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“... never have done in the past, for fear of being targeted if they took up public positions. And as Robert Kaplan records in Monsoon: The Indian Ocean and the Future of American Power, it is Indonesia’s growing stability that has made it an increasingly attractive partner for both China and the US. Obama’s ‘homecoming’ capped a year in which the White ...”

“... fighting, now farther away, still rumbling in the background. The key characters Guy and Harriet Pringle found their marriage pretty well on the rocks at the end of the last volume, and for most of this one they are separated. It is supposed that Harriet has been drowned at sea, torpedoed on her way back to England. In fact, she missed the ship and is ...”

“... letters to the worthies listed in Who’s Who, and that he managed to get money from the likes of Robert Maxwell, Cliff Richard and Twiggy. Since 1958 Butler had been the co-ordinator of a perennially impoverished study which began by examining the medical, social and economic circumstances of 17,000 babies born in the same week in March 1958, then over ...”

“... no British novels that, like Catch 22, approach war as lunacy made real, or implicitly ask, like Robert Stone’s Dog Soldiers, why running dope is worse than killing unarmed Vietnamese. Such a mixture of the macabre and the grotesque with a touch of anarchy is not a British vein. There are extraordinary figures in Evelyn Waugh’s Sword of Honour ...”

“... for Dunbar – but Eliot’s fine sense of naming in poetry owes more to 19th-century precedents. Robert Browning, who called one of his lippiest poems not ‘Filippo Lippi’ (the name by which the artist was usually known) but ‘Fra Lippo Lippi’, had the name-gift, and some of his finest poems bear the names of their speakers. Eliot owed more to Browning ...”

“... and not a review deliberately, and in this its title supports me, for, though West is discussing Robert Elsmere, The Case of Richard Meynell and Daphne, the ethos that Mrs Humphry Ward puts forward is the only thing that really interests her. Even when she comments that on every relevant page the face of the heroine Catherine Leyburn ‘works with emotion ...”