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“... It takes​ Emily Brontë the best part of three chapters to get to the moment everyone remembers, whether they’ve read Wuthering Heights or not: a man in bed, a dream, the insistent tap-tap of a branch at the window, a broken pane, the man’s fingers closing on an ‘ice-cold hand’, a woman wailing ‘Let me in – let me in!’ Hollywood, however, was in a hurry ...”

“... including the charismatic sculptor and Bloomsbury habitué Stephen Tomlin, and the novelist David Garnett, whose publishing connections were to prove invaluable. Now in her late twenties, Warner was hungry for new experiences. In July 1922, while she was browsing in the cheap section of Whiteley’s Department Store in Bayswater, she noticed a map of ...”

“... but himself. If he is in earnest – and if he isn’t we’ll not bother with him, any more than David Trotter does – he thought that he was testing his society by moving out to the periphery of that society, speaking for and with the disaffected, the vagabonds, the ill-adjusted. How disconcerting, then, to find that the disaffection he thought he was ...”

“... rediscovery of his unfinished epic The Civil War, edited by Allan Pritchard in 1973. What pleases David Trotter is the conception of Cowley as a poet of cultural crisis, of the ‘intellectual revolution’ of the 17th century. Three leading ideas help him to take this view. The first is Eliot’s hypothesis of a 17th-century dissociation of ...”

“... original sin, secularised as the problem of anti-social behaviour, has been remarkably resilient. David Trotter believes that what we have learned to call Modernism is more akin to the cumulative trauma of secularisation, and that if we can’t get a wholly convincing sense of the beginnings of Modernism, we can get the next best thing: a sense of what ...”

“... self. In Cooking with Mud: The Idea of Mess in Nineteenth Century Art and Fiction, David Trotter, the author of several other books about 19th-century writers, proposes what he calls ‘mess-theory’ (and, as a corollary, ‘litter-theory,’ which he regards as the point at which ‘waste’ and ‘mess’ overlap). ...”

“... with other footloose professors? There seems to be an ‘only connect’ issue somewhere here. David Trotter’s book begins with the word ‘perhaps’. It echoes in the mind for a while. He contends that in the fiction of Defoe and Dickens the metaphor of circulation of the blood, as proposed by William Harvey in 1616, marries with the metaphor of ...”

“... images on a wide range of writers and critics in the first three decades of the 20th century. As David Trotter notes in Cinema and Modernism,* his account of the impact of film on Woolf, Joyce and Eliot, critics have tended to associate modernist literature with montage, a term used by Russian film-makers of the 1920s to indicate a quick succession of ...”

“... satires, to the detriment of consideration of the lyrics on which his reputation used to rest. David Trotter, for instance, shows how the concomitants of satire – wit, swearing, the language of abuse – all became identified for the Latitudinarians with enmity to Reason. Pat Rogers compares ‘An Allusion to Horace’ to its Latin source and ...”

“... in the US years before the Penguin school of cookery writers found its greatest star in Elizabeth David in the late Fifties and early Sixties. For these writers, and for Patience Gray, cookery is what the open road was to Cobbett or the natural history of Selbourne to Gilbert White. There is, however, a difference: these are women to whom food is not an end ...”

“... David Gibson was a man stiff and parsonical; by all accounts the sort of man who got things done. You could say he was obsessed with ridding Glasgow of its slums, with turning them into something bright and high and unquestionably modern. That’s what he wanted, and he’d already made vast advances towards getting it when he became convener of Glasgow Corporation’s housing committee in 1964 ...”

“... after-dinner debris. From left to right they are James Boswell, Samuel Johnson, Joshua Reynolds, David Garrick, Edmund Burke, Pasquale Paoli, Charles Burney, Thomas Warton and Oliver Goldsmith. Their names appear below the image, cursively engraved, appositely placed: one might almost be looking at a signed group photograph of 18th-century luminaries. In ...”