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“... time.’ (Dave Van Ronk said that.) That must be how every interviewer feels – except, it seems, Robert Shelton. It’s 1966: Dylan is talking to Shelton, whose book about him he has agreed to countenance, if not to ‘authorise’. He says something about his relationship with Joan Baez, and then asks: ‘Can you ...”

“... on the martyr’s role: ‘I have a death-thing, I know ...’ he told his official biographer Robert Shelton in one of his more revealing interviews, as if confiding to an apostle. The concerts themselves often turned into furious confrontations between performers and audience, with disgruntled folk-music lovers heckling throughout the rock ...”

“... Spitz,3 purports to supersede all previous efforts; Spitz is especially hostile to insiders like Robert Shelton:4 he himself has abjured the co-operation he knew he would not get and parades his high-mindedness in the preface. According to Spitz, Dylan has been ‘protected by literary sycophants’ right from the start: Spitz engages with ...”

“... the record’s contents. He’d been using the alias since the summer of 1960. His given name was Robert Zimmerman and he had grown up in Hibbing, a small mining town in Minnesota; he was the son of Abe, an electrical goods supplier, and Beatty, and the grandson of Jewish immigrants from Eastern Europe. The name he chose has often been said to be a tribute to ...”

“... slaves’ complicity in their own wretchedness, critics denounced Roll, Jordan, Roll, along with Robert Fogel and Stanley Engerman’s Time on the Cross, which claimed that slavery was a rational, profitable, even materially beneficial institution not only for masters but for slaves as well. Roll, Jordan, Roll might not have won Genovese much gratitude from ...”

“... for once. Scale is uncertain. ‘This might be nature – twenty stories high,’ to borrow from Robert Lowell: We two, one cell here, lie gazing into the ether’s crystal ball, sky and a sky, and sky, and sky, till death – Well – death and the void may be part of it. City parks by night do have something sepulchral about them. The little white blobs of ...”

“... his duty to marry Violante. The composition of the play can be dated quite accurately. Thomas Shelton’s translation of the first part of Don Quixote, which includes the Cardenio story, was registered at Stationers’ Hall on 19 January 1612 and published not long afterwards. English writers were certainly aware of Quixote before this – Beaumont’s ...”