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“... use as such is indirect and mostly unconscious. Sociologists do not seem to see it as oppressive. Rosalind Brooke’s rapid account ‘for students of social policy’ says nothing of this aspect, though something of virtually every other. Despite the voluminous references, students will learn little of law from it unless they already know a great ...”

“... a duel, so that ‘they cling almost lovingly to their female limitations.’ This may be true of Rosalind and Viola, but Portia only clings to female limitations in the sense that when she has finished putting the male world to rights she is happy to go home and get married. No one in the play seems surprised either by her ability to sort out the problems in ...”

“... in which she shows Spenser’s literary heirs George Wither, William Browne and the MP Christopher Brooke co-ordinating political with poetic pressure on the Crown at moments of political turmoil in the 1620s. Or there is 1667, when Marvell’s Last Instructions to a Painter, and plays by Sir Robert Howard and the Earl of Orrery, seized on the hope of ...”

“... meant it, as though they meant it to matter ... Samuel Beckett (of course), John Berger, Christine Brooke-Rose, Brigid Brophy, Anthony Burgess, Alan Burns, Angela Carter, Eva Figes, Giles Gordon, Wilson Harris, Rayner Heppenstall, even hasty, muddled Robert Nye, Ann Quin, Penelope Shuttle, Alan Sillitoe (for his last book only. Raw Material indeed), Stefan ...”

“... woman to have served during the war and returned to the college, responded ‘in the words of Rosalind in As You Like It’ that ‘I had rather have a fool to make me merry than experience to make me sad; and to travel for it too!’ The motion was unanimously rejected and Vera returned to her room, ‘lay on the cold floor and wept with childish ...”