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“... on a material entity? Plagiarism of a sort, then, is our normative condition, and self-parody, as Nick Groom recognises in The Forger’s Shadow, is the closest we can come to authenticity. (When the dust jacket informs us that the author is a former rock musician and contributor to the Erotic Review, who spends his time drinking ‘bitter in Devon pubs ...”

“... how difficult it is to find that balance. As the ‘new history’ of vampirology by Nick Groom, ‘prof of goth’ at Exeter University, reveals, European folklore has always been full of the undead, although it’s not until the 18th century that tales of ghouls preying on the living and coffins prised open for fresh blood start to ...”

“... and originality, stand in paradoxical relation in Chatterton’s poems. This is the drift of Nick Groom’s distinction between the philologist and the mock-learned poet: ‘For Percy, manuscripts were merely traces of minstrelsy . . . for Chatterton, however, manuscripts were the very matter of literature.’ Unlike the Romantics, who believed as ...”

“... as explorations of ‘regions within ourselves’. In this excellent World’s Classics edition, Nick Groom analyses the novel in much broader political and historical terms, seeing the book’s ‘extreme writing’ as a response to the shockwaves caused by the violence of the French Revolution. He also elucidates its tangle of literary references, for ...”

“... a half-hour radio documentary about the other side of Thorpe’s life, his affair with a stable groom called Norman Scott in the early 1960s, when homosexuality was still illegal, which eventually led Thorpe to the dock of the Old Bailey, charged with conspiracy to murder. For Mangold, the important thing about Thorpe’s story was not that an unjust law ...”

“... In The Line of Beauty (which won the Booker Prize in 2004), set in the 1980s, the protagonist, Nick, was invited to stay in a large house in Notting Hill by a Tory MP and his family. He stayed there for years. Nick’s last name, Guest, almost insists on this status of provisional privilege, the satisfaction and ...”

“... many British documentarists who passed through the School, including such well-known figures as Nick Broomfield and Molly Dineen. I also trained there, as did my principal colleague at the Granada Centre, Anna Grimshaw, and we continue to pass on its precepts to our own students, even if in a somewhat modified form. Like cinéma vérité, direct cinema ...”