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“... opens with the appearance on the Spokane reservation of a thin old black man who calls himself Robert Johnson – presumably the great Thirties bluesman, long dead in the world outside Alexei’s fiction. Here he’s in flight from someone called ‘The Gentleman’, with whom he has done a deal that would make him the best guitar-player the world had ever ...”

“... public. The transformation of public attitudes effected by the activities of Mrs Thatcher and Sir Robert Armstrong can be estimated by contrasting the present cynicism about relationships between politicians and civil servants with, say, the absolute confidence of the generation of Hugh Gaitskell and Douglas Jay that ministers would feel no temptation to ...”

“... in the bare-faced Special Branch framing of two of my journalist colleagues (Crispin Aubrey and Duncan Campbell – two of the then-celebrated ABC defendants) and had written several editorials about torture in Ulster when Roy Mason was Callaghan’s minister for the Province and a Yorkshire area-sponsored NUM Member of Parliament. Forgive me this free ...”

“... he staged his paintings. ‘We were surprised to learn that his suicide was so ritualistic,’ Robert Motherwell said. For me, and I imagine for many others then as now, Rothko just was his paintings – paintings that seemed, when we stood before them spellbound, to be our shifting moods themselves. It is with some trepidation that one opens a new ...”

“... listen, patiently, for it to end – if he could just make comrades of them. This translation by Duncan Bush is from The Faber Book of 20th-Century Italian Poems. The first couple of lines set the scene in a distanced, rather offhand way. But then (and this is what is striking) the language stops feeling like a description of the man’s struggle and starts ...”

“... of the biographical archive (notably David Thomas’s Shakespeare in the Public Records, 1985, and Robert Bearman’s Shakespeare in the Stratford Records, 1994) but by the work of Peter Thomson and Andrew Gurr on the fortunes of Elizabethan acting companies, or of Douglas Bruster on Troilus and Cressida and the language of Jacobean economics, or of ...”

“... the cognoscenti like a confederation of secret masters: Gerald Kersh, James Curtis, Mark Benney, Robert Westerby, Alexander Baron, John Lodwick, Jack Trevor Story. They have been struck from the canon, these technicians, these life-enhanced witnesses. They are noticed only by slumming journalists (who have built up their own collections of the stuff) or by ...”

“... Mallory. It all began when he went up to Cambridge and charmed everyone he met. He was painted by Duncan Grant and gushingly admired by Lytton Strachey, while Virginia Woolf thought he had ‘a head like a Greek god’. He performed in plays alongside Rupert Brooke and was the model for George Emerson in Forster’s A Room with a View. And he was a great rock ...”

“... a likeness of a pseudonym). But even here there are some odd lapses of judgment: Bate credits Robert Nye with the notion that the simile of the eddy in The Rape of Lucrece is based on observation of Clopton Bridge in Stratford, when Nye actually lifted the idea from Caroline Spurgeon’s important Shakespeare’s Imagery and What It Tells Us (1935), which ...”

“... bicycle-riding dogs’ and other novelty acts, billed with singers, comics and Isadora Duncan wannabees in clunky revue imitations of Diaghilev, she was increasingly adored by audiences and increasingly weary of being an Americanised ballerina. Her ebullience just about kept her afloat until finally, after performing yet another dying swan solo in ...”

“... had to revert to Desti. She had barely set foot in Paris before becoming best friends with Isadora Duncan, then cutting a swathe through the more bohemian reaches of the avant-garde with her lyrical interpretations of dance. A good deal of Sturges’s life until the age of fifteen was lived as a junior member of Duncan’s ...”

“... moved on, surely reasonably, to 1914-18. Reminiscent in some ways of Paul Fussell’s work, and of Robert Wohl’s The Generation of 1914 in others, this book has a thesis. Like Wolff’s, it works outward from particular occasions to generalisations. One is the first night of Le Sacre du Printemps in May 1913, ‘a milestone in the development of ...”

“... the little girl sang, ‘Each morning I am something new ...’ Schwartz’s literary executor, Robert Philips, thinks this is one of Schwartz’s permanent contributions to 20th-century American poetry, but I don’t think he can be serious. There are occasional strikes, such as ‘Mr Seurat’s Sunday Afternoon’, and he never lost his gift for good ...”

“... a Persian and a Russian ballet with the help of Bakst, Roerich and Golovine ... Like Isadora Duncan ten years earlier and like Martha Graham a quarter of a century later, Nijinsky had to put aside all he had learned and been in order to discover how to tell the truth in his own way. He was doing what Picasso had done when he painted his first Cubist ...”

“... were ‘the heirs of Swift, Berkeley and Grattan’. Not quite: he cited Burke, Grattan, Swift, Robert Emmet and Parnell, but not Berkeley. On Mahaffy: it may be that McDowell, who joined with W.B. Stanford to write the life of Mahaffy, has tired of the man, but the account of him in the present book makes him appear tawdry and obvious. His views on the ...”