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“... true that some modern art has imitated the primitive energy, the folk spells, of graffiti. Peter Fuller’s Modern Painters, a quarterly ‘journal of the fine arts’, launched last spring, challenges many of the fashionable practices and assumptions which I have just reviewed. At first, its opponents in the art world said it wouldn’t last, then they said ...”

“... presents a razor-sharp reflection of a world which is disconnected, but not without hope. John Fuller’s The Burning Boys is interested in other kinds of separation. David’s mother is killed in the Blitz, and he goes to live with his down-to-earth grandmother and nubile young aunt. His life goes underground. David covertly observes the strange ...”

“... too. Greetings, borrowers. What I admire – not the word – about the poems is their intensity. John Berryman once said: write as short as you can, in order, of what matters. Surely no one – least of all Berryman himself – can have fulfilled the terms of that prescription as scrupulously as Hamilton. The majority of the poems are generated by one of two ...”

“... his visit to China W.H. Auden took along Motley’s The Rise of the Dutch Republic, in which, as John Fuller informs us in his Commentary (1998), he was depressed to read the catalogue of tortures and massacres attributed to William the Silent. The official report of William’s death said that he was the guiding star of the nation, and that ‘when he ...”

“... so powerful an influence on who you are. The ‘dispossessed/ and half-tamed Englishman’ of ‘John Maydew or The Allotment’ returns from war to find that he must choose between ‘an England, profitlessly green’ and a landscape where           slag in lavafolds rolls beneath him. The first part of the poem seems to be spoken to the man in ...”

“... Muldoon gets a mention – along with just about everyone else they can think of – in Fenton and Fuller’s collaborative book of light verse, Partingtime Hall. I especially enjoyed the public-school master Mountgrace-church MacDiarmid’s taste in literature: Selected John Ashbery, Schuyler, O’Hara, Gravity’s ...”

“... in The Memory of War and in the sometimes, I thought, jejune poems of his collaboration with John Fuller, Partingtime Hall. The novelty in Manila Envelope is that nonsense and ‘light verse’ are yoked to the most harrowing material, and more rigorously than in Auden’s ‘Miss Gee’, for instance, which might otherwise seem a model, because the ...”

“... of the usual morose adolescent parables and things like that. The first issue had a foreword by John Wain, the novelist, who had just appeared then and was very famous. I wrote to him to ask if there was some message he could send to youthful aspirants and he did. It was rather good, about half a page, which ended: ‘and, if all this fails, back to the ...”

“... Like most biographies nowadays, David Nokes’s John Gay is very long, but unlike some of the others it is not much longer than it needed to be. Gay devoted so much of his attention to people grander than himself that his life story can’t be told without allusion to those of more complicated and ambitious figures like Pope, Swift and Addison ...”

“... the wild landscape of the estate he owned in south-west Scotland. The setting is commemorated by John Haddington’s fine photographs, and the initiative richly documented by John McEwen (Keswick’s nephew), in Glenkiln. The sculpture by Moore which is most eloquent in this context is the bronze seated King and Queen of ...”

“... Oxbridge voices reviewing an exhibition selected by and posthumously mounted as a tribute to Peter Fuller. The wannabe Oxbridge voice of Giles Auty, art bumbler for the Spectator, declares ‘Peter’ was led by his arguments rather than his eyes. Up speaks real Oxbridge voice, while duly patronising to Auty – not really one of us – does agree ...”

“... By 1963​ , John Cage had become an unlikely celebrity. Anyone who knew anything about music – who had perhaps followed the perplexed reviews in the New York Times – could tell you how he had managed to transform the piano into a one-man percussion ensemble by wedging nails, bolts and erasers between its strings; or how he had – ‘and you’re never gonna believe this’ – somehow composed silent music ...”

“... This is the third and last volume of Roy Fuller’s memoirs, and it takes him up to the end of the war. It may sound ungracious, but I can’t help wondering why I find all three books so appealing that the strong implication of finality seems quite unacceptable. Though literate and pleasantly, even amusingly morose, these are not what are commonly called compulsive reads ...”

“... the Messenger, a title rich in ‘poor me’ implications; this one is called The Wages of Spin (John Murray, 261pp., £18.99, March, 0 7195 6481 6), the implication of which is that Sir Bernard wants to impose a buffer zone between himself and those who now do the bullshitting job he once did: they being headed, it seems, not for a knighthood but for the ...”

“... of the language by assigning it such narrow, youthful duties? The three quotations are by 1. Roy Fuller, from Souvenirs,1 the first volume of his memoirs. The second, Vamp till ready,2 has recently appeared and its excellence shamed me into tracking down Vol. One. 2. Donald Davie, from his memoirs, just published under the title These the Companions.3 And ...”