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“... older brother, heir to the family property, including Stratford Hall, later earned the nickname ‘Black Horse’ for his transgressions: first, he seduced and impregnated his wife’s teenage sister (the baby died in suspicious circumstances); then he defrauded her family and fled to Paris. Robert was raised by his mother in a townhouse in Alexandria. His ...”

“... inside were real: Mick Kelly, who heard music in the inner room; Dr Benedict Mady Copeland, a black Marxist dying of tuberculosis who thought continually of the advancement of his people; Biff Brannon, the brusque owner of the New York Café, who sometimes wished he were a mother; the deaf-mute Singer with his flying hands. How were they real? The back ...”

“... dots, primary colours and thick contours – the light ground of the dots first, the heavy black of the outlines last. Thus, while a Lichtenstein might look industrially ready-made, it is actually, as Michael Lobel demonstrates in his careful study, a layering of mechanical reproduction (comic), handwork (drawing), mechanical reproduction again ...”

“... as a replacement.In an essay of 1983, Alice Walker writes of her grief for ‘this sickly, frail Black girl’ whose ‘loyalties were completely divided, as was, without question, her mind’. Walker ridicules Wheatley’s ‘bewildered tongue’, the ‘stiff, struggling, ambivalent lines’ of her verse. But she also offers understanding to the child who ...”

“... used throughout Slaughterhouse-Five and these poems, like many of Vonnegut’s novels, are full of black comedy, peculiar characters and apocalyptic events. The typical Woodward apocalypse is centred on the breakfast-table. In ‘A Cook’s Warning’ the kitchen is described as ‘Home’s most dangerous room’ while in ‘A Nocturnal Breakfast’ he ...”

“... tiresome adherence to the ‘correspondence theory of truth’, and directed them to Walter Benjamin’s essay ‘Excavation and Memory’, where Benjamin argues that genuine memory yields an image of the person who remembers rather than simply cataloguing events.It’s true that the protocols of Anglo creative ...”

“... to steal the form away from the right. Inventing a Nation borrows its essential narrative from Benjamin Franklin’s dark benediction over the newly written constitution. That, too, was a parlous moment for American liberty. Eleven years after breaking with England, the United States seemed destined for chaos. Each cantankerous state governed itself and ...”

“... as Michael Rogin describes him. Eyes wide and mouth agape, arms outstretched and face painted black, Jolson concludes his performance in The Jazz Singer (1927) down on one knee, serenading the delighted actress who plays his mother in a voice as strong and piercing as a foghorn. It is this curious icon which inspired Rogin’s formidable book. The Jolson ...”

“... there is a note of regret that such financial and industrial eminences as John Jacob Astor, Benjamin Guggenheim, Isidor Straus and Harry Widener should have given up their lives not just to their own women, but to impoverished foreigners – the Guggenheims and Strauses apparently being accorded an honorary Aryanness for the occasion. The San Francisco ...”

“... visiting a son in the American South in 1927. When the bus leaves Washington for Virginia, the black passengers move silently to the back, segregating the whole bus, except for Paley’s mother and older sister, who are sitting in what is now the wrong section. The driver asks them to move, but Paley’s mother refuses. ‘When I first tried to write this ...”

“... in the middle of light pedestrian traffic on Fifth Avenue. Neatly dressed in a suit and shiny black shoes, with a very slight smile, Grosz looks as though he’s conquering New York, as he did Berlin. His autobiography had appeared two years before, celebrated by Edmund Wilson in the New Yorker, who compared Grosz’s new Cape Cod paintings to ...”

“... is a common expression of alienation in Lispector’s work. ‘I identified more strongly with the black horse than with Barbara Laage,’ she said of a French movie she had been urged to see because of her resemblance to its star. In The Besieged City equine imagery is often used to describe Lucrécia. (‘On her big horse face a tear was running ...”

“... I first heard​ of Benjamin Disraeli in a school assembly when I was ten or eleven. Our headmaster also taught history, and though he was known to us mainly as an expert in horse-drawn hoes, seed drills and threshing machines, that day he introduced us to a man born into the wrong religion and given an imperfect education, an author of unlikely novels and unlikelier cheques, sniffed at by the upper classes when he arrived at their dinner tables and baited by the mob when he asked for their votes ...”

“... and jukebox joints had developed in America, and Jamaican sound systems had served Britain’s black communities with Nat King Cole, calypso and early forms of reggae. In Britain, by 1960 La Discothèque had opened in Wardour Street, and clubs such as the Place in Hanley and the Plaza in Manchester had instituted disc-only sessions. In the early Sixties ...”

“... Two bishops side by side put pressure at long range on the pawns defending the castled Black king. My queen, ready to advance to the middle of the board, completes the threat. Black will have to weaken his defence by advancing a pawn. There are further forces I can bring into play ...”