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“... to think of it, British recognition of Bishop herself was belated; for decades she was upstaged by Robert Lowell, probably because he lived in England and behaved in a way that seemed more certifiably poetic. Now Merrill is available to the English in a slim volume of his best work, selected by him shortly before his death in 1995. Merrill was far from ...”

“... by Weldon Kees’, ‘Variations on a Theme from James’, ‘After a Phrase Abandoned by Wallace Stevens’, ‘Variations on a Text by Vallejo’, ‘A Variation on Baudelaire’s “La Servante au grand coeur”’. ‘American Scenes (1904-1905)’ is quarried almost entirely from Henry James’s account of his return to his homeland and the notebook ...”

“... very brief text does not discuss paintings of Bonaparte’s Egyptian campaign at all. MaryAnne Stevens does briefly discuss the three Egyptian paintings by Gros and notes that they were commissioned as propaganda, that Gros had not been to Egypt and that he ‘conjured up an exotic world of brilliant colour, dramatic turmoil and unfamiliar settings, which ...”

“... more crazy if we were to have more casualties on our side to save the Japanese. This is quoted in Robert Kee’s 1945 – The World We Fought For. Kee’s method is to construct an account of the year from contemporary newspapers and journals. Its vice is that it can look rather lazily tacked together. Its virtue is that it helps us to see events as the ...”

“... the sleazy stories about bonking bimbos achieved a dominant influence in the circulation charts. Robert Maxwell, who bought the Mirror in 1984, did not attempt to reverse the vulgarisation process; when he was not rifling the pension fund he seemed to be chiefly interested in getting a picture of himself in every issue. But in the last few years, under ...”

“... naivety. He did not know that Diana loathed the Palace apparatchiks (including her brother-in-law, Robert Fellowes, who was the Queen’s private secretary). Nor did he know that she cultivated her own contacts with the press, both directly and through her friends. Since he thought Fellowes must enjoy Diana’s confidence, he accepted without question his ...”

“... a predecessor. Nevertheless, to speak of the present Lord Rothermere – or, worse, of Sir Jocelyn Stevens or the late Lord (‘Whelks’) Matthews – in the same tone of voice as Beaverbrook is a substantial affront to natural justice. Fortunately, Griffiths is more generous to the other main agent in the building up of the modern Evening Standard. Charles ...”

“... If Robert Lowell had not been a Lowell would he ever have had the confidence to write the poems he did? It is impossible to imagine the scion of a distinguished English family using that family now as a basis for poetic composition. But all Lowell’s poems are about being a Lowell, or rather, more specifically, about being this Lowell ...”

“... are unimaginable without Pound, early Eliot, William Carlos Williams and perhaps Wallace Stevens as forerunners. This is the main stream of modern American poetry. In England the picture is very different. Pound is grudgingly acknowledged, distrusted, kept at a distance. Eliot holds his place, but not the revolutionary Eliot. Eliot didn’t convert ...”

“... Idea of Entropy at Maenporth Beach’ is dedicated to Layard. The title alludes to Wallace Stevens, but as the poem rejoices in enveloping a woman in ‘fat, juicy, incredibly tart muck’, never has Stevens been led in such a strange direction. Slowly she slipped into the muck. It was a white dress, she said, and ...”

“... of the First World War, London still beckoned aspiring American poets. Ezra Pound arrived in 1908, Robert Frost in 1912, and T.S. Eliot in 1914. When Pound arrived he was only 23, Eliot was 26, but Frost was almost 39. He had been writing poetry, most of it unpublished, for some twenty years, and the difference in style was striking. Set beside the early work ...”

“... The reference to ‘one idea’ recalls the passage in ‘Esthétique du Mal’ where Wallace Stevens dismisses                                      the lunatic of one idea         In a world of ideas, who would have all the people Live, work, suffer and die in that idea In a world of ideas. The cure ...”

“... New York’s Guggenheim Museum contains in an annex a covert Robert Mapplethorpe gallery, a sober exhibition space which, like the masterpieces of its namesake, seems consecrated to the unusual and the mortifying. The current show – Joel-Peter Witkin’s photographs of corpses, amputees and hermaphrodites – holds a grotesqueness sufficient to remind the visitor of how sweet, how antique already, the infamous Mapplethorpe images have become ...”

“... big violet streak of Original Swinburne-with-a-dead-baby’ or dubbed the philosophical Stevens a ‘G.E. Moore at the spinet’, he took it for granted that his arrows would strike home, that there was an audience out there that knew how to echo his own chuckles. In much the same way Jarrell rarely felt the need to labour his recommendations, or to ...”

“... assistant curator at New York’s Museum of Modern Art when Jackson Pollock, Willem de Kooning and Robert Rauschenberg were making Action Painting famous; and he and John Ashbery, his friend and contemporary, must have felt their poetry belonged in tandem with that school. O’Hara’s ‘Why I am not a painter’ doesn’t tell us why he is not a painter, but ...”