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“... David Keenan’s​ first novel, This Is Memorial Device: An Hallucinated Oral History of the Post-Punk Scene in Airdrie, Coatbridge and Environs 1978-86 (2017), documents the rise and fall of a fictitious (though awesomely real) band called Memorial Device. Its members are from Keenan’s home town of Airdrie – about thirteen miles east of Glasgow – and the book takes the form of 26 testimonies from band members, friends, jilted lovers, relatives, hangers-on and rival acts ...”

“... but I can’t be the only hack on nodding terms with the hostage story whose collection of Brian Keenan minutiae would take very little time to dust. In terms of media interest, Keenan was the least remembered of the captives of Lebanon, the George Harrison of the hostage scene, the other one. The reporter Robert Fisk has ...”

“... explain and go to check the newspapers. The Independent has a well-informed and balanced piece by David McKittrick on the genesis of the ceasefire. He seems cautiously optimistic. Not so that other old ham, Conor Cruise O’Brien, writing on the same newspaper’s opinion pages. O’Brien sees the timing of the ceasefire as evidence of a Machiavellian plot to ...”

“... it with Angie Dickinson, in yellow and orange, as the woman, and a corps of supporting actors from Keenan Wynn to Carroll O’Connor. It felt as if the newcomer had spent his life in the corrupt canyons and corridors of LA.The extra miracle of Point Blank is that Boorman didn’t see the real Los Angeles until 1965. But to him the city was a myth as powerful ...”

“... the Communist Party as a career move: ‘You will meet big people.’ By the end of that year, David Platt, the Daily Worker’s movie reviewer (a witness frequently summoned by Hoberman for counterpoint), announced that ‘never before in the history of the screen have there been so many forward-looking people in positions of responsibility as in ...”

“... craft to folk culture, Catholic to Protestant everyday life. Heaney met the singer and filmmaker David Hammond in the ‘pre-Troubles, upbeat folk scene Belfast of the mid-1960s’; through him, and after the move to Dublin, he ‘got to know a lot of people, north and south, who were involved with traditional music’, among them Garech Browne of Claddagh ...”