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“... When John le Carré published A Perfect Spy in 1986, Philip Roth, then spending a lot of time in London, called it ‘the best English novel since the war’. Not being such a fan of A Perfect Spy, I’ve occasionally wondered what Roth’s generous blurb says about the postwar English novel. As a le Carré bore, however, I’ve also wondered how Roth managed to overlook Tinker Tailor Soldier Spy (1974), the central novel in le Carré’s career, in which George Smiley – an outwardly diffident ex-spook with a strenuously unfaithful wife and an interest in 17th-century German literature – comes out of retirement to identify the turncoat in a secret service that’s explicitly presented as a metaphorical ‘vision of the British establishment at play ...”

“... In 1939 it received its own building, an International Style box clad in white marble designed by Philip Goodwin and Edward Durell Stone, on 53rd Street. A significant extension has followed every twenty years or so, each coolly modernist in style – totally abstract, highly engineered, fiercely refined, elegantly branded. The first was conceived by ...”

“... to catch a bedbug: in the middle of the first night, I found two in the bedding, stuck them in a glass and presented them at reception, in hope of a refund, but I was dispatched to another room instead. I stripped the new bed down, doused the sheets and blankets with vodka, remade it, and lay on the covers like an olive in a very damp Martini, trying to ...”

“... is particularly revealing about Wright’s knowledge of the work of his European contemporaries. Philip Johnson and Henry-Russell Hitchcock’s catalogue of the 1932 exhibition at the New York Museum of Modern Art, famous for introducing the term ‘International Style’, assumed, in Johnson’s phrase, that Wright was ‘the greatest American architect of ...”

“... railway age. The composition and fixing of dyes, the technical complexities of encaustic, stained glass and lustreware, were elusive to an extent that was at first a surprise, then a challenge to 19th-century revivalists. De Morgan had inherited from his parents a methodical, scientific turn of mind which he now found a means of expressing in art. He gave up ...”

“... be, Lawrence none the less succeeded, as we know, in exciting many of his readers. One of them was Philip Larkin, who always liked and admired Lawrence, considering him a criterion for the literary ‘non-bogus’. But Lawrence would not at all have cared for Larkin’s own use of the pornographic, in its higher or its lower manifestations. For Larkin, like ...”

“... has been explored with varying degrees of insight by writers as different as Francine Prose, Philip Roth, James Hynes and even Jonathan Franzen in the opening pages of The Corrections. The Horned Man, however, is concerned with the campus only up to a point: its world is not self-enclosed, and can hardly be so, set as the college is in a decaying ...”

“... wrong in 1974, when two Jehovah’s Witnesses made a routine call on a Kentish fruit farmer called Philip Noakes, who may have been (can we be sure?) the very last Muggletonian. (His widow still lives, aged 90, but was never a Muggletonian.) At about the same time, E.P. Thompson, who was already interested in the Muggletonian legacy, found his way to ...”

“... Huebsch, but the brightest example, the most sustained retraction of the claws, is reserved for Philip Garland, the brain-damaged son of his long-suffering cousin Peggy. At length and with great care he writes of animals, music and travel, gently encouraging the disturbed boy without condescension. ‘Now you will have to write back, as you promised,’ he ...”

“... refusing all promotion while perfecting his poetic craft. Good behaviour and a friendship with Philip Larkin have allowed the image of Watkins as a hard-working, pleasant and largely irrelevant anachronism to prevail, and for poets and critics to forgive him, by forgetting how in the 1930s and 1940s, under the influence of Dylan Thomas, he was an eager ...”

“... Herzog, self-berating and uncomfortable with his reputation like the fictionalised versions of Philip Roth. Free of the priapic obsessions of Sabbath or Portnoy or the gynophobia of Bellow’s Sammler, Humboldt or Ravelstein, Seigl is wilfully solitary, stripped of ties: ‘A big ungainly man with a curious kind of grace’. At the beginning of the novel ...”

“... Jones, John Updike, Saul Bellow, Gore Vidal, J.D. Salinger, Joseph Heller, the recently retired Philip Roth), whose ghostly father and bearded Neptune disturbing the liquor cabinet deep into the night was Ernest Hemingway. Even those least influenced by Hemingway’s style couldn’t fail to register the impact of his hold on America’s consciousness: he ...”

“... of the West End which were novel and luxurious for the later Georgians were pavements, plate glass shop windows and streets lit at night. The German novelist Sophie von La Roche was in her fifties when she visited London and she had never seen anything like Oxford Street. ‘Just imagine,’ she wrote home in 1786, ‘a street taking half an hour to ...”

“... a capitalist-industrial and bourgeois-democratic age. Perhaps what is remarkable is not that the glass is three-quarters empty but that it is still a quarter full. How on earth can it be that enough of this irrelevant and functionless residue of an antiquated social system should still be left for academics to sneer at, militants to hate, nostalgics to ...”

“... communities. Perhaps there is too great a reliance upon certain writers (such as John Aubrey and Philip Stubbes), and arguably the eccentricities of some folkloric approaches are countenanced over-generously: but Laroque would be the first to admit that the sources are fragmentary, and his coverage of a range of anthropological perspectives is indicative of ...”