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“... and newspaper headline, impression and chronicle. For the middlebrow modernism of U.S.A., John Dos Passos shrewdly kept those registers apart, offering them separately on the page under the headings camera eye and newsreel. Here they are mashed together, and the effect is distinctly lumpy. There’s a reference to Firbank late in the book and perhaps ...”

“... sweatshop version of Vivienne Westwood. There are jokey names (Page and Turner for a publisher, John Elton for an American literary agent with a disfiguring hair transplant) and passages of broad pastiche, such as this from a novel about Shakespeare: ‘“Fye, Will,” said Lucretia, arching backwards and pulling William towards her, “keep thy wit for ...”

“... playhouses were probably closed two-thirds of the time. Biographers, notably Katherine Duncan-Jones and Jonathan Bate, have struggled to determine the impact plague had on Shakespeare’s life and work. Did Shakespeare flee London during extended outbreaks, and so spend much of the first decade of the 17th century with his family in Stratford? Did he ...”

“... fights shy of the propaganda attacks on extravagance and vanity so richly documented in Malcolm Jones’s superb catalogue, The Print in Early Modern England: An Historical Oversight (where The Cure of Folly is reproduced).* The places she studies were rich trading centres, some of them free cities rather than feudal possessions, and their inhabitants used ...”

“... society which was monochrome, buttoned-up and circumscribed, but fundamentally benign and (to use John Major’s celebrated phrase) ‘at ease with itself’. That ease was, of course, predicated on the exclusion and silencing of certain social groups: there are almost no people of colour in Ealing films – or in many British films of the 1950s, for that ...”

“... more available on tseliot.com, and many thousands yet to come. Edited for the most part by John Haffenden, the edition builds on the collection made by the late Valerie Eliot and on many archives (especially those of Faber). Occasionally, there’s a page with only a couple of lines by Old Possum on it, and about fifty lines of small-print ...”

“... dependency like America. The most conspicuous instance was Eliot’s hero (and Boston’s own) Henry James, followed by Pound himself, Gertrude Stein, and just recently, that robustly American figure Robert Frost who, with his wife and children, had in 1913 taken up residence outside London, and from there, with Pound’s assistance and to considerable ...”

“... that Evelyn Waugh was the greatest English novelist of his generation. Certainly Graham Greene, Henry Green and Angus Wilson thought so, although they and not he won the worldly honours Waugh would dearly have loved. On the other hand, that redoubtable holder of the Order of Merit, J.B. Priestley, did not think so. But then whom would he have ...”

“... with a particular way of going about their trade, can shed their skins. The lapse of time between Henry Green’s Living (1929) and Nothing (1950) is shorter than between Money and The Pregnant Widow, but the transformation in the texture of the prose is total, from clotted to syncopated conversational flow. Green’s late style is thinned out but has its own ...”

“... a commodity squandered as I had never known it before. 22 May. Reading Frank Kermode’s review of John Haffenden’s life of Empson makes me regret a little that Empson was cut out of The History Boys. In the first version of the play Hector sings the praises of Sheffield where he had been taught by Empson, then recounts to the boys wanting to go to Cambridge ...”

“... wife and three children, arranged in perfect descending height order from left to right, husband Henry to little Bobby. The shot is framed by two trees; in the upper right corner, a group of smiling shoppers coming through the lot balances the family in the lower left. Tall, masculine Henry is exquisite in camel-hair ...”

“... forms, including a kind of nervous male bluster masquerading as chivalry. When Mervyn Griffith-Jones put his famous question to the Lady Chatterley trial jury about the reading-matter appropriate to wives and servants, he may have had in mind the criteria applied by a Sunday Times editor in 1949 to The Naked and the Dead. ‘No decent man could leave it ...”

“... superb new edition of his correspondence, addressed to the 12-year-old Philip by his father, Sir Henry, urges him ‘to exercise that practise’ in letter writing, ‘for it will stand you in most steed in that profession of lyfe that you are borne to liue in.’ Some years later, when he was setting off on an extended tour of Europe, Philip was repeatedly ...”

“... first feature, Pather Panchali (1955), is a masterpiece of non-Italian Italian Neorealism. So is John Cassavetes’s first movie, Shadows (1959), populated by underemployed jazz musicians and shot in and around Times Square. Neorealism was the inspiration for British ‘free cinema’ and kitchen-sink realism. Jean Rouch’s ethnographic features made in ...”

“... national fund amounted to nearly £56,000, most of it raised in London. The money enabled Inigo Jones to rebuild the west front of the cathedral and to restore the choir – work which was not pulled down until 1687, having been weakened by the Great Fire. By contrast, the Puritan Feoffees of Impropriation, which Ashton hints were not necessarily distrusted ...”