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“... Where there weren’t shelves there were Spanish Civil War posters and a neon pink print of a Christopher Logue poem. There were some filing cabinets, one full of notes, the other full of photocopied articles (though one drawer did contain bottles of wine). The green armchair and sofa were reupholstered when I moved into the rooms. I worked at a big ...”

“... works, electronic resources, three recent popular novels, a musical composition and a poem by Christopher Logue. Among the primary sources are 84 authentic charters from Æthelred’s reign, seven or eight decrees issued at law-gatherings (meetings of the powerful where royal policy was announced) and a good deal of writing from the period, much of ...”

“... he called at his house, he said: ‘Guys, what about launching a paper?’ We decided we would and Christopher Logue was deputed to go to what’s now the British Library to look into possible names. I’d said: ‘I’m totally opposed to traditional left names – “Workers’ this”, or “Socialist that”. The people who are coming into politics ...”

“... To get a taste of his originality, try James Joyce, or Derek Walcott. For drama and pathos try Christopher Logue, and for sheer poetic artistry try Fitzgerald or Alexander Pope. And if, after this, you feel in need of some orality, have some friends round for dinner, put on some music and read it ...”

“... to be taken. It would be interesting to see the Argonautika violated by a less brawny version of Christopher Logue. It is indeed a classic of European literature, a fabulous magical tale, but if you want to learn to love it you will have to take classes. It is a universal poem only in the ...”

“... his wife, the poet Ruth Fainlight, Arnold Wesker and his wife Dusty. Naomi Mitchison. Ted Hughes, Christopher Logue (whose recording of poetry and jazz, Red Bird, I’d bought with my pocket money at St Christopher’s), Lindsay Anderson, Fenella Fielding. A Portuguese couple, described to me as ‘a poet in exile and ...”

“... of elegies for the dead interspersed with similes, and pares away almost all narrative elements. Christopher Logue’s dazzling paraphrases adopt a fragmentary form which appears to have been broken apart by the violence it represents, which is often grotesque (‘His neck was cut clean through/Except for a skein of flesh off which/His head hung down ...”