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“... of mugging celebs Judy Garland, Shirley Bassey: the real ones and the impersonators. The amazing Barbara Windsor with her Don King candy floss hairdo – a fashion victim who has just dropped from the top of the Post Office Tower with her beehive as a parachute. Christine Keeler, Paul Raymond, Malcolm Allison. The Society Restaurant, The Colony Club. Crisp ...”

“... behind them, are these: ‘Short History of Old Art’, ‘Perhaps So’, two translations from Victor Hugo, ‘The Dying of a Long Lost Lover’, ‘Hill of the Bees’, ‘A Myth Enacted’, ‘Slow Bell from the High Hill’, ‘John Hunter’s Canal’, ‘The Lawn of Trees and Rocks’, ‘Quelle Histoire’, and (an unusual exertion of ...”

“... began to broaden his understanding of Marxism. By the 1970s he is writing in New Society about Victor Serge and Walter Benjamin, independent Marxists who were opposed to the Party line or idiosyncratic in their interpretation of Marxist theory. Serge was a former anarchist who was soon expelled from the Party and ended up as a ‘left ...”

“... observed about an incident in which he revealed his support for Winston Churchill instead of Barbara Castle. Bevan felt an affinity with Churchill, and perhaps hoped for an analogous vindication in ignoring all the ordinary rules of political advancement. Crossman warned Bevan early in 1956 that he must play with the team if he was ever to have a chance ...”

“... to think it in 1965, a dismantling of the Center for the Study of Democratic Institutions in Santa Barbara that is hilarious and merciless, such sundries as ‘On Morality’, ‘Keeping a Notebook’ and ‘On Self-Respect’, as well as ‘Marrying Absurd’ (it’s about the instant marriage business in Las Vegas and there’s a lot of condescension in that ...”

“... took almost no direct interest in politics until, in January 1932, she was asked to read a poem by Victor Hugo to a women’s pacifist group. As she stood on the stage she was shouted down, one young Brownshirt screaming: ‘You are a criminal . . . Jewish traitress! International agitator!’ She later wrote: ‘In the hall, everything became a mad ...”

“... the fact. His exemplar was Max Ophüls, for things like the long tracking shot of James Mason and Barbara Bel Geddes in Caught, dancing in a crowded club, nudged close together and realising that they enjoy it. The credited cinematographer in The Killing, Lucien Ballard, had worked with Josef von Sternberg and Jacques Tourneur, but on the set Kubrick betrayed ...”