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“... pals from choir or band or football club, labouring brothers, are induced to volunteer. They lay down the plough, the blacksmith’s hammer, the slaughterman’s knife. Intoxicated with blood-and-flag rhetoric, tales of atrocities committed by a bestial enemy, they willingly march off. Dreams of posthumous glory. A memorial in the village church. The ...”

“... the largest in Africa – wheeled about to tackle the Eritreans. As it advanced, Soviet gunboats lay off the coast and shelled the Eritrean fighters evacuating Massawa. The Eritreans called it a ‘strategic withdrawal’, but more than 25 years later one of them admitted to Wrong that ‘it was a complete defeat, a defining moment.’ The very prospect of ...”

“... confrontation with slow-burning loss (‘I came to grief late in life’ are the opening words) of Paul Bailey’s Gabriel’s Lament. There’s no mention in Porter’s book of those five stages, and the idea of ‘moving on’ from grief doesn’t get much of a look in. When friends (those unreal people, murmuring soothing advice into a smoking ...”

“... a girl with a hand-knit tourie. Throughout the boat, muzak was playing. Old Christmas hits. Paul McCartney. The only place you could avoid it was a lounge with subdued lighting and big reclining chairs. There were prints on the walls, a set of three, showing a cartoon sea with a stripy lighthouse, a fishing-boat, and below the blue waves, three ...”

“... cries Louie … confessing to his young son the shabby sexual adventure that he engaged in as she lay on her deathbed: ‘That may mean, will mean, little or nothing to you, my only child, reading this document.’ To Bellow, it meant everything. Again, the stylistic equivalent of an operatic curtain, coming down grandly on a fiasco. Used in a context as ...”

“... As Louis MacNeice lay dying in 1963, his last major work, a radio play called Persons from Porlock, was broadcast by the BBC. It is about a painter called Hank, who starts well in the 1930s, but whose development, as MacNeice explains in a note, ‘is interrupted by the war . . . Subsequent interruptions and frustrations include those occasioned by the lure of commercial art, by drink, money troubles and women ...”

“... replaced by the editors of Granta and Varsity, who had an eye on Fleet Street and were keener on lay-out than content, and by producers and actors determined to storm the RSC. He writes with sense and sensitivity of the student unrest which, in the Sixties and early Seventies, changed the relations between dons and undergraduates. But does he not think it ...”

“... preferred today. Enough material there for a whole case-history. Notwithstanding the title of Paul Alexander Juutilainen’s recent film docubiog about Marcuse, Herbert the Hippopotamus, the slack-sphinctered pachyderm in LaRouche’s first sentence refers not to Marcuse, late consort of Korsch, Davis and the Weathermen, nor even to Lyndon Jr’s own ...”

“... terrible simplificateur, a Hitler writ small. Kater also introduces us to travelling salesman Paul Gillgasch, who struggled to pay his district party’s telephone bills from the sale of razor blades and portraits of the Führer. This is the familiar world of the Spiesser. But Kater also shows that, especially in the years 1930-33, the Nazis started to ...”

“... sons and the mother in iconographical terms remarkably close to those prevailing in Catholic or lay families of the period. France may have been superficially divided, but it was, without knowing it, an anthropological whole united at the level of its middle classes by the shared outlook of its bourgeois families. Young Léon attended the Ecole ...”

“... explained, ‘could not have answered the purpose of a habitable world’. The answer, in fact, lay in the soil, so necessary for the growth of plants. But the same processes of erosion which produced soil from mountains would in time destroy the land. Accordingly, if the world was the work of ‘infinite power and wisdom’ there had to be restorative ...”

“... on modern art. One is the earnest social aspirations and concern for the environment which lay behind such developments as Land art, Performance art, Living sculpture, Body art and Community art. Kramer is unimpressed by Robert Smithson’s ‘ambition ... to break with the conventions of studio production and museum exhibitions in order to create an ...”

“... about American affairs for NOW which East Coast radicals, like Dwight Macdonald and Paul Goodman, were always assuring me should be disregarded as entirely mythomaniacal; they were nevertheless extremely entertaining. Reading his poems at the same time as his personal letters and his scurrilous public letters, I soon developed the image of a ...”

“... by a lot of in-group facetiousness at the start. Although G.E. Moore’s Principia Ethica still lay four years in the future, Russell had available to him the typescript of some lectures that Moore had given in London during the previous year on ‘The Elements of Ethics’. In his paper he takes issue with Moore’s view that there can be good or bad ...”

“... Another such issue is whether 18th-century England may properly be called, as in the title of Paul Langford’s recent book, ‘a polite and commercial people’: a title which draws from Thompson the observation that ‘historical conferences on 18th-century questions tend to be places where the bland lead the bland.’ It’s hard nowadays to think of ...”