Search Results

“... foreword, Sennett describes Together as the second book in a ‘trio’ he’s calling ‘the homo faber project’, a study of ‘man as … a maker of life through concrete practices’. The Craftsman was the first book in this series, and dealt with ‘how the head and hand are connected, and more, the techniques which enable people to improve’. The ...”

“... rest of the book, simultaneous correspondences with two Oxford contemporaries, Frank Thompson and David Hicks, Murdoch, if still not quite a writer, is now at war and no longer the ingénue of the student troupe. The ‘playtime of the ’30s when we were all conscience-ridden spectators’ was over. She remained a Communist, however, toeing the Stalinist ...”

“... to diverge sharply from Owenite positions – a trend which underlines the damaging effect of David Owen’s manifest preference for the Conservatives over Labour during the 1987 Election. Most interesting of all is the attempt to measure the strength of commitment to their party by each party’s followers. This confirms, what some political scientists ...”

“... We won’t find, for instance, Burns Singer, one of the most original poets of the Fifties, or David Wright and John Heath-Stubbs. All three were friends of Graham, and their inclusion might have helped the Forties and Fifties out of their New Apocalypse v. Movement stand-off. Hamish Henderson, whose 1948 Elegies for the Dead in Cyrenaica (reprinted by ...”

“... not as much as if the pictures in her book had been distributed throughout, matched to the text. Faber has taken the clumps-of-shiny-pictures route, which gives an otherwise handsome volume too stiff a feel: better for a theatre book to have image and word easing each other along.) Lee allows herself some unbridled enthusiasm on the subject of Stoppard’s ...”

“... Shut, must have forgotten what the other films were like. Vincent LoBrutto, from whose biography (Faber, 1998) I’ve borrowed the above quotation, inadvertently sums up a whole career when he says: ‘Stanley Kubrick didn’t take vacations.’ We could sum up the master’s film style by saying: ‘Stanley Kubrick didn’t hint.’ Dogged tracking shots ...”

“... and Expositions and Developments in the possession of Donald Mitchell, who edited them for Faber – do not indicate whatever Stravinsky’s contribution might have been; and that ‘very largely’ is just what one would like Craft to explain. The essay infuriatingly leaves open the question of Craft’s stylistic role. I haven’t doubted that the ...”

“... At the end of David Dabydeen’s poem ‘Coolie Odyssey’ (1988), the poet, deracinated by education, distance and time from the dirt-poor ancestors he is elegising, considers his British audience: congregations of the educated Sipping wine, attentive between courses – See the applause fluttering from their white hands Like so many messy table napkins ...”

“... Police – Ulysses and Lady Chatterley’s Lover were but two of the kind of thing he was after. David Low portrayed him as a funeral mute with thick crêpe on his hat. Even that little classic The Specialist was a cause of some anxiety at Putnam, and a sigh of relief went up when the Times Literary Supplement dubbed it ‘innocently Rabelaisian’. We may ...”

“... accepted a number of his early poems for publication in the Criterion, and Prince was only 26 when Faber issued his first collection (austerely entitled Poems) in 1938. Alas, Eliot turned down his second volume, Soldiers Bathing, feeling Prince’s poetry of the 1940s was ‘straining after something too grandiose’ – a verdict echoed in later judgments of ...”

“... the entry on Mary Kennard where the Companion records that she was the daughter of one Charles Faber ‘not Samuel Laing, as sometimes claimed’. The Laing claim is made in my Longman Companion to Victorian Fiction (which also has a grotesquely wrong date of death for Kennard) and in R.L. Wolff’s Nineteenth-Century Fiction, A Bibliographical ...”

“... But his early success as a poet, catapulted almost overnight from the Kilkenny Magazine to the Faber list, and then invited to speak for Northern Irish Catholics after the outbreak of the Troubles, gave him a visibility at odds with the solitude and simplicity he craved. One reason he moved with his young family from Belfast to Glanmore in County Wicklow ...”

“... centre’ concerned with the local history of immigration. Above the tiny synagogue is the room of David Rodinsky, a Polish Jew of increasingly mysterious reputation. Latterly described as a translator and philosopher, he is said to have lived here in some sort of caretaking capacity. One day in the Sixties Rodinsky stepped out into Princelet Street and ...”

“... widely translated) to make its author a multi-millionaire (and certainly not if he or she is with Faber and Faber). Bellow has a good time detailing the evidence for and display of this newly-gotten wealth – a suite at the Crillon in Paris, neck-ties from Hermès, shirts from Turnbull and Asser and a mink throw on the ...”

“... up on the toes, good black notebook. Time to brood. But Dalgleish? He’s too grand somehow for Faber. Probably sponsored by C.H. Sisson at Carcanet. The right credentials. What does he write about? Obviously, the job helps: ‘his next book of poems contained that extraordinary one about a murdered child.’ Otherwise? John Betjeman in subject ...”