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“... a moral purpose (and cheerfully confesses to a preference for Nahum Tate’s happy ending to King Lear), Malone, however superior as a textual scholar, is scarcely a Shakespearean critic at all. He is content to use authentic historical documents to illuminate Shakespeare, and vice versa, but practically silent on the value or use of both. His criticism ...”

“... du Barry, similarly, Negri twice has a man blindfolded; she dresses in men’s clothes and has the king acting as a lady’s maid. In Die Bergkatze, when she wants to gain the hero’s attention, she chucks a snowball at him. She’s always running, darting around the possibly parodic Expressionist-style sets, racing up and down the staircases. Matching her ...”

“... but to the world.’ Equally compelling is the account of what Shakespeare does with Seneca in King Lear – to all appearances the least conventionally Senecan of the tragedies. Having demonstrated how closely Lear’s furious ‘I will do such things’ paraphrases Atreus in Thyestes, Burrow goes on to argue that the whole play can be understood as the ...”

“... The writing is genuinely alive with what Connolly called ‘erotic nostalgia’. Both Powell and Michael Shelden emphasise his capacity for self-inspection, elevated to a comic art, on the subject of his own tastes and weaknesses (‘MESSAGE FROM THE ID: “If you would collect women instead of books I think I could help you” ’), and the acceptance of a ...”

“... the Party could make to the pure monarchical model, for there was no doubt that the leader, like a king, was not responsible to his subjects. Their duty was to follow him but he had no duty to represent them. What no one could forget was the war leadership of Pitt, Lloyd George and Churchill when the fate of the country hung entirely on the character of the ...”

“... high-faggot style’, or did it originate, as John Edgar Wideman claimed, from a mixture of the King James Bible and African American speech? Was it full of the clarity, eloquence and intelligence that Chinua Achebe suggested? And was Baldwin’s involvement with the Civil Rights Movement a cautionary tale for other writers, as Hilton Als insisted, or one ...”

“... detailed account. The oddness and formality of the writing make it feel like a translation, but Michael Hulse works very closely with Sebald in transforming the original German into English. I suspect that the translation from the German is remarkably good. It is as if the reader, too, is in exile, not permitted to wallow in easy, casual prose. Exile looms ...”

“... a few featureless stumps and badly weathered monsters lying about the garden behind the apse. As Michael Camille points out, gargoyles bear the brunt of the weather: they are part of ‘the exoderm of the edifice’, eroded by the water they channel away from the building. They were never intended to last, which might account for their flippancy or ...”

“... other writers.’ As Gelpi rightly points out, Day Lewis did always have his defenders. Early on, Michael Roberts claimed that From Feathers to Iron (1931) was ‘a landmark, in the sense in which Leaves of Grass, A Shropshire Lad, Des Imagistes and The Waste Land were landmarks’. And on the occasion of his death, Kingsley Amis declared that Day ...”

“... even a dead Enemy might bite back.) Still more complex was his relationship with Eliot. Professor King suggests that Eliot was for Read a father figure ‘whom he could emulate, rebel against and, at times, loathe’, and that seems about right. Eliot published Read’s poems, his essays, and some of his books about art, but at times was sharply critical of ...”

“... Why are we being compelled to think about how male pianists speak? King Vidor’s A Song to Remember (1945) exerted no such pressure. Nor did Max Ophuls’s Letter from an Unknown Woman (1948). Yet, while Jane Campion’s The Piano (1993) presented a woman incapable of speech, François Girard’s Thirty-Two Short Films about Glenn Gould (1994) presented a man who was abnormally articulate – one who in the 22nd film, for example, rehearses the revealing personal ad: ‘Friendly, companionably reclusive, socially unacceptable, alcoholically abstemious, tirelessly talkative, zealously unzealous, spiritually intense, minimally turquoise, maximally ecstatic loon seeks moth or moths with similar equalities for purposes of telephonic seduction, Tristan-esque trip-taking ...”

“... his mother chose to compete for the ardour of two of Caroline’s most famous paramours, Byron and Michael Bruce. Yet his emotional dependence and lack of ruthlessness prevented him from leaving her until his family pushed him into a separation in 1825. Jibes about his subordination to women probably had a permanently damaging effect on him; perhaps the need ...”

“... brilliance of an enormous circle of flames the homage of the Seneschal in golden robes before his King.’ This is fine writing of a very particular type, hardly conducive to the equable flow of narrative and producing instead the occasional, carefully judged effect of an accelerating pace which falters before the moment of vision. It is a type of writing ...”

“... the financial and administrative strains of Charles’s war policy exacerbated relations between King and Parliament during the first five years of his reign, thus demonstrating the disruptive effect of war on Early Modern society which has been elaborated by Michael Howard and other historians. Ashton doesn’t examine ...”

“... over so much of our lives to this crap: we turn on Baywatch, we buy tickets to Eraser, we christen Michael Jackson the King of Pop and indulge him in his public psychosis (except for Jarvis Cocker, bless his heart). If our actions were involuntary – if, say, Home Improvement was forced on us in the same way that the ...”