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“... Sir Clough Williams-Ellis is best known nowadays as the owner-architect of Portmeirion, the hotel he built as a partly cliff-hanging, partly tree-nestled village on a North Wales coastal estuary, adding to it building by building across some fifty years. Always astonishing, some think beautiful, it enjoyed its greatest publicity as the setting for the cult TV series, The Prisoner ...”

“... every schoolboy knows ...’: Macaulay out of Auden). The central plot device is borrowed (from Clough Williams-Ellis’s terrible vision in On Trust for the Nation). The central character is a composite caricature (part Robert Maxwell, part Mohamed al-Fayed). The story is as old as the hills (love, betrayal, the search for happiness). The plot ...”

“... its inhabitants – ‘mean and perky little houses’ for ‘mean and perky little souls’, as Clough Williams-Ellis had it in 1928. ‘Mean and perky’, in that order, may describe Maisie and Josh Evans, Dale’s couple who hatch a scheme to take in ‘dear old souls’ as ‘paying guests’ in their spare room, before tricking them into altering ...”

“... Baldwinite result – a horse-drawn harvester set off against a silver sea – over half a page. Clough Williams-Ellis stretched Tyneham’s view of Worbarrow Bay over the end-papers of his passionately-argued conservationist volume Britain and the Beast. There could scarcely have been a more evocative picture of an England that, in the Thirties, was ...”

“... contact with the tank. Among them we find not only Fuller, the Crowleyite and Mosleyite, but also Clough Williams-Ellis, one of the group at Bermicourt, now best known for the village of Portmeirion, which he designed and assembled – a bizarre bricolage of architectural styles and elements. Another was Wilfred Bion, whose War Memoirs are filled with ...”

“... for which Hughes had probably picked up from some story gossiped about by his new friends, the Clough Williams-Ellises, is its early demonstration of his lifelong preoccupation with the psychology of young girls, and with their pristine lack of conventional moral feeling. That interest takes a more sophisticated form in A High Wind in Jamaica, but in the ...”