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“... S. S. Prawer is Taylor Professor of German Language and Literature at Oxford. Robert Phillip Kolker is Associate Professor of Film Studies (in the Department of Communication Arts and Theatre) at the University of Maryland, College Park. But don’t let the insignia fool you. Both gentlemen, I suspect, are movie fans at heart ...”

“... as the scion of two prominent abolitionist families, at the views of the Beagle’s Tory Captain Robert FitzRoy concerning slavery in Brazil. But whereas Desmond and Moore are content to remark that ‘in his Whig heart Darwin knew wrong from right,’ Browne goes on to point out that however sincerely and vehemently the Darwins and Wedgwoods opposed ...”

“... figure, and in Anthony Munday’s Robin Hood play within a play, The Downfall and Death of Robert Earl of Huntingdon, a ‘real-life’ Skelton takes the role of Friar Tuck. His recovery came on the back of the rise of Modernism, with its opening of readers’ minds to new kinds of non-traditional poetry, and it was confirmed with the appearance of ...”

“... This book​ is almost parodically characteristic of Robert Macfarlane’s work. He is a scholar of place – of terrain, terroir, the land – and at times references, sources and citations have bulked uncomfortably large in his writing. Certainly he frequents the countryside at close quarters and often strenuously ...”

“... is hard to uproot. Beverly Treasure? Chelsea Herbert? Lloriston Grant? Caroline Blackwood and Robert Lowell have a conversation about Ford Madox Ford? (Well, all right, but what’s it doing among ‘Traveller’s Tales’?)Chelsea Herbert is real too, and writes the best piece in the ‘Children in the City’ section: a funny, simple, and probably ...”

“... we believe the words enough? Do we think the leavings of a life contain some ancillary truth? When Robert Louis Stevenson died his business-minded Scottish nanny quietly began selling locks of the infant’s hair which she claimed to have cut forty years earlier. The believers, the seekers, the pursuers bought enough hair to stuff a sofa. The house of Croisset ...”

“... Affectionate, delicate, calmingly dark, and as confidently trusting in its own arc as is the bird in its flights nimbly and repeatedly home, the poem goes out of its way (except that this is how the martin skims and veers) to speak in ways which would lend themselves to misconstruction if it weren’t that love is a nesting trust. ‘Far ...”

“... connections between, say, a Bolivian dance mask and a wooden pillow from Zimbabwe unimportant.In Robert Smirke’s King’s Library of 1828, now divested of the books it was built to house, there is a new gallery called ‘Enlightenment’.* On the shelves and in display cases you find a stuffed toucan, a Chinese brush pot, an engraving of Stonehenge, three ...”

“... head that Clarissa scribbles and Molly Bloom muses. For many male novelists, like the Austrian Robert Musil, erotic self-metamorphosis becomes mystical, a kind of religious substitute. The sphinx has her mystery, but in the final and most subtle analysis it is that of having no secret at all. One of Musil’s most memorable passages, a kind of essay ...”

“... Logorrhoea:​ Charles Olson, Robert Duncan and Robert Creeley were all afflicted with it. I only ever witnessed Duncan’s performances – free-form, extended, mostly improvised soliloquies. The one I remember best was at the poet Carl Rakosi’s house. It was many years ago, but I think he touched on Plato, Beethoven, Milton, Tom Thumb, Lysistrata, the genus Asterias (starfish) and the song ‘Penny Lane ...”

“... are continually disparaged for being insufficiently egalitarian, or wide-ranging, or whatever. Robert Leeson, in Reading and Righting, is struck by the failure of children’s authors before the 1960s to represent the working classes satisfactorily in their fiction. He claims a kind of ‘cultural invisibility’ overtook the proletariat, and traces this ...”

“... woman’s lamentation: ‘Only the wail of the jackal is heard, and the cry of the hammerhead bird treading the waters of death.’ But the Biblical note is also realistic and apt. It is apt in African voices to the themes of ancestral land and Babylonish captivity, and in Boer voices it takes the form of Calvinism. Slavery and flogging are not the only ...”

“... On one wall of the gallery a fan of black feathers slowly parts in the centre and folds back like a bird on a perch stowing its wings. From the lower area of another wall, 11 black stiletto-heeled shoes project outwards in a sparse cluster, while high above them a mechanical device suddenly jerks two extended ladles upwards against two metal arms so that with each repeated spasm a clang directs the viewer’s attention to the great splatters of blue paint that have been thrown by the device, spraying not only the wall behind it but defiling the shoes and floor below ...”

“... had died out among the Mingulay folk, and roped down the first few hundred feet of those colossal bird-cliffs, the black groins of them streaked orange and green like tribal body make-up or Aboriginal cave paintings of dancing ‘demons’, to catch fulmars with nooses on sticks. Feathers were a crucial commodity, sometimes accepted by landlords in lieu of ...”

“... seems not so much to invent as to observe. Yet there is little which is random: in pictures like Bird Drama (1920) and Distillation of Pears (1921) each line has a plausible meaning.It was in the 1920s that Klee began to use a technique of oil transfer drawing, in which ragged-edged lines make elegant twists and turns like pieces of frayed thread. In Dance ...”