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“... What do a story written by primary schoolchildren, a study of 19th-century policing, a biography of Margaret McMillan and an account of a working-class childhood in South London in the Fifties have in common? They give some idea of the range of Past Tenses, a selection from Carolyn Steedman’s prolific output of books and articles during the last ten years ...”

“... The last few years​  have been rich in Oxford Books, and I have read three of them: 18th-Century Verse and 18th-Century Women Poets, both edited with great skill and erudition by Roger Lonsdale, and Travel Verse, by Kevin Crossley-Holland. When I say ‘read them’ I mean I have dipped copiously, as one usually does with anthologies, sometimes taking years to digest the whole ...”

“... Edward Thomas​ called the approach to Oxford by train ‘the most contemptible in Europe’. There’s no view to speak of, and the station is a big shed with lots of glass and cheap detailing: blue pillars and PVC fascias. The city’s relationship to the railway, like its relationship to the world, is arrogant but insecure, high-minded but petty ...”

“... had a swim, eaten your moules-frites and seen the castle’s illuminations (introduced by Patrick Adam, Guy’s son and my oldest childhood companion), you can go and find out about the factory and its workers. The map showing the factory’s international exports gave me vertigo when I first saw it: it looked like the flight routes of a global ...”

“... Once upon a time, before the Channel Tunnel was built, there were two contemporary French novelists. Georges Perec died in 1982 at the age of 45, and nobody in England who was not a French specialist had ever heard of him. With Philippe Sollers it was different. Editor of the avant-garde theoretical journal Tel Quel, and associate of literary and psycho-analytic thinkers such as Barthes, Kristeva and Lacan, his was a name of which no self-respecting British intellectual could afford to remain entirely ignorant – though his novels, so far as I can discover, were neither translated nor read ...”

“... When Darwin died a hundred years ago; he could reasonably have said, ‘Après moi, le déluge,’ because we are still awash with books and ideas for, against and about him. The issue is intellectually enthralling, moves rapidly, and is of practical importance. The Monkey Puzzle is about the origin of man, and, in particular, about the date when the line which led to us separated from that which led to chimpanzees and gorillas ...”

“... The British, a nation of Sancho Panzas, like to dream of governing an island. The majority of ideal states both ancient and modern have been imaginary cities rather than sea-girt lumps of rock, but the British Utopia is a fertile commonwealth surrounded by beaches in which, like Gonzalo in The Tempest, we would by contraries execute all things. Both the word and the island of Utopia were the teasing inventions of Sir Thomas More ...”

“... A winter evening in Istanbul in the late Seventies. Political murders, disappearances and torture are daily events, and a military coup seems to be in the offing. Galip, a young lawyer whose speciality is defending political prisoners, returns home to find that his wile Rüya has left him. His instinctive response is to pretend that nothing has happened – Rüya is simply too ill to leave the apartment or come to the telephone ...”

“... Calme bloc ici-bas chu d’un désastre obscur’ (‘calm block fallen here below from some obscure disaster’): this line from Mallarmé’s ‘Le Tombeau d’Edgar Poe’ seems an apt description of his own poems – aftermaths of stellar catastrophes, meteors sitting impassively in their craters, enigmatic wreckage from some temporal or spatial elsewhere ...”

“... Thetis, the mythical self-transforming nereid, could be the shape-shifting guiding presence behind these three books. Carol Ann Duffy and Jo Shapcott write poems about her, or more exactly through her, while transformation and metamorphosis, travel through time, space and states of being lie at the core of Gwyneth Lewis’s second English-language collection, Zero Gravity (her mother tongue is Welsh ...”

“... In October​  last year the number of people infected with Covid-19 began to rise in the coastal towns of north-east Kent. The area had escaped the full impact of the first wave of the pandemic in the spring, with many residents saying that they didn’t know anyone who had caught the virus. After the end of the lockdown on 4 July, there was a sense that the crisis was over and there was little alarm when the number of infections started to climb ...”

“... Since the Second World War, the cutting edge of English historical studies has been not ‘world history’ but English local history, a fact by no means adequately reflected in the Report of the National Curriculum History Working Group, nor even in the menus of courses currently on offer in university history departments. Local studies have been central to recent investigations of those complex processes conventionally described as the Protestant Reformation which, in the course of the 16th century and beyond, profoundly modified the civilisation of this country: but in spite of the national scope and aspirations of reforming legislation, not all at once or to the same extent in all regions and localities ...”

“... A novelist’s freedom, Nadine Gordimer wrote in 1975, is ‘his right to maintain and publish to the world a deep, intense, private view of the situation in which he finds his society’. In her new novel, Will, the son named by his book-loving father after William Shakespeare, describes the secret lives led by his parents. He cannot publish what he has written, partly because every other member of his Coloured family is deeply involved in revolutionary politics, and partly because – where prying and direct observation did not suffice – he has filled the multiple gaps in his story with his own words and inventions ...”

“... Brush up your Shakespeare,’ instructed Cole Porter. Is Shakespeare part of popular culture, and if so, whose popular culture? Does the Bard’s writ extend to the wrong side of the tracks – say, to 49 Bard Road, Brixton, where Wise Children begins? Is he still in any sense the poet of the groundlings, and not merely of the powerful and the chattering classes whose legitimation-anxieties he so searchingly addresses? (There is no one so anxious nor so devoted to Shakespeare as a legitimate prince, to judge by the current heir to the throne ...”

“... Half a century after it was fought, the Second World War is still being written, and still being judged. The run of new fiction, like the current debate over war crimes trials, bears witness to our continuing obsession with the events of 1939-45. Things silenced and hushed up, perhaps for good reasons, in the late Forties are now being disinterred and subjected to lengthy post-mortems ...”