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“... Like the novel​ , with whose origins it is contemporary, the pocket is a repository that promises to contain and disburse secrets. Pockets, like novels, can enclose a story about the lost and found. Just as characters in 18th-century fiction are often begged to provide the histories of their lives and adventures, so too they may be talked out of their possessions ...”

“... She​ started off with A and ended up at B: born in 1743 as Miss Aikin, Anna Letitia died in 1825 as Mrs Barbauld. Poet, editor, biographer, essayist, pamphleteer and children’s writer, she was once known only for finding ‘The Rime of the Ancient Mariner’ improbable. Many of her poems were lost: one survives only in the form of its title, but even that scrap – ‘Verses on the boy who would not say A lest he should be made to say B’ – follows alphabetical order while resisting it ...”

“... How much are the Poor to be pitied, & the Rich to be blamed!’ the young Jane Austen exclaimed in a marginal note to Oliver Goldsmith’s History of England. Mary Toft, the notorious 18th-century ‘rabbit breeder’, was undoubtedly very poor. But was she to be pitied? Contemporary accounts of her hoax identified her as ‘poor’ in ways that combined sympathy with contempt ...”

“... The first time​ Tetty Porter met her future husband, Samuel Johnson, she told her daughter, Lucy, that she had never encountered a more ‘sensible’ man. Most readers assume she was praising Johnson’s sober, rational side; Leslie Stephen, writing in 1878, went so far as to commend Tetty’s penetrative ‘good sense’ for discerning the same quality in Johnson, despite his ‘grotesque appearance ...”

“... to describe the intricate working of literary texts, was largely contained in his lectures. Now Freya Johnston, one of his former students, has edited a collection of ten of them, selected from ‘hundreds’. As she explains in her introduction, this was possible because Griffiths, unlike many lecturers, never extemporised, but scripted every word of ...”

“... edition, part of the complete novels now in progress with Cambridge under the editorship of Freya Johnston, Nicholas Joukovsky locates the fictional Nightmare Abbey in Lincolnshire, ‘somewhere near Skegness’. With nothing to see but ‘a long tract of level sea-coast, and a fine monotony of fens and windmills’, the gloom of the setting ...”