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“... observer than Aristotle, identified the octopus’s main characteristic as ‘mischief and craft’.) What does it feel like to be an octopus? Does it feel like anything at all? Or are octopuses, as Godfrey-Smith puts it, ‘just biochemical machines for which all is dark inside’? This form of question – ‘what is it like to be a bat?’ Thomas ...”

“... trapped in copper tubes. Or the oracular brazen heads supposedly created by Albertus Magnus, Robert Grosseteste and Roger Bacon. These heads were forged from bronze or brass and activated with the help of arcane knowledge of spirits or celestial conjunctions. Once operational, they were able to predict the future and answer any question. But stories ...”

“... and scandal, Maintenant was entirely written and published by Cravan: the other contributors (Robert Miradique, W. Cooper, E. Lajeunesse, Marie Lowitska etc) are all pseudonyms. Even the advertisements bear his skewed imprint: the restaurant Chez Jourdain entices customers with the words, ‘Where can you see Van Dongen’ – the Flemish painter Kees van ...”

“... lectures about various Iraqi weapons programmes, about the result of past inspections, about the craft and tools of inspection, the rights and duties of inspectors in Iraq and about the history, culture and religions of Iraq’. An Unmovic inspector, he said, should be ‘driving and dynamic – but not angry and aggressive’; ‘ingenious – but not ...”

“... of utter ruin. Branson’s line on Bower is that he got lucky a while back exposing the monstrous Robert Maxwell and is now trying the same trick on other prominent figures in the hope that lightning will strike twice. But Bower doesn’t portray Branson as another Maxwell. He never suggests he is a crook and he is almost admiring of the skill with which he ...”

“... to failure and the posthumous honour of indie renown. The largest exception to the rule, as Robert Kolker and Nathan Abrams show in Kubrick: An Odyssey, owed his escape to a coalescence of luck and preternatural self-confidence.Kubrick is a comprehensive Life. It yields, in orderly procession, almost every fact a scholar or a fan might want; and a fair ...”

“... consonants’ into order ‘with sadistic ease’. This subtle poem implies with kindness and craft what so many writers from working-class backgrounds labour on about: the continuing need for a communal background from which the writer has been isolated by individual intelligence, the need for                      blank printer’s ...”

“... of Opened Ground; his subsequent use of it shows how closely fractious politics and the demands of craft can run together in his work to produce a form of words which sounds final in its simplicity but has had the capacity to take on new meanings as his writing has developed. In the years since North the idea of ‘opening up’ has become a leitmotif in ...”

“... in London during the war, and Michael Holzman’s James Jesus Angleton: The CIA and the Craft of Counterintelligence (2008). But Angleton laid out on the page is nothing like Angleton in the room. When he wanted someone to understand the Monster Plot – someone like David Blee, for example, who took over as chief of the Soviet Bloc Division in the ...”

“... with those of his poetical peers whom he saw as responding to the world or to imperatives of their craft: ‘As for me, I was an autobiographer restlessly searching for forms in which to express the stages of my development.’ This passage, like much of Spender, is more egotistical than it knows: that each successive stage of his ‘development’ should ...”

“... born-again brazenness. In an analysis of Christopher Hitchens and his historic predecessor in the craft, George Orwell, in the LRB (23 January 2003), Stefan Collini coined a superb descriptive phrase: what the reborns stand for is ‘the "no-bullshit” bullshit’ of anti-liberalism, re-equipped with post-9/11 riot gear. In differing ways both Todd and Soros ...”

“... poems makes a reader feel that he can only approve the poet’s judgment in not collecting them; Robert Conquest plunges the reader into an obscure background involving reciprocal limericks which were no doubt funny at the time but which are not (unlike those Monteith quotes) funny enough now. In the absence of any more exact sense of subject and form, these ...”

“... of Orson Welles in Touch of Evil. Southmere Lakeside and the soothing water features contrived by Robert Rigg as part of a GLC initiative in the 1960s had turned sour by the time of Stanley Kubrick’s film of A Clockwork Orange in 1971. Dystopian violence overcame the innocence of Corbusier-influenced architects and planners hoping for a brutalist iteration ...”

“... the Sun in 1969, after he’d bought the News of the World from the Carr organisation, defeating Robert Maxwell en route. The News of the World is a Sunday paper, so it was a point of elementary commercial logic to start a daily paper to accompany it, in order that the presses would not lie idle during the week. Larry Lamb, the Sun’s first ...”