built on them, and was now close to perfection ...”

“... There has of late been a vogue for what is sometimes called ‘micro-history’: the historian chooses some anecdote, some occurrence remote from the mainstream of historical writing, and from it deduces an entire culture, the conflicts or negotiations of power within a whole historical community. Alethea Hayter deals with a single event, focusing on a particular moment in history, but she is not a new or micro-historian and is innocent of Foucauldian or any other theoretical ambitions ...”

“... Like everybody else, I had read a lot about Harold Nicolson and his amazing marriage, but paid little attention to him as the author of many books, including a biography of his father, Lord Carnock, a bestselling life of King George V, a life of Mrs Charles Lindbergh’s father, some novels and some historical studies. Of these works I had read only one, the pseudo-autobiographical Some People, first published in 1927 (according to the Author’s Note, ‘many of the following sketches are purely imaginary ...”

“... much time: indeed he had almost none for any older modern English composer except his teacher Frank Bridge. They all represented a taste he did not want to acquire. And it struck me that behind the critic’s detection of a link with Elgar there was the vestige of an old desire – that Britten, though he was certainly allowed to admire Berg, should ...”

“... not to attempt it. For, as he saw it, everything that could be said had already been said – by Frank Harris and others, including Shaw himself; and although Wilde was ‘incomparably great as a raconteur, and as a personality ... these points cannot be reproduced.’ There is obviously some truth in this; we can hardly imagine what it must have been like ...”

“... The Cambridge Edition of Jane Austen is a production on the most monumental scale, involving nine beautiful but heavy volumes and something like a dozen editors, with a powerful editorial board and a team of learned commentators. One volume apiece goes to the major novels – Sense and Sensibility, Pride and Prejudice, Mansfield Park and Emma. Northanger Abbey and Persuasion, which originally appeared in a single posthumous volume, are here divided ...”

“... Subtitled ‘Scenes from Provincial Life’, Summertime is described as the final volume of a trilogy, the others being Boyhood and Youth. These books are instalments of a sort of autobiography. The first two volumes could pass as memoirs, though only Boyhood is actually given that description. Each of these earlier books is a portrait of the artist at the relevant age ...”

“... Naipaul’s epigraph – ‘There is a history in all men’s lives/Figuring the natures of the times deceased’ – warns us that on these journeys through the South of the United States he will always carry with him his own origins in Trinidad; properly studied, those beginnings, as Shakespeare suggests in the following lines, may foretell the hatch and brood of time ...”

“... Yeats avowed it more often and more impressively, but he was not alone in his belief that Maud Gonne’s beauty was of ‘a kind not natural in an age like this’. Shaw called her ‘outrageously beautiful’ and W.T. Stead, who could no more than Yeats isolate his admiration for her looks from an appraisal of her politics, described her as ‘one of the most beautiful women in the world’, going on to point out that ‘she is for the Irish Republic and total separation, peacefully if possible, but if necessary by the sword, that of France and Russia not excepted ...”

“... At the beginning of Mr Holroyd’s third volume Shaw, now 62, is expressing strong views, sensible but not attended to, on the conduct of the nation’s affairs in a difficult postwar period. He began this long last lap of life by campaigning for Ramsay MacDonald, and the other anti-Coalition candidates, in Lloyd George’s opportunistic general election of December 1918 ...”

“... Arguing – redundantly? disingenuously? – that ‘every Shakespeare-lover’ has the right ‘to paint his own portrait of the man’, Anthony Burgess published his version in 1970. Though ‘eschewing invention’, he confessed to an element of ‘conjecture’, adding that the reader should spot his venial departures from fact and excuse them as inevitable in the work of a fiction-writer, his hand subdued to what it had hitherto worked in ...”

“... The main title of this collection may at first seem wantonly non-descriptive, but it turns out to be exact. The first thing to see to if you want to write well is to avoid doing bad writing, used thinking. The more positive requirements can be left till later, if only a little later. Clichés are infallible symptoms of used thinking. Martin Amis has always wanted to be a good writer and he has got what he wanted ...”

“... Willie Chandran, full name Willie Somerset Chandran, is the son of a somewhat eccentric minor official in an Indian state. The novelist, conscientiously researching his final masterpiece, The Razor’s Edge, had visited the maharajah and taken notice of Willie’s father, who happened to be doing penance and, on the model of Gandhi, observing a vow of silence in the temple courtyard ...”

“... John Carey, former Merton Professor of English Literature at Oxford, an authority on Milton and Donne and Dickens and others, the very model of a Merton Professor, has also been, for decades, the chief reviewer of the Sunday Times, a BBC sage, a sought-after chairman of panels, a man well known for his strong opinions on all matters to do with literature and the other arts ...”