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“... The reviewer of fiction can pretty easily acquire enough second-hand information to enable him to imply easy familiarity with the oeuvre of a writer he has only infrequently encountered. There can even be a temptation to go a step further, by seeming to assume that this knowledge will be common to all cultivated people. In the case of Arno Schmidt I am tempted towards no such subterfuges, partly because my ignorance of the man and his work, prior to my reading of Evening Edged in Gold, was total, partly because I imagine numerous other potential British readers will be in a similar position ...”