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“... true: the book is a vigorous complaint about the condition of Ireland. Evenings at Mongini’s is Russell Lucas’s first collection of stories, but his name is well-remembered by those who were addicted to the literary competitions of the New Statesman, twenty to thirty years ago: his entries were often winners, devilishly knowing, surrealistically ...”

“... but gripping and troubling all the way through. The film is based on the ‘true story’ of Frank Lucas, a black gangster who reigned in Harlem from the late 1960s to the mid-1970s, when he went to jail for 15 years – a sentence reduced from 70 years because he named the policemen he had been paying off. We know what ‘true story’ means in such ...”

“... the composition of which he was undoubtedly helped by the Garsington set, particularly by Bertrand Russell. Yet the version of events which the narrator of Sherston’s Progress chooses to set down hardly does justice to those same events insofar as they can be recovered from the Diary. The reason is clear. The later text consistently revises in order to ...”

“... Thomson, in his essay ‘Who Killed the Movies?’ (the culprits were Steven Spielberg and George Lucas), ‘the death of film’ could be attributed to its ‘woeful removal from the cutting edge of our culture’.It was hard to miss the element not just of fogeyish intransigence but of generational warfare. Sontag talked about ‘the young’, Thomson of ...”

“... the wall which I’m currently engaged on, is to be able to visit Cornelissen’s shop in Great Russell Street, which sells all manner of paints and colours and where I go this morning in order to find some varnish to seal the surface of the plaster. After I’d finished putting on all the greenish-yellow colour yesterday I did some trial patches of varnish ...”

“... you can find the major buildings of Berthold Lubetkin and Tecton, the houses of Connell, Ward and Lucas, Maxwell Fry or Ernst Freud, and utopian one-offs such as Wells Coates’s Isokon building. It was also in Camden in the late 1960s and early 1970s that this white-walled, abstract, often low-rise high modernism was emulated in social housing, in ...”