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“... Don​ McCullin’s retrospective at Tate Britain (until 6 May) is proof that it pays for a photojournalist covering victims of conflict and hardship to get up close: not quite eyeball to eyeball, but near enough to suggest a portrait. Most of McCullin’s photographs ask us to look frankly at the human face, and often our gaze is reciprocated ...”

“... for all that has been lost. The photojournalism in the first room is the work of a single figure, Don McCullin. His portrait of a Marine fresh from intense fighting for Hue in the Tet Offensive has been elevated by its fame from photojournalism to the realm of high art, and considerable skill has gone into enlarging it from a 35mm negative into a tableau ...”

“... to the act of remembering. Regarding the Pain of Others is as much about what we do and don’t remember as it is about representations of suffering – photographs of war and disaster, for the most part – and their value. The archives of ordinary individuals are stacked with visual index cards that trigger a range of private ...”

“... the Sunday Times Magazine, where he was art editor for ten years from the mid-1960s, he laid out Don McCullin’s Vietnam photographs over 17 pages, uninterrupted by ads. But at the time of his death, two years ago at the age of 73, his name was most often seen in a quiet copyright line at the end of documentaries about the former Soviet Union: an ...”

“... enthusiasm, and Godfrey Smith asked: ‘What do you think about that, Francis?’ He replied: ‘I don’t know. I was asleep.’ There was never anything on his desk. He had a gesture, forbidding to an outside contributor, of sweeping imaginary flotsam from its surface with the little finger of his right hand, which, after a while, had raised a bubble like a ...”

“... Bruce’s italics.’ George Melly is startled that Chatwin has never heard of the Muppets. Don McCullin, on a picture assignment for the Sunday Times magazine, rings at a grand house in Holland Park to find Chatwin standing behind the front door, ‘like Miss World’ – he looked, McCullin reckoned, as if he ...”

“... or piety. As one of the characters in Kurosawa’s Rashomon says, ‘Not another sermon! I don’t mind a lie, not if it’s interesting.’ We know that Lewis was a fan of Rashomon. We also know that he had a reputation for journalistic solidity. Yet Evans’s biography constitutes an argument about the entanglement of fiction and non-fiction. He ...”

“... pace Shaw, without honour; there were no wild men like the down-and-out depicted on this page by Don McCullin. The new memoir suggests that the old one was out to uphold a decorum: it is the work, for example, of a celibate who never mentions the subject of sex. The new one, by contrast, gives glimpses of dereliction which can bring to mind the world ...”

“... the selection for you in a way – what I did remember, I remembered for a reason. Also, though I don’t think my stories are particularly libellous, I felt a sort of embarrassment at writing about people I know, which was solved simply because most of the people I wrote about in Mrs Henderson and The Other Garden are dead. It’s not so much that I’m ...”

“... of suspended anxiety: the urge to fall asleep on an uncomfortable bench, to eat food you don’t need, to purchase goods as a token sacrifice against the hazards of travel. Leaving an older self behind, rooted, watching as you walk away, involves an element of risk. Stations are non-denominational places of worship, staffed by preoccupied ...”

“... the federal minister of finance, ‘all is fair, and starvation is one of the weapons of war. I don’t see why we should feed our enemies fat in order for them to fight us harder.’ Unfortunately for the would-be Republic of Biafra in the south-east, the world was wedded to the status quo of colonial boundaries. According to the UN’s Declaration on the ...”