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“... without limit, and, lacking the certainty of a completed thing, will never entirely disappoint. James Agee had a fortunate career on the face of it, as a New York freelance for almost two decades and then as a screenwriter. One of the large talents of American writing in the 1940s, Agee was a Southerner, from ...”

“... A decade-long resuscitation began with the 1960 reissue of his collaborative effort with James Agee, Let Us Now Praise Famous Men, which galvanised a new generation of social idealists and photographers. Then came the reissue of his book American Photography in 1962; a MoMA exhibition, in 1966, of subway photographs he’d taken in the 1930s and ...”

“... a number of so-called ‘journalistic features’ for 20th Century Fox (which were praised by James Agee, among others, for their extensive use of location shooting). De Rochemont was also well connected to various government agencies. The House on 92nd Street dramatised the FBI’s role in arresting Nazi agents; its 1946 follow-up, 13 Rue ...”

“... If the world should end tomorrow,’ James Agee wrote in the Nation in 1947, ‘this film would furnish one of the more appropriate epitaphs: a sad, magnificent summing-up of a night city.’ A little earlier and in another paper he had called the film’s second part ‘half-baked’, and what’s interesting is that there is no real contradiction between the points of view ...”

“... his material.Produced under Fascism in 1943, Visconti’s Ossessione (an unauthorised version of James M. Cain’s hardboiled novel The Postman Always Rings Twice) is generally considered the first Neorealist film, but it was Rossellini’s Rome, Open City (1945), the first movie made after the war to represent the recent Italian past, that planted the ...”

“... scar. How can the celebrity outsider maintain a sense of his identity, or painterly authority, when he is his own subject-matter and his audience sees that subject-matter as ‘other’, less than ‘us’? Basquiat’s solutions to this dilemma are often brilliant. In the triptych Zydeco (1984), for example, a cinematographer in profile looks through the lens of his movie camera ...”

“... in character: Hornbacher crams her text full with quotations from Anne Sexton, Sylvia Plath, James Agee and Alice through the Looking Glass, adding footnotes that cite the medical or anecdotal literature – gobbets of prose which capture her sense of self, swallowed whole and regurgitated. From the dust-jacket on (Hornbacher is pictured, skinny and ...”

“... History of Ancient Art by Winckelmann in 1764 to the appearance of Let Us Now Praise Famous Men by James Agee and Walker Evans in 1941, his focus is on the arts of the late 19th and early 20th centuries, that is, on high modernism. His range of interests is impressive: Rancière delves into the poetry of Whitman, the acrobatic performances of the ...”

“... and open to hazard as those of the Tennessee sharecroppers described in the Thirties by James Agee in Let us now praise famous men. Other stories reveal small-town life as a hotbed of hypocrisy. Sexual relations are poisoned and poisonous everywhere from the farmstead to the gleaming suburb. And, bitterest of ironies, young men must die in ...”

“... seeking his approval to get a Sullivanian therapist: ‘There was pressure,’ the sculptor James Wolfe recalled, but if you did it, then suddenly ‘you had access.’ Among those who signed on were the artists Kenneth Noland, Jules Olitski and Larry Poons. Some were just dabbling, but Olitski went all in, bringing his wife and daughters with him, and ...”

“... by doing or seeming to do nothing. It was the fashion. Gary Cooper, Clint Eastwood, Lee Marvin, James Coburn, and in England – and in a different, English way – Michael Caine, seldom did anything else. It was also a manner which could not always be easily distinguished from simple idleness. For the first 25 years of Mitchum’s career, his performances ...”

“... with her writer parents and the people she met in their living room in New York: Edmund Wilson, James Thurber, Walker Evans, James M. Cain, Nunnally Johnson, S.J. Perelman, Dawn Powell, Joseph Mitchell and John O’Hara. Many of these celebrated figures, artists and authors approaching fifty at the start of the decade or ...”

“... that only a myth of shared ground will allow us to find whatever ground we share. The work of James Agee, Hannah Arendt, Fred Dupee, Mary McCarthy, Dwight Macdonald, Philip Rahv, Delmore Schwartz, Edmund Wilson – these are some of the names Mrs Trilling mentions – gave the myth one of the best runs it has had anywhere. The language of the myth ...”

“... as much as it does the world of Capote. And that is one of the book’s strengths: Plimpton, like James Boswell, is an enthusiast for the world he is conjuring; he knows it well, knows all the figures in the carpet; the people are for the most part his acquaintances too, and his way of arranging their words is bent by his own understanding of how it all ...”

“... his context. Words weren’t his language; he spoke in action. In one of many piquant anecdotes in James Curtis’s encyclopedic new biography, on hearing the thumps as Keaton repeatedly threw himself against their common office wall at Twentieth Century Fox, the film editor Gene Fowler stuck his head into Keaton’s room. ‘What are you doing?!’ ‘I’m ...”