“... ARISE OF ONLY 24 FEET.‘Sounding Arch’ because there is an echo. ‘Flattest’ because every foot in the height of the bridge was a foot which would have had to be added to the height of miles of track-carrying embankment. Think of the mud in the hole at King’s Cross, then think of navvies with only picks, shovels ...”

“... is anything to go by, but it gave her no confidence. Finally she took up with a young Dutchman, John Lenglet, who came from a background as respectable as her own, though he was already married, to an actress, and was still not divorced when he and Jean celebrated their bigamous wedding in The Hague in 1919. Sasha in Good Morning, Midnight doesn’t like ...”

“... he settled in London again, yet apart from describing how he nearly drowned in the Thames, at the foot of Westminster Bridge while larking in the watermen’s wherries, he says little about the city. Equiano’s story is extraordinary, yet it hardly tells us how its author ‘imagined’ London. Another former slave, Ignatius Sancho, wrote ‘the most ...”

“... remedies and evangelical tone. But her confident certainties are echoed on the other side: Michael Foot condemns her for praising Victorian values ‘without even a passing comprehension of the human suffering and indignity which the mass of our people had to endure in that pre-democratic age’. The term ‘Victorian’ is used purely descriptively in the ...”

“... theatrical salon in All about Eve, to any Western saloon, booze is the magnifier for all that 30-foot-tall emoting. As Alan Rudolph’s lugubrious 1995 biopic of Dorothy Parker, Mrs Parker and the Vicious Circle, illustrates, it was Prohibition that made boozing an essential act of transgression among the Hollywood crowd of the Twenties and ...”

“... is a direct descendant of Bloomsbury seems about as plausible as trying to show that Michael Foot speaks with the authentic voice of the Levellers. More fundamentally, the central argument of this book, that London’s homely architecture is the product and expression of Londoners’ homely virtues, is chronologically unsound. Most of the buildings whose ...”

“... the whole area described by his grandfather is now under water. Disillusioned, he starts out on foot for California. Moon Palace is the work of an immensely gifted young novelist. The ending, after so much exuberant invention, is distinctly downbeat, but one wonders if it is really the end. Auster’s earlier New York Trilogy suggests a propensity for ...”

“... came in 1957 after the majority of communism’s finest intellects, headed by Edward Thompson and John Saville, quit the Communist Party following the Soviet invasion of Hungary. As the exhibition’s curator, the historian Mike Berlin, explains in the catalogue, the venture ‘deserves to be celebrated. The Partisan embodied a radical tradition that had a ...”

“... II of Scotland a prisoner in the Tower, to be joined ten years later, after Poitiers, by King John II of France. Some might argue – and professional historians no doubt prefer multi-factored answers – that the tide turned even earlier, in 1332, at the now forgotten Battle of Dupplin Moor, where an unofficial army of dissident Scots and dispossessed ...”

“... by the 1850s, when William Russell was reporting from the Crimea for the Times and his editor, John Delane, was fulminating against the mismanagement of the war, nobody could argue with it. ‘This country is ruled by the Times,’ the Saturday Review declared. ‘We all know it, or if we do not know it, we ought to know it.’ Once, governments had ...”

“... they were accessible to all who could pay the price of admission. One of the leading characters in John Brewer’s The Pleasure of the Imagination was a visitor to pleasure gardens. Anna Margaretta Larpent was a moderately prosperous lady living in London in the late 18th century, married to the state official responsible for vetting plays before they reached ...”

“... the more flexible formation of Roman cohorts and maniples, presenting a composite front of foot, cavalry and light artillery – the famous Swedish ‘leather guns’ which, as Weigley observes, were more of a novelty sensation, the latest thing to raise your own morale and alarm the foe, than of any great practical deadliness. (The German 88 of the ...”

“... follow. Even Day-Lewis was not wholly exempt from it when he received the laurels. His predecessor John Masefield had his merits, but writing good verse for occasions was not one of them. Indeed there is an interesting resemblance between the ghastly good taste of the modern tombstone – in chaste Cotswold or slate with a brief restrained inscription – and ...”

“... bias towards quickness. Koch, in his poem ‘A Time Zone’, talks about his collaborations with John Ashbery on some more or less light-hearted – and certainly light – verse. These collaborations, which again put us in mind of Auden, feature the following (unpunctuated) lines: ‘He is not writing much this year but he likes to collaborate/So do I we do ...”

“... at the six volumes of Brian Vickers’s Shakespeare: The Critical Heritage, Bate shows that one John Potter had stoutly defended the play’s oddities many years earlier in the Theatrical Review. The real aficionados had always been enlightening and surprising in their championship of the Bard: what mattered in Hazlitt’s time, however, was a more general ...”