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“... of that year, ‘confine him to the brew-houses,/The glass-house, dye-vats and their furnaces.’ Cain and Connolly don’t note this echo, but it does help date this poem, and is a good indicator of how rambunctiously Herrick could transform his master. He implicitly compares himself to the fiery element that had wrecked some of Jonson’s prize works in a ...”

“... soon switch to journalism), and Olive is a famous children’s writer. Lucky Wellwood children, Tom, Dorothy, Phyllis and Hedda, are making paper lanterns. Philip reflects that, in his former life, he had to beg for scraps of paper to draw on; but these generous people throw away paper with unconcern. Byatt comments: ‘He looked up and had the ...”

“... socialist that he is, in the unthinkable position of finding some good to say for Ezra Pound. Like Tom Paulin, who is also in the Annual, Lucas thinks he can be élitist in education (what he’s professionally concerned with) while remaining ‘progressive’ and egalitarian in matters further outside his ken. I don’t have to declare my interest, for Lucas ...”

“... of the problem. The Beowulf poet claimed that ettins, elves, orcs and giants were descended from Cain, the first murderer: they were human, then, but damned by hereditary sin twice over. However, the Beowulf poet – or his scribe – seems not to have been sure whether he meant Cain or C(h)am – the son of Noah cursed ...”

“... verdict in the Politics: ‘There’s no hate like brothers’ hate.’ We had heard of Cain and Abel, the first pair of brothers. ‘Cain rose up against Abel his brother, and slew him.’ We knew about Jacob and Esau too, and thought Esau entirely in the right. ‘And Esau hated Jacob because of the blessing ...”

“... the debate between the Professor and the scientific civil servant Post, who believes the mark of Cain is stamped indelibly on man’s forehead, and rejects meat-eaters and vegetarians alike: ‘If they eat lettuce the lettuce-grower will shoot the rabbits who maraud the lettuces.’ Post gets the best of the argument, but it is the Professor’s ...”

“... of few words, invincible in gunplay, and a dispenser of Solomonic justice. As portrayed first by Tom Mix, then by Randolph Scott, the Lassiter type descends directly to Clint Eastwood. The last scene in Unforgiven (even down to the whipping) is the first scene of Riders of the Purple Sage. All that’s been added is a sadism which would have appalled ...”

“... have a restored print of The Big Sleep, half an hour longer than the original; and, most recently, Tom Hiney’s Raymond Chandler, billed as the first ‘authorised’ biography in twenty years. Chandler would be amused by his power to authorise a biography from beyond the grave, but probably not so amused by the promise of ‘new material’ about the private ...”

“... to the Bible which ‘fell open near the beginning. She read: “And the Lord set a mark upon Cain.” ’ The scar on Stephen’s face (the result of a wartime wound), which becomes livid at times of stress, functions as that mark. Despite Hall’s attempts to court the sympathy of heterosexuals by writing about a textbook case of inversion – Stephen ...”

“... pass’d for human thine own heart; By thy delight in others’ pain, And by thy brotherhood of Cain, I call upon thee! and compel Thyself to be thy proper hell! McGann brings back another version that first readers readily knew of, and in doing so modifies our reading of what is by now the better-known text, Manfred. By pointedly drawing attention to the ...”

“... Williams’s Long Revolution in NLR, which was more temperate in tone than his treatment of Tom Nairn and myself, but more wounding in effect. One of his charges was that Raymond had become half-absorbed, in manner and preoccupation, by the ruling-class academy. ‘Oh, the sunlit quadrangle, the clinking of glasses of port, the quiet converse of ...”

“... cassette player’. Typographical tricks suit satirists such as Hunter S. Thompson and Tom Wolfe, who seem to be graffiti-spraying billboards with impudent brio, deploying jazzy effects (italics, caps, boldface, exclamation marks, dashes) to fill a wide canvas. They’re performance artists in print. Pynchon, too. Moody is more of a heartbreak ...”

“... the Venetian love affairs seem very marginal. Byron’s letter on the subject of his exile to Tom Moore in 1822 contains some self-flattery, but also indicates those areas of his character and achievement to which Raphael has not done justice: The truth is, my dear Moore, you live near the stove of society, where you are unavoidably influenced by its ...”