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“... with scholarly confidence. Allan Massie has produced such a stage-pedant, named Aeneas Fraser-Graham, Quondam Fellow of Trinity College, Cambridge: this figure of fun prefaces the first section of the narrative with an account of the discovery of Augustus’s autobiography and an admission ‘that Mr Massie’s version is indeed, in the event, too ...”

“... extract from Staring at the Sun by Julian Barnes (b. 1946), although nothing from Shuttlecock, by Graham Swift (b. 1949), which gives the best description I know of the territory, real and psychological, in which his generation grew up in Britain: What attracted me then about Camber was less its whispering billows of sand and wheeling black-headed gulls ...”

“... with them; but what about Djuna Barnes or Janet Flanner? Carrington or Eileen Gray? Mina Loy or Martha Graham? The activity of juxtaposition and judgment, once initiated, may well be ever renewing and unlikely to lead to any final rankings. But something will be clarified over time; some intellectual or aesthetic ground gained; some deeper sense of ...”

“... found their way into his stories and into the grist of his sentences. I once had dinner with Martha Gellhorn; there was a candle between us, and she told me that the point about Hemingway was that he was the sort of man who could insist there were two candles on the table, that nothing could change his mind about what he believed: ‘Two candles – that ...”

“... Bernhardt in Victorien Sardou’s Théodora and gushed about it to his long-suffering fiancée, Martha Bernays: How that Sarah plays! After the first words of her lovely, vibrant voice I felt I had known her for years. Nothing she could have said would have surprised me; I believed at once everything she said … I have never seen a more comical figure ...”

“... in Students for a Democratic Society and also worked as a teaching assistant for Marcuse, as did Martha Rosler and Alan Sekula, two fellow students who went on to become prominent radical artists, combining photography, conceptual art and political militancy, as Acker combined documentary writing with conceptualism and leftist politics. Equally, if not more ...”