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“... light on the issue of whether ameliorism worked. Did the experts do any good? Charles Madge and Peter Willmott compare Inner-City Poverty in Paris and London, Peter Hall edits an SSRC Working Party’s Reports on The Inner City in Context, Michael Harloe, in New Perspectives in Urban Change and Conflict, edits papers ...”

“... landscape at the mouth of the Thames Estuary. I should be out there now. I have been brooding on Peter Ackroyd’s notion that the Thames is a river like the Ganges or the Jordan, a place of pilgrimage, a source of spiritual renewal. ‘The river itself becomes a tremulous deity,’ he asserts. I carried Ackroyd’s epic, Thames: Sacred River, as I made a ...”

“... has now become ‘our gardenia’, a look which situates us ‘in the same relationship to that white blossom of tactile paint as the soda jerk’ who savours the perfume while we ‘inhale the atmosphere’. ‘When I was eight years old,’ Hickey writes, ‘Johnny Mercer was teaching me how to listen, and Norman Rockwell was teaching me how to ...”

“... hubbub ... The Hunter-Indian; Moors Malays, Lascars, the Tartar, the Chinese And Negro Ladies in white muslin Gowns. By the 19th century, however, little mention was made of black people in the London press. Many had run away from their masters to lead anonymous, fugitive lives. Some died of poverty or went to sea; some were transported to America or, more ...”

“... in the land of Catita, where Jackanapes flies with his tail in his mouth, to seek out a lady as white as snow and as red as blood?’ Jack is dead. The character who speaks to Eumenides here, and asks to be taken into his service, is the grateful ghost of a poor man for whose burial Eumenides, although a stranger and mere passer-by, had earlier and ...”

“... Then in Leviathan, published some years later, Auster uses the same initials for the narrator, Peter Aaron; and anagrammatic sleight of hand (Delia/Lydia, Iris/Siri: Auster’s real-life loves past and present) further blurs the boundaries between his facts and his fictions. So one approaches his openly autobiographical Hand to Mouth with ...”

“... contributions from Jane Ohlmeyer on Ireland and Scotland as ‘laboratories of Empire’, and from Peter Mancall on the troubled relationship between Europeans and Native Americans in the 16th and 17th centuries. The second volume, concerned principally with slavery and the American Revolution, has a sparkling chapter on Native Americans by Daniel Richter, and ...”

“... some exquisite piece of classical statuary, her features sharply chiselled, her skin alabaster white, her raven-dark hair swept chastely back, demure yet enigmatic.’ You’d know from this book that Romantic writers had one hell of a time, but you wouldn’t guess at the depth of their intelligence and ...”

“... getting under the feet of Darmon the historian. The moralist sees everything in black and white (mainly black). He praises occasional ‘liberal’ attitudes but condemns what he calls – in defiance of his own chronology – ‘iniquitous Medieval severity’. Among his favourite adjectives, or his translator’s (but the difference between the ...”

“... linear discipline of Josef Hoffmann, obsessed as he was with rectangles, parallels and black and white contrasts, and the linguistic puritanism of Wittgenstein and Karl Kraus. All were against metaphysics, against ambiguity, against sloppiness, against cliché; and, like Mahler at the opera, against routine. Courage failed the organisers in the sections on ...”

“... retreat: a. No more champagne is to be bought. Unless special directions are given, only the white or red wine, or whisky and soda will be offered at luncheon, or dinner. The Wine Book to be shown to me every week. No more port is to be opened without special instructions. b. Cigars must be reduced to four a day. None should be put on the table; but ...”

“... can see why Rubens might have been jealous. The old man’s skin, his slightly rheumy eye and the white hair of his beard are wonderfully realised. Rubens tends to make use of a repertoire of effective conventions (the marks for an eyelid, folds in the skin, cheeks and so on) and unites them in a springy dance of brushstrokes. Van Dyck observes finer ...”

“... the reception desk, the conference room, coffee bar and casting department, you reached a closed white door. Many would turn back at this point, thinking they’d seen the whole office. But tap in a code and you entered a much larger set of rooms: here the producers and their assistants sat and argued, here the accountants glided around with spreadsheets and ...”

“... Box’ is a guitar-shaped concrete poem about poetry with a hole at the centre. Around the white space, Paterson writes:                                             Bert             Kwakkel,     my Dutch                 luthier,     emptied       so much wood out of ...”

“... opposition groups like Pussy Riot being in the pay of the US State Department, showed black and white photos of Berezovsky as touching mood music was played. ‘After all this time,’ the presenter said, ‘and all the roles he’s played, we never did find out who he really was.’ I had a seat for Berezovsky’s last hurrah, the court case in London ...”