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“... dishevelled social and sexual lives for good. The year before they married, the diaries peter out. Stanley Weintraub, who has edited all 12 diaries and the fragments from 1880 and 1917 into two stout volumes, gives the game away in his lively account of their provenance. When Shaw married Charlotte, he left his papers at his mother’s house in Fitzroy ...”

“... dryly and ironically than before, eschewing much of his earlier sentimentality,’ says Professor Weintraub judiciously. ‘The belief that he did no work of artistic merit after he left California was inaccurate.’ It might be added that even what he wrote at the scene of his adventures was sifted through other writers, chief among them being an Eastern ...”

“... no slackening. There is the Shaw annual, edited by another learned and dedicated American Shavian, Stanley Weintraub; the current issue contains essays about Mozart’s influence on Don Juan in Hell, Shaw’s attitude to Ireland, aviation, religion and Churchill, with much else, including reviews of new books on Shaw and a ‘continuing checklist of ...”

“... Mr Laurence co-edited is accused of ‘a classic of misplaced humour’; Mr Laurence’s colleague Stanley Weintraub is arraigned for an inexplicable editorial decision (a telephone call might have elicited an explanation); the photographer Allan Chappelow is told off for using a ‘grandiloquent (and misleading) subtitle’ and producing ‘a cluttered ...”

“... the recent work of Colin Matthew, Roy Jenkins, Richard Shannon, John Vincent, Sarah Bradford and Stanley Weintraub. Essentially it’s dry-bones parliamentary history – elections, cabinets, reshuffles, bills, budgets, divisions, dissolutions – and its verdict on the falling out hardly deepens our understanding: ‘By the end of [Disraeli’s] life ...”

“... his influence was stronger in literature than in visual art – we can trace it explicitly, as Stanley Weintraub has done, through Lawrence and Faulkner. In the art world we must wait till the Sixties, for the appearance of Hockney and Warhol. Beardsley had no use for futurism or the machine aesthetic or abstract art. He loathed Turner, the founder of ...”