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“... applaud in them evidence of a strenously physical relationship with paint. Thus Mali Morris, Lucy Ellmann tells us, works ‘with acrylic on unstretched canvas on the floor ... pulling gobs of paint a little way or densely caking colour on, with rough or gentle strokes. The paint sometimes seems to have flitted across, barely swooping low enough to make ...”

“... this or that physical attribute, or name, or occupation, or address. Readers familiar with Richard Ellmann’s biography of 1959 will be disappointed. Born in 1882, James Augustine Aloysius Joyce was the first surviving child of John and May Joyce, whose recent marriage had been fiercely opposed by both sets of parents. Their first baby, named ...”

“... of inspiration, enacts the violation of Bleistein’s body. Eliot deforms those texts. As Maud Ellmann has noted, he ‘desecrates tradition’ at the opening of The Waste Land – twisting Chaucer on the sweetness of spring – and aims to steal and blasphemously deface the works he pilfers. Frank Kermode calls that seminal poem a work of ...”

“... under a thousand apiece from Jean-Yves Tadié and William Carter; Joyce, at 59, eight hundred from Richard Ellmann. Moving down the scale to medium or lightweights, there is little reduction in size. If we confine ourselves to Britain, Martin Stannard produced a thousand pages on Evelyn Waugh, who died when he was 62; Graham Greene, who survived him by a ...”

“... which his friend Francis Sheehy Skeffington, a pacifist, was shot by the British, ‘with pity’, Richard Ellmann writes in his biography. ‘Although he evaluated the Rising as useless, he felt also out of things … He predicted that some day he and Giorgio would go back to wear the shamrock in an independent Ireland.’ His book Dubliners had appeared ...”