Search Results

“... did not want to ask that question. For him, as he says in Literature and Western Man, Henry James was a writer who had no substance, no gusto, no power of living, ‘as if a ghost should write better than a man’. The more fully and robustly he lived, the better the author. Look at Hemingway. Priestley’s misapprehension came not only from what he ...”

“... appeared in little magazines, the incessant reader (even on safari), the recipient, like Henry James, of an obscure wound that kept him from the war. Were his stories full of ‘action’ or of ‘love’? Did he sympathise with men or with women? Was he more interested in plot or in character? What did he mean by ‘style’: the way a matador moved in a ...”

“... to ‘British and Irish Authors’, a high-quality series which includes Patrick Parrinder on James Joyce and John Batchelor on H.G. Wells. Barnard gets a great deal into his short book, presenting a rather different Keats from that of the many other Keats scholars and biographers. Keats’s vividness has been present to his admirers in many forms. In ...”

“... not just a mockery of it, as is the proleptic and unacknowledged winning entry in that contest, Harold Pinter’s Proust Screenplay, written in 1972 for Joseph Losey, but never filmed: a brilliant, synoptic, allusive evocation of the whole of A la recherche du temps perdu. Völker Schlöndorf’s film Swann in Love (1983), by comparison, adapted just the ...”

“... well as by a channel to the south. The mental planet that is peopled by Alfred and the Danes and Harold and the Conqueror has no place whatsoever for Hywell Dda, for Brian Boru, for Kenneth Mac Alpin or Macbeth.’ The culprits here were the Victorian historians, writing from and into their imperial time, as if all previous events had led up to the glorious ...”

“... theatres, parties and country-house weekends. He begins to wonder if he has fallen into a Henry James novel, with Rosemary as the beautiful worldly corrupt European villainness. He turns out indeed to be as spellbound as Chad in The Ambassadors, for when the long-awaited peace-making letter arrives from his wife Roo, he doesn’t answer it. Yet he isn’t ...”

“... When he refers to Heidegger, he doesn’t mean the philosopher but the operatic impresario John James Heidegger (c.1665-1749). In Literature and Popular Culture in 18th-Century England, as in his Grub Street (1972) and its abridged version Hacks and Dunces (1980), he proposes to describe ‘how things were’ or how they seemed to be to the people who lived ...”

“... Contemporary photographs show dark, elaborate interiors in which dramatist and architect (Harold Peto took 7 Collingham Gardens himself) lived like merchant princes. (Gilbert hung hams in the hall fireplace.) House plans did not change very much, but mansion flats brought new demands; among the most interesting of the many excellent drawings are those ...”

“... traffic, occasionally lost, and at the end of ‘Fastest on Earth’ she gets a parking fine in St James’s Square. Many of the pleasures are urban and precisely located in the area around Macaulay’s Bloomsbury flat off Chancery Lane, but there are rural pleasures too. In ‘Easter in the Woods’ she contemplates a finely detailed landscape as she lingers ...”

“... one reason he slotted so well into its pages. His heroes were the great humourists of the 1940s, James Thurber and S.J. Perelman, and, like them, he often wrote of beleaguered men who struggle with a world that seems to be ...”

“... candidate for measurement) Fothergill says, ‘I think you must be Mr J.M. Barrie,’ to which Sir James, ‘slyly’, says: ‘You are not far wrong.’ Harold Acton, with his ‘Big Ben’ voice, presides at the last dinner of Oxford’s banned Hypocrites’ Club, which ends in much goat-like leaping about, the sort of ...”

“... can be no individual author. Karel van der Toorn is the perfect – and bracing – antithesis to Harold Bloom. Bloom, whose point of departure as a critic is English Romantic poetry and in particular Blake’s relationship to Milton, has based much of his career on the conception of the writer as a bold individual genius struggling with the geniuses who came ...”

“... years later. He branched out into new publications, notably Comic Cuts. Helped by his brother Harold’s managerial and financial acumen, his titles were selling a million copies a week by 1892, two million by 1894. The brothers then took over the moribund Evening News and made it the country’s most successful evening daily by expanding the sports ...”

“... and in improvidence, runaway inflation and overmighty trade unions in economic terms. Neither Harold Wilson’s Labour Administration, nor the Europhile Tory, Edward Heath, was capable of arresting national drift and decay. But then, at last, a saviour emerged. Like other saviours, she was an outsider, but all the more powerful for that. ‘I have only ...”