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“... rather, and the tones, are those of the old artificer, the father of the tribe, Simon Dedalus, John Stanislaus Joyce. Like the violins of Cremona, Dubliners, Ulysses, Finnegans Wake are the products of a joint concern, a family undertaking. Joyce himself was frank about this. As long as he had escaped he could still be in the bosom of the family. As long ...”

“... but to have a ‘friend’ – no, it really won’t do. ‘I’m your friend,’ said Myfanwy to John as they crouched in the ‘dark and furry cupboard while the rest played hide-and-seek’. Betjeman got that about right.‘We’ve always been the greatest friends’ – that is the kind of thing the lady says about her dentist or accountant, or a woman ...”

“... espionage worlds, and subsequently in business journalism. Unlike Fleming’s previous biographer John Pearson, Donald McCormick makes no attempt to psychologise his subject – or to reproduce the fluency which made Pearson’s book read as easily as a James Bond thriller. His justification is to produce, among much that is already familiar, some new ...”

“... The high noon of imperial expansion towards the end of the 19th century produced an archetypal tale. Kipling’s version of it is ‘The Man Who Would Be King’, which like all Kipling’s early tales made a great impression on Jack London. His own version, ‘An Odyssey of the North’, concerns an Aleutian Indian whose betrothed is stolen from him by a Norwegian seal poacher, a giant with a golden mane and the blood of the Vikings, much the same as the hero of Kipling’s story, and also of Rider Haggard’s romances ...”

“... In 1974, with High Windows about to appear, Larkin lamented in a letter that critics would have passed the word around – Donnez la côtelette à Larquin – give Larkin the chop. Of course he was wrong. The chorus of praise swelled higher than ever: with each slim volume the certainty and authority of the poems and their unique feel of personality left readers dazzled ...”

“... In 1948 I was sitting in my college room trying to work when Kingsley Amis opened the door and looked in apologetically. We must have been conscripted at the same point in the war, but being older he had already been up at Oxford: now he was a graduate, starting a BLitt. Since he was already quite famous in university circles I knew who he was although we had never met ...”

“... Swift has sailed into his rest; Savage indignation there Cannot lacerate his breast. So wrote Yeats of Swift’s Latin epitaph for himself in Dublin Cathedral, and it had been an epitaph well earned. The fashionable aspect of social indignation was to come later. To the heroes of the Irish revolution, twenty years after the American, it was nothing of the kind ...”

“... In A Dance to the Music of Time there is a journalist called Bagshaw, who was once a Marxist. Although he has long since lost belief, he retains an almost fanatical interest in the technical gyrations of the party line and the multifold shades of left-wing opinion. Bagshaw’s situation is in some degree that of all intellectuals. Enthusiasm may die, but sheer professional interest mercifully remains ...”

“... Show a primitive man a submarine, or a sophisticated one an elephant, and both have to have time to get used to the experience before they know what it is they are seeing. So it probably is with the experience of battle. The participant does not know what happened until he can work out in the language of his head (or of his tribe) some way of formalising it ...”

“... The best thing on Stendhal in English is an essay by Lytton Strachey in which he remarks the way the author denovelises the novel while skilfully retaining all its traditional apparatus. Stendhal’s imagination is a kind of parody of Scott’s: his sensibility is itself its own journal and his own memoir. Reviewing Stendhal’s last book, The Charterhouse of Parma, when it appeared in 1839, Balzac noted admiringly that the novel ‘often contained a whole book in a single page ...”

“... The novel and story depend a good deal on mystery. Pip has great expectations – where do they come from? – but more important, who is Pip, and what is he after? Everyone can be made to seem both banal and mysterious. The Sherlock Holmes tales exploit both the puzzle and the adventure, and the humdrum oddness of the society in which they take place: but writers who are cunning by nature or naturally fortunate know that mysteries are not there to be solved ...”

“... story about other writers, and was delighted when his friend Frank Swinnerton ventured to call on John Galsworthy in the country, and reported that the great man had risen from his work-table exclaiming gravely: ‘I say, Swinnerton, this is very sporting of you, very sporting indeed.’ Oddly enough, Walpole has probably lasted better than Mackenzie and ...”

“... Its distance from FitzGerald can be nicely gauged now from the excellent literal translation by John Heath-Stubbs and Peter Avery. Yet Omar and FitzGerald have one important thing in common: they are both deadpan, using the form, however different its effect in Persian and English, to conceal as much as to reveal. As a 13th-century manual of Persian poetics ...”

“... shires of Hardy and Betjeman – there was also the bright American world of the New Criticism, John Crowe Ransom, I.A. Richards, Allen Tate, and young up-and-coming members like Randall Jarrell, a world in which the academic and the poet were entering together a new world of feeling and technique, joining tradition and novelty. Bliss was it in that dawn ...”

“... whereas Corvo or Lowry, Hamilton or Conrad Aitken, and maybe poets like Dylan Thomas and John Berryman of more recent date, are celebrated inside their own time-warp, relished as creatures of their epoch. A disillusioned devotee is the worst that can happen to them; and although I enjoyed rereading Twenty Thousand Streets and reviewing it in these ...”