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“... I can’t help it​ being “Beauty and the Beast,” ’ wrote Sidney Webb to Beatrice Potter shortly before their marriage in 1892, ‘ – if only it is not a case of Titania and Bottom!’ The courtship of this super-extraordinary pair – ‘two active self-centred people, excessively devoted to the public cause,’ as H.G. Wells characterised them in The New Machiavelli – was the oddest romance in the Fabian calendar and a triumph for Sidney’s policy of gradualism ...”

“... Earlier this summer, during two and a half days of sun, I was persuaded to join a Wordsworth and Coleridge pilgrimage in Somerset. One of the chief attractions was a rumour that Richard Holmes, currently working on a Life of Coleridge, would appear. For a day and a half there was much talk of Mr Holmes. How would he appear? Over what hill? Across what pond? From time to time messages would arrive which we carefully decoded ...”

“... Violet Trefusis was born on 6 June 1894, the elder daughter of Alice Keppel, a famously discreet mistress of the future Edward VII. ‘I wonder if I shall ever squeeze as much romance into my life as she has had in hers,’ Violet wrote in the summer of 1918 to Vita Sackville-West. She had begun to squeeze a very indiscreet romance with Vita into her own life ...”

“... used being utterly destitute of tone. It would be cheaper, and equally effectual, for Sir Michael to employ a stage carpenter to bang the orchestra door at a prearranged signal.’ ‘Why is it that the Master of Ravenswood, whenever he appears on the stage in the opera, proceeds to fling his cloak and hat on the ground with a melodramatic air? It is ...”

“... What is a bibliography? For Bernard Shaw it was a directory whose natural subscribers were to be found among librarians, biographers, critics and occasionally the authors themselves. He regarded its aim as the production of opus lists that would be useful to specialists. Such an attitude, his own bibliographer informs us, was appallingly inadequate, revealing ‘a man who had no understanding or respect for the responsibilities of scholarship ...”

“... On 7 August 1922, in a letter for her husband John Middleton Murry to be opened after her death, Katherine Mansfield wrote: All my manuscripts I leave entirely to you to do what you like with. Go through them one day, dear love, and destroy all you do not use. Please destroy all letters you do not wish to keep and all papers. You know my love of tidiness ...”

“... When people ask me who I am writing about, I tell them it’s my aunt. My aunt was born in 1902 and is now in her 94th year. Over the last ten years, even before the death of her brother – my father – I have held power of attorney in respect of her affairs. From a bureaucratic point of view her life could hardly have been more simple. She never married, looked after her parents and, when they died, lived on alone ...”

“... David Peterley’s Peterley Harvest was first published on 24 October 1960. The book had a curious history and, shortly before publication, stories began to appear in the press declaring it to be an elaborate hoax. The jacket of the book contained the information that David Peterley was the only son of an old Quaker family that had ‘lived in the Chilterns and been neighbours of Milton and the Penns ...”

“... When I signed the contract for my Life of Lytton Strachey, I was allowed by way of an advance on royalties the sum of 50 pounds. Though this reflected my own lack of status as a biographer, it was also, I think, some measurement of where Bloomsbury stood in the scheme of things. Twenty-five years ago, Strachey’s books were not in paperback and Virginia Woolf was not the feminist idol she has since become ...”

“... When he came to write his autobiography, the biographer Michael Holroyd decided to restrict himself to what he calls ‘a good walk-on part’, assigning the leading roles to his family. Avowedly happier with the lives of others than with his own, he remains as close as the circumstance permits to the condition of invisible watcher ...”

“... Reprint Library, with (as readers of the London Review of Books will know) an Introduction by Michael Holroyd, which identifies ‘David Peterley’ as an artistic fiction and argues a persuasive case for the book’s worth and raison d’être. Let me dwell a moment or two on the ‘crime’ aspect. Publishers like to exploit the weakness for ...”

“... 15 years earlier, had been more pithy: ‘There is much interest in it, but tiresomely told.’ Michael Holroyd’s admirable biography allows us to peep behind the bland phrases of public seemliness here. It suggests, conversely, that Trevelyan’s fulsome congratulations to Strachey upon his books masked his real views with a more calculated ...”

“... in this, and indeed any biography – its author. As Gordon Craig transformed theatre design, so Michael Holroyd in 1967 revolutionised the writing of biography with Lytton Strachey, which extended the biographer’s reach from the public to the private, from the work to the man, from the study to the bedroom. In doing so, he breached the border between ...”

“... keepers of the flame, while pocketing the revenue for the estate, have no intention of satisfying. Michael Millgate has – quite fortuitously – written a book on exactly the same subject as Ian Hamilton, using the same case-study method. Whereas Hamilton burned his fingers trying to steal Salinger’s flame, Millgate – Hardy’s biographer and the editor ...”

“... his novels, and there was another in 1970, when the same edition was republished with prefaces by Michael Holroyd. Gerhardie himself prefixed to the reissue of his first book, Futility, an important essay called ‘My Literary Credo’, which is unfortunately omitted from the new Penguin Modern Classics reprint. (Futility is the only novel in ...”