Search Results

“... ridiculous, and ultimately fictional. Ingrams to this day keeps a life-size cut-out figure of Sir James in his office – an appropriate touch, since the main result of the case (officially an expensive score-draw) was to turn Goldsmith into Goldenballs, the plump businessman into the cardboard villain. Geoffrey Wansell usefully restores a third dimension to ...”

“... all-seeing eye, Augustus seems to have sensed that God was a gentleman, for according to Malcolm Barnes’s biography, he asked: ‘Does God look through the keyhole?’ It has to be said that as an author and gentleman Hare would certainly have relished some fulsome adulation: instead of which he was accused, on the strength of his six-volume ...”

“... partly because he did so little to promote himself. Before he took over the Dial, he wrote James Joyce a cheque for $700; it came to Joyce from his publisher with a note that read: ‘Please don’t imagine that America is full of rich young men of that kind!’ Thayer wasn’t modest, but he was discreet, especially compared to the most prominent New ...”

“... ground of American bookselling is occupied by three nation-wide chains: Crown, Waldenbooks and Barnes and Noble. America also has well-developed mail-order book-clubs (something that the NBA, with its special concern for high-street bookshops, successfully inhibited in 20th-century Britain). American book prices are not, to the browser’s ...”

“... unfamiliar. William Kennedy’s Ironweed is about Albany, capital of the State of New York. Julian Barnes writes about the France of Gustave Flaubert, as discussed in an irrational, pedantic manner by a British admirer of Flaubert’s work. Anita Desai, daughter of a German mother and a Bengali father, writes about the world of Indian poets, a very male (not ...”

“... in the face of the permissive Sixties, Humanae Vitae and the abolition of National Service. Julian Barnes’s very much à la mode Metroland is divided into three sections: I Metroland (1963), II Paris (1968), III Metroland (1977). Current fashions apart, the narrative circuit is familiar from Orwell’s Keep the Aspidistra Flying: both novels record a young ...”

“... in 1911 and since 1936 the Musée Nissim de Camondo. This is the same opening-point chosen by James McAuley for The House of Fragile Things. Both books also end in the same way: by tracing the fate of Renoir’s famous if winsome 1880 portrait of the eight-year-old Irène Cahen d’Anvers, who was later to marry Moïse de Camondo. The two writers tell ...”

“... on ‘funded property’ at 53 Marine Parade with his wife, Charlotte; his 27-year-old nephew, James; and three servants. Less conventionally, he also lived with seven Degas paintings. In 1876 he bought four ballet pictures from the London branch of the Paris dealer Durand-Ruel, quickly followed by two more plus a picture then called Figures in a French ...”

“... As the train trundles out of Glasgow Central, homesickness descends. Gray’s hero speaks for James Kelman and Agnes Owens – the collection’s other contributors – and for all writing north of the border ferociously indifferent to England and its literary culture: ‘I do not love Glasgow much, I sometimes actively hate it but I am at home here. In ...”

“... she discovered Thackeray, Dickens and Fielding, and, later, black writers (Paul Laurence Dunbar, James Weldon Johnson, Langston Hughes and Zora Neale Hurston) who informed her own experience and that of ‘the Race’. But more important to the young Marshall than the testimonies of the page were the stories she heard in the kitchen of her brownstone ...”

“... statistics at the lower end: no Bonnards, one Vuillard, one Braque, one Burne-Jones tapestry, one James Paterson, one Auguste Herbin, two Frank Brangwyns, two Charles Guerins. That makes me feel better. It would be unbearable if, with all that money, a collector had entirely faultless taste. Though he did admit that the Burne-Jones was ‘a youthful ...”

“... to succeed in the small and still male-dominated enclave of SF, the talented woman who writes as James Tiptree Jr was obliged to keep her femininity a close secret.) In the 20th century, genre, or ‘category’, fiction has often enforced pseudonymy for the commercial reason that the author’s name must chime harmoniously with the product. Thus, in the ...”

“... growing youth audience. Right,’ he says, only to drop the bomb that he rejected as clients both James Dean and Elvis Presley. His prose is acrylic – swift and vivid. Clients are ‘mutts’, the editor of the Hollywood Reporter is a ‘mobbed-up blackmailer’, a ‘night-crawling crud’. Underneath the pyrotechnical display – Clancy enjoys juicing up ...”

“... which, as Kenneth Lynn cogently expresses it, is not ‘a haunted Nick Adams, or a crippled Jake Barnes, or a hollowed-out Frederic Henry, but an overbearing know-it-all named Ernest Hemingway’. Max Eastman said Hemingway had false hair on his chest. Gertrude Stein, in The Autobiography of Alice B. Toklas, called his courage into question. Of course, there ...”

“... the press’s traditional heartless sensationalism? Though they could, of course, be both. Clive James once cruelly rebuked an Observer subeditor who had sought to sharpen his prose style and improve his jokes with the remark, ‘Listen, if I wrote like that I’d be you.’ Félix Fénéon might be the perfect counter-example: the sub who wrote better than ...”