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“... At the climax of Browning’s strangest poem, a horn-player greets his fate undaunted by Death or Middle English Philology. Weary of questing and pestered by visions, Childe Roland reaches the Dark Tower with the names of fallen comrades ringing in his ears. The hills encircle him like sprawling giants. His death seems certain –                              And yetDauntless the slug-horn to my lips I set,And blew ...”

“... furnace and the smoky atmospherics which he calls ‘Gothic’. But the poem is dedicated to John Cowper Powys, whose Atlantis, one of his most eccentric novels, is cited as a source. As Fisher himself points out, A Furnace inherits Powys’s ‘Romantic notion’ that ‘the making of all kinds of identities is a primary impulse which the cosmos itself ...”

“... Edward III in Stratford. It’s a rainbow copy of The Shakespeare Apocrypha, scribbled over by John Barton when he was at King’s, with blacklead for Shakespeare, green for Greene and, jokily, orange for Peele. This is the good thing about ‘Shall I die?’, that it drives you back to the ‘margins’ of the oeuvre. And what a play you find ...”

“... John Major’s vision of Britain is history by now: a unitary state north and south of the Tweed, secured by consent, subject to one monarch and funded by a non-tartan tax system. When Major first published his views, however, in the punningly titled Historia Maioris Britanniae (1521), his innovativeness upset fellow Scots ...”

“... Plunging in free-fall, a parachutist just out of an aeroplane sees the Earth spread out before him with the steadiness of a map. As his eyes resolve the detail, however, at about 600 metres, the ground seems to rush towards him, then split apart with dizzying speed: ‘The apparent diameter of objects increases faster and faster and you suddenly have the feeling you are not seeing them getting closer but seeing them move apart suddenly, as though the ground were splitting open ...”

“... eyed askance or turned askew. Like Dedalus in the Irish National Library, trying to impress A.E., John Eglinton and Mr Best with his theory of Hamlet, the narrator of Nothing Like the Sun throws in lots of local colour, freely kitsched with quasi-Elizabethan compounds and archaic turns of phrase. Moreover, following Dedalus’s example in Ulysses, Burgess ...”

“... to engage intelligently with Titus Andronicus – handled so well by Michael Hattaway – King John, or indeed any of the plays which made Shakespeare’s reputation in Elizabethan London. And she does not know where to begin with Cymbeline. Yet her contempt for Shakespeare’s non-naturalism remains unwavering. ‘Rumour painted full of tongues’ and ...”

“... A few months before his early death from tuberculosis, John Keats scribbled these lines in his papers: This living hand, now warm and capable Of earnest grasping, would, if it were cold And in the icy silence of the tomb, So haunt thy days and chill thy dreaming nights That thou would wish thine own heart dry of blood So in my veins red life might stream again, And thou be conscience-calm’d – see, here it is I hold it towards you ...”

“... The Professor was not always right,’ declared H.D. after analysis in Vienna. Her judgment seems rather generous. Reading her Tribute to Freud, one can’t ignore the emotional and interpretative coercion that went on at 19 Berggasse under the name of science. To an alarming degree, theory preempted argument. H.D. had been abandoned by her husband, Richard Aldington, for another woman, during a difficult pregnancy in which mother and child seemed doomed; her love affair with the feminist Bryher was fraught; writing set up its own strains: but Freud already knew, amid this welter of anxieties, what really worried the patient ...”

“... that poem is in some ways the centrepiece of Vendler’s book. The trouble is there’s more to John Ashbery than ‘The Painter’, ‘Drunken Americans’ and his other disquisitions on the Reflective Sublime. To compare Vendler’s choice with Ashbery’s, in the invaluable Selected Poems, is to find a troubling divergence. She gives us nothing, for ...”

“... a problem as Heaney’s family grew and grew up. To one of his touchiest correspondents, the poet John Montague, he confessed in 1976: ‘I’m in a furious mess over the housing question. This place is a hellhole because of lack of space … The launderette in Wicklow has closed down, so Marie washes for four of us and herself in the bath.’ The life of the ...”

“... the primacy of the ludicrous in good travel-writing. At least since the 15th century, when Sir John Mandeville collated his vegetable lambs and anthropophagi, travelogues have profited from being written out of speculation, preferably in a well-endowed library. Philip Gross and Sylvia Kantaris combine their considerable gifts to create a colourful peopled ...”

“... In his Narrative of a Five Years’ Expedition against the Revolted Negroes of Surinam (1796), John Gabriel Stedman describes meeting a man who had been a prince in Africa but was ‘surprized, taken, and bound’ while on a raid ‘to revenge his [father’s] death’. Yet some who wrote about the plantations also correctively maintained that, whatever ...”

“... support to most of the claims being made for ‘narrative poetry today’ – should have told John Haffenden in an interview for Viewpoints that he found Robert Frost’s fable of imagined unlived lives, ‘The Road Not Taken’, exemplary. If Fenton’s distinction between the narrative kinds is just, so is the note of regret and rebellion that he ...”

“... the Troubles, or Home Fire, Kamila Shamsie’s version of the Antigone in an Islamist setting, or John Kinsella’s new update of Samson Agonistes. As it happens​ , Halpern’s insights can unlock much in those works. His account of Samson Agonistes, for example, goes a long way towards explaining what impelled Kinsella to ‘redramatise’ the tragedy. He ...”